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Some of our favorite quotes from Artemis ii so far:
"Copy. Moon joy."
"I have two Microsoft Outlooks, and neither one of those are working."
"Houston, if you could give me about 20 new superlatives in the mission summary for tomorrow that will help out my vocabulary a little bit, that would be great. Thank you."
“If you’ve ever seen the top of the spotlight of the top of the Luxor at night in Vegas, this looks like what it wants to be when it grows up.”
"To all of you down there on Earth... we love you, from the moon. See you on the other side."
"We just went sci fi.
"It is so great to see Earth again. To Asia, Africa, and Oceania: we are looking back at you. We hear you can look up and see the moon right now. We see you too."
"We will always choose Earth. We will always choose each other."
“It’s a bright spot on the moon, and we would like to call it Carroll.” (The name of Commander Reid Wiseman's late wife)
"Amaze amaze amaze."
"I said that we do not leave Earth, but we choose it. And that is true."
"Christina has been sleeping head down in the middle of the vehicle, kind of like a bat"
"It's really fun to be floatin' around, it just makes me feel like a little kid."
"Trust us, you look amazing, you look beautiful."
"'Homo Sapiens' is all of us, no matter where you're from or what you look like. We're all one people."
"We're going to power cycle the toilet from the ground."
"I'm proud to call myself the Space Plumber."
"We were all eagerly awaiting the chorus." (After Mission Control cut off Pink Pony Club early when waking up the crew)
"Copy heart. Copy bracelet." (In response to Wiseman giving his daughters heart hands and showing them the bracelets they made him that he was wearing)
“Welcome back. We are still here. They are in space.”
"Copy. Bubble wrap nominal."
"We have rediscovered the chocolate snacks."
“The truth is, the moon really is its own body in the universe. It's not just a poster in the sky that goes by, it is a real place."
“We will build ships. We will visit again. We will construct science outposts. We will drive rovers, we will do radio astronomy.”
"I've seen a lot of new perspectives, but my perspective has not changed because I launched with the perspective that there is enough for all." (After being asked if they had a new view on humankind.)
"On behalf of all Canadians, we wanted some reassurances of your preferences for maple syrup over Nutella on your pancakes."
"And we have a great view of the moon out window 2. Looks a little smaller than yesterday." (Reid), "Guess we'll have to go back :)" (Mission Control).
hey does anyone have that poem. about the author seeing two boys cuddling on a hotel lobby couch, where he refers to it as something like an island of safe anonymity or smth. its been 5000 years my college boyfriend had it written out and pinned to his wall
Vote for a fanfiction research project that I helped with!
Last year I contributed to a research project which involved constructing a fanfiction dataset for academic research. The researchers prioritized the voices of fanfiction authors (they reached out to every author to explain the project and ask for consent; they gave authors a way to revoke consent even after the paper was already published; they consulted with fanfiction authors when analyzing metadata) and two of the researchers are actually fanfiction authors themselves.
The project was nominated for an award, and I think it would be cool if a project that really emphasized the consent and agency of fanfiction authors was able to be spotlighted. If anyone would be willing to vote for the project, I would be so grateful!
The project is called "FicSim: A Dataset for Multi-Faceted Semantic Similarity in Long-Form Fiction" and the voting form is here
(You don't have to vote for any of the other categories!)
Please go vote for this research project! In a time when we have magazine articles calling fanfiction authors "horny girls," academic research which discusses fanfiction respectfully and prioritizes the voices of fanfiction authors is so so important!!
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Part of what we mean by a ‘literary’ work is one in which what is said is to be taken in terms of how it is said. It is the kind of writing in which the content is inseparable from the language in which it is presented. Language is constitutive of the reality or
experience, rather than simply a vehicle for it.
hey mod piper! i’m sure i’m not the only person wondering if you’d ever think about posting the digital versions of the books? i recently found a new love for the fairies and never knew there were books when i was a child! id love to read them but they’re so expensive :( anyway, thank you for reading! and i love your blog! :)
Hello there! I’ve actually spent the last several months collecting a still not complete archive of fairy books.
Welcome to the Disney Fairy Digital Library: https://drive.google.com/drive/u/3/folders/16AXNEKBUJWKd7GuUgIeRymx_zi0jKTs7
There are roughly 250 known books, although the library contains around 150 unique titles. There’s a handy checklist to see what is in the library and what is still missing.
