#Textile Machinery Parts

[konguindia]

[matsmi13]

Devoted to his club forever

I have always been a big fan of the Paris Saint Germain football club. So, when I won a contest for an exclusive behind-the-scenes tour of the Parc des Princes stadium, I was over the moon. A whole day to explore the secret nooks and crannies, meet the players, and maybe even get a first-hand look at the world of professional soccer.

The visit began in the classic way. I discover the dressing rooms, the press room, the benches where so many legends have sat. It's all fascinating, but it's at the end of the tour that things get really interesting.

“For the more passionate like you, we've prepared a never-before-seen immersive experience where you have the opportunity to “live in the skin of a player”. Would you like to try this experience ?” announced the guide with an enigmatic smile.

I accepted immediately, all excited. I thought it was a kind of virtual reality simulation, an interactive experience where I could feel what it's like to play for PSG.

I had no idea what was going on when I was taken to another part of the stadium, an area normally off-limits to the public.

Once inside an ultra-modern room, I was taken aback by the atmosphere. The room is filled with high-tech equipment, complex machinery, and scientists in white coats bustling around various devices.

“Before we start this experiment, we need you to sign a few waivers. It's standard procedure to make sure everything goes smoothly” said the guide. He handed me a stack of documents to sign. The sheets were dense, full of legal and scientific jargon I didn't really understand. But my excitement won out. I told myself it was probably just a formality.

I signed without hesitation, then was ushered into a small booth off to one side.

“ Please enter this cabin. We need you to undress and leave all your belongings here, including any digital devices”. I obeyed, thinking it was to put on some special equipment, maybe even real PSG match gear. But once undressed, one of the scientists took all my stuff and closed the cabin door behind you.

The cabin I was in was simple, with white walls and soft lights. I was starting to feel slightly nervous, but I pushed those thoughts aside. After all, I was here for a unique experience.

But something wasn't right. The cabin began to emit a dull hum, and the walls around you lit up in a strange way. Suddenly, a breath of fresh air escaped, followed by a strange tingling sensation on your skin. The buzzing intensified, and waves passed through your body, leaving you with a sensation of warmth, first slight, then increasingly intense.

I felt strange, as if my body were reacting to something invisible. My skin began to stretch, my limbs lengthened inexplicably. I wanted to move, but I felt frozen in place, unable to control my movements.

My heart was beating faster, but it seemed to be beating outside me, as if my body had become a mere shell. Sensations multiplied as I gradually lost the perception of myself as a human being. My muscles contracted, then relaxed, slowly breaking down, fiber by fiber.

My mind was in total confusion. I didn't understand what was happening to me, but I felt that something irreversible was happening. My thoughts scattered, your identity slowly faded away as your body was transformed into malleable matter.

Once the dissolution was complete, my remaining residues were transformed into fibers. I was stretched, twisted and reassembled into a continuous thread. During this process, I gradually lost my human consciousness, turning into a textile material. I became a material, a textile substance ready to be used and shaped for a new creation.

Once the thread was formed, the machine stopped and the cabin opened. The scientists reappeared, exchanging satisfied glances.

“Let's see the final result” says one of them. He runs his fingers along the wire I've become, while another scientist checks data on a screen. “The transformation is very conclusive. The texture is homogeneous, and the molecular structure is stable. The yarn is very strong, yet light. This is exactly what we needed for the rest of the process”. “We finally have the perfect organic material to make what sir has been waiting for. After several attempts, this person was the right one. And to think that this young supporter didn't even take the time to read the documents he signed. His blind enthusiasm and unthinking devotion have led him to a unique destiny: to become a piece of clothing for his club forever. Send the wire to the factory for assembly. We have to meet the deadline”

I was wound into spools, taken away and transported to a new destination.

I was shipped to a specialized textile mill, woven into a solid, uniform navy-blue fabric, cut into pieces according to a precise pattern and assembled to create the undershirt. The sewing process finalized my transformation into a ready-to-wear garment.

I was carefully packed and sent straight to the Parc des Princes stadium. I arrived in the dressing room, where the kitman in charge of the players' equipment unpacked me and placed me carefully folded in Kylian Mbappe's locker.

The locker room was quiet as we waited for the players to arrive. Not a sound. It took forever. Then the players arrived, including Kylian Mbappe. I felt his hand close over me and inspect me for a moment, his fingers gliding over your surface, before slipping me under his main jersey.

“Hmm, this feels really different” Kylian murmurs as he adjusts the sleeves, testing the sensation against his skin. “It's light, but it's like it's breathing with me” He makes a few movements to check my flexibility. “Not bad at all. It's exactly what I needed. The fabric is soft, but it has this... sturdy feel. I feel like I'm going to be able to move freely without it bothering me”. Kylian continues to test me, raising his arms, bending down, jumping slightly on the spot. “It keeps me dry. Even here, in the changing room, I can feel it regulating the temperature. I don't get that clammy feeling you sometimes get with other undershirts”.

On the pitch, the sensations run wild. Every time Kylian sprints, makes a technical move or changes direction, I'm subjected to compression and stretching forces. The constant pressure and friction are new sensations for me. Every impact has to be absorbed in such a way as to minimize disruption to Kylian.

My fabric, designed to wick away moisture, is in constant interaction with Kylian's sweat. This persistent absorption seems crucial to maintaining his comfort and performance. As an undershirt, my fabric body have to effectively manage this moisture, distributing it throughout my fabric to avoid accumulation that could cause discomfort.

As an undershirt, I have to provide constant support. The cut and seams are made to fit Kylian's body perfectly, offering both support and comfort. Every seam, every insertion must be impeccable to avoid chafing or distortion that could affect his game.

