Fine Cars and Pool Tables

I am Savin.My tumblr is an escape from the mundane, an elevator, and an expression of me. I am always here for any of you if you need help.
Note: I own none of the images I post, unless otherwise stated

Note: All asterisk-ed names have been changed so as to respect the person’s right to not be named.

    I’ve poured gong-fu tea many times; surely in the hundreds, potentially in the thousands. It’s something that almost comes naturally for me, at this point. Shit, I have had dreams about doing it.

By definition, my role as a tea server is to make tea. Usually, I make tea for guests who have never done it before; or perhaps, they have done it before, but they forget the steps. It’s usually one of those two. On occasion, there will be the guest who, in fact, knows all the steps, but wishes to have someone else demonstrate. In this situation, they either want to connect with you, or have someone, presumably more knowledgeable, explain to their companions.

    Not every time is significant. In fact, many times, it is relatively uneventful, really. Most of the time, people sort of accept whatever you’re doing, maybe ask a few questions. If you are lucky, people get into the process, and start a conversation with you. If you somehow get even more lucky, they fall in love with the process, and you get a new friends out of it. That’s usually as good as it gets.

    This isn’t to say that you can’t have extraordinary moments. You absolutely can. I’ve had many beautiful moments, some even glorious and ethereal. But many are not life-changing-ly profound. Some are just fun, and that’s worth it, by all means.

    Because of this usual flow of events, I have come to not expect much when pouring tea for big groups…or, I try to, anyway. What ensued from one night of pouring tea, however, was more than I ever could have imagined.

A dear friend, affectionately called Bodhi, tells me one evening that he intends to serve tea at some recurring event held by college students called Sonosilva. He invites me to join. At first, I cannot place the name. Sonosilva to me sounds like a romance-language surname.

It occurs to me then that I know this name. I know the event. I’ve even been invited once previously. I learned of it at the memorial of Cameron Poole (may he rest in tea), a guest I used to serve regularly. In mourning his death, I connected with friends of his that seemed to run in similar circles. They had invited me to a previous iteration of this event. Because I did not attend it, I had forgotten the entire notion of it until Bodhi spoke of it.

On the night of the event, I meet Bodhi and our other friend, Celia. After gathering our needed supplies, we make our way to a local spring on Empire Grade to collect local water to make tea, in the true fashion of crazy-tea-people. Whilst there, we meet a fellow spring-enthusiast gathering water on his last night in Santa Cruz. Pleasant conversation, I wish I could remember his name.

We gather our water, head somewhere on Empire Grade, and park. We debate what we need: how much water, what tea, what teaware, what materials to create a lovely altar and tea serving station-all of the essential tea-geek matters. After some down-sizing, combining, and minor adjustments, we begin our trek in the dark forest.

I’m not from here. I didn’t go to the university. I have no idea where we are going. As far as I’m concerned, I am just along for the ride. As such, I leave it to Bodhi and Celia to both take us to where we are going, and create our space for tea. All I’m here to do is aid.

We hike along the road, cars speeding past us, missing by only a few harrowing feet. Because we have so many supplies, we chug along, ducking into the brush when cars pass. Occasionally, we stop to discover the path markers, but only find broken fences and grass. If only we had parked closer.

I have no idea what to expect. Is this a casual, sit-around-a-camp-fire event? Is it a space where everyone coming shares personal experiences over tea? What could this possible be? I keep wondering so I can act with proper decorum.

We finally find ourselves up the road to the site. I am slowing down, but enjoying the walking. The air is thick, the fog is enveloping us in a ghastly mist; the sky is dark, forest quiet. All is peaceful here. It’s nights like these that I wish we had the capability to effectively capture the mystical “atmosphere” a time, day, or place exudes. Since no such technology exists, I won’t bother to grasp at the asymptote that is this brief, ethereal moment of existence.

We eventually come across a fellow Sonosilva-goer, who shone their flashlight at us from across a meadow until we intersected. We hike further, through gnarled roots and deceiving forks on the windy path. All the while, more fellow guests seem to join us as I see more and more flashlight rays flickering around us.

