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NASA
we're not kids anymore.

祝日 / Permanent Vacation
YOU ARE THE REASON

⁂

Kaledo Art
let's talk about Bridgerton tea, my ask is open

pixel skylines
Claire Keane
Aqua Utopia|海の底で記憶を紡ぐ
Not today Justin
Three Goblin Art
Monterey Bay Aquarium
Today's Document
$LAYYYTER

Andulka

tannertan36
sheepfilms

Origami Around
seen from United States

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seen from Romania
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@bubblybobbles
'La Corrida'. Bo Bartlett. 2023.
When I was early on in my transition I got in a Lyft, and the driver was this big country guy. I was a little nervous so I just sat quietly in the back.
After a moment he changed the music on his phone to what sounded like a Hatsune Miku song. Curiosity got the better of me, so I finally spoke up and said “is this Hatsune Miku?”
And he said “Yep. You looked uncomfortable, and I know Transgender women like Hatsune Miku, so I thought it might help.”
I think about that interaction a lot.
That really would make me so much more comfortable than a "You're safe," safety pin decorations, or a miniature trans flag. It's actually kinda charming, in a silly way.
If someone noticed my info references Bubble Bobble, and played that music for me? Absolutely brilliant move.
the fundamental problem on this website is that if a homeless person tried to talk to most of y’all you’d be scared out of your minds
see because people are actually seeing this i feel like i need to make it abundantly clear what i mean by this: in the united states context, the majority of social problems are just disappeared. the mentally ill are often relegated to their homes, to asylums (these still exist), to hospitals. the disabled, fat, and disfigured likewise. people called “criminal” disappear into the criminal punishment system and often never emerge.
if you live in any city in america, however, there are homeless people. they are the social problem that cannot be disappeared so easily. drive along a freeway outbound from the urban center to the suburbs and look into the trees. you’ll see tents, tarps, evidence of human habitation. walk through a downtown, even in coldest winter, and you’ll see bottles that weren’t there yesterday and clothes inexplicably abandoned. people tend to either not look at these things or to look at them and name them garbage. eyesore. they don’t consider what it would be like to carry everything you own on your back. how little energy you would have for recycling or cleaning up after yourself if you had been kicked out of your shelter at 7am that morning and now had to find a nook to hide out in to escape a -5F windchill. maybe you can go to a local public library, but maybe you can’t because you twitch or smell bad or talk to yourself and people only look at you out of the corner of their eye so they know what description to give the armed security guard at the front desk.
when i’m talking about looking at your unhoused neighbor, i’m talking about looking at them first. i’m talking about smiling and waving and maybe striking up a conversation. i’m talking about offering to grab lunch. i’m talking about indulging them even when they make you uncomfortable.
on memory care floors in hospitals you often encounter the problem of nurses who have been taught how to engage patients with memory issues but who do not give proper patient care because it makes them uncomfortable. they don’t want to lie or play pretend or do anything that takes them out of their very rigidly defined reality. an old man wakes up and tries to get out of bed because it’s time to feed the cows. he wonders where his wife is. it would make his nurse uncomfortable to tell him that his wife knew he needed some rest so she went out to feed the cows, so they tell him that his wife died five years ago and he doesn’t have his farm anymore. they break his heart rather than allow him to live in a better time for a little while longer.
back in december a man sat across from me on the train who was clearly struggling. i started a conversation with him about his art he was holding, which he told me were illustrated children’s books in a language he had always known. it was a syllabary i certainly didn’t recognize, and the illustrations weren’t anything i’ve seen in children’s literature, but we were suddenly both artists on the train. i showed him my journal and he complimented the pasting job on some of my collages. then he started to talk about angels. about his angel specifically, who had died and left him behind on earth. he missed his angel so much that he planned to commit suicide before christmas. i talked to him about his angel, and about love and grief and pain, all of which we could share. he began to call me jesus. i could have told him he was wrong, that i wasn’t even into the abrahamic religions, etc., and it would have broken his heart. instead i walked with him up from the train station—and got him through the armed transit cops who tried to stop him because he didn’t have a ticket—and gave him a picture of a loving savior, and a world that would be better for having him in it. instead of hugging some faggot, he ended up hugging a jesus that loved him. it was an odd situation. it made me a little uncomfortable. it may have been one of the few instances of kindness that he got that day. it may have been the first time in a while that someone who wasn’t unhoused or working the bread line actually started a conversation with him.
