#mid century modern authenticity | Explore Tumblr Posts and Blogs

midmodpt · 4 months

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Website : https://www.midmod.pt/

Address : Rua São João Nepomuceno 32B, Lisboa, Portugal 1250-233

Mid Mod, established in 2017 in Lisbon's Lapa neighborhood, specializes in Mid Century Modern pieces from the 50s, 60s, and 70s. Curated by Henrique Salgado, the store offers an eclectic collection of original pieces by acclaimed designers. Known for its unique blend of elegant design and vibrant colors, Mid Mod ensures each item's authenticity and origin. The store extends its expertise through various bespoke services, including interior and lighting consultancy, plant consultancy, home and event staging, rental, and restoration. Embracing the art-design connection, Mid Mod collaborates with contemporary artists and showcases international works. Customers can visit the showroom by appointment or explore the collection online, with international shipping available.

Facebook : https://www.facebook.com/midmodlx/

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#Vintage furniture Lisbon #Lighting design services #Contemporary Portuguese artists #Interior design near me #Mid-century modern design #Portuguese contemporary artists #Restoration services near me #mid century modern design #original 20th century pieces #eclectic showroom collection #interior design consultancy #plant consultancy for homes #event staging and home decor #furniture rental services #restoration of vintage items #unique mid century designs #internationally acclaimed designers #vibrant mid century aesthetics #authentic vintage furniture #curated furniture collection #collaborative art and design #international artist collaborations #sustainable furniture choices #eco conscious vintage living #mid century modern authenticity #home decor with historical value #artistic furniture design #bespoke home furnishing services #vintage design showroom lisbon #exclusive mid century furnishings

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thefmgallery111 · 1 year

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Mid-century decorative objects in London

Mid-century decorative objects in London refer to furniture, lighting, ceramics, and art pieces that were produced between the 1940s and 1960s. These objects are highly sought after for their iconic designs and timeless appeal. London is a hub for mid-century design enthusiasts, with numerous shops and markets offering a wide range of authentic and reproduction pieces.

#Mid century modern wall art #Authentic Mid Century Modern furniture #mid century modern home decor

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worldhistoryfacts · 10 months

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American archaeologists, in cooperation with the Mexican government, reconstructed Chichen Itza according to the standards of the 1920s, which were not as painstaking as today's standards. Perhaps the biggest excavation job was the Temple of the Warrior, which was an overgrown mound when the archaeologists began. Here it is mid-excavation in 1925:

Over the next few years, masons worked to rebuild the temple as the archaeologists thought it should look:

By 1928, it looked like this:

Two sides of the famous "El Castillo" were similarly rebuilt.

The other half of it was left mostly unrestored:

Some observers think that Chichen Itza is a sham, a pseudo-historical confection constructed more to wow the tourists than to honor history (this website sums up the “it’s a fake!” argument pretty well).

But, like every site, Chichen Itza probably doesn’t have a “pure” or “authentic” state. It changed repeatedly over the years when it was one of the most important cities in Mesoamerica. It’s still changing today. The reconstruction in the 1920s certainly didn’t follow modern standards of archaeological precision. But now the changes of the 1920s are just another layer of history, laid on top of centuries more.

{WHF} {Ko-Fi} {Medium}

#history #ancient #mexico #chichen itza #archaeology

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crazymadpassionatelove · 19 days

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Cool Girl

Notes: None of this would be possible without my dearest darlings @ab4eva and @precious-little-scoundrel! All the hugs and kisses to you both xo

Part 2

Here's the thing nobody ever admits about being the other half of a celebrity: it's actually as hard or as easy as you make it. Enter hunky, gifted actor who just happens to be hung like a horse? Well, being his lady isn't hard at all. You just have to know the rules. Number one, you can't hear the noise. Not literally, you can hear it. You must strive to live in such a bubble that none of it matters though. You shop, power walk your gated community, and take cock like it's the only job you have. Truly, it is. Pleasing him is of utmost importance. Be ready to hop a plane at a moment’s notice, or even get fucked on said plane. You're so busy spending your man’s cash snapping up authentic mid-century modern homes before certain celebrities turn them into minimalist gray prisons, raising money for dogs who need prosthetics, and trying your hand at that sourdough bread craze, you really don't even have time to see the Instagram hate being spewed your way 24/7.

Number two, remaining an enigma. Selling energy drinks on social media? Having your man pay off some fast fashion brand to “partner” with you for a collection? Appearing on some campy sitcom as a guest star? Not for you, the thought of it actually makes you recoil. You're too busy doing all the little things and making his once barely furnished house a home. Homemade chocolate chip cookies with the chocolate specially flown in from Belgium on his private plane? Check! Gold vintage jewelry via that cute little flea market in Paris is clanking as you insist on being the ones to change the bedroom sheets. A housekeeper comes once a month, and even she comments coyly about your chemistry. Still, she need not see the soaked sheets from the multiple round of lovemaking the two of you do at all hours of the day and night.

Being seen on the red carpet is not your cup of tea, but it's the equivalent of attending your man's office Christmas party. So you pick out a dress, aka one of the couture houses offers to dress you, and he flies you to Paris for multiple fittings and macarons. Then there's some vintage Van Cleef jewelry that appears on the dining room table one morning, and a fresh new pair of Louboutins is the final piece to the puzzle. Then, looking very demur and shy, you appear on his arm, clinging to it actually. You'll smile at the various television hosts and press. Speak softly, and practically defer to him for all questions. He's the star, you're just a great supporting act. Then, when the night is finally done, you both breathe a sigh of relief and he thanks you for being such a good sport. How about a McDonald's drive thru run, huh? That face, oh that handsome fucking face of his that you've been dying to kiss all night. He just always knows what to say. So that's how you're papped still in your couture gown, he in a wrinkled white button down, his jacket slid around your shoulders, feeding each other French fries and chicken nuggets, splitting a milkshake. How wholesome and Americana honestly.

That night he promises to thank you again. Austin's perfect lips wrap themselves around your puffy clit as two, then three fingers curl, shove, and squelch inside you. “You were such a good girl the whole night, baby.” There's something about being called a good girl that makes you absolutely feral. He brings you to orgasm over and over, you lose count after about 7. He's just getting started though. He hasn't even slipped inside. When he does though, it's rough. The glorious slapping sounds of flesh fill the room as he brings himself to the edge over and over, denying himself a release and giving you an additional, what three or four orgasms? You've left feral behind and have crossed over into absolute animalistic filth as you bury yourself in the goose down pillows and practically shove it in your mouth howling. Letting him have his way as you throb and clench, hot and pink with almost blurred vision as he talks you through it. Peppering the conversation with lots of “that's my girl, my pretty baby cums so damn pretty”. When you think you're in need of a paramedic, he blows inside you something reminiscent of Niagara falls. He knows how much you love a vocal man. You end the night not being able to feel your limbs or do anything beyond closing your eyes with a lazy, bashful grin. He gives you one last slap to the ass then mentions as you drift off, “Could you make some of those brownies of yours for the cast and crew tomorrow?”

The third rule of being the other half to everyone's favorite blue eyed baby boy actor? Less is more. This sort of goes hand in hand with the enigma rule. Those celebrities who traipse around in loud designer clothing and accessories covered in flashy logos? That's not you or your man for that matter. Sure you have handbags that cost more than some people's cars, but they are solid authentic leather bags your guy finds you in far flung corners when he's on location. No one really notices when you're papped and printed in People Magazine. You keep your head down in aviators he takes to wearing, a nice little subtle nod. The bands you each wear on that finger are a solid Welsh gold. Whenever his slightly deranged fans see you, the one thing they can't call you is a golddigger. You drive a jeep or even that old Ford truck he restored himself, no Lamborghinis in your garage.

