HOW TO CHEER UP IN 2 EASY STEPS
- WHISPER “BEEP BOOP” TO YOURSELF.
- REPEAT UNTIL NOT SAD.
((BUT WHY DOES THIS WORK??????))
British researchers have created the ‘new black’ of the science world - and it is being dubbed super black.
The material absorbs all but 0.035 per cent of light, a new world record, and is so dark the human eye struggles to discern its shape and dimension, giving the appearance of a black hole.
Named Vantablack, or super black, it also conducts heat seven and half times more effectively than copper, and is ten times stronger than steel.
It is created by Surrey NanoSystems using carbon nanotubes, which are 10,000 thinner than human hair and so miniscule that light cannot get in but can pass into the gaps in between.
5ouda said: Where does your username come from? Like, what made you choose it?
Shoom’lah is a portmanteau of two words in D’ni, the language from the MYST franchise- shooth, meaning “death,” and m’lah, meaning “lizard.” So I guess it means “Death Lizard” or “Lizard of Death” or “Ew it’s a dead lizard don’t touch it” or something comparable.
I came up with the name when I was trying to design creatures for my own Myst age back in 2000 (the Shoom’lah was some semi-aquatic reptile that was an omen of death), and when I needed a screenname in the now-defunct Rivenguild forums I went with that. I can honestly say I didn’t expect it to stick, especially not for eleven years.
And, if you’re curious, my drawings of the actual shoom’lah creature over the years:
I’ve gotten three or four asks about this recently, so it seems as good a time as any to reblog this sucker. FOURTEEN YEARS STILL GOIN’ STRONG
A Russian tank manufacturer has unveiled a new tram design that it plans to start mass-producing in 2015. These beautiful pieces of engineering will hold 190 to 270 passengers and will be able to traverse on even the older, worn out Russian tram tracks.
this is the train of my dreams
I LOVE THIS TRAIN
WERE LIVING IN THE FUTURE AND I FUCKING LOVE IT
L’Illusionniste / The Illusionist
Film d’animation / Animation feature film
Sylvain Chomet (2010)
Written by Sylvain Chomet and Jacques Tati
Jacques Tati originally wrote the script for The Illusionist. It was a love letter from a father to his first daughter, but never got produced. Sylvain Chomet, director of The Triplets of Belleville / Les Triplettes de Belleville, adapted the script and once again used his own original animated style.
The fun part about working with museums is that the institutional racism is so thick you can cut it with a knife. These two pictures are of database index trees that are created to help people search for art or artifacts. Notice the categories under “African Art” in the first picture… Yup, all it says is African Art… again. What you can’t see is that there are 7 categories under Asian Art. It took me 2 weeks to get them to change it to regions in the second picture. So now, if you search for West African, you won’t get stuff from Kenya and Egypt too.
African cultural items are often poorly managed, poorly catalogued, poorly maintained, and when on display, poorly mounted. They aren’t the priority of most museum spaces and there isn’t as much available literature on the items as there is for Greco-Roman crap: that’s some old colonial bullshit.
However, I still stand by the idea that they shouldn’t even have these cultural items in their possession, but until that day comes, they’re going to learn how to respect them.
I probably need to start a museum displays tag….because while we’re seeing great strides in some directions, it’s because of people who are actively trying to fight the existing problems in the way information is presented to us….
I just wanted to say that I really like the changes mainly because when museums don’t categorize their stuff adequately people who don’t know much about the items on display can’t learn more about the items on display… okay, let’s try that again…
I like that the poster got this fixed because as of now it is difficult to learn new things about rarely represented regions if you aren’t specifically interested in them, while well-represented regions of the world map constantly get to have information provided to causal observers so that there’s no way you don’t pick up some of it. This is why the entirety of Africa was in one category while some countries and even parts of countries in Europe probably have their own entries. Pointing out to which region each item belongs makes people compare and contrast them and notice what is typical, so the more specific your database can get, the more subtle details people can learn to distinguish, and this is really cool.
Here I was well into my 20’s with a college degree and a corporate job. I was playing music with no intention of generating money or some massive fan base and, all of a sudden, I had to find excuses to get out of work in order to go tour Europe or Japan. I was recording albums on one of my favorite metal labels of all time (Relapse Records). I was collaborating with some of my favorite musicians. And before I even realized it, I was making 100% of my living creating art.
How did this happen? It happened because we ignored the rules. For the first time in my musical trajectory, I was creating without the idea that there was a right way or a wrong way to do things. No two people are alike. No two people have the same exact cultural influences. Art is not a two party system and never should be."