Eventually, we get to the site. I’ve never been to a festival like the fabled Burning Man, but I imagine it to be something like this, but perhaps much larger and palpable. There is an electricity in the atmosphere; a textbook case of visceral experience; a place of wonder, childlike imagination; and a place of great hedonism manifested in bong rips, cheap liquor, and psychedelics. Even in spite of not knowing this world, I feel a sense of quiet awe. Somehow, everyone ends up in the same place with similar intentions, and somehow, this space is beautiful. Here are all these young people-my peers-celebrating life in an odd, but extraordinary manner: one in the middle of the central-coast redwoods with a palisade-like structure of trees surrounding a DJ booth and small dance floor.

As it turns out, there are two potential areas for us to set up our tea corner. The intended space was a jerry-rigged pergola made from logs, brush, and large branches. But that doesn’t seem fitting. It somehow feels too open. Instead, we opt for the adjacent yurt-like tent, in which we find a perfect spot to position ourselves.

Bodhi and I tend to be similar in our thoughts, which means I can help him set up in a way that makes logistical and aesthetic sense. We carried what we thought worked well for a tea table: teaware suitable for serving multiple people, wooden serving tray, bamboo tea boat, assorted lights, stones, and other accoutrements, and, of course, a nice spread of teas and our spring water. We have a simple space made from some of what we brought, but also materials and objects acquired serendipitously from the organizers (read: a milk crate and an ornate scarf that seemed to be made for adorning a tea table).

After some configuration and light introductions and small talk, Bodhi begins tea service. We both agree on a shou that we mutually enjoy, as it seems to fit the vibe of the yurt: calm and down-to-earth. Immediately, a friend of Bodhi’s, Lauren*, desires hot water, and perhaps, a cup of tea, she says. Bodhi, ever the connecting thread to so many people of different communities, greets all of his friends on an individual basis as if they were the only two here, a characteristic I respect and admire.

A festival go-er sits, gazing in wonder at what this might be. Bodhi answers his question with simple explanations in a passionate, but soft manner. Already, our new friend is amazed such a larger world of tea exists, and can hardly believe any of what Bodhi explains. A few times, Bodhi will stop and ask my thoughts on a matter, or for me to explain something in a different way. I try my best to keep it simple. I know I can sometimes lose myself in an explanation, leaving the other person more confused than before.

For a while, this is the general rhythm of the night. People come in, stop for a mere cup of tea, then leave to go back out to enjoy DJ sets, spliffs, or their friends. Some people stay for a while to get away from the festival-like energy and busyness. Regardless, we are here to serve them tea and create a safe for them to enjoy. As Bodhi serves and explains, I keep a watchful eye on guests who might need tea. If appropriate, I give new guests a cup, serve our current guests more, or offer some explanations on pu-erh, tea, or why we drink in the form we do.

In these settings, I often find it simple to give as little information as possible. Tonight is no exception. Perhaps it stems from laziness, perhaps from a desire to keep the subject of tea interesting and mysterious. Personally, I think it makes the most sense in situations such as these, seeing as some guests only want tea. Not information. Not backstory. Not some long-winded explanation of something that doesn’t even really give a concrete answer.

Now, if people really desire, I strive to give them explanations that satisfy their curiosity. Even still, I try to convey it in an appropriate manner that will make the most sense to the people in question. Tonight, there are some people desiring such answers.

As Bodhi presents our tea, and explains some of its facets, I find myself wanting to butt in and clarify a point he makes. I even find myself wanting to steer his answer in a direction that I see more fitting for our audience. The tea-geek in my head finds it appropriate to give the most correct answer to everyone, to give concrete explanations on tea and tea culture.

I know this isn’t the best place to do it. At the end of the day, we should only be here to serve people what they require. I shouldn’t insist with ferocity that my way of explaining and presenting tea in a very specific way. In fact, all my education and experience has been rooted in openness and resistance to dogmatic explanations. Why should tonight be any different?

While we serve guests, I stay quiet. I don’t want to give my dogmatic insistence a voice. Instead, I attempt just to serve, to be mindful of our guests’ needs. Occasionally, somebody will unknowingly indulge me by asking for some sort of information, thus letting me explain something in a manner I can appreciate.  

Occasionally, Bodhi and I will stop and confer on whether to add a tea to the pot to keep it interesting. We even check on the other, making sure the tea can flow, the other is awake enough, and that all is well. At some point, we decide to add another shou to the pot, one that complements the one we are serving. Of course, the vibe changes immediately, and a large group comes in wanting tea.

