#cultural sensitivity in architecture

[nnctales]

Unveiling the Distinctions: Architecture vs. Engineering

Introduction: In the vast realm of design and construction, two fields stand out as pillars of creativity and innovation: architecture and engineering. While they often collaborate closely, each discipline carries a unique set of responsibilities, skills, and perspectives. This article aims to delve into the fundamental differences between architecture and engineering, shedding light on the…

[howdoesone]

How does one design architecture that promotes regional tourism and cultural exchange?

Designing Architecture that Promotes Regional Tourism and Cultural Exchange Introduction Designing architecture that promotes regional tourism and cultural exchange is a powerful way to showcase the unique heritage, traditions, and attractions of a region. Architecture plays a crucial role in creating memorable landmarks, immersive experiences, and vibrant spaces that draw tourists and facilitate…

[teatime-tangents-and-toys]

Interesting Monster High design things that are never explicitly stated:

* Unlicensed vampires are all some type of pink-skinned for some reason, including related species like the manananggal

* Clawdeen, and by extension, other werewolves, never wear silver metals, because that weakens them. The Wolfs only wear gold jewelry and accents.

* Lagoona's sporty theme aligns with the use of mesh fabrics to make a pun about fishnets

* Wydowna Spider's hairline is a widow's peak and one of her hands is in Spider-Man's web-slinging shape

* Twyla's eyes glow in the dark on most editions--common knowledge, but Mattel has never told buyers about it on her boxes!

* Twyla is a boogeyman and her costume designs all feature antique architectural details and imagery of things that might be in a scary bedroom at night, like wallpaper patterns, doorknobs, bugs, and beds, while her outfits often resemble pajamas

* The two G1 pop star characters are a witch and a black cat, and a witch and cat were also a Create-A-Monster duo

* The Grant sisters' monster twist on genies is to make them plated like desert scorpions

* Elissabat's face is deliberately highly similar to Draculaura's, but their sculpts have been determined to be different--this when MH has used shared sculpts for more distant-looking and disparate pairs of characters!

* The Blob and Ice Girls are a Create-A-Monster duo because freezing was the one weakness of the Blob monster

* Deuce and Cleo as a couple invoke the synergy of snakes and Egyptian culture, the famous Cleopatra being Greek, and Cleopatra being stated in legend to have died by snakebite--similar reasons a mummy and Gorgon were paired in the Create-A-Monster sets

* Operetta is from New Orleans because it's a uniquely French area of the USA, tying her into the original setting of the Phantom of the Opera

* The manufacturing code on the back of Skelita Calaveras' original head mold is a custom sequence made to depict the name "KATRINA".

This refers to the tradition of carving a name of honor into a Dia de Muertos sugar skull, and may also reflect La Catrina, the iconic Mexican skeleton woman in the wide hat often seen in the holiday's imagery. Other dolls have these stamps on the backs of their heads with meaningless sequences of letters and numbers which are never meant to be seen, but Skelita's stamp was used for a purpose. I've checked her dolls after G1 (starting with her first collector doll in 2016), and they have a generic code stamped in and have lost this detail.

* Viperine Gorgon has distinct visual hallmarks of both human and serpent albinism, and her use of sunglasses could correspond with sensitive eyes from the condition, though she's never stated to have the condition in any material.

* Great Scarrier Reef's transformations: Electric-powered Frankie became an electric eel, Draculaura became a vampire squid, and tigerlike Toralei became a lionfish. I've heard Clawdeen was based on a wolffish, but can't be sure that was actually clear. Gil turning into a ray may be a pun with manta and manster? No idea if Lagoona was based on a specific fish or not. Nor why she even had to transform in her native territory for any reason beyond making a new doll.

* Bonita Femur's color palette is based on the rosy maple moth, which is as implausibly candy-colored as Bonita. Luna Mothews is absolutely not actually a luna moth, but could be loosely based on the cecropia moth, the largest in North America and found in regions that could include New Jersey where she's from (or West Virginia, where the Mothman is from). Her yellow exoskeleton also loosely resembles the hornet moth, but may not intentionally be based on it.

* Mouscedes King, Luna Mothews, and Elle Eedee are a primary yellow/red/blue trio but also a past/present/future trio based on an old fairy tale, a current cryptid legend, and a speculative idea of future tech

* Headmistress Bloodgood's first name was eventually revealed to be Nora, an iconically Irish name that may have been chosen to liken Bloodgood to the Irish folklore of the dullahan, another "headless rider" monster.

* River Styxx is a young-adolescent Grim Reaper ghost who is partially translucent, revealing bones in her limbs and having a more opaque face that looks like thin skin over a bony structure. This creates a fun possible worldbuilding idea that reapers start as ghosts with skin and it fades as they develop, becoming full skeletons in classic Death style when mature.

* Peri and Pearl are conjoined Hydra sisters, obviously reflecting a rare human scenario of conjoined twins through the Hydra monster concept, but also possibly being influenced by the animal phenomenon of snakes being born with two heads in an even Y-shaped structure.

* Elle has a separate sculpted panel on her hip where her factory stamp is placed, canonizing the real-world manufacturing artifact as a real/literal/diegetic feature on the manufactured robot character.

* Corazón Marikit's red fringe blends the two halves of her outfit, but also stands in for the gorier imagery of dangling intestines and entrails when the manananggal monster's body splits at the waist. She does have a spine coming out of her upper torso as the peg that clicks her pieces together, but the dolls aren't brutally gory, so her costume alludes to the folklore's more extreme imagery in a graceful way.

[ozmosiis]

vulcan headcanons

saw a post that briefly mentioned vulcan (as a species) biology / history headcanons so im gonna list mine and hope it becomes gospel !!!

warning im a fucking nerd.

Vulcans have increased neural density with a higher degree of parallel processing. This allows them to process multiple streams of thought at once, also allows for more advanced problem solving and emotional compartmentalization ... Cephalopods, like octopuses, do something similar and have complex neural architecture. if it helps... know what im ... getting at.

They have a double circulatory system. To survive the thin atmosphere and intense heat of Vulcan, their circulatory system bifurcated. A primary circulatory system oxygenates vital organs while a secondary circulatory system regulates body temperature and conserves water.

Vulcans have tails. They originally aided with balance, grasping, and maybe even self defense during early evolution. Their tails have the most sensory nerves out of any other part of the body, and serves as an auxiliary point for their touch telepathy. In Vulcans without tails (which is like a 3/4 of the population), they instead have vestigial nerve clusters that strengthens neural sensitivity in their hands and fingertips, which also is a part of why touch is so sacred in their culture.

Early Vulcans were pack predators, and used their telepathic links to hunt more efficently... their tails acted as stabilizers aswell.

Vulcan traditions are actually rooted in pack dominance, when physical contests determined leadership. Touch telepathy provided an advantage by allowing fighters to predict the other guy's intent before they struck.

