industrial collapse

Earlier this year, one South Jersey property owner got a notice: Chemicals from a nearby military base had seeped into the well that supplied drinking water to the site — contaminating it at a level 20 times higher than the federal government considers safe.

It’s a familiar story to residents from New York to Colorado, Pennsylvania to Idaho. Contamination from former or current military installations, including in Horsham, Warrington, and Warminster, has ignited a nationwide review of water on or around bases that used a firefighting foam containing toxic chemicals. In the Philadelphia suburbs, about 70,000 residents have contended with tainted water running from their taps.

—  Nearly 400 military bases must be tested for drinking water contamination — and it will take years 
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For me, this craft, this mantle, is not light and love, hope and positivity. It is a grim and gnarled path, especially in the age of the Earth’s mass destruction. 

To be a witch is to make a pact with darkness. 

To be a witch is to understand that industrial human civilization is a sickness on the Earth. 

To be a witch is to understand that our fates have been sealed and there will be no mass shift in consciousness until the Earth’s righteous justice has been satisfied with the humbling decimation of humankind. 

To be a witch is to understand that the Spirit of the Earth, Gaia, Asase Yaa, our Great Grandmother, is full of grief and wrath for the actions of humankind. 

To be a witch is to feel the pull of the wild, to abandon the failed project of human domestication, and return to an animal nature, wholly immersed in the vicious web of life. 

To be a witch is to create sacred space for the coming catastrophe - to prepare the way for the death of industrial civilization, for the suffering and grieving of the human mass as all systems collapse under the weight of human greed and nuclear warfare, global warming, ocean acidification, resource scarcity, mass migrations of climate refugees, and children who will rage against generations that saw the signs and did nothing. 

To be a witch is to grieve for those who suffering and provide them with solace in the darkness and destruction the witch knows all too well. 

To be a witch is to curse those who murder, exploit, and oppression, and to revel without sympathy in their unraveling and in the evils that visit their households.

To be a witch is to understand that even the witch is complicit in the tragic fate of life on Earth.

To be a witch is to make whole what poison has corrupted.

what the hell is konami doing: a response

so with metal gear survive announced and people wondering why the hell konami’s destroying themselves, i thought id give some insight into this matter.

i have friends in japan - both natives, and expats now living there. and according to them - and i say this because i have absolutely no sources on this, and based on the nature of this none probably exist - konami is basically the yakuza’s gaming branch. most of the higher-ups have some ties to the yakuza, and have basically since the company’s inception.

so, what does this have to do with konami tearing themselves apart? easy - yakuza no longer wants konami around. maybe someone at konami specifically did something to piss them off and now they’re cutting off ties, maybe theyve found another company that’s better for their purposes, maybe they just don’t want to be involved in gaming anymore.

what matters is - they want konami out of the picture. but they can’t just close them down, or people would get suspicious. so what theyre doing is, theyre frantically laundering money out of the company while deliberately misusing its assets to turn the least profit possible for plausible deniability. fire kojima to erode consumer trust. cancel a high-profile, high-budget game. spend a bunch of money on fox engine remasters of snake eater cutscenes for a pachinko machine that wont make a tenth of that money back. for that matter, use your licenses on pachinko machines - its a dying market and doing so will both erode consumer trust and potentially wring a bit more money out of pachinko from diehard fans before the industry collapses entirely. do pointless microtransactions in mgo because (i would imagine, i dont exactly have a lot of experience in this field) microtransaction profit is an easy number to forge if you need the numbers to line up. and now - make a zombie survival game under the metal gear license, which is doomed to fail due to market saturation and fan backlash, but give it a aaa budget so you can sneak in a couple thousand extra dollars that no one will suspect youve just laundered out. these are all things that they can easily claim are just bad business decisions, despite actually forming a clear pattern. this is intentional. they dont want your money, because that means more they have to launder out before they can close the company entirely.

like i say, i have no hard evidence or sources on this, but it explains a hell of a lot - my guess is, they started this process around when mgs5 came out and silent hills was canceled. the best we can hope for is that, when they finally close down the company, they hold a thq-style auction for all their ips.

I found out today while doing research for my upcoming convention panel on Tokusatsu Heroes of the 1980s that the majority of Ultraman 80 was directed by Noriaki Yuasa. He helmed 22 out of the all of the series episodes, the next nearest director only did 8 and then down from there.  

Noriaki Yuasa may be more familiar to kaiju fans though as the director behind all of the Showa Era Gamera movies from 1965′s Gamera (Gammera the Invicible in the US) to Gamera vs. Zigra in 1971. He left the motion picture industry after the financial collapse of Daiei Pictures and worked in television.

In addition to his work on Ultraman 80, he directed a single episode of Ultraman-inspired series Iron King, produced by produced by Nippon Gendai and Senkosha.