I notice something as the night continues. I notice something I don’t like. It is something in me. I yearn to be the one people focus on; to be the one explaining; to be the focus of attention in the room. But why? How? Bodhi is doing a wonderful job of explaining. He’s passionate, very clearly; he is engaging and friendly; he is serving everyone with a spirit of love, patience, and humility, the true spirit of tea; he is doing perfect. It isn’t fair to him that I feel as if I need the attention to be on me. That isn’t his problem. That is mine. For a while, this distracts me; it makes me reflect on why I feel like this; it makes me realize that this isn’t a one-time experience. This is an issue within myself. This is me wanting to be recognized, heard, seen, and appreciated for me. This is me feeling inadequate, as if I am not enough. I feel ashamed to think that I need the spotlight, that I need recognition. The serving of tea should not be about me, or my bullshit need to have attention.

I’m brought back to the serving when someone thanks us. They thank us for the beautiful experience, they tell us how rad the entire process and beverage itself made them feel. They get up and leave. And just like that, new people, inexperienced with tea, come in, sit down, and ask for a cup.

I check in with Bodhi once more. To my enjoyment, Bodhi wants to get up and explore the festivities, meaning that someone must take over: me. I had wanted the attention, and now here it was, being handed to me. To think that the very thing that I had yearned for- conflicted about my desires-was now being given to me in the form of a duty I knew very well.

I jump in, ready to serve our guests. Surprisingly, there have been a few people that have stayed here for a while. I add another shou, continuing with tonight’s tea theme, to accommodate for the growing number of people entering the tent and wanting tea.  In fact, a crew of people that had previously come in had now returned.

After some light small talk and simple explanations on tea, I found myself engaged with the people who returned. One of them, a young woman name Emily*, strikes up a conversation about mushrooms and psychedelics, neither of which is subject for which I have strongly feelings. I have been in these discussions, however, and usually it has been best to listen to what someone has to say about these substances. Usually, most people talk about their trips as well as why they feel everyone should experience substances. It all starts to sound similar after a while, I must admit. Nevertheless, I nod, not understanding much of the details, as I don’t have any experience in this realm.

Eventually, the conversation comes to a point where someone asks my name, which I say while trying to make my voice loud enough to be heard over the music. Emily, stopping what she was saying about psychedelics asks me where it comes from and what it means. As I do with most people, I explain that it is a family name, trying to keep it brief. She, however, wants know more, and insists on telling both me and our other guests that she will hear its origins.

My name comes from my maternal grandfather, Savin. To put it simply, he was a man from an impoverished immigrant family. He grew up in a tenement building, where he paid for lumps of coal to keep warm. He grew up watching polio, influenza, and a number of other diseases and maladies ravage the people of his neighborhood. In fact, he contracted a few of those diseases, and experienced just how awful these conditions were. In response, we wished to become a doctor, both to heal people and rise out of his conditions. Through a job mercifully given to him by a butcher, he worked his way to working in a pharmacy, then pharmacy school. With this experience, he pursued and acquired a medical school education at Columbia, a massive feat for a poor Italian kid who had contracted polio.

After his residency, he enlisted in the army to be a medic. This would send him through numerous trials in Europe, including: arriving at Normandy Beach on June 7, 1944 to treat maimed, suffering soldiers of the largest seaborne invasion in history; joining the forces raiding Dachau, where he treated inmates to his best ability; and raiding Hitler’s estate.

After returning home from his time in the European theater, my grandparents moved to a small town in California, where my grandfather started his private practice as a gynecologist and general practitioner. As he practiced, he treated a vast number of patients, assisted in the births of many children, and, in doing so, amassed a reputation as a man and doctor of kindness, strength, and phenomenal ability.

I never was able to meet him. He passed away some years before I was born. My father had a near-blood relationship with him, in spite of the fact that he was his son-in-law. Through a rather odd, nay, uncanny set of circumstances that demands another piece of writing, my father accurately predicted my birth in a dream. When I was born, in light of his predictions being true, and now having one boy, my father named me after my grandfather.

I proceed to explain this story in full detail, with the occasional interruption, while pouring tea for all those willing to listen. At first, it appeared to only be Emily, myself, and a few others sitting around our cozy tea table. I progressed further and further into the story, stopping to explain minor details and checking everyone’s cup. At some point, I lost my train of thought to a bewildering sight: everyone in the tent-even those not drinking tea who were sitting in the back-were watching me in silence.

