historic process

Liberals who complain that white workers who support Trump are “stupid,” and those Marxists who chalk it up to “false consciousness,” are two sides of the same coin.

First, there is no pre-given “true consciousness” for anyone to be tricked out of attaining. Consciousness develops via concrete historical processes and there is no “true” outcome determined in advance. Nor do people have a priori interests that they can be made to work against. Interests are, like anything else, produced in a struggle that is always on-going.

Second, although there may be a partial truth in saying that poor people turn to reactionary ideology when they are desperate and there are not strong alternatives from the left, this remains a (small) part of the picture. Ideology indeed has a grip on all of us because it is a critical part in how we understand ourselves and our relation to the world. Bourgeois ideology can make us act in ways which reinforce the rule of the capitalists while we feel that what we are doing is meaningful or even rebellious. However, ideology alone cannot account for everything. Bourgeois ideology would be disrupted by day to day realities (as it is to some degree all the time among the most excluded parts of the populace) if it were not backed up by certain structural factors. Ideology is most effective when it works in conjuction with economic and political concessions which reinforce the dominant “world-view.”

The support for white supremacy among white workers is the product of an historical processes of granting property and political power (however meager) to whites while at the same time excluding other nationalities and national minorities from the same. In return for social passivity (or at least for channeling resistance in ways that ultimately reproduce the status quo), and for acting as “shock troops” against the resistance of colonized people, white workers have been granted certain privileges, a process which has created a community of interests between most white workers and the bourgeoisie. Support for white nationalism is not a matter of white workers being tricked into “acting against their own interests.” It is a matter of white workers acting upon interests which have been created in the course of u.s. political struggle.

It may be that to some extent, white workers are having the rug swept out from under them, but historically privileged populations tend to cling harder to reaction when their position is perceived to be at risk. Again this is not a “false consciousness” but a product of historical processes which can be traced.

Framing reaction among poorer whites as if it’s a matter of those whites being “duped” into acting against some innate interests they supposedly have is in its own way incredibly condescending and arrogant. People who support Trump are not “stupid,” nor have they been “tricked,” and they know what their interests are: those interests are just not compatible with communism. And this is not to say that it’s impossible for these interests to be displaced. But, in the u.s. and canada at least, the development of revolutionary interests and consciousness requires an acceptance of total decolonization, which for settlers means accepting the relinquishing of land and political and cultural dominance. Some white people may be prepared for this but we’ve got to be realistic and acknowledge that if we’re waiting around for widespread support for decolonization among white people we’re gonna be waiting a long time.

I think this all needs to be said but to some extent i think discussing this shit so much puts too much emphasis on white people. Just strategically speaking, especially when looking at the global scale, revolution does not even depend on widespread support from white people, so i wonder about the productiveness of the left scrambling to rationalize support for white supremacy among poorer whites in the first place.


Peter Wade argues that blanqueamiento is a historical process that can be linked to nationalism. When thinking about nationalism the ideologies behind it stem from national identity which according to Peter Wade is “a construction of the past and the future”,[5]where the past is understood as being more traditional and backwards. For example, past demographics of Puerto Rico were heavily black and Indian influenced because the country partook in the slave trade and was simultaneously home to many indigenous groups. Therefore understanding blanqueamiento as it relates to modernization, modernization is then understood as a guidance in the direction away from black and indigenous roots. Modernization then happened as described by Wade as “the increasing integration of blacks and Indians into modern society, where they will mix in and eventually disappear, taking their primitive culture with them”.[5] This kind of implementation of blanqueamiento takes place in a societies that have historically always been led by ‘white’ people whose guidance would carry “the country away from its past, which began in indianness and slavery”[5] with the hopes of promoting the intermixing of bodies in order to have a predominantly white skinned society.


SPOTLIGHT: Alrún Nordic Jewelry

Meet Alrún Nordic Jewelry: a family company based in Iceland whose vast line of stunning jewels take inspiration from ancient Viking art. The iconic history of ancient Nordic culture is enclosed in each piece.

Every symbol in the brands collection is painstakingly designed to fuse both meaning and esthetic beauty, and you will find that each design holds special importance for each unique person.

Symbols are created using the method of binding runes, a historic process whereby individual Runic letters are overlapped to make a single word or name.

With several runic alphabets in existence, Alrún Nordic Jewelry relies on the younger Icelandic Futhark to rework this traditional art form. At the brand’s foundation is a desire to bring positivity and uplifting power into their customer’s lives!