Some Vulcans, particularly those who struggle with emotional control or embrace emotional experiences (like Sybok) experience phantom sensations where their tail would otherwise be. This manifests as an unconscious need to maintain physical contact with others during heightened emotional states.

Vulcan ears are adapted for radiative cooling, acting like heat exchangers to dissipate thermal energy. The large surface area and high vascularization, allow for excess heat to be expelled efficiently, very similar to the ears of jackrabbits and elephants.

Vulcans have enhanced visual acuity with the ability to see UV light, which allows them to live on the bright landscapes of Vulcan. Their retinas contain a higher density of cone cells attuned to UV and infrared spectrums.

hey guys hope u fucked with that all ... i really, really like eco science and biology. i am such a nerd i know. thats not even it all!!!!!!!!!!! if you want other species headcanons, lmk chat

[thatshowthingstarted]

Emperor Shah Jahan’s wine cup, 1657,

The cup is shaped like a gourd with the handle carved into the head of a ram. The base features acanthus leaves radiating out from a lotus flower which is raised to form a pedestal for the cup.

The different features of the cup reflect the variety of cultural and artistic influences that were welcomed at the Mughal court. Persian in their cultural background and Indian by adoption, the Mughals were also open to new ideas from the West.

Jesuits at the Mughal court, entertaining futile ideas of converting an Empire, were welcomed for their learning; ambassadors and merchants for their exotic gifts and promises of trade.

Craftsmen-adventurers were especially welcomed for their skills and knowledge of unfamiliar technologies.

The use of a gourd form for the body of the cup is Chinese in inspiration, while the lotus petals and sensitivity of animal portraiture are characteristic features of Hindu art. The ideas of the pedestal support and the use of acanthus leaves are also European in origin and parallel similar elements in the decoration of Mughal architecture during Shah Jahan's reign.

Yet for all its eclecticism, with features from China, Iran, Europe and India, the art of the Mughals achieved a brilliant unity. This unity is perfectly exemplified in the jade cup which entered Shah Jahan's treasury in the last year of his reign and now provides such strong visual support to the legend of the dynasty's splendour.

Made in the Imperial workshops

White nephrite jade,

Length: 18.7cm, Width: 14cm

© Victoria and Albert Museum, London

[architectureandfilmblog]

THE BRUTALIST (2024)

Hollywood isn't known for its nuanced portrayal of the field of architecture. We've either had implausible romantic heroes -  in whom 'architect' has merely been a convenient shorthand for a man who is successful and pragmatic, and yet, wow... also sensitive and creative. Or we've had the uncompromising Fountainhead- style egomaniacal genius.  It's unfortunate that The Brutalist, as such an unusually high profile film about an architect, somewhat perpetuates those cliched characterisations. 

Also, since its unlikely that there'll ever be a widely-watched biopic of Marcel Breuer, upon whom the main character seems based, its a shame that his life and influential (and superior) work isn't better represented here. Admittedly, the aesthetic inspiration for László's buildings does appear to have been broader, with visible references to Le Corbusier's Ronchamp, Frank Lloyd Wright's Johnson Wax Building, Tadao Ando's Church of Light, and Louis Kahn's Salk Institute, amongst many others. 

Of course, Brady Corbet and his team aren't obliged to provide a balanced portrayal of the architecture profession. And Adrian Brody's character seems to also symbolise the misunderstood Artist, the migrant, the culturally persecuted, the alienated non-conformist in 1950s America. Asthetically, the Brutalist is often beautiful, with moments of Tarkovsky-esque visual poetry.

It's this pervading sense of symbolism, however, that makes the film's most literally brutal scene feel so disconcerting and inconsistent. Corbet has likened its lack of subtlety to the melodramas of the 1950s, which often had monstrous, larger than life villains. And there are movies from every era that use melodrama and a flamboyant lack of subtlety to great effect. But what jars in this case is our sense that such a suddenly literal manifestation of the central metaphor is inconsistent with what we've watched up to that point. 

The tension of the symbolic relationship between artist and patron, struggling refugee and wealthy citizen, runs throughout the film. Its complex power dynamics are visible behind everything that takes place, so to have that suddenly depicted in such a literal way almost feels insulting to the viewer, as though the filmmakers are suggesting we might otherwise have missed the point. (Image via u/Gloryflux on reddit)

[literaryvein-reblogs]

A Few More Art-Related Vocabulary

Lacquer: Any of a variety of clear or colored liquid coating substances that dries to a hard, durable finish, which can be further polished.

Leading lines: Actual or implied lines within an image that lead the viewer’s eye to another point in the image, or occasionally, out of the image.

Mammoth plate: A large glass plate measuring up to 18 x 22 inches, which is made sensitive to light and is used to make prints.

Marquetry: Numerous small pieces of wood or other materials that fit together like a puzzle and are applied to the surfaces of furniture. Marquetry patterns may be scenic, floral, abstract, or arabesque.

Medium (plural: mediums or media): (a) A material or technique used by an artist to produce a work of art, and (b) the adhesive that carries paint’s pigments.

Milliner: A person who designs, makes, trims, or sells women’s hats.

Negative: An image in which the colors, tones, and highlights are the reverse of those in the original subject. The film negative can be used to make a positive print.

Neoclassicism: The style of the Enlightenment in which artists focused on accounts of filial or national devotion, fidelity, and courage and sought to revive the ideal of classical Greece and Rome in architecture, sculpture, painting, and the decorative arts.

Nonrenewable resource: Natural resource that exists in a fixed amount and is being used up faster than it can be made by nature.

Orientalism: Refers to the imitation or depiction of aspects of Eastern cultures in the West by writers, designers, and artists.

Overmantel: An ornamental panel or structure above a mantelpiece (the protruding, often decorative shelf over a fireplace).

Painterly: Characterized by qualities of color, stroke, or texture perceived as distinctive to the art of painting, especially the rendering of forms and images in terms of color or tonal relations rather than of contour or line.

Pastels (also, fabricated chalks): Dry drawing media made from powdered pigments combined with nongreasy binders.

Patron: A person or group that supports artists or writers, especially by giving money.

Perspective: In art, a technique of depicting objects to convey the appearance of distance or depth on a flat surface. It is part of a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by an imagined viewer.

Photographic essay: A story illustrated through photographs, which may or may not be accompanied by text.

Phrygian [FRI-jee-an] cap (also, liberty cap): A soft, red, conical cap with the top pulled forward, worn in antiquity by the inhabitants of Phrygia, a region of central Anatolia. In the visual arts, it represents freedom and the pursuit of liberty.

Pinhole camera: A basic form of camera, usually the size of a shoe box, with a tiny hole for the opening and no lens. Light passes through the hole to form an inverted image on the film emulsion (suspension of one liquid in another).

