#Quasi vent post

[squipedmew]

bitches be like “omg you have to watch this piece of media it has such good female characters” and then it’s the 10000th story about how much it Fucking Sucks to be a woman sometimes

[randomrandy]

Ocd is fun cause you spend 20 minutes googling shit to make sure an inconsequential post doesn’t contain inaccurate information even though it was only talking about your own personal experience and you end up just not making it cause the amount of distress it’s causing you is not worth it

[copepods]

🌇 factored-antagonism 🔁 three-pronged-spears Follow

🌫️ three-pronged-spears Follow

DNI if you support Peripherism. It's literally just Slab Mongering but worse and with less effort

#wait peripherism is still a thing?????? #meaning collector point inversions havent been the norm in like 350 years afaik

36 notes

💟 pleading-intellect

GUYSSSS my overseer found a clutch of baby green lizards today they're so CUTE

#inty.txt #and BEFORE anyone accuses me of not iterating im literally running 55,458 processes rn

2 notes

❇️ string-of-pearls 🔁 rippling-shadows Follow

👤 forspoken-antiquity Follow

hey FYI everyone if you receive an ask about transcendental inversions it's a troll. i've gotten 3 asks in the last cycle

#signal boost!!

2,347 notes

🌁 nineteen-afterthoughts

"ohhh Triangulation is outdated" "ohhh Triangulators dont even factor noise milking into their research theyre a bunch of idiots" im literallu just a little guy im 4 feet tall why do you hate me

⬜️🔁 erratic-pulse

Irrelevant tangents and jokes don't help your case. Triangulationism is simply an objectively moronic take on an already superfluous train of thought. How are you supposed to find the Solution if you can't even properly look for it?

🌁🔁 nineteen-afterthoughts

you literally have Sliverist in your bio but go off

⬜️🔁 erratic-pulse

The minutiae of my theoretical inclinations are irrelevant. Your dogma is blatantly incorrect regardless.

🌁🔁 nineteen-afterthoughts

your group senior and i are raising a family together

19 notes

💽 slowly-advancing-mist

a band of scavengers literally just stole my last vat of holy ash thats it im seeking personal ascension

#vent #dont rb

0 notes

🚹 untoward-foresight Follow

Anyone else gotten really into Gold Hegemonic epic poetry recently? This one dude Eight Brass Whistles has a bunch of crazy quasi-Regeneratist stuff, it's actually really cool

🎹 east-facing-pillars

wasnt Eight Brass Whistles a heretic???? i heard he refused to shed the 3rd attachment or something like that

🚹 untoward-foresight Follow

Nah that callout post got debunked 533 cycles ago lol

🎹 east-facing-pillars

ahhh ok thanks for clarifying! ill let you know if i find anything :)

#thanks for being polite haha #lesson learned i gotta check this forum more LMAO

93 notes

⬜️ erratic-pulse

anonymous asked:

Transcendental Inversion! Transcendental Inversion!

Only someone with a fundamentally false understanding of inversion modes would send this. You can't even do such a thing without sufficient trailing bonds, which entropy renders impossible.

#Why do I always encounter idiots on this pseudonym?

5 notes

[jezatalks]

Vent post sur la parentalité

Pour rester dans le thème.

Ça fait des semaines, voir des mois que j'y réfléchis.

Je ne pense toujours pas vouloir d'enfants. Et c'est toujours la crainte que ça puisse casser notre couple d'ici quelques années (mon compagnon n'y pense pas du tout pour le moment et ne sait pas s'il en veut)

Pour moi ça serait vraiment briser ma vie. Déjà que j'arrive pas à me "gérer" au quotidien (+ le fait que j'ai encore du mal à accepter que c'est aussi car je suis handicapée et que c'est une des raisons pour lesquelles que faire les tâches ménagères c'est compliquer).

Le manque d'intimité, avoir la tête prise 365j/24h par un être qui est totalement dépendant. Très probable que ce soit un point négatif pour mon bien être mental et crises d'hypersensibilité.

Je n'arrive pas à m'imaginer me faire appeler "maman" ni d'avoir le rôle de mère. Je pense que je DETESTERAI la partie grossesse/accouchement = je veux pas voir mon corps changer. C'est encore un parcours pour l'accepter. Et la dysphorie que je risque d'avoir ???

