#&&. ressources: visuals

[byunbaekhyunie]

hey mutuals look away real quick ok? 🩷

i don’t like either of these aespa title songs I think they’re both bad

[dreamtydraw]

do u have any advice for someone starting to draw?

Hmmmm I have a bunch of advices the thing is they worked one me and might not work on everyone but let me share things that helped me in my art journey.

It’s a long post with advices and resources so i hope it can be helpful.

On advices :

Accept the fact that not every art you'll make will be good. Unless you're a full on professional with years of experiences you'll always need to learn things and so, often you'll find flaws in your art. That where it's important to remember to have fun , art shouldn't stress you into making flawless products.

Doodle often. Again you don't have to daily make detailed artworks but doodling will help you progress and helps with creative process.

Find an art format you like. Just like you can't ask a guitarist to play piano, every art mediums are different with their rules. I would advise you to experiment until you find something you're the most comfortable with ( ex i like markers, color pencils and digital art but I despise oil painting )

The quality of your material does matter. It doesn't matter on how well you draw but it does matter in helping you work better so sometimes it's worth saving up for better materials ( do research on what seems the best for you ). This apply for digital tools too ! I only like one app and it's ibis paint...

Copy. Now this doesn't mean blindly trace or steal but find artists or artworks you like and try to find WHAT you like in it and then try to copy it on your own. This goes for anything you want to reference visually, find what you like in it and copy that, if you just copy the reference you don't do much more than being a printer.

Flip your canvas or use a light tablet to turn your sketch. This help you notices anatomy errors more visibly so you can correct them before starting the clean up.

Don't sleep on cartoon. A lot of people say "learn realism before finding your style" and I'd say that not for everyone. If you want to get professionally into art or works on your anatomy then yes you should learn realism because it's the fundamental of anatomy but that not an obligation. One thing you can learn from tho regardless of what you try to do is cartoons. Cartoons are exaggerations of posing, expressions and designs and learning some cartoons rules might help you understand a bit better some notions ( mainly shapes languages and expressions )

Find something that motivates you to draw. Draw for fandoms, draw your oc, draw for yourself but having something that makes you want to draw is important. It's very important that you don't base your motivation on other people's opinion of your art.

Get inspired by other medias. Search about symbolism in other art form, get inspired by movies, books, videos games, people, objects, design etc… Humans are good at making creative stuff, it feed the spirit.

Now on ressources ( That i use or have used )

My personal pinterest board for visual reference

Scan of morpho, a good morphology book

Scan of morpho, about fat and muscles

Post with resources about fat

Tips about character design

Links to Kasey golden Chanels for cartoon inspiration and material review

Post about shapes designs

Hope this can be of help !!

[gp-ressources]

GP-RESSOURCES - Qu'est-ce que c'est ?

FR : Vous y trouverez une collection de gifs soigneusement sélectionnés, prêts à être utilisés dans vos créations.Mais n'oubliez pas ... Créditer les créateurs originaux lors de l'utilisation de ces gifs. Rebloguer leurs gifs packs. Liker leurs posts. Le but est de promouvoir le talent et le travail des artistes qui ont contribué à la création de ces packs. N'hésitez pas à explorer ce blog et à profiter de ces ressources visuelles pour enrichir vos propres créations.

DIRECTORY

EN : You will find a carefully curated collection of gifs ready to be used in your creations. But don't forget... Credit the original creators when using these gifs. Reblog their gif packs. Like their posts. The goal is to promote the talent and hard work of the artists who contributed to the creation of these packs. Feel free to explore this blog and make the most of these visual resources to enhance your own creations

[crispsandkerosene]

The Custom CubeMaps for TS2 Post

You may know that the Sims 2 uses cubemaps to add a reflective effect to certain objects/materials. The details of this are explained in Part 2 of Pixelhate’s ‘Exploring the TXMT’ series.

This document also explains how to make a custom one... but the result is not functional, at least in my all-EPs, all-SPs game. Fortunately, there’s an easy fix:

‘EnvCubes’ are not regular texture images. They contain six different “blocks”/subtextures, one for each side of the cubemap. Thus creating a custom EnvCube involves extracting and renaming one of Maxis’, and replacing the various subtextures. (Unlike SpecularMasks, these don’t mind the DXT1/3/5 formats. Error messages may appear if you import a texture bigger than the existing ones, though. In that case, commit and close the ressource, save the package, and open the ressource again.)

So TL;DR, I made a bunch!

I also made a test object for ease of visualization. Here, it demonstrates Maxis’ “reflectioncubetemplate-envcube” texture with the material’s “stdMatEnvCubeLockedToCamera” parameter set to zero and one respectively. More on that later.

