Evaporating seawater forms an inverse waterfall. (Source)
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Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă

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@hiddenworldsemerging
Evaporating seawater forms an inverse waterfall. (Source)
Kevin the Kitten (Vanessa Stockard) animated by Jenni Pasanen https://www.instagram.com/p/CATfqhqgO1Q/?igshid=13vl67k4n0fue
Paris, 3020 / by artist Daniel Arsham.
Based on iconic busts, friezes and sculptures in the round from classical antiquity.
- Galerie Perrotin, Paris.
OH MY GOD LOOK AT THIS POSTCARD FROM 1880 IN THE MANCHESTER MUSEUM ARCHIVES
âfestive image of Pleistocene mammalsâ
âa rink in the glacial periodâ
THIS IMAGE HAS SINGLE-HANDEDLY PUT ME IN THE FESTIVE MOOD
MERRY CHRISTMAS
Thatâs a vibe
I think we can all agree these guys have had to sit still for too long!
June 1832 primary sources roundup
I have tentative plans to post things for Barricade Day that will add to this list, but in the meantime, if youâre interested in reading about the real June 1832 revolt in the participantsâ (and witnessesâ) own words, hereâs your one-stop shopping.
Charles Jeanneâs letter to his sister: THIS IS PROBABLY THE COOLEST ONE. Nobody even knew it existed until it was unearthed a few years ago, but Charles Jeanne, leader of the Saint-Merry barricades in 1832, wrote his sister a detailed fifty-page account of the revolt from prison the following year. (How he wound up in prison instead of dead is a long story involving a suicidal ten-man charge against an entire army that unexpectedly worked. For certain values of âworked.â) The letter is incredibly cool and contains a whole bunch of incidents that Hugo included in Les Mis⊠with certain changes. Along with some incidents, like the final charge, that are so preposterous they wouldnât have been believable in fiction. Iâve translated the whole thing; you can find it under my âĂ cinq heures nous serons tous mortsâ tag, or if the post-in-French-reblog-in-English format is too awkward for you, itâs also up on my website in 8 parts: One | Two | Three | Four | Five | Six | Seven | Eight
Alexandre Dumasâ memoirs: are up in English on archive.org, and totally worth a read, because Dumas writing about his life is just as flamboyant as Dumas writing about swashbuckling protagonists. The bits that deal with June 1832 are in Vol. 6, Book IV, chapters 5-7.
Excerpt of a letter from George Sand to Laure Decerfz, 13 June 1832. Proto-feminist author and Romantic-era wild woman George Sand was living right across the river from the morgue at the time, and got a pretty gruesome view of the bodies coming in and the massacre of insurgents who werenât dead yet.
Heinrich Heineâs June 1832 coverage for the Augsburger Allgemeine Zeitung: in English on archive.org. Heine was living in Paris and acting as their correspondent for French affairs. His analysis of republicanism in Europe starts on page 255, and his account of the insurrection itself starts on page 275. The âlivebloggingâ section (daily despatches to the newspaper) starts on page 299.
Later writing and non-firsthand accounts of June 1832:
Louis Blancâs account of the revolt from his History of Ten Years. Hugo relied heavily on this as a source for his Les Mis research.
John Stuart Millâs June 1832 coverage/analysis from his weekly column in the Examiner.
The London Timesâ June 1832 coverage
Translated excerpt from R. Sayre & M. Löwyâs book Lâinsurrection des MisĂ©rables: why June 1832 struck a chord with the artistic world regardless of political affiliation.
Excerpt from Jill Harsinâs Barricades describing the revolt in the context of the wider republican movements of the time.
Stuff in French:
The most important primary source on June 1832 is probably the trial of the insurgents from Saint-Merry, which is really damn long and alternates between really boring and really fascinating. The whole transcript was published by the radical press (along with reprints of newspaper editorials favorable to the insurgents) to whip up public support for Charles Jeanne and the other defendants. The whole thing is available in PDF in volume 11 of Les Révolutions du XIXe siÚcle, and I was working on correcting the OCR and making it available in text format before I got sucked headfirst into another fandom and it was put on the back burner.
