#accessibility project

[why-animals-do-the-thing]

California zoo accessibility data dump

I just recently got back from a short (and fully covid-cautious) zoo road trip in Oregon and California, and wanted to share my notes re: accessibility at the facilities I visited. I'll get this all integrated into the spreadsheet, too.

Wildlife Safari - Winston, Oregon

This is a large drive-thru safari park with a free walk-about area attached that contains some small exhibits. Guests stay inside their cars the entire drive-thru, although there's at least one place to stop and sit in a gazebo to rest and use the bathroom (porta-potty only). You can pull over to watch animals for longer, and go through multiple times if you missed anything. It's a long drive-thru and there isn't really a good way to truncate the experience if you've got some kind of emergency. The roads are not flat, but they're well maintained and not bumpy.

The walkabout area is very small and contains bathrooms, food options, and other guest services. The paths are mostly concrete and well tended, although you do have to cross the steam train tracks to get to lion/some of the lemur viewing. I believe the Australia walkabout area was also unpaved. There's lots of parking in a big, flat, paved lot.

Sacramento Zoo - Sacramento, CA

This is a very cute, small inner-city facility - a good option if you don't want to try to walk a huge zoo in one day. There's lots of shade from all the plants and a good amount of benches throughout, including picnic tables with shade canopies. The paths are almost entirely flat and paved, with the exception of a boardwalk ramp up to the giraffe feeding and okapi viewing platforms. The cafe has gluten-free and vegetarian listings (maybe vegan?) on their menu. No straws are provided for animal safety, but if you need one, they can give you a reusable curly-straw from the slushies (kinda long and awkward for a normal cup) as an accommodation. They've got both water fountains and water bottle filling stations. Being build in a larger city park and recreation complex, there isn't a dedicated parking lot just for the zoo: the closest is across the street, shared with another attraction, and is kinda small. I've never had issues finding parking when I've gone, but sometimes it does involve a bunch of walking to get to the zoo entrance - if you have mobility or stamina limitations, probably best to get dropped off at the entrance and wait (there are benches).

San Francisco Zoo - San Francisco, CA

The SF Zoo is huge. There's lots of green / garden / swamp space that doesn't have habitats in it, but it means exhibits can be pretty far away, so plan your route accordingly. (Going out to the grizzly bears is the longest loop). Depending on the time of day, there's not always a ton of shade for guests either. There's a decent amount of benches, and quite a few are in decent proximity to animal viewing. After a somewhat long but not steep hill right at the entrance, the paths are all paved and fairly flat. There's a hill going down into/up from the Australia area / kids playground, but it's the only one I really noticed. There's a long elevated boardwalk through the lemur habitats that connects to the top of the new Madagascar construction - if you can't do stairs, as of Spring 2024, that's the only way to get up there to look down on the mandrills or see the top of the fossa habitat. (It's still under construction, so there might be an elevator in the building in the future). Back by the grizzlies, there's an old indoor rainforest building - while there's buttons to automatically open the door going in, I didn't find any on the first inside door going out. It makes sense they don't want both doors to open at once since it's a bird airlock, but not having independent ones on each door meant the day I used an ECV I got stuck in there until a nice staff member noticed.

All three times I've ever been to SF most of the little food kiosks haven't been open, and the vending machines for drinks have been hit and miss - so bring your own, or stock up at the cafe if you need to have supplies with you - but there are water fountains and water bottle filling stations around the zoo. There are interpretive audio boxes through the zoo in English and Spanish, used with a key you get at the entrance(?), but I heard a lot of complaints in passing about some of them not working. There's lots of parking at the zoo in a flat paved lot, and there's a specific dropoff area on one side for rideshares/mobility needs.

Oakland Zoo - Oakland, CA

To be clear up front - Oakland was the hardest facility to visit on this whole trip, with regards to mobility. We went twice, and I used an ECV (electric scooter) one and walked the other. Neither option was easy and both were exhausting. Oakland is a super hilly facility - you basically have to drive up a major hill to get to the zoo. The bottom half of the lower zoo can only be reached by going down pretty steep paths. The hills are also not graded to be "flat", so if you're in a wheelchair or ECV, you're going to have to lean to compensate for the tilt and balance the chair... while controlling it going down a steep hill. It's exhausting and kinda scary. (I don't even let other people carry my camera because $$, but I had to ask for help so I could focus on driving the ECV on those hills). There's also a lot of areas of the pathways that are not in the best repair, or patterned with pressed-in images, and multiple places actually have brass bugs embedded in the pavement so that they stick out above the surface. Lots of tripping hazards and/or things to rattle your teeth out rolling over. A couple places in the upper zoo (the California wilds area) the paths switch from paved to sand and back again, for drainage, maybe? On the upside, there's a lot of benches everywhere, including directly across from prime viewing areas.