Point of view: The place from which the viewer sees the landscape, or the place where the artist or photographer was sitting or standing when the picture was made.

Porcelain: A durable, fine-grained, nonporous, and usually translucent white ceramic ware that consists essentially of kaolin, quartz, and feldspar and is fired at high temperatures.

Source ⚜ More: Word Lists ⚜ Part 1 2

[devilmen-collector]

Food Allergy

Ft. Klein (my MC), 3 devil kings (Satan, Mammon, Lucifer), nobles (Sitri, Leraye, Paimon, Bimet, Eligos, Valefor, Morax), Ppyong

C/W: food allergy (symptoms include hives rashes, swelling, breathlessness), Bimet cutting others' sensitive parts

SFW

Satan's teeth crunching sound could be heard throughout the hallway of the royal palace of Gehenna as the king of wrath radiated the crimson colored energy of his sin. The reason for his rage today was the unannounced appearance of Mammon, the king of greed, who suddenly came to Gehenna and took Klein away.

"That Mammon, I'll kill him." Satan growled as he crunched his teeth again.

Meanwhile, at the royal palace of Tartaros, Klein the Evil Overlord was being carried by Mammon, who himself was sitting on a carriage that could move automatically.

"Didn't you say that we would be having a banquet?" Klein asked.

"Yes, Master, I want to show you the food culture of Tartaros. Even though Abyssos is the country that is the most famous for its food culture in Hell, their cooking methods are... unconventional. While Tartaros's cooking methods are more similar to those in the human world. I think you could tell that Tartaros cuisine inspired many dishes in the human world. And I believe you will love our food."

Hearing Mammon said, Klein made connection between Tartaros architecture style and its cuisine. He could already imagine dishes of dim sum, sushi and other Asian dishes before his very eyes. Just the imagination made his mouth water. He couldn't wait to take a bite.

"We're here." Mammon announced as the carriage stopped in front of a gigantic gate made of pure gold. On the two doors of the gate was the carving of Mammon's sigil, surrounded by those of mythical beasts. All of those seemed to highlight how Tartaros devils value the room behind the gate.

"Uh... Shall I get down? Since you need both hands to push both doors. I know you have those golden arms, but I think it's a good thing that we enter together." Klein said while blushing. As much as Klein is an Evil Overlord, he loves the idea of his devils being his equals.

"I haven't thought about that before. But you are right." Mammon agreed and put Klein down. He then used both of his hands to push open the large gate.

"His Majesty Mammon and the Son of Solomon!" A devil standing by the gate announced as soon as he saw the gate was opened. Then, Mammon and Klein entered the room hand-in-hand.

Inside the room, there was a large, no, gigantic long table with countless dishes on display. Each was put on a large golden dish or bowl, which could automatically keep the food within the desired temperature. And as Klein had expected, many of the dishes he wanted to taste were there.

"How many dishes are there?" Klein asked in whisper.

"200." Mammon's answer nearly made Klein squeal in happiness.

On the side of the table were the nobles of Tartaros, Bimet, Eligos and Valefor, along with many servants standing behind them.

"WE GREET HIS MAJESTY MAMMON, MASTER AND CREATOR OF ALL WEALTH!" All bowed as they said that.

When they had finished greeting Mammon, all straightened their backs again and looked at Klein, who waved at them. Eligos waved back with a smile, while Bimet and Valefor returned the gesture with their smiles, with Valefor's smiles being more genuine and Bimet's smile seemed more business-like.

Mammon took Klein to the chair at the head of the table.

"Thanks." Klein said as Mammon pull the chair out for him. The latter also sat down on the chair to Klein's right.

The Overlord looked at the three nobles standing at the side of the table without any intention to join, with Valefor trying to hold back Eligos, who were already looking at the dishes with sparkling eyes. Unlike Gehenna, other countries have strict protocol which dictates that nobles can't eat in the same table with their kings, unless invited.

"You three can join us." Klein said as he motioned with his hand sign for them to join him and Mammon. He knew Mammon wouldn't mind it.

"Thanks, Son of Solomon/Klein." The three nobles chirped as they came and sat down at the table, but their seats were all below Mammon's, toward the middle of the long table. Among the three, Eligos was the happiest since he eats a lot.

"Let's the banquet begin." Mammon announced and the servants standing on the two sides of the table started serving. Since the table was too long and had too many dishes, neither Klein nor the devils could reach all the food by themselves, so the servants had to help them by recommending the dishes and serving them the food.

"Glorious Son of Solomon, I'll serve you in this banquet." Klein looked to his left and saw a young devil in servant attire.

"May I recommend [...] which are all the most delicious dishes of Tartaros."

Klein couldn't understand the dishes' names, which were all said in Hell language. He just nodded to the servant, indicating he would want to be served with all of them.

The servant left him, and soon enough, returned by his side with some food he had taken from the 200 dishes on the table that he had recommended. Among them was Klein's favorite dim sum.

"Master, try this." Mammon himself poured Klein a small cup of Tartaros liquor, which looked similar to traditional Eastern Asian alcoholic drink, such as soju, sake, etc.

Before long, Bimet also summoned beautiful devils to perform a play for all those who were enjoying the banquet.

The banquet went on...

Why am I feeling itchy? Klein asked himself as he began to scatch his face and his back. The itch soon became more unbearable and Klein started to scratch more and all over his body, including his face and his back.

"What's the matter, Master?" Mammon was the first one to notice, then even the nobles noticed their beloved being uncomfortable.

"I don't know. I'm just feeling itchy for some reason." Klein said, his voice raspy. Then he started to cough and he felt he couldn't breathe.

Oh no, food allergy. Klein thought before trying to stand up, but he lost his balance in the process and fell. Fortunately, Mammon managed to catch him.

"Mammon, it's very uncomfortable." The Overlord said weakly before falling unconscious.

"Stop standing idly, go call the doctors!" Bimet shouted to the servants, who were shocked and didn't know what to do in this situation.