Though he is credited as the director of 1980′s Gamera: Supermonster which was an attempt to bring Daiei back as a financially viable company I am not sure how much he directed or how much they just gave him credit as most of the movie consisted of footage taken from the earlier films he did helm.

The above shot is a picture of Yuasa on the set of 1968′s Gamera vs. Viras working with the villainous cephalopod of the title.

Ted Daniel, Milford Graves, Frank Lowe, Juma Sultan, Noah Howard, James DuBoise, unknown, Sam Rivers, and Ali Abuwi outside Studio We, 1973.

In the late 1960s and 1970s, with New York City’s socioeconomic scaffolding rickety and near collapse, abandoned industrial spaces in Lower Manhattan were buttressed by artists. Painters, appropriators, and sculptors converted nineteenth-century sweatshops into studios, and dance-happy DJs turned these same buildings into the first cathedrals of disco.

One of the most fecund, though least documented, scenes was chiseled out by jazz musicians, most young, black, and with eclectic leanings. These post-Coltrane free players, and free thinkers — shunned by a mainstream in the midst of commodifying the “counterculture” — lived, rehearsed, and performed in these loft spaces, usually in or around Soho.

The movement, and the music, became known as “loft jazz,” an iffy if not outright divisive term. Was it a style? A genre? An ideology? An attitude? Many of the musicians found the phrase confining, despite the high ceilings, while others saw possibility. (Ah, low rents as creative enabler!)

Earth 2 Doesn't Exist.

Global warming, especially anthropogenic warming, is one of the greatest problems and challenges of human kind. Despite indisputable scientific consensus, people still chose to deny the facts and, most frighteningly, the consequences. In Australia, climate change is causing irreversible damage to the Great Barrier Reef, will result in more variable and unreliable monsoon seasons (something that powers Australia’s water security), more intense and devastating bushfires and cyclonic events. It will result in strangling droughts for our farmers, and epic floods that destroys homes and takes lives. It will endanger the status of our native species, if not send them extinct. It will cause the tourism industry to collapse, nullifying jobs and damage our economy. It will destroy coral reefs (food source) and swallow islands (homes), resulting in more foreign aid, and natural disaster refugees, especially from Pacific nations, who have lost their homes. 

Do you want all of this to happen? You would rather take pleasure in short term economic prosperity than safeguard the sustainability of our planet? There is no Earth 2. None of this needs to happen. You need to take a stand. We need change now.  

t will cause the tourism industry to collapse, nullifying jobs and damage our economy.

anonymous asked:

If Canadian animators start demanding higher (fairer) pay and/or we get a union formed won't that create a collapse in the amount of animation jobs sent here? I would love to have wages reflect the cost of living in a city like Vancouver but if we lose a huge chunk of jobs then we are equally as screwed, are we not? I dunno, I feel like we're between a rock and a hard place.

This is a common refrain. The most difficult thing about it is you can’t prove a negative. Could our industry collapse if we demand fair wages or unionize? Maybe. But it also could not.

We can, however, present some compelling evidence that the industry will most likely not collapse. All of live action in Vancouver is unionized, and they had to fight hard for that. They thought their industry would collapse as well, but they risked it and guess what? It didn’t. Not only did it not, but it has grown since unionization into one of the top industries in our province. It employs thousands of workers, all union. They have fair pay, long term collective agreements with the production companies and overtime compensation.

Additionally, even with unionization and potential wage increases, Vancouver is still the most cost effective option for animation. BC tax credits pay back huge portions of our wages, our dollar is low, we are on the same time zone as Los Angeles and a plane ride here is two hours. Anyone who has worked in a shop with outsourced animation knows that there are major pitfalls to that model - the time difference alone creates huge costs for studios.

Right now we are the cheapest option in the English speaking world, and that’s important. Studios can’t have storyboards done in countries with significant cultural differences. Same with animation, the language barrier is a major issue.

No one seems to be discussing how fair pay and unions actually create stability in our industry, and make us more attractive. If we can produce better quality work because we are staying at studios, are healthy, and have a good work/life balance, our employers and their clients benefit far more than getting a shoddy product done for no money. Their shows will be more attractive to audiences, more creative, and better executed. Instead of constantly being hustled through the pipeline based on what studios need right now, we would have an opportunity to become experts in our particular area, be it key layout, backgrounds, character animation, designs or storyboards. It can take the boom we are in and make this a long term foundation from which generations of artists will be brought up in.

Sometimes people worry the work will go to Toronto or Halifax. Our thoughts on that have been made a reality with the wage share. Toronto and Halifax are not far behind us in terms of organization. They see what happens here, and we doubt that they will remain ignorant if we organize and push for fair pay and overtime compensation. Media unions are international, and there are labour laws in Ontario that studios have to follow as well.

Moving a production, in particular when that production has several seasons, is extremely expensive. It’s doubtful the additional cost of our wages will make up that cost.