Getting up to the upper zoo requires using a gondola - there's no walking option. You can actually take wheelchairs and ECVs on these, but you have to be ready to advocate for yourself. Normally, they don't stop the carriages completely, and expect people to walk on while they're still moving slowly. You can ask them to slow them down for you (I did, because knee issues plus torque is bad), or stop it completely if you need the time/help. When I took an ECV on, they had me disembark and get in one carriage, and they loaded it into the subsequent ones. This is fine because I can walk and stand on concrete for a while without it, but I'm not sure how that practice would work for people who need their mobility aids the whole time. They were very nice about managing the stopping and the loading and didn't make it feel like an imposition, too. If they stop the carriages completely at any point, there will be a loud buzzer/alarm when the ride starts back up. If you're close, it's pretty loud and startling. As they leave the track at the bottom the gondolas tip and dip a little, which can be scary if you're not expecting it - I think it's just the transition of the car from the loading bay onto the track itself. The rest of the ride is very smooth. The track is pretty high up and gives a great view of the bay and the surrounding cities, but face uphill if you don't do well with heights. Once at the upper zoo, the path from bald eagles through jaguar is mostly a boardwalk, but it's not too bumpy.

Oakland's parking is hard if you're not there early in the day, IMO. The overflow parking gets pretty far from the entrance, and starts to go up the hill towards the upper zoo. If the lot looks busy, drop anyone with mobility/stamina issues off at the entrance before parking. Unlike many other zoos I've visited, Oakland's ECVS have added sunshades, which is really nice (and which I should have used).

Monterey Zoo - Salinas, CA

This is a fairly small facility with most habitats on one level, but some big cats and bears are up a pretty big hill. The walkways are paved and flat, and there's an ADA-graded boardwalk ramp that takes you to the top of the hill. The pipes used for the handrails on both the stairs and the ramp get very hot in the sun, however. There's a boardwalk up to the rhino overlook. They indicate that their bathrooms are accessible, but the ones in the main building didn't have bars for transferring - I didn't check the ones up on the hill. At one point in the day speakers along the path started playing really loud pop music (drowned out the birds) and it was very overwhelming. There's lots of handicapped parking spots across from the front entrance, but if you don't have a tag, the rest of the spots are up a bit of a hill and a small walk from the entrance. They do have a note, though, that they can help if you need accessible parking and don't see any, so you could probably call/have someone to go in and ask for an accommodation.

Sequoia Park Zoo - Eureka, CA

This is another nice small facility, very doable for a half-day trip. The paths are paved and flat, and there's benches available. There's a lot of shade, although it can depend on the time of day, and places to fill a water-bottle. The sky-walk through the redwoods is accessible, but might be a little difficult depending on mobility limitations - its' a very sturdy boardwalk through the canopy of the tall trees. (I had more thoughts on this from my last visit, I'll dig out those notes). If you can do even part of it, it's worth it, and there's places to turn around. Because it's in a residential area of the town there's not a huge dedicated parking lot, but lots of street parking and a decent lot directly across the street. I've never had difficulty finding parking, and you can drop people off at the entrance easily.

[yukipri]

Wanted to say Glaze 2.0 is AMAZING.

What took 30 mins+ before, took me THREE MINUTES last night. WITH my other programs still running.

For folks who tried Glaze but haven't been using it due to glazing time, give 2.0 a chance!

I've heard that other folks have had it taking the same time/longer, but the quality is so much better. Your settings will determine the outcome, but it's definitely a huge improvement over the initial release version.

This update was super sexy of the Glaze Project. You can download the updated version from their site HERE!

(You should also use in conjunction with Nightshade!)

[my-midlife-crisis]

[uncanny-tranny]

I recently had to do a project in one of my psych classes, and man, I knew that CBT was used for every little thing, but seeing over and over, "do CBT! CBT is the best for every mental illness!" was so jarring. I'm absolutely biased because of my own experiences, but I just don't think it's as universal a treatment model as it's touted.

If you didn't benefit from CBT, it's not because you're lazy or didn't try hard enough or lacked intelligence or foresight into your own needs. Frankly, it's a therapy model that (I think) shouldn't be the only readily-accessible model and among the only therapy models covered by insurance. Some of us should not be treated in a CBT model and that's okay. It's not a sign of poor character or unreasonable demands, and if you don't think it's a model that works for you, then it's your right to express that!

[socialjusticeinamerica]

[literal-fiction]

Anyone who is going around saying that we shouldn't vote or should vote for a third party (which is why Trump won the first time and could be why he wins again) is getting blocked on sight at this point for the sake of my fucking mental health.

Many of you are too young to but I REMEMBER this exact same discussion happening in 2016 ON TUMBLR and it was that attitude that got Trump elected! It was that attitude that got those three conservative judges put on the Supreme Court. It was that attitude that got Roe v. Wade overturned.

If you chose to ignore the threat of Project 2025, it will be your fault when it happens. It will be your fault when a nationwide abortion ban is put in place. When women (especially pregnant black women who already have more than twice the mortality rate of pregnant white women) are dying it will be your fault. When trans people are stripped of their rights and commit suicide at even higher rates because they're trapped in a country where they're not allowed to be themselves it will be your fault.

And if you don't think or don't care that Trump is worse than Harris: you are wrong.

[upsidedownsmore]

(edited to fix page 3, oops!)