"Y-yes, I'll go get the doctors right away." The servant who had been serving Klein said and ran out of the dining room through a side door.

~~~

Klein open his eyes, or rather he opened his right eye while trying to open his left eye, which had become swollen due to the allergy.

"L-lucifer..."

"Try not to talk so much, even your lips are swollen from the allergy." Lucifer said as he caressed Klein's cheek which had turned red from rashes to the swollen lips.

"What happened? Is it food allergy?" Klein said, almost like whispering.

"Yes," Lucifer answered "you ate something that is similar to crabs in the mortal world. You get rashes over your body, and and many parts of your body are swollen. You were taken to Paradise Lost on Morax's advice so we could properly test your blood."

"Lucifer, do I look ugly right now?" Klein asked suddenly with his raspy voice.

"Klein, do I look like the type to love physical beauty alone?"

Klein wanted to shake his head but realized it was difficult because his head felt heavy as hell. But Lucifer understood his reply nevertheless.

"And I don't think those pure devils would say otherwise."

Hearing Lucifer, Klein unconsciously cracked a smile, even though it was also difficult and painful because his lips were swollen. Klein knew the devils wouldn't detest him because he had become physically ugly, but sudden insecurity needed an assurance. Lucifer also smiled, he leaned down and kissed Klein on his rashed cheek.

"I'll give all to your heart desires when you have recovered." The king of pride whispered to Klein's ear before turning around and walked to the door.

The moment Lucifer opened the door, Leraye, Paimon and Eligos fell inside. Behind them were Bimet, Valefor, Sitri, Morax, Ppyong and the two kings of wrath and greed.

"I'm sorry. I tried to stop them but they kept insisting that they would stand outside and they promised to keep silent." Morax explained.

"Your Majesty Lucifer, can we go talk to Klein? We are very worried about him." Leraye pleaded like a sad puppy.

"Don't be too loud." Lucifer said a very few words and left the room.

"Klein will need a lot of rest. So please don't take it too long." Morax smiled and left the room to meet with Lucifer outside.

"Kleinnnnn!" Paimon sobbed.

"I should have been there to prevent you from eating allergic food." Leraye lamented.

"I should have asked Minhyeok about your allergies." Ppyong sniffled.

Why does this begin to sound like a funeral? Guys, I'm not dead. Don't give me Belial treatment.

"This wouldn't have happened if Tartaros didn't take Solomon to taste their cuisine." Sitri glared at the Tartaros camp. The Tartaros nobles wanted to argue back but unable to. Ultimately, it was their country's responsibility.

"Stop crying! Klein will bounce back and he will return to Gehenna in no time." Satan assured his nobles.

"His Majesty Satan is right." Leraye beamed.

"Get well soonnnn!" Paimon placed a kiss on Klein's cheek, much to Satan's annoyance and Sitri's jealousy.

Before long, Morax appeared again to announce that visit time was over and everyone had to leave. However, Mammon didn't leave right away as he wanted to have a private conversation with Klein.

"Someone hasn't been kind to you, huh." Klein said as he finally got the chance to look at the king of greed's face properly and saw a swelling on his face, which likely came from Satan's fist.

"I'm sorry, Klein." Mammon apologized.

"You couldn't have known, Mammon."

"But still, if I had done a little bit more research into allergic food, you wouldn't have had suffered."

Klein couldn't find a word to comfort Mammon. As he was laying on the bed, unsure of what to say, he noticed that Mammon's right fist had always been behind his back since he entered the room.

"What are you holding there?"

Knowing that he couldn't hide from Klein, Mammon showed what he had kept inside his palm. It was the ring he had given the Overlord when they were taking a picture for Phenomenon's contest. But it was broken.

"Your fingers were swollen and the ring was in the way of the blood flow so we broke it." Mammon regretted. It was a sign of his love for his Overlord Master, but now it was broken, which many considered to be a bad omen.

"You can find a good craftsman to put the pieces back together," Klein said "and when I recovered, put the ring on my finger again." The Evil Overlord raised his heavy right hand and put it on top of the broken ring, over Mammon's hand.

"Yes, you're right, Master." Mammon thought for a while before putting his other hand on top of Klein's hand. "I'll mend it and put it back on you." Then the king of greed bent down and kissed Klein's hand before leaning into the bed to kiss Klein's cheek.

"By the way, tell Bimet to not cut the chef's nipples and testicles."

Klein said it not out of kindness, but he wanted to be the one to decide "punishment" for that devil.

Mammon smirked to Klein's words before telling him to rest and left the room.

[notwiselybuttoowell]

By the 1980s, some women had had enough. After decades of struggling with prams and shopping trolleys, navigating dark underpasses, blind alleyways and labyrinthine subways in the urban obstacle course mostly made by men, it was time for a different approach. “Through lived experience,” wrote the Matrix Feminist Design Co-operative, when they launched their manifesto in 1981, “women have a different perspective of their environment from the men who created it. Because there is no ‘women’s tradition’ in building design, we want to explore the new possibilities that the recent change in women’s lives and expectations have opened up.”

A case in point is the Essex Women’s Refuge. The complex, designed by a male architect, had got basic things wrong, from the shared kitchen, which was far too small, to the location of the children’s play areas, which were completely separate from the main communal areas, with no visual or aural connection for passive supervision. Matrix worked on the centre in 1992. Using what became a regular tactic, they presented the women with big cardboard models of different spaces, which they could rearrange to test out different configurations, along with using ribbon marked like a ruler to measure their existing spaces, which were added to the plans as a comparison.

“These were all simple techniques,” says Jos Boys, a founder member of Matrix, “But they made the women feel part of creating the project. A key part of everything we did was to make the language and practice of architecture more transparent and accessible to non-experts.”

Boys describes what now sounds like an unimaginable heyday of community action, participatory planning, squatting, workers’ co-operatives and technical aid centres, with public money readily available. Much of what Matrix worked on was funded by the Greater London Council under Ken Livingstone, before it was abolished in 1986 by the then prime minister, Margaret Thatcher. Their projects included the groundbreaking Jagonari women’s educational resource centre in Whitechapel, east London. Working for – and with – a group of South Asian women, Matrix ran workshops with demountable models, asked the women to bring pictures of buildings from their home countries that they liked, and took them on a “brick picnic” walk to discuss what building materials and colours they preferred.

The result, completed in 1987 and now home to a childcare centre, incorporated a variety of Asian influences, deliberately not linked to any Hindu or Islamic imagery. It included decorative metal latticework over the windows, to provide both visual interest and security, mosaic patterns around the doors, squat toilets and sit-down sinks for washing large saucepans from communal meals. Every part of the building was fully wheelchair accessible too, a rarity in those days.

“They understood exactly what our requirements were without being patronising or judgmental,” wrote their client, Solma Ahmed, in a glowing tribute written three decades later, in support of an unsuccessful bid for Matrix to be retrospectively awarded the RIBA gold medal. “We said what we needed in that building: safety, security, childcare, sensitive to women’s cultural and religious needs while breaking some myths about Muslim women in particular. They were [the] perfect fit.”

