noise dept.
Aqua Utopia|海の底で記憶を紡ぐ
occasionally subtle
🪼
will byers stan first human second

Andulka

#extradirty
𓃗

Origami Around
macklin celebrini has autism

Love Begins
One Nice Bug Per Day
Cosmic Funnies
we're not kids anymore.
official daine visual archive
The Bowery Presents
let's talk about Bridgerton tea, my ask is open

blake kathryn
I'd rather be in outer space 🛸
Today's Document

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@captingrimm408
Ienzo: We need to distract the adults.
Xion: Leave it to me.
Xion: Centaurs have six limbs and are therefore insects. Discuss.
Even, Dilan, and Aeleus: *immediately begin arguing*
Xion: *gives Ienzo a thumbs-up*
Sadako, the Silent Crawler Kaiju
Ok but what if the size of her screen doesn’t affect her size.
Keep on trolling in the free world
Favorite quotes include:
“I’ll be in your heart.”
“(gut wrenching scream)”
and “HeH hEh HeH.”
The definitive answers to Disney's pernicious queueing debates
Last summer, I wrote a six-part series on the history, future and present-day of queue- and crowd-management strategies at Disney themeparks, summarizing my endless reading, rumination, and direct experience on the question.
https://doctorow.medium.com/disneyland-at-a-stroll-part-vi-62934f35aac1
Who gets to do what and when at a themepark may sound like a trivial question, but I think it’s a perfect little microcosm for the distributional problems that are at the heart of all political economy — questions that the pandemic’s shortages and shocks threw into stark relief.
It’s a question that’s animated my work since my first book, Down and Out in the Magic Kingdom, which is literally about how people lay claim to priority over scarce systems, using methods that aren’t driven by spot markets or other faith-tenets of neoclassical economics:
https://craphound.com/down/
That question continues to come up in my work, tangled up with complicating factors of psychology, economics, material culture, high technology, and distributional philosophies, which come together in Walkaway, my novel about fully automated luxury Communist resorts in the burned-over, ruined places of the climate emergency:
https://craphound.com/category/walkaway/
I don’t flatter myself that my six-part series was the final word on the subject of how aggregate demand and distribution can be managed through a mix of computers, networks, psychology and showmanship, but I do think I did a pretty good job.
And then I spent 103 minutes watching Defunctland’s latest video, “Disney’s FastPass: A Complicated History,” and reeled. I slept on it, got up this morning, and I’m still reeling. It not often that I recommend that you spend nearly two hours watching a video, but that is my firm recommendation here.
https://www.youtube.com/watch?v=9yjZpBq1XBE
As the title suggests, the video depicts the evolution of different crowd-management strategies in the Disney parks, starting with the early ticket-books that bundled together “E-ticket rides” (like the Jungle Boat Cruise) with A-ticket rides (like the horse-drawn cart up Main Street).
It describes the internal executive struggles within Disney to change this system to some kind of reservations- or virtual-queue based system — struggles that turned on philosophical questions about equitable access, operational questions of administratability, economic questions of profit maximization, and, of course, the technical question of what was actually possible.
The turning point came with the advent of process-engineering simulations, which bolstered the case for Fastpasses (a reservation system that evolved into a kind of hybrid reservation/virtual queue system) by putting it on an empirical, rather than philosophical, footing.
But “you treasure what you measure” and “every measurement becomes a target” and so Fastpasses became a symbol that different stakeholders in the Disney parks projected their own aspirations and fears onto. Regular visitors — annual passholders, mostly — learned how to “optimize” their Fastpass usage. Front-line operations people learned how to adapt them (for example, when a ride broke down, operators would dispense and discard several hours’ worth of Fastpasses to balance out the promised reservations with the ride’s capacity). Marketing sold Fastpasses. Infrequent guests who didn’t understand Fastpasses fumed at the people who “cut in line” ahead of them. Imagineering designed queues to accommodate Fastpasses.
Each of these interventions were grounded in ideology, sometimes explicit and sometimes unspoken. For example: “Everyone who comes to a Disney park should have a chance to ride the best rides.” Or: “People who put in the time to read guidebooks and online forums deserve to have an advantage when they come to a Disney park.” Or: “People who save for a once-in-a-lifetime trip should experience the most impressive rides.” Or: “People who are loyal customers and come all the time deserve the advantages that come with experience.”
It doesn’t take much imagination to map these ideological positions onto higher-stakes distributional questions coming up today, like “People who choose not to get vaccinated should go to the back of the line at the ICU.” But because we’re talking about six minutes on Space Mountain and not a week on a ventilator, it’s possible to examine multiple sides of the argument without quite so much emotional freight.