Own a piece of your own by heading over to http://alrun.is/


‘Why do you always smell so good?’ he murmured.
'I use'—she caught her breath as he did something particularly ingenious with his lips—'Meredith Beauty’s finest cold-process soap, made with oil of honeysuckle. It is expensive and impractical, but then, I can be.’
—  Theresa Romain, Secrets of a Scandalous Heiress

Have you ever heard of the Falleras Mayores?

In Valencia, Spain they hold an annual traditional celebration in commemoration of Saint Joseph. The term Falles refers to both the celebration and the monuments burnt during the celebration.

There are different conjectures regarding the origin of the Falles festival. One suggests that the Falles started in the Middle Ages, when artisans disposed of the broken artifacts and pieces of wood they saved during the winter by burning them to celebrate the spring equinox. Valencian carpenters used planks of wood called parots to hang their candles on during the winter, as these were needed to provide light to work by. With the coming of the spring, they were no longer necessary, so they were burned. Over time, and with the intervention of the Church, the date of the burning of these parots was made to coincide with the celebration of the festival of Saint Joseph, the patron saint of carpenters.

The five days and nights of Falles might be described as a continuous street party. There are a multitude of processions: historical, religious, and comedic. Crowds in the restaurants spill out into the streets. Explosions can be heard all day long and sporadically through the night. Everyone from small children to elderly people can be seen throwing fireworks and noisemakers in the streets, which are littered with pyrotechnical debris. The timing of the events is fixed, and they fall on the same date every year.

As part of this five day celebration there is a sort of, for lack of a better translation, a “Miss Falla” pageant where two Queens (Falleras Mayores) are chosen to be the official representatives of the whole Fallas. One is an adult, known as the “Fallera Mayor de Valencia,” and the other is a child, known as the “Fallera Mayor Infantil de Valencia.”

What does it have to do with historical costuming, you might ask?  The contestants for the Falla Queens, and the winners, along with their court, dress in elaborate18th Century costumes!

Who wants to go to Spain now? 

*Credit Unknown. Images from Google and Pinterest.

Gown with front fall opening and a Vandyked collar (1780s)

So, this may not be a tutorial, but I’m sure that for some it could be used that way. I’ll make this kind of “update” post with photos and telling you what I’ve been doing. But first, let’s take a look at the original dress. This is kind of small, but it’s the only photo I’ve found of the original dress from the Manchester Art Gallery Collection:

 I’ve started with the pattern of this dress (taken from Patterns of Fashion by Janet Arnold):

Instead of digitally scale it to the real size I decided to draw it using the one from the book as a reference, and since I’m not going to use the same fabric direction for all pieces as in the book, I draw it on vegetal paper straight from the book and this will be the little pattern I’ll take everywhere:

Now, drawing the pattern to the original size is not hard: just marked the key points to draw it and measured with the scale-ruler the book has printed:

And then just draw the real size pattern with those measurements:

You should be careful with the curves! They’re easy if done carefully: the proper ruler and key points measurements are enough (look at my front bottom curve! It looks pretty!):

Maybe doing this is not such a great idea if the pattern is more complicated, with many curves or of you have no idea of pattern making. In this case, as you can see from the original pattern, the most complicated part for drawing is the sleeve and maybe the skirt’s pleats, so it’s quite simple.

As you can see from my small pattern drawing, I’ll make two different sleeves. The original dress has an elbow length sleeve and I want a long sleeve. I’m not completely sure what kind of long sleeve pattern is historically accurate for a 1780s dress, but I’ll try two styles: a long version of the original sleeve (I kept the dart and the little pleat at the inside of the elbow, which makes the sleeve curved) and from the same book I copied a long coat sleeve from ca. 1790. So I drew both and I’ll make a mock of both sleeves and see which one I like better, the coat sleeve (you can see the point I measured to draw it!):

Or the original sleeve in the long version I made:

Ok, so that’s as far as I am now. Next I’ll sew a super fast mock and I’ll let you know what happens!

Just the Way You Are - halotolerant - Mænd & høns | Men & Chicken (2015) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Chapters: 7/7
Fandom: Mænd & høns | Men & Chicken (2015), Basic Instinct (Movies)
Rating: Explicit
Warnings: No Archive Warnings Apply
Relationships: Elias (Men & Chicken)/Adam Towers
Characters: Elias (Men & Chicken), Adam Towers
Additional Tags: First Time, First Meetings, Crossover Pairings, Dating, Anal Fingering, Anal Sex, Size Kink, Large Cock, Topping from the Bottom, Mental Health Issues, Ableism, Ableist Language, Internalized Homophobia, Sexism, First Kiss, Fluff and Angst, Mental Breakdown, Hurt/Comfort, Cuddling & Snuggling

It had been an unexpectedly pleasant process. Historically, women had tended not to be as enthusiastic about Elias’ penis as he felt was indicated. But the men on Grindr were a different story.