As if his spidey-senses went off, Bodhi returns. As he walks in to check in with me, he notices the crowd listening to me. He smiles, waves, and motions for me to continue. So, continue, I do.

After I finish, Emily and the few people immediately around me are quiet. I figure I have probably bored them with a long-winded story about something meaningless. Emily then tells me, “Your grandfather is still changing lives through you. Do you think he imagined that his grandson would inspire joy and change the lives of some nineteen-year-olds by telling the story of his name? You have changed my life with this experience and your beautiful story. Sure, I could have chosen another thing to do tonight, and that would have been beautiful, too. But this is very beautiful, and has changed my life and inspired joy.”

By now, the majority of people inside the tent have gone back to their own experiences, naturally. Nevertheless, my immediate guests and I share more stories, especially those of great significance to us. While continuing to pour tea, I share meaningful experiences of my life and those associated with tea (many of which I feel merit their own piece of writing), and continue to pour for people wanting to join us. We even have a discussion on cultural differences, youth, and drugs.

As we approach the dawn hours, people begin to leave, or they crash on some comfortable blankets in the corner. Our water supply dwindles. The tea is lightening, losing its divine complexity. My guests must leave. As they get up, they all ask for hugs, and tell me departing thoughts. They claim I am beautiful, that my stories are beautiful, that my existence and their time with me has changed their lives, that I am patient and wise.

After the last guest leaves, I make one last pot. I sip the basically-flavorless tea, and reflect. I had spent my time craving attention. Then, I got it. I received my desire for attention in a way where I could explain who I was; where I could tell my origin story to an audience that was apparently ready to listen.

I stepped out to get some air, and to explore the other festivities. I leaned against a tree to watch the DJ that had been hypnotized the dwindled crowd, dazed by all that had just happened. When I was feeling inadequate and yearning for someone to notice me, something-God, the universe, the spirit of tea, whatever you want to call it-gave me an audience and opportunity to tell the world of my pride, my existence, and my origin. All of this just occurred over pouring tea-an entity I already consider indescribably beautiful- in the beautiful, ethereal realm of some festival-like event in the middle forest. And I began to weep.

After some lo-fi dj sets, I made my way back to the tent to look for Bodhi and pack up. Lauren*, his friend from earlier, had been drifting in and out of our tent throughout the night, and had stayed for some of my regaling of stories. I found them there comfortably catching up, and I joined.

Within the hour, the sun rose, most people had left, and we began packing up our tea corner, now ravaged by spilled tea, piles of cups, and disheveled blankets. Eventually, we wake those sleeping in the tent so that we could assist in dismantling both it and the rest of the site. The rest of clean up and disassembly takes some time, but Bodhi and I enjoy the company of Lauren and friends.

On our way back to our cars, Bodhi, Lauren, and I discuss our time pouring tea, and why it is meaningful to both Bodhi and me. We begin to depart ways. Before she leaves, Lauren claims that I have a, “Profound way of doing exactly what is needed when it is needed in the way needed for the time.” Somehow, this night became even more beautiful with that sentence.

Bodhi and I proceed back to the car, tired, but satisfied with our evening. As he handles some bodily needs, I look to the now bright morning sky and consider how beautiful life was these last several hours; how unimaginably beautiful and pleasurable it was to experience the moments in the manner we did; how all those moments came and went like a whisp of smoke.

Our journey back home consists of us debriefing our evening. Somehow, Bodhi and I took part in the amazing experience of serving others, of pouring tea. In my recap, I thank Bodhi for his spirit and passion in pouring tea, and for being a big part of the experience. Without him, I may not have had it. In his recap, he remarks how captivating it was to see an audience listen to me. To think all of this came from some gathering in the forest.

On my drive home, I sobbed as I took a voice memo to capture the experience as quickly as I could. For someone like me, someone who has felt insufficient; for someone who has struggled with mental illness; for someone who had felt not beautiful the days leading up to this experience; for someone who seeks to serve others, this night was a humbling experience of divine splendor and majesty. I could show someone-even if just a few people paying full attention-who I was, and where I came from; I could serve others tea, an act, beverage, and ritual that I enjoy for innumerable reasons; I could be myself and be found beautiful and needed when I needed it most.