When people have encountered Matrix in the past, they have sometimes asked what exactly feminist design looks like. How would a city designed and built by women be different? But, in Boys’ mind, that misses the point. They weren’t promoting a feminist aesthetic, but a way of looking, listening and designing that takes account of people’s very different needs and desires, one that embodies “the richness of our multiple ways of being in the world”. It’s about who gets to build it, too: a large part of Matrix’s work was devoted to publications, manuals and events, explaining routes into the building trades and running training courses.

As Matrix write: “Consciously or otherwise, designers work in accordance with a set of ideas about how society operates, who or what is valued, who does what and who goes where.” The question is who gets included, whose values we prioritise, and what kind of world we want to create.

[nellywrisource]

A writer’s guide to art and civil construction: worldbuilding insights – #1 Early Christian art (Part I)

In this guide, which delves into the history of art and civil construction, my aim is to explore the cultural and anthropological factors that influenced the emergence of particular art forms within their respective historical contexts. The goal is to inspire and offer practical insights for those engaged in worldbuilding, especially in crafting art and urban environments that resonate with their chosen settings. Throughout the guide, I will analyze various historical periods from a cultural and historical perspective, providing inspiration rather than prescriptive worldbuilding advice. It's worth noting that the focus will primarily be on the Mediterranean and Europe (I'm Italian ✨ so my academic studies focus on Italy and its surroundings), spanning from the end of the ancient age to the contemporary age.

The emergence of stylistic elements in early Christian art is fascinating because it inspires envisioning the characteristics of religious buildings in a situation where two coexisting religions, one significantly older, shape the cultural landscape.

Diachronic excursus

Let's briefly summarize the historical context surrounding early Christian art to better understand the culture and motivations behind the stylistic choices in urban and rural settings, as well as the care or neglect of these environments. 

Two key points to focus on for understanding this historical reality through our chosen lens are:

Spread of Christianity

Germanic invasions (which we'll discuss in the next post)

The spread — not birth — of Christianity occurred gradually, beginning around the time of the Edict of Milan in 313 AD, issued by Constantine, which declared Christianity a religio licita, meaning that it granted freedom of worship. It was further established as the “state religion” with the Edict of Thessalonica by Theodosius I in 380, mandating worship.

While Constantine had political motives for issuing this edict (yes, the legend about Constantine’s vision is just that), our focus lies on the socio-cultural context in which an emperor favored a religion amidst a predominantly pagan Roman aristocracy.

Origins of early Christian art

In its early stages, before Christianity became the state religion, Constantine, who oversaw the construction of the first Christian places of worship, took into account the pagan sensitivities of the aristocracy. As a result, these early buildings exhibited the following characteristics:

Located outside the city center, where pagan temples were typically found (often situated beyond the city walls, as was the case in Rome);

Featuring a simple exterior, often constructed with common brick (laterizio) and lacking elaborate decorations;

Boasting monumental dimensions to accommodate the public liturgy of Christianity, inspired by the Last Supper, as well as reflecting Roman appreciation for grandeur.

The decision to depart from classical norms stylistically served both to avoid offending the aristocracy and to visually distinguish Christian structures symbolically from classical temples.

Types of buildings

Basilica

The basilica, which predates Christianity, emerged in Italy following the Second Punic War in the first half of the 3rd century BC. Originally serving administrative functions, it featured a rectangular layout with three naves (side corridors) and two apses (semicircular protrusions) on either side, with the entrance situated along the longer side.

The architectural design of basilicas was chosen for its spacious layout, although modifications were made to suit the needs of Christian worship. Unlike their original purpose, which varied, Christian basilicas typically adopted a longitudinal plan with three or five naves. They featured an entrance on one of the shorter sides, leading to a single apse opposite the entrance.

This adaptation involved repurposing buildings originally intended for other functions, driven primarily by practical considerations. An important detail regarding the structural elements is seen in the narthex and the quadriportico.

Narthex: a sort of rectangular entrance area.

Quadriportico: a large external four-sided portico attached to the entrance wall.

Both spaces were used to accommodate catechumens (the unbaptized) and penitents¹. Initially, the quadriportico fulfilled this role, but it was gradually replaced by the narthex between the 6th and 8th centuries.

This transition was prompted by changes in baptismal practices. As the custom of adult baptism declined, it became apparent that many individuals were already baptized, rendering the extensive space for catechumens unnecessary. Consequently, the need for a large quadriportico diminished.

The narthex, too, began to decline in importance from the 7th century onward, reflecting a decrease in the number of unbaptized individuals attending services.

Another fascinating aspect illustrating the synthesis of paganism, Roman art, and Christianity is evident in the architectural feature known as the triumphal arch. Typically semicircular, the arch serves as a division between the central nave and either the presbyterial area.

The architectural concept of the basilica’s arch finds its origins in the Roman triumphal arch, a grand structure with one or more openings (fornix) traditionally erected to commemorate military victories. In Christianity, this symbol was reimagined to signify Jesus' triumph over evil and death. Moreover, the arch served a dual purpose as both a symbolic gateway between the space reserved for worshipers and that designated for the clergy (the presbyterial zone).

Now, I won't dive into discussing every single architectural detail of basilicas or the liturgical furnishings (although, if anyone desires, they can ask, and I'll gladly provide a glossary). Instead, let's briefly look at the different floor plans a basilica can have:

Latin cross: this design is longitudinal, with a shorter horizontal section intersected by a transept, either about ¾ along its length (immissa) or closer to the apse (commissa or tau).

Greek cross: here the transept intersects at the center, with arms of equal length to the nave. This layout was more prevalent in the Eastern tradition.

Circiform: this is a distinctive basilica design used for cemeteries, as well as for hosting specific masses like funeral banquets and an annual mass in honor of the titular saint's martyrdom. It lacks a transept and features a ring corridor intended for burials.

Baptistery

The baptistery was a centrally planned building², often octagonal, specifically designed for conducting baptisms, with the baptismal font positioned at its center. 

Was traditionally distinct from the main body of the church, it was commonly situated adjacent to or in front of the main facade, especially until the Gothic period, notably in Italy.

The octagonal design held symbolic significance; eight represented an eschatological number, closely linked with the Resurrection of Christ, who rose eight days after his entry into Jerusalem. Thus, the octagon came to symbolize the concept of eternal life conferred upon the faithful through baptism.

This architectural feature reflects influence from Roman traditions, drawing inspiration from thermal buildings, particularly the frigidarium, which the Romans referred to as a baptisterium (derived from the Greek, meaning “place where one receives enlightenment”). Hence, the origin of the term can be traced back to this context.

Martyrium

