The Whispering Forest

“Ladies and gentlemen, several of you may have noticed the new forest that has formed just to the east of Night Vale. It’s hard to say how these dense, piney woods have cropped up in a vast desert waste-scape, nor how they have grown in only a couple of days, but these woods are encroaching quickly on our little town.

Botanists from Night Vale Community College said that this beautiful, lush woodland is called The Whispering Forest – and that, while lovely, should not be approached.” - WTNV Ep. 22

I have a lot of favorite parts in Hamlet (seeing as it’s probably my favorite play from Shakespeare), but among them all I think one especially worth noting is in Act II Scene 2, when Hamlet tells Polonius to bring in the acting troupe and settle them in:

Polonius: My lord, I will use them according to their desert. (I’ll give them the treatment fit for their social standing)

Hamlet: God’s bodykins, man, better: Use ever man after his desert, and who should scape whipping? Use them after your own honor and dignity; the less they deserve, the more merit is in your bounty. Take them in.

One possible interpretation of this is that Hamlet is just being his usual sarcastic, snarky, spiteful self and giving Polonius a hard time. But personally, I like to think Hamlet was giving some pseudo-genuine wisdom - pseuo-genuine in the sense that he was definitely sassing the old man but with truth instead of sarcasm.

See, Hamlet here makes a remarkable command: He tells Polonius that if we treated every man according to our measurement of them, we ourselves would be treated the same by the same logic, and so nobody would “scape whipping”, or get away from being looked down on or punished. Instead, he tells Polonius to treat them like he would treat himself, telling him that as the old man would measure himself, treat the actors as if though their measure equated to his own.

But he also says that bolded part, which is the bigger kicker - The more you would judge them, the lesser you think they are, the better you treat them, the greater you truly are. Basically, if you treat someone you think is shit like they’re gold, you become golden yourself.

I could go on a long time about this, its significance in the text, to the audience, to myself, personally, but the bottom line is that Hamlet gives a beautiful rendition of the golden rule we all hear about so much, but with a new perspective - it actually explains why we should treat others as we wish to be treated, that being that in doing so we set our own value as a person in turn.

Sand in herpetoculture: perspectives from a herpetologist

Let me preface this post that I would never claim to know as much about keeping animals as many of the members of the herp community here on tumblr. That being said, I do professionally study reptiles and amphibians, and have been studying them in a scientific sense for almost a decade. I may therefore be qualified to offer some opinions on the contentious issue of having sand in terraria based on intimate knowledge of reptiles and their habits, but I urge also against taking my word for gospel. I am just as liable to being wrong on these issues as anyone else; I am not, after all, totally objective (though I like to think I have the best interests of the animals at heart).

I reckon the majority of tumblr’s herp community will have seen the debate that has flared up over using sand as an appropriate substrate for particular species of reptile, specifically Pogona vitticeps, the bearded dragon. Before I talk about bearded dragons in particular, I want to talk generally about sand.

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HOW & NOSM On The Israeli-Palestinian Separation Wall

After a half hour, soldiers yelled down, asking what they were doing.

“We’re from New York, we paint,” they shouted back, and continued spraying. Moments later the gate rolled up to the side and four soldiers came out, with the lead officer shouting, “What are you doing here?”

“We’re painting,” they replied.

“It’s illegal,” he shouted back. “I’ll have to arrest you.”

How and Nosm are at the Palestinian-Isreali Separation Wall, or they were until a few days ago, and no arrests were made. Invited by William Parry from the London based charity called Medical Aid for Palestinians (MAP), the internationally known street artist/graffitist/muralist twins have traveled to about 60 countries with spray cans over the last decade or so, but they say they were not prepared for this experience.

As graffiti writers in their youth, How and Nosm weren’t very surprised when their aerosol works were painted over or “buffed” for being in illegal locations. They were, after all, kids being vandals with spray cans and challenging authority and trying to get away with it - but it still was a bummer.

Getting their painting sprayed-over by Israeli guards was a new experience entirely. Their image of a key, a symbol for Palestinians that is tied to homes they were evicted from, was painted onto a gate by Rachel’s Tomb. Loaded with such associations, obviously it was not a benign gesture and it was one so off-putting to the guards that shortly after H&N finished it, according to Parry, soldiers opened the gate and one picked up a spray can “and scribbled over it: ‘The occupation will prevail’ and made Stars of David symbols.”

A typical graffiti writer back home in New York might have taken that as a serious “dis” of their canwork. Instead How says he was happy, “We painted a key and the gate opened!”

