@theartofmadeline
Product Placement
styofa doing anything
Lint Roller? I Barely Know Her
Kaledo Art
TVSTRANGERTHINGS
Monterey Bay Aquarium
Cosmic Funnies
Kiana Khansmith
almost home
KIROKAZE
Game of Thrones Daily
Misplaced Lens Cap
Show & Tell
Alisa U Zemlji Chuda
he wasn't even looking at me and he found me
⁂
★
Discoholic 🪩
PUT YOUR BEARD IN MY MOUTH
seen from Singapore
seen from South Africa
seen from United Kingdom
seen from United States
seen from Malaysia
seen from Belgium
seen from Singapore
seen from United States
seen from Malaysia
seen from Singapore
seen from Malaysia
seen from Malaysia
seen from United States
seen from United Kingdom
seen from Romania
seen from Germany
seen from Malaysia
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seen from Puerto Rico
@mywastedheart
I don't know how to explain it, but this FEELS illegal. He's literally painting with fucking play-doh!
Bob Rossing it with polymer clay and a trans flag in the background.
Bob Rossing it with
polymer clay and a trans
flag in the background.
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
“After learning my flight was detained 4 hours, I heard the announcement: if anyone in the vicinity of gate 4-A understands any Arabic, please come to the gate immediately. Well—one pauses these days. Gate 4-A was my own gate. I went there. An older woman in full traditional Palestinian dress, just like my grandma wore, was crumpled to the floor, wailing loudly. Help, said the flight service person. Talk to her. What is her problem? We told her the flight was going to be four hours late and she did this. I put my arm around her and spoke to her haltingly. Shu dow-a, shu-biduck habibti, stani stani schway, min fadlick, sho bit se-wee? The minute she heard any words she knew—however poorly used—she stopped crying. She thought our flight had been canceled entirely. She needed to be in El Paso for some major medical treatment the following day. I said no, no, we’re fine, you’ll get there, just late. Who is picking you up? Let’s call him and tell him. We called her son and I spoke with him in English. I told him I would stay with his mother until we got on the plane and would ride next to her—Southwest. She talked to him. Then we called her other sons just for the fun of it. Then we called my dad and he and she spoke for a while in Arabic and found out, of course, they had ten shared friends. Then I thought just for the heck of it why not call some Palestinian poets I know and let them chat with her. This all took up about 2 hours. She was laughing a lot by then. Telling about her life. Answering questions. She had pulled a sack of homemade mamool cookies—little powdered sugar crumbly mounds stuffed with dates and nuts—out of her bag—and was offering them to all the women at the gate. To my amazement, not a single woman declined one. It was like a sacrament. The traveler from Argentina, the traveler from California, the lovely woman from Laredo—we were all covered with the same powdered sugar. And smiling. There are no better cookies. And then the airline broke out the free beverages from huge coolers—non-alcoholic—and the two little girls from our flight, one African American, one Mexican American—ran around serving us all apple juice and lemonade, and they were covered with powdered sugar, too. And I noticed my new best friend—by now we were holding hands—had a potted plant poking out of her bag, some medicinal thing with green furry leaves. Such an old country traveling tradition. Always carry a plant. Always stay rooted to somewhere. And I looked around that gate of late and weary ones and thought, this is the world I want to live in. The shared world. Not a single person in this gate—once the crying of confusion stopped—has seemed apprehensive about any other person. They took the cookies. I wanted to hug all those other women, too. This can still happen anywhere. Not everything is lost.”
— Naomi Shihab Nye (b. 1952), “Wandering Around an Albuquerque Airport Terminal.”
Guys. Christmas is coming. Consumerism is in the driver's seat and GAWD don't I know about the existential ennui of all these faceless corporations trying to schill you their wares. It's cold. Impersonal. Bleak.
So I, a fellow tumblr user, will instead try to schill you MY wares, so that when you purchase these items you can say "Hey, that person from tumblr worked on this", and feel the warmth of HUMAN CONNECTION in a way that is completely normal and not parasocial at all. We really are friends. I promise. Yes, you. Love you, bestie. Remember the boop war? Good times. Fond memories.
附近4 Nearby4 Translator:Guandi Wu
中文版：https://mp.weixin.qq.com/s/zHjvl7t9ndvOemH8fPZaLg
most days i want to live by Gabrielle Calvocoressi
Wikipedia / Image from pinterest / Machiavelli / George Santayana / Thucydides / Image from pinterest / Abba - Waterloo / J. M. Barrie - Peter Pan / Fibonacci spiral / Catherynne M. Valente
by jhamilbader
The population distribution in several countries
by braziliangeopoliticalmaps/instagram
It was a good story. It made him feel better. Stories were useful that way, they smoothed over the gaps and sharp edges of the world.
—Lev Grossman, The Bright Sword
from 1980
misc
Not to critique evolution, but I would think orange and black stripes wouldn’t be as good for camouflage in a forest as, say, green and black would.
It turns out a lot of animals can’t see the difference between orange and green! Elephants, for instance, have dichromatic vision (two types of cones, rather than three like most humans.)