The materials in the following pictures generally have an“stdMatEnvCubeCoef“ parameter of 0.5, 0.5, 0.5; its base texture is flat black.

My first creations: extra recolours of the texture used by most of the game’s metallic cubemaps. The top ball shows Maxis’ “reflectiongold” envcube as a point of comparison.

The middle row contains “MetallicRed”, “MetallicPurple”, “MetallicBlue” and “MetallicGreen”.

The bottom row contains “RoseGold”, “MetallicBrown” and “Gunmetal”.

I’ve also made variations of Maxis’ “reflectionsparking” cubemap (visible left), often used for glass and plastic. The middle texture is “HighContrastSparkling”; the one on the right is “SparseHighlights”.

The same custom envcube, previewed on the urn sculpture. Probably not their best look, tbh.

Now for something quite cool:

With specific textures and the “stdMatEnvCubeLockedToCamera” parameter set to 1, we can achieve a rimlit and/or holographic effect! Here are “RainbowFresnel”, “HoloFresnel” and “Fresnel”.

The spheres don’t really do this effect justice. So here is a demonstration of their “cool holo fabric” potential, gif included. Hopefully no one beats me to making a holo skirt haha. (+ my two reflectionsparking edits on the sides. )

I’ve also fixed up Pixelhate’s own custom envcube, though their texture turned out not to be ideal.

-

My test object and all the pictured recolours can be downloaded here on SimFileShare.

The tester is found under Deco/Misc for 1$. The actual envcube textures are found in its various recolour files, but are only referenced by the recolours of other objects. This means that if you delete “EnvcubeTester_recHoloFresnel”, “HnMManequinLongDress_RecHoloEnvCubeLocked“ won’t be able to find the texture it’s supposed to use.

And here is a zip containing these envcubes as individual TXTR ressources ready to be imported into SimPe, as well as a package file containing all of them.

Again, Pixelhate’s documentation explains how to actually use these custom envcubes for your own CC. My last package file can be used as a “pseudo texture repository” as described in their guide.

-

And a few last minute tips for creators:

The projected envcube is additively added to the object’s main texture and shading. Its brightness is also dependant on the ambiant lighting, being much duller inside. This means that a dark envcube texture likely won’t have much effect.

Maxis’ cubemap projection is weird. Some of the textures don’t have the orientation you’d expect. I’d recommend extracting the subtextures from “reflectioncubetemplate” and testing out your envcube on my test object if you’re strugging with that.

Making a ‘rimlit’ cubemap only involves creating three textures: ‘back’, ‘front’, and a gradient between those that will be reused by all sides. See my ‘fresnel’ envcubes as a reference.

When using such a ‘rimlit’ envcube, don’t forget to set the “stdMatEnvCubeLockedToCamera” parameter in the material to 1. It won’t look too good otherwise :p

Custom EnvCubes can also be used for clothing and other CaS items with the “SimStandardMaterial”. However, they are a bit pricklier: “##0x1C050000!” has to be added before the texture name in the “stdMatEnvCubeTextureName” parameter. It won’t work if this extra string is not present.

[bioshockblueprint]

Parallax Effect in BioShock Infinite

Whilst replaying the game, something caught my attention, those windows in the shops of Columbia that had a strange effect.

(credits to this article and this video for the visuals here)

This is called the parallax effect. It creates a 3D depth illusion and saves a ton of ressources in games. This is particularly useful for shop windows or seeing inside apartments that the player cannot access. Spiderman is an especially excellent example. Here is a video from Kotaku talking about it in the specific context of Spiderman.

In BioShock Infinite it is used extensively throughout the city and when you know it's there it's really difficult not to notice it. Though I've noted that every windows using this effect also has some kind of glass fogging effect to obscure the illusion as it's not 100% perfect. What it also does is block the view of the player with a reflection bump offset where the illusion would be completley gone by looking at the windows sideways. This also makes the glass more realistic. For the texture.

As for the actual objects within the windows, we can see thanks to Simon Schreibt's article that it's simply a masking texture. (Please check out his article, he has a ton of information on parallax effect, going in depth with it's use in game art. I'm just mainly focusing on BSI here.)

So we end up with two parallax layers and a bump offset to make them work together.

For those who don't know, a bump offset essentially is the layering of two textures to create depth. Here is a bump offset creating parallax from Oliver Loftus's article.

So I set out to recreate the effect for my MA class as we are going to need a good couple of shop windows and also to teach myself how to do this.

In Unreal Engine, I created a new material and added an interior cube map node (fig1) with an RGB mask and an horizontal and vertical absolute value (fig2).

This will create the parallax effect I want. Then I added the background of my desired room. This also works with a simple colour.

