#System Design Course Online

[tutortacademy]

Tutort Academy

Tutort Academy provides the best data structures, algorithms, system design, data science, artificial intelligence and machine learning courses. Live classes and Guided learnings program by industry experts from Microsoft, Amazon, and top-tier companies. Specially crafted for working professionals.

[rsthemewp]

7+ Best Art Portfolio Website WordPress Premium Theme

Art Portfolio Website WordPress Premium Theme

Creating an art portfolio website is essential for artists, designers, and creatives to showcase their work and attract potential clients. Let’s explore some of the best WordPress premium themes specifically designed for art portfolio websites:

1. Dabble – Creative Agency & Portfolio WordPress Theme:

A sophisticated and stylish theme with multiple menu layouts, sliders, and preset blog post styles.

Features a portfolio system using a custom post type, allowing you to display your projects effectively.

Available in both free and premium versions, with advanced controls in the premium version.

2. Rubrash – Personal Portfolio WordPress Theme:

Known for its rock-solid coding and fantastic support.

Offers full-width portfolio layouts, including checkerboard style and carousel options.

Utilize the drag-and-drop Elementor Builder to create stunning pages for each portfolio entry.

3. Swipy – Creative Agency WordPress Theme:

A flexible and feature-rich theme powered by the Elementor page builder plugin.

Suitable for various types of websites, including art portfolio website.

Explore its extensive library of over 300 templates for startups, freelancers, and personal sites.

4. Kulluu – Creative Agency WordPress Theme:

A minimalist freelancer and agency portfolio theme.

Ideal for showcasing your work with a clean and modern design.

5. Bionic- Personal Portfolio WordPress Theme:

Another portfolio WordPress theme that emphasizes simplicity.

Perfect for artists, photographers, and creative professionals.

6. Cretic – Creative Agency WordPress Theme:

A multi-concept artist and creative agency theme.

Offers versatility and a variety of options for different types of art portfolio website.

7. Mifo – Creative Minimal Portfolio WordPress Theme:

A clean and minimal multipurpose theme suitable for art portfolio website.

Focuses on elegant design and typography.

Remember to choose a theme that aligns with your artistic style, provides an excellent user experience, and effectively showcases your work. Happy creating! 🎨🖌️

For more options, you can explore other themes from ThemeForest. Each of these themes has unique features and customization options to suit your specific needs.

[energy-training-group]

Solar PV System Design Course Online - Become an Expert in Solar Power Design

Master the art of solar pv system design course online at Energy Training Group. Learn to design efficient and effective solar power systems with hands-on training and expert guidance. Ideal for professionals seeking to specialize in solar energy, our accredited course provides flexible online learning, empowering you to advance in the booming renewable energy industry. Enroll now and start designing the future of energy!

[narayanamepblr]

HVAC (Heating, Ventilation, and Air Conditioning) designing in Dubai typically involves a thorough assessment of the building's requirements and specifications, such as its size, occupancy, and usage patterns. This assessment is followed by the selection and sizing of appropriate HVAC equipment, including chillers, air handlers, pumps, and ductwork.

[aiiitindia01]

Bangalore is a hub for IT companies, startups, and multinational corporations, making it an ideal location to study and work in the field of cybersecurity. The city boasts numerous educational institutions and training centers that offer comprehensive cybersecurity courses to cater to the growing demand for cybersecurity professionals.

[algotutor23]

AlgoTutor Academy: Mastering Data Structures and Algorithms Made Easy

In today's rapidly advancing technological world, data structures and algorithms are crucial in solving complex problems and developing efficient software solutions. Aspiring software engineers, programmers, and computer science enthusiasts are always looking for reliable platforms to enhance their skills. AlgoTutor Academy is a leading online learning platform offering comprehensive data structures and algorithms courses to empower learners with the knowledge and skills required to excel in the competitive tech industry.

[imsobadatnicknames2]

Calling Ultima the single most consistently groundbreaking, pioneering, influential series of videogames in the history of the medium would be kind of an understatement (Akalabeth and Ultima I pioneering the idea of adapting tabletop RPGs to the medium of videogames in a way that established so many elements that would become intrinsic to the identity of the genre for decades, like the concept of grid-based first person dungeon crawling and tile-based overworld travel, later games establishing the mold for isometric top-down RPGs, Ultima Online being a critical tipping point in cementing the popularity of the MMORPG), but even among a series that consistently pumped groundbreaking videogame after groundbreaking videogame it's just completely impossible to overstate how massive Ultima Underworld's legacy stands over a huge chunk of the gaming medium, even if its effects manifest in subtle ways nowadays like I legitimately believe no individual videogame in the history of the medium has been as influential as it.

It's legitimately insane how many seemingly unrelated videogames can be directly traced back to Underworld in some form or another. Like, to get the obvious out of the way first, it established the DNA of the immersive sim genre, so if you like games like System Shock, Thief, Deus Ex, Bioshock, Dishonored, Prey, all of those games were either made by people who worked on Ultima Underworld (sometimes by the same studio even), or otherwise directly influenced by games that were.

But also, if you like any first person shooters influenced by Doom and other ID Software games? John Carmack was there when the demo of Underworld was first shown and decided he could create a faster texture-mapped first-person 3D engine. Which he did, at the cost of sacrificing true polygonal 3D environments in favor of the pseudo-3D that he would use for Catacombs 3D and Wolfenstein 3D, eventually resulting in the creation of Doom. RPGs like the Elder Scrolls or Gothic? It would take all day to list off how much they directly owe to Ultima Underworld. That videogame trope of finding out what happened to the occupants of a place through finding in-game logs and documents? It was established by Ultima Underworld and popularized by one of its successors.