Another centrally planned building (circular or polygonal) prevalent in the 4th century, the martyrium (from the Greek “witness”) was erected on the site of a martyrdom or over the tomb of a martyr.

Over time, they also began to serve as repositories for the remains of martyrs, often located at the center of the building. The martyrium's origins lie in the cult of martyrs, which itself evolved from the more common pagan reverence for the dead. Its architectural design was influenced by classical mausoleums, grand tombs traditionally used to house the remains of significant individuals.

Images, iconography, and iconology

The influence of architecture extends to imagery as well; Christianity originally spread through pagan iconography and symbolism. Art served as a means of proselytism. Why? Because classical art had long been used to convey the divine, and Christianity also drew inspiration from Roman culture in this aspect. 

Even the artistic techniques bore similarities to those of the pagans:

Sculpture, as evidenced by sarcophagi.

Mosaics, widely employed for adorning basilicas (which in Roman art were mainly used for floors but eventually shifted to the apse — see subsection on the hierarchy of light).

It can be argued that from this classical influence emerged the conceptual link between wealth, splendor, and divine grandeur; gold symbolized divine light (indeed, numerous mosaics featured golden backgrounds) — a motif that would resonate throughout the Middle Ages — reminiscent of the portrayal of the deified emperor in the declining centuries of the Roman Empire. Pagan iconographies were thus reinterpreted, with scenes of apotheosis transformed into representations of the Ascension, pastoral imagery adapted to depict the Good Shepherd, and even the apostles portrayed akin to philosophers.

A clearer Christianization and a distancing from pagan iconography will be seen as we move forward in time, in the upcoming posts. If you're interested in a post focused on the various iconographies and their resemantization, lemme know!

Acheropite images

An intriguing outcome of the fusion between ancient cultural practices and evolving concepts of imagery is the phenomenon of “acheropite images”.

It's essential to understand that early Christians adhered closely to Jewish traditions, which forbade the creation of divine images to prevent the risk of idolatry. Moreover, due to the threat of persecution, early Christians concealed references to their faith in the catacombs through subtle allusions understood only by fellow believers, akin to a form of coded language.

The incorporation of images into Christianity, particularly in the Western world, occurred gradually, as apprehension about inadvertently creating idols spawned legends surrounding acheropite images - icons purportedly “not made by human hands”, but possessing a “miraculous” origin. These images were believed to be not products of human craftsmanship, but rather “revealed” through divine intervention, thereby attaining status as revered relics (e.g., the Shroud of Turin, the Madonna of Guadalupe, etc).

The hierarchy of light

Why do mosaics transition from the floors to the apse and, more broadly, to the walls?

We first notice this transition at the onset of the 5th century, exemplified by the apse mosaic of the Basilica of Santa Pudenziana in Rome. The driving force behind this change is light, or more precisely, the hierarchy of light. This hierarchy derives from the earlier discussed concept: the translation of divine light into the symbolism of gold and actual illumination within a basilica.

Light holds great significance in this context. It is strategically channeled through windows, particularly illuminating the apse (the sanctuary area closest to God, traditionally restricted to the clergy) and the central nave, with the side naves receiving less light. Mosaics, meticulously crafted with tesserae to reflect and enhance light, are placed in the apse to intensify this effect, emphasizing the hierarchical importance of light in this central space.

¹Penitents: in the ancient and medieval Christianity, penitents were faithful individuals who, after committing serious sins post-baptism, sought forgiveness from God. They publicly assumed a specific status within the community. ²Central plan: buildings where all parts are organized around a center are termed as having a central plan. This plan can take the form of a square, a circle, an octagon, or other regular polygons, such as a Greek cross. The centrality of space is usually emphasized by a dome.

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[idkitsjustmeandmyself]

Pop Quiz for you!!

- What is the name for the period of time from 300-30 BC, famously known for its blend of Greek, Egyptian, Persian, and Indian cultural influences, especially in its art and architecture?

- What temperatures mark the range for the "temperature danger zone" for temperature sensitive (TCS) foods?

- What is the name of the protagonist of George Orwells book "1984"?

- Name one of the three types of bones found in the human hand

- What is the scientific name of the US national mammal?

lmao hey bestie

i’m trying to answer these off the top of my head and i think i can the first question but ngl i have no idea what the other answers are lmao.

around the start of 300 BC began the orientalizing period where the greeks were getting out of their geometric shapes and started incorporating figures back into their art and they took a lot of inspo from egypt, persia, and other east asian countries which shifted them into their archaic period. not sure if that’s what you were looking for but that’s what i’ve got lol

i have no idea what the temperature danger zone is and i’ve never read 1984 sadly. i knew the hand bones at one point and there was a fun mnemonic for all the carpel bones in the wrist but i don’t remember those. the only thing on my brain right now is “floating phalanges!” so ¯\_(ツ)_/¯ and i think the national mammal is a bison? but im not sure, if it is then the scientific name is just bison bison but idk if that’s the right animal sorry

[kid-az]

All Tomorrows: Vanga-Vangog’s Clicker Hc’s

Specifically, I’m talking about these guys.

They’re a fanmade All Tomorrow’s species made by Vanga-Vangog, and are essentially the descendants of the Blind Folk. They are described as an agoraphobic species who live in dense cities completely without light, as such a thing isn’t useful when you don’t have any eyes.

Anyways I found them to be a very interesting and adorable people, simple in concept but very interesting in execution, so I’m going to make up some headcanons about them.

-Due to their agoraphobic nature and how important crops are for civilization, Farmer’s are heavily respected and idolized in many of their cultures, as they are brave enough to venture into the open plains with little fear of the endless void above them or whatever predators are outside. Often these farmers wear iconic, low brimmed tin hats designed specifically to better focus their echolocation.

-Focusing on farming more, the clickers generally grow various fungi and yam-like staple foods as their primary, non-meat based food sources, as well as some tree fruits and a wheat-like plant. Unlike humans, their animal husbandry involves the domestication of large, herbivorous crabs, cockroaches descended from the Hissing cockroaches, various species of herbivorous salamander descendants for slime and eggs, and a few species of non-sapient posthumans.

-There dog and cat equivalent is a terrestrial species descended from Olm’s, who had entirely lost their eyes like them but more than make up for it through a powerful strong sense of smell, taste, and electro sensitivity. They of course have various different breeds, from larger, longer-legged breeds used by farmers to herd posthumans and salamanders, to smaller breeds who hunt pests inside the cities, to even more aquatic breeds who help with fishing.

-Due to their dense cities, preference to tight spaces, lack of lights and the need to keep settlements more quiet to not overwhelm people and make them deaf, their ecological impact on their world was much lesser than that of modern humans and many other posthuman species, and most of their megafauna and and ancient forests still existed when they first contacted their posthuman brethren.

