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#OR my history
spineless-lobster · 3 months
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I am not the divine masculine or the divine feminine I am the divine comedy and you will address me as such
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parhe1ion · 4 months
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if you’re gonna introduce me to something new you have to defeat my 7 evil ex hyperfixations
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trudlejack · 1 month
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(+part 2)
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hamletthedane · 2 months
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I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.
What I thought that meant: telling us about unique sculpture materials and paint mixtures.
What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.
What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.
The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.
And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.
But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.
I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.
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rustandruin · 10 months
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the ghost of one specific homosexual cowboy regularly possesses Tumblr gays
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curiositypolling · 27 days
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pls reblog for sample size etc
follow for more occasional useless polls :)
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nipuni · 6 months
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Archangel Aziraphale and Archdemon Crowley 😌
A step by step process of this will be available at my Patreon on october 1st!
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gael-garcia · 5 months
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The Palestinian (1977)
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ato-dato · 8 months
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American 60s female presenting you say????? Well don’t mind if I do!!!!!
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deep-space-netwerk · 6 months
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So Venus is my favorite planet in the solar system - everything about it is just so weird.
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It has this extraordinarily dense atmosphere that by all accounts shouldn't exist - Venus is close enough to the sun (and therefore hot enough) that the atmosphere should have literally evaporated away, just like Mercury's. We think Earth manages to keep its atmosphere by virtue of our magnetic field, but Venus doesn't even have that going for it. While Venus is probably volcanically active, it definitely doesn't have an internal magnetic dynamo, so whatever form of volcanism it has going on is very different from ours. And, it spins backwards! For some reason!!
But, for as many mysteries as Venus has, the United States really hasn't spent much time investigating it. The Soviet Union, on the other hand, sent no less than 16 probes to Venus between 1961 and 1984 as part of the Venera program - most of them looked like this!
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The Soviet Union had a very different approach to space than the United States. NASA missions are typically extremely risk averse, and the spacecraft we launch are generally very expensive one-offs that have only one chance to succeed or fail.
It's lead to some really amazing science, but to put it into perspective, the Mars Opportunity rover only had to survive on Mars for 90 days for the mission to be declared a complete success. That thing lasted 15 years. I love the Opportunity rover as much as any self-respecting NASA engineer, but how much extra time and money did we spend that we didn't technically "need" to for it to last 60x longer than required?
Anyway, all to say, the Soviet Union took a more incremental approach, where failures were far less devastating. The Venera 9 through 14 probes were designed to land on the surface of Venus, and survive long enough to take a picture with two cameras - not an easy task, but a fairly straightforward goal compared to NASA standards. They had…mixed results.
Venera 9 managed to take a picture with one camera, but the other one's lens cap didn't deploy.
Venera 10 also managed to take a picture with one camera, but again the other lens cap didn't deploy.
Venera 11 took no pictures - neither lens cap deployed this time.
Venera 12 also took no pictures - because again, neither lens cap deployed.
Lotta problems with lens caps.
For Venera 13 and 14, in addition to the cameras they sent a device to sample the Venusian "soil". Upon landing, the arm was supposed to swing down and analyze the surface it touched - it was a simple mechanism that couldn't be re-deployed or adjusted after the first go.
This time, both lens caps FINALLY ejected perfectly, and we were treated to these marvelous, eerie pictures of the Venus landscape:
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However, when the Venera 14 soil sampler arm deployed, instead of sampling the Venus surface, it managed to swing down and land perfectly on….an ejected lens cap.
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viridianriver · 9 months
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Sewing Machines & Planned Obsolescence
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I've got these two sewing machines, made about 100 years apart. An old treadle machine from around 1920-1930, that I pulled out of the trash on a rainy day, and a new Brother sewing machine from around 2020.
I've always known planned obsolescence was a thing, but I never knew just how insidious it was till I started looking at these two side by side.
I wasn't feeling hopeful at first that I'd actually be able to fix the old one, I found it in the trash at 2 am in a thunderstorm. It was rusty, dusty, soggy, squeaky, missing parts, and 100 years old.
How do you even find specialized parts 100 years later? Well, easily, it turns out. The manufacturers at the time didn't just make parts backwards compatible to be consistent across the years, but also interchangeable across brands! Imagine that today, being able to grab a part from an old iPhone to fix your Android.
Anyway, 6 months into having them both, I can confidently say that my busted up trash machine is far better than my new one, or any consumer-grade sewing machine on the market.
Old Machine Guts
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The old machine? Can sew through a pile of leather thicker than my fingers like it's nothing. (it's actually terrifying and I treat it like a power tool - I'll never sew drunk on that thing because I'm genuinely afraid it'd sew through a finger!) At high speeds, it's well balanced and doesn't shake. The parts are all metal, attached by standard flathead screws, designed to be simple and strong, and easily reachable behind large access doors. The tools I need to work on it? A screwdriver and oil. Lost my screwdriver? That's OK, a knife works too.