HĂ©gĂ©sippe Moreau on the anniversary of the revolt published a poem called âLes 5 et 6 juin: chant funĂšbre.â
Among Verlaineâs juvenilia is a poem about early-1830s insurrections entitled âDes Morts.â Probably dates from the late 1850s or early 1860s, so after the June Days and Napoleon IIIâs coup dâĂ©tat, butâtragically ironic, given the last lineâbefore the Commune.
Several works published in the immediate(ish) aftermath of June 1832 that were censored by the government are up on Gallica, including Rey-Dussueilâs novel âLe CloĂźtre Saint-MĂ©ryâ and Noel Parfaitâs poem âLâaurore dâun beau jour.â
The back pages of my âĂ cinq heures nous serons tous mortsâ tag contain some of Thomas Bouchetâs editorial notes to the Charles Jeanne letter, on the insurrection and how Hugo adapted it.
As for dead-tree sources, I highly recommend Sayre & Löwyâs Lâinsurrection des MisĂ©rables: romantisme et rĂ©volution en juin 1832, the Charles Jeanne letter published under the title of Ă cinq heures nous serons tous morts with extensive, fabulous commentary by Thomas Bouchet, Jill Harsinâs Barricades (English), and Mark Traugottâs The Insurgent Barricade (English).
What even is theory-fiction? In short, it is the intersection of theory and fiction, and also the âdissolution of the opposition itselfâ (Fisher 1999, p 156). In this hybrid style, theory is torn down from its pedestal, the real power of fiction is affirmed, and both are released from the high forms of the academy.
one thing me n my art loving gf would do is visit galleries and play a game called âroot, loot or bootâÂ
the gist is that you would look at a group of paintings in a room and decide which figure in the painting youâd root (fuck, in Australian slang), which painting youâd loot (steal and put on your wall at home) and which painting youâd boot (punt into the garbage because itâs shit and Not Art)
a couple of things about my experiences:
1. this game is a lot more fun if youâre attracted to women because thereâs so many Hot Gals to choose fromÂ
2. if you are attracted to men, you will spend a lot of time going âwell, looks like Iâll have to pick jesus againâ as my bi gf did
3. it gets more complicated in modern art museums and you find yourself having saying, âIâd fuck the rhombusâ âyou CANâT fuck the rhombusâ âthen Iâll fuck that blue squiggle thing. whatâs it called?â âcreeping existential dread in blueâ âthen does that mean Iâm fucking the squiggle or am I getting fucked by the existential dread it represents?â âarenât we all already getting fucked by existential dread?â
4. if you play this with an art history nerd, they may decide to kill you over one of your âbootâ choices
5. you will get Disapproving Looks from other patrons who overhear your heated debates
6. itâs also the best fun youâll ever have in an art gallery
this would be worth the drive up to minneapolis to play this at the institute
heads up iâm gonna fuck the entire chinese jade collection and boot every rothko, fight me
@hateristics - letâs go to a museum
Letâs fuckin do it
This is definitely an art museum game I have to do.
thIS IS THE BEST PUN EVER AND IF YOU DONâT AGREE GET OUT
honestly i didnât realise that was a pun st first bc English Officers in the first world war were just Like That
Whats the difference between Samodiva/Vila and Iele?
Hi, I hope I'm not answering too late!
I am by no means an expert in folklore, so I can't give a definitive answer to your question. From what I can understand, Iele are very similar to samodiva or vila spirits. Most likely all those are variations of a creature from Indo-European mythology which just developed into slightly differing entities as time progressed and smaller societies within that initial bigger group developed themselves separately. Romania and Bulgaria share a border, so it is natural that there will be a lot of mutual influence between them and this would also extend to folklore.