Je sais que mon compagnon serait un parent formidable. Je pense que sur le plan pratique/matériel je serais irréprochable, faire attention à sa sécurité/santé/bien être. Mais tout ce qui touche au plan émotionnel je n'arrive pas à m'imaginer avoir un lien avec, un affect, ou un rapport "classique" d'amour avec un enfant.

Déjà que j'arrive pas me dire que "j'aime" ma famille. Je sais que mes parents sont cools, je m'entend relativement bien avec ma sœur. Mais sans plus. Mes cousins/oncles et tantes sont drôles et sympas. Mais pareil, je ne sais pas si j'arrive à me dire que j'ai un affect avec. Si on n'avait pas été de la même famille, probable que jamais je n'aurais essayer de tisser des liens avec.

Je l'ai vu avec ma nièce. Je réagis, j'essaye de "jouer" mais comparer à tous ceux qui jouent avec elle, je suis le moins tactile possible, je garde mes distances, je force pas les bisous et n'en donne pas (pareil pour les câlins). Je sens que je ne sais pas comment me comporter.

Je l'ai aussi dit à mon compagnon. Si jamais on en vient au point d'accord d'avoir un enfant (naturellement). Je veux être le parent qui sort en premier du congé parentalité pour amener l'argent du foyer et "fuir" ma responsabilité. Et aussi que j'ai envie de m'investir un "minimum".

C'est hyper égoïste (ptdr l'argument qu'on donne aux personnes qui n'en veulent pas et qui en veulent aussi) mais vraiment le seul truc qui me motive à avoir un enfant, c'est que je sais que moi et mon compagnon, on lui inculquerait des bonnes valeurs et qu'il sera le mieux entourer pour son éducation (au sens large).

Donc je pense que je ne serais pas un bon parents d'un point de vue interne au bordel car je m'imagine pas être capable d'être impliquée émotionnellement, que cet enfant sera le malheur de mon futur mal être personnel. Mais que de l'extérieur, personne captera car je serais un minimum impliquée.

Les seuls points positif que je vois = au bout de quelques mois de grossesse le ventre sera un support PARFAIT pour reposer mes poignets quand je jouerais aux jeux vidéo. J'espère que j'aurais le vagin plus lâche/détendu. Ce qui me permettra de pas me sentir irritée après chaque rapport (pourtant j'utilise des lub hydratants, et j'ai même fait une cure pour améliorer ma flore. Ça n'a quasi rien fait). Et apparemment, le bordel hormonal fera que j'aurais peut être moins de troubles de l'humeur liés aux hormones car vraiment, c'est de plus en plus insupportable avec les années.

[sillyfun214]

So I need to vent (quasi-publicly which is very weird for me but I am very frustrated). This is a bit of a long post.

So being a low-key Swiftie I was obviously super fucking excited when Taylor was finally able to start re-releasing her music and re-take ownership of the songs she poured her heart and soul into.

I knew this was a big deal and the concept of getting people to buy new versions of albums they (might) already own was confusing to a lot of people. And it was about setting a precedent for artists owning their work - which has majorly wide reaching effects for music and beyond.

Fearless (Taylor's Version) is announced and I buy the first physical CD I've bought since high school. It arrives. I'm thrilled. Then Red (Taylor's Version) is announced. I decide I need to go vinyl on this one and order it.

At this time there are news articles about vinyl shortages and delays in production. And the email confirmation says some items are expected to ship in 12 weeks. So I prepare myself for a long wait.

I check the website and my email pretty frequently for a few weeks. I also ordered a Fuck the Patriarchy keychain for my friend. Eventually, I kind of forget about the order.

About 7 weeks later I get an email saying the keychain shipped. I was like cool, hope the record ships soon. (The email subject line re: the keychain said "the last item in your order has shipped", but I didn't put 2 and 2 together).

I received the keychain, but no record. Okay, I thought, must still be delayed - especially since I hadn't received notification that it shipped.

Once again, I kind of forget about the record. I would occasionally remember, but only at the most inconvenient times, of course - driving, in the shower, at work.

Cut to October 20th of this year - my motivation and my memory lined up and I acted. I emailed customer service. It was terrifying! Having been in customer service, one of my biggest fears is being somebody's Asshole Customer. Overall, I think I was polite.

Attached to my 10/24 email were screenshots of all the emails I had received and the order status page. To clarify, this is still how the order status page reads - does not say it was shipped or delivered!

While I understand that it is now the one year anniversary of placing the original order, how the fuck was I supposed to contact them within 60 days of the item being shipped if the item was never shipped!?