New Machine Guts
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The new machine's skipping stitches now that the plastic parts are starting to wear out. It's always throwing software errors, and it damn near shakes itself apart at top speed. Look at it's innards - I could barely fit a boriscope camera that's about as thick as spaghetti in there let alone my fingers. Very little is attached with standard screws.
And it's infuriating. I'm an engineer - there's no damn reason to make high-wear parts out of plastic. Or put them in places they can't be reached to replace. There's no reason to make your mechanism so unbalanced it's reaching the point of failure before reaching it's own design speed. (Oh yeah there is, it's corporate greed)
100 years, and your standard home sewing machine has gone from a beast of a machine that can be pulled out of the literal waterlogged trash and repaired - to a machine that eats itself if you sew anything but delicate fast-fashion fabrics that are also designed to fall apart in a few years.
Looking for something modern built to the standard that was set 100 years ago? I'd be looking at industrial machines that are going for thousands of dollars... Used on craigslist. I don't even want to know what they'd cost new.
We have the technology and knowledge to manufacture "old" sewing machines still. Hell, even better, sewing machines with the mechanical design quality of the old ones, but with more modern features. It would be so easy - at a technical level to start building things well again. Hell, it's easier to fabricate something sturdy than engineer something to fail at just the right time. (I have half a mind to see if any of my meche friends with machine shops want to help me fabricate an actually good modern machine lol)
We need to push for right-to-repair laws, and legislation against planned obsolescence. Because it's honestly shocking how corporate greed has downright sabotaged good design. They're selling us utter shit, and expecting us to come back for more every financial quarter? I'm over it.
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endusviolence · 15 days
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Rowling isn't denying holocaust. She just pointed out that burning of transgender health books is a lie as that form of cosmetic surgery didn't exist. But of course you knew that already, didn't you?
I was thinking I'd probably see one of you! You're wrong :) Let's review the history a bit, shall we?
In this case, what we're talking about is the Institut für Sexualwissenschaft, or in English, The Institute of Sexology. This Institute was founded and headed by a gay Jewish sexologist named Magnus Hirschfeld. It was founded in July of 1919 as the first sexology research clinic in the world, and was run as a private, non-profit clinic. Hirschfeld and the researchers who worked there would give out consultations, medical advice, and even treatments for free to their poorer clientele, as well as give thousands of lectures and build a unique library full of books on gender, sexuality, and eroticism. Of course, being a gay man, Hirschfeld focused a lot on the gay community and proving that homosexuality was natural and could not be "cured".
Hirschfeld was unique in his time because he believed that nobody's gender was either one or the other. Rather, he contended that everyone is a mixture of both male and female, with every individual having their own unique mix of traits.
This leads into the Institute's work with transgender patients. Hirschfeld was actually the one to coin the term "transsexual" in 1923, though this word didn't become popular phrasing until 30 years later when Harry Benjamin began expanding his research (I'll just be shortening it to trans for this brief overview.) For the Institute, their revolutionary work with gay men eventually began to attract other members of the LGBTA+, including of course trans people.
Contrary to what Anon says, sex reassignment surgery was first tested in 1912. It'd already being used on humans throughout Europe during the 1920's by the time a doctor at the Institute named Ludwig Levy-Lenz began performing it on patients in 1931. Hirschfeld was at first opposed, but he came around quickly because it lowered the rate of suicide among their trans patients. Not only was reassignment performed at the Institute, but both facial feminization and facial masculization surgery were also done.
The Institute employed some of these patients, gave them therapy to help with other issues, even gave some of the mentioned surgeries for free to this who could not afford it! They spoke out on their behalf to the public, even getting Berlin police to help them create "transvestite passes" to allow people to dress however they wanted without the threat of being arrested. They worked together to fight the law, including trying to strike down Paragraph 175, which made it illegal to be homosexual. The picture below is from their holiday party, Magnus Hirschfeld being the gentleman on the right with the fabulous mustache. Many of the other people in this photo are transgender.
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[Image ID: A black and white photo of a group of people. Some are smiling at the camera, others have serious expressions. Either way, they all seem to be happy. On the right side, an older gentleman in glasses- Magnus Hirschfeld- is sitting. He has short hair and a bushy mustache. He is resting one hand on the shoulder of the person in front of him. His other hand is being held by a person to his left. Another person to his right is holding his shoulder.]
There was always push back against the Institute, especially from conservatives who saw all of this as a bad thing. But conservatism can't stop progress without destroying it. They weren't willing to go that far for a good while. It all ended in March of 1933, when a new Chancellor was elected. The Nazis did not like homosexuals for several reasons. Chief among them, we break the boundaries of "normal" society. Shortly after the election, on May 6th, the book burnings began. The Jewish, gay, and obviously liberal Magnus Hirschfeld and his library of boundary-breaking literature was one of the very first targets. Thankfully, Hirschfeld was spared by virtue of being in Paris at the time (he would die in 1935, before the Nazis were able to invade France). His library wasn't so lucky.
