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if theres one thing that really pissed me off from my 3 years of architecture i took in high school it's learning about how we used to have all these little techniques to maximize or minimize heat or warmth and now we just merrily abandoned all those to have the same copypaste style buildings everywhere that are often INCREDIBLY unoptimized to the local weather and climate so we can just throw more money at our heating and cooling bills
where i live it is hot as balls approximately 80% of the year. i do not want a massive butt-ugly grey mcmansion with a huge echoey open-concept kitchen-livingroom-foyer-diningroom-staircase that has huge windows so i can have an hvac unit the size of a barge heaving and straining to keep it at a constant 72 the grees. i want a north indian traditional style home with small windows to force the airflow to cool, decorative grates to limit the amount of sunlight, and a COURTYARD with a POND *smashes unspecified large object*
this is exactly why I love talking about historical passive heating and cooling techniques
oh wow the glass-tower office buildings we constructed when we thought air conditioning and central heating would never have downsides...have downsides?
and we're still building them?
while the Victorian house museum where I work, with thick walls and small windows and big wooden shutters stays ~10 degrees above (winter) or below (summer) the outside temperature for days on end with no help at all?
uh. okay then
(also public transit. the history of public transit in the US is infuriating, because we had it! and then we destroyed it!)
watching game of thrones and this was considered a historically accurate portrayal of steppe nomads??? the faux leather strapless crops and faux leather yoga pants?????
one thing this show clearly doesnât get, which a lot of modern portrayals of premodern times donât seem to get, is that in a preindustrial society where literally everything is handmade, people preferred (and prefer!) to take a little longer to make things beautiful. if youâre personally spinning and weaving and stitching every inch your new coat, you might as well take an extra afternoon to dye the fibers a really lovely yellow with some onion scraps, and spend a little longer to embroider on a nice pattern. if youâre personally carving every angle of every chair in your house, you may as well slow down and carve them with a beautiful and culturally significant design, especially if you know your great-grandchildren will be sitting in them. in a hyperconsumerist industrial society itâs expected that you just buy what you can afford and settle for however beautiful or ugly the thing happens to be, but it wasnât always that way. the vast majority of people in the premodern worldâmen and women, rich and poorâwere hobbyist artists, and they dressed in and sat on and slept under and smoked with and ate out of their and their ancestorsâ canvases every day
DO YOU KNOW WHAT REAL STEPPE NOMADS FUCKING WORE???
HERE'S THE FUCKING REFERENCES I CREATED FOR A XIONGNU-INSPIRED DND CHARACTER COMMISSION. AND THAT WAS SOMEHOW MORE RESEARCH THAN GRR MARTIN AND HBO COULD BE PISSED DOING.
vs
LOOK AT THE FUCKING ARTESTY. THE CRAFTSMANSHIP. THE EMBROIDERY.
One thing I don't see discussed enough about game of thrones is the blatant orientialism. hey quick question, why are the real cultures you were "inspired by" portrayed as basically human-orcs?
1) why are nomadic societies automatically portrayed as being incapable of valuing or producing sophisticated clothes, and why is that costuming directly linked to their "bloodthirsty" and "warlike" natures? did you know their IRL counterparts the xiongnu/jurchens/mongols/hu people LOVED the fancy silks produced by the han chinese. not only was this a key part of diplomacy between the two nations. (surprise! they were not constantly at war, because steppe nomads were not bloodthristy monsters who loved death, but real people engaged in resource competition and territory control). it was also part of the internal politics of steppe culture, e.g., who was favoured by the leader and how valuable gifts were distributed among the nobility. but noooo that would mean thinking of them as real people motivated by complicated things like politics, status and culture within their tribes! and who would watch a show about people doing that? -_-
2) why do their societies revolve around killing and conquest, and have no love for intellectual or artistic pursuits? historically, genghis khan, kublai khan, ect, valued scholars and did everything they could to patronise/kidnap/poach huge numbers of them, and this was key to their tactical success! han chinese engineers were captured, and used to build siege engines to take down the great wall! that portrait of kublai khan you see up there was drawn by the nepalese artist araniko, a child prodigy who was part of the khan's court. does khal drogo have a flock of artists following him around, propagandising his greatness to the world, so everyone knows that he is a man of culture and his rule has legitimacy? no, he burns down villages for fun? cool. cool cool.
3) why are the dothraki portrayed as lawless brigands who are incapable of governing their captured territory, when the mongol-led yuan dynasty managed to conquer and rule over china, and genghis khan was responsible for expanding the silk road, and enforcing such effective law and order over it that it resulted in the pax mongolica, and increased trade between the east and west? is it because they "don't wanna?"' why? are they a monolith? why would they throw away the advantages of all that trade control? are they just "intrinsically incapable of it?" would you care to expand on that?