The match is over. Every fibre of my being is saturated with sweat, soaked in Kylian's warmth. I've been worn, I've been useful, I've been... his.

But the happiness was short-lived. In one swift movement, Kylian pulls me off and throws me in his locker, like a worthless object. The air is now freezing. I lay there in the corner of his locker, motionless and useless.

Time passes... or maybe not... because the notion of time is escaping me more and more.

Finally, a hand grabs me. It's that of the person in charge of the equipment. I'm handled and tossed into a dirty clothes bag. I find myself among other clothes, all soaked with sweat, all marked by the effort of the person wearing them. We're crammed together, pressed against each other.

The bag starts moving, carrying me towards the launderette. Each jolt reminds me of my new reality. I'm just another garment to be cleaned, stripped of all traces of life and human warmth.

I'm thrown into a machine without the slightest consideration. The cold water overwhelms me and cleanses me. Every fibre of my body is abused, turned inside out, wrung out. Kylian's sweat is washed away, his musk erased... and with them, that little feeling of belonging disappears. I have become a simple piece of cloth, washed and disinfected, with no soul, no memory.

The spinning compresses me, crushes me. I'm emptied, compressed, reduced to a state of pure fabric, without warmth, without life. Drying... the hot air passes through me, making me lighter, but also emptying me of any trace of what I once was. I'm nothing more than an undershirt, clean, dry... and empty.

Finally, I'm taken out of the machine. I'm folded, put away and placed in a dark closet with the other undershirts. I'm no longer struggling. I'm in the dark, motionless... but this immobility, this waiting, is no longer important. Waiting... that's all clothes do.

The closet is silent. I am among the other clothes, perfectly folded. Time no longer has any meaning for me.

Where am I ? Who am I ? What is my real nature ? I'm... what ? An undershirt ? Yes, an undershirt. But… where do I come from ? What have I become ? The questions float unanswered, in the void. Here in the dark, all I know... is wait. Wait…why ? Why wait ? My role... is... to be a piece of clothing.

My only thoughts are of serving, of being worm. I want the sweat. I need the musk... need to comfort and support my owner. I no longer have conscious thoughts, desires or dreams. My humanity is gone, replaced by the pure essence of a piece of clothing. I no longer feel the emotions and thoughts of a human being.

I am an undershirt, a simple fabric, entirely devoted to serving my master, Kylian Mbappé. When the time comes, when he wear me again, I will be ready. But until that day, I remain here, still, accepting my destiny as clothing.

Thanks to @inanimatetffantasies for his support and advice in writing this story

[tokidokitokyo]

富山県

Japanese Prefectures: Chūbu - Toyama

都道府県 (とどうふけん) - Prefectures of Japan

Learning the kanji and a little bit about each of Japan’s 47 prefectures!

Kanji・漢字

富　と(む)、とみ、フ、フウ　wealth, enrich, abundant

山　やま、サン、セン　mountain

県　ケン　prefecture

中部　ちゅうぶ　Chūbu, Central Japan, the central region of Japan

Prefectural Capital (県庁所在地) : Toyama (富山市)

Toyama Prefecture is a part of the central region of Japan, also known as Hokuriku (北陸). Takaoka city is the birthplace of Fujiko F. Fujio, the creator of Doraemon, with many Doraemon-themed delights for visitors. Toyama lies along the Sea of Japan and includes part of the spectacular Northern Japan Alps. Gourmet seafood, idyllic scenery, cultural attractions, and a slower pace are all easily accessible by shinkansen from Tokyo, Kyoto, and Osaka. Toyama is an important rice-producing area, as well as sourcing hydroelectric power and minerals from the nearby mountains that serve as a basis for chemical, textile, machinery, pulp and paper, and steel industries. The capital city of Toyama and Takaoka have long been the chief center for the production of patent medicine and drugs.

Recommended Tourist Spot・おすすめ観光スポット Gokayama Ainokura Village - 相倉合掌造り集落

Gokayama Ainokura Village (source)

The Gokayama region is an area within the city of Nanto in Toyama Prefecture. It is on the UNESCO World Heritage List due to its traditional gassho-zukuri houses (similar to Shirakawa-go in Gifu). The region is secluded within the mountains in the upper reaches of the Shogawa River, thus preserving this unique traditional architectural style. Gokayama's lifestyle and culture remained very traditional for many years after the modernization of the majority of the country, and many of the houses here are over 300 years old.

Ainokura is the largest of these villages, with nearly 20 gassho-zukuri farmhouses. Many are still private residences, although some have been converted into restaurants, museums, and minshuku, where you can stay overnight at a farm house. With less development and more difficulty to reach this secluded village, there is less tourist traffic than some of the other villages. There are visiting hours attached to the village to avoid disturbing the residents (8:30-17:00), thus helping to preserve the quiet life in this village.

Folk dances, music utilizing unique, traditional instruments, and special washi paper techniques characterize this area. You can listen to the sasara, an instrument made of over a hundred wooden clappers strung together, which is symbolic of the region and a popular souvenir. There are also washi paper workshops where you can try your hand at making washi paper.

Regional Cuisine - 郷土料理 Kombujime - 昆布締め

Kombujime (source)

Kombujime (also kobujime) is a local Toyama dish made by sandwiching light-tasting foods such as whitefish (most commonly marlin) and wild vegetables between sheets of kelp (or kombu). Other popular fillings include other whitefish, shrimp, tofu, and beef. The prefecture boasts the highest kelp consumption, and thus kombu is also widely available at supermarkets.

The technique used to make kombujime (which means "kombu curing") enhances the taste of the sashimi through aging the fish between two sheets of kombu. This technique softens the fish texture and the glutamates from the kelp transfer over to the fish, accentuating its flavor.

