wearer

  • friend:are you ok?
  • me:Samwise Gamgee was a simple gardener who was violently ripped from his comfortable life in the Shire, who braved orcs, spiders, balrogs and treacherous conditions just for the sake of his best friend. It wasn't his duty to drop everything and follow Frodo to the ends of the earth to save Arda, nor was it his responsibility to ensure the destruction of the ring. Although he doesn't seem like the bravest Hobbit, it turns out he was stronger than Frodo in some ways. He had to see his best friend fight for not only his morality but his life, all because of the ring. He was the one who stopped Frodo from putting the ring on, from ruining everything and becoming corrupt, just like its previous wearer. He volunteered himself to go to Mount Doom after he thought the journey would be done in Rivendell. He thought he could go home to his Rosie Cotton and live a peaceful life, but instead he gave it up for Frodo. Samwise Gamgee had to suffer through Gollum manipulating his friend and himself. Frodo sided with Gollum towards the end, shunning Sam and telling him to go home, to forget all about his sacrifices, and the months of fighting, climbing, walking, and falling he did, all for Frodo, the very Hobbit who abandoned him out of jealousy, anger, and mental illness caused by the ring. What was once a happy Hobbit merrily drinking and dancing at Bilbo's birthday party was now reduced to a shell of his former self, and for Samwise to see that must have been heartbreaking. All the time and effort he put into helping Frodo had been lost. But Sam never gave up. He went back for his friend and when he thought Shelob had killed him, he cursed himself for not staying. He rescued Frodo from orcs and made sure they could cross safely across Mordor to Mount Doom. When they arrived and Frodo was no longer competent due to the ring's power, he carried him. He had hope that this final act of strength and love, to bring Frodo to the door of Mount Doom, would save the world. And when Frodo chose not to throw the ring into the fire, the devastation of failure was written all over Sam's face. Everything he gave up in the Shire was lost once again in that moment of defeat. Finally, after the ring was destroyed and Gollum was killed, he saved Frodo once again, asking Frodo not to sacrifice himself, to take his hand and never let go. And when they sat on the rocks of Mount Doom, lava rising around them, death imminent, Samwise the Brave finally got his best friend back, and after everything they had been through, there was no one he would rather be with than his Frodo.
Makeup tips for a black girl:

Hey ya’ll its me Susie (:

I was wondering what were your favorite makeup products. I was hoping to get replies from other Black makup wearers on my beautiful dark skinned brown ladies.

Please let me know I’ll reblog and reply so that everyone can see!

Also, if you want to list Black/Brown Youtube makeup gurus/artists that would be phenomenal!
Thank You (:

- Susie The Moderator

BRAIN-CONTROLLED BIONIC LEGS ARE FINALLY HERE

“Now, at age 48, Olafsson can move his right ankle by thinking about it. When the electrical impulse from his brain reaches the base of his leg, a pair of sensors embedded in his muscle tissue connect the neural dots, and wirelessly transmit that signal to the Proprio Foot. Since the command reaches the foot before the wearer’s residual muscles actually contract, there’s no unnatural lag between intention and action. That makes Olafsson part of a highly exclusive club. Along with David Ingvasson, a fellow Ossur tester, he’s one of the only people on the planet who owns a brain-controlled bionic limb. Ossur unveiled its implanted myoelectric sensor (IMES) technology today at an event in Copenhagen, and is now preparing large-scale clinical trials, in the hopes of reaching the market in three to five years.”

#Repost @thejewellist
・・・
Liesbeth den Besten opens her presentation after receiving an impromptu rendition of ‘Happy Birthday’ from the audience
#SnagBoston #jewelhistory #arthistory #jewellery #collections #museums #happybirthday #wearer #critique #liesbethdenbesten #snag2015 #contemporaryjewellery #joyeriacontemporanea #TJA #jewelleryactivist

lucyliiu asked:

hi, could you explain the concept of "weaponized femininity" and why you find it distasteful? i've done a quick google search, but most of what i have found is written in more complicated terms that i don't really understand. (i'm a 16 year old high school student who has never taken a gender studies course or anything along those lines.) i really appreciate your help!