New technology opened up new possibilities for queue- and crowd-management. At the same time, the company was discovering that a sizable portion of its audience was price-insensitive. When they tried to reduce the number of Annual Passholders by raising the price, they discovered that most of those APs hung in there. Raising the price again, and again, and again, had little effect on passholder numbers.
This discovery bolstered the argument for resolving shortages by raising prices, and Disney started tinkering with ways to sell priority access to rides, with strategies ranging from premiums for people who stayed in a park hotel to a per-day/per-visitor upcharge to unlock various additional Fastpass capabilities. Some of these had little effect, and some had very big ones, like the operational challenge posed by thousands of people crisscrossing the parks to collect Fastpasses from ride entrances like the faithful performing the Stations of the Cross.
All of these currents came together with the advent of Magicband, an RFID bracelet tied into a complex back-end that was supposed to facilitate reserved rides, make it easier to buy things, act as your park tickets, and even your credit card. This project ballooned to a $1b tech boondoggle that struggles to this day (my own experiences with it have been farcical, even Kafkaesque). It also spawned a whole cottage industry of vloggers, influencers and forum flamers who offered ways to eke out minor advantages or circumvent the multi-hour waits for phone support when things went horribly, inexplicably wrong.
A couple months ago, Disney announced Genie Plus, a new initiative, based around a digital personal assistant that would recommend itineraries based on a combination of guest preferences, historical trends, and current conditions. Critically, this system also includes a way to buy Fastpasses — even as it does away with the ability to reserve Fastpasses months in advance.
Describing this, Defunctland advances the argument that this system has the potential to balance out the different ideological positions embodied in different crowd-management tactics through the years. By limiting virtual queues and reservations to same-day bookings, the system ensures that people who are unfamiliar with the system will get a crack at the best rides. By keeping the upcharge on Fastpasses low, the system adds a manageable premium to the cost of a once-in-a-lifetime family visit. By limiting how many Fastpasses you can buy — you can’t get a new Fastpass for a ride until you’ve used the one you’re holding, and then it is subject to availability — the system balances ride capacity between frequent and infrequent riders.
Anyone who spends time on Disney park forums will be familiar with these questions of distributional fairness — they are the source of endless arguments that turn on a mix of anecdote and logical inference, but they’re notably shy on data.
That’s where the Defunctland video takes a hell of a turn. The team worked with computer scientists and data on real-world Disney park visitor wait times to build a powerful simulation of a hypothetical themepark: Shapeland (slogan: “Acute place to shape memories”).
By running this simulation multiple times under different crowd-management strategies, the team was able to create an empirical account of the distributional effects and efficiency of each. The results are fascinating: for example, systems that let you buy your way into the line produce some efficiencies (less slack capacity on all rides, more rides per person), but depending on the size of the charge and its specific contours, the distributional and efficiency effects skew wildly. Some market-based “solutions” produce fewer rides per person, even as some rides sit empty, with ample surplus capacity.
Whenever we’re talking about empirical data on Disney wait-times, we’re inevitably talking about Touring Plans, Len Testa’s Disney park travel-agency/app/analytics firm, which started when Testa was in college and he started bringing a stop-watch to Disney parks to compare posted wait times to actual wait times. Today, Touring Plans produces guides, realtime recommendations and planning information grounded in a decades-long, detailed data-set compiled by its customers’ own use of its apps. It’s the single best adjunct to a Disney visit you can have:
https://touringplans.com/
Unsurprisingly, Testa played a role in the creation of Shapeland and the analysis of its data; he says it “shows how FastPass disadvantaged the guests who had the audacity not to study for their vacation like it was a medical board certification.”
He also says that he’s working with Defunctland to open-source the python code underpinning the Shapeland modeling tool, producing “the basic infrastructure to simulate things and help the next generation of theme park designers.”
Shapeland looks like a hell of a themepark to visit. Defunctland’s got Shapeland merch up for pre-sale:
https://defunctland.myshopify.com/
I think it would be cute to draw some of the Scandinavia and The World characters in art styles that are (more or less) famous from their countries.
Finland would of course be in Tove Jansson’s moomin style, Japan in one of the manga styles, America in a classic comic book superhero style and so on. I can of course not guarantee that I’m any good at mimicking those styles but I’d like to give it a try.
What do you think your country is best known for and what do you think other countries are known for? For example, the Danish Valhalla comics are not super well known in the rest of the world but I think it might be the most recognizable style we have?
So yeah, it doesn’t have to be amazingly well known but just enough.
