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Spockvarietyhour

@spockvarietyhour / spockvarietyhour.tumblr.com

Danny, He/Him. former 80s-90s kid. Lots of Scifi and way too much media, too many gifs. It's Not a Stargate Rewatch Rewatch (SGU S2), V The Series (1984) Various other media. ko-fi.com/spockvarietyhour
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hey y'all! I'm excited about this one!

in 2021 I made this right here!! recently, I bought the same poster again. I really wanted to do something similar but with a fresh take now that my style has evolved and I've gained some new skills. I was going for a transporter accident feel this time!!

it's on a 16x20 inch cradled wood panel. the poster is a fold-out from a vintage st: tng magazine, the illustration of data is from an old star trek roleplaying book I found, and the transporter room label is from a star trek sticker book! my other materials were water-based satin finish varnish, acrylic paints, acrylic medium as an adhesive, gel pens, scrapbook paper, and a poster from a vintage TNG magazine. my tools used were a rubber brayer, some brushes, and a squeegee!

this collage is $300 + shipping and you can contact me through tumblr messenger or I have an email in my pinned post. you can also check out my pinned post for more info about me, commissions, what else I have to buy, and where to find me!

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It’s an open secret in fashion. Unsold inventory goes to the incinerator; excess handbags are slashed so they can’t be resold; perfectly usable products are sent to the landfill to avoid discounts and flash sales. The European Union wants to put an end to these unsustainable practices. On Monday, [December 4, 2023], it banned the destruction of unsold textiles and footwear.

“It is time to end the model of ‘take, make, dispose’ that is so harmful to our planet, our health and our economy,” MEP Alessandra Moretti said in a statement. “Banning the destruction of unsold textiles and footwear will contribute to a shift in the way fast fashion manufacturers produce their goods.”

This comes as part of a broader push to tighten sustainable fashion legislation, with new policies around ecodesign, greenwashing and textile waste phasing in over the next few years. The ban on destroying unsold goods will be among the longer lead times: large businesses have two years to comply, and SMEs have been granted up to six years. It’s not yet clear on whether the ban applies to companies headquartered in the EU, or any that operate there, as well as how this ban might impact regions outside of Europe.

For many, this is a welcome decision that indirectly tackles the controversial topics of overproduction and degrowth. Policymakers may not be directly telling brands to produce less, or placing limits on how many units they can make each year, but they are penalising those overproducing, which is a step in the right direction, says Eco-Age sustainability consultant Philippa Grogan. “This has been a dirty secret of the fashion industry for so long. The ban won’t end overproduction on its own, but hopefully it will compel brands to be better organised, more responsible and less greedy.”

Clarifications to come

There are some kinks to iron out, says Scott Lipinski, CEO of Fashion Council Germany and the European Fashion Alliance (EFA). The EFA is calling on the EU to clarify what it means by both “unsold goods” and “destruction”. Unsold goods, to the EFA, mean they are fit for consumption or sale (excluding counterfeits, samples or prototypes)...

The question of what happens to these unsold goods if they are not destroyed is yet to be answered. “Will they be shipped around the world? Will they be reused as deadstock or shredded and downcycled? Will outlet stores have an abundance of stock to sell?” asks Grogan.

Large companies will also have to disclose how many unsold consumer products they discard each year and why, a rule the EU is hoping will curb overproduction and destruction...

Could this shift supply chains?

For Dio Kurazawa, founder of sustainable fashion consultancy The Bear Scouts, this is an opportunity for brands to increase supply chain agility and wean themselves off the wholesale model so many rely on. “This is the time to get behind innovations like pre-order and on-demand manufacturing,” he says. “It’s a chance for brands to play with AI to understand the future of forecasting. Technology can help brands be more intentional with what they make, so they have less unsold goods in the first place.”

Grogan is equally optimistic about what this could mean for sustainable fashion in general. “It’s great to see that this is more ambitious than the EU’s original proposal and that it specifically calls out textiles. It demonstrates a willingness from policymakers to create a more robust system,” she says. “Banning the destruction of unsold goods might make brands rethink their production models and possibly better forecast their collections.”

One of the outstanding questions is over enforcement. Time and again, brands have used the lack of supply chain transparency in fashion as an excuse for bad behaviour. Part of the challenge with the EU’s new ban will be proving that brands are destroying unsold goods, not to mention how they’re doing it and to what extent, says Kurazawa. “Someone obviously knows what is happening and where, but will the EU?”"

