April 11th
6:51 PM
Via

a-kinky-virgin:

z-x-y:

Six in 10 girls quit activities they love because of how they feel about their looks

Sorry that this isn’t Architecture related, but this is a serious issue. I can tell you from a personal point of view that I actually quit hockey when I was younger because of my self esteem issues. Girls and boys all around the world find a sport they love, but have it cut short because they do not like the way they look. 

Girls and boys need their coaches, parents, friends etc. to help them through this. They need to be told that they should focus on their love for whatever sport it is instead of feeling bad about the way they look. 

Pass this on, and let people know that everybody has a chance to be who they want to be without thinking about the way they look. 

I quit ballet because of this. Even as a little girl, I didn’t like that my thighs were bigger than the other girls.

And I was not a chubby kid.

Okay, well a-kinky-virgin, I was a chubby kid but I still shouldn’t have been made to feel so much shame about it that I quit ballet. Now I am a fat woman who knows that it’s not people’s incorrect estimation of my size that is the problem but the societal equation of that size with worth/value. That you just helped reinforce. By making sure we all knew you weren’t an actual fatty. So your body shame was extra unwarranted and regrettable. Thanks

Teaching Consent to Small Children

bebinn:

mysalivaismygifttotheworld:

afrafemme:

A friend and I were out with our kids when another family’s two-year-old came up. She began hugging my friend’s 18-month-old, following her around and smiling at her. My friend’s little girl looked like she wasn’t so sure she liked this, and at that moment the other little girl’s mom came up and got down on her little girl’s level to talk to her.

“Honey, can you listen to me for a moment? I’m glad you’ve found a new friend, but you need to make sure to look at her face to see if she likes it when you hug her. And if she doesn’t like it, you need to give her space. Okay?”

Two years old, and already her mother was teaching her about consent.

My daughter Sally likes to color on herself with markers. I tell her it’s her body, so it’s her choice. Sometimes she writes her name, sometimes she draws flowers or patterns. The other day I heard her talking to her brother, a marker in her hand.

“Bobby, do you mind if I color on your leg?”

Bobby smiled and moved himself closer to his sister. She began drawing a pattern on his leg with a marker while he watched, fascinated. Later, she began coloring on the sole of his foot. After each stoke, he pulled his foot back, laughing. I looked over to see what was causing the commotion, and Sally turned to me.

“He doesn’t mind if I do this,” she explained, “he is only moving his foot because it tickles. He thinks its funny.” And she was right. Already Bobby had extended his foot to her again, smiling as he did so.

What I find really fascinating about these two anecdotes is that they both deal with the consent of children not yet old enough to communicate verbally. In both stories, the older child must read the consent of the younger child through nonverbal cues. And even then, consent is not this ambiguous thing that is difficult to understand.

Teaching consent is ongoing, but it starts when children are very young. It involves both teaching children to pay attention to and respect others’ consent (or lack thereof) and teaching children that they should expect their own bodies and their own space to be respected—even by their parents and other relatives.

And if children of two or four can be expected to read the nonverbal cues and expressions of children not yet old enough to talk in order to assess whether there is consent, what excuse do full grown adults have?

I try to do this every day I go to nursery and gosh it makes me so happy to see it done elsewhere.

Yes, consent is nonsexual, too!

Not only that, but one of the reasons many child victims of sexual abuse don’t reach out is that they don’t have the understanding or words for what is happening to them, and why it isn’t okay. Teaching kids about consent helps them build better relationships and gives them the tools to seek help if they or a friend need our protection.

6:28 PM
Via

medievalpoc:

rj-ames:

medievalpoc:

Master of the Antiphonar of Padua; The Divine Comedy

f. 117r: A Griffin pulling a triumphal chariot with the Three Graces, four Virtues and Luke and Paul.

Italy (c. 1330-40)

Illuminated Manuscript, 390 x 260 mm.

[x] [x]

Isn’t this is taking the term “person of colour” a little literally? During the procession in Dante’s Inferno, he sees a chariot pulled by a griffin with three very peculiar women inside: one snow-white, one emerald green, and one fire-red. [x] [x] [x]  He also describes four dancing women in the chariot beside them.

