yeah wait why is it when normal plants are poisonous they just give you heart failure or something but when mushrooms are poisonous they always gotta be some awful SoulsBourne type boss shit
like the one that liquefies your organs inside you
if I remember correctly, there is a mushroom that may be responsible for ALS clusters and another mushroom that can cause you to be depressed for up to 6 months. why do mycotoxins behave like magical curses?
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Corporate Glossary: every Friday, learn the secret meaning of common corporate words
âTheyâre trying to discharge her constructively. Do you know what Constructive Discharge means?â She asked.
As soon as I heard the term âConstructive Discharge,â I knew Iâd never seen it on a vocabulary quiz.
âNo. What does it mean?â I asked.
She explained.
âConstructive discharge is a fancy way of saying âbeing forced out.â Itâs not good. And if youâre not a lawyer or in human resources, youâll probably learn what it means when itâs happening to you.â
âOh my God. Iâve seen this my entire career and never knew it even had a name.â I thought.
Youâve seen constructive Discharge too. You may have experienced it. Weâve all made choices to avoid it.
Constructive discharge defined
âWe canât fire you, but weâll make you so miserable youâll quit, and then we wonât have to pay your unemployment.â
Then thereâs the textbook definition:
âA constructive discharge occurs when your employer has made working conditions unbearable, forcing you to resign.â
Or as one person put it.
âI didnât get handed a pink slip, but when youâre not wanted, people have a way of letting you know.â
HR isnât always the secret police.
Employees arenât always victims of evil-doers.
However, employers push employees out all the time to maintain and protect the, âWe didnât do anything wrong, YOU did,â power structure.
Constructive Discharge looks like this:
â Meeting invitations slow to a trickle, and youâre excluded from emails and generally looped out of whatâs going on.
â People stop talking to you or stop talking when you walk in.
â Your emails donât get answers, or they arrive too late to be of value.
â Suddenly, your work is not good enough, though nothing about your work has changed.
â Reviews, once good or even glowing, are now mediocre or bad.
â Instead of a bonus, you get a Performance Improvement Plan.
â Warnings and write-ups start so they can justify your eventual termination with documentation of your âpoor performanceâ
â Your work, clients, assignments go away, or they overwhelm you with work.
â The words âSet up to failâ were practically invented to describe this scenario.
Constructive Discharge is illegal
It isnât easy to prove youâre a target, and itâs even more challenging if you donât even know constructive discharge is a real thing.
If youâve ever experienced this and donât fully understand whatâs happening to you beyond knowing youâre in the process of being excommunicated, it can be hell. Itâs not uncommon for the experience to leave long-lasting scars.
Talk to anyone whoâs ever been through it. Theyâll tell you.
Knowing constructive discharge exists and how itâs used gives you power to predict whatâs coming and to protect yourself.
Seeing the endgame helps you in two ways.
You know what to expect. Having a sense of whatâs coming next is enormously empowering.
You can go on the offensive and protect yourself. Constructive discharge works to crush your ego, making you feel you did something wrong and deserve this treatment.
Without strategy, you end up being a miserable pawn in your employerâs endgame.
Remember, theyâre almost certainly building a case to fire you in the event the hellscape they create for you doesnât persuade you to quit.
If youâre getting pushed out, and you know what to look for you can prove constructive discharge and you can get unemployment benefits, be released from payback obligations on a signing bonus, and protect your mental health.
Youâre not crazy, incompetent, or a failure. This is real and itâs carefully executed to leave you holding the bag and feeling like you did something wrong.
If they force you out, in addition to feeling horrible, you lose your paycheck, benefits health insurance, and possibly owe them money.
Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back.
The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act.
For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creatureâit is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body.
The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser.
Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology.
Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.
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we have to start running a massive PSA campaign to young gay people so everyone understands there is a difference between being a dom and being a top and between being a sub and being a bottom. and also that sometimes you are neither a sub nor a bottom and you're just like shy. we need to be handing out flyers we need ads at every train station spreading the word
i know it's been said on here and said again but people do so desperately need to genuinely do intentional work to build distress tolerance and start figuring out how to recognize the differences between danger, discomfort, and when a situation that is merely uncomfortable is triggering an emotional flashback in your bodies because it resembles a past situation that actually was dangerous which makes it difficult to realize/believe that this moment is merely uncomfortable.
i spoke to an allistic person who said their autistic classmate had a meltdown in class, during which the autistic classmate collapsed to the floor in the middle of the room, screaming and crying. they said it was "terrifying" and they were arguing for the autistic student to be removed permanently from the program.
when i asked whether their autistic classmate's meltdown was dangerous or merely uncomfortable, they said, "i felt like i was in danger!"
yes you should, actually. that's life. upsetting things happen. no one should have to experience any discomfort. but we do. we get stung by bees and sunburns and headaches. we live in bodies in the world.
autistic people are human beings who have the right to exist in society, including during meltdowns. having one class of your entire semester interrupted by a singular meltdown is not anymore of an infringement upon your entitlement to education than having your class interrupted by a fire alarm or cancelled for a snow storm.
one of my peers once experienced a cardiac event 10 minutes into class. it was terrifying. it was desperately upsetting. i was contacted by the school and offered counseling because i happened to be the one who managed the situation until paramedics arrived. everyone was worried about my classmate first and foremost, and then about me. no one blamed anyone, and certainly when my classmate happily recovered and returned to school, no one thought they should be removed from the program.
the difference being that people believe a disabled personal, especially with cognitive disabilities, in crisis are not experiencing something outside of our control, but instead that we are in fact making a choice to make a scene, out of malice.
