'Kitty's Dream of Fairyland ' by Louis Wain, (1860 - 1939).

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'Kitty's Dream of Fairyland ' by Louis Wain, (1860 - 1939).

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i've been phasing the phrase 'google it' out of my vocabulary and going back to 'look it up'. fuck you youve lost your generic trademark privileges
ok so this is another long shot but a few years ago there was a twitter post (in japanese i think?) that had measurememts for how to make this book stand thing out of cardboard that you could use to double up books and use up more space on shelves
back then i made a bunch of these but by now i lost the pic and dont know how to find the original post anymore
if it comes down to it i can just take one apart and get the measurements from there but i would be very grateful if anyone happens to have the original post or something similar??
don't mind how long it's been since i made this post, anyway i realized that i don't even need to take one apart to get the measurements when i can literally just unfold it and refold it /FACEPALM
so anyway here is the diagram for anyone else who is interested!!
this requires pretty big carboard pieces, if you have a really big box or something you can make it from one piece, but if you don't, you can also just make each of the pieces individually and then tape them together
and then in the end you put it together like this!!
and then when you make a bunch you can put them all next to each other and stack your books like crazy
EVERYONE START GETTING MORE USE OUT OF YOUR SPACE NOW!!!!
Dove-Shaped Perfume Vessels from Ancient Rome, c.50 CE: these glass vessels were filled with scented oils or cosmetic powders and then sealed, meaning that their contents could only be accessed by breaking the dove's neck or tail
These bottles were created and used as unguentaria (otherwise known as balsamaria) which are ancient vessels that were typically filled with scented oils, cosmetic powders, balms, or ointments. Unguentaria could be crafted from ceramic, glass, or stone, and they came in various shapes and sizes, but dove-shaped vessels made of glass were especially popular during the second half of the 1st century CE, when they were produced and distributed throughout the Roman Empire.
Above: a dove-shaped unguentarium with residue from the original contents still visible inside
Each bottle was crafted from blown-glass that was carefully modeled into the shape of a bird; the inner cavity was then filled with perfume or cosmetic powder, and the tip of the tail was reheated and compressed, effectively sealing the vessel.
Above: dove-shaped vessels that were opened and emptied long ago, c.50-100 CE
As this article explains:
The vessels were produced with glass blowing pipes by so-called "free blowing," and are for this reason extremely thin-walled, with body thicknesses significantly below 0.1 cm.
After the containers had been filled, the tail feathers were sealed airtight by reheating to protect the contents from moisture. Parts of the containers, such as the head or tail feathers, had to be broken off in order to access the contents of the vessels, which means that they were disposable packaging.
Above: vessels with the tips of their tails broken off
Most of these bottles were made from clear or pale blue Roman glass, but some were crafted with a dark blue, green, purple, or yellow appearance instead:
As cheap, mass-produced goods, the packaging consisted mainly of the conventional thin-walled and transparent Roman glass with an unintentional light blue colouring. Specimens made of intentionally coloured transparent glass (e.g. dark blue, dark green, violet or yellow) are less common. This may also have to do with the fact that the pink or white contents could be visually better distinguished and marketed if the vessels were made of the conventional Roman glass, which offered more transparency to the beholder than the intentionally coloured glass.
Above: a sealed unguentarium that likely contains scented oils and cosmetic residue, from Rovesenda, Italy, c.50 CE
Research suggests that many of these bottles were filled with powder, including pink substances that have been described as "blush" or "rouge," while others were filled with liquid.
Above: more dove-shaped unguentaria from the Roman Empire
Vessels with this design (which is also known as Isings form 11) have been unearthed at Roman-era sites located throughout Europe:
Evidence shows that these glass containers were widely marketed in the Roman Empire. The main areas of distribution are the central and northern Italian regions of Campania et Latium, Venetia et Histria, and Transpadana, along with the northwestern provinces of Gallia Belgica, Gallia Lugdunensis, Germania inferior and Germania superior [in what is now Italy, France, Belgium, Luxembourg, Germany, Austria, Switzerland and the Netherlands].