I would like to encourage everyone to support your local library and borrow from there when possible. They likely have physical or even digital copies of these books (maybe even some that the digital library is missing). I know many of the fairy books are hard to come by nowadays, which is why I created this online library. But if you can, please support your local resources and library.
Elle Argent as Jesus Christ: Heartstopper art analysis.
Yesterday, I made this post where I wordlessly compared Elle's art piece for the Lambert School to the painting that draws her attention at the Louvre, Caravaggio's Supper at Emmaus, a depiction of Jesus breaking bread for his disciples after his crucifixion and subsequent rising.
Elle's perspective on the painting / a full view of the painting (source)
The first thing I noticed that helped me draw the connection between these two paintings was their composition, the basic triangular lines that guide the eye in each painting; from Jesus and Elle in the center to the innkeeper and Tao at the top.
Heartstopper also clearly wanted us to make some connection between Elle and this Caravaggio: they focus on her face before they show us the painting, so we wonder what exactly it is she's seeing, which increases its narrative importance. I assumed she recognized herself in a painting; she did, but not in the way I expected.
The National Gallery (see above source) has this to say about the Caravaggio:
On the third day after the Crucifixion two of Jesus’s disciples were walking to Emmaus when they met the resurrected Christ. They failed to recognise him, but that evening at supper he ‘... took bread, and blessed it, and brake and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight’ (Luke 24: 30–31).
Painted at the height of Caravaggio’s fame, this is among his most impressive domestic religious pictures. He brilliantly captures the dramatic climax of the story, the moment when the disciples suddenly see what has been in front of them all along. Their actions convey their astonishment: one is about to leap out of his chair while the other throws out his arms in a gesture of disbelief. The stark lighting underlines the dramatic intensity of the scene.
Typically for Caravaggio, he has shown the disciples as ordinary working men, with bearded, lined faces and ragged clothes, in contrast to the youthful beardless Christ, who seems to have come from a different world.
Jesus, in the story, opens the eyes of his disciples in more ways than one (I pulled my Bible out for this!). First, in the scene depicted in the painting, the disciples do not know that this man is Jesus until he blesses the bread and breaks it for them, revealing himself as Christ. Second is the context in which Jesus comes to share dinner with his disciples: they meet him on the road during the day before, and he interprets the Old Testament for them: (stay with me I promise we'll leave the Biblical stuff and get back to the gay stuff soon)
Luke 24:13-16 Now on that same day two of [the disciples] were going to a village called Emmaus, about seven miles from Jerusalem, and talking with each other about all these things that had happened. While they were talking and discussing, Jesus himself came near and went with them, but their eyes were kept from recognizing him.
Luke 24:25-27 Then he said to them, "Oh, how foolish you are, and how slow of heart to believe all that the prophets have declared! Was it not necessary that the Messiah should suffer these things and then enter into his glory?" Then beginning with Moses and all the prophets, he interpreted to them the things about himself in all the scriptures.
If Safe Space is an exact analogue to Supper at Emmaus, then Elle takes the position of Jesus, and she draws from the story of Christ's crucifixion and rising a trans metaphor.
Death does not always mean death. For example, in the world of tarot, the card of Death does not signify literal Death, but a transformation: that the idea of death is a catalyst for change. If you're trans or non-binary, you understand the idea of the person you were being dead; that's why they call it a deadname. For me, the girl I was is dead. The person I am now, a living, breathing, non-binary person, is alive.
Jesus died and lived again; the boy Elle was died and the girl Elle is lived. Elle takes the spot of Jesus. Elle is risen.
There's another half to this metaphor: of the disciples that don't recognize Jesus. See where I'm going with this? At first, after Jesus had undergone his transformation, the disciples do not recognize him; literally "Their eyes were kept from recognizing him." The fault is not on them – it is another stronger force that maintains their blindness. But Jesus stays with them, despite the fact that they don't know who he is, and he talks to them about the scriptures.
We don't know much about Elle, pre-transition. But we know that Elle, Tao, and Charlie, at least, were friends before Elle's transition, and she had to come out to them at some point. So, in essence, she is Jesus on the road to Emmaus; unrecognized, a stranger, until she reveals herself for who she is.