That's without mentioning how many games directly cite it as an influence. Some already mentioned like Bioshock, Deus Ex, and Elder Scrolls, but also like. Half-life 2? Tomb Raider? Gears of War? Vampire the Masquerade: Bloodlines? All cite it as a direct influence in their game design.

Like of course a lot of these things are by virtue of being one of the earliest free-moving 3D first person videogames, when you're that early in the history of the medium you'll inevitably end up being the first to do *something* that otherwise someone else would eventually have ended up doing anyway, but no other game has a "first videogame to do [thing]" list anywhere as long and important as Ultima Underworld's.

[catboybiologist]

So.

Re: tumblr bans of transfemmes.

Let's ignore PhotoMatt for a moment. Manbaby tech CEO doubling down on a stupid decision and making himself look like more of an ass doing so is not a new phenomena.

Tumblr has consistently said, in both public statements and leaked internal communication, that they're essentially running a skeleton crew.

They keep saying that they don't have the resources to moderate, manually review posts, have any kind of appeal process, or anything. So, as people have widely received communications about, they seemed to have automated a significant portion of the moderation to operate solely on the quantity of reports (probably with a basic filter, eg quantity of reports regarding a certain post, within a certain timeframe) to automatically ban or shadowban accounts.

And so, they wipe their hands, both to the users, the public, and their own consciousness, and go about their automated operations.

All of this is likely true. Tumblr, at this point, is essentially abandonware internally, a kind of weird vanity project/dumpster ground for server infrastructure for Automattic. Likely, they don't want the bad press of "shutting down" fully. Or maybe the trickle of revenue they get here just barely exceeds operating costs, so why not keep it around?

Whatever is the case, the bans are a result of an automated process working in the background. I'm giving them some benefit of the doubt here, of course, we can't know anything for certain- but it seems like the individual bans are not based on any specific, manual action.

And that doesn't fucking excuse anything.

Because at some point, multiple people sat down at tumblr, and decided how to cut costs.

And they decided that the bare minimum of report abuse prevention was one of the first things on the chopping block.

Before the boops. Before GUI reconfigures.

They decided to cut something that is necessary to manage online communities.

They decided to cut something that ensures any targeted group will have any kind of community online.

And then, after all of that, the only manual intervention is doubling down on the shitty decisions that the automated systems make, and plucking reasons out of their ass for why they were the right decisions all along.

It's pure silicon valley brain. Blame the computer often and always. Use it to shield the active decisions you made when designing the computer that way. Treat it as a fact of life as opposed to something they actively made decisions for.

Is tumblr staff hitting the banhammer on each transfemme one by one? No.

Is tumblr staff deliberately crafting a system that allows TERFs and other conservative bigots to get rid of the "undesirables" for them? Yup. But they sure as hell are trying to not say the quiet part out loud. If they can always point the finger somewhere else, to the advertisers, to the automated systems, to the TERFs, then they can always have juuusssttt enough plausible deniability.

But being the "queerest place on the internet" requires concious acknowledgement that queer people will be targets of harassment, and you will have to protect against that.

Side note, this is why I do try to keep my blog at least somewhat SFW. Its one of the main reasons why I choose not to reblog all of the posts I'm tagged in- if the post is overtly NSFW, I've probably seen it, appreciated it, and consciously decided my level of interaction with it mostly based on how "tumblr friendly" it is. Is that bowing down to them? A little. It's also my choice. I value the community I have here. The pushes that y'all have given me gave me the strength to transition, and honestly gives me a lot of motivation to research HRT biology as much as I can, among many other things.

Yeah, I post pictures that are clearly meant to be found attractive in ways that are generally not socially acceptable , but never actual NSFW. I would like to think that I'm pretty safe from bans, but hey. Who knows. I don't want to lose my follower base, and the community around it.

And yeah, I'm gonna annoyingly remind you of the other places to find me, make sure to check my pin. If you don't know where to go, just find me on reddit and go from there, I'll post about it if anything happens.

[the-crooked-library]

Blurred Lines: Agency and Victimhood in Gothic Horror

Seeing as Robert Eggers' Nosferatu has just breached a cool $135M at the worldwide box office, it might be as good a time to talk about this as any. I believe I echo the sentiments of most diehard fans of gothic horror when I say this: while we are glad to see this masterpiece meet with well-deserved success, these numbers also mean that a significant proportion of its audience has been previously unfamiliar with the hallmarks of our beloved genre; and the resulting disconnect between the viewers and the source material has been the driving force behind the great majority of the online discourse that surrounds it.

The tools and conventions of the gothic, as a genre, are essential to Nosferatu's primary narrative arc. Its central character, Ellen Hutter, cannot be discussed outside of her literary context. Textually, she balances between heroine and damsel in distress - blurred, in many ways, from mainstream understanding.

That is done entirely on purpose. There are numerous reasons for it; I could go into heavy detail about it; and I will - under the cut, of course.

The main thing I must make absolutely clear (before delving any deeper) is that the gothic genre is fundamentally non-literal. It deals heavily in metaphor, allegory, allusion, obfuscation - and, indeed, the blurred lines that have recently caused so much controversy online. This is by design. It is not a flaw of storytelling or interpretation. The gothic affronts the rigid, black-and-white, mainstream forms of morality because that is what it has always been designed to do; and the newer installments like Nosferatu do the same, being built upon those traditional foundations.

