Bronze Age Platform Cairn, Llyn Brenig, Denbighshire, North Wales, 17.11.19.
Claire Keane
ojovivo
Peter Solarz
Keni

Kiana Khansmith

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blake kathryn
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Jules of Nature
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roma★

if i look back, i am lost

ellievsbear
Sweet Seals For You, Always
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Aqua Utopia|海の底で記憶を紡ぐ

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KIROKAZE
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@themostradicalthing
Bronze Age Platform Cairn, Llyn Brenig, Denbighshire, North Wales, 17.11.19.
Fire Opal - Virgin Valley District, Virgin Valley, Humboldt Co., Nevada
Opalized wood
JONATHAN HORWITZ
... oh I see I thought it was... the affair... until literally... just now
Some Cambrian ancestors of the worm on string
Nick Verstand - 2019
Shneel Malik Creates Indus Tiles to Purify Rainwater Using Algae
“The Bio-Integrated Design Lab at the Bartlett School of Architecture has created a modular system of tiles inlaid with algae that can filter toxic chemical dyes and heavy metals out of water. […]
“Each tile is made simply by pressing clay – or a similar low-cost, local material – into fan-shaped moulds with a series of ‘vein-like channels’.
“These mimic the structure of leaves and their ability to distribute water evenly to every part of a plant.
The ravines are then filled with micro-algae which are suspended within the ‘biological scaffold’ of a seaweed-derived hydrogel. This keeps the algae alive while also being completely recyclable and biodegradable. […]
“’Through our site visits, we realised that the artisan workers had no space available for westernised high-tech water treatment solutions,’ said Malik.
“’Neither did they have the economic capacity to get additional support. So we needed a system that was spatially compatible and could be constructed and maintained by them.’
“Hence the idea of moulding the tiles via templates which, once the project is rolled out, would be custom-made by the Bio-ID Lab with a different system of channels to correspond to different contaminants.
Mary Katrantzou | Spring/Summer 2020
So we’re all on board with being anti-patriarchy. Anti-toxic masculinity. We all understand damage done to us by a world that grooms men to be destructive and aggressive. We understand creating spaces free from that force.
We do a disservice to *all* trans and non-binary people when our response to that is limited to the celebration and prioritization of women and the rejection and hatred of men.
What we create when this is the extent of our response is:
– a space where non-cis people are terrified of their own masculinity and their own relationship to male identity.
– a space where non-women are terrified of their own love for girls.
– a space where EVERYONE is terrified of their own love for boys.
– a space where in order to feel accepted or okay, people must define themselves as related to women.
– a space where in order to talk about gendered oppression, people must define themselves as related to women.
– a space where attraction only feels “wholesome” or “pure” or celebrated at all if it’s attraction between two girls.
– a space where non-binary people are forced to identify with the binary in order to participate in the queer community.
– a space where people’s goodness and badness, purity and toxicity, is measured by how much they look like a girl or like a boy.
Feel free to add your own.
- a space that fosters hostility towards trans guys and men aligned nonbinary people, as well as (and most especially) trans women, for ever experiencing “male privilege” (TERF rhetoric)
- a space that is reductive towards the complex experiences trans people face before discovering the identity, while being closeted, and even while passing, that often involves aspects that are unique to being trans
- a space that forces multiple gendered people to prioritize the woman or feminine aspects of identity even if that may be dysphoria inducing in the name of eradicating internalized misogyny
- a space where gender euphoria when it relates to masculinity is dismissed as privilege, and praised when it relates to femininity
- a space where men are discouraged from ever rectifying any toxic or bad behavior, because don’t you know, they’re evil by nature?
- a space where anyone who’s been hurt by a man is victim-blamed, because sweetie, he’s a man, shouldn’t you have known better?
- a space where traditional, patriarchal femininity is elevated because men are bad, at the expense of anyone who can’t fit that femininity
- a space that can’t come up with any kind of non-toxic masculinity, because masculinity is toxic by default, and therefore contributes absolutely nothing to actually dismantling toxic masculinity.
