Keni
Not today Justin
taylor price
🪼
tannertan36
JVL
PUT YOUR BEARD IN MY MOUTH
Monterey Bay Aquarium
Stranger Things
I'd rather be in outer space 🛸
Misplaced Lens Cap
roma★
@theartofmadeline
Cosimo Galluzzi
Kiana Khansmith
2025 on Tumblr: Trends That Defined the Year
Mike Driver
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untitled
d e v o n
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@elephantnotes
A history of the birds of New Zealand
By Buller, Walter Lawry, Sir, 1838-1906 Keulemans, J. G. (John Gerrard), 1842-1912 , ill. Publication info London :John Van Voorst,1873. Holding Institution: Smithsonian Libraries Sponsor: Biodiversity Heritage Library
Exoplanet, Jessica Dunegan
Illustrations of British Fungi (Hymenomycetes), to serve as an atlas to the “Handbook of British Fungi”.
By Cooke, Mordecai Cubitt, Publication info LondonWilliams and Norgate1881-91 BHL Collections: New York Botanical Garden
Let’s say your matrilineal line is fairly consistent and everyone has their daughter at 25. So four women in your matrilineal line are born every hundred years. In a thousand years, that’s only 40 women. Like the math is so simple and yet ? You don’t think about it. So in 2000 years, 80 women. So basically, 0 AD started roughly about 80 mothers ago. That’s it.
I’m……… i’m a little drunk n cannot deal with this right now
Yep
The advent of agriculture around 9500BC was about 450 mothers ago
you can’t just say shit like that without a warning
Many, many mothers ago, when the world was new….
Many of the notes here are saying “But women used to have kids earlier”
Okay. So, assume every woman had her daughter at 20 instead.
That’s five mothers in a century.
Fifty mothers in a thousand years.
One hundred mothers in two thousand years.
That is five hundred and seventy five mothers since the dawn of agriculture.
Less than six hundred women, between you and the dawn of civilization.
You are never so far from your ancestors as you think.
Pantone Color Matching System, Lucy Litman
One of the 5 year old kids I work with just said “you know, when you put your heart into someone else’s heart it makes them nicer” and I’m SHOOK
who fucking litters. why do i ever see litter. who thinks that’s okay. who. who NEEDS to throw their fast food bag out the fucking window instead of waiting until they get somewhere with a trashcan. what kinda clown behavior. get fucked.
me to the demon in the corner of my room: ain’t u got shit to do
He’d been lurking about for days now, this shadow thing. It used to scare me, terrify me straight into insomnia. But it had just stood there the whole time. Now it seemed part of the furniture, if I’m being honest.
I started talking to it. Probably not my best idea, I’ll give you that, but it’s not like I had anyone else around. I would tell it about my day as I readied for bed. Jeff was a dick at the meeting this morning. Had the best hot dog off the best cart in the city for lunch. SIX reports due by Friday? Kellen must be trying to kill me. I even wished it good night. And it just stared, with its glowing red eyes.
One night, I had to stay late at the office. Really late. Remember those six reports? They turned into fifteen. And if I didn’t get them done for this major client, it was my head on the HR guillotine. So I stayed late. I ended up crashing on the sofa in the break room and woke up to more work on my desk. That was Thursday morning. I had to get this all done by Monday.
On Friday night, around ten, I decided to go home and get some real sleep before going back to the office to finish this insane task. And then I felt it. Something was here with me and it wasn’t the janitor.
I looked in the corner and there were those eyes again, surrounded by shadow. I sighed. I really didn’t have time for this, not here.
“Ain’t you got shit to do?” I snapped, walking to the break room for yet more coffee. So much for going home to sleep.
A growling sound, then a deep, rasping voice said, “I miss you.”
I stopped. “What do you mean, you miss me? Aren’t you a demon or something?”
“You didn’t come home. I’ve been worried. What are you doing here?”
We’d never conversed like this. It was almost comforting, like a friend would be.
“I’m working, man. I’ve got a big client coming on Monday and Kellen put all these damn reports on my desk and if I don’t get them done, I’m probably gonna get fired.” I ranted as I took off my tie and ran my fingers through my hair.
The demon paused, thinking. It moved slowly around the room, taking it all in.
“Do you want me to eat Kellen?” it suddenly asked.
I laughed, “No, don’t eat Kellen. It’s not really his fault.”