Once that is done I multiplied the effect (follow along with the full nodes layout at the bottom of this post for a more detail tutorial). I also added a Tiling multiplier to control how many times I want the texture to repeat. In this case one time is fine for the effect I want.

Then it's time to add things into the windows. I'm using those two textures I quickly made and i'm layering them with a bump offset like so. The height parameters insure that I can layer them how I want them to be in the fake 3D space.

Once put together this is what I end up with!! I'm super excited about this, it was really rewarding to figure it out and this will be very helpful for my MA and my research into Bioshock shaders! Here is the full material for those who want to have a go!

In the future I will post a different way to get this effect via Blueprint, a good way to use 3D models already existing instead of images but difficult to get as realistic.

[justforbooks]

Laurent Cantet

French film director who won the Palme D’Or at the Cannes film festival with his improvisatory education drama The Class

The social-realist boom in 1990s French cinema produced compelling new voices such as Jacques Audiard, Bruno Dumont and Érick Zonca. The most humane and rigorous of that group was Laurent Cantet, who has died aged 63 after suffering from cancer.

Cantet, who often worked in an improvisatory mode with non-professional actors, won the Cannes film festival’s top prize, the Palme d’Or, for his education drama The Class (Entre les Murs, 2008). Sean Penn, president of that year’s Cannes jury, called the film “a miracle, a perfect movie, just so exciting to see. We walked into the jury room afterward and it was like we had swept up the floor and our work was done.”

A kind of Parisian Prime of Miss Jean Brodie, it was arrived at by cross-pollinating drama and documentary to create what Cantet called “documented fiction”. François Bégaudeau, author of the autobiographical novel Entre les Murs (Between the Walls, 2006), on which the film is based, plays a version of himself: an enthusiastic inner-city teacher who inspires his adolescent pupils but also crosses swords with them.

In one scene, François is taken to task over his use of anglicised names in his mathematical exercises: Bill has 12 apples, Bob has three, but what about, say, Rachid or Aïssata? This playful scene plants the seed for one of the film’s main themes – the use of language to gain leverage, and to reshape the world.

The movie’s sharp-eyed visual style lends these semantic wrangles a strong cinematic dimension. Shooting on location with three high-definition cameras, Cantet achieved an omniscient documentary effect. “This gave us a lot of freedom, allowing us to improvise, to capture the energy of the pupils rather than interrupt them when we wanted a different angle,” he explained. The students and staff in the film, who were all drawn from Françoise Dolto junior high in the 20th arrondisement of Paris, generated many of the scenes in collaboration with Bégaudeau and Cantet.

The movie’s overall tone is one of bruised idealism. “It shows the richness of multiculturalism rather than its weaknesses,” said Cantet. “The film is utopian about the possibilities this kind of setting offers, but pessimistic about the school system in general.”

The Class received an Oscar nomination and became Cantet’s most successful film. But the three features that preceded it were more impressive, withholding even the smallest spoonful of sugar to help their messages go down.

He made his debut in 1999 with Human Resources (Ressources Humaines), in which a business-school graduate starts a management job at the factory where his father is a welder. The newcomer clashes with the union at first, then has a change of heart when he learns of planned redundancies.

That film, which the critic Ginette Vincendeau called “generous, sensitive and innovative”, addresses with Loachian fastidiousness the challenge of reconciling principles and productivity. Both Human Resources and Cantet’s 2001 follow-up, Time Out (L’emploi du Temps), explore how work defines us even in our most interior moments.

Time Out concerns the middle-aged, middle-class Vincent (Aurélien Recoing), who conceals his unemployment from his wife and children, and instead lets his days drip by in service stations and motel lobbies. To retain his role as breadwinner, he cheats cash out of gullible investors he meets on the road.

The film was inspired by the case of Jean-Claude Romand, who lied about his non-existent job, and finally slaughtered his family. Cantet and his regular co-writer and editor Robin Campillo (who later became a director in his own right) stopped short of such horror. “We wanted him to have a disconcerting banality,” Cantet said. “He’s just someone who slips and trips down a certain pathway.”

Some audiences found a note of hope in the final scene, in which Vincent attends a job interview. Cantet was quick to scotch that reading. “The notion of work is so full of wealth and worthiness that the prospect of Vincent finding employment again is obviously a winner,” he said. “But not having a job can be of a certain wealth, too. For people like him, work can only be slavery, so to see the last scene as a happy ending is a denial.”