There is also evidence from the Balkan and Danube region in the provinces of Dalmatia and Pannonia, and also from the eastern Mediterranean in the provinces of Achaea, Creta et Cyrenae and Macedonia. The distribution in the western Mediterranean seems to be limited to Hispania Tarraconensis.
Above: the severed heads of two bird-shaped unguentaria
Sources & More Info:
Glassware and Glassworking in Thessaloniki: 1st Century BC-6th Century AD: Bird-Shaped Inguentaria (Isings Form 11)
The Austrian Archaeological Institute: New Finds of Bird-Shaped Glass Vessels with Residues of their Former Content
The British Museum: Roman Perfume Bottle in the Shape of a Bird
Società Friulana di Archeologia: Glass Doves and Globes from Thessaloniki: North Italian Imports or Local Products?
Analytical Chemistry for Archaeology and Cultural Heritage: Compositional Analysis of Greco-Roman Unguentaria Residues
Metropolitan Museum of Art: Glass Bottle in the Shape of a Bird
Louis Wain, Futuristic Cat series prototype, c. 1914, private collection of Simon Hitchman.

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When my wife and I went to Busan, we hiked a trail along the coast, and as I looked around at the trees I kept thinking to myself, "why is this so familiar?" It felt like northern Minnesota to me, maybe because the humidity of the Sea of Japan matched the humidity of Lake Superior. Humid, temperate, maritime climates, advection fog, pines, mosses, the scraggly roots.
I went to Muir Woods yesterday, on the other side of the Pacific, and had that same feeling. The trees were certainly larger, but I looked at the clover that grows in the shade of the trees, the pine needles coating the floor, the babbling brook, the ferns and mushrooms, and I thought of home.
Convergent ecology is when biomes converge on the same collections of similar plants following similar roles, and that explains at least some of it. All three of these places — Busan, San Francisco, Duluth — have heavy fogs that roll off a large body of water, and so the mosses can grow everywhere, and the ferns are plentiful. They're cooler places, so you get firs.
I kept looking at the rocks in Muir Woods, which are mostly hidden beneath the soil and pine needles. Duluth sits in one of the most geologically unique places in all of North America, the Midcontinent Rift, where a billion years ago the entire continent threatened to split apart, then didn't, leaving behind volcanic bedrock, dark basalt and red rhyolite. In the Muir Woods, it's the Franciscan Complex, a jumble of ocean-floor rocks, chert, graywacke, and serpentinite, all scraped off the bottom of the Pacific Plate. Very different, but both result in thin, nutrient-poor, damp soils that encourage the growth of specific kinds of plants.
When my wife and I hiked the Igdae trail in Busan, I kept being amazed by the similarities, seeing the same basalts, the same rhyolite, the same way that these rocks jutted out into the water and were shaped by erosion, covered in lichens, with the trees hanging off them. I chattered with my wife about it, and briefly thumbed through my phone to find pictures of home, to make sure this wasn't a traveler's pareidolia. And later I would read about the geology of South Korea, and how these hiking trails went along rock formations that were formed by a very different sort of geological cataclysm from the Midcontinent Rift. There, I loved it, the way everything seemed to echo what I already knew.
But here, my wife isn't with me, so it took on a tone of melancholy. The clover covering the ground wasn't true clover, just a native variety of wood sorrel that filled the same niche. I saw a plant I recognize, horsetails, a living fossil from 100 million years ago, but they're bigger, more feathery, less scrappy, not adapted to winters. I walked through the Muir Woods, one of the most celebrated national monuments in the United States, a distinctive icon of the Bay Area, and I got homesick for the hiking trails a half mile from my house, where I can walk on a bed of pine needles that are not quite the same as what the coast redwoods drop, and I can listen to a brook whose babbling rhymes with the streams in California.
this is the money garf. reblog for untold pasta and riches to come your way
do people who live in countries that don't have snow know about the snow silence? When you get a nice big dumping of fresh snow and you step outside into an infinitely harshly contrasted world and there's no sound because the snow absorbs it all? I believe it fits the traditional use of terrific both wonderful and incredible but also causing a great terror.
if you need me, i’ll be sobbing on the floor. humans, man
every forest is enchanted btw. stop being stupid and look with your eyes

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That's us, together.