New York Times bestselling author T. Kingfisher returns to the charming fantasy world of Swordheart in Daggerbound, a delightful and unexpected new romantic adventure.
Disillusioned scholar Learned Edmund is on a familiar mission: moving a sacred artifact from one dusty temple to another. It is hardly the epic saga he imagined.
Everything changes when bandits attack. In a moment of panic, Edmund violates sacred law and seizes the relicâan ancient sword. But the blade does not reveal rusted metal; instead, a strikingly handsome warrior emerges. Wielding twin daggers of blue steel, he swiftly dispatches the attackers.
The stranger is known as the Dervish, an immortal fighter imprisoned within the enchanted steel for centuries. Bitter and resentful of his confinement, he intends to loathe Edmund just as he has despised every previous master.
However, the scholar proves unexpectedly witty, sharp, and truly kind. While the Dervish excels at shielding Edmund from dragons, cultists, and bizarre diplomats, he may find that his own heart is the one thing he cannot defend.
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I usually tell my students that âclose readingâ means looking at what is actually on the page, reading the text itself, rather than some idea âbehind the text.â It means noticing things in the writing, things in the writing that stand out. To give you some idea of what this means, Iâve made up a list of five sorts of things that a close reading might typically notice: (1) unusual vocabulary, words that surprise either because they are unfamiliar or because they seem to belong to a different context; (2) words that seem unnecessarily repeated, as if the word keeps insisting on being written; (3) images or metaphors, especially ones that are used repeatedly and are somewhat surprising given the context; (4) what is in italics or parentheses; and (5) footnotes that seem too long. This list is far from completeâin fact, no complete list is possibleâbut the list is meant to begin to give you an idea of what sorts of things we notice when weâre doing close reading.
What all five of my examples have in common is that they are minor elements in the text; they are not main ideas. In fact, your usual practice of reading which focuses on main ideas would dismiss them all as marginal or trivial. Another thing they have in common is that, although they are minor, they are nonetheless conspicuous, eye-catching: they are either surprising or repeated, set off from the text or too long. Close reading pays attention to elements in the text which, although marginal, are nonetheless emphatic, prominentâelements in the text which ought to be quietly subordinate to the main idea, but which textually call attention to themselves.
Most of you have been educated to ignore such elements. You have been taught to seek out and identify the main ideas, dismissing the trivial as you go. This has had to be trained into you: read to a young child sometime, you will notice she has the annoying habit of interrupting the flow of the story to draw attention to some minor thing. Close reading resembles the interruptions of that child. It is a method of undoing the training that keeps us to the straight and narrow path of main ideas. It is a way of learning not to disregard those features of the text that attract our attention, but are not principal ideas.
Jane Gallop, âThe Ethics of Close Reading: Close Encounters,â Journal of Curriculum Theorizing, Vol.16, No.3 (Fall 2000), pg.7-8 (x)
"Asexual people are often assumed to âlackâ attraction. But in reality, many report rich and varied forms of attraction that donât map neatly onto sexual desire.
So instead of asking âhow does attraction work?,â we asked:
What do people actually mean when they say they feel attracted to someone?"
"Drawing on both qualitative and quantitative data, we identified and validates seven different forms of attraction:
intellectual
aesthetic
emotional
platonic
sensual
romantic
sexual
These arenât just theoretical distinctions. Statistically, they show up as separate but related dimensionsâmeaning people really do experience attraction in multiple, distinguishable ways."
"Our findings demonstrate that both asexual and non-asexual experience multifaceted forms of attraction.
Put differently, the seven forms of attraction our study identifies are not âace-specificâ categoriesâtheyâre general features of human attraction. But starting from an asexual lens helped us see those features more clearly."
"If you only measure sexual attraction, you miss a huge part of how people relate to each other. And thatâs true whether youâre working with asexual people or not."
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Yesterday, I was at dinner with some friends and briefly forgot Harrison Fordâs name, but I was like, âHis name is a president and a car,â which is how we got such acceptable alternatives as McKinley Camry, Van Buren Gremlin, Clinton Infinity, and Range Rover Cleveland.
Here's a source for the analysis, but it probably is not the source.
Workersâ share of US economic output has fallen to its lowest level since the government began keeping records in 1947, according to data th
Some points of interest:
Corporate profits are soaring. After taxes, they now take 12.3 percent of national output, far above their postwar average of 7.3 percent.
Adjusted for inflation, hourly wages have risen 3 percent since the end of 2019, Ip noted. Corporate profits over the same period have risen 50 percent.
The Economic Policy Institute calculates that since 1979 the productivity of American workers has grown 90 percent while the pay of the typical worker has grown 33 percent. Had wages tracked output, the average worker would earn $16.40 more an hour today.
The profits are concentrated among the largest corporations. Earnings at the 500 biggest US firms rose 28 percent in the first quarter from a year earlier, the fastest pace since 2021, and their profit margins reached 14.8 percent. The seven technology giants known as the âMagnificent 7ââApple, Microsoft, Nvidia, Alphabet, Amazon, Meta and Teslaâgrew their profits 63 percent.
In the United States, the richest 1 percent of households hold 31.7 percent of all wealth. The bottom half hold barely 2.5 percent.