COMPLETE \o/ *g* \o/  

Decolonization, which sets out to change the order of the world, is, obviously, a program of complete disorder. But it cannot come as a result of magical practices, nor of a natural shock, nor of a friendly understanding. Decolonization, as we know, is a historical
process: that is to say it cannot be understood, it cannot become intelligible nor clear to itself except in the exact measure that we can discern the movements which give it historical form and content.
—  Franz Fanon, The Wretched of the Earth, 1963, p. 36

Process of my Kickstarter-exclusive print for the Dates Anthology.

Dates Anthology is a collection of short comics and illustrations by over 30 artists focusing on positive queer historical fiction, and its Kickstarter launches today! Along with the book, certain backer rewards come with this 11x17 print! And for the really dedicated, you can get my original inks for the illustration, the inks of pages from my Dates Anthology comic Marie by the Sea, or a commission by me of your character in period clothing!

CHECK OUT THE KICKSTARTER HERE for more great comics and artists!

One of these days I want to compose a detailed post about material conditions, history, and the viability of a free and equal system beyond capitalism. This issue needs to be explored at every opportunity – it does wonders for convincing people. One of the core arguments that pulled me from liberal to communist had to do with the above. Once you accept that feudalism shifted towards capitalism because of class tensions between nobles and merchants and because of progressing modes of production that pushed feudal relations into obsolescence, it then becomes absurd to assert that capitalism will be here forever. Once you accept that the steady stream of abundance-producing technology will drastically change the sociological landscape, socialism suddenly seems incredibly possible and needed. There’s a historical process to all this. If capitalism kicked society’s productive engine into overdrive by basing its fuel in search for capital and profit, then it has now outlived its usefulness. (And even then, it could be argued that we could have gone a different path out of feudalism – I recommend “Caliban and the Witch” by Silvia Federici, which argues that popular democratic resistance was certainly happening even in the days of lord and peasant.) With technological capacity being what it is, and with the very tangible reality of digital post-scarcity of information, we live in an entirely different world than even a few decades ago – capitalism will not be able to reconcile these changes forever, and when the time comes where it can’t, leftists need to be there to help provide answers.

Today’s curio:

In the Third era, the Empire had a practice of sending ‘heroes’ to the provinces to ‘civilize’ things.

“Caius says he’s fed up with heroes. The Empire keeps sending them out here to the provinces to ‘civilize’ things. The fools don’t seem to realize that their 'destinies’ are being created by historical processes. And they’re too ignorant and impatient to understand it. So Caius sends you to me, hoping you’ll be different. Poor Caius. So many disappointments. So maybe you’ll read 'On Morrowind, the Imperial Province’? And learn something about current events? That’s what I recommend.”  - Morrowind dialogue

anonymous asked:

Hey there! What I meant: you're mostly into older series, right? (Me too!) So I was kind of wondering what you think about popular shojo series these days, like what they lack, etc.

Ahh okay, I get what you mean now. :D That’s a difficult question! So this got pretty long, I’m sorry

The usual disclaimer: I don’t believe that manga (or fiction in general) has gotten inherently worse since the 70s. The usual pitfalls still apply: we only remember what has already gone through a historical selection process and deemed “worth keeping around”; the works we experience at a young age or as a teenager leave a larger impression both because we are more excitable and because we have less to compare them to; I’m no longer in the target demographic for regular shojo*, meaning they’re not for me, and that’s okay; I also do not read that much current shojo so I’m probably not the best to judge; etc.

Having said that, if shojo (and shonen, really) seems less interesting today than it did through the 60s, 70s, 80s, and 90s, it’s probably because of the market. The 60s and 70s were an age of growth for shojo manga: female artists entered the industry and widened the scope of what shojo manga (and, by extension, shonen manga) could be about, and since the genre was still relatively new, there were themes and genres to be explored, innovations to be made, and techniques to be invented. The industry was growing (the baby boomers were children and teens at this time), so new magazines were established to meet the high demand, giving ample opportunity for young, up and coming talents to innovate as much as they pleased without being hampered by the old guard. It’s really no coincidence that the year 24 group emerged in this era, and with the innovative new shojo manga of the late 70s, a new audience for shojo manga also emerged: men. The world’s biggest amateur comics convention, Japan’s Comic Market, was established by people who really, really liked Hagio Moto,** and shojo manga gained acceptance as “worthy” of otaku interest as well as academic interest.