Here is one explanation for it and here are some visual examples.

Perhaps you’ve already seen some examples of weaponized femininity, mostly through sayings such as: “Eyeliner so sharp it could kill a man,” or with figurative references to red lipstick as the blood of the female wearer’s enemies, or women referring to their lipstick as a weapon. Other examples would be women and teenaged girls having a belief in the idea that femininity is power and that it grants them power over men. 

Some feminist criticisms of it is that this perspective (i.e.: that femininity is about power) contradicts the oppressive construction of femininity. What femininity actually is in a male-dominated culture and society is vulnerability and submission for men’s benefit and that it is a sexualizing and infantilizing diminution of female people.

For research and analytical purposes I would recommend, for anyone interested, reading*:

The links provided are to summaries and previews*

Femininity, by Susan Brownmiller summary and preview.

Femininity and Domination: Studies in the Phenomenology of Oppression, Sandra Bartky preview.

Beauty and Misogyny, by Sheila Jeffreys preview.

What feminists are arguing is that for females to be feminine is not something inherent to us. Feminists are, in most factions, primarily social determinists who are of the opinion that male and female patterns of behavior are the result of cultural conditioning and social factors, what we call socialization. When applied to an analysis of gender, in this case femininity, women and girls conforming to femininity is criticized as the result of the psychological impacts of growing up in a society where there is an incredible amount of emphasis on female people removing the physical (and behavioral) markers of maturity.

In the West and in Westernizing cultures, this results in women waxing and shaving away body hair, tweezing, trimming, and plucking away facial hair, trying to remove indicators of them getting older by buying anti-aging creams and gels, undergoing skin-tightening “rejuvenation” laser surgery treatments, applying make-up to cover the appearance of wrinkles, receiving botox injections to remove facial lines such as glabella “frown lines”, engaging in unhealthy dieting and obsessively exercising to reduce body fat, and more. The flip side of women striving to achieve a standard of appearance that results in them taking up less space and looking younger than they actually are is the sexualizing of teenaged and adolescent girls who are expected to compete with the idealized body shape of adult women while maintaining an air and reputation of “innocence.” It is a sexist, impractical and unrealistic standard of conduct that no one can constantly live up to and growing up in a society that promotes these ideals has many negative effects.

For documentaries presenting this perspective you might want to watch:

Sexy Inc. (2007) (full documentary)

Miss Representation (2011) (8 minute trailer)

Sexy Baby (2012) (official trailer) - The segments on the girl Winnifred explores the impact of growing up female in a sexually explicit culture that is influencing younger and younger girls.

The lessons of femininity is that women and girls are encouraged to self-objectify and constantly compare themselves to one another. This fuels girl-hate or women-hate where we envy and hate another woman or girl because she more closely measures up to a standard of femininity that attracts [more] male attention. When all is said and done, after the facial contouring, after downing the diet pills or that SlimFast shake, after squeezing into those high heels or tight dress or mini-skirt, or after strapping on that push-up bra, men benefit the most from women and girls being feminine. We, the women and girls, end up with the higher rates of body image disorders, eating disorders, and mental health issues because we internalize femininity and our sense of self and value is deeply entangled with this oppressive construct.

For more on this you can watch:

The Sexy Lie, Caroline Heldman at TEDxYouth@SanDiego

And the documentary:

THIN (2006) (full documentary)

The point is: “weaponized femininity” gives women and girls the false impression that femininity is empowering to us rather than disempowering. It tells us that us spending thousands of dollars in our lifetime trying to reach an oppressive standard of appearance is edgy, feminist, sexy, or good for our mental health and physical well-being despite the evidence to the contrary. It also ignores the aspect of femininity that is about putting us back in our place so that men can remain comfortable with the more softly spoken, uncomfortable, insecure, plasticized, infantilized woman (who could also be experiencing physical pain because of the feminizing practices she’s subjecting herself to) by their side. The expectation that the feminine woman is supposed to accommodate the masculine man is also a part of society. It is not just patriarchal, it is also heteronormative.

