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263adder · 5 months

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The Horny Bisexual Trope

Eleanor Shellstrop, The Good Place

"[In a research paper by The Journal of Sex Research] researchers found that bisexual women, compared to lesbians and heterosexual women, were evaluated as more confused, promiscuous, non-monogamous, neurotic, extraverted, and open to experiences. Bisexuals were also evaluated as less agreeable and less conscientious." Psypost

Lisa Palmer, Santa Clarita Diet

"Though LGBT+ representation in the media has been improving in recent years, it is still rare to see positive portrayals of bi characters on television. Characters are usually assumed to be either gay or straight, depending on which characters they are interested in romantically. Even if a character is portrayed as being attracted to both male and female characters, they rarely identify as bi, instead claiming to “not need labels.”

"Bi characters are typically villains, promiscuous characters, or untrustworthy." Soapboxie

Nick Scratch, The Chilling Adventures of Sabrina

"A common and inaccurate stereotype is that all bisexual people do not want to be, or cannot be, monogamous. It is inaccurate and harmful to imply that bisexual people are categorically more “promiscuous” than others. People of all sexual orientations can be monogamous for some or all of their lives, or they can choose other types of relationships. This decision is entirely separate from one's sexual orientation." GLAAD Media Reference Guide

Klaus Hargreeves, The Umbrella Academy

"Pansexual people are [also] commonly faced with [this] stigma, fuelled in part by some people's belief that they lead hypersexualized lives. This infers that pansexual people are more likely to cheat and be promiscuous because they are "available to everyone."

"This misconception has led some people to assume that pansexual people are wanting to engage in any and all sexual activities, negating the need for sexual consent." Very Well Health

Irene Adler, Sherlock

"The hypersexualization of the LGBTQ community has taken many forms. Not only are gay men and transgender women framed as sexual predators, but lesbians are objectified and fetishized by straight men, and bisexual and pansexual people are assumed to be constantly sleeping around." The Under Ground

Bisexuality on screen is used to indicate sexual experience and promiscuity. This feeds into the misconception that bisexuality is used as a way to appear more attractive and "bisexual people [are] just attention-seeking nymphomaniacs – or that bisexuality was, in the words of Carrie Bradshaw, “Just a layover on the way to Gay Town.”" Fashion Journal

Margot Tenenbaum, The Royal Tenenbaums

"The way its [bisexuality] been commodified, that was always going to happen… there’s a whole sort of discourse around bisexuality, its exotic… that bohemian angle, it masks the actuality of being a bisexual person even in this day and age." University of Huddersfield

Bisexuality is used to add to the mysteriousness of an already mysterious character. It's not undisclosed for privacy; it's hidden to feed into a "not like other girls / guys" trope.

Willow Rosenberg, Buffy the Vampire Slayer

"Bisexuals talk about “coming out twice"—once as gay or lesbian in a heterosexual world when they acknowledge their attraction to their own gender, and then again when they acknowledge their continuing attraction to the opposite sex." Psychology Today

The common depiction of bisexual myths is one of the reasons bisexuals feel they have to come out numerous times or don't come out at all.

"Three in ten bi men (30%) and almost one in ten bi women (8%), say they cannot be open about their sexual orientation with any of their friends, compared to two per cent of gay men and one per cent of lesbians." Stonewall

Not all visibility is good visibility.

#bisexuality #bisexual #lgbtqia+#queer representation #bisexual representation #the good place #santa clarita diet #the chilling adventures of sabrina #the umbrella academy #sherlock #the royal tenenbaums #buffy the vampire slayer #willow

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aimeedaisies · 9 months

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The Princess Royal’s Official Engagements in July 2023

01/07 Princess Anne accompanied by Sir Tim, opened the 30th Scottish Traditional Boat Festival at Portsoy Harbour. ⛴️

03/07 As Chancellor of Harper Adams University, visited the University’s Future Farm, Edgmond and met the 2023 Marshal Papworth Foundation Scholars. 👩‍🎓

As Patron, Scottish Fisheries Museum’s Reaper Appeal visited the Scottish Fisheries Museum in St. Ayles, Anstruther. 🎣

04/07 Visited Strathcarron Hospice, Denny. 👩‍⚕️

As Colonel-in-Chief of the Intelligence Corps, attended a 5 Military Intelligence Battalion Training Night at the Army Reserve Centre, Edinburgh. 💂

05/07 As part of Holyrood week in Edinburgh, Princess Anne carried out the following engagements;

Opened the Royal Hospital for Children and Young People and the Department of Clinical Neurosciences, at NHS Lothian as part of #NHS75 celebrations. 🧸