The historical background is therefore essential to the understanding of a gothic narrative. In this, the film does provide the viewer with a relatively easy starting point; its period setting amplifies its connection to its predecessors, as well as the societal pressures and systemic violence that it aims to challenge. It allows the audience to perceive the story through a historical lens that comes pre-installed, as a sort of short-cut to the genre's original social context.

The context, in this case, consists of misogyny, queerphobia, xenophobia, and ableism - which, while rampant even in the modern day, were that much more blatant in 1830s German Confederation, where/when the story largely takes place. Every human character, regardless of who they are, is influenced by these oppressive aspects of their society; and Ellen Hutter is hopelessly entrapped within all four.

Her social situation, as we are given to understand, is precarious. Though she was originally born into wealth, she married down to escape her abusive father. She is an eccentric - her "wild" inclinations (such as having a sense of dignity or loving the outdoors as a child) are enough to cause almost vitriolic disapproval; but on top of that, she was born with a psychic gift, which manifests in a way that is not dissimilar from a mental (and sometimes physical) disability. She and her husband are also English immigrants, and thus perpetual outsiders in Wisborg (this is also one of the reasons Thomas is so anxious to prove himself at Knock's firm, and so keen to emulate Harding in all things); and, finally, she implied to experience queer attraction - which, though non-explicit, repressed, and never truly indulged, still affects her and the way she is continuously treated throughout the film.

Overall, Ellen's existence is perceived, at best, as an inconvenience - and at worst, a scandal. With that, she fits seamlessly into her story's genre.

The "immoral," the forbidden, the taboo is a cornerstone of all gothic fiction. It exists in the doubt between light and dark, harm and desire, love and abuse. It is the domain of sympathetic villains (e.g. Heathcliff, Wuthering Heights), of imperfect victims (Bertha Mason, Jane Eyre), of heroes who are deeply flawed, who cause their own tragedies, and often fail to save anyone at all (Victor Frankenstein, Frankenstein). Within the gothic genre, there are no absolutes; and its contradicting balance of dichotomies provides a reference point - or, more accurately, a cultural triangulation - for exploring the same complexities that a binary puritanical mindset strives to eradicate. These include sexual desire, female autonomy, physical and mental disabilities, classism; in short, anything that gets people wincing.

The popular discussion of these topics is frequently cruel, often avoidant, and rarely straightforward or productive. As stated above, it makes people uncomfortable. It's not pleasant. However, for Ellen (and many people in the real world), it is, quite literally, impossible to avoid. It defines every aspect of her daily life.

What this means for her and for the story is that within a narrative that refuses to gloss over the imperfections of her surrounding society, her victimhood is not thrust upon her by a shadowy figure, emerging from the night. Instead, she is a victim - of an ongoing and systemic, rather than individual, abuse.

This aspect of Ellen's characterization lies at the core of her behaviour throughout the film. She is an unstable chimera of Brontë's Jane Eyre and Bertha Mason - in the sense that her actions are informed, in great part, by her acute awareness of her own disenfranchisement. She alternates between anguished raving and phlegmatic practicality, used to her pain but unable to entirely ignore it; and, the same way that Jane sees all the rage she feels (but cannot afford to express) manifested in Bertha, Ellen finds her counterpart in Orlok.

This is where the ambiguity begins.

Even though Orlok is most certainly a gothic villain, his relationship with Ellen cannot be interpreted as strictly adversarial. Naturally, it would be easy to ascribe their dynamic to grooming and PTSD; however, as previously mentioned, a gothic narrative is never surface-level - and the film itself never furnishes any information that would definitively limit it to that.

Firstly, to get the primary discourse point out of the way - yes, when Ellen and Orlok first meet within the ether, she is indeed young; and later, she is said to have been a child. However, at the time, the term "teenager"did not yet exist; Ellen's younger self is not portrayed by a child actress; and later, in 1838, she is referred to as a child multiple times - despite being an adult, married woman. Overall, within the film, the term is more often used to describe innocence and inexperience, rather than age; and her initial age is never specified. Granted, a multi-century age gap is not exactly "healthy" anyway - but this is a vampire story. It is per the course; and it complicates their relationship beyond a simple victim vs abuser narrative.

Secondly - and perhaps, most importantly - the overall impact of Orlok's coercion tactics falls flat in comparison to Ellen's human-world alternatives. Yes, he argues and threatens; but her social circumstances have never allowed her agency in the first place. Her father abuses, isolates, and threatens to institutionalize her; Thomas dismisses her concerns as "childish fantasies"; Harding and Sievers tie her down and drug her; Harding again kicks her out of the house. Her marriage, her friendships, are therefore all transactional; they grant her an escape from her father's house, relative financial stability, social support - on the condition that she represses her true self, pretends to be normal, doesn't threaten anyone's masculinity or heterosexuality, and acts like she's happy to be a deferring, obedient, settled wife. Being a daughter of a landed gentleman, she would never have been given a working woman's education, and evidently has no income of her own; and so, she has no options except to upkeep her end of the bargain - which means that her continued survival within mainstream society relies on constant background coercion.

Compared to this mundane, socially acceptable horror of her existence, the vampire actually offers her more autonomy than she is ever otherwise accorded. The terms of his covenant never threaten Ellen's own well-being; so on one hand, she has benevolence - and on the other, the dignity of choice.

This contrast lies at the heart of her dilemma. Ellen is torn between what she believes she should be and what she knows - and Orlok knows - she is.

One is "correct," moral, Good; the other is "wrong," sinful, Evil. However, at the same time, the first is manufactured; it is artificially designed, and must be continuously enforced. The second is primal. Natural. In accordance with gothic tradition, the appeal of Orlok is that he is forbidden, yet instinctive. By design, he is a reflection of everything that Ellen is forced to repress on a daily basis. That includes her rage, her ostracism, her abnormalities; but also, her desperate need to be respected, understood, and desired. He is both grotesque and alluring, both a lord and a beast, both cruel and reverent.