She takes the moment Jesus tells his disciples who he is and shows what happens when Elle stays. We don't all have the luxury of being the Son of God, who can just pop away at a moment's notice after coming back from the dead (which is what he does, in the story: once the disciples have their eyes opened, he leaves). But this is Elle, out, resurrected, staying.
"So. There've been a lot of changes in my life over the last couple years. But with this piece I guess I wanted to capture a place that holds a lot of happy memories. Even in the darker times. Somewhere I always felt safe."
Safe Space comes after the moment of realization, after Elle comes out, after her friends' eyes are opened. But implied in its source and its inspiration is the moment of truth, the moment of coming out. There's been a lot of that, this season, coming out. There's people that want to and are scared, and people that refuse to and walk away. We never had to go on that journey with Elle. But she's telling us about it, now. She's telling us that it was glorious, that it was godly, that it was religious, that she died and was resurrected.
Before I leave, I want to touch on Tao's importance in this piece. The disciples in Supper are the two men that are seated; the man standing is the innkeeper, who is not quite a part of Jesus' world. Interesting, that Charlie and Isaac, the two people of Elle's group who are part of the queer community, take the place of the two disciples, and Tao, the token straight friend, is standing in the place of the innkeeper; not a follower of Jesus but a witness to the miracle of his resurrection anyway. They are all different people in this painting; different identities, different lives, different loves. But they were all there to witness Elle revealing herself in her resurrection. Tao, afraid of being left alone, is brought into this inner sanctum of Elle's world. Into her safe space.
Okay but this is my favorite Hiccstrid art of all time. By @toerning on Deviantart and here on Tumblr!
Because you know— you know— this is what happened between “you brought him back alive” followed by the swell of the music, and Hiccup waking up in his house.
old tumblr things that I still feel like are tumblr things despite them being obsolete for years
Moon Moon
“IT’S TRANSPARENT”
mishapocalypse
that time the color of the website changed from one shade of blue to a slightly darker shade of blue
supernatural fandom having a gif for everything
the Great Skeleton War
“can you make that ask reblogable?”
the onceler fandom
people unironically calling David Karp “daddy”
“yahoo paid $1 billion for this”
the moreos guy
do you love the color of the sky?
“WHAT IS AIR”
when people were fighting over that gif of a bird falling in a chocolate fountain and people thought it was real and the bird died but it was actually a fake bird
“what if tumblr was a school?”
the superwholock fandom
hipster vs. fandom blogs
like seriously, there was so much hatred between hipster and fandom blogs and now hipster blogs are basically aesthetic blogs
John Green
tumblr user pizza
“I always follow back”
fanmail instead of a messaging system
reaction gifs
“I like your shoelaces”
“Thanks, I stole them for the President”
gif vs. jif
“I CAN’T, I HAVE LOST THE ABILITY TO CAN”
people HATED Miranda Cosgrove
and Nicolas Cage
the like and reblog buttons were at the top of a post
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We have entered a phase of regression,and one of the easiest ways to see it is in our infrastructure: our roads and bridges look more like those in Thailand or Venezuela than the Netherlands or Japan. But it goes far deeper than that, which is why Temin uses a famous economic model created to understand developing nations to describe how far inequality has progressed in the United States. The model is the work of West Indian economist W. Arthur Lewis, the only person of African descent to win a Nobel Prize in economics.
In the Lewis model of a dual economy, much of the low-wage sector has little influence over public policy. Check.
The high-income sector will keep wages down in the other sector to provide cheap labor for its businesses. Check.
Social control is used to keep the low-wage sector from challenging the policies favored by the high-income sector. Mass incarceration - check.
The primary goal of the richest members of the high-income sector is to lower taxes. Check.
Social and economic mobility is low. Check.
Temin says that today in the U.S., the ticket out is education, which is difficult for two reasons: you have to spend money over a long period of time, and the FTE sector is making those expenditures more and more costly by defunding public schools and making policies that increase student debt burdens.
Even with a diploma, you will likely find that high-paying jobs come from networks of peers and relatives. Social capital, as well as economic capital, is critical, but because of America’s long history of racism and the obstacles it has created for accumulating both kinds of capital, black graduates often can only find jobs in education, social work, and government instead of higher-paying professional jobs like technology or finance— something most white people are not really aware of. Women are also held back by a long history of sexism and the burdens — made increasingly heavy — of making greater contributions to the unpaid care economy and lack of access to crucial healthcare.