-a space that tells men they have nothing to contribute (and therefore nothing they need contribute) to dismantling the patriarchy except being quiet and staying out of the way
-a space where cis dudes feel just as terrified of their own masculinity and their own relationship to male identity
-a space where people are discouraged from seeking support from the men in their lives, especially about gender issues
-a space where we know we dislike the status quo, but can’t fully articulate a vision for the future
- a space where any man that has been victimized in any way is immediately shut down, because they’re a “toxic man” and “can’t be abused”
- a space where abusive women have the ability to abuse so long as their victims look or act male
- a space where MOC have a hard time addressing racism, because they’re men, and that immediately silences them in queer spaces
- a space where growth from toxic learned behaviors is discouraged because it’s considered inherent and ingrained, meaning no one will take the time to explain why or how actions are toxic
Relatable
Yes. Reading excessively as a child for a lot of us was a form of escapism. But part of the reason so many of us struggle to read now is because we based our entire taste in reading on what helped us escape, but as we get older and our needs changed, a lot of us never adapted our reading tastes. So we keep trying to read YA fiction and it just doesn’t hit the way it used to and we assume it’s because we can’t read like we used to, but the reality is that we need a new genre of liturature to suit our new life experiences and mature taste.
I feel very seen right now.
Ditto.
dirtbag catullus really is something
I had my shit together for like 3 days once
the thing you need to realize about localization is that japanese and english are such vastly different languages that a straight translation is always going to be worse than the original script. nuance is going to be lost and, if you give a shit about your job, you should fill the gaps left with equivalent nuance in english. take ff6, my personal favorite localization of all time: in the original japanese cefca was memorable primarily for his manic, childish speaking style - but since english speaking styles arent nearly as expressive, woolsey adapted that by making the localized english kefka much more prone to making outright jokes. cefca/kefka is beloved in both regions as a result - hell, hes even more popular here
yes this
a literal translation is an inaccurate translation.
localization’s job is to create a meaningful experience for a different audience which has a different language and different culture. they translate ideas and concepts, not words and sentences. often this means choosing new ideas that will be more meaningful and contribute to the experience more for a different audience.
There was an example during late Tokugawa period in Japan where the translator translated, "Я люблю Вас” (I love you), to “I could die for you,” while translating Ася, ( Asya) a novel by Ivan Turgenev. This was because a woman saying, “I love you,” to a man was considered a very hard thing to do in Japanese society.
In a more well-known example, Natsume Soseki, a great writer who wrote, I am a Cat, had his students translate “I love you,” to “the moon is beautiful [because of] having you beside tonight,” because Japanese men would not say such strong emotions right away. He said that it would be weird and Japanese men would have more elegance.
Both of these are great examples of localization that wasn’t a straight up translation and both of these are valid. I feel like a lot of people forget the nuances in language and culture and how damn hard a translator’s job is and how knowledgeable the person has to be about both cultures. [x]
Important stuff about translation!
Note that you can apply this to your own translations even if they aren’t big pieces of literature or something. Don’t feel bad about not translating word for word. An everyday sentence may sound odd translated literally - it’s okay to edit a little bit so it feels right!
