Kitty rides forth (aka Tallia3)

When I moved, I’m certain they understood I was leaving because I had all my stuff and gave them lots of food and compliments.

But, they chased down my friend who lived in the next burrough over. They had recognised that friend with me several times and followed them to their house when they couldn’t find me.

They adopted my friend and it was now my friend’s job to bring them snacks and receive the presents.

This was maybe 6-7 years ago.

I visited London last year. Went to see my friend. The crows all not only recognised me, they tracked me down. We got into my friend’s flat and not twenty minutes later there was chaos on the balcony.

We open the curtains, the entire fucking murder is there shouting because they wanted to see me.

You will not hold us, demon. We found each other in this place and you cannot stand against us.

canon is what happens in the text. e.g. merlin tries to poison morgana

a headcanon is a fact that you have personally made up as an elaboration of canon. it is your invention. e.g. i think morgana and gwen had a teenage lesbian situationship before the events of canon. or, i think modern morgana would love evanesence.

an interpretation is how one reads the existing text. it is not an invented fact nor is it a headcanon, it is a reading. e.g. i think merlin tries to poison morgana out of misplaced self-hatred. or, i think that one line was delivered with suppressed malice and shows a nuanced relationship.

fanon is the general fandom’s accepted headcanons and interpretations that elaborate or recontextualize canon. e.g. merlin is a badass waif and morgana is a bitch.

From there the political aspect of it got picked up by climate doomerist types who pushed it as an antidote to the impending apocalypse. Alas, being fanatically worried about climate change seems to have fallen out of fashion since COVID for whatever reason. I believe a lot of these people have moved on to walkable urbanism and anti-AI movements.

And the aesthetic side of it started off with a particularly influential Tumblr post from 2014 that had quite a few neat ideas. All of those were sanded down over time into a vision of skyscrapers with moss and solar panels, coupled with some recycled cottagecore material and a bunch of Ghibli screencaps.

And then Chobani comes in and makes a yogurt commercial that's just futurist luxury automated cottagecore in a Ghibli aesthetic, complete with some vague handwaves at a spunky DIY attitude and a whole bunch of small-scale renewable electric generators. And from there the movement, whatever it was, merged with "Frutiger Aero" and completely fell apart into bland nothingness.

Praxis itself? It looks like disability activism. It looks like attending local town council meetings. It looks like diving into super specific debate on local law requirements on water-permeable surfaces percentage. It looks like keeping in contact with local priest to snoothly distribute furniture from well-off middle class finishing renovation to 18yo orphans ageing out of the system. It looks like negotating with local cultural activity center how to organise half-illegal craft workshops because paperwork for fully legal ones excludes the most neglected demographic. It looks like lobbying for health insurance to put "replacing batteries in the implant surgery" on the list of covered medical services, so people don't need to surgically replace whole implants. It looks like million other specific things.

People who got inspired by solarpunk tend to spend some time looking at art, then turn around, ask "okay but what can be done now that I can engage with" and then go do it. And then what they do stops looking like solarpunk aesthetic.

Of course there's also that thing that before Covid, lots of climate collapse containment issues were literally "we know that business-as-usual is cheapest short-term but can we focus on how it's killing us long-term". Covid era showed that business-as-usual is unsustainable now, mid-term and short-term and today and yesterday; and also that goverments can simply decide to act and it create tangible effects. Suddenly, it wasn't "solar would be better if your gas import was ever endangered", it's "we build all the solar for yesterday because we cannot afford keeping to gas". Creating inspiring narratives is optional when cost of business-as-usual is visible to naked eye. Lots of people who used to share inspiring pictures of solar on background of green hills either went to install solar and negotiate specifics of grid inclusion, or moved on to the next issue.

Central idea of solarpunk aesthetic was to give people tools to imagine sustainable future; to create visual and narrative shorthands allowing people to engage with vision of non-apocalyptic future.

Central idea of solarpunk philosophy is that apocalypse is anything but inevitable and the main challenge isn't lack of means and tools, but widespread cultural pessimism. You cannot change anything if you believe change is impossible. Therefore, for change to be possible, you need to envision the world that can be changed.

Basically, if solarpunk art convinced anyone that there is achievable alternative to doom, it have already succeeded.

You absolutely can merge in one all the issues ever discussed in context of exploring how sustainable climate-proofed non-capitalistic world can work and how it can be achieved, with the attempt to design a distinctive and consistent visual language for it.

And you absolutely can blame whichever aspect of that merged entity for the fact that detailed fact-based solutions are difficult to derive from visual language or using visual design tools.