Have seen very little discussion on this website about the situation in Haiti and figured maybe I’d try to start the conversation?
For those who aren’t aware, Haiti is the only country that led a successful slave rebellion which led to the establishment of an independent country, and a day hasn’t passed where they haven’t been punished for it. The country never had a chance to flourish as the west made sure to suck it economically dry and then dip when nothing was left.
This has left the country horrifically unstable in every way possible. However, the last few years, it has been on the brink of collapse due to absolutely no political leadership and as of now, Haiti has completely collapsed. The country is mostly run by gangs all competing for power. There is no where for refugees to escape. The west has completely abandoned any meaningful intervention and it has mostly been South American, Middle Eastern, and African countries who only seem interested in trying to bring peace. But since 2024 has begun, it is a terrifying place to be full of completely innocent people being screwed over by the west for standing up for themselves.
Of course, this is heavily over simplified and I have no personal connection to Haiti. So under the cut, I’m adding much more accurate and insightful information, as well as fundraisers, books, petitions, and Haitian run businesses and social media accounts. As someone who is studying history, it doesn’t take long to realize most nations struggling today have been victimized for wanting autonomy and freedom. From Palestine to Sudan, to DRC to Ukraine, there is so much preventable tragedy. As someone from a country who has historically inflicted these conditions on a lot of these nations, it’s frustrating to feel powerless to the injustice. I truly find the only thing that puts my mind at peace is education and spreading awareness. Don’t let their suffering be in vain.
*please correct me if any of this information is inaccurate*
Basic information:
Wikipedia
HAITI: A Brief History of a Complex Nation
Britannica: History of Haiti
How Haiti Was Forced To Pay Reparations For Freedom
[video] A Super Quick History of Haiti
The Root of Haiti's Misery: Reparations to Enslavers
Timeline: Haiti’s History and Current Crisis, Explained
[video] Why Haiti is in a Constant State of Emergency
A Brief History Of Haiti
The Haitian Revolution and the Hole in French High-School History
[video] How the World Destroyed Haiti
A Timeline of Haiti
Haiti: a history of intervention, occupation and resistance
[video] Fighting for Haiti
How Toussaint L’ouverture Rose from Slavery to Lead the Haitian Revolution
The Disappearing Land : Haiti, History, and the Hemisphere
History of Haiti
A History of United States Policy Towards Haiti
What is the history of foreign interventions in Haiti?
Haitian history and culture: A selection of online resources
Books:
The Black Jacobins: Toussaint l'Ouverture and the San Domingo Revolution
The Haitian Revolution
Silencing the Past
Fault Lines: Views across Haiti's Divide
Awakening the Ashes: An Intellectual History of the Haitian Revolution
Haiti: The Tumultuous History
Written in Blood: The Story of the Haitian People 1492-1971
The Haitians: A Decolonial History
Why the Cocks Fight: Dominicans, Haitians, and the Struggle for Hispaniola
Outrage for Outrage: A History of Colonialism in Haiti and Its Legacy
Avengers of the New World: The Story of the Haitian Revolution
Black Spartacus: The Epic Life of Toussaint Louverture
The Black Republic: African Americans and the Fate of Haiti
The Farming of Bones
The Rainy Season: Haiti Since Duvalier
The Uses of Haiti
The Butterfly’s Way: Voices from the Haitian Dyaspora in the United States
Charities:
*rating of 80+ on charitynavigator*
Hands Helping Haiti
Heartline Haiti
Hope for Haiti
Haiti Outreach
US Foundation for the Children of Haiti
Hands Together for Haitians
Haiti Empowered
Mission of Hope Haiti International
Haitian Health Foundation
Haiti Partners
Haiti Cardiac Alliance
New Life for Haiti
Locally Haiti
Clean Water for Haiti
Meds & Food for Kids
Haitian Roots
Project Medishare for Haiti
Friends of the Children of Haiti
Childrens Nutrition Program of Haiti
Fundraisers
Haiti Crisis Relief Fund
Haiti Emergency Fundraiser
Urgent Need to Complete Our Haitian Adoptions
Desperate Plea to Help Haitian Family
Haiti Food Emergency
Help a Deaf Haitian restore his life in Maryland
Help a friend get her sister & 3 kids out of Haiti
Daniel Jean - Haitian friend relocate to the US
Help Support My Family in Haiti
Support Young Haitian Artists!
Haitian Artists Need Your Help
PLEASE HELP and PRAY for OUR FAMILY IN HAITI
Help My Mother and Brother from HAITI PLEASE
Urgent Help for Marc Henry and his family in Haiti
Help Michaël in Humanitarian and Political Crisis in Haïti
Lycender Chery & Family
Trapped in Port au Prince, Haiti
Help Rosemica have surgery for her tumor!