80s shojo rode on that wave, and because women who had grown up reading shojo manga entered the work force (they didn’t all grow up to become good housewives and smart mothers now), the themes and possibilities of shojo expanded again: sex and careers became major themes, obviously, and it’s during this time that ladies and young ladies (usually referred to as “josei” in English-language fandom) split away from shojo. Japan had entered into a bubble economy by the mid-80s, everyone seemed to have ridiculous amounts of money, so new magazines were still being established and there was breathing room for non-mainstream magazines*** like Hana to Yume and Lala to run shojo manga that wasn’t focused on romance and still have them gain massive popularity, as well as mainstream magazines to run series like Banana Fish. If you have the money, and your magazine’s readership is big enough to sustain niche stories and innovative art, you can take a gamble!

The trend of manga being massively popular and the industry having loads of money continued about halfway into the 90s, then crashed. Both Weekly Shonen Jump and Ribon had their record-breaking circulations in the mid-90s (6.53 million for Jump, 2.55 million for Ribon), and has not been able to reach those standards since (neither has any other Japanese magazine, really). Reason? Well, the usual, like games and later the internet and other types of entertainment taking over so much market share, and because the decades following the economic crash meant people had less money for entertainment in general. But also because Japan plainly does not have the amount of children it once did. Birth rates have dropped dramatically since WW2, obviously, but they have also dropped steadily since the mid-70s. Schools have been closed down, and school buildings that used to house 10 classes per year have closed off the majority of their classrooms because there just aren’t enough kids. No kids, not enough people to buy manga, magazines folding, less profit for publishers, less pages for manga writers, less need for new manga artists, less innovation.

The way shonen manga dealt with this was to have longer and longer series. Dragon Ball’s number of volumes used to seem ridiculous, as Jump forced Toriyama to draw even when he no longer wanted to, but Dragon Ball is “only” 42 volumes. Naruto is 72 volumes, while One Piece is 78 volumes and still going. Once a magazine has a popular property, it refuses to let it go, even more so now than back in the 70s/80s/90s – because if you lost that one property, who knew if you could win over that big of a demographic ever again? Whereas in the past, it was more of a given that the manga industry was growing and magazines and tankobon would continue to sell.

I think the same is true for shojo, except most shojo magazines are monthly or bi-weekly at best, so the volume numbers don’t pile up so fast. Skip Beat has been going on for 13 years! It’s 36 volumes long! Kimi ni todoke has been running for 10 years! Both of those titles are (in my opinion) dragging on unnecessarily just because they’re popular, not because the plot couldn’t have ended 10 or even 20 volumes ago. It used to be almost unheard-of that shojo manga ran for so long; 10 volumes used to be a lot and 20 used to be more than enough even for a bi-weekly series. The exceptions would be stuff like Tokimeki Tonight (actually 3 separate stories), Glass Mask (an exception to shojo rules in all ways), or Patalliro! (comedy which could theoretically go on forever). I firmly believe this is killing innovation and causing a drop in quality. Less magazines mean less pages mean less of a chance for new artists or new innovations to get through the needle’s eye; less economic stability means clinging to the same old thing because better the devil you know.

So, basically, the manga scene is like current Hollywood! Reboots and sequels galore, because they want economic security rather than innovation. That doesn’t (necessarily) mean that the new titles are bad (I don’t think Skip Beat and Kimi ni todoke are bad, just way past their sell-by date), it just means that (paradoxically!) I find old titles more interesting and worth exploring.

Wow, I hope that diatribe answered your question. I’m sure this probably wasn’t what you were looking for, wah! But basically, it’s not that I think new manga is bad. And there’s still innovation being done, usually in the more niche magazines that go beyond demographics like shonen, shojo, seinen, or ladies; I’m thinking of magazines like ITAN (Showa Genroku Rakugo Shinju) or Beam (Emma, Thermae Romae, Imuri, Wandering Son). But mainstream shojo manga, I feel, is definitely more boring to me.

* As opposed to shojo for grown women, which is also a thing.
** I’ve seen some people on tumblr imply Comic Market was established by a Hagio Moto fan club, so this means women created it, but that’s false. These people were male Hagio fans.
*** At the time. I know Hana to Yume and (especially) Lala are huge sellers today, but their target demographic is traditionally nerdy and niche.