tonight went nothing like planned, but nevertheless; SUCCESS!
Hey tumblr be proud of me
In the linguistic sexism section of my exam, I tore the shit out of phrases like “that’s so gay” and “stop being such a woman”.
Yeeeeeeeah!
how to kiss
[step 1] open your mouth as wide as possible. make sure to stick out your tongue as far as you can, too, since kisses are like, 90% that thing
[step 2] find someone to kiss. you will know they want to kiss because their tongue will also be extended at full length
[step 3] move in for the kill
YES!
NOW I AM READY
My little brother got into outer space and stuff so my step-mom bought him a place mat with all the planets on it. When I first saw it, I was upset, because it was newer and so Pluto wasn’t labeled. I was about to say something when I noticed something…
Pluto is there.
The artist remembered Pluto.
Guys…
The artist drew Pluto crying.
Soon I shall be free from the task of studying and onto the task of celebrating.
I can’t believe that my first year of university has almost ended! But for now, global language policy.
I couldn’t think of anything I would hate more
THIS IS MY SANCTUARY
Tumblr is my happy place. Nobody needs to know my happy place okay. Okay.
FUR FOX FARM IN STAWIEC, POLAND
Last Friday, 27th April 2012, after receiving a few disturbing photographs from an anonymous informer, Polish Animal Protection Society ‘Ekostraż’, in co-operation with members of the Coalition for Banning Fur Farming in Poland ANTYFUTRO.PL, assisted by the police, conducted an intervention on a fox farm in Stawiec (Poland, Lower Silesia). The following is a short presentation of the intervention, and of the conditions under which animals on that farm spend their entire lives, before they are killed for their skin.
All photos from the intervention can be found HERE
The foxes are kept in improvised containers made of old, rusty stoves and ovens, or in provisional cages that don’t provide any protection from sun and rain, or access to drinking water. The entire farm is unkempt and filthy, with massive heaps of foul smelling excrement directly below the cages. You can easily imagine what it feels like to be locked in a hot, metal oven during the summer, or not to have a roof upon your head. The animals spend the few months of their lives on extremely uncomfortable wire flooring, only to be killed in the same horrid conditions. As their flesh is not meant to be for human food, no one cares about any sanitary norms or standards.
The farm belongs in the legal jurisdiction of the District Veterinary Officer in Milicz. His deputy, Nataila Misiek, who was called out by the activists, denied conducting a routine control procedure, giving the excuse of not having the control protocol with her. Although, when the activists gave her a copy of the official protocol for veterinary inspections, previously printed and ready to be filled, she denied again and, despite their requests, didn’t give any reason for such decision. She claimed that she had been to the farm in the autumn and had even witnessed the slaughter. She described the conditions on the farm as ‘not particularly outstanding’. Ms Misiek was extremely unprofessional and showed signs of utter ignorance in the field of her own profession - she appeared to be unfamiliar with the Polish Animal Protection Act from 1997 (the activists were under the impression that she didn’t even know of the Act’s existence in Polish law).
This farm has been in existence for 30 years. The owner claims that he tries to provide his foxes with “decent” living conditions. He didn’t allow the activists to enter the farm, saying that ‘it’s not a zoo’ and the foxes (which are now in their breeding season) would be stressed. While the activists were talking to the owner, his employees tried to quickly hush up the most obvious and visible faults on the farm, for example by covering roofless cages with pieces of hardboard.
Although no one entered the farm, the photo and video material collected by the activists is enough to start legal procedures against the farm’s owner (animal abuse) and the veterinary officer (professional negligence). The Animal Protection Society ‘Ekostraż’ has filed a complaint to the prosecution and will try to obtain a court order to take away the animals and close the farm once and for all.
Poland is the world’s 4th largest fur producer with approximately 800 fur farms. Some of them are small like this one, but there are also huge, industrialised facilities, killing hundreds of thousands of animals (mainly foxes and minks) every year. The number still increases because, due to restrictions and bans on fur farming in Western Europe, farmers move their businesses to Poland and other Eastern countries. Although the conditions on some farms may be better than in Stawiec, animals on every fur farm suffer enormously, due to the unfulfilment of their species basic territorial needs as well as to physical and mental diseases. Their suffering and death is absolutely unnecessary and it’s caused only by human greed and vanity. Please don’t buy any fur ‘products’, react in cases of witnessing any animal abuse and support Polish activists in their fight for banning fur farming in Poland.
