It's Gay Rights Gengar Friday
This, too, is yuri
Is there a reversed version of this I can use to tell my lesbian friends I think they’re a bad fit?
It's Gay Wrongs Gengar Monday

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Mike Driver
todays bird

JBB: An Artblog!
Alisa U Zemlji Chuda
styofa doing anything

Kiana Khansmith
ojovivo
DEAR READER

tannertan36
Sweet Seals For You, Always
Peter Solarz

blake kathryn
trying on a metaphor
tumblr dot com
d e v o n

祝日 / Permanent Vacation
h
we're not kids anymore.

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@k8nr
It's Gay Rights Gengar Friday
This, too, is yuri
Is there a reversed version of this I can use to tell my lesbian friends I think they’re a bad fit?
It's Gay Wrongs Gengar Monday
Link to the article
We regret to inform you that the sunshine and friendship app is actually a children killing app.
I have been telling people for years that the company behind Pokemon Go had no-shit, for-realsies ties to the CIA and people never really took it that seriously. Anyway.
it's all so tiresome
magic sword that glows when is senses danger nearby, except the sword has anxiety and is almost constantly glowing
Inadvisable tabletop RPG jam premise #137: Game jam where each entry consists solely of paratextual discussion of the mechanics of a hypothetical or invented RPG; examples include an errata document, a developer Q&A, or a forum thread debating the correct interpretation of a particular rule.
@shoutyourporpoise replied:
I could SWEAR you’ve made this post before, or perhaps this is such a characteristically “you” concept that I already imagined a world in which you had
I don't think so, no. I did once (unintentionally) curate a game jam about writing supplements for invented or hypothetical games, the product of which you can find here, but this is a different thing.
(If anyone really wants this one to be a thing, though, feel free to toss your entry into the reblogs. I'm not going to do a proper game jam on itch.io or whatever because its UI really wants you to have cover art and a promotional blurb and such, and this doesn't feel like it warrants it!)
Does the Enchantment Level increase from working with another artificer of equal level stack with the Wondrous Materials modifier? Do they stack past level 30?
Asked 7 years, 4 months ago, by [staminamina]
Modified 2 hours ago
Viewed 1k times
Just like the title says.
The rules text for Fine Materials from Principia says
Fine materials […] when used for an enchantment project, allow you to create things beyond your normal limits, including beyond the normal level cap of 30. […] wondrous materials allow an increase of three levels.
It’s obvious they meant this to go past 30, since they say it, but notably, they also extend the enchantment time/cost/difficulty table to level 33, and add 31 to the prime table, so they clearly have support for it.
The problem is that Toil and Trouble adds tandem enchantment, and I don’t know what to make of its rules!
The text reads:
While enchanters normally guard their secrets jealously, working alone, they can perform remarkable feats together. […] if allowing total cooperation, where no secrets are kept from each other, the boost increases to 5.
Which, unlike Principia, doesn’t stipulate it can go past level 30, but also doesn’t specify otherwise.
Muddying the waters, Toil and Trouble doesn’t extend the time/cost/difficulty table, but does give the appropriate formula for how to calculate those values at each level past 25 (which do line up with Principia).
Perhaps most importantly, if these modifiers did stack, we would have access to the prime 37 enchantments, which are not described anywhere in the book to my knowledge.
My instinct is that tandem enchantment caps at 30, or else does not stack with wondrous materials.
--
ACCEPTED ANSWER by [goodgriefer] (+12)
P.125:Principia states the following on the topic of stacking buffs.
When multiple effects modify some element of the creation process, they apply only to what portion of the process makes logical sense. A 10% reduction to the cost of reagents will not reduce the cost of shipping the final product. When two effects modify overlapping sections of the creation process, additive/subtractive effects are applied simultaneously, then multiplicative effects are applied simultaneously.
Then on P.169:Principia, we see
Drunkenness – A state of intoxication, whether by alcohol or other, more exotic substances, caps an enchanter’s effective level at 2 levels below their actual level, regardless of any other buffs
From this we can gather that multiple ‘effective level’ effects should be able to stack (there just wasn’t another such effect that increased levels, as of Principia), and that if they intend something to set a cap, they probably will.