Opened King’s Buildings Nucleus Building at the University of Edinburgh. 👩‍🎓

Launched WETWHEELS EDINBURGH Accessible Boat at Port Edgar Marina. 🦽🛥️

Attended a Dinner at the Waldorf Astoria for Eric Liddell 100 programme. 🍽️

06/07 As President of the UK Fashion and Textile Association, attended the Textile Institute World Conference at the University of Huddersfield. 🪡

Opened Bradford Teaching Hospitals NHS Foundation Trust’s Maternity Theatre at Bradford Royal Infirmary.🤰

As Colonel of The Blues and Royals, with Sir Tim, took the salute at the Household Division Beating Retreat on Horse Guards Parade. 🫡

07/07 Attended a Charity Polo Day at Cirencester Park Polo Club for the Spinal Injuries Association 🐎

11/07 Visited Flintshire Adult Day Care Centre, Hwb Cyfle in Queensferry, Wales. 🏴󠁧󠁢󠁷󠁬󠁳󠁿

HRH, as the new Patron of BASC (British Association for Shooting and Conservation) visited their Headquarters at Marford Mill, Wrexham, Wales. 🦡

12/07 Visited St Helena’s Nursing Campus at the University of Derby in Chesterfield. 👩‍⚕️

Opened Chesterfield Royal Hospital NHS Foundation Trust’s new Urgent and Emergency Care Department. 🏥

Attended a Reception at Rolls-Royce Learning and Development Centre for the Motor Neurone Association. 🚘

13/07 Sir Tim represented the Princess Royal at a service of thanksgiving for the life of Admiral of the Fleet Lord Boyce at Westminster Abbey. ⚓️

Princess Anne opened the King’s Arch at Government House, visited the Tortoise Takeover Trail at Gorey Castle and subsequently opened the Tortoise Tunnel at Jersey Zoo. 🇯🇪🐢

Princess Anne with Sir Tim, later attended the Royal Academy of Engineering Annual Awards Dinner at the Londoner Hotel in Leicester Square, London. 🏆

14/07 Opened the new Southampton Citizens Advice Bureau and visited DP World Shipping Container Terminal. ⛴️

15/07 As Colonel-in-Chief of the Intelligence Corps, attended their Annual Corps Day at Chicksands. 🪖

18/07 Princess Anne and Sir Tim carried out the following engagements in Kent;

Opened a new affordable housing development at Bartlett Close, Staple, Canterbury, followed by a Reception at Staple Village Hall. 🏡

Visited St James’s Cemetery in Dover in her role as Patron of the Remembrance Trust 🫡

Visited Folkestone National Coastguard Institution Station in Folkestone to mark its 25th Anniversary, followed by a Reception at Folkestone Yacht and Motorboat Club. 🚨

19/07 In South Wales, visited Barry Citizens Advice Bureaux in her role of Patron of the National Association of Citizens Advice Bureaux and later visited HM Prison Cardiff in her role of Patron of the Butler Trust. 🏴󠁧󠁢󠁷󠁬󠁳󠁿

20/07 Joined the ship’s company of HMS Albion and visited Clyde Marina near Glasgow, Scotland. 🏴󠁧󠁢󠁳󠁣󠁴󠁿

21/07 Princess Anne and Sir Tim attended a Dinner at the Royal Ocean Racing Club Clubhouse, to celebrate the 50th Edition of the Fastnet Race in Cowes, Isle of Wight. 🛥️

27/07 Attended the Tall Ships Races Captains’ Dinner at Lerwick Town Hall, Lerwick, Shetland Islands. 👨‍✈️🍽️

28/07 Visited ships in Lerwick Harbour taking part in the Tall Ships Races. 🚢🏁

29/07 With Sir Tim, attended the King George Day at Ascot Racecourse. 🏆🐎

30/07 Princess Anne and Sir Tim visited Cowes, Isle of Wight for Cowes Week and carried out the following engagements;

Viewed Cowes Week Racing and met Squadron Staff at the Royal Yacht Squadron. 🛥️

Visited HMS Tyne and The Royal Navy Stand. ⛴️

Attended a Church Service at Holy Trinity Church. ⛪️

Attended a Reception for Members, Racing Crews, Flag Officers and Sailing Associates at the Royal Yacht Squadron. 🥂

Total official engagements for Anne in July: 42

2023 total so far: 304

Total official engagements accompanied by Tim in July: 14

2023 total so far: 70

#hardest working royal 🫡#no choice but to stanne #this is based on the court circular #monthly engagement count #july 2023 #and yes i’m doing a separate count for tim too #because i’m rooting for…#operation working royal tim 🫡#STILL WAITING CHARLES…#not all engagements are listed on this post #if you want a full list plz dm me 💕#princess anne #princess royal #tim laurence #timothy laurence

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avoliot · 1 year

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Anyone in the Huddersfield (West Yorkshire) area, I am doing my first solo author event at the Cosmia Festival at Huddersfield University next Saturday, April 22nd, at 1-2 PM!