My piece accompanying @thefuturehasalreadybeenwritten‘s fic for the @kh-worldsconnected fanzine!! A high school au featuring the lovely sea salt trio ;v;/ gosh i love high school aus–
read the fic here!!! It’s titled we’ve only got forever (and forever is fine)
Mark my words.
Charlie will close the iron door of Fatalis before i can even cross it.
SHE WILL LET ME DIE, CONSUMED FOR FATALIS FLAMES .
I WOULD NEVER DO THAT…
. . .
Workers owning the means of production. Sharing the profits. #CopyAndPaste
You mean white trust fund kids with enough savings to buy an actual whole business right? Even 20th of a business split among 20 employees would be a huge amount of money....
No.
I went and found the story. The union formed included about forty individuals total, first off. Only about a half dozen were active employees, due to the pandemic, at the time.
When the owner put the cafe up for sale, he offered the first shot to the union (the union is called CUPS, by the way). They started a GoFundMe and raised 25,000 off of that, and then an additional 30,000 from doing fundraiser work at the farmer's market and asking for assistance in establishing a worker's co-op (good targeting, farmer's market folks like that shit usually, and have the money to help).
They were able to put a 55k down payment on the table, and were able to negotiate for a decent mortgage on the place due to the establishment of the union in the first place.
some day “milf is a slur” discourse will break out and there will be no survivors
Indeed, the devil finally answer the knocking:
I know a lot of yall aren’t embroiled in twitter discourse because you’re smarter than i am, but i gotta add in that the op of that discourse is part of a russian cult of lesbian terfs that like do internet ceremonies and believe that the queer gene started in russia which is why it’s surpressed by the government because otherwise every woman in russia would become a lesbian and they would stop producing children for the russian military, it’s WILD how insane that group is,
Can someone from the Pokemon fandom explain this, I don’t understand nurse Joy’s reaction.
Ho-oh is basically a minor deity, so nurse joy pretty much just heard this ten year old say “i threw a rat at a god.”
i threw a rat at a god
The best part? Pikachu is awake. Pokemon faint upon being defeated.
What Nurse Joy heard was more along the lines of “I threw a mouse at a god and the mouse won.”
what is a king to a god
what is a god to a ten year old with an electric mouse
Maybe God shoulda rethought the Flying typing if he didn’t want his ass kicked by an electric mouse.
17 year-old Juliane Koepcke was sucked out of an airplane in 1971 after it was struck by a bolt of lightning. She fell 2 miles to the ground, strapped to her seat and survived after she endured 10 days in the Amazon Jungle.
After ten days, she found a boat moored near a shelter, and found the boat's fuel tank still partly full. Koepcke poured the gasoline on her wounds, an action which succeeded in removing the maggots from her arm. Out of 93 passengers and crew, Juliane was the only survivor of the LANSA flight 508 crash that took place December 24th, 1971.
🔗Her story in her own words: https://www.bbc.com/news/magazine-17476615
Juliane Koepcke is a Bad Ass!
Her book gives a small insight into how female survivors are treated: not as heroes, but as hypersexual psychopaths who, in her case, are relentlessly guilt-tripped and blamed for the catastrophic death of their loved ones ... all while the media is busy drawing sexualised cartoons and getting off on an underage girl's body.
^^^ Building off the above reply with some examples....
This was the first thing that stuck out to me, in her book:
If Juliane was a 17-year-old boy, her judgment calls & survival skills probably wouldn’t be passed off as a mere mistake/fluke. If she was a guy, people would lap that shit up and call her a Fine Boy Scout™.
Next is this passage:
“Now Father has lost his wife...” this thought never crossed Juliane’s mind, because she had no way of knowing if her mother was alive or dead. Juliane couldn’t find her mom after the crash. But notice how the media somehow managed to center the plight of a man in a story about *checks notes* a girl who braved the wilderness alone for 10 days after losing her mother in a plane crash.
Some media outlets floated the idea that, in addition to witnessing her mother’s death, Juliane had seen other struggling survivors as well & neglected to help them. This is false. It just goes to show that girls are villainized for taking care of themselves instead of taking care of everyone else—even when they’re all alone in the middle of the jungle, fighting for their own survival.
Juliane also came under scrutiny for her emotional state, after her rescue. Because she was traumatized and in shock, she didn’t react “appropriately” to her situation or grieve for her mother the way people expected her to.
As seen above, some voices in the media pathologized her understandable trauma response, treating her like a deranged sociopath.
^^^ This shit speaks for itself. Reminder that Juliane was just a child, a teenager.
Lastly, there actually is a 1974 movie about Juliane directed by Giuseppe Maria Scotese, starring Susan Penhaligon. The movie is called Miracles Still Happen. This is how the movie marketed her story:
And here’s how the media covered it:
So yeah. In conclusion, men are trash. And to wrap things up, I’ll leave you with this extremely tasteful comic strip by a (male) artist.
thank you so much for this valuable addition!! this is exactly what i was talking about!
A tragedy in two parts