Toyama Dialect・Toyama-ben・富山弁

Toyama-ben is also called Etchu-ben (越中弁), and consists of West (Gosei, 呉西), East (Gotō, 呉東), and Gokayama (五箇山) dialects. The dialect is a combination of sounds and features close to Kansai and Tohoku dialects, but still quite different from the other dialects in the Hokuriku area.

うい　ui

Standard Japanese: いっぱい 、満足、胸やお腹が苦しい (ippai, mune ya onaka ga kurushii) English: I'm stuffed; my chest or stomach feels tight

食べ過ぎて、はらういわ。 tabesugite, hara ui wa

食べ過ぎて、はらいっぱい。 tabesugite, hara ippai

I ate too much, I'm stuffed.

2. きどくな　kidokuna

Standard Japanese: ありがとう (arigatou) English: thank you

あら、きどくな。 ara, kidokuna

あら、ありがとう。 ara, arigatou

Oh my, thank you.

3. じゃまない　(jyamanai)

Standard Japanese: 大丈夫、問題ない (daijyoubu, mondai nai) English: I'm OK, no problem

A: 体調、いかがですか？ B: じゃまない、じゃまない！ A: taichou, ikaga desu ka? B: jamanai, jamanai!

A: 体調、いかがですか？ B: 大丈夫、大丈夫！ A: taichou, ikaga desu ka? B: daijyoubu, daijyoubu

A: How are you feeling? B: I'm doing well!

4. こわい　(kowai)

Standard Japanese: かたい (katai) English: firm, tough

このご飯、こわい���。 kono gohan, kowai wa.

このご飯、かたいなあ。 kono gohan, katai naa.

This rice is really hard.

5. つかえん　(tsukaen) (also, なん nan、つけん tsuken)

Standard Japanese: かまわない、問題ない (kamawanai, mondai nai) English: it's fine, it's no problem

A: もう少し、待っていただけますか？ B: つかえんちゃ！ A: mou sukoshi, matte itadakemasu ka? B: tsukaen cha!

A: もう少し、待っていただけますか？ B: 問題ない！ A: mou sukoshi, matte itadakemasu ka? B: mondai nai!

A: Can you please wait a little longer? B: No problem!

More Toyama dialect here (JP with EN).

[probablyasocialecologist]

Disabled people’s own accounts, as well as reports of employers, prove that Deaf and disabled people were an intrinsic part of the textile workforce. In addition, evidence collected as part of investigations on behalf of the Government into conditions in textile mills show high levels of industrial injuries amongst workers. Accidents from machinery, constant loud noise and the effects of working in unventilated premises led to large numbers of workers becoming disabled as a consequence of work. Some people’s injuries meant that they were no longer able to work, and many did unfortunately end up in the workhouse. However, many other disabled people stayed in work – through sheer necessity, to meet the demands of the industry, or simply because they were able to. My research puts disabled people at the centre of the history of industrialisation, rather than pushing them to the margins. It challenges some widely-held stereotypes of disabled people and shows that they were (and continue to be) part of the world of work. Not dependent, not tragic, not inspirational – but reliable colleagues, friends and family members. Disabled people were involved in Britain’s leading industry during the nineteenth century: textile production. They also played their part in improving working conditions in the textile factories at the height of industrialisation. For instance, the 1832 parliamentary committee to investigate factory conditions, chaired by Leeds Member of Parliament Michael Sadler, followed by the Government’s Factories Inquiry Commission of 1833, finally gave disabled workers the chance to speak up. Giving evidence meant that they were not merely victims of industrialisation, but that they were contributing to the movement for reform and the struggle for better working conditions. The resulting reports ultimately led to legislation which reduced working hours, set up factory inspections and made further improvements to the workplace.

[...]

Because of the noise, weavers in the textile factories gradually became expert lip readers. This was a necessity rather than a choice – the weaving sheds were such noisy places that a combination of lip-reading and hand-signing was the only way to communicate. Lip-reading was more than just a practical form of communication for the weavers – it was a badge of honour. It showed that you were used to manual work, no matter that you were now deaf, and set you apart from the mills’ office workers and management.

[dailyanarchistposts]

I.8.1 Is the Spanish Revolution inapplicable as a model for modern societies?

Quite the reverse. More urban workers took part in the revolution than in the countryside. So while it is true that collectivisation was extensive in rural areas, the revolution also made its mark in urban areas and in industry.

In total, the “regions most affected” by collectivisation “were Catalonia and Aragón, where about 70 per cent of the workforce was involved. The total for the whole of Republican territory was nearly 800,000 on the land and a little more than a million in industry. In Barcelona workers’ committees took over all the services, the oil monopoly, the shipping companies, heavy engineering firms such as Volcano, the Ford motor company, chemical companies, the textile industry and a host of smaller enterprises … Services such as water, gas and electricity were working under new management within hours of the storming of the Atarazanas barracks … a conversion of appropriate factories to war production meant that metallurgical concerns had started to produce armed cars by 22 July … The industrial workers of Catalonia were the most skilled in Spain … One of the most impressive feats of those early days was the resurrection of the public transport system at a time when the streets were still littered and barricaded.” Five days after the fighting had stopped, 700 tramcars rather than the usual 600, all painted in the black-and-red colours of the CNT-FAI, were operating in Barcelona. [Antony Beevor, The Spanish Civil War, pp. 91–2]

About 75% of Spanish industry was concentrated in Catalonia, the stronghold of the anarchist labour movement, and widespread collectivisation of factories took place there. As Sam Dolgoff rightly observed, this “refutes decisively the allegation that anarchist organisational principles are not applicable to industrial areas, and if at all, only in primitive agrarian societies or in isolated experimental communities.” [The Anarchist Collectives, pp. 7–8] According to Augustin Souchy:

“It is no simple matter to collectivise and place on firm foundations an industry employing almost a quarter of a million textile workers in scores of factories scattered in numerous cities. But the Barcelona syndicalist textile union accomplished this feat in a short time. It was a tremendously significant experiment. The dictatorship of the bosses was toppled, and wages, working conditions and production were determined by the workers and their elected delegates. All functionaries had to carry out the instructions of the membership and report back directly to the men on the job and union meetings. The collectivisation of the textile industry shatters once and for all the legend that the workers are incapable of administrating a great and complex corporation.” [Op. Cit., p. 94]

Moreover, Spain in the 1930s was not a backward, peasant country, as is sometimes supposed. Between 1910 and 1930, the industrial working class more than doubled to over 2,500,000. This represented just over 26% of the working population (compared to 16% twenty years previously). In 1930, only 45% of the working population were engaged in agriculture. [Ronald Fraser, The Blood of Spain, p. 38] In Catalonia alone, 200,000 workers were employed in the textile industry and 70,000 in metal-working and machinery manufacturing. This was very different than the situation in Russia at the end of World War I, where the urban working class made up only 10% of the population.

Capitalist social relations had also penetrated the rural economy by the 1930s with agriculture oriented to the world market and approximately 90% of farm land in the hands of the bourgeoisie. [Fraser, Op. Cit., p. 37] So by 1936 agriculture was predominately capitalist, with Spanish agribusiness employing large numbers of labourers who either did not own enough land to support themselves or where landless. The labour movement in the Spanish countryside in the 1930s was precisely based on this large population of rural wage-earners (the socialist UGT land workers union had 451,000 members in 1933, 40% of its total membership, for example). In Russia at the time of the revolution of 1917, agriculture mostly consisted of small farms on which peasant families worked mainly for their own subsistence, bartering or selling their surplus.

Therefore the Spanish Revolution cannot be dismissed as a product a of pre-industrial society. The urban collectivisations occurred predominately in the most heavily industrialised part of Spain and indicate that anarchist ideas are applicable to modern societies Indeed, comforting Marxist myths aside, the CNT organised most of the unionised urban working class and, internally, agricultural workers were a minority of its membership (by 1936, the CNT was making inroads in Madrid, previously a socialist stronghold while the UGT main area of growth in the 1930s was with, ironically, rural workers). The revolution in Spain was the work (mostly) of rural and urban wage labourers (joined with poor peasants) fighting a well developed capitalist system.

In summary, then, the anarchist revolution in Spain has many lessons for revolutionaries in developed capitalist countries and cannot be dismissed as a product of industrial backwardness. The main strength lay of the anarchist movement was in urban areas and, unsurprisingly, the social revolution took place in both the most heavily industrialised areas as well as on the land.

[knithacker]

An exhibition in South Street Seaport fills a former warehouse with fiber art and makes its old machinery, including a 12-foot wheel, part of the show.

[swashbucklery]

I have been thinking about the costuming in Willow a lot, and yes this is for fanfiction reasons but it's also just for fun. As background, my non-fandom hobbies are mostly textile based: I sew garments and teach sewing classes, I'm an experienced knitter and handspinner and I've started to dabble in wool processing from fleece and four-shaft weaving.

So once I get into a Textile Puzzle Hole I can go pretty deep, and this is a fun and important part of understanding the worldbuilding for me.

Because they're doing a thing with Willow that - I actually really enjoy. It's not "classic fantasy" in the sense that it's not period-appropriate or of a specific era that we'd recognize. They're also clearly trying to call back to the 80s roots of the original film with some of the design choices; mostly the elements of armor and clothing that they're pulling from traditional martial arts clothing and the existence of Fun Fantasy Denim.

A lot of my thoughts aren't necessarily about critique, but more about trying to put together a cohesive rubric for myself as to what the costuming aesthetic is. Because it's not "anything goes," it's got a specific vibe and a clear voice and I want to "get it" more for my own writing and for my own understanding.

I think the two rules that I've drilled down so far are:

Textiles As Artisan Material (all-handmade, no fantasy spandex)

Function Over Form

1. Textiles As Artisan Material So to get into this a little, I want to get into the idea of how textiles are made because for me I'm In Deep and know a lot about the raw material to cloth to garment process but the average person does not. (I will say, I'm excepting the Cuirass from all of this - we know metatextually that it's a 3d printed stretch fabric bodysuit; it's also magic so it doesn't count.)

So, the average person is used to textile production that is predicated on post-industrial-revolution technology. Meaning:

power-driven machines for weaving and spinning

computer technology available in spinning and weaving machinery to allow for easy production of highly complex cloth structures and patterning

overabundance and artificially low costs of raw materials

When you are thinking of fabric (and I'd include cloth and leather here but not metal armor) as a skilled artisan material, understanding the reasoning for, for instance, Jade having one shirt for the entire series involves understanding what steps are involved. Then, we can understand how many human beings are involved in fabric and therefore garment production and also how many people need to get paid along the way. A piece of cloth entirely handmade for a garment would involve:

a producer to grow the textile fiber (cotton, flax, wool, hide for leather)

skilled artisans to process the fiber (washing, preparing for spinning which could include combing/carding wool, retting flax, etc, leather tanning)

skilled artisans to add dye. This can be done at the stage of prepared fiber, finished thread/yarn, or finished cloth. In a real-world/modern context, this would have significant impact on the cost of cloth. Certain colours (reds, purples) are much harder to dye true than others or require more expensive dyestuff.

