Johann Gottfried Schadow (German-Prussian, 1764-1850) Standing Female Nude, n.d.

Anna Weyant, Pearls, 2020. Colour Pencil on Paper. 

It's been a bit since I've rambled about xenobiology headcanons, and this time because I've been thinking about Andreas I thought today's edition would be about talpaedans, seeing as how I made a list that I haven't put into a post yet-

Let's go!

Between all members of talpaedan youth and development, there is an innate basic understanding of construction, as comparable to human's ability to recognise patterns and facial language (give or take a few neurodivergencies). And specific construction comprehension is linked to whatever tool talpaedan youth are integrated in, which develops over time based on what materials are consumed (a diet of concrete may make cement mixers, or a diet that requires a lot of digging may develop jackhammers) as well of course the genes of the parent/s.

And on to that 'parent/s' thing, let's bring up haplodiplody again.

On Earth, haplodiplody is the system where one sex is developed from a fertilised egg (which tends to be the females) and thus are diploid with DNA of the mother and father, while the other sex is from an unfertilised egg (males would technically be the result of asexual reproduction) and thus is only haploid with only the mother providing DNA. Talpaedans are not an Earth species, but functionally that is the basis of their sex-determination, where females would be best translated as architects and males best translated as tradies, which in of itself is rather contextually slang in English.

And even with haplodiplody, talpaedans still have a bimodal sex distribution, though tradies are neither part of the equation. Instead, fertilised eggs though typically expected to produce architects also just as often produce workers, non-reproducing talpaedan youths that are born an raised to be the most common labourers of the colony they were born under and never leave the hive, as opposed to architects who work higher profile jobs and are in line to be promoted to site queens, and tradies who pre-war were lower rung workers who took to training younglings for work as well as in general raising them. Being bimodal it's not a perfect list of traits to be considered as either an architect or a worker, though there is a bias towards architects being able to reproduce as that would be the key factor needed in promotion. Tradies that are infertile or more characteristically architects would be considered workers and are more of a consequence of asexual reproduction and the lack of genetic diversity.

Talpaedan gender has been typically correlated with sex throughout most Poiana Lüncas colonies, with the architects being the talpaedan equivalent for women and tradies as the talpaedan equivalent for men, but workers have a more diverse gender identity even in more conservative colonies, either being a third gender or having men and women and in between identities being formally acknowledged as such in worker populations. There might be a few general issues about identity especially among architects and tradies, but colonies are less focused on the individual and most of their aggression is directed to other colonies rather than it's own population.

It is this tension towards other colonies that had eventually and near inevitably sent Poiana Lüncas into many wars, though the most recent one had been the worst and the last in many years, a war that fundamentally changed how intercolonial relationships worked. A very large colony had been expanding it's borders to accrue even more resources for it's ever growing population, in turn threatening the smaller colonies on it's outer borders, elevating tensions to an all time high. The whole shtick lasted for years until a few colonies realised that alone no one could stop this large megacolony from wiping out each of them one by one, but through an alliance they could stand together and beat the ever loving crap out of the aggressor.

And how their alliance worked was through the sharing of resources and ensuring the protection of youths especially, and so began the first war-era runs of arranged 'marriages' as tradies live up to their name in a more eh... dubious sense. By sending in tradies (who's lower rung work was mining for resources and food) from colonies not on the front line, the colonies along the border had assurances that their home had well fed and well protected populations - as well as a general diverting of power - to beat back the aggressor colony and in fact not only raze it to the ground, but dug it completely out and functionally turned it into a mass grave reeking of death; No Queen's Land it would later be named, for no surviving members of the colony were left alive to name it after themselves.

With a combination of a clearly war-created desert and the whole 'ant death smell' thing that exists in ants aka the big inspiration for my talpaedan headcanons, makes No Queen's Land an omen that trade routes never cross, instead creating what would be a ring road surrounding the outer reaches of the ex-colony that would direct trade routes through the border colonies one by one. Direct trade or travel between the colonies on complete opposite sides of the pock marked, crater desert is both impossible and otherwise detested by Queens and the architects responsible for trade routes, instead being a multicolonial multigenerational process that circles the border colonies until reaching the 'opposite side of the world'.

To this day (or at least to the day that exists universally in the moment that Andreas would consider a 'this day') the trade routes affect the lives of tradies post-war. Instead of being completely locked to the hive like workers and architects, tradies at a certain age are sent to travel in as both tradesmen and concubines to whatever colony they have been raised for, a fact that had been determined early on at the development of their tools and the needs of the recipient colony. The host colony would arrange their young to be raised by tradies that once came from their own host colony, determined by their last name of [birth colony-trade colony] (as opposed to architects and workers whose last names are simply [birth colony]) in order to be raised as bilingual to understand the majority language of their trade colony and to be an example of the future youth they would need to raise speaking their birth colony's language.

