california quails they’re unforgettable. small and round, black feather on top.
Mike Driver

shark vs the universe
will byers stan first human second

oozey mess
Jules of Nature
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pixel skylines
todays bird

gracie abrams

★
I'd rather be in outer space 🛸

Love Begins
taylor price
YOU ARE THE REASON
noise dept.

Kiana Khansmith

JVL
Lint Roller? I Barely Know Her

No title available
𓃗

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@direquail
california quails they’re unforgettable. small and round, black feather on top.
my favourite part of being online is being like oh. I Don't Have To consume this n then just scrolling away. I Don't Have To read your opinion about something that i don't care about. I Don't Have To watch whatever video the app serves me next. I Don't Have To and You Can't Make Me.
video ive been thinking about for days
“All of us don’t have the same eyes” is my key takeaway here. This is 100 percent correct.
once I snorted a fat line of nuance and everything started depending. watch out
you can prise the canon divergent pornographic character study out of my cold dead hands
my least favorite literary smut turn of phrase is when a guy is like “im gonna ruin this pussy” “im gonna wreck this pussy for anyone else” like stop.. thats not yours…!
“Imma destroy that pussy” my friend 😔
Where I come from, we don’t worry about these fruity-tuity California style buds. Okay? I’m from Scranton. What i’m smoking is dirt. So lets get that straight jack. Pure brick. Ass. Okay? America- Americans are wanting to smoke that dirt, okay? You go up to someone and say, hey, I’m gonna give you a big bag of this heady bud, but I’m taking your stash of mids, they’re gonna say C’mon man! get out of here! *audience cheers* that’s right. that’s right. Get the hell out of here! We like stems! We like seeds! Where I come from.
this post is scripture to me like this is a seminal text. to me
In my heart of hearts, I believe two very important things:
1— Yes, TOS Kirk is better than Spock at chess, not because he's just a chaos agent or lucky or Spock is distracted and letting him win or any of the other ways of minimizing TOS's extreme clarity on this point. Kirk keeps winning, as Spock himself gradually comes to accept, because Kirk is better at chess.
Behind their mannerisms, Kirk is the cooler-headed and more relentlessly calculating of the two, and fuses not only exhaustive background information but very quick, versatile adaptation and application of information + tactics to changing circumstances, even when the change is highly unexpected. Spock doesn't adapt to breaks in routine or expectation as quickly or as smoothly, and ... lbr, he pretends he's not more of a hothead than Jim Kirk in his totality will ever be, but it's a dirty lie.
2— Speaking of which, once Spock learns poker? He's way better at it than James "any time weird powers strip away my iron grip on my weaknesses I get consumed in analysis paralysis" Kirk. Spock loses now and then through a) monumental bad luck that speaks poetically to him or b) brazen pretense so other crew members will keep the eternal Enterprise poker championship going, rather than getting so disheartened they give up altogether.
Anyone who suggests there's something un-Vulcan about Spock's embrace of poker gets the galaxy's most withering non-expression imaginable. Surak teaches the importance of absolute self-discipline very much including one's facial expressions, seeing multiple possibilities but maintaining commitment to one's decisions, and controlling one's emotions. There is nothing un-Vulcan about Spock's immaculate poker face or evolution into Enterprise card shark.
Memory Alpha disagreeing for the silliest reason imaginable is, unfortunately, extremely Memory Alpha:
so strange when people assume 'waking up early' means increased productivity bc no??? im awake so i can read fanfic in bed before breakdown
BREAKFAST
e me a mail
make the attachment a pic of a snail
give me two gifs
of critters in clover
then photoshop them on the CLIIIIIIIFFS OF DOVER
I still reference this post today. And yes, when I say I reference it I mean I sing it.
keep thinking about how I wrote in my dissertation about how every time a new form of public/social space emerges it's immediately popular with kids and teenagers who see it as a chance at freedom and then adults colonise it and kick them out. this happened with malls in the 80s and diners in the 50s and pool halls in the 20s. my dad was doing research on this trend in like 1975. and I was like "yeah so this is going to happen to the internet" and then five years later every government suddenly decided to ban kids from everywhere online. I hate being right especially when I don't even get paid for it
as much as I would love for y'all to read my dissertation it would obviously doxx me to post the link/title here, so I probably won't share (unless a longtime mutual messages privately about it). BUT what I can do is tell you about my academic idols - Henry Jenkins, Mimi Ito, and danah boyd - and tell you to go read their stuff, starting with a book they co-wrote called Participatory Culture in a Networked Era
snakes really make you appreciate how gross mammals really are. squamates are very dry and clean
a bird is a kind of reptile that has learned to be yucky.
groups of people of varying heights really dont poke their heads around doorframes like they used to
your "secret" knowledge is NOT esoteric its from REDDIT
if i had a nickel for every time rebecca sugar’s ratatouille porn became relevant, i’d have like 5 nickels at this point