While we're looking up at the Artemis II astronauts journeying to the Moon, they're looking back home at us.
In this image, Earth peeks through the capsule window, reminding us that a view like this relies on the ingenuity and hard work of countless people back home.
In the second image, we see our home planet as a whole, lit up in spectacular blues and browns. A green aurora even lights up the atmosphere.
Follow the Artemis II astronauts on their journey to the Moon:
New York City ballet production of Midsummer Nights Dream
The fact this isn't a painting is a testament to one of the greatest feats of set design and production I've ever seen.
My god just look at this! The lighting, set design, photography... I've just never seen anything like it.
This is from 1966 and you can see over a hundred photos on the NYPL digital collections website. It is absolutely gorgeous. These are just a few of my favourites.
Plus Puck's face here:
Slender cruet moss
A very ephemeral moss only found near bogs. It lives out its whole life cycle on animal dung and when the nutrients are gone, so is it. The sporophytes (reproductive parts photographed here) attract flies which carry the spores to new piles of dung.
I think we're all especially bloodthirsty this year because I've been seeing Ides of March memes since early February.
it's meee I'm your guardian angel hiiiiii 😇 okay🙏 so. in about six months, you're gonna die of starvation. 🥺 and if I don't protect you, I will get: #fired! 🫢 and that is No Good 🙅♀️ hahaaa So. 🙏 I looked into causes of starvation, and it turns out: Your death is totally preventable! 😯 Uh oh! 😆 There's more than enough food to sustain you without interfering with anyone else's survival, but you're not allowed to have it! 🤨 Whaaat? 🤷♀️ Apparently, your death is premeditated by thousands of things called "shareholders." So. 🙏 I've been killing people,
soy yooo tu ángel de la guarda holiiiiii 😇 okay🙏 bueno. en como seis meses, vas a morir de hambre. 🥺 y si no te protejo, me van a: #¡despedir! 🫢 y eso No esta Chido 🙅♀️jajaaa Entonces. 🙏investigue acerca del tema y resulta que: ¡puedo prevenir tu muerte al 100%! 😯 ¡Uh oh! 😆 Hay más que suficiente comida para que sobrevivas sin que interfieras con la supervivencia de los demás, ¡pero no puedes teneral! 🤨 ¿Queeeé? 🤷♀️ Al parecer, tu muerte fue premeditada por miles de cosas llamadas "accionistas." Y bueno. 🙏 empeze a matar personas,
c'est moooi ton ange gardien coucooou 😇 bon 🙏 alors. dans genre six mois, tu vas mourir de faim. 🥺 et si je te protège pas, je vais me faire: #virer ! 🫢 et ça c'est pas Pas Super 🙅♀️ hahaaa Donc. 🙏 j'ai fait mes recherches sur les causes de famine et devine quoi: Ta mort est 100% évitable ! 😯 Oh-oh ! 😆 Il y a largement assez de ressources pour te nourrir sans interférer avec la survie d'autrui, mais tu n'y as pas accès ! 🤨 Quoooi ? 🤷♀️ Apparemment ta mort a été préméditée par des milliers de trucs appelées des "actionnaires". Du coup.🙏 j'ai tué pas mal de monde,
hiiiiii 😇 我是亲的守护小天使!okay🙏 嗯。您在差不多半年会饿死哈🥺 若我不能救您我会被#炒鱿鱼!🫢 那可不行哦🙅♀️ 哈哈。所以昵🙏我查了一下人类饿死的原因,然后发现:诶呀呀😯亲的死是可以避免哒!😆 这世上有足够食物给亲吃,一点儿也不需要影响别人的生存率哒!但不给亲!🤨 怎么会这样昵? 🤷♀️ 原来,亲的死是被一帮叫“股东”的东西计算好滴! 所以昵🙏 我杀了一些人,
y'all are doing some rosetta stone shit to me

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Been playing along with the season of project runway we’re watching at my apartment
Pt.2
"In the 1960s, after his seminal work on barn owls, Roger Payne switched his attention to whales. In 1971, he published two historic papers. (...) The second showed that fin whales—the second-largest animals after blue whales—make extremely low-pitched calls that can be heard across entire oceans. It nearly destroyed Payne’s career.