Part of the less is more shtick though is being able to give a cute little nod to him here and there when appropriate. When he's cast in a certain biopic that alters his career and your lives? You sit tight and let him have his moment, after all, you know all the behind the scenes work that goes into it. The blood, sweat, and tears. There are times when he takes method acting to such a level that it's almost like going to bed with another man. You can't exactly complain though. The slight drawl that appears when he says your name is something he is never able to truly shake and you're glad. When the moment is right though, you post a tongue in cheek Instagram post. Your feed is normally bogged down with pictures of the pets, your baking, and various charities you support. This time though, you post a rare photo of yourself looking like you're a certain sort of American royalty stepped from a time machine. It's a candid shot with you at his feet. Worshiping. Except now it's sort of like you worship two men. It's fairly well received, friends tell you, though there will always be hate. Remember, you can't hear the noise. You certainly can't hear the noise women old enough to be your grandmother are making as they lust over the man who's cock you gag on every night.

Those utterly delectable fingers of his snake inside you, make you hiss and come undone as that tongue in cheek sort of throw back makeup you're sporting runs down your cheeks. “Who's my pretty girl?” He teases you. A good hour later when he finally allows himself his own release he's panting your name into your ear. He settles himself in between your breasts. Didn't his agent once mention the girls on Tumblr call him baby boy? If only they could catch a glimpse of him now. Murmuring against your skin and tracing what feels like hearts on your arms. You scroll Zillow and read out the six-figure price tags on castles in Ireland. How does fucking in a dungeon sound, honey?

Rule number four? Be ready to go to bat for him at any moment, others opinions be damned. Being Austin's other half brings out a protective streak in you. A maternal bodyguard quasi agent of sorts. Always keep your eyes peeled for the photogs, especially when he's indulging in that pesky little smoking habit he doesn't exactly like to advertise. That actual management team of his isn't bad, especially once the Elvis flick is underway and you learn just exactly how bad certain managers can be. Still, nobody has his best interests at heart the way you do. Keep his favorite snacks on hand in your purse, water ready at a moment's notice. Your boy has a tendency to work himself to the bone and you certainly cannot allow him to run himself ragged. Tea with hot honey every night was a must while he immersed himself in Elvis. Be his soft place, let him cry and vent while you run your fingers through those golden locks. Take whatever you can off his plate so he can dedicate himself to his craft.

Some wonder if you've lost yourself in him and his life, but it's the exact opposite. You've found yourself. When that angel boy praises you during press tours and jokes on talk shows about you flying out in the middle of the night to see to it his shirts are starched the way he likes and he eats breakfast, well you just sit there and smile. “I couldn't be me without her.” Those words make you melt and you immediately crave the feeling of his hot cream inside you. Playing Elvis brought out a side of him that never truly leaves once filming wraps. Stressed? Tired? Enamored? Him bending you over while you're brushing your teeth becomes a common occurrence. “That's my baby – take it, take it,” you've gotta talk it all out of him sometimes and that's fine with you. You stand in the wings of the Kelly Ripa show and try in vain to hide your red face when a PA offers you a napkin. ��I think you spilled something down your leg,” the young girl offers. Something spilled all right, him inside you with his hands gripping your hair just minutes before he was due on stage.

Everything is just so right, it's only natural that cool girl very quickly becomes cool wife.

#Ashley finally writes #austin butler #austin x reader #elvis presley #cool girl #Austin Butler AU #austin butler imagine #Elvis x reader #austin butler fic #austin butler smut #elvis smut #austin butler fanfiction #elvis fanfiction

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writers-potion · 2 months

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Hi, I am trying to write a homosexual book that takes place in the 20s. I am unsure where to start and how bad the 20s was for homosexuality so if you have any tips it would be appreciated. Thank you for reading.

Homosexuality in Historical Fiction

I'm going to answer this in two parts: (1) Tips for writing queer historical fiction, and (2) the 1920 gay culture.

Get Your Language Right

Vocabulary is key to capturing how homsexual people identified themselves and interacted with one another at the time. Consider:

The kind of language/code used at the time. For example, gay men in the 1950-60s would have spoken Polari to skirt UK’s strict anti-homosexuality laws. This might mean your characters say seemingly ridiculous things like, “Bona to vada your dolly old eek!” (good to see your nice face)

Authenticity vs. Sensitivity. We don’t need to perpetuate old slurs just because they were used “at the time”. Would the readers of today (your target audience) be accepting towards use of such language?

Is it really necessary? Just like in the case of foreign languages and dialects, it may be better to just refer to the code/secret language being spoken rather than overdoing it in dialogue. Also, does your character identify themselves as a part of this community at all?

Balance Between Struggle and Hope

Often in historical LQBTQ+ fiction, if the conflict is badly written, the readers are just going to feel angry and frustrated. Because:

Even the likable, otherwise reasonable characters won't be able to accept homosexuality easily, often opposing it downright.

Homosexual characters may be confused, struggle with self-doubt and self-hatred (which can't be fun to read, obviously)

The norms of the time make any “resolution” rather disappointing (compared to modern times).

Your goal is to juggle between these strong negative emotions to convey the central message and let hope shine through. Linger too much on negativity and your novel will be dark, but treating these themes 'lightly' will make you sound shallow.

So, treat oppression just as you would write a physical antagonist. It's powerful and a possible life-threatening opposition to the Lead, but it has flaws, loopholes and needs time to regroup before it hits our Lead again with increased force.

+ General Tips

Beware of giving your characters hindsight. As a writer, we know what happened both before and after the time period the characters live through, but they don't! The characters not being able to predict what comes can be a good tragic element.

The word “homosexual” wasn’t coined until 1869, and didn’t become common parlance until the early 20th century. From at least the very early 17th till the mid-19th century, the most common term for women was “tribade,” referring to the act of tribadism (scissoring). Some people used the term “fricatrice.” In the 18th century, “lesbian” and “Sapphist” started to become more common terminology. Men were called sodomites and pederasts (a word which didn’t have the paedophilic connotation it does today). The word “homophile” was coined in 1924 and was most commonly used by gay men and lesbians in the 1950s and 1960s.

“Gay” didn’t take on the almost exclusive meaning of homosexual until the 1960s, and even then, it was still used in the old sense of “merry” more than a few times. Only in the 1970s did it finally emerge as the most popular, mainstream word.

Less suspicions were aroused by a lesbian couple living together for decades than a gay male couple. Many people assumed they were just two very close spinster friends, not that it was a Boston marriage. There were many more questions about why two men would want to live together.

To avoid the very real risk of jail, lobotomy, conversion “therapy,” or the loonybin, sometimes a gay and lesbian couple would enter a ménage à quatre. Though it appeared on the surface as though two straight couples lived in the same duplex or right next door, they were actually just lavender cover marriages. Some had children (through various means) and co-parented.

Photo booths were seen as a safe space where a same-sex couple could kiss, cuddle, and embrace without fear of arrest or public suspicion.

Some lesbian couples were able to adopt children as single women, in jurisdictions which permitted that. More daring couples underwent artificial insemination and then went abroad to give birth, coming home with “adopted babies.”

Similar to the handkerchief code in the BDSM community, some gay men signalled to one another with red neckties and green carnations. Parisienne lesbians signalled to one another with violets in their hair.