This famous picture of the book burnings was taken after the Institute of Sexology had been raided. That's their books. Literature on so much about sexuality, eroticism, and gender, yes including their new work on trans people. This is the trans community's Alexandria. We're incredibly lucky that enough of it survived for Harry Benjamin and everyone who came after him was able to build on the Institute's work.
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[Image ID: A black and white photo of the May Nazi book burning of the Institute of Sexology's library. A soldier, back facing the camera, is throwing a stack of books into the fire. In the background of the right side, a crowd is watching.]
As the Holocaust went on, the homosexuals of Germany became a targeted group. This did include transgender people, no matter what you say. To deny this reality is Holocaust denial. JK Rowling and everyone else who tries to pretend like this isn't reality is participating in that evil. You're agreeing with the Nazis.
But of course, you knew that already, didn't you?
Edit: Added image IDs. I apologize to those using screen readers for forgetting them. Please reblog this version instead.
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yeoldenews · 17 days
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An excerpt from the trial of Elinor Crane, who was arrested in Middlesex in 1693 on suspicion of burglary. A witness claimed one of the burglars was a woman in men's clothing, and Elinor had previously been seen in the area dressed as a man.
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"But the Court asking her why she went in Mans Apparel, the Prisoner replyed, She went to Wooe a Widow. Upon the whole Matter the Jury brought her in not Guilty."
(source: Old Bailey Proceedings: Accounts of Criminal Trials, April 26, 1693.)
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bone-yarddz · 1 month
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Audio books but it’s Michael Sheen reading books as Aziraphale and sometimes you hear David Tennant shouting something obnoxious as Crowley.
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lgbtlunaverse · 2 months
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There's a version of the "don't go grocery shopping while hungry" rule specifically for writers where you should never under any circumstances be allowed to touch your draft within 3 hours of reading a really good story. Because sometimes when you read something great your head goes "fuck this is so much better than my stuff I should make that more like THIS instead!" Look at me. That's the devil talking and you should close the document NOW.
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azuremist · 9 months
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“Unfinished Painting” — Keith Haring
This painting was left intentionally incomplete. Haring began it when he was dying due to complications from AIDS, and knew he didn’t have much time left. The piece represents the incomplete lives of him and many others, lost to AIDS during the crisis.
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“AIDS Memorial Quilt” — Multiple
This quilt is over 50 tons heavy, and one of, if not the, largest pieces of community folk art. Many people who died of AIDS did not receive funerals, due to social stigma and many funeral homes refusing to handle the deceased’s remains, so this was one of the only ways their lives could be celebrated. Each panel was created in recognition of someone who died due to AIDS, typically by that person’s loved ones.
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“Untitled” (Portrait of Ross in L.A.) — Felix Gonzalez-Torres
This pile of candy weighs the same amount as Gonzalez-Torres’ partner, Ross Laycock, did. Ross Laycock had died due to AIDS-related complications earlier that same year. Visitors who see this piece are encouraged to take some of the candy. As they do so, the pile of candy weighs less and less, like how AIDS had deteriorated the body of Ross Laycock.
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The SF Gay Men's Chorus
This photo was taken in 1993. The men in white are the surviving original members. Every man in black is standing in for an original member who lost their lives to AIDS.
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“Electric Fan (Feel it Motherfuckers); Only Unclaimed Item from the Stephen Earabino Estate, 1997” — John Boskovich
After the death of his lover, Stephen Earabino, from AIDS, Boskovich discovered that his family had completely cleared his room, including Boskovich’s own possessions, save for this fan. An entire person, existence and relationship had been erased, just like so many lives during the AIDS crisis. Boskovich encased the fan in Plexiglass, but added cutouts so that its air may be felt by the viewer, almost like an exhalation. In a sense, restoring Earabino’s breath.
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“Blue” — Derek Jarman
This was Jarman’s final feature film, released four months before his death from AIDS-related complications. These complications had left him visually impaired, able to only see in shades of blue. This film consists of a single shot of a saturated blue color, as the soundtrack to the film described Jarman’s life through narration, intercut with the adventures of Blue, a humanization of the color blue. The film's final moments consist of a set of repeated names: “John. Daniel. Howard. Graham. Terry. Paul". These are the names of former lovers and friends of Jarman who had died due to AIDS.
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“Untitled” (Perfect Lovers) — Felix Gonzalez-Torres
Created by the same man who created the previous untitled piece, this piece was also inspired by his lover’s deterioration and death due to AIDS. This piece consists of two perfectly alike clocks. Over the course of time, one of the clocks will fall out of sync with the other.
In a letter written to his lover about the piece, before his lover’s passing, Gonzalez-Tourres wrote, “Don't be afraid of the clocks, they are our time, the time has been so generous to us. We imprinted time with the sweet taste of victory. We conquered fate by meeting at a certain time in a certain space. We are a product of the time, therefore we give back credit were it is due: time. We are synchronized, now forever. I love you.”
Please feel free to reblog with more additions
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