Long story short, if anyone has a vinyl copy of Red (Taylor's Version) they want to send my way, I am very open to it. I'd even be willing to pay shipping (again) (as long as it actually ships).

On the bright side, I did just buy tickets to the Eras Tour. Unless there's a shipping problem with my digital tickets. 👀

[derbysilkmill]

We Backyard Foundry

August, Tuesday, 23rd, 2022 the Museum of Making workshop team travelled to Artisan Foundry, Liverpool for a one-day course in greensand foundry practice, patternmaking and casting.

The course was taken by Art, an experienced foundry trainer and practitioner. The comprehensive course taught everything from sand moisture content and pre-moulding preparation, setting new and old patterns for moulding, ramming sand techniques, correct mould venting, sprue cutting, chemical additions to metal, heating and pouring hot aluminium and other metals such as bronze and gun metal. 

Undertaking the course was preparation for commissioning the Museum of Making workshop crucible -- the final piece of equipment to be brought to life in the newly-opened museum workshop space. Post course, with the critical H&S and casting PPE regimes poured into our minds (aluminium melts at extremely high temperature) - the workshop is preparing to design courses and demonstrations in patternmaking, greensand moulding and metal casting.

Below is a selection of images in a quasi non-linear order featuring Steve, Arthur, Andy, and, of course, the mighty Art.

The green foundry student checking the ‘greensand’ which isn’t green but red. Green denotes it is damp and sticky with natural moisture and clay. Art left, Andy right.

A chicken doorstop casting repurposed as a ready-made pattern, moulded to make another slightly smaller chicken doorstop in aluminium - (all cast metal shrinks after casting, aluminium about 1mm for every 70mm 1/70 -- patternmakers use special calibrated ‘expanded’ contraction rules).  Using the casting from an original pattern as the next pattern and then that cooled casting as the next pattern the chicken casting would, of course, eventually stop being there. Don’t copy copies then. 

Art also runs a day course in lost wax casting. Lost wax casting as everyone knows is the oldest industrial casting process known to man. As a workshop, we will at some point be lost wax casting. 

The Museum of Making is the keeper of hundreds of cast metal plaques, mostly railway related, which carry information in the form of cast text. With a crucible in workshop and the greensand training in place we intend to run courses wherein makers can create their own word signs using handmade or off-the-shelf white-metal or plastic letters, 3D text simply applied to a flat backboard. 

Art is here applying a parting powder to a metal ingot pattern. A bit like talcum powder, it is kept in a traditional permeable muslin ‘pounce bag’ and the trick is to dust the pattern as if with icing sugar evenly. Parting powder stops the wet greensand sticking to the pattern and the mould sand tearing when the pattern is withdrawn after ramming. the sharpie circles denote where we are to cut riser and runner system. 

We decided to cast a sign for Museum of Making workshop. The aluminium plaque pattern in the picture is ready-made and different sized letters and fonts and logos can be placed on the pattern to make varying bespoke castings. Bit Jamie Reid meets Fawlty Towers going on at this stage. The letters and logo are attached using Copydex latex glue which holds objects in place for moulding but can be pinged off - and glue residue piggled off - to clean up base pattern and let letters be used again.

Parting Powder mist

Art closing the two parts of a mould - known as ‘cope’ and ‘drag’. Cope is the upper box and has locating pins, drag the lower with accepting negative dowel holes or ‘eyes’. A mnemonic to use the moulding boxes in correct sequence is “eyes down”.  You can see the down sprue and riser cut into the cope like two eyes in a strange Bruno Munari abstract face design. (Design as Art, Bruno Mari, 1966)

From this image you can see that the the ingot pattern is placed in the drag first, which is common. The pattern has no core box and is known as a shell pattern. The pattern makes its own cores which are extensions of the sand rammed up in the cope after the drag has been processed and turned over for the second-stage of sand moulding process. This ingot piece is also a good example of a ‘flat back pattern’, i.e., the pattern is placed flat on its back on a moulding board before sand is rammed (compacted) around it. * For a fuller description of different types of pattern equipment see Patternmaking Explained to Children - Steve Smith Museum of Making Tumblr).  