I can't pinpoint a specific difference and say this is it; even legends about samodivas vary in their description of what exactly these creatures are (sometimes depending on the region of the country where a certain legend is popularised), and I guess it is similar with the iele from Romanian folklore and its own regional variation. You'd have to look at specific examples (e.g. compare texts of legends) if you are looking for particular characteristics (such as what kind of magic they can do). It would also be interesting to compare legends from the regions around the border and see how similar they are.
I hope that answers your question đ
Literary Epitaphs (Part 1)
Anne Sexton:
âRats live on no evil star.â
John Keats:
âHere lies One Whose Name was writ in Water.â
Ernest Hemingway:
âBest of all he loved the fall / the leaves yellow on the cottonwoods / leaves floating on the trout streams / and above the hills the high blue windless skiesâŠnow he will be a part of them forever.â
Emily Dickinson:
âCalled Back.â
Sylvia Plath:
âEven amidst fierce flames / The golden lotus can be planted.â
Allen Ginsberg:
âMy heart is still, as time will tell.â
Elizabeth Bishop:
âAll the untidy activity continues, awful but cheerful.â
Hilda Doolittle:
âSo you may say, / Greek flower; Greek ecstasy / Reclaims Forever / One who died / Following / Intricate Songâs lost Measure.â
Robert Lowell:
âThe immortal is scraped / Unconsenting from the mortal.â
Virginia Woolf:
âAgainst you I will fling myself, unvanquished and unyielding o Death! The waves broke on the shore.â
Robert Frost:
âI had A Loverâs Quarrel With The World.â
Edgar Allan Poe:
âHere, at last, he is happy.â
Rainer Maria Rilke:
âRose, oh pure contradiction, delight / of being no oneâs sleep under so / many lids.â
Henry Miller:
âI am going to beat those bastards,â
Dylan Thomas:
âTime held me green and dying / Though I sang in my chains like the seaâŠâ
just precisely how bad was 1500s jerusalem at making maps, you ask? well,
thisâŠis a fidget spinner
Reblog if you believe in fidget spinner earth.
Ok so a couple of really important things for understanding whatâs going on with this map. First, itâs not from 1500s Jerusalem. This is the BĂŒnting Clover Leaf Map from 1581 Hanover, Germany. This turns out to be super important for understanding the map. Why? Because it was made by a Christian.
This is a stylized map. Itâs derived from a very popular kind of map called a âT and O mapâ, which first are found in Iberia around ~600 CE and then became very popular in Europe. Hereâs an early one (12th century edition of a 7th century book describing them):
A larger, later, and more detailed one (1300):
And a modern map with the outlines of the T-and-O superimposed:
So what is a T and O map? They were a way to conceptualize the world. Pre-1492, conventional wisdom was that there were three continents: Europe, Asia, and Africa. Asia was the largest and went at the top, with Europe to the bottom left and Africa to the bottom right. The shaft of the T was the Mediterranean, the left side of the crossbar was the Don River, and the right was the Nile River. And at the center? Jerusalem.
Hereâs the thing: For most of human history, most people havenât needed maps to get around. They were either travelling between locations they or someone in their party knew, or they were moving slowly enough (i.e. on foot or by cart) to be able to stop and ask directions. So maps werenât navigationâthey were either for education (Ptolemyâs 2nd cent CE description of the world, which was turned into many, many maps in the Middle Ages) or, far more common, for religious symbolism. Between ~500 and ~1700, the purpose of most maps was to show Christians their place in the world. T and O maps put Jerusalem at the center because it was where Jesus was crucified, and they put Asia at the top because that was where it was believed the Garden of Eden was located.
8th century T and O map from Italy. Adam and Eve are visible in the center top:
The really interesting thing about T and O maps, imo, is that theyâre deliberately not accurate. People were certainly capable of making recognizable maps of the world, but they were choosing to go with this more stylized version.
