Gray Long-Tongued Bat (Glossophaga leachii) get a little drinky, family Phyllostomidae, Nicaragua
photograph by Jose Gabriel
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@fleshisartificial
Gray Long-Tongued Bat (Glossophaga leachii) get a little drinky, family Phyllostomidae, Nicaragua
photograph by Jose Gabriel

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Walter Grab (Swiss, 1927-1989) - Mein Freund und die Irrlichter (My friend and the Will-o'-the-wisps) (1969)
More than "here in the Southern Hemisphere we have inverted seasons :)" thing, which is TECHNICALLY true, I would go a step further and encourage to think about that "much of the world does not exactly has a spring-summer-fall-winter season sequence as they show in cartoons"
I will scream about this to anyone who listens forever. AUSTRALIA DOES NOT HAVE "ENGLISH SEASONS BUT BACKWARDS" and the insistence that it does creates a massive layer of alienation from the natural world.
I never really realised how much difference it makes until I went to England and realised that here the change of seasons is an obvious, visible, physical change in the world. Like, everything REALLY IS orange and foggy in autumn! In spring there are flowers EVERYWHERE, so much more than any other season, and the trees really do have all blossom and no leaves. Even if it doesn't snow, in winter there's frost all the time and the trees are bare and the sky is visibly greyer all the time. You don't need to be told "this date is the first day of spring", you can SEE IT (although this is getting way messier and less precise due to climate change).
By contrast, most places in Australia the seasons we're taught feel like arbitrary categories - and is it any surprise considering they're colonial constructs? Orange-leaved autumn and blossom-covered spring is a cartoon stereotype with no relevance on a continent where ALL NATIVE TREES ARE EVERGREEN!! Snowy winters are a joke in the desert, and even sunny summers don't ring particularly true considering that much of the country is in the tropics, where summer means monsoons - not that I've ever seen the concept that WE HAVE A MONSOON SEASON taught at an Australian school.
Most Indigenous nations around Australia had six or more seasons, revolving around wet and dry times as much as hot and cold, and marked by the appearances of certain native animals and flowers. Schools need to start teaching the real seasons, and explaining that climate cycles are too complex to generalise globally, or else we will keep raising generations who view the natural world as hostile and unpredictable and climate predictions as generally irrelevent and frequently wrong - and I'm sure I don't need to spell out why that's a problem in the era of climate crisis.
i want to add that 40% of the world's population lives in the tropics, and the 4 season model just doesn't make much sense for a lot of places in there. usually it's just the wet season/monsoon season and the dry season. it's often hot year round.
the 4 season model as you and i know it is a european invention, though 4 season models aren't unique to europe! most notably china has the same type of season subdivision.
in general the way humans define seasons is largely subjective and varies across cultures. the one you were taught is not at all universal!
Ightham Mote, Kent, a moated manor house, parts of which date back to the early 14th century. It has more than 70 rooms, arranged around a central courtyard, and has structural and decorative elements of many centuries. The Great Hall was built around the 1330s-40s, the fireplace in the drawing room is from the early 17th century, and Sir Thomas Colyer-Fergusson added many Victorian elements when he restored the house in the 1890s.

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John Waters, Max's Kansas City, 1972 by Anton Perich
movie
“A first time mother.”
Black leopardess Giza snarls at cub Taken in Laikipia County, Kenya Photographed by Alexander Ley