If they move animation from Vancouver, where are they going to get the talent? Who is going to make their productions? We are. They will move us all out to Toronto or Halifax and we will just organize there. We don’t think artists understand - you make up a TINY portion of the population. There are so few people in the world that can do what we do that studios have to recruit internationally to staff their Netflix or Amazon or Dreamworks or Hasbro shows.

Lastly, all of our jobs could disappear anyways. They did in 2001 and again in 2008. At least if we have fair wages and a union, we will be protected during those downturns. Unions often have provisions for extending health benefits while artists aren’t working and provide training and upgrading during dry spells. We will be able to save more money through our pay and OT compensation to carry us through a crash. We are really confused as to how the threat of job loss justifies the continued exploitation of a workforce. If we are all employed badly is that better than most of us being employed well? If artists can bank savings, does that not mean that they may be able to start studios themselves, thus hiring more artists? Is it not better to build our industry with a solid brick foundation of mutual respect instead of the quicksand of exploitative worker practices? Honestly, if we continue to allow ourselves to be exploited, we may contribute to the major downfall of our industry, instead of a potential (but very unlikely) temporary blip.

I mean I hate coal as much as the next environmentalist but
A lot of our coal comes from the Appalachia region of the US, and areas around it, and my understanding is that some of the poorest people in our country hold those mining job so

You know, divest from coal, but you better be thinking of alternatives for the people who are In those jobs. It’s not fair to force someone out of work for any agenda, good or bad.
It shouldn’t be “yay! The coal industry is collapsing, screw you guys” it should be “hey we don’t think this is working, we don’t want to fund this, invest in this instead”. Those people need to have access to other work.

The Morning Paper

Jason reads something interesting in the Gotham Gazette. Luckily, Tim is there to provide context clues. JayTim 1.3K

AO3


Tim’s bare feet didn’t make a sound on the dirty carpet of Jason’s safe house. He used the term ‘house’ lightly, as it wasn’t much more than an abandoned warehouse loft, nestled two floors above rusting industrial machines and collapsed wrought iron stairs.  It had most likely been an office for a manager, a place where one could look out across brown windows and see the entire open floor below.

Now, it just looked lonely and forgotten, an unpolished graveyard of broken steel limbs, twisted and vaulted like the unraveled spines of slaughtered beasts. Jason said he didn’t mind it. That he liked broken things.

In the warm light, Tim could see Jason bent over a dismantled handgun, meticulously cleaning each part with a dirty rag. He was seated at a flimsy plastic table that looked liked he’d lifted it from B-I-N-G-O Tuesdays at a nearby retirement home.

Knowing Jason, he’d probably had. And sweet-talked his way into a standing invitation to come back any time, for a game or dinner with Gladys and Cheryl.

“I read something interesting in this morning’s paper,” Jason said, but didn’t lift his head from the piece of dark metal in his hands. 

“Oh?” Tim asked lightly, leaning against the door jam and crossing his arms over his bare chest. “Must have been good if it caught your eye.”

Jason slowly lifted his gaze from the gun. “Jury’s still out on that one.”

Tim hummed, his eyes fixed on the way the muscles in Jason’s forearms and shoulders shifted as he continued his cleaning.  

“Aren’t you a little curious?” Jason asked. Whatever he had been doing earlier had left his hands stained a dirty grey. Tim guessed he’d spent some time on the warehouse floor with his bike.

“Alright,” Tim conceded, walking to take a seat across from Jason in an equally flimsy folding chair. “Tell me, what did you read?”

Jason’s eyes lifted again as he threw the cleaned part back on the table. He took his sweet time drinking in Tim’s tangled hair and gently flushed face, down to the soft lines of his lips. 

“Vicki Vale seemed to have a lot to say,” he said, finally, after lingering on the milky skin of Tim’s neck. He knew what had caught Jason’s eye, the purple and blue love bites he’d left the night before in full bloom.  

Tim raised an eyebrow. “And you believed her?”

Keep reading

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A Short History of the Icelandic Banana Industry,

While Iceland is certainly not known for being a producer of the delicious tropical fruit, at one time the island south of the Arctic circle had a thriving banana industry.  Being an island in the North Atlantic, Iceland is very dependent on foreign imports.  However, during World War II shipments of fresh fruit and vegetables came to a halt due to wartime food shortages and the risk of U-Boat attacks.

Like most people living during World War II, the Icelanders had to learn to either do without or improvise with what they had.  The invention and discovery of cheap geothermal power helped provide a solution to the shortages.  In 1940 a number of facilities consisting of geothermal heated greenhouses were constructed in order to grow fresh fruit and vegetables.  Among the first crop was a pod of bananas, the first of which was harvested in 1941.  Production of Icelandic bananas was slow at first, due to lack of sunlight Icelandic bananas take two years to grow and mature.  Near the equator they only take of few months.  However by 1945 Iceland had developed a banana industry that was large enough to meet the demand of the island.