That implies that, yes, you can technically create a level 38 enchantment (or 37).
As for what the theoretical prime 37 enchantments would be, I would point to P.56:Principia on the existing prime enchantments, which says:
Often, a player may wish to create an enchantment that is outside the scope of the primes, especially as it is recommended for a character to have an eventual capstone goal for their enchanting career. In such cases, it is worth remembering that the only enchantment known categorically to be impossible is one that confers true immortality. It may be possible to approximate using a combination of primes, or else by adding the functionality to an existing prime. Page 287 lists commonly used prime combinations.
Which is to say: A prime can have whatever functionality it needs to for a game to make sense. Considering 37 is so far beyond normal enchanting as to be unthinkable to the average enchanter, it makes a logical place to put whatever macguffin result overarches the whole game.
And to be clear, when I say ‘unthinkable’ I mean unthinkable; taking a look at the formula in T&T more closely, as well as taking into account the cost of using Wondrous Materials (or even Marvellous Materials, if you just want a new prime)
First, a theoretical level 38 enchanted item would take over 40 years for an enchanter to create (and no, you don’t get the assistant improvement to creation time from tandem enchantment, you’re doing it purely for the level boost).
Second, the cost, (including the increase from wondrous materials), would be on the order of 12 million gold.
Even if you had the time and the money, you’d still be stuck, because setbacks are rolled for on a monthly basis, and lose a percentage of progress. Without mitigation, you’re looking at losing 4 to 20 years of progress, about every two years. Mathematically, your odds of completing this project, are basically zero, especially if you’re mortal.
The only way to have a reasonable chance of creating an item with level 37/38 enchantments is to have two lead enchanters of level 29/30, with functionally limitless funding, and then also, to have some significant number of assistants, who, I will note, will have to be of at least level 27 to 28, due to the 10 level gap limit for assistants. Doing the math, a quick and dirty estimate suggests you’ll need at least 5 such assistants to maybe break even, and realistically, you’ll the maximum 18-19 of them to actually get the project done in a reasonable timeframe, which, may I note, is still ten years, which is probably more like twenty years, due to the probability of setbacks.
That is to say, to create a prime 37 enchantment, you need a team of about 20 world class enchanters to spend 10-20 years of their lives, with limitless funding (likely in the realm of 50 million gold, after accounting for who you have to pay, and the increased material cost from setbacks), to put their lives entirely on hold, and pool the entirety of their knowledge without reservation.
That is not a two person project. That is the manhattan project. That is the project that your players will, in the endgame, either get pulled into, or have to resist getting pulled into. That is an overarching plot thread that is running from the very beginning of the game.
What will it do? Frankly, that is entirely up to the game master. It may literally be the manhattan project.
peak evocative imagery, 10/10
You can’t Abstain your way to a Better World.
The Burger still gets made, even if you go Vegan. If you don’t buy it, it just winds up in the trash. If you want to do something meaningful about waste, you need legislation: It must become a crime to waste food in those ways.
If you care about Animal Cruelty in Factory Farms, you need to get legislation passed. It must become a crime to mistreat animals in those ways, and when malfeasances occurs, the onus of responsibility for those crimes must fall upon wealthy shoulders. That, also, requires legislation. It requires regulations, and regulators.
The largest source of Microplastics is wear and tear on automobile tires. It doesn’t matter what brand of shampoo you buy. It doesn’t matter which company you support with your dollar. The issue of Public Transit is too large-scale to be handled at anything less than the municipal level.
It’s not enough to just not participate in society
If you want the world to Change, you must leverage the mechanisms of political power.
You need Government.
STOP PROPOSING INDIVIDUAL SOLUTIONS TO COLLECTIVE PROBLEMS
Every time I get a soda, I think about the way that Coca-Cola is the biggest producer of new plastic in the world, despite promises to reduce that and use more recycled plastic for literally decades. Like 20 or 30 years, they've been making the promise and never delivering. They're one company; huge, but just one.
Meanwhile, we had "plastic straw discourse" and we separate the plastics from our recycling, and some states have a bottle deposit to make sure we recycle them. If you need an example of why Individual Solutions can't solve Collective Problems, look no further than the Great Pacific Garbage Patch.