“I first interviewed How & Nosm a year ago in Prague at an exhibition that they were participating in,” says the British photojournalist Parry, who published a book called “Against the Wall” in 2010 about a number of Street Artists who have created work there. “We got talking about street artists and Palestine and Israel. How & Nosm were clearly aware that what they read and saw on mainstream media was only one part of the story and when I asked if they would consider doing a trip out to Palestine and Israel with MAP, they said 'sure’.

"One year on,” he recalls “after scores of emails to follow up their commitment and logistics, my sigh of relief was audible as I saw them pass through the "Arrivals” sliding doors at the airport. First it was Nosm and about 10 minutes later, How, after he was questioned by the immigration staff about why they’d come to Israel. With their tattoos, curious NYC/German accents and a bag of spray caps and stencils, we were off.“

Not merely on "spraycation” to hit up some walls with their signature style, which they did, the two also made time to work with two populations specifically traumatized by war within the community and to teach them some of the techniques of art-making that the brothers have used in cities like LA, Lisbon, Prague, Paris, Quito, Mexico City, and Brooklyn.

“Initially about five Bedouin women came to the workshop,” says Parry.

“By the following day,” he reports, “as word went round the encampment of the fun they’d had, there was twice the number of people, with several kids joining in too. The women have never had any art classes. One woman, Ameera, said it was the first time she’d been given a pencil to draw with. Despite this, most showed real skill in designing and cutting out stencils to reflect life around them, creating desert-scapes and floral collages with the adept help of the twins. The workshops had a constant air of fun, creativity, chatter and laughter.” The brothers worked with the moms and the kids to create stencils, some of which were gathered together to create a collage of the works on the metal walls of one woman’s home.

An odd scene perhaps for some to contemplate the brash talking streetwise How and Nosm carefully and gently leading art workshops with small kids when you consider your typical image of the nihilistic rebel graffiti writer, right?

Maybe it is our own perception, or the perception that has been created for us, that graffiti writers and Street Artists are rather one dimensional vandals. Things are not always the way they appear.

Another surprise was the easy flow of information one can get sometimes these days, even here in the these contested, war-torn lands where reliable information itself can be at a premium to get in and out. The brothers were sort of surprised one day when they went to buy a number of cans of paint in their typical red, black, and white - and they were instantly recognized by the proprietors.

“The young guys running the shop seemed excited to have How & Nosm in town and were asking where they were going, what they were planning, and said they would be very happy to show them round and get them some great walls,” says Parry. “How & Nosm remained tight-lipped and said 'We’ll call you,’ taking the contact information of the guys,” he remembers, still marveling at the reach of the art world. “About two hours later, we were in Bethlehem, in the West Bank, looking for the ideal locations for murals and smaller art pieces.”

In the Street Art scene we always like to say that context is everything, and clearly here the artists and their hosts feel strongly about the conditions in the occupied areas they witnessed in Palestine and they place sincere blame for the dire situation that envelopes even the smallest children in an atmosphere of fear and trauma. Using art as a vehicle for expression, therapy, and perhaps furtherance of understanding, they say their workshops were instrumental is giving something valuable to the community.

“It was just four days of workshops but the impression that How & Nosm left on the Bedouin women and children who participated in the workshops was enormous,” says Parry, as he speaks of the collaborative mural using the stencils the women produced on a structure in the Jordan Valley. He says he “asked what they liked most about the workshops and the women said that it gave them a rare opportunity to express themselves creatively, to discover talents, and to produce beautiful things. 'We also rarely laugh so much,’ added Hanan, the joker in the group.”

Parry also asked the brothers about their experience. “We agreed to participate because we agree with what MAP is doing and we thought it was going to be a nice collaboration between an organization helping people in need in Palestine and for us to bring attention to the it and for us to see what’s going on in Palestine,” says Raoul.

For Davide, his days there produced more of a critique of the Western media that he depends on back home. “It was important for us to see firsthand what is going on in the conflict rather than just reading about it. Even in the independent media you don’t get the full picture, it’s just not the same experience as coming and seeing the illegal outposts and settlements and other things that exist, and I think we have a better understanding of that thanks to MAP.”

For the kids, it was hard to let go, says Parry, and some even cried at the end. “They completed their artwork and mounted them on foam board to create a mural of color and symbolism,” Parry says. “As they said goodbye, one child broke down in tears, then like dominoes, several others followed.” Many people on the street came to tell the guys how much they liked the work they were putting up on different walls.