1482 world map based on Ptolemyâs writings:
T and O maps, then, are deliberate. They include only what the map maker thought was important, and that is almost always a religious function.
Our modern maps, meanwhile, evolved out of a combination between the Ptolemaic maps and portolan charts. Portolan charts are navigational maps. They frequently only featured the coastline and ports, but overlaying the map is a set of rhumb lines, or paths with constant bearing with respect to true north.
One of the earliest surviving portolan charts, from 1325 Italy:
Portolan charts, by modern standards, are vastly more accurate than T and O maps, and are visibly a better representation of the Earth than a Ptolemaic map. But from the concerns of a medieval cartographer, theyâre very bland and boring. Thereâs no representation here of important cities, religious locations, or classical allusions. Itâs just a map of coastlines.
Back to the Clover Leaf map. In 1492, Columbus changed (among other things) map making. The assumption until 1498 (when it became apparent that this was not Asia and it was not a minor collection of outlying islands) was that the world had three continentsâat least three accessible to human explorers. After 1500, mapmakers engaged in a raceâsometimes a warâto represent the new discoveries first and most accurately. The result was a series of increasingly recognizable world maps.
There are a ton, and thanks to that and (mostly) accurate records about who went where when, you can start to date post-1492 maps based on what areas of the world they do or do not show. But the most relevant one for this post is this one:
This is a 1582 world map, which depicts a reasonably accurate Europe, Africa (including Madagascar, discovered by Europeans in 1500), and most of Asia. Japan is still difficult, as is southeast Asia; Australia is missing entirely. Over in the Americas, while most of South America is decent, North America has some struggles in the northern and western regions. Baja California is an island and everywhere north of that is missing entirely. In the south, thereâs hints that the cartographer was thinking about Terra Australis Incognitaâa long theorized âcounterweightâ to the Northern Hemisphere continents. In the 1500s, various voyages attributed Tierra del Fuego, Indonesia, and Australia to the continent. Its relationship to Antarctica seems to be completely coincidental.
This is a pretty typical late 1500s map.
Itâs drawn by the same cartographer as the Clover Leaf map.
Heinrich BĂŒnting wrote a book, called Itinerarium Sacrae Scripturae (Itinerary of Sacred Scripture), in which both maps are featured, along with many, many others. The book uses current knowledge along with the Bible to talk extensively about the Holy Landâwhich explains why BĂŒnting put such an allegorical map in his book to begin with.
The BĂŒnting Clover Leaf map isnât an accurate representation of the worldâbut it does show a 16th century audience how the world was constructed in medieval theology.
Medieval mapmaking (and more generally, medieval art)* is doing a variety of elaborate and fascinating things. The modern idiotâs capacity to reduce it to âlol they dumbâ is endlessly infuriating. Good outline here from @eighthdoctor. *And more pretentiously, 1500 is beyond the period generally described as âmedievalâ but whatever, this is tumblr.
if i was a pirate captain i would get a movie projector and play a movie on the big sails every friday night for my boys to kick back and enjoy some time off unless we were under attack
Pirates legit did the 16-17th century equivalent of this. When things were slow, they would put on plays, act out dramas of stories they knew, or freestyle. The most preferred model of original productions was courtroom drama: âtryingâ each other for piracy. The âaccusedâ would list off their many, dramatically and humorously embellished crimes, and be equally dramatically sentenced. Sometimes there was a daring escape, sometimes just a really maudlin death scene, but a good time was had by all.