Andreas was on one such trade route when Aggregor snatched the talpaedan for materials in functionally a fusion experiment, being part of a group about to be married off to a queen, an architect or as a working tradie, technically 'divorcing' the deal when Andreas was stolen away. Considering that Poiana Lüncas isn't the most peaceful environmentally, the trade routes also serve as a double use, a sharing of resources and a preventative measure for overpopulation. I mean, a colony would be pissed if absolutely none of their trade gets to them - probably spark a conflict that may get hairy - but losing numbers is an expected consequence. Andreas doesn't expect anyone to particularly care that they're missing the one or few talpaedans that disappeared in the night, especially with the generally large number a trade route sends, and Aggregor isn't going to take out a whole line of talpaedans just to get to one; a simple 'cutting off from the group' works fine enough.

And one final thing to note, now more focused on Andreas as an individual rather than talpaedans as a species. I've mentioned death smell and thought to bring it up here since, if you've seen my stuff before or straight up follow me (for my rambling or long enough to see my rambling), I love stealing @kariachi's necromancer Argit and the whole idea of him killing, healing, and reviving Andreas in the titular episode Andreas' Fault. I looked up how ant death smell works and apparently it's a constant thing that's only combated by a constant flow of life smell, so with a brief touch of death even if Andreas doesn't REEK of death, a talpaedan would probably suspect Andreas stepped into No Queen's Land and got cursed by something. But for those of y'all buried deep enough in my rambling would be confused; 'if one can smell actual literal death and associate it as actual literal death why doesn't Andreas at least even slightly suspect the idea of being briefly dead when the castle crashed?'

Well babes, you know what's an easy simple solution for this? Andreas is anosmic :D! Of course Andreas would be the last to know, Andreas' would have no frame of reference for what a 'death smell' is. Could even be how Aggregor got Andreas separated, if everyone else can smell death smell they might notice the fact that No Queen's Land reeks of the stuff. Not a great way to find out that one is anosmic admittedly, but I mean if Ra'ad is finding out that among the many neurodivergencies he does have much of his overstimulated suffering is magic and mutation that he thought every other amperi had to deal with because you find out your husband died and now has a magical mind barrier well...

Okay okay, one more final note. Given that Andreas is a tradie, Andreas's full name would be [birth colony]-Andromeda after the name Andreas actually gets married into because Earth and especially English dominated areas of Earth like last names. And I guess if Andreas gets adopted into any Earth-based packs thanks to being attached to Argit like a puppy you can shove in another last name like [birth colony]-[pack]-Andromeda.

This has been in my notes since August woops-

the kibbe types system has been criticised widely and yet I've not seen anyone call attention to the bizarre description of "long, lean, and dry flesh". wtf, "dry" flesh? of course, as opposed to wet flesh. wet moist squelchy flesh. huh

Female sculpture study, copied from 3d model off sketchfab for practice. Since most of my local galleries are closed for now, this is a handy source for reference.

this passage from the textbook in my deviance soc class….. I used the concept of the replacement self in my angel essay as I feel like it really elaborates part of the relationship between angel and angelus

It has its problems, but it’s a sketch and something got put on paper

This week is “fandom week” in my gender studies unit. Things I am looking forward to include

Introducing everyone to the Star Trek “Tik Tok” fanvid

Wearing a revolving assortment of my fandom-related tees to my classes (I’m trying to figure out if there’s some way I could change tees mid-class for maximum nerdiness)

Talking about Goncharov as an example of fandom as participatory culture

Trying really hard NOT to talk about omegaverse

Failing not to talk about omegaverse and seeing the looks on everyone’s faces

Outing myself as being Really Fucking Online

Duncan Hannah – Studies of the Female Form

Duncan Hannah is a self-described 'idiosyncratic' painter, having emerged improbably from New York’s punk scene as a figurative artist obsessed with painterly technique and single-mindedly focused on reviving the narrative tradition in painting. His work is informed by mid-20th century British representational artists and American titans Edward Hopper and Winslow Homer, as well as mavericks such as Balthus and Fairfield Porter. Studies of the Female Form includes drawings made in various mediums over the past decade. It forms part of a series of books published by Dashwood since 2012 featuring drawings, paintings and photographs produced in the format of a paperback novel.

18.5 x 12 cm, paperback, Dashwood Books (New York).

charlie's angels more like quan chi's demons.

