- welcome to my closet -

Inexora - She/Her, They/Them Thanks for visiting ! A clusterfuck of interests I don't even have the strength to tidy anymore. Warning for possible gore/macabre/dead things. I try to tag everything accordingly, but if you want something tagged, just let me know!

[briargeese]

A hibiscus flower under ultraviolet light, shining for the polinators.

[elieowlsclownery]

As sad as it is to lose not one Lionman but TWO, I always felt in my gut that this sort of death was what Campaign 4 was made for. The greatest play ever performed on the face of Araman is about a failed rebellion. This season started with the hanging of a man who lead his own failed rebellion. Failure and dying before the finish line did not mean the effort was wasted. It didn’t mean they were in the wrong. They may have lost, but because of their efforts those that came after had the strength to continue that fight. Brennan created a campaign where the odds can seem impossible, but unless the characters are willing to stake their lives and fail, nothing will improve. And when characters do fail their efforts won’t be for nothing, and they’re able pass on their hopes for another to pick up and continue. There will never be another Teor, but his memory and efforts will be carried forward by those who can still fight.

[callali1y]

no sex before you're tumblr mutuals #abstinence

[callali1y]

sex is between a tumblr mutual and another tumblr mutual. anything else is a SIN

[star-h0pper]

i'm finally getting caught up on cr4 e31 and man. the clear influences of the player's real life culture in their characters (and in the worldbuilding in brennan's case) is amazing and adds such a richness. like thaisha is so clearly influenced by like. black american folk culture Especially with the orcish revolutionaries. idk if liam is irish but he's at least running with a lot of the irish american working class stuff brennan injected into the world in terms of the hal and the culture of the round. and azune's whole bit about not having anyone to speak his native language to and his disconnect to his own identity (diaspora narrative). i Love when real world cultures are reflected in fiction it's so good.

[star-h0pper]

#and what Robbie is doing with Katt seems to be very much exploring the unchecked violence against native women and children in the USA

oh fuck you're right. you're totally right that's exactly the allegory.

[quinn-of-aebradore]

@hemisphaericas hope it’s okay to save your tags, Rose, they’re very very good!!!

[limesquares]

Artfight 10 for cookiehana

[adorkastock]

Don't be so dramatic! I said I'd get you a little snack!

[kaiju-emperor]

I was reminded of this other day. Say what you want about Taz Graduation. But the scene where the owl is trying to explain capitalism to Justin's Firbolg character. Is one of the funniest fucking things I've ever seen.

[itsjunetime]

clowngirl getting an orchiectomy and the surgeon just keeps removing ball after ball after ball after ball after

[estrogenesis-vaporeongelion]

clown nurse standing by solemnly adding each successive ball to the ones she's already juggling

[fidgetspringer]

Wtf

[inebubble]

see this is why you should read the instructions before attempting to build your own cat

[plaguedocboi]

So every year, my aquarium does a captive lobster hatchery project (hence all the loblings). The reason we’re doing it is because in the wild, loblings only have a 1 in 25,000 chance of surviving their larval phase. They’re plankton as babies and everything eats them. Additionally, as the Gulf of Maine warms, they are having even lower survival rates because the blooms of copepods they feed on as babies are happening earlier in the year, and they’re missing it.

Obviously, the goal of this experiment is to grow the lobsters until they’re big enough to settle to the seabed and then release them, because they have a much higher likelihood of surviving to adulthood when they’re able to hide. Ideally, captive lobster hatcheries can boost the wild population and keep things stable, so we don’t have a major crash in a decade or two.

The first year we tried this was pretty bad. We had a lot of eggs, but very few babies. It turned out that the CO2 levels in the building spiked as more guests visited throughout the summer, and that settled into the water and threw off the pH and caused a chemical reaction that prevented a lot of the eggs from hatching. I think we ended up releasing three baby lobsters (which is still better than their wild survival rate but not great).

The second year was a little better. We added a de-gasser to the aquarium and got a ton of larval lobsters, but right as they were settling to the bottom we had a disease outbreak that killed most of them. We ended up releasing four babies at the end of the season.

But this year? Oh boy. We have so many lobsters that we had to release the first round early (usually we wait till September or October so guests can see them). We just released a total of FIVE HUNDRED AND TWENTY FIVE baby lobsters, and we still have over a hundred who haven’t settled to the bottom yet. I genuinely don’t even have words to explain how cool this is. OVER FIVE HUNDRED. We just added hundreds of lobsters to the wild population that wouldn’t have been there otherwise.

Conservation is so fucken sick

[thatdisasterauthor]

The state of graphics creation in the wildland fire world is, shall we say, abysmal. Which isn't really anyone's fault! Graphics/design training is not a part of wildland fire training at all, and it used to be that outsourcing graphics was a viable if expensive option. But as the pace of the wildland fire world continues to increase exponentially, outsourcing just isn't possible for most graphics. This means a lot of people with zero training are forced to make graphics in house and they're just doing things as best they can.