-Continuing on ecological impact, their world was one terraformed by the Star People before getting Qu’d, so there was very little existing fossil fuels in their world. Instead, their civilizations were powered via nuclear fission and later, fusion. They utilized this energy for power far before they invented their first nuclear weapons.

-They never invented tv screens, instead relying entirely on advanced radios broadcasting talk shows, news, and music. And yes, these radios had separate channels, which were indicated by symbols which functioned similarly to braille. Videogames were only a very recent concept introduced by other species. (Idk how videogames would work for an entirely eyeless species?)

-Other forms of entertainment involved strolling around enclose cave and night parks, appreciating forms of artwork such as sculptures, hollow casts and bas-reliefs, and of course concerts and operas. Also stuff like swimming, children games such as hide and seek + tag, and sports.

-Their cultures were in general more accepting of physically disabled people, (Aka folks with paralyzed/nonexistent limbs and the deaf.) and a lot of their architecture involves heavy use of ramps, elevators, and escalators, with very few stairs in…… “sight.”

-Clicker’s have head hair, but it’s almost never in front as it’d heavily disrupt their echolocation. They are unfortunately beardless, but compensate with their whiskers. Some folks even grow their whiskers to be 1 feet from each end!

-They would not be happy about being compared to a walking fungus zombie. /s

[high-fantasy-sw]

Mandalorians!

Their culture is an integral part to the clones, especially the older generation clones like Cody and Rex, I'd like to know more about how they fit into this universe and how they contribute to it.

Everything from their songs (which they ahve a lot of) to their weapons (again, they have quite a bit of this). How does beskar fit into all this? What of the Kryze sisters and Korkie? And Death Watch? Jango and Boba Fett? The Cuy'val Dar and how they trained the troopers?

Oh! And what about our beloved Kamas?

Just...splurge about the Mandos to me

:DDDDDD YESSS SO MANY QUESTIONS LET ME ANSWER THEM ALL

Okay! So. Part one. Mandos. Let's go. I'm gonna zero in on a few specific things about Mandalorian culture here, because across the AU I tend not to change a lot of established, canon lore in terms of detraction. I (usually) operate on a policy of "keep everything that's canon, adapt certain things to fit a fantasy aesthetic rather than a science fiction one, and add whatever I think is cool". For an example of what I mean by this, I'd advise you to go check out my post about Togrutas in the AU.

With this being said, that means that the established Mandalorian culture is pretty much the same as in canon. Therefore, I am choosing to highlight the additions I have made and several adaptations to existing cultural items and practices.

One more thing to keep in mind: as made abundantly clear by this point, in HFSW the Mandalorians are based upon Ancient Rome. I cannot promise complete historical accuracy, in fact I will go so far as to not promise any historical accuracy, but as a Latin student, history buff, and the co-consul of my school's Latin Club, it was too perfect an opportunity for me to resist.

Art Forms: Other than their beskar, the Mandalorians are famed for one other art form: their gorgeous stained glass. (This was actually one of the very first things I knew I wanted to add to the AU.) Ever since the island was cursed so many years ago in the Jedi-Mandalorian Crusades and turned mostly to a barren wasteland of sand, the people of Mandalore and its surrounding island territories put their hallmark resilience to the front again: they melted it down and made something of it. Combine that with traditional Mandalorian Color Symbolism, and the glass became almost as important as the beskar'gam itself. By the time of the Clone Wars, it can be found in use for practical purposes (glassware such as cups and vases, as well as the domes of Mandalore Proper's famed domed cities), art (windows and even blown-glass sculptures), and jewelry (some of the more crafty have even found ways to work it into their armor), to name a few examples. In addition, and especially under Satine's rule, other forms of the arts flourish on Mandalore Proper and its island territories, such as frescoes, mosaics, architecture, and theatre.

Gear and Weaponry, specifically Jet Packs: The beskar'gam is still the most important aspect of Mandalorian culture, although- unfortunately- I haven't actually had the time to design what it would look like for the AU yet. (I'm working on it.) It's still made of beskar, beskar is still only found on Mandalorian islands, armorers are still the ones in charge of its creation and maintenance, et cetera. Mandalorians fight with almost all weaponry found under the sun, although the vast majority of them favor spears and javelins, or knives (mostly daggers, although throwing knives are not unheard of). The Darksaber has a serrated blade, and due to its being forged of beskar, when ignited by a force-sensitive it crackles with lightning rather than fire. Jet packs (haven't thought of an appropriately fantasy name for them yet) are a creation of the Mandalorians, and are- essentially- fully-jointed, mechanical wings mounted on a harness. It's very cool. I shall have art of it for you soon, when I actually get around to designing beskar'gam. (As for your question about kamas: I'm gonna answer that when I get around to the more Clone-centric asks. I didn't forget, I'm just saving it for later)

Songs: Mandalorian songs are of wide and varied style and genre, from ballads to elegies to rousing tavern-songs, and every kind in-between. They are written in Basic, Mando'a, or Old Mando'a (though these are usually more traditional, ancient songs; with very few exceptions, more modern songs are not composed in Old Mando'a). I will talk more about songs, though, when I get to your more Clone-centric questions, because song is a hugely important part of Clone Culture in this AU and I want to do most of the heavy lifting there.

AAASDFGHJKL YOUR QUESTIONS ARE SO GOOD AND I AM SO LOOKING FORWARD TO ANSWERING ALL OF THEM!!! Also I got the message in your last ask; PLEASE don't be afraid to shoot me as many as you want, I will answer literally any question you throw at me because I am so starved for people to talk to me about this AU. AUGH MAY YOU'RE THE BEST :D

This concludes part one!! (it's almost 1 AM in my time zone right now so i'm gonna clock out and get some sleep BUT I WILL BE ANSWERING THE REST OF YOUR QUESTIONS TOMORROW)

[thebearme]

If you're open to suggestions... Get rid of the ginger hair & neon green eyes and make them both dark brown, make her skin browner and look at this thread on traditional Egyptian clothing (https://x.com/cryindivaa/status/ 1663037298823372800?s=61) and this thread on traditional Egyptian jewellery (https://x.com/cryindivaa/ status/1777434240252080604?s=61) instead of trying to do the cliched (and low-key orientalist) ancient Egyptian thing.

And for her castle, if you're doing Daisy's Castle'™, I say research architecture from each of the irl countries that are the inspiration for the kingdoms of Sarasaland (China, Bermuda, Egypt & Rapa Nui) and maybe attempt a fusion or combine them in some other way you see fit while also being sensitive to those cultures.

I would also recommend checking out https://www.mariowiki.com/Sarasaland to see what is already established about the kingdoms prior to Mario Kart World.

Thank you for the criticism and the links but the links doesn't work for me. (either because the op deleted it or cuz i don't have a twitter :p) Either way, I'll make her darker and try to do more research on different jewelry I can take ref from.

And for the castle- I struggle on NOT because of the researching (researching is the fun part of learning about culture) It's the actual DRAWING and DESIGNING part that I hate. Why else do you never see me draw backgrounds that isn't a simple street or green plains??? CUZ IT EXHAUSTING DOING ANYTHING ELSE D:

Buildings are cool don't get me wrong, but they are like cars to me. The order for perfect lines and a FULL understanding of the 3d space, and because I'm just looking a pictures; it will NEVER be how it's truly supposed to be.

So this is a warning that the castle is probly gonna look like shit.