As a significant "feminised" category of mental illness, however, HPD [histrionic personality disorder] was superseded in the DSM-III by the introduction of the controversial BPD, a label which has been increasingly applied to women, with around 75 per cent of all cases estimated to be female. Seen as a milder form of schizophrenia and lying on the "borderline" between neuroses and psychoses, the concept has been used in psychiatry since 1938. Like other personality disorders, BPD has a notoriously low reliability level even by the generally poor standards of the DSM, and even within the profession is considered by many as yet another "wastebasket" category (though as Bourne ruefully remarks, the ambiguity of such personality disorders makes them particularly useful in policing deviance in the new century). One member of the DSM-III task force stated at the time of constructing BPD that "in my opinion, the borderline syndrome stands for everything that is wrong with psychiatry [and] the category should be eliminated". The chair of the task force, Robert Spitzer, admitted with the publication of DSM-III that BPD was only included in the manual due to pressures from psychoanalytically oriented clinicians who found it useful in their practices. Such practices have been documented by Luhrmann who describes psychiatrists' typical view of the BPD patient as "an angry, difficult woman—almost always a woman—given to intense, unstable relationships and a tendency to make suicide attempts as a call for help.' Bearing significant similarities to the feelings of nineteenth century psychiatrists towards hysterics, Luhrmann's study reveals psychiatrists' revulsion of those they label with a personality disorder: they are "patients you don't like, don't trust, don't want . . . One of the reasons you dislike them is an expungable sense that they are morally at fault because they choose to be different." Becker reinforces this general view of the BPD label when she states that "[t]here is no other diagnosis currently in use that has the intense pejorative connotations that have been attached to the borderline personality disorder diagnosis." A bitter irony for those labelled with BPD is that many are known to have experienced sexual abuse in childhood, something they share in common with many of those Freud labelled as hysterical a century earlier; a psychiatric pattern of depoliticising sexual abuse by ignoring the (usually) male perpetrator, and instead pathologising the survival mechanisms of the victim as abnormal.

By the mid-1980s, the hysteria diagnosis had disappeared from the clinical setting while BPD had become the most commonly diagnosed personality disorder. BPD is now the most important label which psychiatric hegemony invokes to serve capital and patriarchy through monitoring and controlling the modern woman, reinforcing expected gender roles within the more fluid, neoliberal environment. Nevertheless, as Jimenez (emphasis added) reminds us, the historical continuity from hysteria to BPD is clear: "Both diagnoses delimit appropriate behavior for women, and many of the criteria are stereotypically feminine. What distinguishes borderline personality disorder from hysteria is the inclusion of anger and other aggressive characteristics, such as shoplifting, reckless driving, and substance abuse. If the hysteric was a damaged woman, the borderline woman is a dangerous one."

Bruce M.Z. Cohen, Psychiatric Hegemony: A Marxist Theory of Mental Illness

2023年6月2日

【新入荷・新本】

Duncan Hannah Studies of the Female Form, Dashwood Books, 2021 (2019)

Softcover. 96 pages. 120 x 184 mm. Color. Limited edition of 500 copies. Second edition.

価格：3,300円（税込）

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アメリカ人アーティスト、ダンカン・ハンナ（Duncan Hannah）の作品集。2019年に「Dashwood Books」から刊行された作品集のセカンド・エディション。表紙も新たに13点の新作ドローイングを収録。一風変わった肖像画家を自称する作者は、ニューヨークのパンクシーン出身である。絵画の技法にこだわり、絵画における物語の伝統を復活することにひらすら打ち込んできた。その作品は、20世紀半ばのイギリスを代表するアーティストたちに加え、エドワード・ホッパー（Edward Hopper）やウィンズロー・ホーマー（Winslow Homer）などのアメリカ人の巨匠、さらに孤高の芸術家バルテュス（Balthus）やフェアフィールド・ポーター（Fairfield Porter）らの影響を受けている。ペーパーバックの小説本のフォーマットを用い、ドローイング、絵画、写真など、2012年からの約10年間に様々な表現手段を使って制作した作品をまとめた1冊。

（twelvebooksによる本書紹介文）

Duncan Hannah is a self-described "idiosyncratic" painter, having emerged improbably from New York's punk scene as a figurative artist obsessed with painterly technique and single-mindedly focused on reviving the narrative tradition in painting. His work is informed by mid-20th century British representational artists and American titans Edward Hopper and Winslow Homer, as well as mavericks such as Balthus and Fairfield Porter. Studies of the Female Form includes drawings made in various mediums over the past decade. It forms part of a series of books published by Dashwood since 2012 featuring drawings, paintings and photographs produced in the format of a paperback novel.