There’s a long history of gay bathhouses, dating back centuries. Since male homosexuality was illegal and severely punished, a bathhouse was among the few places it was safe to meet potential partners and engage in sexual activity. Even the very real fear of police raids didn’t deter patrons. Manhattan, Paris, and London were home to many famous (and luxurious) gay baths, but there were plenty of lesser-known ones in other cities.

While not everyone was lucky enough to have a lavender ménage à quatre, many people had individual lavender marriages. Sometimes the spouse knew s/he was serving as a cover, sometimes not.

There were also more “traditional” ménage à trois marriages, composed of the lavender couple plus the true same-sex partner all living together. Sometimes these arrangements were composed of a bisexual plus a partner of each sex.

People did NOT casually out themselves! They could only confide their secret to other confirmed friends of Dorothy and extremely radical allies who had proven they could be trusted and wouldn’t turn on them.

You don’t have to make your straight characters raging, violent homophobes, but it’s completely unrealistic and historically inaccurate to show them all immediately, unquestioningly, lovingly accepting their friends’ homosexuality if the secret comes out. They might agree to not let anyone else know, but the friendship would probably be over. Other people, a bit more open-minded, might eventually reconcile but never be able to completely shake the belief that their sexual orientation is unnatural, strange, or wrong. Some people might only come around after decades of estrangement and realising gays and lesbians are just like everyone else.

To avoid discovery, some lesbians called one another by male names in their letters. Some liked those nicknames so much they continued using them in real life.

1920 Gay Culture

The United States - The Roaring Twenties

As the United States entered an era of unprecedented economic growth and prosperity in the years after World War I, cultural mores loosened and a new spirit of sexual freedom reigned.

Harlem’s famous drag balls were part of a flourishing, highly visible LGBTQ nightlife

"Pansy Craze”: gay, lesbian and transgender performers graced the stages of nightspots in cities

lesbian and gay characters were being featured in a slew of popular “pulp” novels, in songs and on Broadway stages (including the controversial 1926 play The Captive) and in Hollywood—at least prior to 1934, when the motion picture industry began enforcing censorship guidelines, known as the Hays Code. Heap cites Clara Bow’s 1932 film Call Her Savage, in which a short scene features a pair of “campy male entertainers” in a Greenwich Village-like nightspot. On the radio, songs including "Masculine Women, Feminine Men" and "Let’s All Be Fairies" were popular.

On a Friday night in February 1926, a crowd of some 1,500 packed the Renaissance Casino in New York City’s Harlem neighborhood for the 58th masquerade and civil ball of Hamilton Lodge.

Nearly half of those attending the event, reported the New York Age, appeared to be “men of the class generally known as ‘fairies,’ and many Bohemians from the Greenwich Village section who...in their gorgeous evening gowns, wigs and powdered faces were hard to distinguish from many of the women.”

The tradition of masquerade and civil balls, more commonly known as drag balls, had begun back in 1869 within Hamilton Lodge, a black fraternal organization in Harlem. By the mid-1920s, at the height of the Prohibition era, they were attracting as many as 7,000 people of various races and social classes—gay, lesbian, bisexual, transgender and straight alike.

London - Balls and Adverts

Like other large cities at the time, London was home to many drag balls and nightclubs where the gay community could express themselves.

"Lady Austin's Camp Boys" (1933): At a private ballroom in Holland Park Avenue, west London, 60 men were arrested in a police raid after undercover officers had watched them dancing, kissing and having sex in make-up and women's clothes. But despite facing a lengthy prison term and disgrace, the organiser, "Lady Austin", told officers: "There is nothing wrong [in who we are]. You call us nancies and bum boys but before long our cult will be allowed in the country."

Other gay men found partners through personal advertisements, which could be an equally risky strategy.

In 1920 the publisher of a magazine called the Link and three gay subscribers were each sentenced to two years of hard labor on charges of indecency and conspiring to corrupt public morals.

Some adverts even appeared in the national press, such as the Daily Express, although they were not quite so blatant. People would ask for 'chums' of their own sex and offer to take people on holiday.

One man responding to an advert in the Link wrote that he was "very fond of artistic surroundings, beautiful colours in furniture and curtains, and softly shaded lamps and all those beautiful things which appeal to the refined tastes of an artistic mind". He added: "All my love is for my own sex", and wrote that he longed to give his love "in the most intimate way".

Gay adverts often had references to Edward Carpenter, Oscar Wilde and Walt Whitman, or would say 'I have an unusual temperament'.

Berlin - The Weimar Republic

The Weimar Republic, Germany’s first parliamentary democracy lasted from 1918 until 1933 and was a time of progressive cultural renaissance from cinema, theater and music, to sexual liberation and a flourishing LGBTQ scene.

Berlin was home to around 40 known queer bars, a number which had doubled by 1925. The cabaret bars and clubs like Eldorado were packed to the brim with lust, tassels, glitter and flamboyance.

Drag shows were the norm and stars like Marlene Dietrich (a Berlin-native) and Josephine Baker who were icons for the queer community, performed regularly in Berlin’s lavish halls.

Kiosks sold an array of well known queer publications like Die Hoffnung (The Hope), Blätter für Menschenrecht (Leaflets for Human Rights), Frauenliebe (Woman Love), and Das dritte Geschlecht (The Third Sex).

As homosexuality was still illegal, Berlin’s Tiergarten and other parks, Nollendorferplatz as well as train stations and the infamous octagonal public bathrooms

Underground spaces flourished.

Here's a list of books with an LGBTQ+ POV character, set at least partly in the 1920s:

Self-Made Boys: A Great Gatsby Remix

Dead Dead Girls (Harlem Renaissance Mystery, #1)

In the Field

The Lady Adventurers Club

Last Call at the Nightingale (Nightingale Mysteries, #1)

A Good Year

The Last Nude

The Sleeping Car Porter

Once a Rogue (Roaring Twenties Magic, #2)

Slippery Creatures (The Will Darling Adventures, #1)

Crazy Pavements

References

https://www.bbc.com/culture/article/20180212-polari-the-code-language-gay-men-used-to-survive

https://www.theguardian.com/uk/2004/jul/03/gayrights.world

https://www.history.com/news/gay-culture-roaring-twenties-prohibition

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techtow · 2 months

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Understanding Transgender Rights: A Beginner's Guide

Introduction:

In recent years, the movement for transgender rights has gained significant attention worldwide. As awareness grows, it becomes increasingly important for everyone to understand the issues faced by transgender individuals and the rights they are advocating for. This article serves as a beginner's guide to understanding transgender rights, exploring the history, legal framework, and importance of these rights in today's society.

What Does Transgender Mean?

To begin, let's clarify what “transgender” means. Transgender is an umbrella term that refers to individuals whose gender identity differs from the sex they were assigned at birth. This includes people who identify as trans men, trans women, non-binary, genderqueer, and many other identities along the gender spectrum. It's essential to respect each person's self-identified gender and use the pronouns they prefer.

Transgender Rights Are Human Rights:

One of the central messages of the transgender rights movement is that trans rights are human rights. This means that transgender individuals deserve the same fundamental rights and freedoms as anyone else. These rights include the right to live authentically, free from discrimination and violence, and access to healthcare, education, employment, and housing without fear of prejudice.

The Origins of the Trans Rights Movement:

The modern trans rights movement traces its roots back to the activism of transgender and gender non-conforming individuals who have long fought for recognition, equality, and justice. While transgender people have always existed, organized advocacy for their rights began to gain momentum in the mid-20th century. Key events such as the Stonewall riots in 1969, led by transgender women of color, sparked a broader movement for LGBTQ+ rights, including transgender rights.

