Art and other things...

the city of los angeles

the city of new york

sex

how drinking alcohol works

how getting high works

how a child of any age speaks

how nuclear physics work

how [my job] works

how debilitating being shot in the shoulder is

how hypothermia works

things I have never before seen someone fake their way through writing about, until today:

SHRIMP COCKTAIL:

banahbanah: #flashback to that one fic where Peter Parker frets about drinking shrimp cocktail because of the alcohol

generaldeliciousness: adding: what a prawn/shrimp cocktail is

#why is your character turning it down because they're under 21 #do you think prawn cocktail is a cocktail #this lives in my brain rent-free constantly #the rest of the fic was so normal #and good enough that i'll still re-read it #but bro

And then many, MANY, people wondering if this was actually authour mistake, since Peter really would do this!

POMEGRANATES:

zhajhassa: #haha where's that post that was like someone describing someone eating a pomegranate but they ate it like an apple

thornhands: #once someone wrote persephone biting into a whole Pomegranate #had to stop and stare at a wall for a minute

sungsingsanguine: I once saw someone very confidently write about a character eating slices of pomegranate.

FRUIT TREES:

zagreuses-toast: #given a very endearing glimpse into a writers blindspots by seeing them describe someone sitting under a ''pineapple tree''

salatrash: I remember something about picking watermelons... OF A FUCKING TREE

baander: #cranberry trees

DOUGH/BATTER:

maycelium: #I'm a chef so I'm really used to people not accurately describing how to cook food #But I was surprisingly flabbergasted when someone was writing making a cake and was kneading it. Which uh #Not necessary for cake. It was interesting for sure but just bizarre

livebloggingmydescentintomadness: #the one that drove me nuts was when a character set aside a batch of PASTA DOUGH 'to rise' #pasta doesn't have yeast!! #it does need to REST but it will never RISE #you do not want an airy crumb on your noodles

lovesodeepandwideandwell: #THE ONE WHERE THEY MADE COOKIES BY LADLING BATTER INTO A TRAY

Some other topics:

how it's going:

Sometimes I feel bad these days about how easily I DNF books, but honestly, I think knowing your own taste and being willing to say "this ain't it" is better than blindly forcing yourself to read any book just because you picked it up. Not that it's bad to try out new things, but if you force yourself to read a whole book you hate and then say, "this book is a fuckign ordeal", well, that's kind of on you. No one tied you to a chair and forced you to read it. (To be clear, I am very much addressing my younger self here; no salt intended to anyone but the young ConvenientAlias lol.)

François Le Diascorn

Adolf Böhm

here

Adolf Böhm

here

Cnetizens: I know there are ling, luo, chou, duan.

OP: It's actually eight major categories, ling, luo, chou, duan, jin, xiao, sha and juan, and countless variations exist under them in history. (绫ling，罗luo，绸chou，缎duan，锦jin，绡xiao，纱sha, 绢juan) (cr珑师傅)

绫(líng): It adopts twill or modified twill weave. The fabric bears clear mountain-shaped diagonal lines, featuring light, soft texture and subtle luster. It was the designated fabric for officials’ daily uniforms in the Tang Dynasty. The varieties of Ling appearing in Tang dynasty — Pattern Square Ling, Fish-Mouth Ling, White Braided Ling, Water Wave Ling and Checkerboard Ling(方纹绫、鱼口绫、白编绫、水波绫、方棋绫) — were all recorded as imperial tributes in the Tang Dynasty.. After the Song Dynasty, it was mainly used for mounting calligraphy and paintings.

罗(luó) adopts a unique twisted warp weave. Intertwined warp threads create star-shaped holes, making it highly breathable, known as "the natural air conditioner of silks". Four-warp twisted luó demands 30 procedures. Weavers can only produce a few centimeters a day. Suzhou patterned luó is an intangible cultural heritage craft.

