anybody out there hiring gay losers. ideally a 100k/year salary and i work for one hour every day when i feel like it. thanks
Aqua Utopia|海の底で記憶を紡ぐ
$LAYYYTER
One Nice Bug Per Day
2025 on Tumblr: Trends That Defined the Year
Game of Thrones Daily

Andulka

No title available

pixel skylines
Fai_Ryy

bliss lane
h

Product Placement
PUT YOUR BEARD IN MY MOUTH

blake kathryn
we're not kids anymore.

❣ Chile in a Photography ❣
art blog(derogatory)
EXPECTATIONS
The Bowery Presents
KIROKAZE

seen from Bangladesh
seen from Brazil
seen from Brazil

seen from Nepal

seen from Malaysia

seen from Japan

seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
@constellation-prizes
anybody out there hiring gay losers. ideally a 100k/year salary and i work for one hour every day when i feel like it. thanks
imonaugust
smea cmreaturem
new boot goofin
Tracking those paw prints all over the place...
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.
being a fox party at the mossy wood at 10 dont be late
“Do Dead Malls Go To Heaven?”
Experimented a bit with a new way of detailing the tiles. Kinda like it? This particular piece took a hell of a lot of work. I’d love if you shared the vibes it’s giving off, for research purposes 💖
textures and colors of the bark of Methuselah the coast redwood
Wally Dion, Green Star Quilt, 2019 circuit boards, brass wire, copper tube
I SAW THIS IN THE PORTLAND ART MUSEUM! ITS HUGE!
it shimmers like no gemstones i've ever seen: green as malachite and emerald but shot through with opal, gold, copper. photographs can't do it justice because of how it shines, as well as the way the actual material elements have their own dimensions. you can lean in and study all the fine lines of the circuits or step back and admire how the rearranged whole forms new patterns. it's one of the most beautiful creations i've ever seen.
God I am sick and tired of people uwu-washing indigenous American history.
Did the Inca have exquisite building techniques, efficient messengers, and quality waterworks? Yes. They were also an expansionist empire built on violent conquest and the splitting up and relocating of conquered peoples.
Did the Aztecs have a gorgeous capital city built at the heart of a lake, with floating farms and towering temples honoring their fascinating pantheon? Yes. Guess what tho. They were also a violent expansionist empire who practiced ritual sacrifice of prisoners of war.
The Iroquois confederacy had one of the most unique representative political systems I’ve ever heard of, with women taking a forefront in most local government matters too. But their internal peace allowed them to redirect violence to their neighbors, as so often happens with tribal confederations, and they eventually violently conquered the Ohio valley and destroyed or displaced dozens of other indigenous groups.
Even my beloved Cahokia has the graves of sacrifice victims amidst its ruins.
A society should not need to be (and fundamentally cannot be) squeaky clean unproblematically stannable in order to be worth studying and remembering, and pretending that they were is no less disinformative than the European accounts painting them as godless savages.
Likewise, a society does not need to be ethically pure for violent conquest and subjugation of that society to be ethically monstrous.
The ultimate problem with the uwu-washing is that it's dehumanizing.
Humans are complex, messy, perpetual works in progress both as individuals and societies. If we claim a person or society is not a messy, complicated perpetual work in progress -- even if the claim is that it's because they're wonderful and perfect and have all the answers-- we're claiming they're not really human.
Looking at the world through the “noble savage” lens still means you see certain people as “savage”—you just think it’s a good thing. They don’t get to be their own people on their own terms. They only exist as comparative objects for talking about what you don’t like about yourself and your own society.
fish posting
Figurines of mice greet the visitors on the steps of the temple of Apollo in Turkey.
The temple was built during the 2nd century B.C., in the Troas region. It is dedicated to Apollo Smintheus (Lord of mice). The friezes of the temple depicted the war, which Homer recounted in his epic Iliad. In the epic itself, Apollo invoked as Smintheus is a terrific plague bringer.
Miniature statues of mice are now being placed to the stairs of 2,000 years old temple. "They are real-size figurines of mice. We have 73 figurines in the first stage, but 100 more will be made", says Professor Coşkun Özgünel, the head of the excavations in the field. "Visitors of the temple are very surprised by the mice. They show great interest in the figurines. They take photos and share them on social media. This interest made us very pleased.”
strawberry tiger. drawing something a lil different
☆tiger☆
Clouds and Sea - Michael Krähmer , 2007.
German , b. 1952 -
Resin oil glaze on MDF board , 85 x 130 cm.
Blade Runner 2099 exclusive first look at the replicant uprising
Blade Runner 2099 starring Michelle Yeoh and Hunter Schaefer coming late 2026 to Amazon Prime
“There’s been a replicant uprising that feels like it’s been bubbling up,” Lousia explains. “And between 2049 and 2099, that’s happened. So the war has happened and the humans have lost. Our worst fears imagined.” Welcome to the new world order. “The replicants are now the power brokers of the city,” says the showrunner. “And humans are the second-class citizens.” (Bummer for us.) And the story we will see on screen is not just informed and inspired by the two Blade Runner movies, but also by the novel on which the original film is based: Philip K. Dick’s Do Androids Dream of Electric Sheep. Therein lies the main thread of the series. Notes Luisa: “The show is really imagining what comes after us, and what does it mean to be human in a world where humanity is no longer relevant?” (...)
Leading the new cast is Michelle Yeoh as a replicant Blade Runner named Olwen. “She is hunting down a group of missing rogue replicants,” explains Luisa. “She’s in the final days of her life, so she knows she has only days left to live because replicants know down to the day when they’re gonna die. It’s certain and it’s definitive.” If the tale of a desperate replicant coming up against their expiration date sounds familiar, that is very much intentional. “Her story is very much taking the Roy Batty story from the first film,” says Luisa of the iconic Rutger Hauer performance. Only this time, there is one major difference. “We’re telling it from the replicant’s point of view.” And they plan to go deep on that vantage point. “We have the benefit of television where you have all of the hours that you could want to explore the nuances of this very relatable and human fear of not wanting to die,” notes Luisa. “There’s something about the idea that you’re not winding down when you die. You’re spiraling out. There’s a volatility, a danger, and a desperation to it, which I think Michelle really tapped into in her performance.” The other key figure is Olwen’s partner, Cora, played by Euphoria’s Hunter Schafer. Instead of another replicant trying to blend in as a human, Cora is actually the opposite. “Hunter is playing a human who is a fugitive and has spent her life running from Blade Runners,” explains the showrunner. “And now has to pretend to be one.” But the act has worked almost too well. “In this struggle to survive and just trying to live day-to-day, she’s actually lost her humanity,” Luisa says. “So she’s a human who has lost her humanity. And the question for the series is: Once you’ve lost her humanity, can you regain it?”
Olwen and Cora will be working together and investigating the missing rogue replicants — and this being Blade Runner, don’t expect any of the answers they find to be simple or expected.
UNHELD, 2026 by Lina Poluna @linapoluna oil on canvas, 20x25 cm