That controversial paper was born of the Cold War. To listen for Soviet submarines, the U.S. Navy installed chains of underwater listening posts in the Pacific and Atlantic. This network, known as the Sound Surveillance System, or SOSUS, picked up a deluge of oceanic noises. Some were clearly biological. Others were more mysterious. One especially enigmatic sound was monotonous, repetitive, and low, with a frequency of 20 Hz—an octave below the lowest key on a standard piano. This hum was so loud that people doubted it could be coming from an animal. Did it have a military origin? Was it produced by underwater tectonic activity? Did it come from waves crashing on some distant shoreline? The actual source only became clear when Navy scientists started following the sounds to their sources, and often found a fin whale at the end.
Human hearing typically bottoms out at around 20 Hz. Below those frequencies, sounds are known as infrasound, and they’re mostly inaudible to us unless they’re very loud. Infrasounds can travel over incredibly long distances, especially in water. Knowing that fin whales also produce infrasound, Payne calculated, to his shock, that their calls could conceivably travel for 13,000 miles. No ocean is that wide. Together with oceanographer Douglas Webb, Payne published his calculations, speculating that the largest whales “may be in tenuous acoustic contact throughout a relatively enormous volume of ocean.” The response was brutal. Leading whale researchers told him that his paper was pure fantasy. Colleagues hinted that critics had been questioning his mental health behind his back. “When you get to distances like that, people just refuse to believe that it’s true,” Payne tells me.
Payne’s work made a more positive impression on Chris Clark. A young acoustician and former choirboy, Clark was recruited by Roger and Katy Payne to be a sound technician on a 1972 trip to Argentina to study right whales. It was a thrilling and formative time. Camped on a beach beneath the Southern Cross, with penguins bumbling past and albatrosses wheeling overhead, Clark began listening to whales. He placed hydrophones in the water to eavesdrop on their songs and found ways of assigning specific recordings to individual whales. He went on to compile libraries of whale calls, recorded all over the world, from Argentina to the Arctic. And all the while, Payne’s idea of giant whales talking over oceans stuck with him.
In the 1990s, with the Cold War over and the threat of Soviet subs diminished, the Navy offered Clark and others a chance to observe real-time recordings from their SOSUS hydrophones. Amid the spectrograms—visual representations of the sounds that SOSUS picked up—Clark saw the unmistakable signal of a singing blue whale. On his first day, Clark saw that more blue whale vocalizations had been recorded from a single SOSUS sensor than had been described before in the entire scientific literature. The ocean was awash with their calls, and those calls were coming in from enormous distances. Clark calculated that one individual was 1,500 miles from the sensor that recorded it. He could listen to whales singing in Ireland with a microphone situated off Bermuda. “I just thought: Roger was right,” he says. “It is physically possible to detect a blue whale singing across an ocean basin.” (...)
Although blue and fin whale songs can traverse oceans, no one knows if the whales actually communicate at such ranges. It’s possible that they’re signaling to nearby individuals with very loud calls, which just happen to extend further afield. But Clark points out that they repeat the same notes, over and over again, and at very precise intervals. A singing whale will stop calling when it surfaces for air, and come back on the beat when it submerges. “That’s not arbitrary,” he says. It reminds him of the redundant and repetitive signals that Martian rovers use to beam data back to Earth. If you wanted to design a signal that could be used to communicate across oceans, you’d come up with something similar to a blue whale’s song.