These are the moments you don’t have often. This is why I pour tea.

mortalityplays:

“how do you just know this” is a question I get asked a lot, because I tend to be someone who can contribute unusual facts or insight on whatever topic a casual conversation turns to, and I never know how to answer because “I pay attention” sounds rude and isn’t super actionable. but that is really it, I just take an active interest when I encounter something curious or unusual.

like recently one of my friends linked me a funny paragraph from a very badly written erotic novel. it was so bad that I thought “I wonder if this is real”, so we looked up the book it was from and learned it was a vintage horny housewife type story by someone who wrote a lot of shitty cheap porn back in the 80s, all of which now seems to be completely out of print.

in the course of googling the author, I discovered that one of their works had been cited in a 2004 court case over a prisoner’s right to keep erotic novels in his personal library after the prison confiscated them. a bit more googling turned up the case details in a legal database. the guy had received the books by mail and kept them, among others, in his cell. the prison seized them, citing a policy against prisoners having pornography. his lawyers argued that 1. erotic novels are distinct from pornography because they have artistic and expressive content beyond the depiction of sex acts, and 2. since he received them by mail they are therefore protected under his constitutional right to freely access non-disruptive information from outside the prison. I don’t know if he got his books back, but he won his case.

then we googled the defendant and found out he was in prison for helping a woman to drug and murder his boss (who she lived with), mutilate the body with acid and dump him in a ravine.

anyway my point is, take an interest. that’s how you learn weird stuff.

iplaywithstring:

swords-n-spindles:

the-fibre-stuff:

moiraecrochet:

synebluetoo:

costumersupportdept:

butts-for-days:

dollsahoy:

isnerdy:

rolypolywardrobe:

systlin:

darkersolstice:

max-vandenburg:

eldritchscholar:

So the other night during D&D, I had the sudden thoughts that:

1) Binary files are 1s and 0s

2) Knitting has knit stitches and purl stitches

You could represent binary data in knitting, as a pattern of knits and purls…

You can knit Doom.

However, after crunching some more numbers:

The compressed Doom installer binary is 2.93 MB. Assuming you are using sock weight yarn, with 7 stitches per inch, results in knitted doom being…

3322 square feet

Factoring it out…302 people, each knitting a relatively reasonable 11 square feet, could knit Doom.

Hi fun fact!!

The idea of a “binary code” was originally developed in the textile industry in pretty much this exact form. Remember punch cards? Probably not! They were a precursor to the floppy disc, and were used to store information in the same sort of binary code that we still use:

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Here’s Mary Jackson (c.late 1950s) at a computer. If you look closely in the yellow box, you’ll see a stack of blank punch cards that she will use to store her calculations.

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This is what a card might look like once punched. Note that the written numbers on the card are for human reference, and not understood by the computer. 

But what does it have to do with textiles? Almost exactly what OP suggested. Now even though machine knitting is old as balls, I feel that there are few people outside of the industry or craft communities who have ever seen a knitting machine. 

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Here’s a flatbed knitting machine (as opposed to a round or tube machine), which honestly looks pretty damn similar to the ones that were first invented in the sixteenth century, and here’s a nice little diagram explaining how it works:

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But what if you don’t just want a plain stocking stitch sweater? What if you want a multi-color design, or lace, or the like? You can quite easily add in another color and integrate it into your design, but for, say, a consistent intarsia (two-color repeating pattern), human error is too likely. Plus, it takes too long for a knitter in an industrial setting. This is where the binary comes in!

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Here’s an intarsia swatch I made in my knitwear class last year. As you can see, the front of the swatch is the inverse of the back. When knitting this, I put a punch card in the reader,

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and as you can see, the holes (or 0′s) told the machine not to knit the ground color (1′s) and the machine was set up in such a way that the second color would come through when the first color was told not to knit.

tl;dr the textiles industry is more important than people give it credit for, and I would suggest using a machine if you were going to try to knit almost 3 megabytes of information.

@we-are-threadmage

Someone port Doom to a blanket

I really love tumblr for this 🙌

It goes beyond this.  Every computer out there has memory.  The kind of memory you might call RAM.  The earliest kind of memory was magnetic core memory.  It looked like this:

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Wires going through magnets.  This is how all of the important early digital computers stored information temporarily.  Each magnetic core could store a single bit - a 0 or a 1.  Here’s a picture of a variation of this, called rope core memory, from one NASA’s Apollo guidance computers:

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You may think this looks incredibly handmade, and that’s because it is.  But these are also extreme close-ups.  Here’s the scale of the individual cores:

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The only people who had the skills necessary to thread all of these cores precisely enough were textile and garment workers.  Little old ladies would literally thread the wires by hand.