"He is my melancholy!.." cries Ellen.

"I am Heathcliff!" whispers Cathy.

Still, while Cathy and Heathcliff are primarily divided by class and racism, Orlok and Ellen are separated by moral considerations. In the explicit sense, Ellen cannot choose the Evil that Orlok represents. Within the surface narrative, she is obligated by her society, her morals, and the story to choose Good - in this case, by nobly sacrificing her individual expendable life to save her husband and a city full of people. Her primary storyline, like everything else, has already been decided for her.

For the Trekkies among us, this is Ellen's own Kobayashi Maru. A no-win scenario. As such, within the context of character analysis, her destination does not matter as much as the little things she does along the way; and it is no accident that, as the film progresses, the subtler, seemingly insignificant choices she makes within that framework just happen to bring her closer - and closer - to Orlok.

All of them are just innocuous enough to almost pass. She places a lock of perfumed hair in a locket that she gives to Thomas - and upon his arrival to the Carpathians, the same locket is immediately claimed by Orlok, who recognizes the scent of lilacs. Before making her sacrifice, she puts on her wedding dress and finds a bouquet of the same flowers - which is the sort of effort she didn't have to perform, especially given that he cannot resist her blood regardless. When Orlok arrives, she chooses to undress them both, and leads him to the bed, even though her previous sex scene with Thomas was entirely clothed; and in the morning, she pulls him close and holds him through the sunrise - even though he was already dying, and would not be able to escape. There was no need for her to touch his rotting flesh at that point, much less caress it.

There can be a "moral" explanation for all these actions; but the lack of direct obligation involved in them becomes increasingly blatant over the course of the story, and the doubt festers.

This sort of lingering ambiguity is precisely where gothic horror thrives - and intersects, scandalously, with romance. Gothic horror, much like bodice-ripper novels, noir thrillers, or "dark romance," builds much of its romantic intensity on the dichotomy of shame and desire. Imagine it, if you will, as a loom; warp and weft. It may even be described as literary BDSM - a continuous, mutually-agreed-upon act of roleplay between the author and their audience, and sometimes the characters themselves (though that depends). The point is to create an outlet for female, queer, or disabled sexualities, all of which are still heavily medicalized and restricted, derided, or denied entirely; and within these often intersecting genres, the violent or coercive intensity of the dominant lead (be it a vampire, a mafia don, or simply a more experienced lesbian) provides their repressed, seemingly passive counterpart an excuse to act upon their demonized erotic urges.

Between the page and the mind, everything that normally complicates a romantic or sexual encounter in the real world (subliminal hints, aggression, repressed and involuntary responses) becomes set dressing - serving to place a particular scene or dynamic within its fictional universe. The resulting Watsonian uncertainty is, naturally, part of the appeal. It is what allows the viewer/reader/listener a sincere emotional and sensual immersion; and for Ellen and Orlok, it provides an appropriately dramatic pretext for a night of tender vampire sex.

The discourse around their joining is painfully similar to the same that drifts around online every winter - in regards to the classic holiday hit, Baby it's Cold Outside. The song, written during an era in which extramarital sexuality was heavily restricted, follows a couple brainstorming excuses for the lady to stay the night; this intention was explicitly stated by both members of the original duet; but that hasn't stopped thousands of people from interpreting it as a "rape anthem." It is unsurprising, then, that an element of horror (guilt, shame, repression, coercion) muddles the water even further.

It's oddly apt, considering that the film premiered on Christmas Day.

Granted, I am not denying that there is an abusive aspect to Ellen and Orlok's connection, romantic or otherwise. However, to reduce Ellen to merely his "victim" is extremely inaccurate to her actual portrayal - because, within the framework of the film, her interactions with Orlok are the few in which she is actually able to exercise some form of agency. She never defers to him, their wedding-death hinges on her free will, as coerced as it may appear; and, in a fascinating subversion of a popular vampire trope, she is the one who summons him.

In gothic media, "Come to me!.." is invariably spoken by a vampire (or a vampire derivative like Erik, Leroux's titular Phantom of the Opera); their counterpart follows helplessly, without question; and giving these lines to Ellen is a dramatic deviation from tradition that fundamentally alters the underlying context of their power balance. By maintaining this call-and-response dynamic throughout the story, Eggers asserts that Ellen isn't helpless; and neither is she "in over her head." She is intelligent, powerful, and she has a tangible influence over Orlok, who is her only equal - which is why, ultimately, she is the one deciding where that relationship is headed.

That is not to say that any alternative readings of the film are entirely incorrect. As I have stated above, the abusive/toxic narrative is definitely present, and even essential, in gothic media. On the Doylist level, it is the equivalent of a whip, or a solid pair of cuffs - essentially, a divestment of responsibility; though, to continue the metaphor, not everyone shares the same kink - and those who do might not all enjoy it the same way, so there's definitely significant variation. What I am trying to say, however, is that each story does come with a central conflict; and Ellen Hutter's victimization - much like Jane Eyre's, like Thomasin's (The Witch, 2015) - is systemic.