I mean, I’m not saying it’s not interesting.  This is a really cool piece of art, and you can never have enough illuminated manuscripts.  Or Dante, for that matter. And I suppose green people everywhere appreciate the representation… 

Yes, and I’m aware of this. And honestly I really want to be rude to you because of the totally unnecessary and baiting last sentence, but instead I’m just going to loudly ignore it. Mostly I’m just fed up with people who make assumptions that I’m just being ridiculous, and that I don’t have fairly sound reasons for posting what I post. They’re relevant, they have precedent, and they start discussion.

Were you aware that varying skin tones were often represented with bright blue, purple, or green skin in Medieval art? There are several reasons for this and I’m gonna talk about them.

One example is because of the limitations of certain forms of media. This woman is obviously meant to be Black, but there was no existing glaze to represent dark brown or Black skin in the time and place it was created. So she is blue:

image

Stained glass windows often used green, blue, or purple glass to demonstrate different skin colors, because it was symbolically significant, and because it was very difficult to render a realistic and clear brown glass color for skin and still have facial features be clear to the viewers. It’s also possible they just liked the effect, as well.

Examples include the Queen of Sheba before Solomon and her attendant in this German Stained Glass Window (1270):

image

For comparison, you can see the difficulty they had with brown glass becoming muddled in this German work from c. 1290:

image

They’d improved this a great deal by 1500:

image

In Illuminated Manuscripts, people of color, including people intended to be Black, were colored blue for a few reasons. This is the title illustration for a Bohemian manuscript’s Song of Solomon, for “I am Black, but/and beautiful”:

image

Here’s some more from art historian Esther Schruder or representation of elevated African figures painted with blue skin:

image

This little book of hours comprising 253 folios measures approximately five by seven centimetres. Fourteen of these folios are decorated with full page miniatures and margin decorations, the latter in Ghent-Bruges style. A striking feature of this illumination, in addition to its small format, is the fact that the Ethiopian King is not depicted here as black or brown but as blue.

This colour is found in representations of black people in a number of manuscripts: a splendidly elegant blue King or Magus can be seen, for example, in the Flemish book of hours from circa 1480 –1489 in the Pierpont Morgan Library in New York (MS M. 234 fol. 083v), while a miniaturist working on the Bijbel van Evert van Soudenbalch in Utrecht around 1465 painted a blue Ethiopian Chamberlain in a scene relating to The Baptism of the Chamberlain (Vienna, Österreichische Nationalbibliothek). The latter figure is probably the first Ethiopian dignitary from the Bible to be represented in the Netherlands.

Not all the dark-skinned figures in the Vienna manuscript were given a blue hue, however: the dark bride kissed by King Solomon in the Old Testament book Song of Songs, for example, is depicted by the miniaturist with a brown skin.

The artists chose to use blue for the Kings and Chamberlains.

Verses in the exceedingly popular poem Cursor Mundi may well have contributed to the emergence of blue Kings and blue Chamberlains, for the series of legends surrounding the Holy Cross in this early fourteenth-century work includes the story of King David’s conversion of four Saracens who are described ‘as black and blue as lead’.

Hopefully people can read this and see what I mean when I talk about evidence, and interpretations. Is any of this for sure and certain 100% Absolute Truth? OF COURSE NOT. That’s the thing about Medieval European art…so much of it is symbolic and its symbolism can totally override any sense of representational images when it comes to human or humanoid figures.

You speculate, you form questions, you compare, you research, you revise, revisit, and reformulate, and you present your research.

Honestly there are very few things in life that *don’t* seem absurd when you reduce their context and appearance to an absurd degree.

4:32 PM
from yesterday

from yesterday

4:29 PM
k. i used a filter last time but not this time i swear!!

k. i used a filter last time but not this time i swear!!

4:27 PM
can’t compel me now, i’m vamp-proof!

can’t compel me now, i’m vamp-proof!

4:24 PM
Via
whedonesque:

'The Prom' aired 15 years ago today.

whedonesque:

'The Prom' aired 15 years ago today.

Solange performing at the 2013 Bonnaroo Music & Arts Festival 

fashion-runways:

PAVONI Resort 2013

April 10th
6:03 PM
So this is at the psychiatric hospital Van Gogh lived and painted at for a time in St-Remy. It was magnificent.

So this is at the psychiatric hospital Van Gogh lived and painted at for a time in St-Remy. It was magnificent.