Muñoz Degrain, Antonio
Chubasco en Granada, o Recuerdos de Granada
he wasn't even looking at me and he found me
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@icywindyworlddump
Muñoz Degrain, Antonio
Chubasco en Granada, o Recuerdos de Granada
Otherwise known as glacier blood, watermelon snow is found worldwide in mountains and polar regions. The pink-red snow has a faintly fruity smell but is reported to have laxative effects if eaten.
The watermelon colour comes from freshwater green algae called chlamydomonas nivalis. In summer, the algae produce a red pigment to protect themselves from the Sun’s intense rays.
Principles of design and color chart. The Gate Beautiful. 1903. Frontispiece.
Internet Archive
but have you ever even heard of the fynbos biome ?!!?!?!?!
a biome so unique in south africa that it's earned an entirely new biome classification for itself. so many plants are endemic to this area, and ofc it's under threat of extinction.
It's a wonderful place! I had the privilege of visiting the fynbos last year and it was as amazing as these photos show and more!
shoe restoration
a leucistic greater prairie chicken. normally these birds are barred grayish-brown. leucism is a reduction in different pigments, not just melanin, that causes either an overall paler look or pale splotches (“pied”). greater prairie chickens are found in north america, though in only a fraction of their former range.
(x)
Foundling token PNGs.
"‘Foundling’ is an historic term applied to children, usually babies, who have been abandoned by parents then discovered and cared for by others. (...) Between the 1740s and 1760s, mothers leaving their babies at the Foundling Hospital would also leave a small object as a means of identification. The hope was that they would one day be able to reclaim their child." — (Foundling Museum)
(1. Crystals, 2. Hazelnut, 3. Halved inscribed medallion, 4. Child's ring, 5. Mother of Pearl pineapple, 6. Key, 7. Thimble, 8. Paper and textile heart, 9. Mother of Pearl inscribed heart, 10. Enamel disc, 11. "Innocence in Safety" inscribed coin, 12. Fish-shaped gambling token, 13. Wooden pot with rouge, 14. Inscribed padlock, 15. "You have my Heart, Tho we must Part" inscribed heart disc.)
‘Hands weaving magnetic-core memory, IBM, Poughkeepsie, New York,’ 1956. Photograph by Ansel Adams.
My mother used to make computer cores as a "work from home" side business. As a child I got spending money via un-winding the ones that failed testing so that the magnetic center could be re-used. I got between $0.05 and $0.25 per core depending. Mom got more for the finished ones, of course, though I don't know how much. Her sister was an expert, and did the more complicated kind, some of which ended up in satellites and/or were used by NASA!
They were all done by hand using a kind of treadle-operated frame with a little (crochet!) hook to pull the wires around the cores. The people making them were mostly housewives who did this as a side-job in the 80s and 90s. I don't know if it's still done that way anywhere in the USA today, but the history of computing and space exploration is littered with "women's work" like this.
Home in Suffolk, UK
Art Nouveau Door Szedő-ház, Hungary 1904–1905
Insane curls on this boy.
A portrait of Nzuri, son of Olepolos Taken in the Maasai Mara, Kenya Image by Silent Whispers Photography
some of the inks i've made from plants, nuts, and insects and a bit of alchemy between 2022-2025
i think it's interesting to note the origins of the plants (and in the case of cochineal, insects) that these inks are made from, especially because it places these colours into their material context. the understanding of colour as a product of time and place - whether organic, mineral, or synthetic - and a temporary intervention that shifts and changes through time like a living being is common among contemporary natural dyers and inkmakers. when you make ink you do so with the knowledge that the colour you get when you first make the ink is not necessarily the colour you will get in a week, a month, a year, a decade, and so on. the ink can only exist because the plant or mineral or insect it derives from exists/existed in this time and place, and because we exist/existed to make the ink and use it in this time and place. this is an incredibly basic idea but it gives meaning to the sight of cochineal, buckthorn, and indian mangrove ink side by side, as this could only exist in the postcolonial context.
cochineal is derived from the scale insect dactylopius coccus, which is a parasite that lives on cacti of the genus opuntia native to the southwestern united states and mexico. the history of cochineal is tightly wound to the history of colonialism in mesoamerica, between the pre-colonial mixtec using it to paint codexes on deer skin and the spanish conquistadores establishing a monopoly on red dye that was their second most valuable export industry from mexico. much of the wealth amassed by the spanish colonial project in mexico was gained through the exploitation of cochineal as a dyestuff. 'a perfect red' by amy butler greenfield details this history if you're interested in learning more about it.
common buckthorn (european buckthorn, rhamnus cathartica) is the plant from which many historical pigments in europe and west asia are derived: sap green, stil de grain yellow, dutch pink, french pink, and so on. it was commonly used in medieval manuscripts up through the 18th century in france and england. when combined with indigo pigment, or when alone and adjusted for the pH, it is one of the only ways of achieving a true grassy green with naturally-derived pigments in the western european context. this green tends to fade with exposure to light and air, and it's a noted phenomenon in the paintings of many european artists from this time period that many colours we see as yellow or blue now were probably once a bright grassy green. in the present day it is a highly invasive plant in north america where it spreads aggressively and chokes out native plants, and there are ongoing efforts to reduce its impact on local ecosystems.
indian mangrove (or spurred mangrove, ceriops tagal) is less known in the west but no less important. it is native to eastern and southern africa through tropical south asia (maldives, india, sri lanka), southeast asia, the pacific islands and australia. it forms an important part of the ecosystems in tidal zones of these regions, preventing soil erosion in coastal areas and protecting against monsoons and floods. it is at risk of overlogging in many of these coastal areas, especially those affected by tourism development like in bali, indonesia. the heartwood is a common heritage dyestuff throughout this region, and most famously known as a popular source of red and orange-rusty-brown in southeast asian batik and in leather tanning. it is also an important wood for house construction in its native region, and in the philippines it is used to make a type of wine. it has many names, ex. tengar putih in malay, isinkaha in zulu, and tagal in its scientific name is derived from tagalog.
these three materials being made into inks and used together could only happen in a world in which one person could feasibly access the raw materials for all of them, which could only happen in this postcolonial context. how much history is carried in a single colour, how many lives and places are involved in its creation? there is so much context to every bottle of ink that goes beyond the colour itself, and any material that can create a strong ink likely has an equally complicated history
Horse Donkey breed of the day: Asino dell’Asinara/ Asinara donkey
Height: 10-11hh
Common coat colors: Predominantly albinistic and white
Place of Origin: Asinara
theflowerhat on ig
excerpt from the original post: this is dictamnus albus—commonly called gas plant. on hot days, it emits a citrusy, flammable oil that briefly ignites when exposed to flame. it’s completely harmless to the plant, but incredible to witness.
Watching OP making something about shufa (chinese calligraphy) by 白行简bai xingjian