She is ostracized, disrespected - infantilized if her oppressors are feeling benevolent, demonized when they are inconvenienced - and still expected to always prioritize her husband/friends/community by default, regardless of how she is treated by them. Her surrounding society, morality, religion, culture all insist upon the same; and this is why, despite knowing that she has done nothing wrong by following her nature, she carries an enormous amount of guilt in regards to those "unacceptable" aspects of herself. It is also the same reason why Orlok - the sensual, cruel, utterly devoted monster - is the answer to her lonely call; and the reason why everyone around her is so eager to see her as his victim, rather than a victim of anything they may have perpetrated themselves. Ellen's is a rich complexity, fed upon centuries' worth of gothic tradition, and she cannot be forced into a flat, genre-inappropriate simplification.

Like The Witch, like NBC Hannibal, like Interview With the Vampire before it - Nosferatu (2024) is a story of self-indulgence being so unfamiliar that it feels like a sin; or, like dying.

I, for one, would not deny her that.

[hms-no-fun]

you were on cohost? i guess too late now, how was it for you?

cohost had its fair share of problems and i could often find the community there a bit too tumblr-core fingerwaggy if you know what i mean. but the site's dead now so it's kind of a moot point. what i find myself reflecting on most these days are the positives.

first, no numbers. i think their no numbers policy was probably a bit over-aggressive, but it quelled some of the rat race popularity contest aspect of social media that often makes it so tedious. i liked their tag tracking system, their robust content warning options, and the absence of infinite scroll. what i miss most about cohost is that their text editor supported CSS, which led to people programming elaborate text effects and puzzles and games in-site that harkened back to the days of flash animations. there was something in this combination of elements that drew out a rebellious creativity in users.

cohost came at a time when social media was across the board feeling terrible (and it's only gotten worse hahaha), particularly as someone who makes shit that relies on you clicking links that take you away from the website or app. algorithms hate this and punish it. users also just seem kind of lazy and disinterested in using the internet so much as letting the internet happen to them passively. but when a post of mine went viral on cohost, people engaged with it. it wasn't just likes and shares, it was comments and additions. it felt like a place that (at its best) encouraged actual conversation and the development of new ideas among like-minded peers. when my posts did well and i included a donation link, people gave me money. it felt genuinely like a website that COULD support professional blog work in a way that was more customizable even than substack yet still RSS friendly, and the Following tab which let you easily see posts of specific users was a REVELATION, like a mini RSS reader within the website itself.

but the enterprise was unsustainable for various reasons (not all of them outside the dev crew's control) and the haters got what they wanted. now our big social media alternative is bluesky, a website that dares to ask the question "what if there was another twitter?" the answer is that it fucking sucks. i hate microblogs so much dude, why on EARTH are we still acting like these disambiguited 300-character-limit posts are the most preferable means of social communication online??? why would you set out to make a better twitter and then deliberately choose to replicate literally every aspect of the user experience that encouraged low-information high-drama conflict fabrication? WHY WOULD YOU MAKE A VERSION OF TWITTER WHERE YOU CAN EASILY LOOK UP THE ACCOUNT OF EVERYONE WHO HAS YOU BLOCKED AND IT'S SUPPOSED TO BE A FEATURE NOT A BUG???????? i just don't get it. i don't even get the optimism of the early adopters. i've seen people decry the post-election decay of the platform like "of course the cishets come in to ruin a community that was defined by trans & queer people" i'm sorry HELLO???????? from literally day zero bluesky was aiming to be a hands-off centrist IPO-friendly tech startup, there was never anything structurally embedded within the platform itself to keep this kind of decay from happening, you just happened to be on there when there were dramatically fewer users most of whom were curious tech enthusiasts. seriously, how have we not learned this lesson yet? you can't define a digital culture by the vibes of random user behavior! unless you have LAWS and GUIDELINES whereby you fucking BAN people for being shitheads, unless you enforce an actual code of conduct and punish bigoted speech and design a system that encourages constructive conversation, you are always always ALWAYS going to wind up at unhinged facebook boomer slop!

the death of cohost and the utterly predictable decay of bluesky are a big part of the reason why i've been posting so much more on tumblr. this is like the last bastion of anything even remotely resembling the old web, with its support of longposts and tagging and how easy it is to find random hobbyists doing cool shit you never knew existed before. like, yeah, you have to search that shit out and tailor your feed to not drive you crazy, but that's what i like about it!!! i am an adult with agency who understands that life is complicated and as such i expect to have to put some work into making my experience with a website positive! but in the hellworld of the iphone everything is walled garden apps for aggregating content where the content and its creators are structurally established as infinitely replaceable and uniquely worthless punching bags to be used and cast aside. everyone's given up on moderation and real jobs don't exist anymore especially if you happen to work in the "creative economy" IE are a writer or critic or artist or hobbyist of literally any kind. we've given up on expecting anything from the rich moneyboys who own and profit immensely off of the platforms whose value we literally create!!! especially now with the rise of "AI" grifters, whose work has ratcheted good old fashioned casual sexism and racism and homophobia up to levels not seen in such mainstream spaces since the early 2000s.

i like tumblr because i don't have to use a third party app to get & answer asks at length, and because it is a visual artist friendly platform where i won't be looked at funny for reblogging furry postmodernism or transgender homestuck OCs. it is a site that utterly lacks respectability and that's what makes it even remotely usuable. unfortunately it also sucks! partly it sucks because this place was ground zero for the rise of puritanical feminist-passing conservatism in leftist spaces, so it's like a hyperbolic time chamber for brain-melting life or death discourse about the most inconsequential bullshit you could ever imagine. but it also sucks because it's owned by a profit-motivated moneyboy who has consistently encouraged a culture of virulent transphobia and frequently bans trans women who call this out. so like, yeah, this place is cool compared to everywhere else, but it is exactly like everywhere else in that is also on a ticking clock to its own inevitable demise. the owners of this website will destroy everything that makes it interesting and will EAGERLY delete the nearly twenty years (!!!!!!) of posts it's accumulated the instant it will profit them to do so. this will be immensely unpopular and everyone will agree it's a tragedy and it won't matter. the culture and content of a social media platform is epiphenomenal to its rote economic valuation. i mean, obviously it isn't, zero of these massive tech companies would be what they are if so many people weren't so eager to give their time and labor away for free (and yes, writing a dumb dick joke on tumblr IS a form of labor in the same way that doing a captcha is labor, just because it's a miniscule contribution in an economy of scale doesn't mean you didn't contribute!), but once a tech company reaches a certain threshold its valuation ceases to be tethered to anything that actually exists in reality.