OP is correct: Coke keeps doing this because they don't lose money if they don't, and there's no law against it.
If you want meaningful change, you have to demand it from your elected officials. Even and especially the shitty ones. They're the only ones in a position to make laws, so we have to bully them into doing their jobs.
Defeatism just keeps the status quo alive. "There's no point" is propaganda. It's not going to take just one phone call, or three emails. It's going to take all of us, constant pressure. Coordinated efforts, over time.
It sucks, but that's the system we have right now.
And we can't abstain our way to a better world.
on the alberta oil sands
If you want to understand the Alberta oil sands — and everyone should, at least a little, because they are among the strangest industrial artifacts in the Western hemisphere and the standard coverage of them is almost uniformly wrong — you have to start with the fact that what's in the ground is not oil. Oil, proper oil, the stuff Saudi Arabia and Texas and the North Sea have been pumping for a century and a quarter, comes out of the ground as a liquid. You drill a hole, pressure differentials do most of the work, and what comes up is roughly pourable. This is not what's in northeastern Alberta. What's in northeastern Alberta is bitumen, which is oil that has been sitting around for a hundred million years getting its light ends biodegraded out of it by bacteria, and what's left is a substance with the consistency, at room temperature, of cold molasses or peanut butter. You cannot pump it. You cannot drill it. If you cut a chunk of oil-sand out of the formation and put it on your desk it will sit there, looking like a dark sticky brick, being the least ambitious hydrocarbon in the history of hydrocarbons.
So the entire industry is, at a physical level, a workaround for the fact that the thing they're extracting is an embarrassment to the concept of petroleum.
There are two workarounds and they both cost a lot of energy. If the deposit is close to the surface — and only about a fifth of the reserves are — you can dig it. This means you strip off the boreal forest and the peat underneath it (the "overburden," in the terminology, which is one of those words like "collateral damage" or "surplus population" that you can tell was invented to not describe something) and you run the biggest trucks and shovels in the world, actually the biggest, 400-ton dump trucks that cost five million dollars each and tires that cost the price of a house, and you mine it like coal. The oil-sand goes into crushers and then into giant hot-water tumblers that separate the bitumen from the sand the way you'd separate wet paint from gravel, with a lot of help from caustic soda and even more help from steam. The water goes into tailings ponds, which are not ponds, they are lakes, they are visible from low earth orbit, and they are full of a mixture of fine clays and residual bitumen and a lot of other chemistry that is at best dubious and at worst a slow-motion environmental catastrophe nobody in Alberta can figure out how to clean up and which, by provincial law, the operators are supposed to eventually reclaim — a promise whose timeline keeps sliding to the right and whose financial reserves, if you actually cost them out, would bankrupt most of the companies that made them. That's the mining side.
The other eighty percent of the reserves are too deep to mine. For those you use SAGD, steam-assisted gravity drainage, which works like this: you drill two horizontal wells, one stacked a few meters above the other, you blast the upper one full of high-pressure steam until the bitumen down there gets hot enough to actually flow, and then you collect the flowable bitumen out of the lower well. You are, essentially, cooking the ground. To do this you need ungodly amounts of natural gas, because steam doesn't make itself, and the natural gas is piped in from elsewhere in the province, which is why the oil sands are sometimes described (accurately) as a process for converting natural gas, which is a reasonably clean fuel, into synthetic crude, which is not, at a thermodynamic efficiency that would make a nineteenth-century millwright wince.
The net energy math on this is — fine. It works. You put one unit of energy in, you get three or four out, that's the rough ratio, less than conventional oil's old ten-to-one but more than enough to make money at any oil price north of roughly fifty dollars a barrel, which the global oil price has been north of most of the time since about 2004. So it gets done. And once you've gotten the bitumen out of the ground — whether by digging or by cooking — you still can't ship it, because at pipeline temperature it's still too thick to flow, so you cut it with condensate (a light hydrocarbon imported specifically for this purpose, sometimes from the US Gulf, shipped north, used as a thinner) until it's a mix called dilbit, diluted bitumen, which is what actually goes down the pipe. About a third of every barrel of dilbit leaving Alberta is diluent. You are paying to ship the thinner.
