#publicdomain — Public Fediverse posts

Bear's Breeches (1928) by Karl Blossfeldt.

Source: Rijksmuseum

Available to buy as a print.

https://pdimagearchive.org/images/ad0afa0c-80a9-4416-839b-8e3f5a701e4c

#spikes #botanical #leaves #plants #photography #art #publicdomain

Two Girls Blowing Bubbles (ca. 1880) by Jacob Maris, from Two Girls Blowing Bubbles.

Source: Rijksmuseum

https://pdimagearchive.org/images/2aee1abe-4239-435b-9a89-df7c52b77a0d

#bubbles #soap #tables #death #impermanence #children #play #vanitas #painting #drawing #art #publicdomain

Two Girls Blowing Bubbles (ca. 1880) by Jacob Maris, from Two Girls Blowing Bubbles.

Source: Rijksmuseum

https://pdimagearchive.org/images/2aee1abe-4239-435b-9a89-df7c52b77a0d

#bubbles #soap #tables #death #impermanence #children #play #vanitas #painting #drawing #art #publicdomain

Two Girls Blowing Bubbles (ca. 1880) by Jacob Maris, from Two Girls Blowing Bubbles.

Source: Rijksmuseum

https://pdimagearchive.org/images/2aee1abe-4239-435b-9a89-df7c52b77a0d

#bubbles #soap #tables #death #impermanence #children #play #vanitas #painting #drawing #art #publicdomain

Two Girls Blowing Bubbles (ca. 1880) by Jacob Maris, from Two Girls Blowing Bubbles.

Source: Rijksmuseum

https://pdimagearchive.org/images/2aee1abe-4239-435b-9a89-df7c52b77a0d

#bubbles #soap #tables #death #impermanence #children #play #vanitas #painting #drawing #art #publicdomain

Two Girls Blowing Bubbles (ca. 1880) by Jacob Maris, from Two Girls Blowing Bubbles.

Source: Rijksmuseum

https://pdimagearchive.org/images/2aee1abe-4239-435b-9a89-df7c52b77a0d

#bubbles #soap #tables #death #impermanence #children #play #vanitas #painting #drawing #art #publicdomain

Story time!

Remember my Salome score? ( this one: https://mastodon.social/@meganmariehart/117035717207273357 ) My husband spruced it up, and you can download it for free now from the International Music Score Library Project! If you’d like to see me tell the story, and review a copy shop in Darmstadt, check out the video!

Salome score download:
https://imslp.org/wiki/Salome,_Op.54_(Strauss,_Richard)#tabScore3
“Kopie Original” website: https://www.kopie-original.de

#opera #imslp #salome #strauss #operaSinger #vocalScore #free #download #PublicDomain #Darmstadt #Hessen

Story time!

Remember my Salome score? ( this one: https://mastodon.social/@meganmariehart/117035717207273357 ) My husband spruced it up, and you can download it for free now from the International Music Score Library Project! If you’d like to see me tell the story, and review a copy shop in Darmstadt, check out the video!

Salome score download:
https://imslp.org/wiki/Salome,_Op.54_(Strauss,_Richard)#tabScore3
“Kopie Original” website: https://www.kopie-original.de

#opera #imslp #salome #strauss #operaSinger #vocalScore #free #download #PublicDomain #Darmstadt #Hessen

Story time!

Remember my Salome score? ( this one: https://mastodon.social/@meganmariehart/117035717207273357 ) My husband spruced it up, and you can download it for free now from the International Music Score Library Project! If you’d like to see me tell the story, and review a copy shop in Darmstadt, check out the video!

Salome score download:
https://imslp.org/wiki/Salome,_Op.54_(Strauss,_Richard)#tabScore3
“Kopie Original” website: https://www.kopie-original.de

#opera #imslp #salome #strauss #operaSinger #vocalScore #free #download #PublicDomain #Darmstadt #Hessen

Story time!

Remember my Salome score? ( this one: https://mastodon.social/@meganmariehart/117035717207273357 ) My husband spruced it up, and you can download it for free now from the International Music Score Library Project! If you’d like to see me tell the story, and review a copy shop in Darmstadt, check out the video!

Salome score download:
https://imslp.org/wiki/Salome,_Op.54_(Strauss,_Richard)#tabScore3
“Kopie Original” website: https://www.kopie-original.de

#opera #imslp #salome #strauss #operaSinger #vocalScore #free #download #PublicDomain #Darmstadt #Hessen

Story time!

Remember my Salome score? ( this one: https://mastodon.social/@meganmariehart/117035717207273357 ) My husband spruced it up, and you can download it for free now from the International Music Score Library Project! If you’d like to see me tell the story, and review a copy shop in Darmstadt, check out the video!