skilled spinners to turn the fiber into fine threads for weaving - depending on the fineness needed for the specific weave of the cloth this could be weeks to months of work. Thinner threads will take more time but have more drape and be less stiff as a cloth, so you'd need thin threads for next-to-skin garments like undershirts, and for fine fabrics in things like dresses or fancy formalware

weavers to weave the threads into cloth. Again, the timing here would depend on the type of thread being used but it would also depend on whether or not there are any woven-in embellishments as components of the cloth. Basic cloth in plain weave would take time but not a lot of extra skill; twills or patterning require more time and weaving skill.

embroiderers to add any embellishments either to the base cloth or to the finished garment

tailors and seamstresses to make garments to measure, which would involve cutting any pieces out of the finished cloth and turning it into a garment the correct size for the wearer. If we are assuming that the mechanical sewing machine has not been invented, then garments would be sewn by hand.

handsewing a correctly finished garment involves more than just tacking the pieces together; seam finishes so that the cloth doesn't unravel often require going over the same seam line one or more times. The labour hours in this step cannot be overstated.

metalworkers or other craftspeople to make fastenings and finishings: buttons, toggles, grommets on lacing that weren't handsewn, etc.

leather garments would be made by a separate type of textile worker, since leatherwork requires different tools and a different skillset to successfully construct garments.

So for a basic garment we're looking at needing to pay six separate types of skilled artisans for their work, up to six or seven if it's a garment with elaborate fittings and/or finishing such as buttons or metal fasteners.

The textile economy is relevant here because it is going to translate directly into style. Cutting fabric into patterned shapes leaves waste; this is fine if you're using mass-produced fabric that you can easily afford to replace but if cloth is the 10/10 most precious thing in your garment, you're going to try to cut it into as low-waste a design as possible. It might also lead to less fussy fitting, so that garments are adjustable and can be used by a person for much longer.

It also translates into textile types. Prior to the advent of mechanical knitting machines, any knit (stretch) fabrics would be hand knit. If you have ever tried knitting yourself, you understand that knitting with thin thread takes more time, and therefore more labour hours.

What this means for clothing in-universe on Willow is:

almost entirely woven fabrics, with the exception of handknitting (see: Elora’s scarf-shawl)

this likely does translate into undergarments; I've been looking at regency and late-Victorian era examples to get my head around. The modern bra and panty set is heavily heavily dependent on not just machine knit fabric but also a TON of petroleum-based synthetic textiles that cannot be produced without modern post-industrial means.

fastened using items that can be handmade! Buttons, toggles, clasps, ties or belts for the most part, with the occasional Fantasy Rivet or Fantasy Grommet.

precious! so precious! Expensive to produce and also worth caring for; we see some examples of visible mending in-show and that would have been the standard for everyone with the exception of Kit and Airk.

2. Function Over Form So this is maybe something that I only think about because I sew, but the modern eye is really used to equating and understanding "woven" fabrics and "stretch woven" fabrics as equivalent. Jeans are the easiest example to think about: they're made with denim, but in things like skinny jeans that denim is usually blended with some kind of spandex. Typical woven fabric doesn't stretch in either direction in a meaningful way; stretch-woven fabrics do so because of the synthetic textile content.

So a lot of the design choices that we see in the show really have to take into account that those textiles won't stretch with movement, and that the wearers need to be able to swordfight:

larger, baggier shirts with cuffs or vests rather than more fitted shirts, to allow for full movement at the elbow and shoulder

trousers that have a bit of extra wearing ease at the hip and thigh, so that when the wearer sits or squats there is room for the change in their body shape with these positions

there are a couple of GREAT leather jackets (Kit's in the early season especially), but if you look closely there's actually a grommet-and-lacing system to attach the sleeve head to the body, so that the shoulder still moves. So clever!

Anyway I have been having a lot of fun thinking about this and deconstructing the garments further. Thinking more about the costuming helps me find the worldbuilding details that make it easy for me to write, and I’d love to chat about this lots and lots! I do have some screenshot receipts for this; I didn’t include them because I mostly just wanted to write and not do ~graphic design today.

[thugisa]

I NEED ADVICE!

This is my third pass at this character and this is where I’m at so far!

In case you didn’t see my previous posts, I’m writing a comic based in post-apocalyptic Peru. It’ll have major elements of the Inca empire mixed with modern elements but also more cyberpunk elements.

I know it’s a lot but I’m convinced it’ll create something unique and really interesting.

The man below will be the leader of the last surviving peoples and father of one of the main characters!

Keep in mind that their society isn’t struggling, they’re thriving. The nuclear explosion happened years prior and they’ve already rebuilt while taking inspiration from the Incan empire to run things.

So this man is their Sapa Inca, or their King. He’s meant to represent traditionalism but also the control over machinery. As he believes cybernetics and hardware are merely tools for people to use.

Just thought I should give a bit more of a backstory!

With this pass of the design I added far more details and cybernetics to him but I’m really more sure if it’s too much?

Someone said his face looked too busy and I do see that but I think I’ve been staring at it for too long.

Also, all of the textiles and patterns I’ve drawn are really just placeholders as I can only do so small with my markers and the comic will 100% be done digitally, so I’ll have far better control and fully plan on either finding or creating specific brushes for all the patterning.

Most circles in his design will actually be glowing stones that’ll shift in hue depending on the tone of the scene he’s in.

There’s some parts I don’t like about his design like his boot and I’m not fully sold on the design of the cybernetics as I’ve seen some more sleeker designs that I might use instead. But I’m really not sure.

If anyone has any advice or ideas or even critiques them I’d love to hear them!

Being culturally accurate is also extremely important to me, so if anyone who is more versed in that department has any advice or criticisms then please let me know.

Especially if anything is offensive.