This is, I want to stress, the normal operation of the industry. None of this is scandal. This is the regular Tuesday.
The scale of it is the part people don't absorb, because the numbers are all in units nobody has intuitions for. Canadian oil sands production is running around 3.5 million barrels a day as of 2025, which is more than every OPEC producer except Saudi Arabia and Iraq, which is almost half of all oil produced in Canada, which accounts for most of the difference between Canada being an oil-exporting country and Canada being a quiet resource backwater with a per-capita income that looks more like Ireland's. The industry is about thirty percent of Alberta's GDP. It is the entire reason Alberta's per-capita GDP is what it is. Until the Trans Mountain pipeline expansion came online in May 2024 — after twelve years of construction, at a cost of 34 billion Canadian dollars, after the federal government had to buy the project from Kinder Morgan because no private company could eat the political risk — basically all of it went to the United States, which meant Canadian producers had exactly one customer and priced accordingly, at whatever discount to WTI the American refiners felt like imposing. This was annoying to Canada in the way that having a single customer is always annoying to a supplier, and it's the thing the pipeline was supposed to fix, and fixing it is already looking like it wasn't as much of a fix as promised because production keeps growing faster than egress capacity can keep up.
Okay. That's the industrial situation. Here's the part that actually matters.
Fort McMurray is not a city in any sense that the word normally carries. It is a town of maybe 75,000 permanent residents, up near the 57th parallel, surrounded by boreal forest and muskeg, to which is attached — and the word "attached" is wrong, the word needs to be something more like "grafted" or "hosting" — a second population of roughly 35,000 workers who live in what are called camps. The camps are the actual operational engine of the industry. A camp is a cluster of prefab dormitory buildings attached to a cafeteria and a gym and maybe a movie room, plopped down in the bush near a mine or a SAGD plant, with capacity for anywhere from a few hundred to several thousand workers. Workers fly in from everywhere in Canada — Newfoundland, Cape Breton, New Brunswick, whatever backwater the post-industrial labor market has stranded them in — on two-week-on two-week-off rotations, work twelve-hour shifts, live in a room the size of a cell, and fly home to spend two weeks with their families before coming back. The term of art is "shadow population." The official census counts them separately.
And this arrangement is not incidental to how the industry works. It is the industry. You cannot run a facility the size of Syncrude's Mildred Lake mine with a labor force of people who live in the nearest city and commute to work. There is no nearest city. The nearest city is eight hundred kilometers away. You have to import the workforce, and because you have to import the workforce, you have to house them, and because you have to house them cheaply, you put them in camps, and because the camps are miserable, you pay the workers a lot of money, and because you pay the workers a lot of money, they put up with the camps, and the whole system is stable as long as the oil price is high enough to subsidize the discomfort premium. It is an entire industrial operation structured around the fact that nobody would voluntarily live where the bitumen is, and so the industry has to buy the labor's tolerance of not-living-there, over and over, shift after shift, for however many decades the deposit lasts.
Which brings me to Kate Beaton.
Beaton is from Mabou, Cape Breton, which is one of those Canadian places that the twentieth century was mostly unkind to. Cape Breton had coal, and Cape Breton had steel, and Cape Breton had fishing, and Cape Breton lost all three of these industries in the space of about forty years, and what it has now is diminished. The island's culture, which is Gaelic-inflected and absurdly musical and which has produced a shocking amount of art per capita, has as one of its load-bearing assumptions the idea that you will probably have to leave to make a living, and that this leaving will be sad but necessary, and that everyone you know will do it too, and that it's been going on since the Highland Clearances, and will go on after you. This is the Cape Breton structure of feeling. It predates the oil sands by about two hundred years. The oil sands are just the current destination.
So when Beaton graduated from Mount Allison in 2005 with an arts degree and a pile of student loans, she did what her cousins and the boys from her high school had already been doing for a decade, which was get on a plane to Alberta. She went to the camps. She worked tool cribs, she worked supply offices, she worked at Syncrude's Long Lake and at Shell's Albian Sands and at a couple of the smaller operators whose names I can't remember off the top of my head, and she kept a notebook, and eventually — many years later, after she'd become internet-famous for Hark! A Vagrant, which is a different story — she turned the notebook into a graphic memoir called Ducks, published in 2022 by Drawn & Quarterly, which won pretty much every prize available to graphic novels and landed on Obama's list that year, and which is, I think, the single best book anyone has written about what the oil sands actually are, which is a very specific kind of social machine.