-via British Vogue, December 7, 2023

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vandrawsing

i don't have my tablet so i'm piecing together the pieces of my fitzier sierra madre au which will make sense to *checks note* three ? three people but listen. james is the singer (in a gorgeous wig) the barrows are pouring all their money into their vanity project of a casino (james got the gig of a lifetime through the younger barrow) francis is the exasperated general contractor who's trying to get everything ready by the date of the grand gala opening despite all the nonsense (why the hell does a casino need military-grade steel plating in all the walls?)

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witchinghour

The Mirror-Faced Grim Reaper in Meshes of the Afternoon (1943), dir. Maya Deren, Alexander Hammid

“This film is endowed with an acute sense of restlessness and alienation; reflecting this uncanny estrangement in the doubling, tripling and quadrupling of its central character, and in its cyclic narrative, a structure that seems condemned to repetition. Why is the hooded Death figure constructed as a kind of mirror? Are we dealing with Nietzsche’s notion of ‘eternal return’? (…) You could go on forever about the meaning buried in this particular work. It invites and eludes analysis.” – CINEMA AND DREAM-LOGIC IN MESHES OF THE AFTERNOON

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“𝓞𝓯 𝓪𝓵𝓵 𝓽𝓱𝓮 𝓯𝓵𝓸𝔀𝓮𝓻𝓼 𝔂𝓸𝓾 𝓹𝓲𝓬𝓴𝓮𝓭

𝓘 𝓴𝓷𝓮𝔀 𝔂𝓸𝓾 𝔀𝓸𝓾𝓵𝓭 𝓯𝓸𝓻𝓰𝓮𝓽

𝓕𝓸𝓻𝓰𝓮𝓽-𝓶𝓮-𝓷𝓸𝓽𝓼”

An Izzy portrait I did to celebrate Con O’Neill’s birthday (which was on..August 15th. Yeah.) or at least, I had seriously planned to finish it in time for that event— ahah silly me :^)

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trekkele

A list of theories as to why Martha Wayne’s Pearls scattered Like That, despite the fact that real pearls are knotted individually on the strand to prevent Precisely That Sort Of Thing from happening [incomplete]:

One: Martha chose not to wear her real pearls to the theatre that night, as it was a night where there was no one to impress. The string snapped because the pearls were not real, and Martha died for a $100 set you could pick up at Macy’s.

Two: The Pearls, upon understanding this was a symbolic moment in at least one Wayne’s future [and two Wayne’s end], chose to disregard their quality for the sake of a Dramatic Tableau.

Three: no more then three pearls ever snapped off the strand, but to a boy watching his mother choke on her own blood, gasping his name into the suddenly silent night, three pearls was enough.

Four: an opportunistic officer slipped the pearls off Marthas neck as she was loaded into the morgue van, figuring Bruce would not have the wherewithal to miss them. The pearls were subsequently reported as lost, having probably rolled down the drain in the following chaos. Only three were ever recovered, having become stuck in the puddle of blood that was under Martha Wayne’s head.

Five: the pearls, a set Thomas Wayne picked up as an engagement gift and a promise when Wayne industries was collapsing and his fortune nonexistent, were fake, and Martha adored them far more then any of the expensive jewels he was eventually able to afford. She made a habit of wearing them on family outings. Martha died for the sentimental value of a $100 set you could pick up at Macy’s.

Six: the pearls where not real. Martha was wearing diamonds that night. Bone, when exposed to moonlight and the horrified tears of an eight year old, shines like pearls. 

OP how could you

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iconuk01

Seven: Yes they're cheap paste, with no knotting in the thread, but they were a surprise present to Martha from Bruce (that he earned the allowance to pay for by helping out Alfred around the house and was his first "real job") and he was very proud that she chose to wear them on their "fancy night out" (Because what mother worthy of the name wouldn't smilingly wear the present from their son on their night out over the real pearls she has?).

And if you think that Bruce hasn't been consumed by guilt from the moment the mugger demanded she "hand over the pearls" then you haven't been paying attention.

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toddhewitt

i’ve seen mentions of silver’s s4 necklace having three charms on it in opposition to his s3 necklace having one charm, but more than that madi’s necklace in her last scene is making me crazy

it depicts three figures, with the middle one missing a body - there but not there. three people, two of them seperated by the space left in the third person’s absence. as a result of silver securing flint alive but locked away, there will always be this space between them, where something will always be missing.

in addition, this is not quite the same but still: we saw this necklace first in xxxv, after madi’s death, in the maroon queen’s hands. this episode specifically deals with billy initiating the plan to use madi’s absence, alive but locked away, to drive silver and flint apart.

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