This has resulted in some...ah...not great stuff. Which is not on the people creating them at all, usually! They're being asked to do things not in their job description that they have no background or training in.

But there needs to be training. If people can learn to run a damn chainsaw, they can figure out font hierarchies and basic color theory.

So, in my never-ending quest to shove better art skills into the wildland fire world, I created this 25 page guide last year! It covers why good graphics matter, the history of art in the wildland fire world, basic design terms, and basic design principles.

Now, I know, I KNOW, some other professional designers/artists are going to look at this and go "Katy, what the fuck? Some of this is not right." I know. But I wasn't going for the Most Technically Perfect and Correct way to do things, I was going for easy to understand and grasp at a basic level when you're just starting out and not aiming to become a full on design pro. Because let me tell you, the bar is in hell. If I have ONE MORE PERSON tell me that PowerPoint is the best and only accessible design program (yes, fucking PowerPoint) I am going to lose my mind. So yes, maybe I didn't explain the full breadth of DPI and print qualities and color spaces. But if it stops at least one brochure being made in PowerPoint then I'm calling it a win.

You can view and download the full guide on my website if you're interested.

[fuckyeahchinesefashion]

德化白瓷 Déhuà báicí/dehua white porcelain

Dehua County, located in Quanzhou, Fujian, China, is renowned for its white porcelain.

Its kilns flourished during the Tang (618-907 CE) and Song dynasties(960–1279 CE), peaked in the Yuan and Ming periods, and remain famous today, particularly for their white porcelain. Fired at high temperatures, the unglazed porcelain exhibits a smooth, jade-like texture, appearing crystal-clear and pure white.

Dehua white porcelain is renowned for its "high-toughness thin-bodied高韧薄胎瓷衣" technique, a breakthrough in ceramic craftsmanship that achieves exceptional strength in ultra-thin structures. This technology enables the creation of porcelain pieces with egg-shell thinness (0.2–0.5 mm) while maintaining remarkable durability, making it a hallmark of Dehua's artistry. However, not every piece of Dehua white porcelain employs this technique, as it involves significantly higher production costs.

[teaboot]

PORCELAIN?!

[saxifraga-x-urbium]

so in the victoria & Albert museum's huge ceramics gallery which people never seem to know about, there was a temporary exhibition by a 4th generation porcelain worker from dehua & some of her work v which particularly took me out were these books - books which looked as if they had hand pressed paper pages with ragged edges, being tugged open and ruffled by the breeze. they looked like a film still. they looked light as air. there was a drapery of fine silk fluttering as well. ALL PORCELAIN.

[himynamesisnotemail]

[punchspeedchunk]

prev tags are not staying in the tags: #The humble ambulance

[anyaboz]

Animation time works differently. Fifteen seconds for them is five hours for me. Kinda makes you wonder. Five hours for me must be like five days for my animator

[fishsplash]

just a Man and his Raptor (changyuraptor) (her name is Daisy)

[tahthetrickster]

did a bit of driving through the state of georgia today and wound up driving through a small town that i later discovered was called newborn, which is an odd name but doesn’t technically have anything wrong with it, except for the fact that i nearly gave myself whiplash doing a double-take at a building sign advertising NEWBORN TAXIDERMY

[tikysplickytok]

(via cowboy.k.kwalk)

[vicshush]

[ID: From the perspective of on horseback, a young Black boy pets the neck and head of a bay horse. Other people are visible standing on the curb of the paved drive that the horse is on as the camera adjusts. The person behind the camera asks "What you think about them?" The boy smiles as he says "I like them. I'm gonna ride a horse." The camera person asks "Wanna get on?" The boy excitedly asks "I can get on?" "Yeah!" Turning to the people on the curb as another boy approaches to pet the horse, he hops as he calls "Momma, can I get on the horse?!" There's an indistinct answer ("-get on"?) as the camera person shifts, a close-up of the horse's mane as they shift to dismount, saying "Yeah, c'mon". A third child nearby also hops as one of the children calls "I wanna get on the horse!", the camera tipping so we can see a second horse (pale with a brown head) and rider next to the first. The first child confirms "Can I ride it?" and the camera person says "Yeah, c'mon up" and shifts towards the horse's head to give instructions about mounting. The view is of the horse's neck and the stirrup during this part. "Put your left foot in there. Wait, wait, that's wrong -- put your left foot. Put that foot in there, and climb up." The child starts laughing as he settles into the saddle and lifts the rope reins. The camera person cheers him on, "Yes, siiiir! Yes, sir! You ready?" The view switches to the smiling face of the camera person (Cowboy K), a Black man in a ballcap and t-shirt that reads "Daisy Ranch -- We Walking Over Here". He leads the horse in a walk as the child continues to laugh, delighted. Another child is heard asking "Momma, can I go on that horse?" The mounted child calls "Momma, I'm on a horse! I'm a cowboy!" /end ID]