The book is called Ducks because in 2008, while Beaton was there, 1,600 migratory ducks landed on a Syncrude tailings pond and died in it, which became briefly a global news story and got Syncrude fined three million dollars, which is roughly the kind of money Syncrude made every forty-five minutes that year. The ducks were the visible atrocity. The book is about the invisible one.
The invisible one is that the ratio of men to women in the camps was, depending on which camp and which shift, somewhere between 30-to-1 and 50-to-1. Beaton spent two years as one of the maybe two or three women at any given installation surrounded by several hundred men who were working twelve-hour shifts, living in single-occupancy dorms a hundred meters from hers, drinking heavily when off-shift because there was nothing else to do, doing cocaine at a rate that surprised even her, isolated from their wives and girlfriends and mothers and daughters, and — this is the part the book builds very patiently and very devastatingly — slowly losing the ability to behave like the people they used to be when they were still at home. The book is not a condemnation of the men. It is explicitly not that. The book's most painful move is that it keeps humanizing them, keeps showing how they're also trapped, also miserable, also being used up by the same machine, even as they do the things they do to her. Which, without getting into the specifics — read the book — include the full range of what several hundred isolated men will do to two women when the HR function is a phone number in Calgary that nobody is going to call.
And the thing Beaton sees, the thing she sets up with complete economy and then lets the rest of the book bear out, is that the machine is designed to produce exactly this. It's not a bug. The camp structure produces isolated men away from their social networks in exchange for money. Isolated men away from their social networks, given enough money and enough boredom, will do predictable things, and those predictable things are accepted by the operators as part of the cost of doing business, the way a mine accepts that a certain number of miners will get silicosis. It's a function of the design. Nobody up the chain at Suncor or Syncrude or Shell wants the women in the camps to be harassed. It's just that preventing the harassment would require reorganizing the entire labor-rotation structure of the industry, which would raise the cost per barrel, which would make the operation uncompetitive, and so the harassment is priced in as an externality. The women are told they have a bad attitude. The men are told to knock it off. The rotation continues. The oil flows.
What makes Ducks extraordinary, and what makes it a book about the oil sands rather than a book about harassment — though it is also that — is that Beaton also sees the men. She sees the welders from Cape Breton she grew up around, except here they're trapped in a way she recognizes because she's trapped in the same way, a way her dad would recognize from his own generation going to Boston or Toronto, a way her grandfather would recognize from the mines. The Maritime out-migration has been happening long enough that it has a folk repertoire, a whole tradition of songs about leaving, and the men in the camps are inside that tradition whether they know it or not. Some of them are actively dying inside it — there's a running count in the book, not emphasized, just there in the margin, of young men who die on the highway between Fort McMurray and Edmonton, or who kill themselves in their dorms, or who disappear. The mortality of the rotation is ambient. It's baked in. Nobody makes a particular fuss because making a particular fuss isn't what anyone there has the cultural equipment to do.
And the thing I keep coming back to, reading that book, is how precisely it maps onto earlier Canadian industrial extractions. Cape Breton exported its own men to its own mines in the 1890s and they died of black lung. Newfoundland exported its men to the Banks and they died drowning. The cod collapsed in 1992 and those men went to Fort Mac. There is a temporal rhyme here that Beaton doesn't belabor but that sits underneath the whole book: this is what Canadian industrial history is, a series of extractive operations that consume the bodies and social networks of men from places the previous extractive operation already hollowed out. The oil sands are just the current iteration. When the oil sands go — and they will go, either because the world stops buying the product or because the bitumen that's economically recoverable runs out or because a carbon regime finally prices the externalities — whatever comes next will be staffed by the grandsons of the men who died at Fort McKay, who were themselves the grandsons of the men who died at Glace Bay. Same as it ever was.
