get your medals everyone
cosigned, good work everyone, have your bricks at the ready when they try it again.

祝日 / Permanent Vacation

Andulka
🪼
RMH
YOU ARE THE REASON
Stranger Things
Today's Document
DEAR READER

Origami Around
hello vonnie
$LAYYYTER

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he wasn't even looking at me and he found me
Monterey Bay Aquarium

@theartofmadeline
art blog(derogatory)
One Nice Bug Per Day
styofa doing anything
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#extradirty

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@ultimategaydisaster
get your medals everyone
cosigned, good work everyone, have your bricks at the ready when they try it again.
that makes me curious
do you think you could beat up your blorbo in a fistfight if you had to
yes
no
nuance i guess?
Original post by @morallygrayautisticscientist here, this post was so funny I decided to draw it lol.
Panel by panel below:
Stratt: Oh no.
Stratt: I don’t have the time or emotional capacity to be sad or stressed about this.
Stratt: GRACE!
Grace: On it!
Grace: *starts sobbing and going into a full panic attack*
they did heelys in space…
my personal take on the matter
Adam Savage did a series of videos on the set of PHM, including this one showing off the wire rig used for the zero gravity scenes. So freaking cool. But yeah, I can't imagine the core muscles involved in doing hours of this. Yikes! My abs hurt just thinking about it.
Link to Part 2
whole house mad
people raised some good questions on that marrocrow post about what vader would think of two inquisitors dating so here's some potential answers <3
No but it always kills me how CURUFIN is the one who had Angrist all along and that he did fuck all with it until Beren and Luthien took it from him. The one knife strong enough to pry a Silmaril from Morgoth's crown.
And Celegorm had Huan!! These two Feanorian brothers specifically had all they needed to at least make an attempt at retrieving the Silmarils and it never really occurred them to TRY.
In my opinion, this does not even occur to them - because subterfuge as a means of attack is not an option in the institutional sense for princes accustomed first and foremost to achieving their ends by military & political machinations, by open battle or by rhetoric that takes advantage of the structures of power within which they have lived their entire lives entrenched. What Beren and Lúthien do requires a certain forfeiture of pride - a forfeiture of pride necessitated by the fact that they do not have any feudal systemic power behind them, in fact they are acting against the interests and desires of that power, so they have to come to terms with using means that eschew pride in order to win the freedom to decide their own fate.
No such thing has ever been in question for Celegorm & Curufin, as princes who have always been backed by systemic power or only temporarily disadvantaged yet still construed as within the right in their framework of power; the Exile is a schism, Maedhros' abdication is unprecedented, Nargothrond is seized by rhetoric and populism, Doriath - as later Sirion - are assaulted by means of military power. And what examples has Fëanor given them? That subterfuge and infiltration are the tools of Morgoth (theft; disguise; lie) and the way that Fëanor himself had been wronged (infiltration of the family structure by Indis), not something a king or prince is liable or allowed to use. Fëanor himself utilises rhetoric and takes advantage of the legal framework, and if no other thing will avail, uses military power and force to achieve his objectives, and decries cowardice, where a line can be drawn to assume that direct, open conflict is thus assumed to be the morally correct path to attain what you want. Celegorm and Curufin, the two most likened to Fëanor, exemplify his lack of willingness to treat with anyone considered a traitor to the cause or compromise on their objectives perhaps best of all. To them, guile is both humiliating and morally suspect in this ideological framework; the sons of Fëanor in Beleriand utilise force, organise military operations, send intimidating letters and use political posturing, but nothing akin to guile even such as Fingon uses to rescue Maedhros from Thangorodrim. That brings me to the second reason: guile missions in the Silmarillion require a certain amount of faith and hope in things turning out the right way, and a certain amount of divine providence. Fingon would not have succeeded without prayer just as Lúthien would not have enjoyed the fruits of their success without convincing Mandos. But hope in divine favour is not something that people famously eschewing the authority of the Valar and undertaking a blasphemous oath not once, but twice, would champion; clinging to hope for aid from the same people considered to have betrayed the cause & good of the Eldar is not to be expected. In light of that, relying on goodwill clearly seems like a suicide mission, especially in the aftermath of the Dagor Bragollach which has revealed that all of the military might the Noldor have been amassing is still insufficient to move any closer to their goal. The only possible way forwards is more power, more resources, more bodies. There is no hope to talk of.
So of course it does not occur to them to try; to try is not just humiliating and amoral, but a waste of resources and foolish to boot, inevitably doomed to fail.
The Gruesome Cup, Fortunino Matania, 1942
( via @fabula-unica )
She had him killed for this. Just FYI.
Frederick Sandys, 1861