Hello! Here's a Hollowframe zine I made for my 2D design class final last week!

We basically got to make an 8-paged zine + poster designed for a double-sided 11x17" sheet of paper about anything we wanted, so I elected to just reuse stuff I already drew for my ongoing Hollowframe project since I was already buried under other assignments (though I still ended up putting way too much effort into it lol, I even remade the full group arrangement!)

The idea was to split the timeline of the Hollowframe project into four rough "phases", take a warframe from each, and then condense a bunch of info about the design I drew for them into a page each.

Hollowframe tag!

Google drive link with high quality pdfs, pngs, and more for printing and whatever! :) (and send me pics if you actually print it!!)

Pics of the irl folded zine and more under the cut!

And here's an unfolded view of all of the pages:

Feel free to try printing and folding it yourself! (here is a random zine folding tutorial I found: https://zineopolis.blogspot.com/p/h.html) (meant for 11x17" paper but idk maybe you can make a really small one lol)

I used Photoshop for the page backgrounds, Illustrator to arrange the pages themselves, and Krita to rearrange the full group image.

Pretty happy with how it turned out! I'm honestly mostly glad I finally got an excuse to remake that full group arrangement cause man that dull bluish gray background was not doing it for me anymore lol (though now it's 11x17" rather than 16:9 ratio so maybe not as good for desktop backgrounds but idk if that matters that much? idk i might adjust it back to a 16:9 ratio if people really want me to)

Anyways that's it for now bye bye :)

[mintypsii]

early bird activities

[not-poignant]

I was thinking back to the post I made about ebooks being so much more accessible for so many people compared to paperbacks/hardbacks and the other thing I wanted to add is the vast, vast majority of the time, the author gets so much more profit comparatively for an ebook than a paperback/hardback.

That's not a problem for huge huge huge authors either way, but for small-time authors, or authors with small publishing houses, the difference in profits can sometimes be $2.00 or $3.00 per ebook sold vs. $0.50c or $1.00 per paperback. Really. You pay more, but the author gets a lot less.

In the case of indie authors like myself, ebooks give the highest returns always.

This isn't necessarily something most readers think about, but I have had readers assume that because the book format cost them more, that automatically means more goes to the author. In fact it's often the opposite. There are very few exceptions (university texts come to mind). But in the case of your run-of-the-mill indie fiction, if you genuinely want the most profit to go to the author, get the ebook.

[why-animals-do-the-thing]

I’ve got some accessibility questions around zoo maps! Specifically, I’m interested in how people are impacted by the lack of paper maps / digitization of maps, especially when the ones in other languages than English are only online.

Please chime in in the replies and tell me about accessibility impacts you’ve experienced (or know someone who has experience) with:

No paper map policies

Online-only maps

QR codes to access maps

Maps available in an app only

Policies that instruct visitors to print their own maps ahead of time at home

Being told to photograph big signs with maps on them throughout the zoo in lieu of using an online map

Non-English maps being available online only

Policies that guests should use an app / Google translate to access map information / signage

I’ve got my own thoughts, but I know my perspective is limited to my personal experience. If these policies impact you in any way - not just due to disability - please tell me how. TIA!

[littlegeecko]

Nobody:

otters with blue eyes:

[my-midlife-crisis]

[carlyraejepsans]

is there seriously no change in flavor text for sans' pet rock in the pacifist epilogue?? it feels like the perfect place for a joke about it being a sentient rock monster the whole time who's just a freak or something like that

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[trillscienceofficer]

the problem with Seven's deadnaming (whether on the shows, or the novels, or in fic) is that it definitely IS deadnaming because it's not her name, she canonically, on two different shows, hates being called anything other than Seven or Seven of Nine, and at worst she says nothing about it if she has no recourse. The unfortunate fact of the matter though is that literally everyone knows about “Annika Hansen” because it was on the file related to her and her parents' disappearence, and it could've been interesting commentary on how having been part of the news/having publications/being credited for their work publicly makes it difficult for a lot of trans people to escape being outed and/or deadnamed. And yet the shows still keep being weirdly ambiguous about what Seven's deadname represents! We got Janeway trying to 'appeal to her humanity' by deadnaming her, Axum being grumpy that the person she is now is not the dream projection of a little girl anymore (more deadnaming), a Borg cube deadnaming her in front of Elnor (??), and an asshole who clung so hard to his status as veteran of Wolf 359 that he couldn't help but deadname his own first officer at every turn. It's like, I'm not surprised to learn that fic writers are unrepentant when doing the same thing to Seven because canon is weirdly fond of this crap as well!

[hatsunemiku-official]

( hi just a quick heads up - im not really adding people to the vocaloid-official masterpost anymore. its gotten really overwhelming to keep up with so. if you’ve asked me to add you and I haven’t done it it’s not personal it’s just kind of become A Lot so im gonna stop doing it I think. the current masterlist will stay up though!

also sorry for no funny posts in a while. ive been really busy with school and also not really in a good headspace to be cooking up Funney Jokes. im still alive and cool just busy with other stuff )