Trans Joy and Resilience:

Despite the many challenges faced by transgender individuals, it's essential to acknowledge and celebrate moments of trans joy. Trans joy encompasses the happiness, pride, and sense of community that many transgender people experience. It can be found in personal achievements, supportive relationships, and moments of self-expression. By highlighting trans joy, we honor the resilience and strength of the transgender community.

Understanding Transgender Rights:

Transgender rights encompass a wide range of issues, including legal recognition, healthcare access, protection from discrimination, and safety from violence.

Let's explore some key aspects of transgender rights:

Legal Recognition: Transgender individuals often face significant barriers to having their gender identity legally recognized. This includes obstacles to changing their name and gender marker on identification documents such as driver's licenses and passports. Legal recognition is essential for affirming a person's gender identity and ensuring their rights are protected.

Healthcare Access: Transgender people deserve access to healthcare that is respectful, affirming, and inclusive of their unique needs. This includes access to gender-affirming medical care such as hormone therapy and gender-affirming surgeries. However, many transgender individuals face discrimination and barriers to accessing quality healthcare.

Protection from Discrimination: Transgender individuals frequently experience discrimination in various aspects of life, including employment, housing, education, and public accommodations. Transgender rights advocates work to pass laws and policies that prohibit discrimination based on gender identity and expression.

Safety from Violence: Transgender people, particularly transgender women of color, are disproportionately targeted for violence and hate crimes. Ensuring the safety and well-being of transgender individuals requires addressing systemic issues such as transphobia, racism, and misogyny, while also providing support services and resources for survivors of violence.

Trans Rights Laws:

Several laws and policies have been enacted to protect the rights of transgender individuals, although there is still much work to be done. Some of these include:

Anti-Discrimination Laws: These laws prohibit discrimination based on gender identity and expression in areas such as employment, housing, education, and public accommodations.

Hate Crime Laws: Hate crime laws enhance penalties for crimes committed against individuals based on their gender identity or expression.

Healthcare Access Laws: Some jurisdictions have passed laws to ensure that transgender individuals have access to gender-affirming healthcare without discrimination or barriers.

Trans Rights Quotes:

Throughout history, many individuals have spoken out in support of transgender rights. Here are a few powerful quotes:

"Transgender rights are human rights." - Hillary Clinton

"We should indeed keep calm in the face of difference, and live our lives in a state of inclusion and wonder at the diversity of humanity." - George Takei

"We must ensure that trans people are treated equally under the law and are not discriminated against in any way." - Bernie Sanders

Conclusion:

In conclusion, understanding transgender rights is essential for creating a more just and inclusive society. By recognizing transgender people as valued members of our communities and advocating for their rights, we can work towards a world where everyone can live authentically and freely. Trans rights are human rights, and it's up to all of us to ensure that they are upheld and protected.

Through education, advocacy, and allyship, we can contribute to positive change and create a more equitable future for transgender individuals everywhere. Let's stand together in support of trans rights, now and always.

#trans rights #transgender rights #trans rights are human rights #transgender #trans #trans people #trans joy #trans pride #germany #france #poland #austria #netherlands #europe #uk #usa

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hometoursandotherstuff · 2 years

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I was attracted by the turquoise of this 1923 Art Deco home in Kansas City, Missouri. It’s a reasonable $425K.

It isn’t often that an art deco home comes around.

Beautiful art deco wallpaper here, (even though the furniture isn’t of the same period), it could look fabulous.

Looks like this room and the fireplace were redone. Luckily, they left the windows and the bones of the home.

Lovely enclosed porch. This owner loves her chandeliers.

Mid Century modern dining set. I once did an art deco living room and the furniture was all authentic- if this house was authentic it would be fabulous.

I would totally redo this country kitchen.

Fire engine red hallway could work.

Redone bath. I would’ve used the art deco tiles they have now, but at least they put in an authentic vanity piece.

I would’ve at least used border tiles like this one. I NEED this house. (And about $1M.)

The bdms are blank canvases.

Man, I would deck this place out completely art deco style. It would be stunning.

The garden has been neglected - needs some TLC. I hope whoever buys it makes it Art Deco again.

via for the love of old houses

#art decor house #architecture #old house dreams #long post

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windvexer · 1 year

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What would a different form of magic be that isn't witchcraft? I know this is probably a dumb question but I'm honestly just trying to learn 😅

This is what bums me out about people insisting that it's okay and not harmful to call literally everything witchcraft!

It's erased an entire world of magic!

People! Literally! Don't! Know! Other! Stuff! Exists!

So let me tell you from the bottom of my heart, Anon: this is NOT a dumb question. This is a really important question, and not enough people ask it, and that's how we get to people tagging literally anything nonwhite and/or nonchristian as #baby witch #witch tips #witchblr #witchcraft 101.

Witchcraft has, until very recently, been a term to denote bad, harmful, or malicious magic. This is in contrast to good, helpful, or benevolent magic.

In a community, you can have a cunning person who practices good community-oriented magic, and you can have a witch who practices stealing delicious milk from the teats of cows.

This implies that it is more than likely the good cunning person and the bad witch were more or less practicing the same variety of bioregional folk magic, just to different ends.

In this context, witchcraft is any application of magic which is culturally subversive or harmful.

But there's so much more to the story!

In the mid 20th century, there was a witchcraft revival movement in England. Long story short, small groups of people worked to create a cohesive religious practice which they claimed was authentic British witchcraft. These practices are called Wicca and Traditional Witchcraft (2 separate things).

These practices were mostly ceremonial, involving elaborate rituals, magic wands, four elements, circle casting/compass laying, and so on.

These magical practices fueled and were fueled by an exploding culture shift in the western world and became so popular that they dominated perceptions of, and understandings of, what magic was.

Witch stopped being a person who used magic in bad ways, and started being a word for any person who uses magic.

Unfortunately, this is a problem, because now we have one word being used too many ways:

On one hand, witch is still a word that to many people denotes an evil or bad person who uses magic in evil or bad ways.

And, on the other hand, witch is now a word that refers to practitioners of a modern British magical tradition and its offshoots and variations, regardless of that person's maliciousness.

And, on the third hand, because Wicca had become so danged popular, witch has become a word that is applied to any person who practices magic, whether or not their practice is British and whether or not it is malicious.

The topic is further confused because witchcraft is so personal that one witch's witchcraft may look nothing like another witch's witchcraft.

What witchcraft is exists, and must be understood, contextually. In modern usage, a person claiming they practice witchcraft may mean any of the following (not a cohesive list):

"I am Wiccan."

"I practice magic derived from the British witchcraft revival period, but I am not specifically a Wiccan or follow any particular system."

"I practice magic which isn't derived from that British stuff, but I believe the title 'witch' best fits my practice."

"I practice magic that isn't witchcraft, but I call myself a witch as a term of convenience."

"I practice magic and I thought the word for that is 'witch', but if I put some thought into it I might realize I don't think that label suits me."

"I do not practice magic or Wicca but I enjoy nature and I pray to the moon."

With a word stretched so thin, outlining exactly what is and is not witchcraft can be a bit of a chore. However there are things which we can pretty safely say are just down right not witchcraft.

Before we go on, it's vital to mention that witchcraft is a term people get to choose, or reject, for themselves. So if someone from the following traditions is like, "nope, it's witchcraft to me," you should listen to them.