Further info and news soon at www.antyfutro.pl
in the year 6057
historian: over the last few years we have explored most parts of the prehistoric "the internet" and have come across a gathering of young adults called "tumblr".
historian: we discovered a large amount of "slash" which has lead us to believe that 99% of 21st century humans were homosexual. we do not yet understand how the species managed to surivive
historian: we also uncovered a never before seen language on "tumblr". Words and phrases such as "omg", "wat", "this shit cray" and "yolo" have been deciphered, but more complex sentences such as "dslfajsdlj no stop i can't evensldfjaldjaf" have yet to be understood
Visions of the Cosmos: The Enduring Space Art of David A. Hardy
Picture 1:
‘Moon Landing:” This is one of Hardy’s very earliest paintings, done in 1952 when he was just 15. It was also the first to be published. Credit: David A. Hardy. Used by permission. Click image for access to a larger version and more information on Hardy’s website.
Picture 2:
‘Skiing on Europa’ by David A. Hardy, 1981. Used by permission.
Picture 3:
‘Mars From Deimos’ 1956. Credit: David A. Hardy. Used by permission. Hardy’s description: ‘The dumbell-shaped spaceship (designed by Arthur C. Clarke) shown in the previous ‘space station’ image has arrived, touching down lightly in the low gravity of Mars’s little outer moon, Deimos. The polar cap is clearly visible, and at that time it was still considered possible that the dark areas on Mars were caused by vegetation, fed by the melting caps. On the right of the planet is Phobos, the inner moon.’
Picture 4:
‘Ferry Rocket and Space Station’ by David A. Hardy. Used by permission. Hardy’s description: ‘A wheel-shaped space station as designed by Wernher von Braun, and a dumbbell-shaped deep-space vehicle designed by Arthur C. Clarke to travel out to Mars and beyond. The only photographs of the Earth from space at this time were a few black-and-white ones from captured German V-2s.’
Picture 5:
Antares 2’ by David A. Hardy, shows a landscape looking up at the red supergiant star, which we see in Scorpio and is one of the biggest and brightest stars known. It has a small bluish companion, Antares B.
Picture 6:
‘Ice Moon’ by David Hardy. Used by permission.
Picture 7:
The Leonids over Stonhenge by David A. Hardy. Used by permission
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For over 50 years, award-winning space and astronomy artist David A. Hardyhas taken us to places we could only dream of visiting. His career started before the first planetary probes blasted off from Earth to travel to destinations in our solar system and before space telescopes viewed distant places in our Universe. It is striking to view his early work and to see how accurately he depicted distant vistas and landscapes, and surely, his paintings of orbiting space stations and bases on the Moon and Mars have inspired generations of hopeful space travelers.
Hardy published his first work in 1952 when he was just 15. He has since illustrated and produced covers for dozens of science and science fiction books and magazines, has written and illustrated his own books and has worked with astronomy and space legends like Patrick Moore, Arthur C. Clarke Carl Sagan, Wernher von Braun, and Isaac Asimov. His work has been exhibited around the world, including at the National Air & Space Museum in Washington, D.C. which houses two of his paintings.Universe Today is proud to announce that Hardy has help us update the banner at the top of our website (originally designed by Christopher Sisk) to make it more astronomically accurate.
Hardy has also recently debuted his own new website where visitors can peruse and learn more about his work, and buy prints and other items.
We had the chance to talk with Hardy about his enduring space art and career:
Universe Today: When you first started your space art, there weren’t images from Voyager, Cassini, Hubble, etc. to give you ideas for planetary surfaces and colored space views. What was your inspiration?
David Hardy: I got to look through a telescope when I was about 16. You only have to see the long shadows creeping across a lunar crater to know that this is a world. But I also found the book ‘The Conquest of Space‘ in my local library, and Chesley Bonestell’s photographic paintings of the Moon and planets just blew me away! I knew that I wanted to produce pictures that would show people what it’s really like out there — not just as rather blurry discs of light through a telescope.
UT: And now that we have such spacecraft sending back amazing images, how has that changed your art, or how have the space images inspired you?
Hardy: I was lucky to start when I did, because in 1957 we had Sputnik, and then the exploration of space really started. We started getting photos of the Earth from space, and of the Moon from probes and orbiters, then of Mars, and eventually from the outer planets. Each of these made it possible to produce better and more realistic and accurate paintings of these worlds.
UT: We are amazed at your early work — you were so young and doing such amazing space art! How does it feel to have inspired several generations of people? — Surely your art has driven many to say, “I want to go there!”