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look at her peaceful
now look at her devilish
my eternal personal bugbear about "authenticity" in specifically artwork is the central irony that a given piece will only be accepted and understood as suuuuper authentic and raw and real if it matches what the audience perceives as the artist's True Self. "authenticity" has a look, it has a style, it has a vocabulary, it has a hierarchy of materials and media, it should be folk craft or handmade over industrial or digital, it should be emotional and warm over detached and bitter, and obviously it should look pre-21st century because as we all know no one has ever existed honestly since the turn of the millennium and all Authentic Culture died to death badly in 1990. I've heard tons of artists in marginalized groups repeatedly get the feedback that they should make their art "more authentic" and more "reflective of their identities" by people who clearly just mean "make it look more like the stereotype I expect from you." it's a framework that relies on the idea that the only real representation of a culture or identity comes when you strip away all its interrelations with other groups, as though cross-cultural exchange and technological innovation aren't constants throughout human history.
anna daliza, artist bio, 2021
yinka shonibare, the victorian philanthropist's parlour, 1996-1997
When I was in vet school I went to this one lecture that I will never forget. Various clubs would have different guest lecturers come in to talk about relevant topics and since I was in the Wildlife Disease Association club I naturally attended all the wildlife and conservation discussions. Well on this particular occasion, the speakers started off telling us they had been working on a project involving the conservation of lemurs in Madagascar. Lemurs exist only in Madagascar, and they are in real trouble; they’re considered the most endangered group of mammals on Earth. This team of veterinarians was initially assembled to address threats to lemur health and work on conservation solutions to try and save as many lemur species from extinction as possible. As they explored the most present dangers to lemurs they found that although habitat loss was the primary problem for these vulnerable animals, predation by humans was a significant cause of losses as well. The vets realized it was crucial for the hunting of lemurs by native people to stop, but of course this is not so simple a problem.
The local Malagasy people are dealing with extreme poverty and food insecurity, with nearly half of children under five years old suffering from chronic malnutrition. The local people have always subsisted on hunting wildlife for food, and as Madagascar’s wildlife population declines, the people who rely on so-called bushmeat to survive are struggling more and more. People are literally starving.
Our conservation team thought about this a lot. They had initially intended to focus efforts on education but came to understand that this is not an issue arising from a lack of knowledge. For these people it is a question of survival. It doesn’t matter how many times a foreigner tells you not to eat an animal you’ve hunted your entire life, if your child is starving you are going to do everything in your power to keep your family alive.
So the vets changed course. Rather than focus efforts on simply teaching people about lemurs, they decided to try and use veterinary medicine to reduce the underlying issue of food insecurity. They supposed that if a reliable protein source could be introduced for the people who needed it, the dependence on meat from wildlife would greatly decrease. So they got to work establishing new flocks of chickens in the most at-risk communities, and also initiated an aggressive vaccination program for Newcastle disease (an infectious illness of poultry that is of particular concern in this area). They worked with over 600 households to ensure appropriate husbandry and vaccination for every flock, and soon found these communities were being transformed by the introduction of a steady protein source. Families with a healthy flock of chickens were far less likely to hunt wild animals like lemurs, and fewer kids went hungry. Thats what we call a win-win situation.
This chicken vaccine program became just one small part of an amazing conservation outreach initiative in Madagascar that puts local people at the center of everything they do. Helping these vulnerable communities of people helps similarly vulnerable wildlife, always. If we go into a country guns-blazing with that fire for conservation in our hearts and a plan to save native animals, we simply cannot ignore the humans who live around them. Doing so is counterintuitive to creating an effective plan because whether we recognize it or not, humans and animals are inextricably linked in many ways. A true conservation success story is one that doesn’t leave needy humans in its wake, and that is why I think this particular story has stuck with me for so long.
(Source 1)
(Source 2- cool video exploring this initiative from some folks involved)
(Source 3)
Unfortunately, I don’t have citations, but I have heard about the same phenomenon through Nat Geo Live presentations in the Amazon and Serengeti. Most individuals who are poachers or use slash-and-burn farming are doing this out of survival, not ignorance or greed. They have families to feed and children who will starve if they don’t find food or money. As OP said, fixing the human suffering fixes the conservation issue and is a win-win, while preaching conservation to starving people does nothing.
But on top of that, you know who the most ardent conservationists are once security has been achieved? The people who had once been forced to poach or slash-and-burn to survive. You know who’s great at tracking down gorilla poachers? Ex-poachers. Who’s good at understanding and advocating for people forced to do these things to survive? Ex-poachers. Who can convince others to take a chance on finding a better way to survive? Same answer.
It is win-win-win. As ecologists, conservationists, and environmentalists we must get out of our ivory towers of knowledge, stop carrying them into the field, and remember humans are part of the ecosystem too. And that sustainable change will never happen if human needs aren’t addressed.
I also love this story about the arapaima in Brazil. They increased the population of this endangered giant fish literally a hundred times over- from 3,000 to 300,000- by ending the total ban on arapaima fishing and instead creating legal fishing organizations. The fishing organization members get trained on how do population counts and determine how many fish they can take while still leaving enough for the population to grow.
The former illegal fishers are now sought-after experts, because they know how to spot the arapaima and tell juveniles apart from adults. They get to keep practicing the fishing skills that were passed down to them. The actual process of fishing is easier because they can work together and don't have to sneak around. The profits are higher because they can sell the fish openly to restaurants and to the public. The fishing organization members make sure that other people in their communities don't fish illegally. And the numbers of arapaima keep going up and up, so there's plenty to go around even as more people join the fishing organizations.
If you click all the way through to the report from the conservation org that started the fishing organizations project, there are quotes from fishing organization members:
"We built a second house and I'm putting my oldest two kids through college on the money we get from fishing."
"Nowadays you have young people walking around with pockets full of cash saying "I got 6,000 from fishing this year!" It used to be you wouldn't even get 50 reais of pocket money."
"At the first harvest after we started the fishing organization, I saw full-grown arapaima for the first time, really big ones like they're supposed to be. Before, I had only heard about how big they could get. That's when I knew that our work was paying off and we could keep moving forward."
My new and absolutely normal i swear obsession is hand routed, or otherwise free-form, circuit board layouts.
It just strikes such a beautiful intersection between artistic and tech that gives me all the right neuron activations.

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this is the me of good luck, now you have good luck
ID: Close up of an orange and white tabby
Did you hear that? That's the story I just wrote. Yes, yes, I know we had a bargain. I just said I'd write it, I didn't say I wouldn't tear it up! It's all in little pieces now, Walter, and I hope to do the same for you some day!
ROSALIND RUSSELL as HILDY JOHNSON His Girl Friday (1940) • dir. Howard Hawks