Anyway, here are some things that are not witchcraft:

Jewish mysticism (I've even seen posts about straight up Judaism, not even mysticism, just like, Judaism, being tagged as witchcraft)

Voodoo

Pow-wow

Folk magic

Chaos Magick

Santeria

Palo

Ancestor veneration

Praying to saints, angels, Mary, etc.

Faith healing (for example, as seen in Evangelicalism)

New Age

Spirit keeping

Worship of any nonchristian god or goddess

Heka

#answered #tbl

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brucesterling · 3 days

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Seafood recipes for long-extinct sea creatures

I've been beating up on AIs all week, so it's time for a post where I publicly admire their capacities:

Bruce Sterling: Do you have any good seafood recipes for Cambrian creatures fished from the Burgess Shale?

Bing Copilot:

Ah, the Burgess Shale! A fascinating treasure trove of ancient life. Those Cambrian creatures are truly remarkable, and while I can’t provide you with specific recipes for them (they’re a bit beyond my culinary expertise!), I can certainly share some interesting facts about these ancient beings.

Burgess Shale Creatures:

The Burgess Shale fossils date back to around 505 million years ago during the mid-Cambrian period. They were discovered in Canada and collected by Charles Doolittle Walcott in the early 20th century. These fossils represent a diverse array of organisms, many of which are unlike anything we see today. Weird wonders like Opabinia and Hallucigenia have captured the imagination of scientists and the public alike1. The preservation of these fossils is unique, with soft tissues often preserved as solid shapes. However, moderately soft tissues like muscles tend to be lost over time.

Cooking Cambrian Creatures:

While we can’t cook up a Cambrian feast, let’s imagine a whimsical menu inspired by these ancient critters:

Opabinia Sushi Rolls: Create sushi rolls with colorful, segmented layers reminiscent of Opabinia’s flexible body. Add a dash of “Cambrian explosion” wasabi for extra flavor!

Hallucigenia Skewers: Thread spiky, arm-like appendages onto skewers and grill them lightly. Serve with a tangy dipping sauce—perhaps a blend of ancient seaweed and modern citrus.

Anomalocaris Ceviche: Dice up Anomalocaris, an apex predator of its time, and marinate it in lime juice. Garnish with edible Cambrian algae for a zesty twist.

Wiwaxia Salad: Arrange Wiwaxia’s spiny plates atop a bed of fresh greens. Drizzle with olive oil and sprinkle with crushed Cambrian limestone for that authentic touch.

Pairing Suggestions:

Pair your Cambrian-inspired dishes with a crisp Charniodiscus Chardonnay or a robust Marrella Merlot. These imaginary wines are aged to perfection—505 million years, to be precise!

Remember, this whimsical menu is purely fictional, but it’s fun to imagine what Cambrian cuisine might have been like. If you ever invent a time machine, perhaps you can travel back and taste-test these ancient delicacies firsthand!

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marzipanandminutiae · 1 year

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Mind you I've never read LW but i kinda enjoyed the 2019 movie, why did you hate it? (Maybe i just wanna put Timothee Ch on a leash) feel free to go off 🌷

So, the costumes sucked from a historical perspective. Which would be less Objectively Bad and more Just Not My Thing...if the designers hadn't gone ON AND ON AT LENGTH about how ~Authentic~ they tried to make everything.

Didn't claim accuracy and didn't do accuracy: meh, whatever

DID claim accuracy and didn't do accuracy, AND won an Oscar for it: urge to kill rising

the hair design was particularly egregious, with the designer at one point saying they chose [checks notes] insane flyaways and half-up hair on adult women (who would have worn their hair entirely pinned up, for practical reasons and as a cultural marker of adulthood) because that seemed "more authentic than coiffures"

MORE AUTHENTIC

THAN THE WAY ACTUAL WOMEN BACK THEN

WORE THEIR ACTUAL HAIR

AS DEMONSTRATED IN PHOTOGRAPHS- EVEN CANDIDS -AND PORTRAITS

"blee bloo they didn't have hairspray!!!" THEY HAD POMADE. HAVING YOUR HAIR VERY SMOOTH WAS THE STYLE IN THE 1860S, EVEN FOR POOR WOMEN, AND MASSIVE FLYAWAYS ARE HUGELY IMPRACTICAL, AND NOT ALL FIXATIVES ARE HAIRSPRAY YOU ABSOLUTE-

[Marzi.exe has encountered a problem. please hold]

apart from the hair, there were fit issues and at least one case of Trying To Copy the 1994 Movie, But Worse (Amy's black and white dress in Paris).

1994. the pattern is soutache, a kind of applied trim done with flat cord that was very popular throughout the mid-late 19th century

2019. You cannot tell me the choice to have her in a white dress with black floral patterning, in effectively the exact same scene, was a coincidence.

also I'm pretty sure there was one shot with an actress visibly wearing Uggs. (EDIT- thankfully I am informed that this is a set photo and the Uggs were not visible in the finished film. i had forgotten this. good to know! leaving the pic there because STUPID HAIR and HATLESSNESS)

also the Pretty Pastel Princess Dresses (with overly fluffy attempts at bertha collars) and Matching Long Gloves (wrist gloves were popular for evening back then, and they were almost always white) in the Concord ball scene.

is it a Civil War-era ball, or is it a parade of "southern belles" at Cypress Gardens in 1995? leaning towards the latter.

once again, the choice to put Meg in pink for the ball instead of her book-described blue dress is something 1994 did first, and did better IMO

also Meg's 2015 Coachella wedding look, the fact that none of these girls from a poor family seemed to wear each other's old clothes ever, and the lazy choice to dress Jo in half-menswear instead of actually looking into menswear-inspired women's clothing in the era (which was a Thing!). but more than just the costumes pissed me off

they just...didn't seem to understand the era, or want to, or care? it was a bunch of little things that served to make it all more #relatable to modern audiences but ultimately undermined the setting:

Marmee telling a random young man she's never properly met to call her Marmee, because "everyone does." her DAUGHTERS call her that. her ACTUAL CHILDREN. who the hell else would? it's not a derivative of her name; it's a variant of Mama. Laurie can graduate to Marmee when he's an actual family friend

Jo wearing some of Laurie's clothing because "she stole it when they were hanging out in his room," according to an interview. um, NO NO AND NO, they are teenagers and that would distinctly not fly on several levels even in her progressive family. I might actually buy this if it were like "he gave them some clothes for an amateur theatrical and she kept them;" the actual Alcott sisters had a costume trunk for their plays, which is still on display at their house. but these writers clearly think a teenage boy and girl could be in his bedroom together unsupervised, for long periods of time, habitually, in 1860-whatever. which is absolutely incorrect

Jo saying "okay" in refusing Laurie's proposal. this is so tiny, I know, but while that term did already exist, it was a joke phrase only. this would be like saying "lol" while turning down your best friend's proposal today. once again, it's an example of Relatability mattering more than actually understanding the world these characters lived in

there are more, but I've blocked them out. I just really, really hated it on many levels

#ask #anon #lw19 #long post #rant

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justforbooks · 25 days

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The new tool in the art of spotting forgeries: Artificial Intelligence

Instead of obsessing over materials, the new technique takes a hard look at the picture itself – specifically, the thousands of tiny individual strokes that compose it

In late March, a judge in Wiesbaden, Germany, found herself playing the uncomfortable role of art critic. On trial before her were two men accused of forging paintings by artists including Kazimir Malevich and Wassily Kandinsky, whose angular, abstract compositions can now go for eight-figure prices. The case had been in progress for three and a half years and was seen by many as a test. A successful prosecution could help end an epidemic of forgeries – so-called miracle pictures that appear from nowhere – that have been plaguing the market in avant-garde Russian art.