How did we get this way?
What happened to America’s middle class, which rose triumphantly in the post-World War II years, buoyed by the GI bill, the victories of labor unions, and programs that gave the great mass of workers and their families health and pension benefits that provided security?
Around 1970, the productivity of workers began to get divided from their wages. Corporate attorney and later Supreme Court Justice Lewis Powell galvanized the business community to lobby vigorously for its interests. Johnson’s War on Poverty was replaced by Nixon’s War on Drugs, which sectioned off many members of the low-wage sector, disproportionately black, into prisons. Politicians increasingly influenced by the FTE sector turned from public-spirited universalism to free-market individualism. As money-driven politics accelerated (a phenomenon explained by the Investment Theory of Politics, as Temin explains), leaders of the FTE sector became increasingly emboldened to ignore the needs of members of the low-wage sector, or even to actively work against them.
Temin notes that “the desire to preserve the inferior status of blacks has motivated policies against all members of the low-wage sector.”
What can we do?
We’ve been digging ourselves into a hole for over forty years, but Temin says that we know how to stop digging.
If we spent more on domestic rather than military activities, then the middle class would not vanish as quickly.
The effects of technological change and globalization could be altered by political actions.
We could restore and expand education, shifting resources from policies like mass incarceration to improving the human and social capital of all Americans.
We could upgrade infrastructure, forgive mortgage and educational debt in the low-wage sector,
reject the notion that private entities should replace democratic government in directing society, and
focus on embracing an integrated American population.
We could tax not only the income of the rich, but also their capital.
We have a structure that predetermines winners and losers. We are not getting the benefits of all the people who could contribute to the growth of the economy, to advances in medicine or science which could improve the quality of life for everyone — including some of the rich people.”
Along with Thomas Piketty, whose Capital in the Twenty-First Century examines historical and modern inequality, Temin’s book has provided a giant red flag, illustrating a trajectory that will continue to accelerate as long as the 20 percent in the FTE sector are permitted to operate a country within America’s borders solely for themselves at the expense of the majority.
Without a robust middle class, America is not only reverting to developing-country status, it is increasingly ripe for serious social turmoil that has not been seen in generations.
I really hope i don’t see any fellow white Americans on this post talking about how we don’t deserve this because we’re “the greatest country in the world” or how “this shouldn’t be happening in America of all places”. It shouldn’t be happening ANYWHERE, it doesn’t need to be happening anymore, and the fact that it was already happening in predominantly nonwhite countries is largely the fault of white supremacy
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25% of the people have a 4th cone and see colors as they are
Given the sudden interest for the color of dresses and vision, here some of the fascinating findings we did recently.
The color nuances we see depend on the number and distribution of cones (=color receptors) in our eye. You can check this rainbow: how many color nuances do you count?
You see less than 20 color nuances: you are a dichromats, like dogs, which means you have 2 types of cones only. You are likely to wear black, beige, and blue. 25% of the population is dichromat.
You see between 20 and 32 color nuances: you are a trichromat, you have 3 types of cones (in the purple/blue, green and red area). You enjoy different colors as you can appreciate them. 50% of the population is trichromat.
You see between 33 and 39 colors: you are a tetrachromat, like bees, and have 4 types of cones (in the purple/blue, green, red plus yellow area). You are irritated by yellow, so this color will be nowhere to be found in your wardrobe. 25% of the population is tetrachromat.
You see more than 39 color nuances: come on, you are making up things! there are only 39 different colors in the test and probably only 35 are properly translated by your computer screen anyway :)
It is highly probable that people who have an additional 4th cone do not get tricked by blue/black or white/gold dresses, no matter the background light ;)
I see 35-39 colours, and I hate the colour yellow. That was actually what made me curious enough to stop scrolling and count. Who knew there was a scientific reason behind my colour preferences?
So the idea here is that what I see as annoyingly, garishly bright, most people don’t see as clearly, and that’s why it’s “cheerful?” (I’ve never understood that description of yellow.)
yousharknotpass
gracieabrams
turnnoffyourmind
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