imagine if no one ever looked at you. don’t say some cute shit about “oh, i wish no one ever perceived me.” no you don’t. you wish you could control people’s perception of you. but what if people weren’t only not looking at you, but they already thought they knew you. you’re twitching so you’re on something. you’re staring at nothing so you’re dumb. you’re asking for money or food so you’re a leech on society. you’re talking to yourself so you’re dangerous. they don’t look at you but they know you. so they don’t speak to you bc they already know what they’re gonna find.
two and a half weeks ago my mom was found dead on the streets of san antonio. she’d been homeless there for about 12 years. i’d only just gotten stable enough to reach out to her. the woman i contacted at the day home she went to every month to get a haircut, her nails done, and to wash her clothes said she was doing well, that she was clean, that she was very polite, that she was smart. she had two dogs that she’d cared enough about to have microchipped. their names are fin and sophia. having those dogs probably made it so she couldn’t get permanent housing, because most housing programs for the homeless don’t allow them to bring pets. a lot of people choose to keep their pets rather than give them up as a condition of securing housing.
in denver, colorado i once met an unhoused man who had a master’s degree in geophysics. his thesis was on magnetic wells and their affects of satellite orbits. he was a birdwatcher.
when you refuse to look at homeless people, or the things they leave behind (often are forced to leave behind by cops), you are actively participating in the disappearance of a population. do you think you wouldn’t lose part of yourself if safety concerns made you nocturnal? if every time you got enough stuff to set up a good camp some suburbanite called the cops on your tent? would you not talk to yourself if no one else was speaking to you?
a lot of talk goes into the problem how easy it is to become homeless. one medical bill, one missed paycheck and your life is imperiled. well, there are a lot of people who are stepped over every day who already live your worst case scenario, and the simple fact is that the majority of people in the u.s. are too scared of having an uncomfortable or even perhaps scary interaction with an unhoused person to look at them. but i need y’all to know that you are not special. it isn’t just the dirtiest, most addicted, most mentally ill homeless people who are left to die on the streets alone. it is all homeless people. people who won’t leave behind beloved pets, people who couldn’t survive in academia, people who think they’re being gangstalked, people who have jobs, people who have families. if you are one missed paycheck from homelessness, you’re also one catastrophic tragedy, one spark that catches in the apartment on the other side of your building, one chance encounter with the drug that just won’t let you go. not one goddamn person on this earth is better than the unhoused person they step over on the way to get their morning coffee, and i hope to fuck y’all figure that out before you find yourselves disappeared too.
if you actually want to change the fucking world, maybe start with looking your neighbors in the eye.
Psychonauts - Black Velvetopia:
"Another really good level, with a stunning "Dia de los muertos" aesthetic and coloring. This is such a visual masterpiece. Sure, there are some annoying moments in the level, but overall I am a fan."
PS: the gameplay used for this gifset is not mine. The original video belongs to the user: WishingTikal, on Youtube.
The Psychonauts series is so good. I just haven't played the VR game, but I'm obsessed with the rest.
Francis York Morgan, when you go off exploring and forget hygiene. Lollipops and coffee do not keep the flies away. Trust me, I know from firsthand experience.
hm yes the mysterious handy tool for unusual home adventures with a twist my favorite device
Even if I didn’t have a solid plan, in the back of my head, I always assumed I’d kill myself.
Now I’m an adult and people my age have their lives in order and I’m stuck here, confused, because I never planned to be alive and I’m so far behind.
I feel like I’ll never catch up.
Hey all.
I want to make an addition to this. I made this post a long time ago.
I’m currently back in university, and I’ve made so much progress with my trauma. I’m in a loving relationship.
Things can and will get better. It’s not too late.
Nothing is perfect by any means. But I’m happy I’m still here and didn’t kill myself. I hope you get to that point, too 💕
The addition is important! I see the original post circulating a lot, but the addition is important!
New addition two years later. I’m still going strong!
I’m getting married. I’m still in that loving relationship.
I’ve learned that there’s no real timeline. It’s okay. And while it sucks that I lost time, there’s still so much for me to experience and enjoy.
Newest addition. 7 years after the original post!
I got married last month! My dog is laying on me snoring. I’ve learned to have healthy friendships and relationships. I’ve learned that I’m not alone and that even when things are hard, I’m going to be okay.
This showed up in my notes again. And here we are. 2026.
I’ve been married a little over two years. I just got home from friendships that feel like home and family. My husband and I have our own place. I have a full ass book ready to be published.
I don’t know. I’m still in a good place and I can’t believe how far I’ve come from my original post.
Times That Copyright Expansion Has Historically Fucked Over Artists On An Institutional Level:
Sampling rights becoming prohibitively expensive to use by small artists
