Rebecca Welton’s Outfits in “Ted Lasso” | Season Three — Costume Design by Jacky Levy

Origami Around
Three Goblin Art

❣ Chile in a Photography ❣
d e v o n

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JVL

Product Placement

@theartofmadeline
Stranger Things
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"I'm Dorothy Gale from Kansas"

Love Begins
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Aqua Utopia|海の底で記憶を紡ぐ

ellievsbear
Alisa U Zemlji Chuda
noise dept.
I'd rather be in outer space 🛸

#extradirty

seen from Brazil

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@ginandcigars
Rebecca Welton’s Outfits in “Ted Lasso” | Season Three — Costume Design by Jacky Levy
Opera plot: Local Noble realizes that his affections for Pretty Village Girl have a rival in the form of Honest Laborer. Having read enough romances to know that a girl asked to choose between a rich man and a poor man will always pick the poor man, whereas in a love triangle between two rich men it's anyone's game, he decides that his chief object must be to elevate his rival's wealth and status as quickly as possible. What the Compte de Genre-Savie over here forgot to account for, however, was the overwhelming power of the Pygmalion Effect, and now he has to deal with watching two people he's in love with develop ever-stronger feelings for each other. Eventually all of this resolves via...I don't know.
#first of all: ''comte de genre-savie'' is PERFECT. just great. absolutely no notes.#I would love an opera with this exact plot. bonus points if the comte is genuinely genre savvy#he keeps bringing up opera tropes only for the other characters to look at him like he's insane.#the score is diagetic to him; when he points out reoccurring themes or transitions to minor keys#the other characters ask him what the hell he's talking about. the whole chorus gets together to sing about how#comte de genre-savie is going mad. the comte tries to sneak away and keeps getting pulled back in.#I wonder if you could even push it further - have it so that only the comte can speak or 'hear' spoken words;#all other characters communicate in recitativo secco or formally composed songs#then you can have scenes where the comte is speaking but the other character in the scene can't hear him.#this can be played for laughs (the comte tries to order something from a shopkeeper; the shopkeeper walks away as he's talking)#and for dramatic effect (the Honest Laborer is singing a heartfelt duet with the Pretty Village Girl#and neither of them can hear the comte saying 'I love you' in between their lines)#........I am into this actually. I had to convince myself that this wasn't just cyrano de bergerac but no. it isn't. I'm into it.#upon the stage (via @notbecauseofvictories)
It resolves via polyamory, of course!
The Love triangle resolves itself by a quarter of the way through and the rest of the Opera is sent with Compte De Genre Savie and his new lovers trying rediculous plot after rediculous plot to justify the Honest Laborer moving in with the Compte and the Comptess.
At the very end the Chorus looks at each other and says they assumed they had all been married the entire time...
it’s really the quiet chaos of this scene that gets me
Psych is an amazing show and you should absolutely watch it… And while I distinctly remember that scene… I can’t for the life of me remember which episode this is….
Psych heritage post
"In the 1960s, after his seminal work on barn owls, Roger Payne switched his attention to whales. In 1971, he published two historic papers. (...) The second showed that fin whales—the second-largest animals after blue whales—make extremely low-pitched calls that can be heard across entire oceans. It nearly destroyed Payne’s career.
That controversial paper was born of the Cold War. To listen for Soviet submarines, the U.S. Navy installed chains of underwater listening posts in the Pacific and Atlantic. This network, known as the Sound Surveillance System, or SOSUS, picked up a deluge of oceanic noises. Some were clearly biological. Others were more mysterious. One especially enigmatic sound was monotonous, repetitive, and low, with a frequency of 20 Hz—an octave below the lowest key on a standard piano. This hum was so loud that people doubted it could be coming from an animal. Did it have a military origin? Was it produced by underwater tectonic activity? Did it come from waves crashing on some distant shoreline? The actual source only became clear when Navy scientists started following the sounds to their sources, and often found a fin whale at the end.