Check out this diagram from ResearchGate. It deals with the color vision of horses, who are also generally dichromatic. (I think, though I’m not sure, that zebras would have the same color vision as horses.) See how orange and green look to them?
Not to critique evolution but I think prey animals should be better at telling when their predator is dressed like a traffic cone.
It doesn’t matter what zebras see, because tigers are not native to Africa and do not naturally hunt zebra. Tigers are Asian and mostly hunt animals like deer, elk, and buffalo. These aren’t animals with great color vision. They don’t need to have it because they don’t eat fruit and so don’t need to know when the berry is ripe vs when it’s not. Good color vision is too expensive to have if you don’t need it. Deer put their vision stats in a wide field of vision that is sensitive to motion, low light capabilities, and possibly seeing UV light. They don’t have great color and lack a lot of acuity, but have a great sense of smell and good hearing. That’s way more useful if you’re prey. Deer see well in the blue end of the color spectrum and less well in the red. This makes sense because deer are most active in the dawn and dusk periods, when there is more blue in the light. Tigers are taking advantage of deer eyesight by being orange.
We see tigers are being obviously colored because tigers are fruit colored to our tree ape brains.
I don’t know what the best part of this is: implying that deer chose their attributes on a character sheet, or the fact that we get to see tiger colors because they look like a snack.
Ok but like, I think you underestimate just how well they blend in when actually in the environment. Like, just using tigers as an example.
or how about a leopard?
It’s called ‘disruptive colouration’ because the markings help to break up the animal’s outline against the grasses or rocks. And the rosettes on leopards and jaguars? Sun spots shining through the trees and leaves on the ground.
And this is how hard it is to spot them WITH colour vision. Now imagine the above images but with the limited coloured mentioned above?
I’m sorry but there is not an animal in that first leopard picture
Are you, sure about that?
How Not To Be Seen meets How Not To Be Lunch.
US Megaregions - more than 50% of people live in these 7 areas
The life cycle of the Sun from cloud of gas to black dwarf cinder, illustrated by Davis Meltzer for the National Geographic Picture Atlas of Our Universe, 1980.
This Friday's meme is: the perfect being
Have you seen fossilised crabs. They're hilarious they literally do just
Straight up they are just fully there. Shellfish are really fun like that, i have a shrimp fossil in my collection that's like. Yeah it's just 100% a shrimp, legs and antennae and all. When your skeleton is on the outside, it means your outside fossilises really well.
What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?
And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?
This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.
My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.
Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.
And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.
And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.
I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.
As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.
Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.
So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.
Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.
Steal their look 👗
The Ultimate Dark Academia Book Recommendation Guide Ever
The title of this post is clickbait. I, unfortunately, have not read every book ever. Not all of these books are particularly “dark” either. However, these are my recommendations for your dark academia fix. The quality of each of these books varies. I have limited this list to books that are directly linked to the world of academia and/or which have a vaguely academic setting.
Dark Academia staples:
The Secret History by Donna Tartt
If We Were Villains by M.L. Rio
Dead Poets Society by Nancy H. Kleinbaum
Vita Nostra by Maryna Dyachenko
Dark academia litfic or contemporary:
Bunny by Mona Awad
The Idiot by Elif Batuman
These Violent Delights by Micah Nemerever
White Ivy by Susie Yang
The Cloisters by Katy Hays
Never Let Me Go by Kazuo Ishiguro
The Lake of Dead Languages by Carol Goodman
A Separate Peace by John Knowles
Black Chalk by Christopher J. Yates
Attribution by Linda Moore
Dark academia thrillers or horror:
In My Dreams I Hold a Knife by Ashley Winstead
The Maidens by Alex Michaelides
Ghosts of Harvard by Francesca Serritella
Catherine House by Elisabeth Thomas
Plain Bad Heroines by Emily M. Danforth
They Never Learn by Layne Fargo
The It Girl by Ruth Ware
Never Saw Me Coming by Vera Kurian
Dark academia fantasy/sci-fi:
Babel: An Arcane History by R.F. Kuang
The Atlas Six by Olivie Blake
Ninth House by Leigh Bardugo
A Lesson in Vengeance by Victoria Lee
The Starless Sea by Erin Morgenstern
Vicious by V.E. Schwab
A Discovery of Witches by Deborah Harkness
The Betrayals by Bridget Collins
Dark academia romance:
Gothikana by RuNyx
Alone With You in the Ether by Olivie Blake
Dark academia YA or MG:
Truly Devious by Maureen Johnson
A Deadly Education by Naomi Novik
Ace of Spades by Faridah Àbíké-Íyímídé
The Raven Boys by Maggie Stiefvater
Legendborn by Tracy Deonn
Crave by Tracy Wolff
Wilder Girls by Rory Power
The Harry Potter series by J.K. Rowling
Dark academia miscellaneous:
My Dark Vanessa by Kate Elizabeth Russell
Disorientation by Elaine Hsieh Chou
Alphabet of Thorn by Patricia A. McKillip