The industry knows all this, by the way. None of it is secret. The oil companies have sociologists on retainer. The turnover statistics are studied. The mental health crisis in the camps is a line item, it has a budget, there are contractors whose entire business is running crisis-response services for a workforce they know is coming apart. The 2016 wildfire — which evacuated 88,000 people from Fort McMurray in the largest wildfire evacuation in Canadian history, which burned down 2,400 homes, which briefly shut down most of the industry — revealed in passing that the regional municipality's shadow population was around 40,000 people at that moment, people who lived here but didn't live here, who were uncounted in most of the news coverage because they weren't from there, they were from somewhere else, and they all went back to their somewhere elses during the evacuation and some of them simply never came back. The 2018 post-fire census found the shadow population down fifteen percent. The oil didn't care. The oil kept flowing. The rotations restarted.
And the Indigenous piece, which I've been circling without saying directly, is that all of this is happening on land that belongs, by every reasonable reading of treaty and prior occupation, to the Athabasca Chipewyan and the Mikisew Cree and the Fort McKay First Nation and the Métis communities of the region, who have been variously co-opted, partnered-with, sued-into-submission, paid-off, or simply bulldozed over, depending on the decade and the specific negotiation. Some of the bands have significant ownership stakes in the operations now, which is a development the 1970s activist version of this story did not predict. Some are still in active litigation over water quality and cancer clusters downstream on the Athabasca River. Both things are true. The oil sands produce billionaires and elders dying of bile duct cancer and they produce them in the same watershed and if you want a tidy story about which is the real one you'll have to write it yourself because the ground doesn't offer one.
Beaton's book ends, more or less, with her going home to Cape Breton, having paid off her loans. She is permanently changed. She does not know if she is changed in a way she can live with. The book came out fourteen years after she left the camps and you can feel in it the time it took her to process what she'd seen, which tracks — it takes that long, usually, to figure out what a thing was, and sometimes you never figure it out, you just get old enough to stop being wrecked by it. She is one of the very few people who went through those camps and came out with the specific combination of linguistic ability and patience and moral seriousness to write about them. The others — the welders and the mechanics and the engineers and the heavy-equipment operators — mostly did not. They went home. They drank. They worked the next rotation. They raised kids who, statistically, also went to Alberta, because the Maritime economy did not improve. The book is as much about them as it is about her, and the fact that their version of the book doesn't exist, and won't, is part of what the book is finally about.
There is a thing you learn if you read enough industrial history, which is that the machine doesn't need you to understand it in order to keep running. Understanding the oil sands does not stop them. Beaton writing Ducks did not stop them. The 1,600 ducks in the tailings pond did not stop them. The 88,000-person wildfire evacuation did not stop them. The carbon math does not stop them. The Chipewyan cancer clusters have not stopped them. The only thing that will eventually stop them is the price, and the price is set in a market that does not weight any of the inputs I have just listed, and so the bitumen will keep coming out of the ground until it doesn't, and the men will keep flying in, and the women who work among them will keep being what they have to be to survive the rotation, and somewhere a Cape Breton teenager is right now considering her options and thinking about student loans.
Same as it ever was.
There are a lot of people who start creative projects with no business or financial plan, because "who cares, it isn't important, we'll figure that out later". And you can't let yourself become that person. Not because I'm a sneering finance bro who thinks your woke animated youtube series wont make money, but because if you don't you'll wind up financially exploiting your friends for years
Look, it's none of my business if you wanna work yourself to the bone for no money so you can make your dream project a reality. I think you shouldn't, but also let's be real that's basically a rite of passage for young creatives. But as soon as you start involving other people? You need a plan. You need to be able to compensate them for their time, and you need to have it in writing
For freelancers: I recommend getting yourself a copy of the Graphic Artists' Guild Handbook: Pricing and Ethical Guidelines for reference-- the newest one dropped last year (I have the 16th edition). It helps you figure out your pricing, how to create a contract for various projects (and you can access free PDFs of templates you can use to modify for your own projects)! It's a good place to start and refer to-- even colleagues who are decades in the business (and former Guild Members too) still use it.
My notifications look so much more fun this way
Scrolling past this lowers this website's fps to 2.
Mutuals please stop putting this post on my dash
not a chance
I can and will disable reblogs
No you won't
LAST WARNING!!!!