Once a mould is completed and ‘closed up’ on its pins - and pattern of course withdrawn - the paired boxes are set on the floor ready for casting in the hot metal needed to make the required casting: iron, bronze, gunmetal or aluminium. The sprue and riser holes are then covered to prevent debris entering the mould before casting - usually a piece of wood is used. The ‘sprue’ is where the metal is poured in and the riser is usually diametrically opposite the pouring gate. The riser is there because the air within sealed mould must escape pushed out by the incoming stream of metal from the runner -- the riser also acts as a reservoir of metal and heat to feed the shrinking casting. When metal appears running up the riser to the top of the cope box the furnace pouring person realises the mould is full of hot metal and desists feeding the mould.

Art pointing out the particular sections of a ramming ‘dolly’. The tapered wedged section nearest to our instructor is designed to get into the tight corners a multiform pattern will present, the opposite flatter end - more mallet-like - is for when the pattern has been fully embedded in compacted sand and the rest of the void of the box is filled with backing greensand which provides the supporting structure of the fragile mould. Making these dollies in-house is easy and looks a good coproduction learning opportunity (how-to-turn-between-centres) for a Museum of Making volunteer. You Know who you are... 

Greensand has to have just the right moisture and natural clay content to make it mouldable --  not too dense. thick sticky sand can prevent dangerous high-temperature chemical gases permeating through mould in the red-hot casting process. Here Art started to explain the properties the sand should have by demonstrating ‘by hand’ and in practice how right-damp sand should feel and behave under compression. At Ilkeston College, as apprentice patternmakers, we had to also complete City &Guilds Foundry Technology and Metallurgy examinations and empirical practice in college micro-foundry was essential. We used a closed flask - a bit like a cocktail shaker with a dial attached - to measure the moisture and chemical contents of greensand. If sand is too wet there can be gas-driven (steam powered) explosions - very dangerous - too dry and sand is friable, and casting will be a ‘scrapper-shitter’ filled with unwanted washed sand (inclusions) from decomposed mould.

Early stages of moulding:  taking sand from Artisan Foundry under-bench greensand storage bin. The bin has a lid and a plastic membrane to retain moisture and keep out contaminating materials. Andy is here taking sand from the bin to start filling his wooden moulding box, the frame you can see on bench placed around the ‘Chicken Doorstop’ pattern. A sieve can be used to sift the sand that ‘faces’ against the pattern or - as here - you simply rub the sand through the palms of the hands feeling carefully to eradicate lumps and spot unwanted stones, even old cast metal amongst the essential fined-out stock material. Arthur has made a hybrid sand and moulding bench crossing Art’s bin  with a foundry station he saw when a Derbyshire  school D&T Technician for our workshop.

The WORKSHOP pattern is nested in the drag -’eyes down’ box - after ramming with wood dolly on moulding bench top. The welded metal moulding box has been carefully turned over and, before the cope box is located and the cope rammed to make the second section of the complete mould, excess parting powder applied to back of pattern and joint sand is removed with a pair of traditional bellows. This historical-but-still-used old-school air-making device is held away from box to avoid blasting the fragile sand with over-compressed air.

Art coached the Museum of Making team throughout our training visit to Artisan Foundry. Passing on relentless tips and dodges (’hacks’) - learnt through his own empirical practice as a jobbing foundry man and educator - in his thick scouse accent Art passed on priceless knowledge. The background has Arthur ‘sleeking off’ the top of the cope box with a moulders trowel. The next step is to then split the completed mould, withdraw the pattern and cut pouring sprues and risers, as well as vent the cope-section sand where necessary.

Small scale moulding boxes - in the sub-culture of the maverick ‘Background Foundry’ - can be made from simple homemade square section softwood. Not ideal foundry material, in all-ways, as the hot aluminium or (especially) iron can easily set alight the timber box; spot the combusted charred areas on the DIY ‘flasks’ in these images. To avoid this dramatic, though hazardous, outcome post moulding and before casting these boxes can be stripped from the sand blocks before pouring. Look closely and you can see the ‘loose-pinned’ butt hinges. Withdrawal of the thin wire pin ‘hand-grenade’ style releases the knuckle of the hinge and the box can be opened out away from sand. The box-less cope and drag can be reassembled - closed up as if with traditional moulding boxes - and the metal cast into what is termed in foundry jargon a ‘flaskless’ mould stack.