As we all suspected, pirates are theater nerds.
latin phrases worth knowing:
(in case you wanted to know because i fucking love this language)Â
ad astra per aspera - to the stars through difficultiesÂ
alis volat propriis - he flies by his own wingsÂ
amantium irae amoris integratio est - the quarrels of lovers are the renewal of loveÂ
ars longa, vita brevis - art is long, life is shortÂ
aut insanity homo, aut versus facit - the fellow is either mad or he is composing versesÂ
dum spiro spero - while I breathe, I hopeÂ
ense petit placidam sub libertate quietem - with the sword, she seeks peace under libertyÂ
exigo a me non ut optimus par sim sed ut malis melior - I require myself not to be equal to the best, but to be better than the bad
experiential docet - experience teachesÂ
helluo librorum - a glutton for books (bookworm)Â
in libras libertas - in books, freedomÂ
littera scripta manet - the written letter lastsÂ
mens regnum bona possidet - an honest heart is a kingdom in itselfÂ
mirabile dictu - wonderful to sayÂ
nullus est liber tam malus ut non aliqua parte prosit - there is no book so bad that it is not profitable in some partÂ
omnia iam fient quae posse negabam - everything which I used to say could not happen, will happen nowÂ
poeta nascitur, non fit - the poet is born, not madeÂ
qui dedit benificium taceat; narrat qui accepit - let him who has done a good deed be silent; let him who has received it tell itÂ
saepe ne utile quidem est scire quid futurum sit - often, it is not advantageous to know what will beÂ
sedit qui timuit ne non succederet - he who feared he would not succeed sat stillÂ
si vis pacem, para bellum - if you want peace, prepare for warÂ
struit insidias lacrimis cum feminia plorat - when a woman weeps, she is setting traps with her tearsÂ
sub rosa - under the roseÂ
trahimir omnes laudis studio - we are led on by our eagerness for praise
urbem latericium invenit, marmoream reliquit - he found the city a city of bricks; he left it a city of marbleÂ
ut incepit fidelis sic permanet - as loyal as she began, so she remains
Okay but aut insanit homo, aut versus facit is a good contender for my heraldic motto.
@knightinironarmor
Aut pax aut bellum.
Marie Antoinette di Jen Yoon.Â
(via Roba da disegnatori)
The Secret Reading List: Books mentioned in The Secret History
If you want to be as erudite and elite as the Classics Clique, youâd better add these books to your reading pileâŠ
Specific prose/poetry/plays mentioned:
Untimely Meditations by Friedrich Nietzsche, Epigraph Republic, Book II by Plato, Epigraph Tom Swift by Victor Appleton, 6 Paradise Lost by John Milton, 8, 91 Goodbye, Columbus by Philip Roth, 33 The New Testament, 36 Agamemnon by Aeschylus, 40 Oresteia by Aeschylus, 40 Inferno by Dante, 41, 115 Poetics by Aristotle, 41 The Iliad by Homer, 41, 627 The Bacchae by Euripides, 42, 204 Parmenides by Plato, 67 The Great Gatsby by F. Scott Fitzgerald Ivanhoe by Sir Walter Scott, 85 Rover Boys by Edward Stratemeyer, 85 Journey from Chester to London by Thomas Pennant, 85 The Club History of London by ?, 85 The Pirates of Penzance by W.S. Gilbert, 85 Bobbsey Twins by Laura Lee Hope, 85 Marino Faliero by Lord Byron, 85 The Waste Land by T.S. Eliot, 89 Sherlock Homes by Sir Arthur Conan Doyle, 92, 622 Madame Bovary by Gustave Flaubert, 94 MĂ©moires by Duc de Saint-Simon, 103 Vanity Fair by William Makepeace Thackeray, 110 Othello by Shakespeare, 115 The World Book Encyclopedia, 117 Men of Thought and Deed by E. Tipton Chatsford Invisible Man by H.G. Wells Peter Pan, or The Boy Who Wouldnât Grow Up by J. M. Barrie, 180 The Divine Comedy by Dante, 184 Superman Comics, 417 The Upanishads, 441, 466 Perry Mason Novels by Erle Stanley Gardner, 442 With Rue my Heart is Laden by A.E. Housman, 466 Lycidas by John Milton, 466 The Charge of the Light Brigade by Alfred Lord Tennyson, 466 In Flanders Fields by John McCrae, 466 Corpus of Mycenaean Inscriptions from Knossos, 481 Alice in Wonderland by Lewis Carroll, 554 The Malcontent by John Marston, 615 The White Devil by John Webster, 615 The Broken Heart by John Ford, epilogue epigraph, 615 Doctor Faustus by Christopher Marlowe, 616 The Revengerâs Tragedy by Cyril Tourneur, 616 Our Mutual Friend by Charles Dickens, 619