“Then what shall I do?”
I sighed and considered. What could a shadow demon do to help me?
“Do you know anything about graphic design and marketing?”
It paused its roaming. “I ate an artist’s soul, once.”
“Good enough. Just sit behind me and tell me what looks good.”
On Monday morning, the company landed the client, I got a raise, and arranged it so I could work from home two days a week. We moved to a bigger flat two months later. It makes cinnamon pancakes on Saturdays.
The Tokyoiter
Yes @itsPeteski
Anime Floppies
Pattern recognition, David Burdeny
Up all night, Aristotle Roufanis
Voyager: The Golden Record
It’s the 1970s, and we’re about to send two spacecraft (Voyager 1 & 2) into space. These two spacecraft will eventually leave our solar system and become the most distant man-made objects…ever. How can we leave our mark on them in the case that other spacefarers find them in the distant future?
The Golden Record.
We placed an ambitious message aboard Voyager 1 and 2, a kind of time capsule, intended to communicate a story of our world to extraterrestrials. The Voyager message is carried by a phonograph record, a 12-inch gold-plated copper disk containing sounds and images selected to portray the diversity of life and culture on Earth.
The Golden Record Cover
The outward facing cover of the golden record carries instructions in case it is ever found. Detailing to its discoverers how to decipher its meaning.
In the upper left-hand corner is an easily recognized drawing of the phonograph record and the stylus carried with it. The stylus is in the correct position to play the record from the beginning. Written around it in binary arithmetic is the correct time of one rotation of the record. The drawing indicates that the record should be played from the outside in.
The information in the upper right-hand portion of the cover is designed to show how the pictures contained on the record are to be constructed from the recorded signals. The top drawing shows the typical signal that occurs at the start of the picture. The picture is made from this signal, which traces the picture as a series of vertical lines, similar to ordinary television. Immediately below shows how these lines are to be drawn vertically, with staggered “interlace” to give the correct picture rendition. Below that is a drawing of an entire picture raster, showing that there are 52 vertical lines in a complete picture.
Immediately below this is a replica of the first picture on the record to permit the recipients to verify that they are decoding the signals correctly. A circle was used in this picture to ensure that the recipients use the correct ratio of horizontal to vertical height in picture reconstruction.
The drawing in the lower left-hand corner of the cover is the pulsar map previously sent as part of the plaques on Pioneers 10 and 11. It shows the location of the solar system with respect to 14 pulsars, whose precise periods are given.
The drawing containing two circles in the lower right-hand corner is a drawing of the hydrogen atom in its two lowest states, with a connecting line and digit 1 to indicate that the time interval associated with the transition from one state to the other is to be used as the fundamental time scale, both for the time given on the cover and in the decoded pictures.
The Contents
The contents of the record were selected for NASA by a committee chaired by Carl Sagan of Cornell University and his associates.
They assembled 115 images and a variety of natural sounds, such as those made by surf, wind and thunder, birds, whales and other animals. To this, they added musical selections from different cultures and eras, and spoken greetings from Earth-people in fifty-five languages, and printed messages from President Carter and U.N. Secretary General Waldheim.
Listen to some of the sounds of the Golden Record on our Soundcloud page:
Golden Record: Greetings to the Universe
Golden Record: Sounds of Earth
Songs from Chuck Berry’s “Johnny B. Goode,” to Beethoven’s Fifth Symphony are included on the golden record. For a complete list of songs, visit: https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music/
The 115 images included on the record, encoded in analog form, range from mathematical definitions to humans from around the globe. See the images here: https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/images/
Making the Golden Record
Many people were instrumental in the design, development and manufacturing of the golden record.
Blank records were provided by the Pyral S.A. of Creteil, France. CBS Records contracted the JVC Cutting Center in Boulder, CO to cut the lacquer masters which were then sent to the James G. Lee Record Processing center in Gardena, CA to cut and gold plate eight Voyager records.
The record is constructed of gold-plated copper and is 12 inches in diameter. The record’s cover is aluminum and electroplated upon it is an ultra-pure sample of the isotope uranium-238. Uranium-238 has a half-life of 4.468 billion years.
Learn more about the golden record HERE.
Make sure to follow us on Tumblr for your regular dose of space: http://nasa.tumblr.com
Pattern recognition, Benjamin Grant