Musicians being forced to sign over sampling rights to their record company, making any benefits they would hypothetically gain moot.
The Digital Milennium Copyright Act leading to the vidmaker-stomping nightmare that is ContentID
The DMCA leading to making it harder than ever to preserve media due to the way it prohibits tinkering with any locks the megacorps put on it, meaning it's way easier for artists' hard work to end up vaulted and lost.
The way basic chord progressions and musical styles have become copyrightable thanks to various lawsuits by the Marvin Gaye estate
The fact that the artists of the past used to be able to remix; adapt and iterate on art made within 56 years of them, likely created in their lifetimes, and now artists can only do those things with art produced nearly a century ago by people long dead.
New and independent artists being crowded out of the market by megacorp-owned IPs that would be public domain (and thusly convey less of an overwhelming advantage-via-marquee-value to megacorps) if the US had its pre-1976 copyright laws.
Times That Copyright Expansion Has Actually Materially Helped Artists On An Institutional Level:
????????
Meanwhile, mega corporations are dancing all around and over the top of copyright laws, via generative AI. Rules never affect those with enough money to bribe, buy up, or to tank the charges. It's beyond fucked.
I am printing these words out and gluing them backwards onto my forehead
this one is for all the bots that hate Starfleet Academy
I don't really ... get what you were going for here, but it was a lot of fun, so: thanks for that
night jogger
“The Militarization of the Police Department – Deadly Farce,” an original painting by Richard Williams from “The 20 Dumbest People, Events, and Things of 2014″ in Mad magazine #531, published by DC Comics, February 2015.
Here’s the original, for comparison. And here’s a bit more about the artist and why he created the piece above for MAD Magazine.
Richard Williams on Norman Rockwell:
“For most people, he was the painter of ‘America,’” he added. “But even he said his vision was what he wanted ‘America’ to be. It was a mythical ‘America,’ a place where all people were decent, honest and full of good will. His work was full of gentle humor that made you feel a little better; even if you knew it wasn’t really true… you just wished it was. My parody of Rockwell’s painting simply says, ‘That myth is dead.’”
I think it’s relevant to add that even Norman Rockwell chose to leave his cushy job at the Saturday Evening Post because he wanted to make artwork that was more radical. The Post had rules that wouldn’t allow him to do artwork depicting black people as anything other than servants. The job paid really well and that was a huge reason he continued on. But he wanted change that and so he moved to Look magazine.
A lot of people know about the very first piece he did when he left the post which was the The Problem We All Live With which depicts Ruby Bridges walking to school under federal protection.
But I don’t think enough people know about Murder in Mississippi which depicts three real civil rights activists who were murdered by the Ku Klux Klan and sherriffs. The magazine ran the sketch instead of the finished piece because they felt it had a more striking statement to accompany the article. Norman Rockwell would finish that version after publication which is here
Rockwell’s legacy is sanitized because he decided to maintain his job at the Post for so long despite his frustrations with not being able to express himself. The civil rights movement was just his final straw to change what he could with the little time he had left. Look magazine received a lot of hate for Rockwell painting these as well.
Another favorite piece of mine is The Right to Know which depicts an integrated populace questioning their government. In 1968, the year of Vietnam and the year the Fair Housing Act only just got signed in months prior:
But I think it’s important to include the caption Rockwell originally wrote for the piece as well. I think it represents how a 74 year old Rockwell felt about the America he believed in and the people in it:
We are the governed, but we govern too. Assume our love of country, for it is only the simplest of self-love. Worry little about our strength, for we have our history to show for it. And because we are strong, there are others who have hope. But watch us more closely from now on, for those of us who stand here mean to watch those we put in the seats of power. And listen to us, you who lead, for we are listening harder for the truth that you have not always offered us. Your voice must be ours, and ours speaks of cities that are not safe, and of wars we do not want, of poor in a land of plenty, and of a world that will not take the shape our arms would give it. We are not fierce, and the truth will not frighten us. Trust us, for we have given you our trust. We are the governed, remember, but we govern too.
Regarding Norman Rockwell, I also want to shout out “New Kids in the Neighborhood (Moving Day)” in 1967:
Also for LOOK magazine, but leaning on his themes of youth and suburban life. Expressing both hope for the curiosity and open-mindedness of children, and the bitter recognition of the suspicion of adults towards racial integration (see the face peeking out of the window in background). It’s notable that this is what he wanted America to be, too. He hoped for a better future.
I think that MAD Magazine artwork is really good and really poignant, and it’s also interesting to put it in conversation with Norman Rockwell’s own political evolution in his art as well.