But the brothers say they will think twice as artists if they would recommend others to go paint there. Instead of just hitting a wall, they say they would want people to be sensitive to the impact it may have on the populations who live there. “It’s such a difficult situation here politically. We believe that just coming here and tagging, doing pieces, would be inappropriate and selfish,” says How. Nosm continues, “We felt an obligation to bring more than just our names so we brought some messages. If you’re an artist you should take that into consideration.”

Truthfully, in a continually tense war-like environment like this, almost any act, including kindness, can be interpreted as being a political act of some sort. Not all art is necessarily political however and most people understand that it is a form of expression that we can grant latitude to because of its proximity to our own creativity. Who doesn’t long to return to the world of discovery we each inhabited at least once or twice in our childhoods?

But it isn’t every day that you hear tough-talking graffiti writers speak about considering the affect of your street work on the people in the neighborhood. But this isn’t just any wall. And these aren’t just any artists.

anonymous asked:

Is there an essay out there that details your feelings on Stannis's right to rule/morality? From what I've read in your CBC analysis you seem to like him but you don't have the mindless worship mentality a some of the fandom has. His utilitarian views when it comes to blood magic really screw with my conception of justice so when he's deemed a just King I don't follow at all. I really like how you think he's a deconstruction of the sacrifice theme of traditional fantasy btw.

If you’ve already read the relevant CBC essays from ACOK, then I guess this essay and this essay would be the only things left.

Also, you might want to read this tumblr piece on legalism.

My overall attitude is that early ACOK Stannis would be a horrible king, whereas post-ASOS Stannis is the king Westeros desperately needs. 

As for blood magic, I think it’s important to carefully parse which instances we’re talking about. I’m in the camp that Stannis was genuinely ignorant about Renly’s death and probably Penrose’s too - Melisandre’s whole shtick is about convincing Stannis she can see the future, so telling him she can kill his enemies contradicts that. 

But Stannis is, however reluctantly, on board for the leeches, equivocates over Edric Storm, and has zero problem burning traitors. In terms of how he sees it, Stannis is something of a consequentialist when it comes to justice - what matters most is the just outcome not the method, Melisandre is the new hawk, and killing someone is killing someone so why is blood magic less moral than any other method? Hence his whole thing about making use of Renly’s former supporters despite hating pardoning people he finds contemptible. 

If there is an element of deconstruction, I think it also applies to justice. Fantasy readers especially, reared on a long tradition of fantasy grounded in epic clashes of Metaphysical Good vs. Metaphysical Evil, have a tendency to think that justice is a 100% unalloyed positive, because we think of ourselves as good people who would be fine in a just world. 

Well, there’s a long tradition, seeing humanity as more sinful and frail and thus prone to come in for punishment in a purely just world, that argued “Use every man after his desert, and who should ’scape whipping?” or:

The quality of mercy is not strain’d,
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
‘Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God’s
When mercy seasons justice.

Or as GRRM puts it, “there is no creature on earth half so terrifying as a truly just man.” 

Someone misses you a lot, Taurus, and even though you have nothing but endless time, trapped out in a nightmarish desert hell scape, you have a hard time making a phone call longer than ten minutes. Maybe call a bit more than you do, Taurus? Yup, that’s just some astrological advice from the stars…
—  Cecil not so subtly missing his boyfriend

anonymous asked:

what DID happen when the youngbloods were experimented on? (love this au by the way!)

[this was also asked by another anon and wtfolie
for more on this au check out the masterpost!]

after the youngbloods are captured by bli they’re tranquilized and taken to an unground facility in battery city, each in a separate car without any capability of knowing where they were or how they got there. there they are evaluated and sent to separate departments all with very different and specific goals in mind for each one of them.

bli had a project in mind that was meant for four-five individuals that had to meet a certain set of requirements to be efficient.  they needed to be in durable enough condition to not die during the means needed to achieve their ends. they needed to be close enough that they wouldn’t want to abandon each other no matter the circumstances. the end goal was to ingrain certain triggers into a group that focused around things found in the zones: things like music, color, bright lights, loud noises. they wanted to make a more personalized form of weapon that could infiltrate the zones and create moral dilemma through sympathy – ticking human time bombs that could go off at any given time depending on their environment. but they also wanted something they could control (as always) and the youngbloods suited the project.

→ basically to make them all respond as patrick does as seen in the ybc videos instead of just patrick alone.

this gets a bit long –
[content warning for below the cut: experimentation, needle mentions, drug use, medical abuse, and some possibly disturbing content]

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