To want to address female femininity in this way is controversial. In today’s liberal Third Wave of feminism (particularly in the West), femininity is treated as if sacred and is put on a pedestal where to criticize femininity is “femphobic” or “femmephobic”. It is perceived in liberal feminist discourse as something that cannot be negatively analyzed as destructive to the self-esteem of women and girls and limiting to not only their mobility but also their self-concept.

10

Kuba textlies from the Kuba people (Bakuba) of the D.R. Congo

Kuba textiles are unique in the Democratic Republic of the Congo, formerly Zaire, for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other stitches, which are cut to form pile surfaces resembling velvet. Women are responsible for transforming raffia cloth into various forms of textiles, including ceremonial skirts, ‘velvet’ tribute cloths, headdresses and basketry.

Patterning and Barkcloth

Geometric patterns found on textiles can be found in many different aspects of society and have a certain meaning and importance to the Kuba people.  When textiles are embroidered, the status of the wearer is that of royalty because of the extra effort that is put into the product (Meurant, 115).  The levels of detail and the pattern determine the status of the person within society.  Fabric is created from the inner bark of local trees that is beaten after being removed (Cole , 387).  Barkcloth is made by sewing small pieces together and only the more prestigious people wear clothes made of this fabric type.  

Textiles and Ranking in Society

The patterns not only represent economic and social status but ethnic unity and religion as well (Cole, 388).  The Kuba continue to produce all of the different patterns even though these no longer represent the power of the people.  The aesthetic does however, show a person’s ranking within the society (Washburn , 20).

Raffia Cloth

The weaving of Raffia cloth originated in the Kingdom of the Kongo, near the entrance of the mouth of Zaire (now Democratic Republic of Congo) into the Atlantic Ocean. The Kuba began to use this style in the 17th and 18th centuries (Washburn , 21).  Raffia cloth is common because the Kuba men cultivate palm trees and then prepare the fronds, which are the outer layers of leaves (Cole , 388).  Men then weave the white fibers on a diagonal loom to create two foot by two foot rectangular squares; when the raffia dries, it becomes light tan in color (Washburn , 23).  When the textiles are completed, both men and women add decoration before wearing their skirts; these skirts, which are worn wrapped many times around the torso, can reach a length of nine feet or even reach to twenty feet (Cole, 388).  The men provide a more natural effect to textiles while the women create the rectilinear and geometric expressions that define the cloth (Meurant , 115).  Women add the geometric designs by either embroidery or plush motifs; plush motifs are decorations separated or outlined by parallel lines (Washburn , 23).  Sudden changes in pattern are common to break up the surface; these could occur in line thicknesses or the elements represented.  Raffia cloth has always been an important item in the Kuba society, it was used as currency and in legal settlements and marriage contracts (Cole , 389).  When these squares were used as currency, people referred to them as mbal or bambala which translates as people of the cloth (Washburn , 20).  Ceremonies such as court and funeral always used raffia cloth; this cloth is still remembered for its importance throughout history (Cole , 389).

Pattern Naming
The Kuba people have over two hundred named patterns and it is very difficult to study all of the origins of the patterns and production techniques.  Each pattern is given a name; however, some patterns have different names depending on the tribe spoken to and the popularity of the design.  There are also different names when other mediums are used (Washburn , 24).  When a pattern is common among a majority of the tribes, the same name is usually given by every tribe.  The Bushong patterns are different from the other Kuba designs because regular patterns are used.  This regularity gives more royal power and it shows individual characteristics that help to differentiate the Bushong from other tribes (Washburn , 25).  The following list is composed of pattern names and visual examples of these types.

Emphasis on Colour

here are three different categories to place these textiles.  The first category is named when the pattern names honor the founders or creators of the patter (Washburn , 59).  An example of a common name is Woto, this was the name given to all of the children of the water, five variations of this name were found by Washburn (Washburn , 61).  The second occurs when the pattern name tells of the significant part of objects.  Some words that are commonly used are vine and king’s palace.  Thirdly is when the pattern name describes the activity of the object.  In this category, people focus more on the actions than the whole picture which tends to give more life to the idea behind the pattern (Washburn , 65).

source

youtube

wearer- 「東京の夜が廻りだす。」