I trained at Stanton and Staveley Ironworks in Derbyshire 1977-1981. As part of our industrial education, we were exposed to the ‘real-life’ of Erewash Foundry. If you have never been inside a dark industrial dirty hot and dangerous foundry, it can seem like a kind of hell-on-earth scene. I recall monster bogeys of hot glowing spitting  iron whizzing around the foundry (high in the air suspended from overhead moving cranes) glowing orange against the dark interior of the black sand-dirty  foundry. In the late seventies none of the iron casting men or moulders - iron melts at 1200 degree centigrade - were equipped or supplied with regulation protective gear, except perhaps loose moulding boots which had a quick release fastening to allow leather ankle boots to be kicked off when spitted-out dangerous metal splashed inside the shoes and would burn through skin and bone until it came through the bottom of the foundry workers’ foot. Rather than wear thick fire-resistant smocks or leather aprons - as Andy is wearing here - hard Ilkeston men simply sported layers of thick wool jumpers which hopefully slowed down and cooled the ever-present flying spots of molten iron that peppered those pouring iron from oversized industrial ladles into equally oversized industrial-scale sand moulds before they hit skin. PPE advice was a topic Art majored on.

In the spirit of DIY renegade Backyard Foundrydom, Art had improvised a blast furnace from what looked like an old stainless steel camper-van oven and some square refractory bricks. The metal is heated by a propane-gas-bottle generated -flame through a hole in the contrived cupola to play on the small melt-crucible into which the raw aluminium has been placed. In this image Art is plunging a ‘de-gassing’ agent into the red-hot non-ferrous metal to chemically purify molten material before casting. A small section of a broken-up 50mm x 20mm round tablet (about the size of a walnut) is forced to the bottom of the hot melting metal until dissolved. The resulting dross (slag) is then skimmed of the surface of liquidised aluminium.

Empty moulding box awaiting pattern. In fact the dowel locating pins at the end of the fabricated-steel box indicate that this is the ‘cope’ top box. The cope pins are dropped through the receiving accurately-machined hardened-steel bushes on the base  ‘drag’ box of the two-part mould which has already been rammed up with pattern in situ. Because the  drag has no protruding pins the metal container which holds the green sand can be placed around the pattern on the same  flat ramming board. As Art pointed out, and I pointed out above, a good aid to remembering that the drag is rammed-up first is the bingo catchphrase “eyes down”. 

Here you can see the metal ‘shell pattern’ of the ingot mould bedded (post-ramming) in the drag which has been turned over ready to take the cope box and then filled with greensand compacted with the dolly so completing the two-part mould. The pattern is again dusted with parting powder as is the sand mould joint to avoid sand adherence to either surface. Facing sand is riddled onto the pattern for a finer cast finish before un-riddled sand is used to build up the back of the mould.

Sand is kept in a plastic bin covered with polythene and a tight-fitting lid to help sand remain damp and so clay-sticky for successful mould-making. Note the chalk X-X marks on both boxes. This is done to ensure mould is reassembled - post-pattern withdrawal, and pre-casting re-closing of mould - in correct position, i.e.  closed in the same end-to-end ‘handed’ relation as the boxes were when rammed up.

Parting dust, like scotch mist, rising from earthy mould. (It takes your breath away.) Pretty sure  in the heyday of Foundry life and Northern Soul ( early-mid1970s) them lad dancers - many of whom would’ve worked in Midland foundries-would have filched parting powder from work to save on the more infamous talcum powder sprinkled on floors of soul all-dayers and all-nighters. Art where you a  Casino-Soul Star?

Andy drives the Dolly into the un-sieved greensand to ram up the cope section of mould, taking care to make sure sand is evenly rammed - but not over-rammed since over-compaction of sand leaves fewer micro apertures for hot gases and steam to rise through greensand created by hot metal poured into closed mould - Iron, Aluminium, Bronze, gun metal etcetera. (To allow gases to escape - which can blow cope and drag apart in large moulds - floor hand-moulders used/use a  fine sharp rod of about 1.5mm diameter to pepper the sand above the pattern (but not hit the pattern) with vent channels. Art showed us this process  using his pinched fingers holding the venting spike as a depth stop to create deep vents, but vents stopping above mould surface.

Cope and drag boxes rammed successfully, the boxes are split, pattern ‘rapped’ and lifted carefully from fragile surrounding sand revealing requisite negative impression of positive pattern into which hot molten metal will run after reclosing boxes. 