The fabric worn by ladies in Beauties with Flower Hairpins is luó. It is the top sheer silk fabric with outstanding transparency, yet extremely costly. Handwoven four-warp luó is priced above 10,000 RMB per meter, harder to get than an Hermès bag. What makes it expensive? Thirty elaborate steps. Threads are twisted manually, with only 5cm woven each day. It was royal exclusive. In the Zhou Dynasty, only emperors could wear it. Noble ladies in Tang and Song loved luó, including Yang Guifei. Covered with star-like holes, it is breathable yet not see-through, keeping you cool in summer.

绸(chóu): Simple interlacing, tightly woven like a fine sieve. A major category of silk, using plain or modified plain weave, referring to silks without the special structure of luó, líng or duàn. Medium weight, tight, smooth surface with soft luster, prone to creasing. Thin chóu for blouses and skirts. Thick chóu for coats and trousers, widely used as embroidery base fabric and decorative material.

缎(duàn): Long silk threads rest on the surface, creating a mirror-like glossy sheen. It adopts satin weave. One set of threads stretches across the surface with long floats, covering evenly distributed interlacing points.

锦(jǐn)/Brocade is the most sophisticated silk textile. Its weaving consumes massive time and raw materials, resulting in exorbitant costs. Constructed with multi-layer warp and weft threads, it forms patterns with colored silk yarns through figured weaving techniques. It boasts raised three-dimensional motifs and a dense, heavy texture, making it the most technically challenging type of silk. It feels substantial and stiff, featuring dazzling, luxurious luster, intricate elaborate patterns, strong wear resistance and great shape retention. Laws in the early Ming Dynasty strictly restricted commoners from wearing high-grade brocade, which was mainly supplied to the imperial court and officials. By the mid-to-late Ming Dynasty, the booming commodity economy fostered extravagant customs in the Jiangnan region(generally refers to the area south of the lower reaches of the Yangtze River in eastern China). Violations of dress codes became widespread. Numerous wealthy landowners, merchants and affluent commoners ignored the regulations and wore brocade, figured flower brocade and gold-thread brocade. In short, it was prohibited by law, yet wealthy civilians could acquire and wear such fabrics in practice.

绡(xiāo) took shape in the Shang and Zhou dynasties and flourished in the Tang Dynasty. Extremely thin like cicada wings, it became the iconic fabric for overgarments worn by noble women in Tang China. It adopts plain weave or modified plain weave, featuring low warp and weft density, few interlacing points and neat, clear mesh openings. Xiao is usually woven from raw silk, granting the fabric inherent stiffness and structure. Lightweight and translucent, it holds its shape well without sagging, with open, breathable pores. In ancient times, it was used for outer cover gowns. Today, it is made into wedding veils and sun protection blouses.

纱(shā) is matured in the Han Dynasty and remained popular from the Tang and Song dynasties through the Ming and Qing dynasties. It was widely used for summer court robes, official garments and noblewomen’s attire. Generally woven in plain weave with sparse warp and weft threads, the fabric features evenly distributed tiny openings. It represents the lightweight, thin and sheer category of silk. Extremely light and breathable, it feels soft and flowing with natural drape. In ancient times, it was used for veils and outer overgarments; today it is crafted into lightweight dresses and veils. They may look alike, yet Shā is soft and supple with little rigidity. By contrast, Xiāo is woven from raw silk, firm and shape-retaining, and does not sag easily.

绢(juàn) is one of China’s oldest silk fabrics and a vital carrier of cultural heritage. It served as the base material for many famous ancient paintings handed down through generations. Woven in plain weave, it features warp and weft threads of similar thickness arranged in neat, uniform intersections. The fabric boasts high density and a solid, stable structure. Varieties include plain juàn, dyed juàn, and juàn specially made for painting and calligraphy. It has a fine, smooth, firm texture and great durability. Soft against the skin, it balances suppleness and structural rigidity. Its applications cover painting and calligraphy, cultural relic restoration, and minimalist luxury apparel.

There is another fabric category not covered in this video.

Adolf Böhm, Cloud and Landscape illustrations for Ver Sacrum Magazine, 1998-1902