I will probably talk about writing Winter's Orbit and Ocean's Echo and answer questions? Honestly I've never done one of these before but I'm excited to see how it goes.

Tickets are £10 total for all the author talks (this includes actual authors like Adrian Tchaikovsky) and If anyone is around it would be lovely to see you!

Anyway here is the link to the programme!

#winter's orbit #ocean's echo

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invisibleicewands · 28 days

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“In every room I go into, every office, every institution, people tell me, this is what we’re doing to encourage more working-class writers. They reel off all the things they’re doing, and it sounds impressive, it sounds amazing. And you think: if all these people are doing all this, WHY ARE THINGS NOT CHANGING FASTER? WHAT IS GETTING IN THE WAY?”

Under the hot, bright lights of a packed-out auditorium at the 2024 London Book Fair, Michael Sheen is getting angry. His is an unthreatening, crowd-rousing kind of angry, but still, in an appropriate way – he’s mad.

The actor and philanthropist is speaking on a panel convened to discuss A Writing Chance, the programme co-founded by the actor with New Writing North and Northumbria University that helps working-class writers enter the writing industries. So far, the programme has been successful. The theme emerging on the panel is, if changes have been made in some areas, what’s holding things back in others? And what cultural changes might have to come before we solve the problem?

“You have to admit there’s a fundamental conflict between the system that’s set up, and what we’re trying to achieve,” says Michael. “I don’t know what the whole answer to that is, other than revolution.”

It says a lot about the mood in the room – and, we suspect, the rest of the country – that the laughs prompted by this conclusion feel rather approving. We firmly believe that elites have been hogging and hoarding opportunity for too long now. The support for A Writing Chance confirms that many, many people agree.

The initiative was launched in 2021, with 11 unpublished writers awarded places on a programme of support and mentoring. One, Tom Newlands, publishes his first novel this summer; another, Maya Jordan, signed a deal at the book fair. A new cohort will be selected soon, with the programme now supported by the Joseph Rowntree Foundation, the Esmée Fairbairn Foundation, Michael Sheen, the Charlotte Aitken Trust, Faber & Faber, The Daily Mirror, Substack, Audible, with research supported by AHRC, Northumbria University, Bath Spa University and York St John University.

For the London Book Fair panel, Michael is joined by Professor Katy Shaw from Northumbria University, plus Tracey Markham, head of UK at Audible, Farrah Storr, head of writer partnerships at Substack, and the Huddersfield-based novelist Sunjeev Sahota. Katy and Michael begin by reflecting on the successes of the first completed programme: writers emboldened and published, policymakers in the Houses of Parliament briefed and, most importantly, great writing exemplifying the talent out there waiting to be discovered. “What came in was just way beyond anything we had hoped for really,” says Michael. “And there was a sense of revelation, the feeling you were seeing into worlds that have just been closed off, into experiences I had never thought about.”

Ideas about how to give working-class writers more confidence and access to publishing are peppered through the hour-long conversation: a creative curriculum in schools; intervening with gifted people at younger ages, like sports coaches; encouraging more people to take advantage of digital platforms, even if printed-book authorship remains the ultimate goal. Around halfway through, Sunjeev makes a brilliantly clear-eyed analysis of what being working class really means, and how it relates to identity politics. At the same time, he provides a devastatingly simple explanation of why working-class writers need support.

“Publishing is an elite space, but it’s quite a diverse space in terms of people’s racialised or sexualised identities. However, it’s not at all diverse it comes to people’s economic backgrounds, or family income. Indeed, many of the non-white people I encounter in publishing are often from just as comfortably-off backgrounds as their white counterparts.

The creative industries, he says, have tended to treat class as being another cultural identity, as if class should be considered in the same way that we might talk about race, gender, or sexuality. “But I think a more universal, class-first politics will do more for the weakest members across all identities than any identity-first kind of politics. I find that taking an identity-first approach just tends to benefit the elites within the identities.”

Lest anyone doubt the existence of a market for work originating outside the elites, the extremely upbeat Tracey is on hand to reassure them. Audible attracts a notably diverse audience, with large black and Asian listenerships, and a high proportion of young men. To satisfy this audience, the old-style audiobook, with its middle- and highbrow titles and Received Pronunciation narration, has been overhauled in favour of books more suited to audience tastes, and accents.

“Our customers really want accents! We spend a lot of time working with voice agents to widen access to the audio-narration industry. I think what’s super-important now is that your accent is not prohibitive – if you have a Welsh accent, say, that doesn’t mean you can only read stories set in Wales.”

Tracey stresses there is “so much more to be done” to widen socio-economic diversity in the whole publishing industry. But although it might still be a case of taking “baby steps”, a wonderful thing about books is their power to drive change elsewhere. “You know, it’s hard to explain to someone that’s not from the UK how much your accent kind of signifies to people when they first meet you. And with voice, we can kind of break down a lot of those barriers, and actually encourage it and welcome [diversity].”

