#accessibility of knowledge

[angstitty]

PLEASE go listen to some of Ismatu Gwendolyn’s podcasts episodes, they read their essays out loud in a very understandable manner, speak about activism, education, literature, culture, society and such subjects.

Threadings on Spotify

Their website

"Absolutely no one comes to save us but us."

Ismatu Gwendolyn, "you've been traumatized into hating reading (and it makes you easier to oppress)", from Threadings, on Substack [ID'd]

[todaysbird]

[destielmemenews]

"Publishers accused the nonprofit of infringing copyrights in 127 books from authors like Malcolm Gladwell, C.S. Lewis, Toni Morrison, J.D. Salinger and Elie Wiesel, by making the books freely available through its Free Digital Library.

The archive, which hosts more than 3.2 million copies of copyrighted books on its website, contended that the library was transformative because it made lending more convenient and served the public interest by promoting "access to knowledge.""

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[saturnvs]

and what if i pulled myself together and contacted the local riding school to tell them i'm interested in joining ....

[danandfuckingjonlmao]

do you ever think about how we have phannies in every field? like we have doctors and baristas and mental health therapists and geologists and audiologists and engineers and neuroscientists and authors and social media consultants and activists and child care workers and museum managers and teachers and biologists and emts and linguists and accessibility coaches and sign language interpreters and artists and musicians and editors and actors and chefs and fucking EVERYTHING. not to mention the specific knowledge bases and hobbies we have outside of our professions—coding, linguistic and cultural diversity, artistic creativity, political/social awareness, passion for justice, research, make up and hair and fashion design, media literacy, philosophy, all of our special interests/hyperfixations, etc. we could run a successful commune no problem at all. we’re so smart and talented and resourceful and powerful.

the phandom is rooted in a past of being infamously shitty, and i do see yall slipping back into old habits sometimes (mostly on twitter but sometimes here and you know it <3) but it’s pretty fucking cool how capable this community is and our ability to unify. anyway phanmune when.

(if you want, leave your knowledge base/skills in the tags or replies. can be profession, hobby, major/program of study, what you study in your free time, what you want to learn about, what you’re interested, all of the above, anything)

[jstor]

📚 At JSTOR, we believe in advancing literacy and making knowledge accessible to all. Explore our vast collection of scholarly articles, books, and primary sources in ways that work for you:

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Learn more about accessing JSTOR.

Image: A Philosopher Reading. Oil Painting. n.d. Wellcome Collection.

[hegory-grousing]

im not a writer so this doesn't have real dialogue. mad libs I guess. I imagine this happens often on their lunch dates hehe

[pygmy--tyrant]

one trc opinion i have that i don't really have an entire explanation for is that i think blue and henry are the only characters with like a normal knowledge of pop culture. like they've seen movies they've heard music. henry definitely more than blue but despite the fact that blue's tastes would be more weird I DO think she knows about more mainstream things. she has heard top 40 radio she has watched a disney channel movie she is capable of making references. everyone else on the other hand? gansey is not aware of anything that came into being this century. adam gives strong 'doesn't listen to music' energy. you ask him what he likes and he's like i don't know. i just don't listen to music. ronan is probably the most perplexing case because we already know he had a weird fucking childhood in which he only read alice in wonderland (and i believe it) and YET in his routine in cdth he has a designated 'movie night'. WHAT movies is he watching! i simply refuse to believe this man is capable of making a Reference. at least not a normal one. he'll just cite whatever irish myth his dad told him about as if everyone else is gonna be like oh you're so right ronan this is JUST like that part in the táin bó cúailnge. am i making any sense tonight ladies. gansey does not know who taylor swift is

[ihatebrainstorm]

Brainstorm’s the kinda guy to not know what the state of the Cybertronian economy is like at any given time

Original joke credits go to @toyotacorolla2008 !

[infamously-winking]

hot take on billford is that the secret third thing is obsession with being seen by someone for the first time in each of their lives

[devils-yui]

Rewatching TFA, for the hundredth time in a row, and I've got to say. I used to think Sari was, kind of annoying, during my first initial watch and sometimes. The things she does makes me go wide-eyed and gripping at the screen going, "WHAT ARE YOU DOING!?"