I am begging you. Please learn about stress/discomfort tolerance. Practice raising it. You need this to survive. If someone online can ruin your day with a throwaway comment, you desperately need to understand discomfort tolerance and consciously, systematically build that shit.
Also! Stress tolerance is such an important skill that having a learning disability in that area is a major symptom of a whole lot of other disabilities/mental illnesses! Struggling with it is a huge part of life! It sucks!
Am I saying everyone with misophonia needs to listen to chewing noises all day? No. But you need to find ways to tolerate it enough that you don't treat others like shit if they make a mouth noise near you.
No, you don't have to read the fic with your trigger tags. But you do need to be able to handle scrolling past the tags without being upset.
It is hard! But not having it also makes you so so so easy to manipulate. That grandma is racist AF because her mom raised her to be uncomfortable around black people and she never fought that discomfort. Trans people make so many cis people uncomfortable and that discomfort turns into bigotry real fast.
Letting your discomfort dictate your actions and beliefs about things is a great way to become a terrible person. Learn. Discomfort. Tolerance.
If your discomfort is severe enough that you change your behavior about it, someone will find ways to manipulate that: cyberbullies, corporations, fascists, abusers.
I’d love to understand what your blog is about. I don’t quite understand.
Thinking about how wild it is that enshittification starts as a way for the rich to squeeze the populace for more money but ends up infecting everything so even luxury products decline in quality. They’ve got more money than fucking God now and for what? Literally they can’t even buy fun nice stuff for themselves because they killed craft.
Anyway this post is about Dhaka muslin but it’s also about everything.
Nearly 200 years ago, Dhaka muslin was the most valuable fabric on the planet. Then it was lost altogether. How did this happen? And can we
guess it's time to post agha shahid ali's poem about dhaka muslin
Fun fact! Revival of Dhaka Muslin has been ongoing for quite some time. The headline of the above article is very very misleading, we know exactly how Dhaka Muslin was made. The process was very well documented. We know how it was made, but colonialism ruined the fabric's production area and devalued the skills needed to make it such that they no longer existed. But the process itself was not lost.
That being said, efforts to bring it back are underway, and they have been making amazing progress, and succeed in creating Dhaka Muslin yet again.
It all began with a search for ‘phuti karpas’ – muslin’s unique cotton plant which is known to have become extinct. However, starting in 201
This is a pretty good updated article, it has a lot of the same info as the BCC one (which also discusses some of the revival efforts) but with more of a focus on that process, an update to the story, and it details some of the other ongoing projects working on the revival!
Here's the first weaver to manage to produce a finished piece in nearly 200 years, Al Amin.
His first piece was 300 threads, according to the article they have now been able to get into the 700s for thread counts, which is absolutely incredible.
Several projects are actually underway now each with different weavers and slightly different methods, producing fabric intended to meet or best the original!
And if you're curious, "okay but can it pass through a ring" yes! Yes they can!
All three of these photos are of pieces made in the modern century, photos by Wasiul Bahar!
It's a very time consuming process, and a very expensive fabric to purchase, but love and passion for it have been steadily bringing it back!
that's SUNDAY THE 14TH OF JUNE in the UK please don't share this if you're seeing it after that date
a girl may transpire against them || shi wudu, and arrogance to pierce the heavens; shi qingxuan, and not needing it.
johnny autery | asoftersea -16 | pedestrians - lia liao | jdebbiel | andatsea | utility monster - artbyblastweave | wind over water - pauline burbidge | night fireworks - jinta hirayama | daylight savings - mellific | codependence poll - cannivalisms | cleveland museum of art | mojangles font | andatsea | amonimy | angelica alzona for the root | morning tea - serge n. kozintsev | claude removes the squid - alexander wales | valtsv | shitty horoscopes book xi: illuminate - amrit brar | pondwater - choo | the sound of waves - lâm tùng nguyen | dirge without music - edna st vincent millay | shitty horoscopes book viii: medicine - amrit brar | starry night over the rhone - vincent van gogh | splinter - corpsentry | andatsea | miracle fish - ada limón | andatsea | cyanometer - horace-bénédict de saussure | with you - hajin bae | michael haddad for wired magazine | a girl in an impossible situation - intactics