Muse {{Terpsichore}}

“Such is the holy gift of the Muses to men: that when the servant of the Muses sings, at once he forgets his dark thoughts and remembers not his troubles."

[Muse {{Terpsichore}} @MuseTerps]

@jomickane Please can someone add the theme tune to Thomas the Tank Engine

[Muse {{Terpsichore}} @MuseTerps]

@TfL Why are you trying to infantilise your passengers ?

[Muse {{Terpsichore}} @MuseTerps]

@bigfrankbutch12 @RedTory2016 I couldn’t think who the legs/calves and plates reminded me of …
Then it came to me , vividly …

[Muse {{Terpsichore}} @MuseTerps]

@NagpurKaRajini #SheldonChic 😂

[Muse {{Terpsichore}} @MuseTerps]

@gendelusional https://t.co/EmSoiRBrFj

[Fruella_🦝 @FruellaDeBrille]

I can’t stop watching this, I guess I’m a Trump fan now 🤣🤣🤣

[Ireland's Trees & Mythology @Tree_Folklore]

The Prickly Tunnel leading to Ballynoe Stone Circle on County Down. If all paths were Prickly Tunnels the world would be a happier place 🪄✨

[Janet Inglis @ThatAussieWoman]

Strangling is a method of murder, not a method of sex.

[David Bez Artist @davidbezartist]

L1188 Midnight Field acrylic and oil on paper 20x13 inches £200 unframed. If interested in purchasing please message me.
#Flowers #Landscape

[Alice Vinten @AVintenAuthor]

If you don’t talk to your kids about sex then porn will. Don’t let that happen.

[🇺🇸🇺🇸 MissyMiss🇺🇸🇺🇸 @MissyE2024]

This is too cute lol 😂

[Johnny B. Good @Cat5SMASHICANE]

Like you @Ilegvm this is the first movie I saw with dolly. Later I saw her in Rhinestone with Sylvester Stallone. I thought she was an actress at first because I didn't know her music. I had no idea until one day my eyes were opened. She was an absolute legend. She appealed to everyone and always will. I love watching people's reactions when they hear her for the first time.

[Muse {{Terpsichore}} @MuseTerps]

❤️🙏🏼

[Time Capsule Tales @timecaptales]

Dolly Parton, Linda Ronstadt & Emmylou Harris sing The Carter Family classic "Bury Me Under The Weeping Willow" (1976)

[Wu Tang is for the Children @WUTangKids]

OMG RIP Dolly Parton 👑🥺🙏

[Audrey Ludwig MBE @AudreySuffolk]

Adrian Mole- the luxury belief years

[Helen Day @LBFlyawayhome]

The Little Red Hen, walking back to the farm via Hambledon High Street, Hampshire
😊
Artist: Robert Lumley (1966)

[Muse {{Terpsichore}} @MuseTerps]

❤️

[James Melville 🚜 @JamesMelville]

Nature is extraordinary. Incredible starling murmuration gracing the Italian skies over Sassari, Sardinia. 🇮🇹

[@ActualLion♀️ @ActualLion]

@TheCanaryUK For clarity...could you enlighten us as to when "reporting" becomes "hounding"? Just so we all know.

[Committee for Academic Freedom @ComAcFreedom]

STATEMENT: The Committee for Academic Freedom (CAF) was troubled to see academics smeared from the stage at last night’s vigil for Jason Arday in Trafalgar Square.

As reported by several national media outlets, Diane Abbott MP claimed that “other professors” had waged a three-year “vicious campaign” against Arday because they “just didn’t believe that a black man should be a Cambridge professor”.

That is a serious, categorical imputation of racist motive, and those familiar with the controversy could reasonably have understood Abbott’s remarks as referring to a small, identifiable group of academics known to have raised concerns about Arday’s work.

Unfortunate though it is to revisit those events at such a desperately sad moment, we feel obliged to restate what the factual record — much of it established publicly long before Abbott’s remarks — shows about one of those academics whom CAF is supporting.

David Harris, Professor Emeritus at Plymouth Marjon University, first raised concerns about Arday’s doctoral thesis and subsequent peer-reviewed publications in May 2023. A sociologist with a longstanding interest in how ideas from the critical theory tradition are used in empirical educational research, Harris encountered Arday’s work amid the publicity surrounding his appointment as Professor of Sociology of Education at Cambridge two months earlier.

Harris privately raised concerns with Arday about what he called “puzzling similarities” in reported data, repeated passages and possible failures of attribution. His covering email concluded simply: “I would welcome any response.”

This was not, in other words, a “vicious campaign”, but an emeritus professor engaging closely with another scholar’s published work, identifying apparent problems and asking that they be examined. Several of Harris’s concerns subsequently resulted in corrections to Arday’s published work.

When it emerged last month that Arday had reported Harris to the police for harassment, CAF warned of the chilling effect of invoking the law against awkward scholarly criticism, exposing academics who test published claims or raise questions about research integrity to allegations of criminal wrongdoing and prolonged police investigation.

That same chilling effect arises when Harris’s scholarly scrutiny is retrospectively recast by a senior parliamentarian as racial animus before a large public gathering and amplified through the media.

The scholarly community has traditionally governed its own standards, and its ability to continue doing so depends upon academics being free to ask difficult questions about one another’s work, even where those questions may prove embarrassing or reputationally damaging. Without that freedom, the processes through which scholarship corrects itself and academic standards are maintained cannot properly function.

In those circumstances, CAF will be writing to Ms Abbott asking her to withdraw or correct her remarks and making clear the seriousness with which we regard them. Should those remarks cause him serious professional or reputational harm, including any loss of academic title, status or institutional privileges, we will ensure that he receives appropriate specialist advice on any legal remedies that may be available to him.

[Muse {{Terpsichore}} @MuseTerps]

The sunflower is a masterpiece 🌻

What looks like one bloom is actually a constellation of hundreds of tiny flowers

❤️

[Scott @Havenlust]

Lightning, 1924.

Paul Klee