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And thanks to them, we were able to land on the moon.  This is also why memory in early computers was so expensive.  It had to be hand-crafted, and took a lot of time.

(little old ladies sewed the space suits, too)

Fun fact: one nickname for it was LOL Memory, for “little old lady memory.”

I mean let’s also touch on the Jacquard Loom, if you want to get all Textiles In Sciencey. It was officially created in 1801 or 1804 depending on who you ask (although you can see it in proto-form as early as 1725) and used a literal chain of punch cards to tell the loom which warps to raise on hooks before passing the weft through. It replaced the “weaver yelling at Draw Boy” technique, in which the weaver would call to the kid manning the heddles “raise these and these, lower these!” and hope that he got it right. 

With a Jacquard loom instead of painstakingly picking up every little thread by hand to weave in a pattern, which is what folks used to do for brocades in Ye Olde Times, this basically automated that. Essentially all you have to do to weave here is advance the punch cards and throw the shuttle. SO EASY. 


ALSO, it’s not just “little old ladies sewed the first spacesuits,” it’s “the women from the Playtex Corp were the only ones who could sew within the tolerances needed.” Yes, THAT Playtex Corp, the one who makes bras. Bra-makers sent us to the moon. 

And the cool thing with them was that they did it all WITHOUT PINS, WITHOUT SEAM RIPPING and in ONE TRY. You couldn’t use pins or re-sew seams because the spacesuits had to be airtight, so any additional holes in them were NO GOOD. They were also sewing to some STUPID tight tolerances-in our costume shop if you’re within an eighth of an inch of being on the line, you’re usually good. The Playtex ladies were working on tolerances of 1/32nd of an inch. 1/32nd. AND IN 21 LAYERS OF FABRIC. 

The women who made the spacesuits were BADASSES. (and yes, I’ve tried to get Space-X to hire me more than once. They don’t seem interested these days)

This is fascinating. I knew there was a correlation between binary and weaving but this just takes it to a whole nother level. 

I’m in Venice, Italy several times a year (lucky me!) and last year I went on a private tour of the Luigi Bevilacqua factory.

Founded in 1875, they still use their original jacquard looms to hand make velvet.

Here are the looms:

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Here are the punch cards:

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Some of these looms take up to 1600 spools. That is necessary to make their many different patterns. 

Here are some patterns:

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How many punchcards per pattern?

 This many:

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Modern computing owes its very life to textiles - And to women. From antiquity weaving has been the domain of women. Sure, we remember Ada Lovelace and Hedy Lamarr, but while Joseph Marie Jacquard gets all the credit for his loom, the operators and designers were for the most part women.

I’ve seen this cross my dash a few times, but I’ve never watched the video before. Maybe I just didn’t pay attention when I was a kid, but I don’t remember ever seeing just how the Jacquard loom works. I just knew that the punch cards controlled which threads were raised. It’s cool to see the how, not just the what.

Don’t hide this in the tags, @drylime :D

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I am never not amused by the overlap of textiles and technology. Also the fact that a huge number of fiber arts people I know are either in tech or math themselves or their partner is (myself included - husband is a programmer).

Asker Avatar

Anonymous asked:

Trick or treat!

Smell my feet :P

Happy Halloween to all.

pyaasa:

pyaasa:

pyaasa:

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I’m going to scream. Pushback on the narrative that climate breakdown can be averted by individual decisions centres around the fact that NORMAL PEOPLE do not contribute to a significant amount of carbon emissions cos the average NORMAL PERSON emits 7 tons of CO2 a year. Not Taylor fucking Swift who has emitted over 8000 tons of emissions this year SO FAR. Her CO2 emissions from private jet use alone are equivalent to that of TWO THOUSAND normal people. We absolutely should be blaming individuals if those particular individuals are emitting two thousand people’s worth of emissions.