all of which is why i remember cohost with a heavy heart. yeah, it was imperfect. it was also independently owned, made with the explicit goal of creating a form of social media that actually tries not to give you a lifelong anxiety disorder so it can sell you homeopathic anti-anxiety sawdust suppositories. for the brief window of time when it was extant, i was genuinely hopeful for the future of being a creative on the internet. part of why i spend so much time on godfeels, a fucking homestuck fanfiction with no hope of turning a profit or establishing mainstream legitimacy, is that my readers actually ENGAGE with the material. what brought me back to using this website consistently was precisely the glut of godfeels-related questions i got, and the exciting conversations that resulted from my answers. meanwhile i put so many hours into my videos and even when they do well numerically, i barely see any actual engagement with the material. and that is a deliberate design choice on the part of youtube! that is the platform functioning as intended!! it sucks!!!

what the memory of cohost has instilled in me is a neverending distaste for the lazy unambitious also-rans that define the modern internet. i remember the possibility space of the early web and long for the expressiveness that even the most minor of utilities offered. we sacrificed that freedom for a convenience which was always the pretense for eventually charging us rent. i am thinking a lot these days about what a publicly funded government administrated social media utility would look like. what federal open source standards could look in an environment where the kinds of activities a digital ecosystem can encourage are strictly regulated against exploitation, bigotry, scams, and literal gambling. what if there was a unionized federal workforce devoted to the administration of internet moderation, which every website above a certain user threshold must legally take advantage of? i like to imagine a world where youtube isn't just nationalized but balkanized, where you have nested networks of youtubes administrated for different purposes by different agencies and organizations that operate on different paradigms of privacy and algorithmic interaction. imagine that your state, county, and/or city has its own branch of youtube meant to specifically highlight local work, while also remaining connected to a broader national network (oops i just reinvented federation lmao). imagine a world where server capacity is a publicly owned utility apportioned according to need and developed in collaboration with the communities of their construction rather than as a deliberate exploitation of them. our horizons for these kinds of things are just so, so small, our ability to imagine completely captured by capitalist realism, our willingness to demand services from our government simply obliterated by decades of cynical pro-austerity propaganda. i imagine proposing some of this stuff and people reacting like "well that's unrealistic" "that'll never happen" "they'd just use it for evil" and i am just SO! FUCKING! TIRED!!!!

like wow you're soooooo cool for being effectively two steps left of reagan, i bet you think prison abolition and free public housing are an impossible pipedream too huh? and exactly what has that attitude gotten you? what've you gained by being such a down to earth realist whose demands are limited by the scope of what seems immediately possible? has anything gotten better? have any of the things you thought were good stayed good? is your career more stable, your political position more safe, your desire to live and thrive greatly expanded? or do you spend every day in a cascading panopticon of stress and collapse, overwhelmed to the point of paralysis by the sheer magnitude of what it's cost us to abandon the future? you HAVE to dream. you HAVE to make unrealistic demands. the fucking conservatives have been making unrealistic demands forever and look, they're getting everything they want even though EVERYONE hates them for it! please i'm begging you to see and understand that what's feasible, what's reasonable, what's realistic, are literally irrelevant. these things only feel impossible because we choose to believe The Adults (and if you're younger than like 45, trust me, to the ruling class you are a child) whose bank accounts reflect just how profitable it is to convince us that they're impossible. all those billions of dollars these fuckers have didn't come from nowhere, it was stolen from all of us. there is no reason that money can't and shouldn't be seized and recirculated back into the economy, no reason it can't be used to fund a society that is actually social, where technological development is driven not by what's most likely to drive up profits next quarter but by what people need from technology in their daily lives.

uh so yeah basically that's my opinion of cohost lmao

[tutortacademy]

Tutort Academy

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[millenniallust4death]

hey could you please tag true crime especially the katie pladl post i did not need to see that

I sense you are new here — everyone is warmly welcome. However, it’s important to understand that this blog, millenniallust4death, is entirely for myself. I’m a deeply sad person with a dead family. It’s fair to say that disturbing and uncomfortable topics appear here regularly.

Katie Pladl was a real person, and I’d been thinking about her all day. Her story wasn’t "true crime" to me — it was about the quiet weight that comes from watching someone disappear from public consciousness. It was about grief and memory, because another young woman was murdered by a man when she tried to establish boundaries. It’s a reminder of how one decision can dramatically alter the course of a life.

Katie’s life ended at 20 years old before she had a chance to live, and I wanted to sit with a stranger’s memory. This desire shouldn’t come as a surprise from the person known on Tumblr for a photo of her dead husband and his dog.

I consistently tag every post, but the system is personal and not designed for audience navigation. I think curating your online experience is essential — but that doesn’t mean trying to control what strangers post on their blogs. It means using the unfollow button, the block button, and knowing when to quietly step away. YOU make the choices about what you read, not an algorithm. It’s why Tumblr dot com remains the best social media experience.