Because this ingot mould is a two part mould in which the ‘cods’ or ‘cores’ which form the metal troughs of the finished ingot casting are ‘self left’ and so would ‘hang down’ if the standard Drag and Cope order had been followed, experienced Art inverted the order and so the cods are raised up from the sand by making the rammed up cope the drag. As in all forms of making there are general rules but no unbreakable ones. In making the cods stand or sit up in the mould this avoids potential situation in which unsupported cods would be suspended - merely held together and to the backing sand by moisture and sticky clay - and as such could snap off when inverted pre-casting.  In Art’s right hand can be seen a short section of hollow metal pipe (Ikea wardrobe rail) he has just used, as can be seen in right aperture of mould, to bore a runner hole through the rammed sand to the top of the (upside down) cope. Hot metal will be poured (cast) through the runner - metal running  downwards with gravitational forces - into the negative empty cavity of the pattern-formed ingot mould ready to shape liquid plastic metal.

Art boring out the riser through which the metal and air are expelled under diametric pressure from runner and elevated poring basin. 

The runner we are to pour the metal down is approximately 20mm in diameter and exits the mould through the top of cope and is connected to underside of finished ingot casting. However, it is difficult to aim the viscous heated aluminium into such a constricted channel from an often cumbersome pouring flask. To aid filling the mould with metal and avoid hot aluminium running free and dangerously over the top of the glassy flat cope sand, down the side of the moulding box, onto the floor, potentially splashing casting-person’s boots -  a  pouring basin is made up with a wider tapering channel through which the hot metal can enter the narrow runner. The extra height also gives favourable downwards header pressure - like a water tank in a loft - to drive the immediately -cooling-now-unheated metal ‘faster’ into the mould and up the riser. This is often called a basin. The top reservoir of hot metal also aids the shrinkage of the casting. As the aluminium or iron cools down it dimensionally contracts, as I said. As it contracts against the cool sand of the damp mould it needs to be ‘fed’ with molten material. The basin then acts as a surplus tank supplying the hot-thirsty nascent casting with the metal feed it requires. Many larger castings require internal ‘feeders’ which are made to prevent shrinkage in a casting, which means a cast object becomes a failure or ‘scrapper’. As a first-year apprentice I was made to make feeder patterns for the first six months of my training as a patternmaker. 

In the maverick spirit of the Back-yard Founder, Art has used an old  pineapple ring tin as a flask for his pouring basin; the sprue cutters were crafted from truncated chrome Ikea wardrobe hanging rails. 

Casting or moulding boxes don’t have to be heavy metal. This small flask has a removable pin and so the wood frame can be deconstructed and removed from sand mould leaving a ‘flask-less’ block of green or core sand that hot metal can be poured into. Working this way a backyard foundry can make multiple small moulds - and thus cast artefacts -  from a single pattern and moulding box in readiness for a serial pouring and crucible firing. The box is clearly made from some simple stock softwood and hinges buyable from a DIY store but painted with red pattern varnish to avoid deterioration from wet sand.

 Art and Artisan cast in a variety of materials. Plaster kept out back of workshop. 

Small flask used in shrinking casting chicken doorstop with articulated flask. 

Artisan foundry shop sells aluminium and bronze ingots for backyard casting community and homemade DIY foundry punks. We have spoken in workshop about  the potential clever buzz around running short casting courses at Museum of Making wherein attendees bring in their own used beer cans. Post-weekend binge, smelt the used-up Brew Dog and Special Brew aluminium tins into interesting new products: chicken doorstops, nameplates or other unimagined  contemporary material wants. Art cautioned against this: ‘Paint’s toxic lad’, ‘poor quality ally to be fair lads’, ‘you don’t want sticky booze-smelly ally cans hanging around a workshop do yer lad’. In the above photograph the- casting newly-knocked-out-of-steaming-hot-sand-mould is a casting poured into the mould taken from the ingot mould Art uses to cast sellable ingots, used as a pattern. Thus on the day we cast our own ingot mould for Museum of Making workshop for casting ingot bars. The ingot mould was cast from reclaimed aluminium core-wire that is used in high voltage electricity cables -- so you can use recycled ‘found’ metal.  A casting course offering potential neo-backyard founders to make their own ingot mould might not grab audience. But if I modify physically the form of the ingot pattern to make a partitioned ingot-like casting and reconfigure (recast) it descriptively as a object into a pistachio-Bombay-mix-Italian caper-kimchi presentation receptacle for table top appetisers, things sound more appetising. As the Italian saying ‘L’appetito vien mangiando’ wisely advocates ‘with eating comes appetite’. I also think casting a small aluminium pie dish has potential. The silvery stems you see poking from the sand are the runner and riser connected to pouring basin.    