“We should be addressing structural issues” my brother in Christ widespread private jet use is a structural issue. Celebrity culture and the extravagant lifestyle that comes with it is a structural issue. These are whole industries that are massively impacting climate breakdown but because Taylor happens to be the most egregious case her stans want to pretend it’s not a problem. Stan culture really is a disease

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triona-tribblescore:

itsnotillegalyet07:

adv3nturelust:

the-tired-tenor:

So uh….some dude apparently recreated Adobe Photoshop feature-for-feature, for FREE, and it runs in your browser.

Anyway, fuck Adobe, and enjoy!

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Give credit to the 30-year-old who worked on this for free and offers this service for free!

WHAT?!

I study graphic design and my tutor recommended and used this in his classes at art college last year, it’s so good it has SO many features for free, I really recommend it, even if you’re just trying to learn the basics of PS, such a wonderful thing <3

entitledrichpeople:

As Biden visited Israel to fund and support a genocidal Settler colonial government, he also took moves to increase genocidal acts against Native people in the US by legalizing the destruction of graveyards and holy sites in order to put up a wall in the middle of some tribes historical lands. Border Patrol routinely engage in violence against Native people while searching for “illegal immigrants” of the same tribe.

The US ruling class backs Israel for the same reason it funded a coup against Evo Morales, because as a violent, genocidal Settler colony they back other Settlers and destroy examples of moves towards Indigenous rule in order to maintain their own position as a violent, genocidal Settler colony.

An end to US imperialism and end to Settler colonialism are necessary for the good of the world.

daxdraggon:

daxdraggon:

I think one of the Worst Things about wanting to find period clothing from other cultures, is trying to find fucking casual/work clothes. Like no, I do not want to see all these fancy intricate kimonos, I want to see jinbei, and field work outfits so I don’t put a damn obi on this poor boy so he has a belt to hang his knife from.

ok but i found the best picture ever

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look at her she’s so cute and happy i love this photo

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everythingsbetterunderthestars:

Please please please I know we all love Friends and Chandler was our favourite character and Matthew always put a smile on our faces and that’s all amazing but can we please please please talk about this:

“I’ve had a lot of ups and downs in my life. I’m still working through it personally, but the best thing about me is that if an alcoholic or drug addict comes up to me and says, ‘Will you help me?’ I will always say, 'Yes, I know how to do that. I will do that for you, even if I can’t always do it for myself! So I do that, whenever I can. In groups, or one on one.

And I created the Perry House in Malibu, a sober-living facility for men. I also wrote my play The End of Longing, which is a personal message to the world, an exaggerated form of me as a drunk. I had something important to say to people like me, and to people who love people like me.

When I die, I know people will talk about Friends, Friends, Friends. And I’m glad of that, happy l’ve done some solid work as an actor, as well as given people multiple chances to make fun of my struggles on the world wide web…

but when I die, as far as my so-called accomplishments go, it would be nice if Friends were listed far behind the things I did to try to help other people.

I know it won’t happen, but it would be nice.

- Matthew Langford Perry

(August 19, 1969 - October 28, 2023)

the-cricket-chirps:

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Unknown Artist

One Hundred Poems and One Hundred Poets (book cover)

c. 1870s

bygone-hollywood:

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Lana Turner, Judy Garland, and Hedy Lamarr in “Ziegfeld Girl” (1941)

genovianxprince:

bookshelfdreams:

shoobie-doowop:

remember in School of Rock where the black girl was afraid to say she wanted to be a singer because she was fat and didn’t want to get laughed at but Dewey was all “who gives a shit, I’m fat too and so is aretha franklin but we’re still valuable and we rock” and then the girl felt better without having to be told that beauty comes in all sizes or some other bullshit. thats the kind of body positivity I’m looking for. tell these babies that they’re worth a damn without tying it to any other arbitrary ideals

Also like. when she asks him why he isn’t on a diet. and you just know she has heard this dumb “tip” a million times before (“just go on a diet!” “if you really apply yourself you can easily use x amount of weight!” “you just don’t want it enough!”)

& Dewey just


jack black as his character Dewey saying "because I like to eat"

Originally posted by dailyflicks

there’s nothing wrong! with liking food! and being hungry! you don’t need to starve yourself to fit into some bs aesthetic! eat food!

Also that he cited a fat black woman singer specifically as it was the black girl who asked. gave her a direct representation of someone just like herself instead of citing anyone else

bluumey:

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More punks 🤎

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