picture references:
clothing of a Xiongnu chief, 2nd century BCE-1st century CE. Reconstruction by archaeologist A.N. Podushkin, in the Central State Museum of Kazakhstan.[77][78]
Noin-Ula carpet, animal style. 1st century CE.[236]
Xiongnu Leather Robe, Han period, Henan Provincial Museum, Zhengzhou
Belt buckle with animal combat scene, 2nd-1st century BCE, made in North China for the Xiongnu.[267][157]
portrait of Kublai Khan by artist Araniko, drawn shortly after Kublai's death in 1294
My favourite part of Little Idaâs Flowers is when Andersen not only goes out of his way to explain how his self insert in the story is VERY cool, but also decided to brag about his paper cutout art
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One thing about me is that I will defend Romeo and Juliet until the day I die. âThey werenât in loveââ the point is that they were never allowed to figure that out themselves because of the hateful society they lived in. They were kids who didnât get to figure these things out because they died. âRomeo should have checkedââ Juliet didnât have a pulse. He didnât know about the plan. âJuliet was dumb for taking the potionââ She was a 13 year old girl. That was the Friarâs fault, not hers. It was the fault of the adults who should have known better.
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I think gatekeeping art is such a funny thing like. "Oh so this doodle I just made is art" yes next question. "So video games are art?" yes????? Bitch your essay you wrote on that book you didn't read in English class when you were 10 is art. Painting a fence is art. 2 sentence shitpost on Tumblr is art. Get on my level.
I'm firmly convinced that there are certain archaeological artifacts we'll never fully understand because what sparked their creation was some prehistoric craftsperson thinking to themselves "hey, you know what would be fucked up?"
My favourite part of the local Roman Britain musuem I visited for my birthday was a ~2000 year old tile ruined by a dog. You can even see a rock lodged in as if the workers tried to scare it off.
The best part is that this isn't a rare find. They had a whole wall of tiles ruined by pets. Imagine how many there were for us to find so many ~2000 years later...
#every time I see this picture I am briefly overwhelmed#this piece of art outlived its context and milieu#but. but. in reality there is no such thing#because art is made anew with every glance. it comes to life. awakens laughing#and time compresses. softens. the past is not so much a mystery if we remember we werenât the first to dance.#this is what art is for#this is what it can do#it doesnât only speak to us of our own humanity#it reminds us that humanity is shared. this girl isnât dancing in a mirror. she is dancing with a friend.#paintings donât simply show us the world. they help teach us how to live in it. (via @robotmango)
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Thereâs a theory that early Europeans started saying âbrown oneâ or âhoney-eaterâ instead of âbearâ to avoid summoning them, and similarly my friend has started calling Alexa âthe faceless womanâ because saying her true name awakens her from her slumber
English has an avoidance register used in the presence of certain respected animals, which sounds fancy until you realize itâs spelling out w-a-l-k and t-r-e-a-t in front of the dog.
Iceland does! They are the illhveli, literally âevil whalesâ, and they live to kill you. They love nothing more than killing and eating humans and sinking their ships. Their greatest enemy is the steypireydur (thatâs blue whale to you), which is the greatest of the good whales and the protector of sailors.
All evil whales are, well, evil. So evil that if you speak their name at sea, they will hear it and home in on you. So instead you use all sorts of euphemisms for their names. Also if you try to cook their meat it literally disappears from the pot. Thatâs right, theyâre so evil, you canât even eat them.
They include such types as the hrosshvalur (horsewhale), with big eyes and a red mane and tail. This is probably the best known and most feared of the lot.
The raudkembingur (redcomb) is especially cruel and bloodthirsty even by illhveli standards. If you manage to escape it, it will die of frustration.
Good luck escaping the mushveli (mousewhale) though, it has legs! And will clamber onto the beach in pursuit!
Or what about death from above? The stĂśkkull (jumper) leaps high into the air and pile-drives boats to pieces.
Meanwhile the skeljungur (shellwhale) sits in the path of boats and lets them get wrecked on its shelly hideâŚ
⌠while the sverdhvalur (swordwhale) slices through boats with its dorsal fin.
The katthveli (catwhale) is relatively harmless though. It meows.
The same canât be said of the lyngbakur (heatherback), a classic island fish that lets sailors get on its back and then dives, taking them to a watery grave.
The nauthveli (oxwhale) on the other hand specially targets cattle, attracting them into the sea with its bellow before tearing them apart.
How can you avoid all these murderous whales, like the taumafiskur (bridlefish) here? Any of a number of ways, including getting a steypireydur to help. There are substances, ranging from angelica to sheep dung and chopped fox testicles, that they find abhorrent. And you can distract them with loud noises and barrels.
For more, I assure you this link will answer all your questions.
This is also why fairies were referred to as the âGood Neighborsâ and why there are so many nicknames for Satan.
The concept of avoidance speech is endlessly fascinating and rife with plot points for writing, but honestly Iâm just thrilled about the EVIL WHALES.
my high school english teacher would often critique our literature analysis work by pointing out: "you're treating these characters like they're real people. They're not. They're characters". And it took me a long time to understand what he meant by that. Because I always thought "isn't that the point? That writers want to write characters to be so three dimensional that they act and feel like real people?" but that's not it.
Characters are tools a writer uses in service of a story. Of course characters can be written with depth to the point they feel real to us, but they exist in service of their narrative. Something real people aren't beholden to at all. When discussing characters, I think it's easy to accidentally see these characters as "real people" and not extensions of the author's beliefs. Tools for a narrative. Means of storytelling.
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