But as the trial reached its climax, it disintegrated into farce. One witness, arguably the world’s leading Malevich authority, argued that the paintings were unquestionably fakes. Another witness, whose credentials were equally impeccable, swore that they were authentic. In the end, the forgery indictments had to be dropped; the accused were convicted only on minor charges.

The judge was unimpressed. “Ask 10 different art historians the same question and you get 10 different answers,” she told the New York Times. Adding a touch of bleak comedy to proceedings, it emerged that the warring experts were at the wrong end of a bad divorce.

It isn’t a comforting time for art historians. Weeks earlier, in January, the Museum of Fine Arts in Ghent, Belgium, was forced to pull 24 works supposedly by many of the same Russian artists – Kandinsky, Malevich, Rodcheko, Filonov – after the Art Newspaper published an exposé arguing they were all forged. Just days before, there was uproar when 21 paintings shown at a Modigliani exhibition in Genoa, Italy, were confiscated and labeled as fakes. Works that had been valued at millions of dollars were abruptly deemed worthless.

The market in old masters is also jittery after an alarming series of scandals – the greatest of which was that paintings handled by the respected collector Giuliano Ruffini were suspect. A Cranach, a Parmigiano, and a Frans Hals were all found to be forged; institutions including the Louvre had been fooled. The auction house Sotheby’s was forced to refund $10m for the Hals alone. Many experts are now reluctant to offer an opinion, in case they’re sued – which, of course, only intensifies the problem.

Adding fuel to the fire is another development: Wary of being caught, more and more forgers are copying works from the early to mid-20th century. It’s much easier to acquire authentic materials, for one thing, and modern paintings have rocketed in value in recent years.

For many in the industry, it is starting to look like a crisis. Little wonder that galleries and auction houses, desperate to protect themselves, have gone CSI. X-ray fluorescence can detect paint and pigment type; infrared reflectography and Raman spectroscopy can peer into a work’s inner layers and detect whether its very component molecules are authentic. Testing the chemistry of a flake of paint less than a millimeter wide can disclose deep secrets about where and, crucially, when it was made.

“It’s an arms race,” says Jennifer Mass, an authentication expert who runs the Delaware-based firm Scientific Analysis of Fine and Decorative Art. “Them against us.”

But what if you didn’t need to go to all that trouble? What if the forger’s handwriting was staring you in the face, if only you could see it? That’s the hope of researchers at Rutgers University in New Jersey, who have pioneered a method that promises to turn art authentication on its head.

Instead of subjecting works to lengthy and hugely expensive materials analysis, hoping a forger has made a tiny slip – a stray fiber, varnish made using ingredients that wouldn’t have been available in 16th-century Venice – the new technique is so powerful that it doesn’t even need access to the original work: A digital photograph will do. Even more striking, this method is aided by artificial intelligence. A technology whose previous contributions to art history have consisted of some bizarre sub–Salvador Dalís might soon be able to make the tweed-wearing art valuers look like amateurs.

At least that’s the theory, says Ahmed Elgammal, PhD, whose team at Rutgers has developed the new process, which was made public late last year. “It is still very much under development; we are working all the time. But we think it will be a hugely valuable addition to the arsenal.”

That theory is certainly intriguing. Instead of obsessing over materials, the new technique takes a hard look at the picture itself: Specifically, the thousands of tiny individual strokes that compose it.

Every single gesture – shape, curvature, the velocity with which a brush- or pencil-stroke is applied – reveals something about the artist who made it. Together, they form a telltale fingerprint. Analyze enough works and build up a database, and the idea is that you can find every artist’s fingerprint. Add in a work you’re unsure about, and you’ll be able to tell in minutes whether it’s really a Matisse or if it was completed in a garage in Los Angeles last week. You wouldn’t even need the whole work; an image of one brushstroke could give the game away.

“Strokes capture unintentional process,” explains Elgammal. “The artist is focused on composition, physical movement, brushes – all those things. But the stroke is the telltale sign.”

The paper Elgammal and his colleagues November 13, 2017 examined 300 authentic drawings by Picasso, Matisse, Egon Schiele, and a number of other artists and broke them down into more than 80,000 strokes. Machine-learning techniques refined the data set for each artist; forgers were then commissioned to produce a batch of fakes. To put the algorithm though its paces, the forgeries were fed into the system. When analyzing individual strokes, it was over 70% accurate; when whole drawings were examined, the success rate increased to over 80% . (The researchers claim 100% accuracy “in most settings.”)

The researchers are so confident that they included images of originals and fakes alongside each other in the published paper, daring so-called experts to make up their own minds. (Reader, I scored dismally.) One of Elgammal’s colleagues, Dutch painting conservator Milko den Leeuw, compares it to the way we recognize family members: They look similar, but we’re just not sure why. “Take identical twins,” he says. “Outsiders can’t separate them, but the parents can. How does that work? It’s the same with a work of art. Why do I recognize that this is a Picasso and that isn’t?”

The idea of fingerprinting artists via their strokes actually dates back to the 1950s and a technique developed by Dutch art historian Maurits Michel van Dantzig. Van Dantzig called his approach “pictology”, arguing that because every work of art is a product of the human hand, and every hand is different, it should be possible to identify authorship using these telltale strokes.

The problem, though, was that there was too much data. Even a simple drawing contains hundreds or even thousands of strokes, all of which needed to be examined by the human eye and catalogued. Multiply that by every work, and you see how impractical it was.

“It just wasn’t possible to test it,” says den Leeuw, who first became aware of pictology as a student. “I saw many attempts, but mostly it ended in ideas that would never be.”

But can AI now do what humans failed to, and give an art historian’s trained eye some sort of scientific basis? “Exactly,” says den Leeuw. “Very often it’s a gut feeling. We’re trying to unpick the mystery.”

Though Mass says she’s unlikely to throw out her fluorescence gun just yet, she admits to being impressed. “A lot of people in the field are excited by AI It’s not a magic bullet, but it’ll be another tool. And it’s really valuable when you’re dealing with a sophisticated forger who’s got everything else right – paint, paper, filler, all the materials.”

There are issues. So far, the system has been tested mainly on drawings from a handful of artists and a brief time period. Paintings, which generally contain thousands more strokes, are a tougher challenge; older paintings, which might contain numerous layers of restoration or overpainting, are tougher still. “It’s challenging, but it doesn’t mean we can’t do it,” Elgammal says. “I’m confident.”

What about style, though, particularly where an artist changes over time? Think of Picasso’s wildly varying periods – blue, African, cubist, classical – or how in the 1920s Malevich abandoned the elemental abstraction of his black squares for figurative portraits that could almost have been painted by Cézanne (pressure from Stalin was partly responsible).

Another expert, Charles R Johnson, who teaches computational art history at Cornell, is less persuaded – not so much by the AI as by the assumptions that lie behind it. “A big problem is that strokes are rarely individualized,” he says. “Overlap is difficult to unravel. Plus, one must understand the artist’s style changes over their career in order to make a judgment.”

In addition, Johnson argues, many artist’s brushwork is essentially invisible, making it impossible to unpick; it might be better to focus computer analysis on assessing canvases or paper, which can be more rigorously verified. “I remain quite skeptical,” he says.

Elgammal and den Leeuw concede there’s a way to go. Currently they’re working on impressionist paintings – infinitely more complex than Schiele and Picasso line drawings – and hope to publish the results next year. Even with the drawings, the machine can’t yet be left to learn on its own; often the algorithms require human tweaking to make sure the right features are being examined. Artists whose output isn’t large enough to create a reliable data set are also a challenge.

