I Want To Step Away From The Art-vs-artist Side Of The Gaiman Issue For A Bit, And Talk About, Well,

jaggedwolf said: can’t say this and not link/say which one it is

the original “turing test” paper is so beautiful.  more beautiful, i imagine, than most expect going in—he’s got this underlying warm humanism and gentle humor throughout.  (it’s present even in his more technical papers, but it shines here)

and the section that slays me each time is this:

“It will not be possible to apply exactly the same teaching process to the machine as to a normal child. It will not, for instance, be provided with legs, so that it could not be asked to go out and fill the coal scuttle. Possibly it might not have eyes. But however well these deficiencies might be overcome by clever engineering, one could not send the creature to school without the other children making excessive fun of it […]”

like.  this is the original “turing test” paper.  this is the first dude to formally conceptualize the whole “~*~what if computers learn to think, how could we tell~*~” thing.  which, in subsequent SF invocations, is used mostly in spooky or paranoid contexts: the Voigt-Kampff test of Blade Runner, the preemptive rushes to constrain that budding will in I, Robot and others, and in modern worries over AGI.  and i like those stories!  they’re interesting and cool and eerie!

but

but

the original guy was not scared or unsettled or spooked by the prospect of new minds.  this dude’s primary concern, when facing the dawn of artificial intelligence, was instead: “what if we teach computers to think and then the other kids on the playground bully the computer, that would be so mean :(((”

i love that, so much.  i love people so much, sighs into hands

Live theater in the His Dark Materials universe must be wild. Surely an actor's daemon also has lines to recite, so their daemon's form probably also factors into casting decisions. Maybe some plays have vague character descriptions for daemons, but I bet other plays have really specific or central daemon characters. And sure, big-budget theaters can afford to hire a separate actor with a particular daemon to stand backstage while their daemon plays its part onstage, but community theaters don't have those kinds of resources.

Like if you're casting for Julius Caesar, surely the real historical Caesar had a pretty iconic daemon, right? Are you going to cast an actor with a pigeon daemon as Caesar and just have everyone suspend their disbelief that it's Caesar's lioness, ἁμαρτία?

NO ONE knows how to use thou/thee/thy/thine and i need to see that change if ur going to keep making “talking like a medieval peasant” jokes. /lh

They play the same roles as I/me/my/mine. In modern english, we use “you” for both the subject and the direct object/object of preposition/etc, so it’s difficult to compare “thou” to “you”.

So the trick is this: if you are trying to turn something Olde, first turn every “you” into first-person and then replace it like so:

“I” →  “thou”

“Me” →  “thee”

“My” →  “thy”

“Mine” →  “thine”

Let’s suppose we had the sentences “You have a cow. He gave it to you. It is your cow. The cow is yours”.

We could first imagine it in the first person-

“I have a cow. He gave it to me. It is my cow. The cow is mine”.

And then replace it-

“Thou hast a cow. He gave it to thee. It is thy cow. The cow is thine.”

what the fuck was wrong with people that Labyrinth was originally a flop. How could they take any aspect of it so for granted. How could they fucking do that to Jim Henson. Newspapers were calling it boring and even ugly. I want to go back in time and beat their asses.

EDSers- do lidocaine patches work for you? Should the area that you have it on be numb to touch? (I don’t think it’s doing anything, pain is the same and isn’t numb at all but idk if it’s normal or an eds thing?)

This is potentially life saving information everyone should know.

Friendly reminder that bisexual, pansexual, asexual, and aromantic people do not experience “straight passing privilege”.

Identity erasure is not a privilege, it is oppression.

OH, here's something I forgot to mention in my bullet points! The movie is very intentional about when and how other characters touch Nessa's wheelchair.

You know the stage version of Dancing Through Life, where Boq says "Let's dance," and immediately pushes Nessa's wheelchair around as a part of the choreography? None of that here. The movie goes out of its way to have Elphaba and Nessa emphasize that Nessa should be in charge of her own movement. When Boq wants to dance, he gets in front of Nessa and takes her hands. When someone pushes Nessa's chair without asking, that is a bad thing.

I'm not qualified to do more than observe the effort I can see the film making, but I definitely noticed the effort. Especially with the casting of Nessarose being so phenomenal.

Holocaust Memorial Day Trust

Disabled people - Holocaust Memorial Day Trust

In 1933 the ‘Law for the Prevention of Hereditarily Diseased Offspring’ was passed, allowing for the forced sterilisation of those regarded

Kinda just got gut-stabbed by shit from a corner I wouldn’t have expected, but I suppose I shouldn’t actually be surprised at the willingness to forget about the universal comfort with removing the right of the disabled to actually connect with the history that connects us or …. anything.

In 1933 the ‘Law for the Prevention of Hereditarily Diseased Offspring’ was passed, allowing for the forced sterilisation of those regarded as ‘unfit’. This included people with conditions such as epilepsy, schizophrenia and alcoholism. Prisons, nursing homes, asylums, care homes for the elderly and special schools were targeted to select people for sterilisation. It has been estimated that between 1933 and 1939, 360,000 individuals were subjected to forced sterilisation.

In 1939 the killing of disabled children and adults began. All children under the age of three who had illnesses or a disability, such as Down’s syndrome, or cerebral palsy were targeted under the T4 programme. A panel of medical experts were required to give their approval for the ‘euthanasia’, or supposed ‘mercy-killing’, of each child.

Many parents were unaware of the fate of their children, instead being told that they were being sent for improved care. After a period of time parents were told their children had died of pneumonia and their bodies cremated to stop the spread of disease.

Following the outbreak of war in September 1939 the programme was expanded. Adults with disabilities, chronic illnesses, mental health problems and criminals who were not of German origin were included in the programme. Six killing centres were established to speed up the process – the previous methods of killing people by lethal injection or starvation were deemed too slow to cope with large numbers of adults. The first experimental gassings took place at the killing centre in Brandenberg and thousands of disabled patients were killed in gas chambers disguised as shower rooms.

The model used for killing disabled people was later applied to the industrialised murder within Nazi concentration and death camps such as Auschwitz-Birkenau.