also funny enough, I think Nintendo had the idea for the architecture before mario kart world.

but imma just pretend that these playhouses don't exist

[lahore2toronto]

ADHD and Human Evolution: Hidden Strengths That Shaped Civilization

By

Qaisar Iqbal Janjua

In modern times, ADHD (Attention Deficit Hyperactivity Disorder) is often seen as a challenge in structured environments like schools or workplaces. However, the traits associated with ADHD—curiosity, creativity, impulsivity, hyperfocus, and heightened sensitivity—are far from flaws. Historically, these characteristics likely played a critical role in human evolution and the development of civilizations, allowing individuals with ADHD traits to thrive in roles that shaped societies.

This article explores how ADHD traits contributed to human survival, innovation, craftsmanship, and community-building across different eras and civilizations.

1. Hunter-Gatherer Societies: The Guardians and Explorers

In early human societies, survival depended on adaptability, quick thinking, and the ability to detect subtle environmental changes. ADHD traits like hyper-awareness, impulsivity, and curiosity were valuable in several ways:

• Hunters and Scouts: ADHD individuals’ heightened sensitivity to sounds and movement made them effective hunters and scouts. Their ability to detect subtle environmental changes helped protect their communities from predators and locate prey.

• Risk-Taking for Exploration: Curiosity and a tendency to take risks drove individuals with ADHD to explore unknown territories, forage for new food sources, and experiment with innovative tools. These traits likely contributed to the expansion and diversification of early human groups.

• Night Sentinels: Many ADHD individuals naturally thrive during nighttime due to their unique circadian rhythms and heightened vigilance. In ancient communities, they may have served as night sentinels, protecting their groups from nocturnal threats.

Historical Insight: Anthropologists like Thom Hartmann have proposed that ADHD traits were critical in hunter-gatherer societies. His “Hunter vs. Farmer Hypothesis” suggests that ADHD individuals thrived as hunters with quick reflexes and heightened alertness, whereas more structured, focused traits were better suited for farming communities.

2. Artisans and Craftspeople: Masters of Repetition and Detail

While ADHD is often associated with difficulty sustaining attention, many individuals can hyperfocus on tasks that are engaging and rewarding. This likely made ADHD individuals invaluable in tasks requiring intricate work and creativity:

• Weaving and Dressmaking: The repetitive but creative nature of weaving and embroidery provided an ideal balance for ADHD traits. The dopamine reward from creating beautiful designs likely helped them maintain focus.

• Pottery and Jewelry-Making: Attention to detail, pattern recognition, and bursts of creativity allowed ADHD individuals to create intricate designs in pottery and jewelry, essential in both everyday life and ceremonial practices.

• Architectural Innovation: ADHD individuals’ ability to think divergently may have contributed to unique architectural styles and techniques, pushing boundaries in construction and design.

Historical Insight: The repetitive and intricate designs of ancient textiles and pottery—such as Mayan patterns, Greek mosaics, and Indian embroidery—showcase the importance of individuals with a knack for detail-oriented creativity.

3. Storytellers and Cultural Memory Keepers

ADHD individuals are often naturally energetic, engaging, and creative, making them ideal storytellers and cultural memory keepers in societies that relied on oral traditions:

• Dynamic Storytelling: ADHD individuals’ ability to create vivid, engaging narratives made them natural storytellers, passing down important knowledge, myths, and histories.

• Creative Thinking: Their ability to think “outside the box” may have led to the development of new myths, spiritual beliefs, or cultural practices that enriched community life.

Historical Insight: In societies before written language, oral tradition was the backbone of knowledge transfer. The creativity and energy of ADHD individuals would have been invaluable in ensuring stories were memorable and impactful.

4. Problem-Solvers in Crisis

ADHD brains excel at divergent thinking—approaching problems from unconventional angles and finding creative solutions. These traits likely made ADHD individuals indispensable during crises:

• Nonlinear Thinking: In unpredictable situations, such as natural disasters or attacks, ADHD individuals’ ability to think quickly and adapt helped communities survive.

• Innovative Solutions: Whether devising new hunting strategies, creating defensive tools, or finding alternative food sources, ADHD traits pushed societies toward innovation.

5. Leaders and Connectors: Energizing Communities

While impulsivity and distractibility are often seen as drawbacks in structured roles, these traits can shine in dynamic, fast-paced environments where adaptability and charisma are key:

• Natural Leaders: Many ADHD individuals are highly energetic and passionate, traits that can inspire and motivate others. These qualities may have made them effective leaders in smaller, close-knit communities.

• Community Builders: Their high energy and sociability likely helped them form strong connections, uniting people and fostering cooperation.

6. Explorers and Pioneers of New Frontiers

ADHD individuals’ natural curiosity and drive for novelty made them perfect candidates for exploring and settling new territories:

• Trailblazers: ADHD individuals may have been among the first to migrate, discover new lands, or navigate unfamiliar terrain, helping their communities expand and thrive.

• Experimenters: Their willingness to take risks likely led to discoveries in agriculture, medicine, and technology.

7. The Shift in Perception: From Strength to Disorder

ADHD traits, which were once essential for survival and progress, began to be seen as problematic with the rise of industrialization:

• Rigid Systems: The agricultural revolution introduced repetitive, structured labor, which didn’t align with the spontaneous and creative traits of ADHD individuals.

• Industrialization: The 9-to-5 workday further reinforced rigid expectations, sidelining those who thrived in dynamic, less structured environments.

Modern Insight: Researchers like Edward Hallowell have argued that ADHD traits are only seen as a disorder in environments that fail to accommodate diverse ways of thinking and working.

Conclusion: A Legacy of Contribution

ADHD traits are far more than a modern “disorder”—they are deeply rooted in human evolution and have historically been vital to our survival, creativity, and progress. From hunters and sentinels to artisans and storytellers, individuals with ADHD shaped civilizations in ways that are still felt today.

As we move toward a more inclusive understanding of neurodiversity, it’s important to recognize these contributions and create environments that allow individuals with ADHD to thrive—not just for their benefit, but for the continued growth and innovation of society as a whole.

[slurpem]

I just need to move far away. like I've lived all my life in a place that's technically a desert climate but not necessarily seen as such. and maybe I'm crazy and schizo but I feel like it dries the soul out cuz I always feel I have to fight to keep my sensitivities in tact and most of the ppl around me seem kinda lacking. like everyone sorta lives for themselves and their worldly goals. and ik like symbolically/mythologically deserts can be a spiritual place where u confront the wilderness and emptiness and deep/hidden parts of urself. but where I live ppl want to pretend it's not dry af and like none of the culture or architecture acknowledges this aspect. so I feel like the dryness takes hold of ppls minds unconsciously and makes them scarce. and all the spirits of this place have been long forgotten. and the local "culture" wants to be all foresty/outdoorsy but just ends up a failed fake version of cooler places. so imo there haven't been many great artists at all from here despite a growing population and long enough history.

but anyways rlly I'm just done w the dark night of the soul shit I want abundance or at least some rainy solitude idk forgive me for another schizo rant