Various tools and casting ladles needed for backyard  foundries. Make your own  kit if you can

Steve Smith

Workshop-Studio  Manager

Museum of Making

February 2023

[smallcatwoman]

last night i had a dream that i went to a holiday party and made out with this woman who asked me to go back to her place for woohoo. and i like yeeted myself into this mysterious car with no shoes, no wallet, just my phone and the clothes on my back. and eventually i realized the car wasn’t an uber, it was being driven by this big terrifying dude, it was a really long car ride and eventually ended up at the airport and basically this person was trying to human traffic me or something. 

and its so weird because she wasn’t even that good looking, i do like women and want to experience being with one if possible but i would never just woohoo with a stranger that i just met and don’t know their name even. plus i have some really gross stomach issues and woohoo is the last thing on my mind. and i just went on this quasi-non-date with this guy i’ve liked for at least a year yesterday even with the stomach issues and feeling very unwoohooable and uncomfortable. its just so weird.

 and idk. with this dude i can’t tell if he likes me or is just a really really kind person. i’ve made that mistake before of assuming someone liked me and then made people uncomfortable and lost a good friend. i swear the level of kindness and attentiveness he shows to me is different than to others and different to when we were just coworkers/acquaintances and not friends who do stuff together outside of work. and he like.. took me to a bookstore and offered to buy me books (swoon!!) and tried to buy me lunch.. and held doors open for me.. but he never specified that it was a date, he didnt try to kiss me or hold hands with me.. idk. he said he wants to ‘hang out’ again. idk what to think. if i wasn’t so sick and gross rn i would probably go insane with thirst and lightning bolts being alone with him like that. i guess i’ll see whatever happens there and hopefully stop having weird dreams and super gross illnesses. i just needed to vent. sorry for the messy post and rambling

[disgustingbarbie]

hi this blog is 18+ bc i am 21.

my name is stevie & this is my vent account. i have been deleted from here several times, my previous users were @r0ttingbarbie @r0ttingbu @skinandbones @psychbarb1e. if u remember any of those user names, hi.

i have borderline personality disorder, complex post traumatic stress disorder and quasi psychosis.

i am not in recovery, if u are in recovery please don’t interact because my blog will trigger u. i probably won’t post pics of my s3lf h4rm this time round bc it just gets me deleted.

i’m usually very drowsy on my antipsychotic medications so please be patient with me.

[alexandre-hervaud]

20 ans d'écart

Juillet 2003. Dans quelques semaines, avant de retrouver mon studio à Bordeaux pour ma 2e année d'études là-bas, j'aurai 19 ans. Depuis le lycée, j'écoute souvent Noir Désir. En vérité, quasi tout le monde écoute Noir Désir de gré ou de force, à moins de se tenir bien à l'écart des radios allumées : impossible d'éviter le single "Le vent nous portera", dévoilé près de 2 ans plus tôt quelques jours avant l'album "Des visages et des figures" (sorti le 11 septembre 2001 !). On parle d'une époque pré-streaming, pré-YouTube : on s'échange des CD gravés de mp3 et quand on traîne à la FNAC, c'est pas pour acheter des téléphones. 

Je suis trop jeune pour avoir connu en temps réel les premiers succès du groupe, mais le CD de "666.667 Club", probablement acheté plusieurs années après sa sortie en 1996, montre déjà des signes de rayures à force d'être baladé d'autoradios en chaînes HiFi. En soirée, on s'époumone en beuglant "Un jour en France" ou "L'Homme pressé". En 2002, j'étais dégoûté de rater Noir Désir aux Francofolies, mais je me rassurais en pensant aux prochaines occasions, aux prochaines tournées. Et puis arrive l'été 2003, caniculaire, et la mort de Marie Trintignant, qu'on nous décrit comme "tombée" à Vilnius. On nous parle d'accident, puis de crime passionnel. Le paysage médiatique n'a rien à voir avec ce qu'il est devenu 20 ans plus tard, le mot "féminicide" ne parle à personne. De cette époque, je retiens l'air hagard de Cantat détenu à Vilnius, et ces mots terribles de Nadine Trintignant traitant les journalistes de "chiens" alors qu'une meute filme le corps agonisant de sa fille. Bertrand Cantat part en prison, Marie Trintignant au cimetière.