Authors mentioned:
J.R.R. Tolkien, 6 Ezra Pound, 16 T.S. Eliot, 16 Alfred Douglas, 18 Robert de Montesquiou, 18 Plato, 22, 36 Homer, 23, 36, 49, 509 Dante, 33 Virgil, 33 Plotinus, 37 Marie Corelli, 85 Shakespeare, 91, 615 Alexander Pope, 103 John Donne, 117 Rupert Brooke, 120 Edgar Allen Poe, 132, 200 Hegel, 139 Raymond Chandler, 153 Gregory of Tours, 481 Thomas Aquinas, 509 P.G. Wodehouse, 538 George Orwell, 576-7 Harold Acton, 577 Salman Rushdie, 582 Agatha Christie, 587 Proust, 612 John Webster, 615 Thomas Middleton, 615 Cyril Tourneur, 615 John Ford, 615 Christopher Marlowe, 615 Walter Raleigh, 615 Thomas Nashe, 615
NB: page numbers correspond to the Popular Penguin Edition.
Are weak plots really bad? Bc I can't really think about a real good one
A plot is merely a series of plot points, so for this, we need to answer the following questions:Â
What is a plot point?What makes a plot point strong?Â
In order for something to be a plot point to begin with, it must provide a point within the plot where the story could go in more then one direction. In most situations, itâs the characterâs choices (generally those of the main character, though not necessarily) which pick the direction the plot takes from this point.Â
Looking at a plot point from this angle, we can deduce that the plot has a lot to do with who our character is. This makes sense. Goals are absolutely necessary for almost every story imaginable, because if your character doesnât want something then you have no plot.
So we have a character whoâs striving towards their goal. How do we turn that into a strong plot point? Characters who have goals should also have beliefs, (or in some cases, secondary goals), and these two things must conflict somewhere. Anywhere the character must choose between them, we have a foundation on which to build an interesting, strong plot point. On the other hand, if we donât have these things, our plot point wonât ever be as strong as it might otherwise have been, no matter how many cool things we throw into it.Â
So to create a strong plot point we can start with a character who needs to make a choice in order to reach their goal. We make this choice more interesting by throwing road blocks at the character. It might help to ask yourself these sorts of questions:
What can we throw at this character to make them change their choice partway through?
What can we throw at this character which we know will stress them out personally?
What can we throw at this character after theyâve made their choice, which theyâll have to now overcome because of the choice theyâve made?Â
What sort of consequences will come out of this choice and how do we show them?
And if youâre willing to do some work in order to find a realistic way for your character to get out of the situation: What can we throw at this character which will turn this into their worst nightmare; the most awful possible version of this situation?
Knowing what makes a strong plot point, we can finally answer the question: Are weak plot points â and the weak plots they create â really bad?
Plot points and plots with weak foundations are really bad, yes. Weak plot points which donât revolve around a character making tough choices in order to reach their goals will generally fall flat to readers.
But, not every plot point needs to be a crazy, chaotic mind blowing twist either.Â
Sometimes the choices we find most emotional and stressful are the ones everyone else tells up should be easy. The key to engaging your reader in a plot point is to convince them that this is emotional and stressful for your character and that your character believes there will be consequences to making a bad choice, and to instill in them the need to know what choice your character will make and what outcome that choice will bring.
tl;dr Plots donât have to be constantly unique or fancy or even action-packed in order to engage a reader. They simply need to show a series of plot points where a character the reader is already engaged with has to make a decision which will change the course of the plot.