hang ten indeed friend
That's too many types of blade to be good at throwing
OP theaverycottage on TikTok ♡
My hidden room as a child
yesterday i was at the woodworking store getting a knife sharpener because i've been really into whittling hair sticks out of hardwoods which dulls your blades like mad. and the lady who was helping me said "oh yeah i know the feeling of jumping into a project that turns out more complex, that's how i feel about my cable knit right now"
which in turn activated my sleeper autist, and we ended up talking about fiber arts, where i learned that this woman is part of the local lacemaker's guild and uses her woodworking experience to carve lace bobbins on the lathe. she then gave me the email address of the woman who runs it, because their group has no social media and only meets when the lead lady says 'everyone come to my house.'
while all of this was going on, another woman walks up. her partner was shopping for wood repair stuff and she heard us talking about fiber- she's a spinner who does historical reenactments nearby. period accurate, processes the wool herself. of course i ask her if they need volunteers and she gives me her contact info
long story short. autism is everywhere you look and you have to be okay with chatting with strangers. i don't remember where this post was going
There are multiple chapters that are set in hospitals where the characters are attempting to recover from injuries that never fully heal. I must once again stress that my experience in WWI was perfectly normal.
There is a giant horrible mudplain full of unrecoverable and perfectly preserved dead bodies that the characters have to walk through in a land where the air is poisoned gas, and on a compLETELY UNRELATED NOTE: WWI WAS TOTALLY FINE AND NORMAL!!
Uh??? Tolkien did not claim that???
"One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918, all but one of my close friends were dead."
He talked about how WWI affected his writing all the time, he was not in denial for how it affected??? Am I missing something????
https://www.tolkiensociety.org/blog/2017/09/tolkien-as-war-novelist-another-way-of-dealing-with-trauma-through-writing/
what Tolkien was adamant about, which has been confusing people for several decades now, is that he wasn't writing about World War Two
He was also very clear that he was not writing allegory. Now, some people are not very clear on what allegory means. "Allegory" and "symbols" are not the same thing. Allegory is a type of symbolism, but there are a lot of ways of doing symbolism that aren't allegory ... and a lot of people are kind of fuzzy on that. The way allegory is most commonly used in literary and religious analysis is that there is a direct, almost 1:1 correspondence between the literary figure and what it is standing in for.
So, for example, Pilgrim's Progress is an allegory of Christian salvation. It's sort of a novel? There are characters who do stuff? but also they are very one-dimensional. The main character is a guy named Christian--yes, really!--who is journeying from his hometown ("the city of destruction") to the Celestial City (heaven). There is not much subtlety to it. It is pretty much what it is. There is no slippage, no playing around with the theme, no places where the symbolism is ambiguous. John Bunyan, the author, is hitting you over the head every step of the way with the Meaning That You Are Supposed To Be Getting From The Story.
Not all allegories are that crude or simplistic; the Narnia books are also allegory for Christianity. They have a lot more subtlety to them and a lot more nuance, and there's a lot of stuff in there that isn't allegorical, but on the crucial matters there is still a 1:1 correspondence. Aslan is Jesus. He's not like Jesus, he's not a character that has some similarities to Jesus or takes themes from the stories of Jesus, he is Jesus.
Tolkien is not doing allegory. Tolkien is taking the material of his life--his faith, his experiences in WWI, his linguistic and historical knowledge, his favorite books--and using them as the building blocks of his story. The themes and imagery and symbols draw heavily from all of that, the characters and settings draw heavily from all of that, but they are too complex to be allegorical. There's a lot of symbolism! It's not allegory.
So, for example, let's take the Dead Marshes referenced above. Does the experience of walking through this muddy wasteland with corpses all around that are rotting but still look like people draw from Tolkien's WWI battlefield experience of dead bodies in the trenches? Of course it does! but there are also a lot of differences. These dead are not from the current war, they are from a previous one--they are a reminder of old conflicts, of the ways the systems and powers of the current war have not come out of nowhere, there is history here. There is meaning that is not drawn from the Somme. And they are also drawing from literary references Tolkien was familiar with--primarily William Morris. Modern readers don't get the references because we have generally not read The House of the Wolflings, but that doesn't mean that the references aren't there.
So people read Tolkien's insistence that he didn't write allegory, and take that to mean that he's saying there isn't symbolic and thematic references. And that isn't what he meant! And also, we focus so much on the thematic references to WWI and Christianity, and we miss most of the other references, which makes it seem like Tolkien's only drawing on WWI, when he's actually doing something more complex.