Been feeling spiritually dry.. I know why and itâs my fault so I wanna prioritize time with God todayâď¸ and hopefully throughout the weekđ

Discoholic đŞŠ
Three Goblin Art
he wasn't even looking at me and he found me
Sweet Seals For You, Always

#extradirty
One Nice Bug Per Day
will byers stan first human second
Show & Tell

oozey mess
DEAR READER
"I'm Dorothy Gale from Kansas"

â
Claire Keane
Lint Roller? I Barely Know Her
ojovivo

romaâ
Not today Justin

Janaina Medeiros
taylor price

izzy's playlists!
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@marstrash17x
Been feeling spiritually dry.. I know why and itâs my fault so I wanna prioritize time with God todayâď¸ and hopefully throughout the weekđ

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The Old Shepherds Chief Mourner, c.1837 by Edwin Landseer (English, 1802--1873)
really didn't know if i could finish this one, but here it is! the third contrapuntal.
contrapuntal poems x the raven cycle are my favorite thing ty đ
Conditions Apply [ 10 colors ]
New edit! Ik edits donât do as well on here as on Tik Tok but I worked so hard on it so I thought Iâd post it here anyways lol.

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Woman murders man in broad daylight
beautiful like to reblog ratio on this
That's because people are reblogging it every time they see it. Like I'm doing right now lmao
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⌠For men and women. âŚÂ 13 files. ⌠Roots âOmbre â Highlights. âŚÂ Categories: - Roots: Lip Ring ( Left ) - Ombre: Lip Ring ( Right ) - Highlights: Nose Ring ( Left ) dl: Patreon / Boosty ( free ) _________________________________________________________ You can support me on Boosty!!! If you want it yourself, everything I do is always free. Thank you!!!!!!!đ¤đ
I'm thinking of Symphony of the Sixth Blast Furnace by Evgeny Sedukhin again...
hmm okay i'm trying to dig up a source on this painting, to see if i could find it in any higher quality
but i can't find any evidence of its existence from before 2018 lmao
and searching the artist's name only gets me like 6 pages of results on google
and a little artist showcase page on arthive for this guy with exactly 1 painting listed
and a biography that spells this guy's name like 5 different ways
which i'm pretty sure is because it's machine translated from something
very mysterious
oh doing his name in russian gives me some actually useful results, why didn't i think to do that
ХОНноŃĐ˝ŃĐš гОŃОд "Sunny City" - No date given.
ĐĐ¸Ń "World" - No date given.
ЧŃŃОвŃкио ĐżŃĐžŃŃĐžŃŃ. "Chusovskie expanses." Canvas, oil, 1997. Exhibited at the Nizhny Tagil Museum of Nature.
ĐŃĐľĐ˝Ń "Autumn"
ooooh this one is really nice
Đгни ŃŃŃдОвОгО ТагиНа, "The Lights of Labor Tagil" acquired by the Tretyakov Gallery in 1986.
ОкŃŃĐąŃŃ "October" 2009 cardboard, oil, 29.5x39.5 cm
ĐŃĐľĐ˝Ń Đ˝Đ° ЧŃŃОвОК, "Autumn on Chusovaya" 1999, canvas, oil, 79x100 cm
ЧŃĐłŃĐ˝ Đ¸Đ´ĐľŃ "Cast Iron is Coming" 1976
okay that's all the art this article had, i'm really glad i could find some this artist's other works!!!!
guys what is that post that talked about continuing creating in the afterlife, like we getting to heaven and finding out there's new Shakespeare plays. I need it for science
I've fallen in love or imagine I have; went to a party and lost my head. Bought a horse which I don't need at all. - Leo Tolstoy, diary entry from 25 January 1851