Help My Family escape from ruthless gangs
Haitian Orphanage School: Classique Mixte du Rivag
Help Support a Hard Working Mother of Two
Haiti Emergency Relief of artist community
Help Save Gabe's Life and get him from Haiti to US
Aid for Haitian Artist Mario and his Granddaughter
Haitian-Owned Businesses
Kreyol Essence
LS Cream Liqueur
Creole Me Up
Caribbrew
Tisaksuk
Fanm Djanm
Makaya Chocolate
Kòmsi Like
Créations Dorées
Aeva Beauty
Levie's Essential Care
Bel Ti Boujique
It’s Seasoned™
Cremas Absalon
Kreyol Pale Creole Konprann
VagEsteem
Bijou Lakay
V.BELLAN
AYITI Gallery
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I'm a physicist, not an engineer, but we have a lot of the same problems saying awful shit. there's an idea in place that Understanding The Universe automatically makes your ideas exist beyond human experience. would the "kill everyone" guy actually deploy that plan? probably not! but it being a thought experiment does not actually give you permission to just say whatever you want. physicists do a LITTLE better only because last time we let a thought experiment go rogue, it, uh. became nukes.
Yeah, the concept of non-liberal-arts colleges in general kind of fucks me up.
imo, the best thing college- and school in general- does for anyone is teach & sharpen critical thinking skills. Those are skills that cannot be built in a vacuum; critical thinking reaches into every single aspect of our lives, and it requires you to question everything, connect dots across disciplines and worlds of information, and, crucially, to factor in complex socio-economic systems & reasoning when doing so.
So giving someone an education that cuts out history, english, arts, and other related classes just seems... pointless to me? What is the value of a science education if you're not talking about the roots and mistakes of these and related fields, the impact those things have had, and the people and groups of people who suffer, struggle, and are erased because of and by your field?
What is the fucking point of learning physics and physics alone?
Not that like, research-based schools don't offer any classes like this, or that there aren't plenty of professors who do bring that stuff in. And not that this rant has anything directly to do with what you're saying (lmao).
I mostly just say all this because it's been on my mind for other reasons, and in the context that post provides, it's kind of fucking scary to think about all the young adults spending years in environments that teach them, basically, that nothing outside of their field matters- and that nothing outside of their direct purview has any impact on what they're studying.
It's narrow, and it actively deteriorates critical thinking skills, and I am not a fan!
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I would be very interested in hearing the museum design rant
by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat
so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.
meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)
with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this
(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)
i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).
even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.
oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!
or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.
also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.
tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?
also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!
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autistic expression in a neurotypical art gallery
this morning i thought i would talk about AUTHOR VOICE specifically when it comes to AUTISM. as autistic author i have learned to turn the dial up and down when writing characters. rose from CAMP DAMASCUS is basically exactly where i rest on spectrum and this shows in a few ways
in roses internal monolog you will see that she uses phrases like ‘my friend’ to talk about folks where neurotypical buckaroos might just use first name. or with her parents she will think of them in FIRST NAME instead of ‘mom’ or 'dad’. this is way many autistic buds THINK
to explain this trot I will say it is not a way of disrespect or anything like that, it is simply that these terms are TECHNICALLY all correct and interchangeable. socially, autistic buds often learn to mask by pinpointing WHEN to use these words that logically the same to us.
in CAMP DAMASCUS i left these things in to create character, but if you go back in my writing you will see it. in TINGLERS this is because they are honest in PUNK ROCK way. unfiltered expressions. in earlier novels its admittedly just because i did not realize it was unusual yet
point is, ROSES internal dialog in camp damascus is neurodivergent and i CHOSE not to change her thought process in this way, because we are BOTH autistic. this can be a risk because some neurotypical buckaroos will read it and just think ‘what a strange way. this is bad writing’
camp damascus reviews are actually very good it is a very well received book by any measure, but you will see some folks kind of making fun of these traits (i do not think they would do this if they knew it was authentic autistic way BUT we cannot educate EVERYONE on this trot)
POINT IS i am now faced with an artistic choice in later books. do i write with my AUTISTIC voice even though some neurotypical readers find it awkward? in technical sense some readers WILL think each book is better if i eliminate my autistic tendencies in later edits
my advice is this: character voice IS SO IMPORTANT, but a big part of writing is finding the place between YOUR voice and your CHARACTER voice where both are authentically existing in some way. like acting, you are always bringing something of yourself even when you 'disappear'
when writing BURY YOUR GAYS i did not plan to make misha on the spectrum, but misha is part of me and i am on the spectrum. what i have realized over time is that ALL OF MY CHARACTERS will have these traits in some way because i wrote them, and i will never disappear completely
so when edits came for BURY YOUR GAYS and misha, i took that dial and i turned it farther towards neurotypical than i did with rose, BUT I DID NOT TURN IT OFF COMPLETELY. in literal sense, i left some of those ‘my friends’, because i will always bring MY VOICE to my art as well
i am proud of being on the spectrum. while my voice may not hit every convention of ‘good writing’ it is authentically ‘MY writing’ and i think that is more important than any outside checklist for ‘correct literary expression’. and guess what THE RESULTS ARE IN, MY BOOKS DO WELL
so if you are an artist getting feedback or reviews, consider which parts you can LEARN FROM and grow and change, and which parts are just AUTHENTICALLY YOU. because while your honesty may defy conventions and seem unusual to some folks, IT IS OFTEN WHAT MAKES YOUR ART SING
feel free to turn that dial marked 'YOUR TRUE VOICE' up and down when it makes sense. i do this all the time. but i have long since decided i will never turn that dial OFF completely. your voice is your POWER buckaroo, dont be afraid to sing with it
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