But then now, as I'm rewatching it hundreds of times over. I have to physically remind myself that she is a child.

And not only that, but she was a child that was BARELY raised properly. She didn't have other children to socialize around, she had a robot teacher, a robot dog companion, and her occasionally in her life father who was busy manufacturing robots, entertaining the ideas of tours and etcetera.

So maybe, yes. I can definitely understand why she does rash things, and act the way she does. I understand why she's seen as a social outcast amongst other groups of kids (like in the show, ON HER BIRTHDAY).

And I'm not as mad as her, as anybody should be for a child who was raised/taught the wrong things or having not been taught at all.

However...

THIS GUY.

IS A WHOLE 'NOTHER CASE.

I JUST WANNA-

[calypsolemon]

bauhauzzo has near-omniscience over the past, click clack can percieve everything happening in the present, and huzzle has prescience over all possible futures. send tweet

[fatehbaz]

About the entanglement of "science" and Empire. About geographic imaginaries. About how Empire appeals to and encourages children to participate in these scripts.

Was checking out this recent thing, from scavengedluxury's beloved series of posts looking at the archive of the Budapest Municipal Photography Company.

The caption reads: "Toys and board games, 1940."

And I think the text on the game-box in the back says something like "the whole world is yours", maybe?

(The use of appeals to science/progress in imperial narratives probably already well-known to many, especially for those familiar with Victorian era, Edwardian era, Gilded Age, early twentieth century, etc., in US and Europe.)

And was struck, because I had also recently gone looking through nemfrog's posts about the often-strange imagery of children's material in late nineteenth- and early twentieth-century US/Europe. And was disturbed/intrigued by this thing:

Caption here reads: "Game Board. Walter Mittelholzer's flight over Africa. [...] 1931. Commemorative game board map of Africa for a promotional game published for the N*stle Company, for tracking the trip of Walter Mittelholzer across Africa, the first pilot to fly a north-south route."

Hmm.

"Africa is for your consumption and pleasure! A special game celebrating German achievement, brought to you by the N*stle Company!"

1930s-era German national aspirations in Africa. A company which, in the preceding decade, had shifted focus to expand its cacao production (which would be dependent on tropical plantations). Adventure, excitement, knowledge, science, engineering prowess, etc. For kids!

Another, from a couple decades earlier, this time British.

Caption reads: "The "World's globe circler." A game board based on Nellie Bly's travels. 1890." At center, a trumpet, and a proclamation: "ALL RECORDS BROKEN".

Same year that the United States "closed the frontier" and conquered "the Wild West" (the massacre at Wounded Knee happened in December 1890). A couple years later, the US annexed Hawai'i; by decade's end, the US military was in both Cuba and the Philippines. The Scramble for Africa was taking place. At the time, Britain especially already had a culture of "travel writing" or "travel fiction" or whatever we want to call it, wherein domestic residents of the metropole back home could read about travel, tourism, expeditions, adventures, etc. on the peripheries of the Empire. Concurrent with the advent of popular novels, magazines, mass-market print media, etc. Intrepid explorers rescuing Indigenous peoples from their own backwardness. Many tales of exotic allure set in South Asia. Heroic white hunters taking down scary tigers. Elegant Englishwomen sipping tea in the shade of an umbrella, giggling at the elephants, the local customs, the strange sights. Orientalism, tropicality, othering.

I'd lately been looking at a lot of work on race/racism and imperative-of-empire in British scientific and pop-sci literature, especially involving South and Southeast Asia. (From scholars like Varun Sharma, Rohan Deb Roy, Ezra Rashkow, Jonathan Saha, Pratik Chakrabarti.) But I'd also lately been looking at Mashid Mayar's work, which I think closely suits this kinda thing with the board games. Some of her publications:

"From Tools to Toys: American Dissected Maps and Geographic Knowledge at the Turn of the Twentieth Century". In: Knowledge Landscapes North America, edited by Kloeckner et al., 2016.

"What on Earth! Slated Globes, School Geography and Imperial Pedagogy". European Journal of American Studies 16, number 3, Summer 2020.

Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire, 2022.