Salome score download:
https://imslp.org/wiki/Salome,_Op.54_(Strauss,_Richard)#tabScore3
“Kopie Original” website: https://www.kopie-original.de

#opera #imslp #salome #strauss #operaSinger #vocalScore #free #download #PublicDomain #Darmstadt #Hessen

RetroStrange TV is now streaming!

24/7 vintage sci-fi, horror, filmstrips, and ephemera

#streaming #retro #movies #scifi #horror #tv #vintage #publicdomain #adfree

https://live.retrostrange.com

From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/db286abd-3da8-41c9-a9ee-bf7fd2a6cf93

#panchatantra #persia #hunting #animals #iran #riding #landscapes #horses #wildlife #fables #bookillustration #manuscript #art #publicdomain

From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/db286abd-3da8-41c9-a9ee-bf7fd2a6cf93

#panchatantra #persia #hunting #animals #iran #riding #landscapes #horses #wildlife #fables #bookillustration #manuscript #art #publicdomain

From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/db286abd-3da8-41c9-a9ee-bf7fd2a6cf93

#panchatantra #persia #hunting #animals #iran #riding #landscapes #horses #wildlife #fables #bookillustration #manuscript #art #publicdomain

From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/db286abd-3da8-41c9-a9ee-bf7fd2a6cf93

#panchatantra #persia #hunting #animals #iran #riding #landscapes #horses #wildlife #fables #bookillustration #manuscript #art #publicdomain

From Anvār-i Suhaylī (1847).

Source: The Walters Art Museum

https://pdimagearchive.org/images/db286abd-3da8-41c9-a9ee-bf7fd2a6cf93

#panchatantra #persia #hunting #animals #iran #riding #landscapes #horses #wildlife #fables #bookillustration #manuscript #art #publicdomain

Captain Tuckey’s Voyage in Africa (1818), from Narrative of an Expedition to Explore the River Zaire, Usually Called the Congo, in South Africa, in 1816.

Source: California Digital Library / Internet Archive

https://pdimagearchive.org/images/32ab42df-f1fa-428d-bc79-810846c0e479

#exploration #expeditions #trees #colonialism #smoke #africa #bookillustration #art #publicdomain

Part 2/2 It's all the same push as in Australia, the US et. - wherever you are, resist it ✊ #STOPEUKIDSACT NOW! cdn.netzpolitik.org/wp-upload/20... As always the graphic is #publicdomain #CC0 #nocopyright, use it however you want <3 #EUKidsAct #Tech #News #EU #Ageverification

cdn.netzpolitik.org/wp-upload/2026...

As always the graphic is #publicdomain #CC0 #nocopyright, use it however you want <3

🔔 UNSC Corpus Update 2026 🔔

The Corpus of Resolutions: UN Security Council (CR-UNSC) now contains all UNSC resolutions up to and including resolution 2815 (2026)!

The new version includes some minor bug fixes and a Zenodo upload script.

The CR-UNSC is joint work with Lorenzo Gasbarri and Niccolo Ridi.

✅ UN Security Council resolutions 1 (1946) through 2815 (2026)
✅ 82 Variables
✅ Drafts and Meeting Records
✅ Bibliographic Database
✅ UNSC and UNGA Citation Data
✅ Languages: English, French, Spanish, Chinese, Arabic, Russian
✅ Formats: CSV, Parquet, PDF, TXT, GraphML, BIBTEX
✅ #OpenAccess
✅ #PublicDomain

🔶 DOWNLOAD DATASET 🔶

💾 Download Corpus: https://doi.org/10.5281/zenodo.7319780

📒 Documentation: https://zenodo.org/records/18771597/files/CR-UNSC_2026-08-19_Codebook.pdf?download=1

See this blog post introducing the dataset for an overview: https://seanfobbe.com/posts/2024-05-06_new-dataset-corpus-of-resolutions-un-security-council/

We also published a pre-print entitled "Words of Power: Introducing a Comprehensive Corpus of UN Security Council Resolutions" (Zenodo 2025) describing the collection, revision and full creation process of the corpus: https://zenodo.org/records/15191558/files/Fobbe-Gasbarri-Ridi_2025_Words-of-Power-Introducing-UN-Security-Council-Resolutions-Corpus.pdf?download=1

🔶 CHANGELOG 🔶

Full changelog here: https://codeberg.org/seanfobbe/cr-unsc/src/branch/main/CHANGELOG.md

#United Nations #UN #UNSecurityCouncil #InternationalLaw #Law #RStats #OpenAccess #OpenSource #OpenScience @politicalscience @rstats

Unsplash: The Met is now on Unsplash. “The Met launch includes 1000 images, and highlights a range of its museums and archives, each bringing a completely different lens on art history, costume and textile history and cultures. These 10 collections span some of hundreds of the institution’s most iconic departments and artists.”