Human hearing typically bottoms out at around 20 Hz. Below those frequencies, sounds are known as infrasound, and they’re mostly inaudible to us unless they’re very loud. Infrasounds can travel over incredibly long distances, especially in water. Knowing that fin whales also produce infrasound, Payne calculated, to his shock, that their calls could conceivably travel for 13,000 miles. No ocean is that wide. Together with oceanographer Douglas Webb, Payne published his calculations, speculating that the largest whales “may be in tenuous acoustic contact throughout a relatively enormous volume of ocean.” The response was brutal. Leading whale researchers told him that his paper was pure fantasy. Colleagues hinted that critics had been questioning his mental health behind his back. “When you get to distances like that, people just refuse to believe that it’s true,” Payne tells me.
Payne’s work made a more positive impression on Chris Clark. A young acoustician and former choirboy, Clark was recruited by Roger and Katy Payne to be a sound technician on a 1972 trip to Argentina to study right whales. It was a thrilling and formative time. Camped on a beach beneath the Southern Cross, with penguins bumbling past and albatrosses wheeling overhead, Clark began listening to whales. He placed hydrophones in the water to eavesdrop on their songs and found ways of assigning specific recordings to individual whales. He went on to compile libraries of whale calls, recorded all over the world, from Argentina to the Arctic. And all the while, Payne’s idea of giant whales talking over oceans stuck with him.
In the 1990s, with the Cold War over and the threat of Soviet subs diminished, the Navy offered Clark and others a chance to observe real-time recordings from their SOSUS hydrophones. Amid the spectrograms—visual representations of the sounds that SOSUS picked up—Clark saw the unmistakable signal of a singing blue whale. On his first day, Clark saw that more blue whale vocalizations had been recorded from a single SOSUS sensor than had been described before in the entire scientific literature. The ocean was awash with their calls, and those calls were coming in from enormous distances. Clark calculated that one individual was 1,500 miles from the sensor that recorded it. He could listen to whales singing in Ireland with a microphone situated off Bermuda. “I just thought: Roger was right,” he says. “It is physically possible to detect a blue whale singing across an ocean basin.” (...)
Although blue and fin whale songs can traverse oceans, no one knows if the whales actually communicate at such ranges. It’s possible that they’re signaling to nearby individuals with very loud calls, which just happen to extend further afield. But Clark points out that they repeat the same notes, over and over again, and at very precise intervals. A singing whale will stop calling when it surfaces for air, and come back on the beat when it submerges. “That’s not arbitrary,” he says. It reminds him of the redundant and repetitive signals that Martian rovers use to beam data back to Earth. If you wanted to design a signal that could be used to communicate across oceans, you’d come up with something similar to a blue whale’s song.
Those songs might have other uses, too. Their notes can last for several seconds, with wavelengths as long as a football field. Clark once asked a Navy friend what he could do with such a call. “I could illuminate the ocean,” the friend replied. That is, he could map distant underwater landscapes, from submerged mountains to the seafloor itself, by processing the echoes returning from the far-reaching infrasounds. Geophysicists can certainly use fin whale songs to map the density of the ocean crust. But can the whales do so?
Clark sees evidence in their movements. Through SOSUS, he has seen blue whales emerging in polar waters between Iceland and Greenland and making a beeline—a whaleline?—for tropical Bermuda, singing all the way. He has seen whales slaloming between underwater mountain ranges, zigging and zagging between landmarks hundreds of miles apart. “When you watch these animals move, it’s as if they have an acoustic map of the oceans,” he says. He also suspects that the animals can build up such maps over their long lives, accruing sound-based memories that lurk in their mind’s ear. After all, Clark recalls veteran sonar specialists telling him that different parts of the sea had their own distinctive sounds. “They said: If you put a pair of headphones on me, I can tell you if I’m near Labrador or off the Bay of Biscay,” says Clark. “I thought that if a human being could do this in 30 years, what could an animal do with 10 million years?”
The scale of a whale’s hearing is hard to grapple with. There’s the spatial vastness, of course, but also an expanse of time. Underwater, sound waves take just under a minute to cover 50 miles. If a whale hears the song of another whale from a distance of 1,500 miles, it’s really listening back in time by about half an hour, like an astronomer gazing upon the ancient light of a distant star. If a whale is trying to sense a mountain 500 miles away, it has to somehow connect its own call with an echo that arrives 10 minutes later. That might seem preposterous, but consider that a blue whale’s heart beats around 30 times a minute at the surface, and can slow to just 2 beats a minute on a dive. They surely operate on very different timescales than we do. If a zebra finch hears beauty in the milliseconds within a single note, perhaps a blue whale does the same over seconds and minutes. To imagine their lives, “you have to stretch your thinking to completely different levels of dimension,” Clark tells me. He compares the experience to looking at the night sky through a toy telescope and then witnessing its full majesty through NASA’s spaceborne Hubble telescope. When he thinks about whales, the world feels bigger, stretching out in space and time.
Whales weren’t always big. They evolved from small, hoofed, deer-like animals that took to the water around 50 million years ago. Those ancestral creatures probably had vanilla mammalian hearing. But as they adapted for an aquatic life, one group of them—the filter-feeding mysticetes, which include blues, fins, and humpbacks—shifted their hearing to low infrasonic frequencies. At the same time, their bodies ballooned into some of the largest Earth has ever seen. These changes are probably connected. The mysticetes achieved their huge size by evolving a unique style of feeding, which allows them to subsist upon tiny crustaceans called krill. Accelerating into a krill swarm, a blue whale expands its mouth to engulf a volume of water as large as its own body, swallowing half a million calories in one gulp. But this strategy comes at a cost. Krill aren’t evenly distributed across the oceans, so to sustain their large bodies, blue whales must migrate over long distances. The same giant proportions that force them to undergo these long journeys also equip them with the means to do so—the ability to make and hear sounds that are lower, louder, and more far-reaching than those of other animals.
Back in 1971, Roger Payne speculated that foraging whales could use these sounds to stay in touch over long distances. If they simply called when fed and stayed silent when hungry, they could collectively comb an ocean basin for food and home in on bountiful areas that lucky individuals have found. A whale pod, Payne suggested, might be a massively dispersed network of acoustically connected individuals, which seem to be swimming alone but are actually together."
- Ed Yong, An Immense World : How Animal Senses Reveal the Hidden Realms Around Us
this is beautiful
I love how making of Sense8 is actually much simpler than I thought.
Here’s some more bc why not:
OMG
I love this every time I see it
Every single aspect of this show was truly brilliant!
Link to original post with all the links
Some very helpful tools, ideas, and ways keep going or get involved
I will add the resource Big Beautiful Boycott as a way of checking businesses to avoid that is not an app
The Big Beautiful Boycott stops funding to those funding fascism. Every dollar is a choice
YOU ARE A REGULAR GUY
YOU ARE A REGULAR GUY
jacob how poetic
...are you crying?
Dimension 20 Cast Test Their Basic Culinary Skills
“what are you, four different dogs” is literally the greatest most potent most cutting insult anyone has ever volleyed. followed so shortly by “a white family’s fleet of dogs” my god. you simply got her, beardsley. you got her
some more cloho stuff from the past few weeks
Just some text posts I found for the crew of the Zephyr <3
Emily's expression after Olethra saying "not at all, we're all adventurers" is ABSOLUTELY LETHAL
like imagining marya seeing another young woman who she sees so much of herself and ludmilla in.... i'm ill!!
emily is such a fantastic actor because im sure this is a genuine smile but it also just feels so in-character for marya :(((
“the earth is flat” wrong. the earth is a tube, locked in an eternal dance with a second, eviler tube
Me in any social situation
I knew the moment we got this art that the intrepid heroes were going to steal him