@andeanbeauties

@thebeardedladyofthelake

@batmeringue

Sorry for the tagging but you all commented on the last part and I thought you might want to see the next one! There was also others I wanted to tag but for some reason tumblr wasn’t letting me! So I’m so sorry for that!!

[konguindia]

Starter motor components for non-automotive applications OR automotive applications

Automotive & Non Automotive

[transmutationisms]

do you have any recommended readings on the fallacy of the ‘industrial revolution’ as a historical turning point?

so, i wouldn't say that the industrial revolution is a "fallacy" or that the term never describes a real historical change. it's generally accepted that the textile industry in northern britain did experience notable structural and technological change over the course of the 18th century, and that by the turn of the 19th century a combination of social, economic, colonial, and technological factors had allowed for the appearance of a new industrial-capitalist class in this context. this is not an unimportant economic development.

however, there are a few major issues that routinely crop up in secondary literature on this 'industrial revolution', and are especially pernicious in literature published in the late 19th and early-to-mid 20th centuries.

first, the wider application of a model of economic change derived from this specific episode in history. within shifting frameworks of state protection and global economic competition, cloth merchants in a few counties in the british north were able to change their business practices, including by investing in certain machinery. this was simply not universally true, though. it was not true for all industries in north britain, let alone industries in other countries, even other european powers. narratives of the IR that present this model of industrialisation as some universal process that all economic sectors in all contexts are bound to experience (or else perish) are trying to use as a totalising model what was actually a highly contingent and specific historical episode.

second, the techno-determinist bent of a lot of IR literature. technology in itself does not make social change; in the case of the textile machines in question here, many of the technologies existed well before the period we identify as the 'industrial revolution', but could not become widely used until a number of other social and conditions changed. for example, you might need certain technicians to maintain machines and operate them; you need someone to manufacture the machines themselves; many of the machines we associate with the IR required a shift toward a production model resembling more the factory floor than the individual weaver or seamstress working out of their own domestic space. a technology existing is not synonymous with, or causal of, its widespread adoption; machines on their own do not explain or cause mechanisation.

third, the role of british nationalism and neoliberal agendas in much of the IR historiography. this led to a great deal of literature presenting the IR as a triumph of 'liberal democracy' over 'state regulation', with corresponding valorisation of britain's supposedly weak state (not true; economic liberalism has always involved quite a bit of state protection), culture of 'individual liberty' (lmao), and enlightened institutions of democracy and scientific objectivity (& the techno-determinist narrative plays in here, obviously). this view was especially spearheaded by von mises and hayek in the 20th century.

fourth, the model of global economic change as emanating from britain (on more expansive models, also from the us and parts of europe) and spreading to the rest of the world in a unidirectional way that completely ignores and obscures colonial dynamics and workers' resistance in favour of a simple narrative of techno-economic progress and stadial history. relatedly, the fact that even in the northern british counties where the IR proper really can be said to have occurred, the events we now see as part of a smooth overarching narrative were experienced at the time as random, disconnected happenstance dependent on, again, a dizzying array of social and cultural factors as well as the decisions of communities, workers, and merchants.

some people do eschew the term "industrial revolution" altogether, generally citing some combination of the above issues. others use it in a temporally and locally restricted sense, or with heavy caveats; some continue to use it in ways that perpetuate one or more of the problems i've outlined here. generally it is agreed upon that industrialisation matters, as a historical process, and has occurred with particularly rapidity and specific characteristics since the mid-to-late 18th century. what's at stake is more the idea of a 'revolution': whose, when, where, how, and with what consequences.

anyway:

the industrial revolution: the state, knowledge and global trade, by william j ashworth

africans and the industrial revolution in england: a study in international trade and economic development, by joseph e inikori

fossil capital: the rise of steam power and the roots of global warming, by andreas malm

technology in the industrial revolution, by barbara hahn

reconceptualizing the industrial revolution, ed. jeff horn, leonard n rosenband, & merritt roe smith

heroes of invention: technology, liberalism, and british identity, 1750–1914, by christine macleod

[knockyasocksoff2022]

Bungou Stray Dogs in The Hunger Games: Armed Detective Agency

(A/N: some of these districts aren't cannon, they're from the Hunger Games Role-play wiki, which I found wheile reserching the districts, and I thought they were cool so I added them.)

Under the cut because it's kind of long.

Tribute: Yosano Akiko

District: 15 (Medicine & Scientific Research)

Gender: Female

Age: 25

Occupation: Pre-Medical Student

Specialises in: close-quarters combat with heavy weapons (swords, scythes, hatchets)

~

Tribute: Kunikida Doppo

District: 6 (Transportation)

Gender: Male

Age: 22

Occupations: Maths Teacher & Logistic Coordinator

Specialises in: planning, strategic thinking, martial arts, shooting (not snipers)

~

Tribute: Tayama Katai

District: 3 (Technology)

Gender: Male

Occupation: Code engineer

Specialises in: coding (srsly, this guy’s survival skills are shit)

~

Tribute: Dazai Osamu

District: 0 (Astronomy & Meteorology)

Gender: Male

Occupation: Astronomy (almost all of his predictions about the universe are dystopian)

Specialises in: Strategic thinking, manipulation, deception, stealth, and martial arts (close and medium-range combat)

~

Tribute: Junichirou Tanizaki

District: 6

Gender: Male

Occupation: Student

Specialises in: Stealth and close-range combat with guns and/or knives

~

Tribute: Naomi Tanizaki

District: 0

Gender: Female

Occupation: Apprentice under Dazai

Specialises in: Strategic thinking, manipulation, deception, stealth, and seduction

~

Tribute: Miyazawa Kenji

District: 10 (Livestock)

Gender: Male

Occupation: Student (helps out with livestock after school and on the weekends)

Specialises in: staying positive, making friends, strength and brute force

~

Tribute: Nakajima Atsushi

District: 2 (Masonry & Weapons manufacturing, Also where most peacekeepers are recruited and trained)

Gender: Male

Occupation: Quarry worker & peacekeeper in training

Specialises in: heavy lifting, operating heavy machinery, getting into fights, breaking up the fights of others, following orders

~

Tribute: Izumi Kyouka

District: 8 (Textile production)

Gender: Female

Occupation: Student (works part-time in a textile production factory)

Specialises in: weaving, operating heavy machinery, and martial arts (taught by her mother)

~

Tribute: Kirako Haruno

District: 5 (Electricity)

Gender: Female

Occupation: Grid Operations manager

Specialises in: her job, logistics, planning, helping mediate disputes and unite her coworkers, and cat-sitting.

(A/N: I'm too lazy to tag everyone right now, so if you;re seeing this post: YAY!!!)

[indizombie]

More than 80% of India's merchandise trade with Europe and the United States would normally take place via the Red Sea. India exports roughly $8 billion of merchandise to Europe a month and more than $6 billion a month to the United States. Textiles, engineering goods - which comprise steel, machinery and industrial parts - as well as gems and jewellery are India's biggest sectors exporting to those regions. Re-routing via the Cape of Good Hope has meant ships sailing from India will often need an extra 15-20 days before reaching destinations in Europe, greatly increasing costs. For example, shipping a container to Britain now costs around $4,000 compared to $600 before the Red Sea crisis, Ashok Kajaria, chairman at Kajaria Ceramics told an analysts' call last month.

‘India's small exporters reel as Red Sea crisis helps rivals nab business’, Economic Times

[planet4546b]

i would like to hear about decade!!! i dont have any specific questions i just think it is such a fun concept.

decade my friend decade!!!! some fun facts about decade:

the computer's machinery is all engraved on glass. i dont know or care enough about the specifics of computer workings to give specifics on this (the urge to do research on it will strike me eventually and ill figure it out) but its very different from the early, early forms of computers out of primary (massive logic switch systems using physical switches that can do simple math atm) or lariat (literally just jacquard machines because i LOVEEEE jacquard machines and lariat's a textile town anyways) but its difficult to even realize that glass fragments with engravings too fine to even be seen are part of a COMPUTER when you barely even know what a computer is and thats not how the computers that Do exist work even a LITTLE bit. the few bits ive written that are first person accounts of visiting decade the computer while it was functional are very fun becuase you walk thorugh these massive hanging chains of glass reflecting light. its fun!!

information about decade most often comes from numbers system esque radio stations on unused frequencies, which samira has painstakingly decoded via a cryptography method that i will eventually figure out. its on a radio frequencey thats a lower frequencey than most west faraday radio (decade uses something like slf, i think)

samira's favorite bugbear about decade is that they've found evidence of the ruins of the city itself but theres very little evidence of the rest of the footprint that a city would leave. quarries, dams, forests that had been clearcut and are newer growth, soil that is nutrient depleted from farming....etc etc. given the EXTENT of the growth of the city and the fact that its not built out of any particularly novel materials, its wood and stone so Where Did They Get The Wood And Stone. heres what samira has to say on the matter !

writing decade is remarkably fun. computer that is solely focused on an impossible project in a society that is crumbling around it and it knows it will eventually be drawing plans that no one will see...my strange animal

[small-world-au]

So ima need all the information you got on Rowan so I can write something for you

Well…Rowan wasn’t ORIGINALLY my oc. They were given to me by one of my lovely mutuals! @vv4loe 🥺🥺🥺

Here’s all the info tho!

(It’s old information about them, but I’ll tweak a few things from it!)

He has dermatillomania. Tends to scratch his hand when bored or stressed or upset, and stims by smacking his ankles together (typically when she’s sitting), or smacking his lower palms together.

They play the clarinet.

Has a small yoga routine that he half-asses most of the time (it is “mandatory,” or at least, her parents used to say it is.)

Father is dead, mother was presumed dead by the police. Flynn formerly had a little brother, of whom attempted to scare him on a stormy night without power, leading to Flynn stabbing them a panic. The sibling bled out before the police arrived.

Their aunt takes care of them. Flynn refers to her as his Guardian.

Proud, outwardly confident, inwardly nervous!

She always has at least three hairbands on her forearm. Two black, one blue.

If they see someone doing something that they personally find stupid as shit, they narrate it. Example: “[Character] obsessively re-arranged the painting, despite knowing their peers not only found them to look like an incel, but also comically blind.”

Makes fluid, constant hand gestures when talking.

Dresses make him feel prettier.

He owns exactly three tiaras! And loves all of them.

Enjoys re-organizing, but hates to clean.

Indecisive. Sympathetic until they feel threatened, or insulted (usually). If they knew a scrap and had been feeding them and then saw that scrap getting beat up, they would simply walk off. She wasn’t attached, so he sees no reason to help.

A “bit” obsessive about his hair.

They say the first thing they think of when genuinely enraged. Basically, impulsive.

This was the reason for their breakup with Tre (although, many arguments led up to this point. Basically – they had very different friends, and for the most part, didn’t even like one another’s friends. Plus some jealousy from both parties. Flynn had been spending most of his time with friends and practicing, constantly turning down Tre’s attempts to reach out and see one another again. They weren’t mad, just hadn’t been feeling up to it for – well, weeks. Tre later went on vacation that he agreed to the day of, due to it being for one of his father’s assignments as an officer.) Cue breakup. (Tre was the one who initiated it.)

Flynn’s family was rich from making the occasional industrial machinery as per commission and luring other businesses into contracts, but also from their textile industry.

ISTJ, moral alignment chaotic neutral.

(And yes! Flynn was their og name until I gained full custody of her. :333)

Everything about Rowan stays the same! Expect their name (obviously), they are now Sora’s half-sibling, and their 1/2 Japanese. They also had a full blood /same mother/father brother and they consider Gabriela her REAL mother. Their also part-time fashion designer and detective-in-training!

And Howard’s their TRUSTY BUTLER!

[caesarflickermans]

What's sparked the rebellion? Was it Katniss' volunteering for Prim, Rue’s death, the berries, or was it before all of that?

How does many THG victors joined or being recruited for the rebellion?

Thoughts?

Thank you 😊

@curiousnonny

What's sparked the rebellion? Was it Katniss' volunteering for Prim, Rue’s death, the berries, or was it before all of that?

i'd reject the notion that there's "the rebellion". if we talk about the capitol group around plutarch (and tigris and cressida and caesar) then we inevitably are talking about people who

"[...] have been, for several years, part of an undercover group aiming to overthrow the Capitol" (CF)

but that means little to bonnie and twill, where their home district has only been plotting since the 74th games, so roughly six months at best:

Ever since the Hunger Games, the discontent in District 8 had been growing. It was always there, of course, to some degree. But what differed was that talk was no longer sufficient, and the idea of taking action went from a wish to a reality. The textile factories that service Panem are loud with machinery, and the din also allowed word to pass safely, a pair of lips close to an ear, words unnoticed, unchecked. (CF)

in mockingjay, haymitch asks during what moment katniss alone had touched the rebels. many come up with different opinions, and while i'd argue it's the accumulation, the total sum of them all, that made katniss the mockingjay, personal rebellion, the want to revolt, can start at many different times:

"[...] So, let's all be quiet for a minute. I want everyone to think of one incident where Katniss Everdeen genuinely moved you. Not where you were jealous of her hairstyle, or her dress went up in flames or she made a halfway decent shot with an arrow. Not where Peeta was making you like her. I want to hear one moment where she made you feel something real." (MJ)

The moments begin to come thick and fast and in no particular order. When I took Rue on as an ally. Extended my hand to Chaff on interview night. Tried to carry Mags. And again and again when I held out those berries that meant different things to different people. Love for Peeta. Refusal to give in under impossible odds. Defiance of the Capitol's inhumanity. (MJ)

so i'd say there's many different moments for the 74th in particular, and for rebellion in general.

but i'd like to return to the captiol rebellion, because that's my small litte niche interest, and i'd like to point to several things here:

SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has. (Collins interview, 10th anniversary)

“Not just against the other tributes, but the Capitol, too,” I say. “You know they didn't expect that to happen. It wasn't meant to be part of the arena. They never planned on anyone using it as a weapon. It made them look stupid that he figured it out. I bet they had a good time trying to spin that one. Bet that's why I don't remember seeing it on television. It's almost as bad as us and the berries!” I can't help laughing, really laughing, for the first time in months. Peeta just shakes his head like I've lost my mind—and maybe I have, a little. “Almost, but not quite,” says Haymitch from behind us. I whip around, afraid he's going to be angry over us watching his tape, but he just smirks and takes a swig from a bottle of wine. So much for sobriety. I guess I should be upset he's drinking again, but I'm preoccupied with another feeling. (CF)

those statements have made me develop a theory, namely that plutarch gained inspiration from haymitch's games and the first bread crumbs of a rebellion began right then and there. haymitch's backstory is given a whole chapter in catching fire, and it feels a rather purposeful decision to give so much time to the second quarter quell. outside of the obvious "haymitch's end is shown as a warning to the younger generation and serves as a warning to katniss and peeta, too" i feel like the connection with the rebellion nonetheless exists: the forcefield. using the forcefield against the capitol happens in both, an it was enough to make me think:

what if plutarch gained inspiration from the second quarter quell, and in turn haymitch's games, and began to think on a rebellion through using the arena to his advantage? he is young enough for it to aid in his ambition to become head gamemaker--a strong enough person who can manipulate and aid from the outside.

katniss and haymitch are mirrors of the other, so why not a mirror in this regard, too? after all, we know that plutarch has been waiting for a mockingjay for at least ten years--since finnick's games, as SC mentioned him--so his initial inspiration lies before that. there's no other relevant event mentioned other than the second quarter quell.

How does many THG victors joined or being recruited for the rebellion?

this, again, is my personal headcanon.

other than haymitch, the other person of note we know existed back then was caesar flickerman. he's seen interviewing haymitch. i headcanon caesar to have been in his first years of his career, and having went from excited to reserved; he's noticed there's something off, that the capitol has been manipulating their perception on the games, and he's grown to resent what they present. with a closer touch to the tributes, plutarch decides on the brave step of recruiting caesar to the cause--not without some hiccups.

together, they are the mind (plutarch) and the heart (caesar) of the rebellion. plutarch does the planning, recruits the spies, finds opportunities to exploit the system where he can. caesar recruits the victors; he's always been close to them, always been kind (katniss herself observes that about caesar). caesar is the best person to ask for propaganda on both sides; he can let tributes rise and fall, he can determine who receives attention an who does not. he can use the interviews to the advantage of the rebellion.

out of all people within the capitol, katniss is in contact with people who are directly responsible to her district. her prep team. cinna. portia. effie. outside of those, she only really is in contact with caesar. and caesar, in contrast to the other ones, knows every tribute, every victor.

if you are planning a rebellion through the arena, you'd ideally want someone on your side who can read the tributes and their potential, and who would be close enough to recruit them without making it seem suspicious.

caesar is the only one who fits that bill, and he's the best person to recruit the victors.