YouTube comments aren’t “just the Internet.” They’re not the product of a group of otherwise nice guys who suddenly become evil when they wear a veil of anonymity. YouTube comments are actually a nightmarish glimpse into the sexist attitudes that define the fabric of our own existence in the “real world,” a world that, like YouTube, is owned and dominated by men. The most terrifying gift that the Internet has given us is that it’s shown us how men honestly perceive the world: as a place where women exist exclusively for their sexual pleasure.
In the wake of VidCon, and as more and more women start speaking up about the harassment they face online, it’s time to start realizing that our narrative of progress is deeply flawed. Things aren’t getting better for women on the Internet; they’re deteriorating and ignoring the problem amounts to being complicit in it."
"For women on the Internet, it doesn’t get better" by Samantha Allen (via femfreq)
Anonymous said: How did you motivate yourself to start your comic? I'm trying to start a comic right now, but I keep worrying about dumb things like art thieves and people who in general won't like it. How did you get past these things and begin?
Well, nothing ventured, nothing gained, right?
Theft and haters should probably be the least of your worries at this stage, honestly. Focus your energy on telling a good story, developing an artistic approach that complements the story, communicating effectively with your dialogue and your page layouts, working out a production schedule, and just hunkering down and doing the work (which will probably amount to more blood, sweat and tears than you can prepare for, assuming you haven’t done this before). Those are the things that are really worth troubling yourself over because that’s ultimately how the undertaking becomes fulfilling…they’re the satisfying meaty bits of a creative diet…the marrow even…
…the colorful, delightsome dehydrated marshmallows in the soggy, beige compost of your breakfast cereal…not altogether unlike Life cereal, but not exactly Life, which is a shame because that would really drive this metaphor home…like the Kool Aid man through your living room wall…
There will be people who won’t like your comic. It’s not hard to distinguish thoughtful criticism from ridicule and resentment, though. Filter out the former and sift through it for useful information. As to the latter, well, electronic outrage from anonymous assholes is rather a fact of life in this day and age, isn’t it? No matter who you are, what you do, what your art looks like, how you write, or what you choose to write about, there are going to be people out there who’ll glean some perverse satisfaction from telling you how much they hate it. You can’t spend your life hiding away from inevitable nonsense like that, though, and trying to tiptoe around it by making everyone happy is limiting, sterilizing, and equally futile. Come to grips with the existence of the vitriol, know that along the way at least a little of it will pelt you in the face, and though it will quite probably sting, understand that it’s often more about the individual it’s coming from and their personal issues than it is about your work…then move along because other things are more important. Do the comic for your own gratification foremost. Do it how you want to do it. Do it genuinely for your love of the art, the process, the story, the characters. When you love it, it’ll sustain your interest and will demand to be done with integrity. The quality of your output will reflect that - work really shines when you’ve loved it so much it could kill you - and the quality of the feedback you get will tend to coincide.
Art thievery is a pain in the ass, to be sure, and while it can make you feel like crumpling into a heap, lashing out, setting the internet on fire, becoming a cave hermit on impulse, crying and rage-vomiting all at the same time, incidents are fairly uncommon. When they do happen, they’re usually minor and the internal melodrama is quickly replaced with resolve to continue along and address the problem as best you can. Someone reposting something you made and taking credit for it, slapping your art on a set of table coasters and putting it up for sale in an Etsy store, compiling it with a bunch of other things into a slipshod publication or app - these things happen, they’re vexing, but they aren’t career-ending catastrophes and they’re usually not particularly detrimental to anything but your pride. For rarer but more heinous situations involving revenues and corporations that should know better, the art community at large is usually quick to come to the outspoken defense and aid of artists who have clearly been wronged. You can take sensible precautions as well, like including your copyright information on everything and registering trademarks if you’re making a business of your art.
Yes, conceivably something terrible and personally devastating could happen, but you have to weigh for yourself whether all the good that can come of putting your work out there - the people you’ll share something with, the friends you’ll make, the connections you’ll establish with other artists, the things you stand to learn, the freelance and job opportunities you’ll create for yourself - is worth the risk. I’ve had my share of art theft headaches and heartaches, but if I had to make the choice again, I wouldn’t flinch in decision to share my work online. It has made all the difference in my life and career as an artist, as it has for many others.
Well, that was a lot of words. Sorry. I hope it contains something useful. Good luck with your comic!