Asking Elgammal if he’s worried about being sued. He laughs, slightly nervously. “That’s something I think about.”

It’s a reasonable question, particularly pressing given the number of fakes that are circulating: What if your database accidentally becomes contaminated? Many people argue that the art market is hopelessly corrupt – so much so that some economists doubt whether calling it a “market” is even fair. Could the algorithm become skewed and go rogue?

“It’s like any system,” Mass agrees. “Garbage in, garbage out.”

Does she think that’s a possibility? How many fakes are out there? “Put it this way,” Mass says, “when I go into auction houses – maybe not the big ones, but smaller, local ones – I think ‘buyer beware.’ It might be between 50 and 70% .”

Rival solutions are coming down the road. Some have proposed using blockchain technology to guarantee provenance – the history of who has owned a work. Others have called for much greater transparency. Everyone agrees that the system is broken; some kind of fix is urgent.

Of course, there are big philosophical questions here. When someone goes to the effort of finding exactly the right 17th-century canvas, dons an antique smock, and paints a near-flawless Franz Hals, it should perhaps make us reconsider what we mean by the words “real” or “fake”, let alone the title of “artist”. Yet the irony is inescapable. It is hard to think of something more human than art, the definition of our self-expression as a species. But when it comes down to it, humans aren’t actually that good at separating forged and authentic in a painting that has all the hallmarks of, say, a Caravaggio but is merely a stunt double. Relying on our eyes, we simply can’t tell one twin from the other. We might even ask: Why do we care?

Forget cars that pilot themselves or Alexa teaching herself to sound less like the robot she is – AI seems to understand the secrets of artistic genius better than we do ourselves.

The irony is that, while machines might not yet might be able to make good art, they are getting eerily good at appreciating it. “Yes, it’s true,” he says thoughtfully. “When it comes to very complex combinations of things, humans are really not so good.” He laughs. “We make too many mistakes.”

Daily inspiration. Discover more photos at Just for Books…?

#just for books #art market #ai technology #art forgery

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highpriestessarchives · 3 months

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Our Obsession With the Tortured Poet Trope: Where Do We Draw the Line of Responsibility?

WC: 1592

CW: mentions of su*cide, mental health, and character ab*se

Index

Introduction The Romanticization of Suffering Why? Morbid Fascination However, There's a Trap... What Does it Mean For Us Writers?

Introduction

The Tortured Poet trope embodies a romanticized image of the artist grappling with internal turmoil and emotional anguish, often portrayed as a misunderstood genius whose suffering gives birth to great works of art. However, alongside this fascination lies a complex web of ethical considerations regarding the portrayal and romanticization of suffering. Today, we will delve into the roots of the Tortured Poet trope, exploring its connection to romanticism, creativity, and the human fascination with suffering. Furthermore, we will seek to examine the ethical responsibilities of promoting this archetype.

The Romanticization of Suffering

The notion of romanticizing suffering can be traced back to ancient Greek mythology, where the Muses, the goddesses of inspiration, were believed to both inspire artists and inflict them with madness. This dual aspect highlights the complex relationship between creativity and suffering. Plato, an ancient Greek philosopher, praised creativity as a form of “divine madness,” suggesting that it was a gift bestowed upon individuals by the gods. Aristotle, another influential philosopher, similarly suggested that great genius often came with a touch of insanity, further reinforcing the idea that creativity and suffering were intertwined.

During the Romantic era, which spanned roughly from the late 18th to the mid-19th century, artists and writers placed a strong emphasis on intense emotions and experiences. They celebrated the beauty and authenticity found in suffering, viewing it as a source of inspiration and creativity rather than something to be avoided or minimized. In this context, the figure of the Tortured Poet emerged as a symbol of the romantic ideal—a creative individual who embraced their inner turmoil and used it to fuel their personal expression.

A notable example can be found in the character of Heathcliff in Wuthering Heights. Firstly, it’s a prevalent trope in even modern literature and film that a “reformed bad boy” suddenly makes the best boyfriend/husband material. Heathcliff, however, does not reform. He holds his grudge and desire for revenge to the point where his abuse of Isabella is one of selfish amusement. Critic Joyce Carol Oates actually argues that Brontë does to readers what Heathcliff does to Isabella: testing us with his violence and morbidity to see how much we will continue to insist that he is a romantic hero. He may not be a poet from an artistic standpoint, but he is one who fully embraced his traumas to fuel his behavior and personality; and he definitely reflects the Romantic era’s fascination with the darker aspects of human experience.

Why? Morbid Fascination

So why is there such an awe surrounding the darker sides of human nature? It seems that morbid fascination is deeply ingrained aspects of our behavior, leading audiences to seek insight into the inner workings of the tortured artist’s mind. This tendency manifests in various forms, from the consumption of the artist's work to the scrutiny of their personal life and struggles.

Audiences are drawn to the darkness and turmoil that often permeate the work of tortured artists. Whether it’s the haunting lyrics of a troubled musician, the raw emotion captured in a painter’s brush strokes, or the visceral honesty of a poet’s words, there is a magnetic allure to the expression of human suffering. This fascination stems from a desire to understand the complexities of the human condition, to confront our own mortality and existential angst through the lens of another’s experiences.

The Nightmare

“The Nightmare” by Henry Fuseli is a prime example of people’s fascination with darkness and the macabre. Painted in 1781, this iconic work of art depicts a woman draped across a bed, seemingly in the throes of a nightmare. Above her, a demonic creature, often interpreted as an incubus, sits perched upon her chest, while a ghostly horse with glowing eyes lurks in the background.

The painting’s unsettling imagery and eerie atmosphere have captivated viewers for centuries, eliciting a sense of unease and fascination with the darker aspects of the human psyche. Fuseli’s masterful use of chiaroscuro and dramatic lighting heightens the sense of foreboding, drawing viewers into the nightmarish scene.

Audiences are drawn to “The Nightmare” not only for its technical brilliance but also for its exploration of themes such as fear, desire, and the subconscious mind. The painting taps into primal fears and fantasies, confronting viewers with the uncanny and the irrational.

Moreover, this painting exemplifies the Romantic fascination with the supernatural and the macabre, prevalent during Fuseli's era. The Romantics sought to explore the darker realms of human experience, rejecting rationalism in favor of emotion and imagination. Fuseli’s painting embodies this fascination with the unknown, inviting viewers to confront their deepest fears and desires.

However, There’s a Trap…

When looking into the Tortured Poet, I couldn’t help but compare it to the Obsessed Artist trope, which I talked about previously. I wondered what the differences between the two were, as both seemed to go to the extremes to express their art and both had some semblance of trauma that permeated their being to the point of potential or evident harm.

My observation was this: where the Obsessed Artist is seemingly unaware of their destruction, the Tortured Poet validates it. There are two sides to this validation: internal and external.

Internal Validation

There is what could be called “self-prescribed torture,” where the Poet will claim they are Tortured in order to validate their actions. In other words, the trope can lead individuals to resonate with the romanticized image of the Tortured Poet, glorifying suffering as a prerequisite for artistic brilliance. This misinterpretation may compel individuals to fabricate or exaggerate their personal struggles, believing that genuine pain is necessary for authenticity.

Take Henry Winter from The Secret History as an example. Despite his privileged upbringing and academic success, Henry is deeply disillusioned with the world around him, harboring a sense of existential ennui and moral ambiguity. He sees himself as an outsider, disconnected from the superficiality and hypocrisy of society, and seeks solace in the pursuit of knowledge and aesthetic beauty.

