Cass

like its not even a thing that gets me off i just seem to have a way with words these folks like.

when i first plugged it in i could hear it spin up and FEEL it too. it was a gentle vibration no stronger then the haptics on a cell phone. it took a second to get up to full speed but when it did it was a constant hum in the palm of my hand. i had to be gentle with it because too much movement would disturb the heads and cause bad reads and corrupt the data on the way out.

once it reached full speed it did a little self test. when the read-head swung out to do a test read and then swung back into the dock. i could feel each time the read head moved. it would make a sharp but tiny thump. almost like feeling its heartbeat. whenever i opened a folder i could feel the head swing out to the sector and take a read. i wasnt moving lots of disjointed files so the tiny thumps were not frequent. im sure if i was moving a large number of pictures it would be like its heart was racing, but since i was moving large movie files it was much more calm. It made a thump each time it went to the next file since these were long continuous reads that didnt need a lot of seeking.

when i was done, i ejected it from the system trey and the final thump was felt as it docked the read head and slowed the drives down. it didnt turn them all the way off but i could feel though the vibrations that it was much slower. it did spin down all the way when i pulled the plug out and went back to its dormant state

It's an issue complicated by its own history. In Britain at least, modern day drag performers come in a direct line of descent from characters like the Nurse in Romeo and Juliet, that is, a comic relief female character written for a male actor at a time when it was literally illegal for women to perform on stage. I think it's fair to say that characters like that are straight-up misogynstic appropriation. Banning a whole group from performing, then getting the audience to laugh at a man performing a comic caricature of that group, is just misogyny plain and simple. But cultures evolve over time and it isn't the 16th Century any more.

One of the biggest influences on modern-day drag in Britain comes from the USA. First, the popularity of minstrelsy as a crude racist caricature of Blackness performed by white actors in blackface, which was incredibly popular. Over time, the art form was subverted by increasing numbers of Black performers (often touring Britain from the Reconstruction era US) taking on these roles, although the fact that their managers were still overwhelmingly white was obviously a major issue. And then there was the Cakewalk, a dance that evolved on plantations in the Southern US in which Black people mocked the mannerisms of the white people who had enslaved them, which also really took off in Britain in the early 20th Century. (I am of course only covering this from the perspective of its influence in Britain, the history might be quite different in the US itself).

So you have this explicitly misogynstic artform that is influenced by a different, racist downward-punching artform (minstrelsy), then by the subversion of that artform by the targets of the mockery taking on the role of the performer, and then finally by an upward-punching mockery that turns the oppressive nature of minstrelsy on its head. It was inversion upon inversion, satire upon satire, to the point where these performances became meta-performances about the nature of performance itself.

Modern-day drag in Britain came out of the context of this history that played out in parallel on the Music Hall and Variety stage, and led us to a world where the tension between the identities of performer and character is The Point. It is no longer simply, "haha, this is what women are like 🤣" but rather the insincerity of the performance is the performance. Drag is a joke about costume and mannerism as ephemeral - the played-up sense of "I am still just a man under all this" is why people find it funny.

In a world where barriers to cis women performing on stage have been largely lifted, a joke whose point is "look, I'm a woman!" just isn't interesting, even right-wing comedians have to work a bit harder than that these days. But we still live in a world where huge barriers to trans women performing on stage do exist, so a joke saying "look, I'm a [T-slur]!" does still make audiences laugh, and in fact increasingly so as those barriers seem to get higher over time.

Super mario speedrunning allows keyboards, because it was decided that it did not create an "unfair advantage". It does not allow any other controller (as far as i know). The rule around controllers is shaped around abled players because they make the rules.

These are of course examples, but I think it illustrates that point, that it never is about the game itself, but about ability. This is true of all competitions, they are all effectively barring disabled players. If you, as a disabled player, find a way to accomodate your disability too much, the ruling body will change the rules to stop you from competing.

Because competitions exist to display being abled as an ideal. The prestige and importance tied to being The best at something. Competitions exist because we want (as a society) to be abled. The credit of a competition then also relies on this ableism. Accommodations directly destroy the perceived importance of competitions, because if a disabled player is accommodated (if their experience is made easier), the Struggle of Competition is shown to be a sham and invalidated (ha). If you show up with an accessibility controller at a competition and win, you're a cheater. If you show up Abled, you're just Better.

happy bunny day . unfortunately they dont make bunny suits in "weird robot bug thing" size