After World War II the Icelandic banana industry continued to thrive due to high import costs of fruit.  In 1960 the Icelandic government removed import tariffs for fruit.  The Icelandic banana industry quickly collapsed as cheap and abundant foreign bananas flooded the market.  Today, bananas are still grown in Iceland, although only by a few greenhouse owners. The Agricultural University of Iceland also operates a greenhouse with 600-700 banana plants.

Eight principles of uncivilization

 1.  We live in a time of social, economic and ecological unraveling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.

2.  We reject the faith which holds that the converging crises of our times can be reduced to a set of‘problems’ in need of technological or political ‘solutions’.

3.  We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilization: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.

4.  We will reassert the role of story-telling as more than mere entertainment. It is through stories that we weave reality.

5.  Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.

6.  We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.

7.  We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write withdirt under our fingernails.

8.  The end of the world as we know it is not the end of the world full stop. Together, we will find the hope beyond hope, the paths which lead to the unknown world ahead of us.

1. Sleep earlier, rise earlier - set your alarm for 3am and turn on the dumpy local channel that only shows terrible syndicated programs like family guy and the big bang theory. on the third moon, you will see something sinister being broadcasted onto your television. record in detail these strange tales, as they become darker and darker, slowly eroding at your mental wellbeing. have someone publish your findings on the internet after you mysteriously disappear. it will circulate and people will write it off as a creepypasta, but they always do, and that’s how the demons of this world operate without us making any meaningful effort to stop them.

2. Read more - just shitty fanfiction. shitty crossover fanfiction. make it your personal mission to find the worst stuff out there… sailor moon and gi joe, scooby doo and lord of the rings, the lion king retold with the cast of golden girls and courage the cowardly dog, the cosby show and atlas shrugged… it’s all out there and it’s waiting for you. spend all your time tracking down these elusive fics until you lose all your money and the cable company shuts off your internet.

3. Stay away from people who do not deserve you - challenge the people who you think are your friends to a trivia game surrounding the intimate web of relationships your 6 year old self had with the neighborhood cats. alienate them when they cannot answer a single question about it correctly.

4. Eat well - literally. eat a fucking well.

5. Create a plan that will be enjoyable for exercise and just do it - this life goal was sponsored by Nike. embrace your uncomfort zone.

6. Study well - but only things that are worth studying, such as the evolution of memes and the social media profiles of people you can’t stand

7. Pamper yourself - let’s face it. accidents happen! but pampers (trusted by millions of moms) has better leak protection than the bargain brand.

8. Put in an effort - dress for the job you want, not the job you have. wear avant garde fashion to your part time job at Taco Bell no matter how many times your manager tells you that you have to wear the provided uniform. after you get fired, hopefully some local newspaper reports on your story because nothing interesting happens in ohio anyway and it would be a fun comic relief story. cross your fingers that buzzfeed finds out about it and launches your story into the viral web, attracting the attention of high fashion designers everywhere. that’s how they discovered kate moss so it could work for you too.

9. Learn new vocabulary and deliberately use it incorrectly all the fcking time

10. Plan an outing once a week - travel to a nearby metropolitan area, stand on a street corner, and kindly inform passing people that bush did 9/11 with your megaphone. be sure to be detailed enough to pique people’s curiosity and ensure a visit to 911truth.org but don’t let on that you know too much, or you’ll be taken out by the FBI

11. Set small goals - if you plan on taking over the world, for example, start with something smaller first, like the tri-state area

12. Meet new people - not like people you don’t know, like, NEW people. sneak into the nursery at a hospital and talk to the babies about the physics of a black hole. they won’t understand any of it but they’ll listen to you. no one ever listens when you talk about black holes. it’s disappointing. they’re so cool. space is so cool. why doesn’t anyone want to talk about space

13. Love yourself - love yourself so much that little kids tease you “if you love yourself so much than why don’t you MARRY you?” ask yourself, truly, why DONT you? start a ludicrous political campaign for same-self marriage that rightfully angers the lgbt community and confuses the republican party immensely

14. Art - it sucks. all of it. like literally don’t pay for any of it and watch in shock when the film and music industries collapse. “I have no idea what happened” you’ll say to your grandchildren while you play them rihannas entire discography that you pirated

15. Stick to these goals or you’ll turn ugly in a year :/

—  kinkshamer69’s 15 goals for 2015

Former South Korean forced laborer Yang Geum-deok, 81, who worked at Mitsubishi Heavy Industries, collapses and weeps during a rally in front of the Japanese Embassy in Seoul, Thursday. 

Japan has paid 99 yen (80 cents) as part of a welfare pension refund to seven South Korean women who were forced to work during the 1910-45 colonization of the Korean Peninsula, local media reported. [AP]