Discussing her book, Mayar was interviewed by LA Review of Books in 2022. She says:

[Quote.] Growing up at the turn of the 20th century, for many American children, also meant learning to view the world through the lens of "home geography." [...] [T]hey inevitably responded to the transnational whims of an empire that had stretched its dominion across the globe [recent forays into Panama, Cuba, Hawai'i, the Philippines] [...]. [W]hite, well-to-do, literate American children [...] learned how to identify and imagine “homes” on the map of the world. [...] [T]he cognitive maps children developed, to which we have access through the scant archival records they left behind (i.e., geographical puzzles they designed and printed in juvenile periodicals) [...] mixed nativism and the logic of colonization with playful, appropriative scalar confusion, and an intimate, often unquestioned sense of belonging to the global expanse of an empire [...]. Dissected maps - that is, maps mounted on cardboard or wood and then cut into smaller pieces that children were to put back together - are a generative example of the ways imperial pedagogy [...] found its place outside formal education, in children's lives outside the classroom. [...] [W]ell before having been adopted as playthings in the United States, dissected maps had been designed to entertain and teach the children of King George III about the global spatial affairs of the British Empire. […] [J]uvenile periodicals of the time printed child-made geographical puzzles [...]. [I]t was their assumption that "(un)charted," non-American spaces (both inside and outside the national borders) sought legibility as potential homes, [...] and that, if they did not do so, they were bound to recede into ruin/"savagery," meaning that it would become the colonizers' responsibility/burden to "restore" them [...]. [E]mpires learn from and owe to childhood in their attempts at survival and growth over generations [...]. [These] "multigenerational power constellations" [...] survived, by making accessible pedagogical scripts that children of the white and wealthy could learn from and appropriate as times changed [...]. [End quote.] Source: Words of Mashid Mayar, as transcribed in an interviewed conducted and published by M. Buna. "Children's Maps of the American Empire: A Conversation with Mashid Mayar". LA Review of Books. 11 July 2022.

Some other stuff I was recently looking at, specifically about European (especially German) geographic imaginaries of globe-as-playground:

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020) /// "19th-Century Board Game Offers a Tour of the German Colonies" (Sarah Zabrodski, 2016) /// Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, 2011) /// Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, 2019) /// “Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath” (Andrew Zimmerman. In: German Colonialism in a Global Age, 2014) /// "Exotic Education: Writing Empire for German Boys and Girls, 1884-1914". (Jeffrey Bowersox. In: German Colonialism and National Identity, 2017) /// Raising Germans in the Age of Empire: Youth and Colonial Culture, 1871-1914 (Jeff Bowersox, 2013) /// "[Translation:] (Educating Modernism: A Trade-Specific Portrait of the German Toy Industry in the Developing Mass-Market Society)" (Heike Hoffmann, PhD dissertation, Tubingen, 2000) /// Home and Harem: Nature, Gender, Empire, and the Cultures of Travel (Inderpal Grewal, 1996) /// "'Le rix d'Indochine' at the French Table: Representation of Food, Race and the Vietnamese in a Colonial-Era Board Game" (Elizabeth Collins, 2021) /// "The Beast in a Box: Playing with Empire in Early Nineteenth-Century Britain" (Romita Ray, 2006) /// Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (Mary Flanagan and Mikael Jakobsson, 2023)

[shakingparadigm]

I'm too tired to gather my thoughts cohesively on this but.

The Anakt Garden bears a lot of resemblance to the Garden of Eden, right? The landscape is an ideal nature paradise and the humans kept within it are expected to live in blissful ignorance and obedience. It's not far-fetched to say that a lot of religious inspiration was taken when making the Anakt Garden considering the prevalence of "gods" and worship in the series. What's more, there is apparently a whole subject in the Anakt Garden dedicated to religion.

Through this Garden it's almost as if the aliens are attempting to recreate or rewrite the genesis of mankind now that they have established themselves as beings of power. The aliens tend to "play god", creating artificial humans and modifying existing ones in order to suit their needs.

In past official arts, Sua and Ivan (two top students of Anakt Garden who know more about the truth of the system than they let on) have been depicted with apples. The same fruit that symbolizes disobedience and forbidden knowledge.

[mollyyancey]

which touhou character would drive a toyota

ran yakumo 2003 toyota sienna road rage incident

[communistkenobi]

my brother gave this to me for christmas :)