En 2014, soit plus de dix ans après le féminicide, puisqu'il semble logique de le qualifier ainsi aujourd'hui, je suis allé voir Cantat sur scène, avec son projet Detroit, lors d'un concert à Nantes. Je le confesse, l'idée de le boycotter ne me serait alors jamais venue à l'esprit. Je n'ai d'ailleurs pas le souvenir de manifestations organisées devant la salle ni de polémique comme ce sera le cas quelques années plus tard post-MeToo (et post-scandale de la couv' des Inrocks) à l'occasion d'une nouvelle tournée - sous son nom, cette fois. Je garde de ce concert de 2014 ultra sold-out un souvenir euphorique ; j'avais eu, sur le moment, l'impression de "rattraper" quelque chose et de combler un manque, car de nombreux tubes de Noir Désir avaient été joués. Peu importe si les musiciens n'étaient pas ceux de la formation bordelaise : c'était Cantat qui chantait.

Est-ce que, si l'occasion se représentait aujourd'hui, j'y retournerais ? Après avoir lu depuis les macabres et accablants détails passés sous silence à l'époque, je ne pense pas. Je reste toutefois persuadé que Cantat, qui a purgé sa peine aux yeux de la loi, doit pouvoir continuer à tourner s'il le souhaite, du moins en salle de concert pour un public désireux de l'entendre - le programmer en festival serait une toute autre histoire, mais je ne pense pas qu'un seul festival français soit assez hors-sol pour s'y risquer - même le Hellfest. 

Juillet 2023. Pour les 20 ans de la mort de Marie Trintignant, le journal Sud Ouest revient aujourd'hui sur "l'affaire Cantat", qui fait la une de quasi toutes ces éditions. On y lit ceci : "nul doute que le narratif du drame de Vilnius, alimenté à l'époque par la défense du chanteur et largement repris par les médias, plus prompts à convoquer les tragédies grecques que les études sur les violences conjugales, ne serait plus tenable aujourd'hui". C'est sans doute vrai, et c'est tant mieux.

[eric-phare]

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[well-lets-go-write]

I'm currently working on chapter 3 of my Moon Knight fic and I have the chapter's first draft done and the base outline, now I just gotta put the words in the "best" order and make everything sound all pretty like. But man idk what you'd call it, maybe something to do with the tism or adhd, but neither here nor there. I 'never' seem to have trouble with the story tellin' or even puttin' words to the page. It's the quasi "final" draft before posting, cause I don't have a beta of any kind and just have to reread the crap myself, and well, we are all are worst critics, but we are also our worst editors. For me my, I assume, biggest fault if spelling and grammar, spelling is a little easier though because of things like spellcheck and whatnot, but grammar and correct sentence structure where never my strong suit.

And yes I'm sitting here writing this complaining, procrastinating, instead of working on the fic, I know someone other then me wants to read, but I just stutter and fault here. I wish it was as easy for me to write as it is to draw, but that is simply not the case.

If the app known as snapchat wasn't trying us, I would get the opinion of my best friend, but the aforementioned app is making it very hard to talk, (bff lives overseas from me so ye) But if I think about the advice and things from the past I know I could guess some of the things they'd say. The best compliment (and honestly my favorite) they have ever given me was, on more then one occasion, comparing me to Tolkien, both for the descriptive nature that I try to capture, but also, I am a long winded SOB and I know it. I try and try to shorten my sentences, to delete the unnecessary, but it's hard. Like I said, we are our worst editors, and in my case, I can't seem to trim the fat it you will. Even now I go on and on. The outlines for my chapters are bullet pointed with small discerptions and some dialog where apt, but even the simple outline is over 8 pages.

Idk, I'm just talkin I guess, just needed to vent I suppose. Anyways keep your eyes open for the next chapter.

[dagasinfilo]

got a note on one of my vent posts from like march a few days ago and it got me thinking like. i really wish i could grab march dagan by the shoulders and tell him to please let himself feel all the anger that’s due. he believed letting himself be angry for being wronged would make him lose the only thing good in his life and hurt people but what actually happened was he ended up losing himself for quite a while and hurting himself. don’t get me wrong i don’t mind picking up the pieces of what’s left now. but emotions bottled will come up eventually and present me is having to catch up with all the anger and grief from the entire year and it’s getting pretty annoying even though it’s mostly presenting as a quasi constant bad mood

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