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@c-ology / c-ology.tumblr.com

Vinnie. Grown. Boston/Providence. Family from Montserrat, West Indies. Medical Illustrator/Designer primarily working in the medical field. Food person. Family man. Believer. Dark skin, suburban, art school kid. Deeply flawed individual. This? Its things that I like to look at. Art, food, design, science/medical images, photography and the occasional cool commercial/advert. I love anime and comedy. I support Black uplift and awareness. I show love. Tags: #black, #food, #gallery award, #i have a thing for bathrooms. Header photo: Breakfast at Maria’s in Pawtucket. Icon: me holding a Dasheen (Malanga Coco)
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reblogged

This adorable little robot is designed to make sure its photosynthesising passenger is well taken care of. It moves towards brighter light if it needs, or hides in the shade to keep cool. When in the light, it rotates to make sure the plant gets plenty of light. It even likes to play with humans.

Oh, and apparently, it gets antsy when it’s thirsty.

The robot is actually an art project called “Sharing Human Technology with Plants” by a roboticist named Sun Tianqi. It’s made from a modified version of a Vincross HEXA robot, and in his own words, it’s purpose is “to explore the relationship between living beings and robots.”

I don’t care if it’s silly. I want one.

Could you imagine a whole greenhouse full of these? I always thought of spaceship greenhouses as big stationary things, but imagine a rotating “sun” and a bundle of little, shuffling planters that come find crew member when their plants are dehydrated.

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The "Tragedy of the Commons" was invented by a white supremacist based on a false history, and it's toxic bullshit

In a brilliant Twitter thread, UCSB political scientist Matto Mildenberger recounts the sordid history of Garrett Hardin’s classic, widely cited 1968 article “The Tragedy of the Commons,” whose ideas are taught to millions of undergrads, and whose precepts are used to justify the privatization of public goods as the only efficient way to manage them.

Hardin’s paper starts with a history of the English Commons – publicly held lands that were collectively owned and managed – and the claim that commons routinely fell prey to the selfish human impulse to overgraze your livestock on public land (and that even non-selfish people would overgraze their animals because they knew that their more-selfish neighbors would do so even if they didn’t).

But this isn’t what actually happened to the Commons: they were stable and well-managed until other factors (e.g. rich people trying to acquire even more land) destabilized them.

Hardin wasn’t just inventing false histories out of a vacuum. He was, personally, a nasty piece of work: a white supremacist and eugenicist, and the Tragedy of the Commons paper is shot through with this vile ideology, arguing that poor people should not be given charity lest they breed beyond their means (Hardin also campaigned against food aid). Hardin was a director of the Federation for American Immigration Reform and the white nationalist Social Contract Press, and co-founded anti-immigrant groups like Californians for Population Stabilization and The Environmental Fund.

Mildenberger argues that Hardin was a trumpist before Trump: He served on the board of the Federation for American Immigration Reform (FAIR), whose talking points often emerge from Trump’s mouth.

(Hardin quotes that didn’t make it into his seminal paper: “Diversity is the opposite of unity, and unity is a prime requirement for national survival” and “My position is that this idea of a multiethnic society is a disaster…we should restrict immigration for that reason.”)

As Mildenberger points out, this isn’t a case where a terrible person had some great ideas that outlived them: Hardin’s Tragedy of the Commons was a piece of intellectual fraud committed in service to his racist, eugenicist ideology.

What’s worse: the environmental movement elevates Hardin to sainthood, whitewashing his racism and celebrating “The Tragedy of the Commons” as a seminal work of environmental literature. But Hardin is no friend of the environment: his noxious cocktail of racism and false history are used to move public lands into private ownership or stewardship, (literally) paving the way for devastating exploitation of those lands.

By contrast, consider Nobelist Elinor Ostrom’s Governing the Commons, whose groundbreaking insights on the management of common resources are a prescription for a better, more prosperous, more egalitarian future.

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archatlas

Musée Atelier Audemars Piguet

Musée Atelier Audemars Piguet is a spiral-shaped building rising up out of the landscape of Vallée de Joux in Switzerland designed by BIG for the watchmaker to house its collection of timepieces.

The curved glass walls and the green roof of the BIG-designed pavilion sit next to the original Audemars Piguet workshop, which was set up in 1875.

This historic building has been restored by Swiss architecture office CCHE and connected to the new museum, which was also realised by the studio.

Source: dezeen.com
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jpnostalgia

JURASSIC PARK vs JURASSIC WORLD trilogies 

why the original trilogy feels more mature and real than the new one, more cartoonish instead. 

Which style do you prefer?

We have the same problem in big budget Hollywood filmmaking nowadays that Hayao Miyazaki pointed out in anime a few years back, namely that films are being made by the fanboys that grew up idolizing the original movies, and worse still planned and budgeted by corporate lawyers and producers who use think tanks to identify what they think audiences want in films, and as a result you get overwrought and convoluted twaddle that makes us normal people pine for the old standard

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Imagine all of the insufferable oscar bait quarantine movies that are gonna come out in a few years, about a husband and wife forced to stay home together, and slowly learn to actually love and appreciate their spouse.

One of the Important Scenes will be where Husband watches Wife idk fucking eat an entire can of olives and goes “I- I didn’t know you liked olives” and she’s like “Yeh I love them” *insert obnoxious slurping eating noises to prove she is a Relatable Female Character.*

And then cue dramatic melancholy music while he sits and thinks about how his job is actually meaningless in the face of the fact that it’s prevented him from learning more about the woman he married all those years ago.

There’s a bunch of scenes where they look pensively at each other from the doorway. They start off quarantine sitting on chairs on opposite sides of the living room. As the days progress they move closer and closer. By the end of the movie they’re next to each other on a love seat.

It’s about two upper middle class white heterosexuals. He works at a bank and she runs an etsy shop making tiny idly jewelry. Their neighbor is an Eldery Likable Black Man who offers them sage advice talking over the fence of their backyards. He of course eventually dies of the virus, leaving his two neighbors to learn and grow from the experience- and to treasure what really matters in life.

It makes 10 Bazillion dollars and several high brow movie critics talk breathlessly about how it accurately and beautifully handled the emotional and social struggle of life during the pandemic.

Husband is played by like Leonardo DiCaprio or something. Wife is a slim blonde actress who is 20 years younger than him, even though in the move their characters somehow went to high school together. Black Neighbor Killed Off For Character Development is played by Morgan Freeman. The movie is touted as one of the most Important Films Of The Decade.

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cricketcat9

Yep. That’s The Movie. IMO there also will be Elderly Heroic Asian Woman, owner of a grocery store, speaking bad English,  suffering but Performing Heroic Acts for the community, even the asshole racist who will eventually reform, cue tears. 

The whole film just flashed in front of my eyes.

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