I hope new folks stick around — the community we’ve built here is amazing. But it also comes with uncomfortable conversations.

[benito-flakes]

The regressive nature of sysmedicalism in regard to trauma survivors

Sysmedicalism is usually attributed to being directed towards endogenic systems in particular, but what happens when those beliefs are turned against the groups they wish to protect? Where does the line get drawn between the seemingly noble desire to stop misinformation and the outright witch-hunting of systems online? 

As a system who has relabeled their identity after years of self-discovery, I have engaged with sysmed rhetoric from the side of an endogenic system as well as from that of a traumagenic one. Unfortunately, I continue to find myself negatively impacted by its effects even now. Despite being the very thing that would be recognized affirmatively in the eyes of a sysmed, I worry I still am not good enough. 

This feeling of personal inadequacy is mixed with a sense of fear, a sinking dread of never fitting a diagnostic mold that will validate me in the eyes of my traumagenic peers. I have no reason to feel this way; I have a trauma history beginning in childhood and my therapist has affirmed the existence of both my system and the individual identities within. I have rushed after a CDD diagnosis to assuage my own fears when my treatment without one has yielded positive results regardless. 

Why do I continue to feel this way? A large part of it is how online communities handle system origins. I find that in attempting to protect traumagenic and/or disordered systems, the medicalized plural community has inadvertently left scars on their own members. When encountering the level of vitriol often directed at non-traumagenic, “non-valid” system types it becomes very easy to develop a mindset of fear. 

Sysmed rhetoric is inherently exclusionary. It promotes dichotomies fundamentally designed to separate: 

Individuals as “valid” vs “invalid” Experiences as objective truths vs experiences as subjective realities “Them” vs “us”  The truth, of course, is that individual experiences are widely variable even within a clinical environment. Diagnostic criteria serve as guidelines but cannot hope to fully encompass the range of structures that function within it.

The hyperfocus on these comparisons is of course problematic, but it is especially so in a community full of traumatized individuals. Knowing that you will be turned on for not fitting a mold, feeling a growing anxiety at presenting yourself in an inoffensive manner, never speaking, behaving, or acting out of line. The need to fawn and placate for fear of harassment and abuse is a perpetuation of trauma cycles that many of us have experienced firsthand. More drastic results of sysmedicalism–fake-claiming and targeted harassment–come from a place of pain; a need to exert control over perceived threats real or imaginary. 

We silence because we have been silenced. 

We tell others they are not good enough because we have been made to feel not good enough.

We hurt because we have been hurt. 

It is not my goal to attack or condemn others for feeling their feelings. What is my goal, however, is to invite plurals to approach one another more compassionately. Viewing my therapy process as personalized to my lived experiences has been incredibly healing when engaging with spaces that often push one-sided viewpoints. Trauma healing and mental health treatment is an individual, tailored process, and that is what we traumagenic plurals should be emphasizing. 

[what-if-i-like-my-mechs-older]

Soundwave put a hand on the mechs shoulder, they still didn't know what his name was and yet this Autobot was daring to make advances on his leader.

Not only that he'd heard his Leaders systems actually stall a moment, too be fair this one had a pretty face and curves, but Megatron didn't need the distraction especially from someone wearing the enemy insignia.

Soundwave answered for Megatron who was still staring.

"An upstart, but you will also be detained in the brig if you carry this on autobot."

Optimus paused , realising they didn't know his name. Should he give them his title name or the one he had when he was first brought online?

No doubt there was an Optimus in this world so maybe his original designation....but should he give his name at all?

Megatron was the one to brush Soundwave's hand off their 'guest'.

"I deal with enough of this off of Starscream, do you think I cannot handle myself?"

Before Soundwave could even reply , Optimus chimed in

"Oh is Starscream as much of a traitor in this world to? I managed to hack one of his wings off once..."

And because he was around the Con's perhaps throwing in a bit of darkness to his voice would win favour

"And mounted it to my wall, it's span no doubt roughly the height you are Megatron."

Both the Cons stopped and looked at him.

"Impossible, no seeker has such a wing span."

Soundwave snapped , purposely prodding at the Autobots symbol.

"Maybe in this world...but you were built by Megatron as a toy, to be his new body in mine. Though you did gain sentience, made your own body bigger, ever the clever ruthless , relentless Soundwave...what do you turn into anyway?"

The Decepticons visor flashed brightly for a brief second, how embarrassing that his alternative self had started out no more than a child's plaything.

"Your attempts to cause ire within me will not work Autobot."

"I dunno, seems like it's working pretty-"

"Enough the both of you, you are not sparklings. As for whatever your name is, while I may be impressed by your war trophies boasting about it on the Decepticon base is highly inadvisable."

Megatron couldn't believe he was having to stop one of his most reasonable soldiers from having an argument with this mech...also this mechs attention should be on him...only on him.

His fingers twitched as he heard their guest make a tsk sound, roll his optics, top lip curling as he looked away and sulked.

No, don't pout that way, if you're going to pout look at me...on your knees, those lips, the thought of holding his face with one hand, a thumb teasing over the bottom one and...and...no...yes...but no.

He did how ever reach up and touch his shoulder, tracing then stripes either side of the autobot symbol.

"These what do they mean?"

"What an awful host, all questions, no refreshments, do you make everyone this dry when they talk to you?"

Soundwave had not missed the temperature rise from Megatron and shook his head. He would need to keep an eye on both of them.

Especially when Megatron actually stumbled over his words, the Decepticon had not missed the meaning behind the autobots innuendo and then pointed at Soundwave.

"Get him some energon now!"

Soundwave grumbled internally.