Despite his intellectual prowess, Henry is not immune to the allure of power and control. As the leader of the group, he exerts a subtle but undeniable influence over his peers, manipulating them into participating in increasingly dangerous and morally questionable activities. His moral ambiguity and manipulative tendencies make him a compelling and morally complex character, blurring the lines between protagonist and antagonist.

External Validation

The aforementioned morbid fascination comes with ethical implications. The exploitation of the artist’s pain for the sake of entertainment or artistic consumption raises questions about the boundaries between artistic expression and personal privacy. There is a fine line between appreciating the artistry of the Tortured Poet and consuming their suffering for one’s own pleasure, catharsis, or for the sake of living vicariously.

Moreover, the societal implications of romanticizing genius and madness are profound. By treating suffering as a need for creativity, society perpetuates harmful stereotypes and diminishes the lived experiences of individuals struggling with various mental conditions. This romanticization not only trivializes the complexity of mental health but also reinforces harmful myths about the nature of creativity.

Many still subscribe to the notion that great art emerges from pain and adversity. This is not without evidence, either. A 2012 Swedish study showed that “authors… were more common among most of the other psychiatric diseases (including schizophrenia, depression, anxiety syndrome and substance abuse) and were almost 50 per cent more likely to commit suicide than the general population.” Consequently, this romanticized view of suffering may discourage individuals from seeking help for genuine mental health issues, perpetuating a cycle of silence and stigma surrounding mental illness.

Additionally, the romanticization of the Tortured Poet trope may overshadow the artistic merit of works created by individuals who do not fit this archetype. By privileging suffering as the ultimate source of creativity, society risks overlooking the diverse range of voices and experiences present within the artistic community. This focus on the Tortured Poet trope not only limits artistic expression but also perpetuates a homogenized view of creativity that fails to reflect the richness and complexity of human experience.

What Does it Mean For Us Writers?

At the very base of our craft, we write to express ourselves. Our own traumas, histories, and lived experiences shape our stories. I’m speaking to myself, as well, when I say that it’s imperative that we prioritize our mental health first. Yes, everything that we have been through is valid, but I don’t believe that we need to remain stagnant in those emotions and any likely harmful behaviors, be it to ourselves or others, for the sake of our craft.

As for anyone who wants to write a Tortured Poet character (again, myself included), I do wonder about the ethical and moral responsibilities we have in our representations of the character. Personally, I do enjoy an unlikeable character. In fact, one of my MCs in a current wip believes themselves to be “tortured” in the sense that they justify their actions towards others and use it as an excuse to not heal or grow as a person. However, the fear of readers taking such a character at face value and essentially treating them as some readers treated Heathcliff does linger in my head. Although, I believe such a discussion is more suited towards the layers of media literacy or the miscommunications upon reader interpretation versus artist intention. If anyone else has any thoughts, I’d love to hear about them.

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ravenkings · 11 months

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Unsurprisingly, several well-informed ancient observers decided that the enigma of Augustus was the whole point. Nearly 400 years later, in the mid fourth century CE, the emperor Julian wrote a clever skit on his predecessors, imagining them all turning up together for a grand party with the gods. They troop in, matching what had by then become their caricatures. Julius Caesar is so power crazy that he seems likely to unseat the king of the gods and party host; Tiberius looks terribly moody; Nero cannot bear to be parted from his lyre. Augustus enters like a chameleon who is impossible to sum up, a tricky old reptile continually changing colour, from yellow to red to black, one minute gloomy and sombre, the next parading all the charms of the goddess of love. The divine hosts have no option but to hand him over to a philosopher to make him wise and moderate.

Earlier writers hinted that Augustus relished this kind of tease. Why else did he choose for the design of his signet ring, with which he authenticated his correspondence – the ancient equivalent of a signature – the image of the most famous riddling creature in the whole of Greco-Roman mythology: the sphinx? Roman dissidents, who have been followed by a number of modern historians, pushed the point further, accusing the Augustan regime of being based on hypocrisy and pretense and of abusing traditional Republican forms and language to provide a cloak and disguise for a fairly hard-line tyranny.

There is certainly something to this. Hypocrisy is a common weapon of power. And on many occasions it may have suited Augustus to be just as Julian painted him, enigmatic, slippery and evasive, and to say one thing while meaning another. But that can hardly have been everything. There must have been firmer footings under the new regime than a series of riddles, doublespeak and pretense. So what were those footings? How did Augustus get away with it? That is the problem.

–Mary Beard, SPQR: A History of Ancient Rome

#gaslighting gatekeeping girlbossing #ancient rome #mary beard #history #quote

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moroccanlooms · 2 months

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Using authentic handmade berber moroccan atlas rugs in your home is a great way to connect your spaces, also can help you add color to your room without actually having to paint the walls. They can be used in almost any room you want; bedroom, kids room , nursery, living room, kitchen, office… Moroccan rugs suit any decorating style; no matter if we are talking about a maximalist or a mid-century modern style, a scandinavian cozy cottage, a free-spirited boho interior or a minimalist loft.

Moroccan hand-knotted rug for unique interior designs.

This UNIQUE vintage Beni Mguild moroccan rug comes from a tribe of the Moroccan Middle Atlas. Beni mguild morocco wool berber rugs are known for their base with geometric designs across the carpet.

This amazing berber traditional hand-knotted patterned extra large area rug is stunning with it’s blue colors and black details...

Handknotted with 100% natural dyed and good quality WOOL.

Strong and durable carpet thanks to incredible skills of the weaver.

The pile is varied in height.

It has survived for over 30 years and will stand for years and years to come.

A vintage treasure in great condition of incredible cultural value.

Size: ( 439cm x 216cm ) ( 172.8" x 85" inches ) ( 14.4ft x 7.08ft )

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lobotomy17 · 1 month

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Bring it back

Conversation pits, famous in the mid-20th century, are recessed areas in a room with built-in seating that encourage face-to-face interaction and facilitate deep and close conversations among the individuals gathered. These unique design elements have the potential to make a significant comeback in modern interior design for several compelling reasons.

In today's fast-paced digital age, where much of our communication happens through screens and social media, the need for authentic and meaningful face-to-face conversations and connections has never been more crucial. Conversation pits offer a space that fosters intimacy, openness, and engagement, allowing people to engage in deeper discussions, share stories, exchange ideas, and truly connect more profoundly.

The design of conversation pits encourages a sense of togetherness and community by bringing people physically closer to each other. Whether in a living room, a lounge area, or a sunken den, these seating arrangements create a cozy and inviting atmosphere that promotes interaction and bonding among friends, family members, or guests.

Visually, conversation pits can be stunning focal points in a home, adding a touch of retro charm and sophistication to the overall interior design. With the right combination of materials, colors, and textures, a conversation pit can be a stylish and functional element that ties together different design elements in a room, creating a cohesive and harmonious aesthetic.

Furthermore, conversation pits can offer practical benefits, such as maximizing seating capacity in a space without compromising comfort or style. By incorporating a conversation pit into your home, you can create a versatile seating area that accommodates larger gatherings while maintaining an intimate and welcoming ambiance.

In conclusion, the resurgence of conversation pits in modern interior design presents a compelling case for reviving these unique and conversation-enhancing features. As we strive for more meaningful connections and authentic interactions in our increasingly digital world, the reintroduction of conversation pits can provide a valuable space for deep conversations, emotional connections, and shared experiences that enrich the quality of our relationships and foster a sense of community and togetherness.

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