Oh my god, I’m about to go on a ramble, I’m sorry, I can’t help it, the inner translation nerd is coming out. I’m so sorry. The thing is–there is actually no such thing as an accurate translation. It’s literally an impossible endeavor. Word for word doesn’t cut it. Sense for sense doesn’t cut it, because then you’re potentially missing cool stuff like context and nuance and rhyme and humor. Even localization doesn’t really cut it, because that means you’re prioritizing the audience over the author, and you’re missing out on the original context, and the possibility of bringing something new and exciting to your host language. Foreignization, which aims to replicate the rhythms of the original language, or to use terminology that will be unfamiliar to the target culture–(for example: the first few American-published Harry Potter books domesticated the English, and traded “trousers” for “pants”, and “Mom” for “Mum”. Later on they stopped, and let the American children view such foreignizing words as “snog” and “porridge.”)–also doesn’t cut it, because you risk alienating the target readers, or obscuring meaning. Another cool example is Dante, and the words written above the gates of hell: Abandon hope, all ye who enter here. In the original Italian, that’s Lasciate ogne speranza, voi ch'intrate. Speranza, like most nouns in latinate languages, has a gender: la. Hope, in Italian, is gendered female. Abandon hope, who is female. Abandon hope, who is a woman. When the original Dante enters hell, searching for Beatrice, he is doomed, subtly, from the start. That’s beautiful, subtle, the kind of delicate poetic move literature nerds gorge themselves on, and you can’t keep it in English. Literally, how do you preserve it? We don’t have a gendered hope. It doesn’t work, can’t work. So how do you compensate? Can you sneak in a reference to Beatrice in a different line? Or do you chalk her up as a loss and move onto the next problem? You’re always going to miss something–the cool part is that, knowing you’re going to fail, you get to decide how to fail. Ortega y Gasset called this The Misery and Splendor of Translation. Basically, translation is impossible–so why not make it a beautiful failure? My point is that literary translation is creative writing, full of as many creative decisions as any original poem or short story. It has more limitations, rules, and structures to consider, for sure–but sometimes the best artistic decision is going to be the one that breaks the rules. My favorite breakdown of this is Le Ton Beau De Marot, a beautiful brick of a translator’s joke, in which the author tries over and over again to create a “perfect” translation of “A une Damoyselle Malade”, an itsy bitsy poem Clement Marot dashed off to his patron’s daughter, who was sick, in 1537. This is the poem: Ma mignonne, Je vous donne Le bon jour; Le séjour C’est prison. Guérison Recouvrez, Puis ouvrez Votre porte Et qu’on sorte Vitement, Car Clément Le vous mande. Va, friande De ta bouche, Qui se couche En danger Pour manger Confitures; Si tu dures Trop malade, Couleur fade Tu prendras, Et perdras L’embonpoint. Dieu te doint Santé bonne, Ma mignonne. Seems simple enough, right? But it’s got a huge host of challenges: the rhyme, the tone, the archaic language (if you’re translating something old, do you want it to sound old in the target language, too? or are you translating not just across language, but across time?) Le Ton Beau De Marot is a monster of a book that compiles all of Hofstader’s “failed” translations of Ma Mignonne, as well as the “failed” translations of his friends, and his students, and hundreds of strangers who were given the translation challenge (which you can play here, should you like!) The end result is a hilarious archive of Sweet Damosels, Malingering Ladies, Chickadees, Fairest Friends, and Cutie Pies. It’s the clearest, funniest, best example of what I think is true of all literary translations: that they’re a thing you make up, not a thing you discover. There is no magic bridge between languages, or magic window, or magic vessel to pour the poem from one language to another–translation is always subjective, it’s always individual, it’s always inaccurate, it’s always a failure. It’s always, in other words, art. Which, as a translator, I find incredibly reassuring! You’re definitely, one hundred percent absolutely, gonna fuck up. Which means you can’t fuck up. You can take risks! You can experiment! You can do cool stuff like bilingual translations, or footnote translations! You write your own code of honor, your own rules that your translations will hold inviolable, and fuck it if that code doesn’t match everyone else’s*. The translations they hold inviolable are also flawed, are failures at the core, from the King James Bible right on down to No Fear Shakespeare. So have fun! It’s all in your hands, miseries and splendors both.
this in particular has bearing on more than just translation, but possibly in any adaptive or interpretative creative work:
knowing you’re going to fail, you get to decide how to fail
which is actually quite freeing, once you think about it
HOUSE OF ENID - ‘CREATION’ FULL COLLECTION 2019
FASHION SHOW FULL VIDEO: HERE HOUSE OF ENID STORE: HERE
There’s this video of a lil baby whale shark following scuba divers around because she thinks the bubbles emitted from their air tanks were plankton like I’m so proud of her.
Reblog if you’re proud of this beautiful baby
THERE SHE IS
look at this big dumb cute beautiful baby