[Oh for Primus's sake]

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[algotutor23]

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[greenbubblefactory]

Matchup for @ochirukajitsu

Congratulations you have a match with..

Idia Shroud !

★Idia Shroud never expected to get attached to anyone at Night Raven College. People were exhausting, unpredictable, loud. He preferred his room, his games, the comforting glow of his monitors over real-life socialization. That was the plan to get through school with minimal interaction and zero attachments.

★Then you happened.

★At first, you were just someone he noticed in passing, another student who didn’t seem too keen on socializing either. That was fine. But what wasn’t fine was how interesting you were. Your Vkei-inspired aesthetic made you look like some mysterious NPC from an obscure gothic RPG, the kind with hidden lore and tragic backstories. You were quiet, intense, always with headphones on, as if the world wasn’t worth acknowledging.

★Which was exactly why Idia refused to acknowledge how much he started noticing you.

★He told himself he was just observing from a safe distance. That was normal. Totally normal. It wasn’t like he was intrigued by the way your sharp, blunt words could cut through nonsense like a well-placed attack in a Soulslike boss fight. Or that he admired how you seemed completely unbothered by social expectations, disappearing whenever you felt like it, making it clear that you owed nothing to anyone.

★And it definitely wasn’t like he started seeking out your presence on purpose. Nope. No way.

★But then one day, he overheard you talking about Fear and Hunger. And that was the beginning of the end.

★Idia had been content staying in the background, but the moment you mentioned the game’s brutal mechanics, something in his brain short-circuited. Before he could stop himself, he interrupted.

★"Wait—you actually like Fear and Hunger? And you think the atmosphere is top-tier horror??"

★You looked at him. Not in the way most people did, either not with judgment or confusion, but with actual interest. And then you started talking. About RPG mechanics, game design, dungeon synth, and all the things Idia had convinced himself no one else in NRC cared about.

★That was it. That was the moment.

★Idia never thought he'd meet someone who could match his energy in a conversation. Someone who could keep up with his rapid-fire game analysis, who had hyperfixations as deep as his, who could rant for hours about their favorite topics without losing steam.

★For the first time, Idia wasn’t just rambling into the void. He was talking to someone who got it.

★After that, things changed. He started seeking you out more. He found himself checking online forums to see if you had posted anything about new game releases. He made playlists with your favorite metal and Vkei artists, secretly listening to them on repeat.

★And then there was your gift-giving.

★Idia wasn’t used to receiving things. Not personal things, at least. So when you casually handed him a handmade trinket,a tiny keychain of Ortho, crafted with intricate detail,he froze. His brain went completely blank. His hair flickered pink. He had no idea what to say.

★(Ortho, of course, immediately started teasing him. “Big Brother, your hair is pink! Are you overheating? Do you need assistance?”)

★That moment was the first of many.

★You weren’t good with words, and you didn’t like physical affection, but your gifts spoke volumes. Little handmade accessories, carefully drawn sketches of him, customized details on your DIY fashion that were meant just for him. Every single one made Idia feel like his system was experiencing critical errors.

★It was too much. Too much thoughtfulness. Too much care.

★And worse? He liked it.

★So he started returning the favor. He wasn’t great at making physical things, but he was a coder, a gamer, a digital artist. So he did what he knew best,he coded a custom game for you, one where you were the protagonist, battling through a gothic-inspired dungeon, with hand-drawn enemies and lore written just for you.

★He didn’t say anything when he sent you the link. Just casually dropped it into your inbox like it was no big deal.

★(Meanwhile, Ortho watched in the background, shaking his head at his brother’s complete inability to handle emotions properly.)

★It was easy to fall into a comfortable routine.

★You weren’t the type to force conversation. You understood his social battery issues because you had your own. If either of you ditched plans, neither took it personally. You just sent a single text “Not today. Low energy.” and that was that. No pressure. No expectations. Just mutual understanding.

★When you did spend time together, it was always on your own terms. Late-night gaming marathons, silent crafting sessions where you customized clothing and he worked on code, long walks under the moonlight with a single pair of headphones shared between you.

★Idia liked knowing you were there. Even if you weren’t talking, even if you were just existing in the same space, it was enough.

★But then came the realization.

★The stupid, frustrating, terrifying realization that Idia had caught feelings.

★It didn’t hit him all at once. It built up over time,watching you beat an impossible boss fight, catching you smiling to yourself while sketching, noticing how you always remembered tiny details about him.

★And then there was the way you treated Ortho.

★You never dismissed him, never treated him like an afterthought. You listened to him, included him, respected him. And that was when Idia knew.

★Knew that he was completely, hopelessly screwed.

★His brain went into overdrive. What was he supposed to do? You were cool, independent, a little scary in the best way. And him? He was just some awkward shut-in with bad posture and zero romantic experience.

★So, like any self-respecting coward, he tried to ignore it.

★It didn’t work.

★Because every time you casually handed him another handmade gift, or mentioned a tiny detail about him that he’d forgotten he even said, or just existed in his space without making him feel like he had to change…

★His hair flickered pink. Again. And again. And again.

★(Ortho started keeping a counter.)

★Maybe Idia wasn’t meant to be a protagonist in a love story. Maybe he wasn’t meant to be a bold, confident romantic lead. But… maybe that was okay. Maybe you didn’t need grand gestures or sappy speeches. Maybe all you needed was someone who understood that love doesn’t always need words.

★Maybe love could be silent companionship, carefully curated playlists, and a custom-coded game for you.

★And if that was the case… then Idia Shroud was pretty sure he’d just found his favorite side quest.

English is not my first language so I'm sorry if there are any spelling mistakes!