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okay i'm reading the semantics chapter of my language development textbook now and i know i've already posted a bit about the wacky methods researchers have employed to test infants' and toddlers' linguistic knowledge, but this is a really fucking great one.
so they were trying to figure out if children use syntactic knowledge to learn new vocabulary, specifically in this case they were researching two year olds. with verbs, some are done to a person ("x hit y") and some only have a doer ("x laughed"), and they wanted to see if these different sentence structures had an effect on how toddlers learn.
they got some grad students, put one in a rabbit costume and one in a duck costume. they had the rabbit repeatedly push the duck into a crouching position using their left hand. at the same time, both the rabbit and the duck were moving their right hands in a repetitive circling motion. they had a bunch of two years olds watch this. with half of the kids, they said "the rabbit is gorping the duck!" and with the other half, they said "the rabbit and duck are gorping!" afterwards, they showed two videos at the same time to the kids, one with the rabbit pushing the duck down but no circling motion, and one with both making the circling motion but no pushing. then they said "where's gorping now? find gorping!" and the kids who had heard the first statement would consistently look towards the video of the pushing motion, while the kids who heard the second statement would consistently look towards the video of the circling motion.
so it provided good evidence that kids do learn new words using their knowledge of sentence structure! my textbook says it's called the "syntactic bootstrapping hypothesis", which is also a fun term. anyway, i just think it's a fucking hilarious way to have tested this. imagine being a linguistics grad student and your advisor is like "hey i got this furry suit. i'm gonna need you to put this on for research purposes."
ever since I took a developmental psychology class in college I've wanted this job. I want to be a professional baby-confuser, for SCIENCE
ALSO ARTISTS LOOK AT THIS SO YALL CAN STOP DRAWING UR âPALEâ BLACK CHARACTERS WHITE
psa:
adam parrish is polite but not nice
blue sargent is nice but not polite
richard gansey iii is both nice and polite
and ronan lynch is neither nice nor polite
and noah czerny is my sweet baby angel who has never done anything wrong in his life, thank you.
Giveaw@y: Weâre giving away 12 vintage paperback classics! Wonât these look lovely on your shelf? =) Enter to win by: 1) following macrolit on Tumblr (yes, we will check. :P), and 2) reblogging this post. We will choose a random winner on 31 May 2026. Good luck!
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Giveaw@y: Weâre giving away 12 vintage paperback classics! Wonât these look lovely on your shelf? =) Enter to win by: 1) following macrolit on Tumblr (yes, we will check. :P), and 2) reblogging this post. We will choose a random winner on 31 May 2026. Good luck!
Follow our IG account to be eligible for our IG giveaw@ys. For full rules to all of our giveaw@ys, click here.

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discourse from the year 2043: getting a song stuck in your head is immoral because it takes money away from the artists that would get paid if you were actually listening to it
Spraying this post with dodgeball repellent
Rewatching Treasure Planet (great movie, watch it) made realize something about the way that stories convey information to their audiences. There's been a lot of discussion on the overuse of plot twists and how many stories prioritise surprising their audience over telling decent stories. However, if you instead reveal the "twist" to the audience before it becomes known to the characters, you can build tension and stakes. Treasure Planet comes right out and tells you that Long John Silver is the main villain almost immediately after his introduction (And even before he's introduced we're warned about a cyborg, so you'd have to be pretty dense to not put 2 and 2 together and realize he's a bad guy). So when the audience watches him and Jim bond and grow closer, it builds tension for when Jim finds out and it highlights the tragedy of their friendship, because we all know it's not going to end well. Then, after the truth is revealed, stakes are created because we want the friendship between Jim and Silver to be repaired, because we know it was real, but we don't know if can be after what Silver's done. And all of this would have been lost if Silver's true nature had been a cheap plot twist. The tragedy would be completely overshadowed by the surprise and betrayal, and any investment in their relationship would have been built on the false impression that Silver was a good guy.
Another good example of this is Titanic. Even if you were somehow ignorant of the ship's sinking, the film makes sure you know that it sank with its framing device of Old Rose telling her story to people salvaging the Titanic's wreak. And Titanic's plot structure could only possibly work if you know the ship is going to sink. I'm not just talking about building tension, tragedy, and stakes for the characters like with the above example, I mean that if you didn't know that the Titanic was going down walking into the film, the abrupt shift from romance to suspense-disaster would be an increadibly tough pill to swallow. But it works because we expect it. You don't walk into a film called Titanic without expecting the damn boat to sink.
However, the sad thing about both of these examples, is that despite all the benefits that came from telling the audience these things ahead of time, I think the main reason the creators didn't make them plot twists was because they couldn't have. Treasure Island is the single most influential piece of pirate media out there, and you'd have to have been living under a rock for over a century to not know the Titanic sank. So, the writers had to work around the fact that these important turning points in the narratives were common knowledge, and they wound creating incredible stories as a consequence.
I want to see more of this style of writing in stories where the writers aren't forced to do it. We've clearly seen that you can tell some really damn good stories by giving information to the audience before the characters learn it, and I just wish more works would do that instead of trying to surprise people with shocking twists.
@the-golden-ghost !!!
This is also why most adaptations of The Strange Case of Dr. Jekyll and Mr. Hyde don't follow the mystery plot structure of the original book, since everyone already knows they're the same person, no one will be surprised by that twist nowadays.
As a consequence, most adaptations of the story are told mainly from Jekyll's point of view, and the conflict between Jekyll and Hyde becomes the main story, which makes for really compelling drama!
We are now having a very innocent little chat. Letâs suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, âBoom!â There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one oâclock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: âYou shouldnât be talking about such trivial matters. There is a bomb beneath you and it is about to explode!â In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.
--Alfred Hitchcock, on the difference between surprise and suspense.