Polychromamorous Pad

for example, we have a microscope that is perfectly functional, good microscope, but its software is abandonware because the company refused to maintain it. the company is still in business, still makes essentially the exact same software, but they made all of the old tech incompatible with new software to force people to buy the new microscope tech. it would cost a quarter million dollars to replace this microscope. this perfectly good microscope.

Love the soft, curious moments of them sharing about their own cultures, biology, etc. I do think Rocky would have a field day when Grace explains skin as a very sensitive and permeable organ with lots of stuff packed tight on the surface. Since goosebumps are very tactile, I thought Rocky would enjoy hearing those.

Also, bonus.

here is a map of the path of the eclipse (from timeanddate)

thought about this because it's so frustrating when people argue that 'dying in childbirth' is a historical sort of event that doesn't happen nowadays (false) and therefore is irrelevant to the legal status of abortion, since it's not a real danger.

except it super is, and i think a lot of people haven't noticed that this argument in addition to simply being incorrect is basically the same as when people say we don't need vaccines for deadly diseases because no one gets those now anyway.

this is my best friend, the dipylon oinochoe. its a beautiful little wine jug from the late geometric period. 22cm tall. you may know it from such hits as “paper talking about the early greek alphabet,” or “paper talking about the early greek alphabet,” etc etc. i’ve been researching him for a project lately. and i think i’m the only one who understands him now.

anyways it’s one of the oldest longer inscriptions we have from the late 8th/early 7th cent BCE. everyone and their mother wants to translate this little guy. they’re all reading it and going “oh wow! its got a perfect hexameter at the start! ‘whoever of the dancers dances most delicately!’" and then they all go "Wait What Do Those Last Signs Mean.”

there are 24 different interpretations. but thats fine. whatever. beef over the last signs seems normal enough. you see that a lot. personally i think its too broken to really tell for certain (those fractures are a bit unfortunately placed tbh) but i fear i am also just a very skeptical guy when it comes to definitive translations so my take on that should be considered with a grain of salt.

but because im researching this oinochoe, i'm reading all these articles arguing over what it Means and what the Implications Are. and you would think… its 2025… we’ve kinda all agreed “pots aren’t people” for several decades… surely there’s an analysis somewhere that focuses Solely On This Pot’s Context... idk like trying not to focus solely on its inscription for once???

but no. no, this is too much to ask for apparently. everyone’s going “well it must've belonged to a dancer! lets talk about dance competitions and homer and the gymnasium how this is all reflected in this one jug!” someone even dropped this one line theorizing it was “passed around at a party,” like it has just been consistently assigned as belonging to a dancer you cannot escape this idea. i tried to find any different ideas. i could not.

so i’m stuck here going “Where Is The Context” because it seems to be, uh, Not Discussed Anywhere. every article is citing back towards stephanos koumanoudes (the guy who purchased it in 1880) but they are Also saying “yeah it was found in 1871! source: koumanoudes!” But He’s Not The Guy That Excavated It, Guys, Where Is It From? nobody is giving me the answer. my favorite one is culhed, he just says “under obscure circumstances,” which is quite possibly the least helpful way to describe this somehow nebulous provenance. but then culhed offhandedly cites someone else. just in the footnotes, as you do. and that someone is yannis galanakis, my new hero.

now yannis galanakis (2011) does not give a single flying fuck about the dipylon oinochoe. he is here for one thing and one thing only: an unpublished stirrup jar that was bought by a totally different guy. most of his article is just concerned about this stirrup jar, how it was sold with a skull (??), and Who Sold That Skull. but galanakis’ stirrup jar is, coincidentally, from this same excavation in 1871. so in his article, where he’s referencing all these people associated with private excavations northeast of the dipylon gate (around modern-day plateia eleutherias), galanakis casually drops the line “among the finds associated with these excavations are some of the most important examples of late geometric pottery, like the dipylon oinochoe.” this is 1) more than Literally Everyone Else I Have Been Reading has been saying and 2) PROVIDING PRIMARY SOURCES FOR THIS DIG?

and these sources.... these primary sources have never been mentioned in Any Other Publications re: the dipylon oinochoe??? except MAYBE one from 2013 (coulié) thats in french, apparently only available in print, and the nearest copy is a library 2hrs away from me (so i cant actually verify what she says yet). but every other article about the dipylon oinochoe is basically like “yeah, see powell 1988” -> “yeah, see koumanoudes 1880” -> “i bought this from some guy named ioannes, lol” and its just created this Massive Echo Chamber where the provenance is "Koumanoudes" and the context is "Dancer." when... we have... two publications... written by people who were actually involved in this private excavation (which to be clear here was very much illegal at some points, but ioannes palaiologos do not care abt the government saying Stop Excavating Please). these two sources are hirschfeld (1872) and rayet (1888).

the provenance that these 1870s/80s accounts are providing isnt Actually That Detailed, but there are parts that line up pretty well (ie, swords/spears/knives being found in the graves, murex on top, several layers of successive tombs) which are Totally Absent from later articles talking about the purpose of this vessel, of its inscription, and of its owner/transcriber (which i dont think can be determined Anyways [cf Arrington 2024, this is just a Normal Take i think] but like whatever i guess Pots Are People Now, according to Powell 1988+Binek 2017+Osborne 2006). i phrased it in my paper and my presentation as “its like this oinochoe been totally disconnected from its context” and its to the point where its so egregious that someone will, in one article, drop a reference to galanakis’ research on the excavation of 1871 (where he cites two eyewitness accounts) and not. Not Once have they looked into it.

because if they had. and this is the fucking crazy part ok this is where i Lost My Shit For A Solid Week. there is, in hirschfeld 1872, an identical oinochoe (number 48, page 147 in this journal) with the same damn height (22.5cm; powell 1988 says the dipylon oinochoe is about 23cm) and decoration (a grazing deer) and concentric lines its a goddamn identical piece just judging from the description of it (and hirschfeld very unhelpfully did Not include this jug among his plates). deers grazing arent very common in late geometric pottery, its mostly just the dipylon workshop cranking them out AND theres only a few oinochoe attributed to dipylon workshop so This Is Quite Possibly The Same Vessel (or so i thought, we'll get to that). the one problem is that this vessel is just NOT from dipylon??? its from the old military hospital in athens??? which was built south of the acropolis in 1834??? and they found roman mosaics during that construction??? so this mentioned vessel could actually have been found in the 1830s??? and again nobody has said jack fucking shit about this connection, afaik i am the only one who has ever actually sat down with these Implications all lined up in a row, so i had to try and disprove myself on my own like it was 5d chess. i was the “I Want To Believe” meme but if it was about the dipylon oinochoe being from somewhere near dipylon.

and i'm digging through as many sources as i possibly can find to prove there's a mysterious second jug that might be from this hospital area (which, granted, was still a funerary space during the geometric period). i went through all of hirschfeld's references to alexander conze's plates showing pottery shapes, but they just ended up also being oinochoe, which made me lose my mind even more. hirschfeld would be like "yeah this deer was in this position from conze taf VII-2" and you go "ok so whats conze taf vii-2 look like? oh my fucking god its a GRAZING ANIMAL AGAIN." at some point i ended up reading a phd dissertation from the national and kapodistrian univerisity of athens to know more about this military hospital?? and then i switched gears and went searching through coldstream 1968’s list of geometric pottery (it might be outdated now, but it was the only thorough source i could find atp) and went through Every Single Oinochoe from the dipylon workshop and almost every single one was totally different. like they just could not be this mystery oinochoe (in which case, I Would Have Some Really Bad News About The Dipylon Oinochoe).

until i found my second best friend. munich CVA 3 taf 112. who literally nobody except me gives a shit about. its taf description is 2 paragraphs long. its the exact same height as these two aforementioned oinochoe. it has the exact same deer grazing motif. fuck it, its even got an unknown provenance because it was acquired from Some Guy Named Paul in 1907 (who also has connections to people like furtwängler [most unfortunate last name ever], another guy who wrote about the dipylon oinochoe in 1881). so in my quest to achieve some sort of emotional resolution here i possibly found a sister vessel to the dipylon oinochoe??? and maybe even that jug's provenance. who knows. i dont wanna say anything definitive yet. also if anyone has access to paul julius arndt's personal papers and especially his financial records, hit me up, because where the fuck did he get this identical looking jug.

however. most modern scholarship about the dipylon oinochoe does not care about munich cva 3 taf 112 (and its similarities to the dipylon oinochoe), or the few references to the 1871 excavations at palatia eleutherias several blocks northeast of the dipylon gate (and what little context/descriptions they provide of funerary remains), because they do not care about the dipylon oinochoe. they care about the letters inscribed on it, and they want to debate the meanings of those letters in a self-inflicted vacuum devoid of all other evidence beyond 35 legible signs and 11 fragmentary/illegible ones.

The first time he cheated death, Sisyphus had just angered Zeus by revealing the location of the Asopid Aegina whom Zeus abducted. Which is super valid, fuck Zeus.

Sisyphus knew that Zeus would send the god of death Thanatos after him, so he prepared a trap and trapped Thanatos in the chains meant for him.

After that, nothing on Earth was able to die so long as Thanatos was in chains. Which meant no animals could be sacrificed to the gods. This angered the gods, who made Sisyphus' life so miserable with pain and illness that he would beg for death. And so he released Thanatos.

But then came the second time Sisyphus cheated death. As he was dying, he asked his wife to dump his naked corpse in the middle of the public square. Denied a proper burial, his soul ended up on the far side of the river Styx, unable to cross.

He complained to Hades and Persephone about how his wife disrespected him, and begged them to let him return briefly to the world of the living to scold her and make her bury him properly. They agreed, and Sisyphus returned to life. He then embraced his wife, and refused to return to the Underworld.

It's only when he finally died of old age that he was sent to Tartarus and punished with the boulder.

I don't remember where I've seen it, but I like the interpretation that Sisyphus doesn't have to push the boulder. He can choose to stay in Tartarus and rest. But he was promised that if he managed to push the boulder to the top of the mountain, he'll ascend to Elysium.

And Sisyphus, in his stubbornness and cleverness, refuses to give up on a challenge.