Unsplash: The Met is now on Unsplash. “The Met launch includes 1000 images, and highlights a range of its museums and archives, each bringing a completely different lens on art history, costume and textile history and cultures. These 10 collections span some of hundreds of the institution’s most iconic departments and artists.”

Unsplash: The Met is now on Unsplash. “The Met launch includes 1000 images, and highlights a range of its museums and archives, each bringing a completely different lens on art history, costume and textile history and cultures. These 10 collections span some of hundreds of the institution’s most iconic departments and artists.”

Unsplash: The Met is now on Unsplash. “The Met launch includes 1000 images, and highlights a range of its museums and archives, each bringing a completely different lens on art history, costume and textile history and cultures. These 10 collections span some of hundreds of the institution’s most iconic departments and artists.”

Unsplash: The Met is now on Unsplash. “The Met launch includes 1000 images, and highlights a range of its museums and archives, each bringing a completely different lens on art history, costume and textile history and cultures. These 10 collections span some of hundreds of the institution’s most iconic departments and artists.”

Elsie and the Gnome (1922) by Frances Griffiths, Elsie Wright, from The Coming of the Fairies.

Source: Cornell University Library / Internet Archive

https://pdimagearchive.org/images/b419f6e0-3769-4c95-bee4-2d3e1e709e15

#fairies #trees #hats #photography #art #publicdomain

Elsie and the Gnome (1922) by Frances Griffiths, Elsie Wright, from The Coming of the Fairies.

Source: Cornell University Library / Internet Archive

https://pdimagearchive.org/images/b419f6e0-3769-4c95-bee4-2d3e1e709e15

#fairies #trees #hats #photography #art #publicdomain

Elsie and the Gnome (1922) by Frances Griffiths, Elsie Wright, from The Coming of the Fairies.

Source: Cornell University Library / Internet Archive

https://pdimagearchive.org/images/b419f6e0-3769-4c95-bee4-2d3e1e709e15

#fairies #trees #hats #photography #art #publicdomain

Elsie and the Gnome (1922) by Frances Griffiths, Elsie Wright, from The Coming of the Fairies.

Source: Cornell University Library / Internet Archive

https://pdimagearchive.org/images/b419f6e0-3769-4c95-bee4-2d3e1e709e15

#fairies #trees #hats #photography #art #publicdomain

Elsie and the Gnome (1922) by Frances Griffiths, Elsie Wright, from The Coming of the Fairies.

Source: Cornell University Library / Internet Archive

https://pdimagearchive.org/images/b419f6e0-3769-4c95-bee4-2d3e1e709e15

#fairies #trees #hats #photography #art #publicdomain

*Megatherium* (1828–40) by Orra White Hitchcock.

Source: Amherst College

https://pdimagearchive.org/images/b2898644-2288-489a-8fa5-3e7e1b0808fa

#prehistoric #fossils #education #geology #fabric #paleontology #science #skeletons #megatherium #textiles #design #diagrams #art #publicdomain

*Megatherium* (1828–40) by Orra White Hitchcock.

Source: Amherst College

https://pdimagearchive.org/images/b2898644-2288-489a-8fa5-3e7e1b0808fa

#prehistoric #fossils #education #geology #fabric #paleontology #science #skeletons #megatherium #textiles #design #diagrams #art #publicdomain

*Megatherium* (1828–40) by Orra White Hitchcock.

Source: Amherst College

https://pdimagearchive.org/images/b2898644-2288-489a-8fa5-3e7e1b0808fa

#prehistoric #fossils #education #geology #fabric #paleontology #science #skeletons #megatherium #textiles #design #diagrams #art #publicdomain

*Megatherium* (1828–40) by Orra White Hitchcock.

Source: Amherst College

https://pdimagearchive.org/images/b2898644-2288-489a-8fa5-3e7e1b0808fa

#prehistoric #fossils #education #geology #fabric #paleontology #science #skeletons #megatherium #textiles #design #diagrams #art #publicdomain

*Megatherium* (1828–40) by Orra White Hitchcock.

Source: Amherst College

https://pdimagearchive.org/images/b2898644-2288-489a-8fa5-3e7e1b0808fa

#prehistoric #fossils #education #geology #fabric #paleontology #science #skeletons #megatherium #textiles #design #diagrams #art #publicdomain

Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s

The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”

https://doi.org/10.5406/americanmusic.29.3.0277

#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture

Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s

The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”

https://doi.org/10.5406/americanmusic.29.3.0277

#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture

Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s

The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”

https://doi.org/10.5406/americanmusic.29.3.0277

#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture

Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s

The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”

https://doi.org/10.5406/americanmusic.29.3.0277

#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture

Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s

The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”

https://doi.org/10.5406/americanmusic.29.3.0277

#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture