Weighing foster kittens..they understood the assignment..🐈🐾😍
NASA
Today's Document

blake kathryn
Color Me Curious

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Monterey Bay Aquarium
PUT YOUR BEARD IN MY MOUTH

Jar Jar Binks Fan Club

Origami Around
Sade Olutola
todays bird
Not today Justin
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pixel skylines

@theartofmadeline
The Stonewall Inn
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almost home
taylor price
Fai_Ryy
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@cemetery-dreams
Weighing foster kittens..they understood the assignment..🐈🐾😍
The summer between the end of high school and the start of college, I wrote a ridiculous play about pirates and put on a staged reading with some friends at an amphitheatre at a local park before a small audience of friends and family. It was never published or staged again. But I just got a message from an old high school friend I haven’t seen in years. He accidentally quoted the play in a conversation with friends, was asked what he was quoting, he couldn’t remember either, and wracked his brain until he finally remembered it was that silly play reading that we did one day in the park over 10 years ago. It made me happy. (The line was, “Huzzah for mercantilism!” by the way.)
A very tiny percentage of creators go on to be famous, but that doesn’t mean that people don’t remember little things you did for years and years. Who came up with most of the world’s most famous jump rope rhymes? Who coined some of the famous idioms we use in daily speech? Who made up ‘Jingle Bells, Batman Smells?” Somehow, all of these things stuck and spread around.
When I was a small child, I saw a high school put on a production of the musical HONK. In one song, the mother duck describes various dangers that her baby should avoid in the water, including fishing line, which could strangle him. A member of the ensemble played the role of fishing line, doing a maniacal laugh and over-the-top strangling motions, and I found it hilarious– and to this day, that’s an example I often think of when talking about how ensemble members can still stand out in theatre. The guy who played the role might not even remember that he did that, but I do.
I took Suzuki violin lessons as a kid. The teacher made up lyrics to some of the songs, and she let her students make some up, too. Now whenever I hear the instrumental of one of those pieces, I always remember these ridiculous lyrics about a skunk that we sang in violin class. I don’t even know which student invented them!
In middle school, I found a video about atoms parodying Bill Nye made by some kids for a school product. It probably had less than 1,000 views, but I think of quotes from that video all the time. They had a parody of “We Will Rock You” with the chorus, “Protons, neutrons, electrons” that I think about a lot.
I just love that this is part of human life. Our memories don’t just pick up quotes from great art, literature, and music, but little things, too.
My latest books cartoon for The Guardian
˙ʇɐqʇᴉnɹɟ ɐ ǝɯoɔǝq oʇ pǝpᴉɔǝp ǝʌ,I
It's the Royal Academy of Art Young Artist's Summer Show. One of my favourite exhibitions of the year. Like. Not only are the older kids insanely talented, the younger ones' artist statements will just punch you right in the face.
Jeffrey is my cat and he feels like my heart
Click [here] for the full online exhibition
You couldnt come up with a jollier name for a bird if you tried
this thang has one of my favorite ebird descriptions of all time
The last week has been so ridiculous even the satirists can’t take it any more
the fucking timestamp
Happy tenth birthday to this post which will apparently haunt my notifications for all eternity.
It’s about Brexit, by the way. The timestamp is a week post-referendum. Newsthump is UK-based and I myself am scottish. And yes, things have 100% got worse since then, but personally I regard the referendum as the point at which we entered the Clownshoes Timeline.
Bonus: If I buy a book I get to keep it! The publisher can't turn up at my house at random and confiscate all the books I bought.
Helen Whitaker, England
" Sycamore Seed "
Glass , copper and brass
“Pratchett went back to older throwaway jokes (like dwarves being apparently unisex) and used them as metaphors to discuss social change, racial assimilation, and other complex issues, while reexamining the species he’d thrown in at the margins of his world simply because they existed at the margins of every other fantasy universe. If goblins and orcs and trolls could think, then why were they always just there to be slaughtered by the heroes? And if the heroes slaughtered sentient beings en masse, how heroic exactly were they? It was a long overdue start on redressing issues long swept under the rug by a parade of Tolkien successors who never thought of anyone green and slimy as anything but a notch on the protagonist’s sword, and much of the urgency in Pratchett’s last few books seemed to be related to them. ‘There’s only one true evil in the world,’ he said through his characters. ‘And that’s treating people like they were things.’ And in the last of his ‘grown-up’ Discworld books, that idea is shouted with the ferocity of those who have only a few words left and want to make them count. Goblins are people. Golems are people. Dwarves are people, and they do not become any less people because they decide to go by the gender they know themselves to be instead of the one society forces on them. Even trains might be people, and you’ll never know one way or the other unless you ask them, because treating someone like they’re a person and not a thing should be your default. And the only people who cling to tradition at the expense of real people are sad, angry dwellers in the darkness who don’t even understand how pathetic they are, clutching and grasping at the things they remember without ever understanding that the world was never that simple to begin with. The future is bright, it is shining, and it belongs to everyone.”
— John Seavey, The Evolution of the Disc (via liquidlightandrunningtrees)
Very true
Mike Mignola
My latest cartoon for New Scientist
I think the only person I've met in real life with 100% career satisfaction was this gal I knew who was a presenter at a children's science museum and delivered every line like she was running a WWE match. Every time you passed the room where she was giving a presentation, you'd hear something like "WHO'S READY FOR CEPHALOPODS?!?" and the kids would go absolutely nuts cheering.
“If you deny any affinity with another person or kind of person, if you declare it to be wholly different from yourself—as men have done to women, and class has done to class, and nation has done to nation—you may hate it, or deify it, but in either case you have denied its spiritual equality, and its human reality. You have made it into a thing, to which the only possible relationship is a power relationship. And thus you have fatally impoverished your own reality.” Ursula K. Le Guin "American SF and The Other" in Science-Fiction Studies 7, 1975.
When I find myself in times of trouble
Granny Weatherwax comes to me
speaking words of wisdom:
I can't be having with this.
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.