Hardy: I certainly hope so — that was the idea! In 1954 I met the astronomer Patrick Moore, who asked me to illustrate a new book in 1954, and we have continued to work together until the present day. Back then we wanted to so a sort of British version of The Conquest of Space, which we called ‘The Challenge of the Stars.’ In the 1950s we couldn’t find a publisher — they all said it was ‘too speculative’! But a book with that title was published in 1972; ironically (and unbelievably), just when humans visited the Moon for the last time. We had hoped that the first Moon-landings would lead to a base, and that we would go on to Mars, but for all sorts of reasons (mainly political) this never happened. In 2004 Patrick and I produced a book called ‘Futures: 50 Years in Space,’ celebrating our 50 years together. It was subtitled: ‘The Challenge of the Stars: What we thought then –What we know now.’
I quite often find that younger space artists tell me they were influenced by The Challenge of the Stars, just as I was influenced by The Conquest of Space, and this is a great honour.
UT: What places on Earth have most inspired your art?
Hardy: I’m a past President (and now European VP) of the International Association of Astronomical Artists (IAAA; www.iaaa.org), and we hold workshops in the most ‘alien’ parts of Planet Earth. Through these I have been to the volcanoes of Hawaii and Iceland, to Death Valley CA, the Grand Canyon and Meteor Crater, AZ, to Nicaragua… all of these provide not just inspiration but analogues of other worlds like Mars, Io or Triton, so that we can make our work more believable and authentic — as well as more beautiful, hopefully.
UT: How has technology changed how you do your work?
Hardy: I have always kept up with new technology, making use of xeroxes, photography (I used to do all my own darkroom work and processing), and most recently computers. I got an Atari ST with 512k (yes, K!) of RAM in 1986, and my first Mac in 1991. I use Photoshop daily, but I use hardly any 3D techniques, apart from Terragen to produce basic landscapes and Poser for figures. I do feel that 3D digital techniques can make art more impersonal; it can be difficult or impossible to know who created it! And I still enjoy painting in acrylics, especially large works on which I can use ‘impasto’ –laying on paint thickly with a palette knife and introducing textures that cannot be produced digitally!
UT: Your new website is a joy to peruse — how does technology/the internet help you to share your work?
Hardy: Thank you. It is hard now to remember how we used to work when we were limited to sending work by mail, or faxing sketches and so on. The ability to send first a low-res jpeg for approval, and then a high-res one to appear in a book or on a magazine cover, is one of the main advantages, and indeed great joys, of this new technology.
UT: I imagine an artist as a person working alone. However, you are part of a group of artists and are involved heavily in the Association of Science Fiction and Fantasy Artists. How helpful is it to have associations with fellow artists?
Hardy: It is true that until 1988, when I met other IAAA artists (both US, Canadian and, then, Soviet, including cosmonaut Alexei Leonov) in Iceland I had considered myself something of a lone wolf. So it was almost like ‘coming out of the closet’ to meet other artists who were on the same wavelength, and could exchange notes, hints and tips.
UT: Do you have a favorite image that you’ve created?
Hardy: Usually the last! Which in this case is a commission for a metre-wide painting on canvas called ‘Ice Moon’. I put this on Facebook, where it has received around 100 comments and ‘likes’ — all favourable, I’m glad to say. It can be seen there on my page, or on my own website, www.astroart.org (UT note: this is a painting in acrylics on stretched canvas, with the description,”A blue ice moon of a gas giant, with a derelict spaceship which shouldn’t look like a spaceship at first glance.”)
UT: Anything else you feel is important for people to know about your work?
Hardy: I do feel that it’s quite important for people to understand the difference between astronomical or space art, and SF (‘sci-fi’) or fantasy art. The latter can use a lot more imagination, but often contains very little science — and often gets it quite wrong. I also produce a lot of SF work, which can be seen on my site, and have done around 70 covers for ‘The Magazine of Fantasy & Science Fiction’ since 1971, and many for ‘Analog’. I’m Vice President of the Association of Science Fiction & Fantasy Artists (ASFA; www.asfa-art.org ) too. But I always make sure that my science is right! I would also like to see space art more widely accepted in art galleries, and in the Art world in general; we do tend to feel marginalised.
UT: Thank you for providing Universe Today with a more “accurate” banner — we really appreciate your contribution to our site!
Hardy: My pleasure.
See more at Hardy’s website, AstroArt or his Facebook page. Click on any of the images here to go directly to Hardy’s website for more information on each.