REBECCA SUGAR’S WHAT?
I love Solarpunk so fucking much. It’s the most late 2010s ass genre humanly possible. A genre consisting entirely of Pinterest concept art boards and a yogurt commercial. Aggressively political with no actual political stance or statement other than “climate change is bad.” genuinely incredible levels of sucking
Solarpunk started out as a concept of imagining a sustainable future without capitalism cooked up by Brazilian anarchists, to my understanding. (There's a whole timeline I found here if anyone wants to flip through it.) Something of a humanist/naturalist contrast from transhumanist and singularity/"rationalist" views of the future. And, of course, contrast from the gritty dark hypercorporate crapsack worlds of cyberpunk. A few novels were written, but overall the literary movement fizzled out because it turns out writing compelling stories in utopian settings with solely interpersonal conflict is pretty hard, actually.
From there the political aspect of it got picked up by climate doomerist types who pushed it as an antidote to the impending apocalypse. Alas, being fanatically worried about climate change seems to have fallen out of fashion since COVID for whatever reason. I believe a lot of these people have moved on to walkable urbanism and anti-AI movements.
And the aesthetic side of it started off with a particularly influential Tumblr post from 2014 that had quite a few neat ideas. All of those were sanded down over time into a vision of skyscrapers with moss and solar panels, coupled with some recycled cottagecore material and a bunch of Ghibli screencaps.
And then Chobani comes in and makes a yogurt commercial that's just futurist luxury automated cottagecore in a Ghibli aesthetic, complete with some vague handwaves at a spunky DIY attitude and a whole bunch of small-scale renewable electric generators. And from there the movement, whatever it was, merged with "Frutiger Aero" and completely fell apart into bland nothingness.
I suspect the Brazilian anarchist sci-fi writers who were hoping for some kind of cultural counterpart to thinking that Isaac Asimov's "The Last Question" was literally going to come true are rather disappointed in this turn of events.
It turns out that praxis leading to solarpunk future and solarpunk presence is million skills with million names and acquiring and practicing these skills don't look particularly like solarpunk aesthetic. It looks punk. But to give it a distinct visual language, both consistent and recognizable at a glance, you need to put a strictly aesthetic effort on top of everything else.
Praxis itself? It looks like disability activism. It looks like attending local town council meetings. It looks like diving into super specific debate on local law requirements on water-permeable surfaces percentage. It looks like keeping in contact with local priest to snoothly distribute furniture from well-off middle class finishing renovation to 18yo orphans ageing out of the system. It looks like negotating with local cultural activity center how to organise half-illegal craft workshops because paperwork for fully legal ones excludes the most neglected demographic. It looks like lobbying for health insurance to put "replacing batteries in the implant surgery" on the list of covered medical services, so people don't need to surgically replace whole implants. It looks like million other specific things.
People who got inspired by solarpunk tend to spend some time looking at art, then turn around, ask "okay but what can be done now that I can engage with" and then go do it. And then what they do stops looking like solarpunk aesthetic.
Of course there's also that thing that before Covid, lots of climate collapse containment issues were literally "we know that business-as-usual is cheapest short-term but can we focus on how it's killing us long-term". Covid era showed that business-as-usual is unsustainable now, mid-term and short-term and today and yesterday; and also that goverments can simply decide to act and it create tangible effects. Suddenly, it wasn't "solar would be better if your gas import was ever endangered", it's "we build all the solar for yesterday because we cannot afford keeping to gas". Creating inspiring narratives is optional when cost of business-as-usual is visible to naked eye. Lots of people who used to share inspiring pictures of solar on background of green hills either went to install solar and negotiate specifics of grid inclusion, or moved on to the next issue.
Central idea of solarpunk aesthetic was to give people tools to imagine sustainable future; to create visual and narrative shorthands allowing people to engage with vision of non-apocalyptic future.
Central idea of solarpunk philosophy is that apocalypse is anything but inevitable and the main challenge isn't lack of means and tools, but widespread cultural pessimism. You cannot change anything if you believe change is impossible. Therefore, for change to be possible, you need to envision the world that can be changed.
Basically, if solarpunk art convinced anyone that there is achievable alternative to doom, it have already succeeded.
You absolutely can merge in one all the issues ever discussed in context of exploring how sustainable climate-proofed non-capitalistic world can work and how it can be achieved, with the attempt to design a distinctive and consistent visual language for it.
And you absolutely can blame whichever aspect of that merged entity for the fact that detailed fact-based solutions are difficult to derive from visual language or using visual design tools.
You can! Totally! You're just going to sound silly.