Those songs might have other uses, too. Their notes can last for several seconds, with wavelengths as long as a football field. Clark once asked a Navy friend what he could do with such a call. “I could illuminate the ocean,” the friend replied. That is, he could map distant underwater landscapes, from submerged mountains to the seafloor itself, by processing the echoes returning from the far-reaching infrasounds. Geophysicists can certainly use fin whale songs to map the density of the ocean crust. But can the whales do so?
Clark sees evidence in their movements. Through SOSUS, he has seen blue whales emerging in polar waters between Iceland and Greenland and making a beeline—a whaleline?—for tropical Bermuda, singing all the way. He has seen whales slaloming between underwater mountain ranges, zigging and zagging between landmarks hundreds of miles apart. “When you watch these animals move, it’s as if they have an acoustic map of the oceans,” he says. He also suspects that the animals can build up such maps over their long lives, accruing sound-based memories that lurk in their mind’s ear. After all, Clark recalls veteran sonar specialists telling him that different parts of the sea had their own distinctive sounds. “They said: If you put a pair of headphones on me, I can tell you if I’m near Labrador or off the Bay of Biscay,” says Clark. “I thought that if a human being could do this in 30 years, what could an animal do with 10 million years?”
The scale of a whale’s hearing is hard to grapple with. There’s the spatial vastness, of course, but also an expanse of time. Underwater, sound waves take just under a minute to cover 50 miles. If a whale hears the song of another whale from a distance of 1,500 miles, it’s really listening back in time by about half an hour, like an astronomer gazing upon the ancient light of a distant star. If a whale is trying to sense a mountain 500 miles away, it has to somehow connect its own call with an echo that arrives 10 minutes later. That might seem preposterous, but consider that a blue whale’s heart beats around 30 times a minute at the surface, and can slow to just 2 beats a minute on a dive. They surely operate on very different timescales than we do. If a zebra finch hears beauty in the milliseconds within a single note, perhaps a blue whale does the same over seconds and minutes. To imagine their lives, “you have to stretch your thinking to completely different levels of dimension,” Clark tells me. He compares the experience to looking at the night sky through a toy telescope and then witnessing its full majesty through NASA’s spaceborne Hubble telescope. When he thinks about whales, the world feels bigger, stretching out in space and time.
Whales weren’t always big. They evolved from small, hoofed, deer-like animals that took to the water around 50 million years ago. Those ancestral creatures probably had vanilla mammalian hearing. But as they adapted for an aquatic life, one group of them—the filter-feeding mysticetes, which include blues, fins, and humpbacks—shifted their hearing to low infrasonic frequencies. At the same time, their bodies ballooned into some of the largest Earth has ever seen. These changes are probably connected. The mysticetes achieved their huge size by evolving a unique style of feeding, which allows them to subsist upon tiny crustaceans called krill. Accelerating into a krill swarm, a blue whale expands its mouth to engulf a volume of water as large as its own body, swallowing half a million calories in one gulp. But this strategy comes at a cost. Krill aren’t evenly distributed across the oceans, so to sustain their large bodies, blue whales must migrate over long distances. The same giant proportions that force them to undergo these long journeys also equip them with the means to do so—the ability to make and hear sounds that are lower, louder, and more far-reaching than those of other animals.
Back in 1971, Roger Payne speculated that foraging whales could use these sounds to stay in touch over long distances. If they simply called when fed and stayed silent when hungry, they could collectively comb an ocean basin for food and home in on bountiful areas that lucky individuals have found. A whale pod, Payne suggested, might be a massively dispersed network of acoustically connected individuals, which seem to be swimming alone but are actually together."
- Ed Yong, An Immense World : How Animal Senses Reveal the Hidden Realms Around Us