There’s a similar note of flexibility and responsiveness to audience needs in Farrah’s account of what Substack offers. The relationship between digital and print is always evolving, and in her vision, it’s a question of the one complementing the other. Printed books still have more prestige than publication on digital platforms, but the latter can help offset the material challenges associated with the former, she argues. Echoing Sunjeev, she points that “the problem for people from a working-class background is that your advance gets paid in separate lump sums. People feel, I don’t have a regular income, I can’t make this work, I might end up falling out of the writer ecosystem.

“So, on Substack, we say, well, okay, you’re writing the book, but you’re probably going to have thousands of words leftover. So just put them on Substack and talk about the novel at the same time.”

Lots of people she works with end up making liveable incomes and building readerships for their work, which ultimately is what keeps them in the game. It’s a reminder that we shouldn’t necessarily define “writing” as the production of traditional forms such as novels and plays.

No one at this event – the queue for which was so long that dozens were unable to squeeze inside – believed all the barriers facing working-class writers would be dismantled any time soon. Few, though, can have left without believing that A Writing Chance has begun the job – and that that job is worthwhile.

Wrapping up, Michael recalls someone from the inaugural group who told him that in their community, becoming a writer seemed about as likely as becoming an astronaut.

“They said that there was no chance of it. They said, ‘I didn’t know anybody else who lived where I live who was a writer, so I didn’t know how to begin, or where to start. It was like saying I want to go into space.’ But that changed for them.

“And of course, now, there are all these wonderful spacemen.”

#Michael Sheen #The London Book Fair #interview #A Writing Chance

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shamandrummer · 4 months

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Archaeoacoustics and 'Songs of the Caves'

Archaeoacoustics is a sub-field of archaeology and acoustics which studies the relationship between people and sound throughout history. It is an interdisciplinary field with methodological contributions from acoustics, archaeology, and computer simulation, and is broadly related to topics within cultural anthropology such as experimental archaeology and ethnomusicology. Since many cultures have sonic components, applying acoustical methods to the study of archaeological sites and artifacts may reveal new information on the civilizations examined.

The importance of sound in ritual practice is well attested by historical and anthropological evidence. Voices and instruments (pipes, drums) will also have played a key role for prehistoric societies, and a number of studies have sought to demonstrate that by measuring the acoustical properties of archaeological spaces and open-air locations. One of the principal difficulties, however, is to establish a robust methodology. Every space or location will have an acoustic signature, but that does not imply that vocal or musical performance was an essential part of ritual practice; nor that those places were specially designed or selected for their acoustical properties.

Palaeolithic painted caves have occupied a special place in this debate since studies in the 1980s suggested that the placement of paintings and murals within the caves might have been guided by the acoustics; that they might be directly correlated with resonance. In 2013, Durham University (Durham, England) archaeologist Chris Scarre joined a team of acousticians, archaeologists and musicians led by Professor Rupert Till (Huddersfield University) in a systematic on-site analysis of acoustic properties and prehistoric motifs in five Upper Palaeolithic painted caves in northern Spain: La Garma, El Castillo, La Pasiega, Las Chimeneas and Tito Bustillo. The Arts and Humanities Research Council funded project was supported by Spanish colleagues Manuel Rojo-Guerra and Roberto Ontañon, with permission from the Gobierno de Cantabria and Gobierno Del Principado de Asturias.

Their methodology in recording the acoustics of these caves was to use a swept-sine (also called a chirp) source signal in conjunction with a set of microphones, adjusting the position of the set-up to provide an overview of the acoustics of specific sections of the caves. In each location that was measured, the position of imagery on the cave walls was also recorded. The fieldwork generated a large body of data that was used to generate acoustic maps of the five caves that could be compared with the distribution of the imagery (paintings or engravings, representational images of animals, or abstract symbols). A Principal Components Analysis (a mathematical method used to reduce a large data set into a smaller one while maintaining most of its variation information) provided an averaged set of acoustical characteristics. This showed that the variance of the acoustic data can be explained by two main components, associated with (a) temporal decay of energy (rate at which it fades to silence) in the cave space and (b) the existence or absence of resonance. Other factors, such as the distance of motifs from the original cave entrances (some of them now blocked) were also recorded.

Statistical analysis concluded that motifs in general, and lines and dots in particular, are statistically more likely to be found in places where reverberation is moderate and where the low frequency acoustic response has evidence of resonant behavior. The results suggest that the location of Palaeolithic motifs might indeed be associated with acoustic features, and that an appreciation of sound could have influenced behavior among Palaeolithic societies using these caves. The study also demonstrated the application of a systematic methodology of recording and analysis to the archaeoacoustics of prehistoric spaces.

#archaeology #acoustics #ethnomusicology #cave art #paleolithic #resonance

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