Heading South (Vers le Sud, 2005) applied Cantet’s usual scrutiny to a different milieu, albeit one still steeped in exploitation and commodification. Charlotte Rampling and Karen Young play sex tourists at a Haitian beach resort in the late 1970s who find themselves competing for the same 18-year-old gigolo (Ménothy Cesar). Neither woman is interested in the young man’s plight under the corrupt regime of President “Baby Doc” Duvalier, though eventually the country’s political strife eclipses their feud. The film has a starkly Fassbinderesque view of the intersection between sex, money and power.

Cantet was born in Melle, a town in western France, and raised in nearby Niort. His parents were both teachers. He attended university in Marseilles, then studied at the Paris film school IDHEC (L’Institut des Hautes Études Cinématographiques), where he met Campillo. Their first full-length collaboration, Les Sanguinaires (1997), was made for French television as part of a project looking ahead to the new millennium. (Human Resources was also made for TV, but earned an international cinema release.) Asked about the 13-year gap between graduating and directing Les Sanguinaires, he said: “I spent a long time trying to discover what I wanted to say in a film.”

Reactions to the movies he made after The Class were mixed. An adaptation of Joyce Carol Oates’s 1950-set novel Foxfire: Confessions of a Girl Gang (2012) met with muted acclaim. Return to Ithaca (2014), about a reunion of five friends in Havana, made few waves. It was Cantet’s second project in the city: he was one of seven directors who contributed to the portmanteau project 7 Days in Havana (2012). It was part-funded by Havana Club rum, which features prominently on screen.

His 2017 drama The Workshop (L’Atelier), about the relationship between a female teacher at a summer writing school and a male teenage student radicalised by the far right, revived the simmering tensions of Heading South, and represented a real return to form, though in fact the film had been gestating for more than 15 years. Cantet’s final picture, Arthur Rambo (2021), was inspired by the real-life case of Mehdi Meklat, and follows a young writer from the banlieues whose career is wrecked by offensive social media posts that predate his fame. He was working on a new film, The Apprentice, at the time of his death.

“My characters are never heroes,” Cantet said in 2008. “They always have weaknesses. That’s what motivates me to write them. They are people looking for their place in society: a place which is much harder to find when you don’t march in step with the rest of society. It’s something I can recognise in myself: keeping the world at arm’s length. Perhaps making films is a way of making up that distance.”

🔔 Laurent Cantet, film director, born 11 April 1961; died 25 April 2024

Daily inspiration. Discover more photos at Just for Books…?

[liebelesbe]

Sending you this as an ask, I just found out that replies and DMs have a character limit 😅 It's a reply to your post asking whether you could consider yourself disabled or not

Adding to this (the other replies), I think it's crucial to not understand disability as a characteristic of a social in-or-out group but rather as a characteristic of an ableist society that excludes and includes bodies based on (on the face of it) arbitrary criteria. There is a commonplace in (certain strains of) disability activism that basically says "Actually, the overwhelming majority of people are being disabled, most people just internalize their disability" ("Well, I guess it's me who is just not smart/strong/sane/healthy/productive/... enough"). That being said, I guess your cautiousness is actually great because I imagine that it comes from a place of not wanting to tap into other people's scarce ressources and be it attention or community. And I think that's actually a great thing to keep in mind. I've had lengthy discussions about this with a close friend of mine who is visually impaired and also an academic interested in anti ableism and it started because she said something like "Well, because you're not disabled as me...." and then immediately correcting herself because she remembered my chronic depression. So we talked a lot about this and ultimately came to the conclusion that yes, I am not disabled as her because we are both disabled in different ways that impact different parts of our lives with different degrees of gravity. And - or at least that would be my hope - as long as I keep that in mind the risk of me claiming ressources that belong to her becomes a lot lower, as the risk of me participating in community in a way that includes me but excludes her. And also the other way around. So I think there is a huge chance for disability activism if differences in the ways in which society disables people are met with this kind of mutual responsibility. And hopefully this opens up a way for everyone to examine in which ways they are being disabled by society. And I think you can actually think of a lot of ways in which this is happening to you.

Anyways, thanks for coming to my TED talk and listen to Rampe? Reicht! (it's in german) https://rampereicht.de/

Good point(s), thanks! Und ich hör mal in den Podcast rein wenn ich Podcast-hör-Energie hab :)

[asterisque]

Independent & selective multimuse blog featuring characters from different gacha & video games fandoms but mostly from the Fire Emblem - Tales of & Honkai: Star Rail series.

Written by Aster. She / her. 30+.

Carrd.

Promo.

Ship Bias.

I'm trying a public rp blog once more because I want to meet new people, but be warned, if it gets too much again, I'll hide on my private lol.

Icons? I don't know her (most of the time idk anymore).

Low-key activity.

Shorter Rules under the cut in case the carrd is not readable for you. Please, read at least those first before following!!

Not spoiler-free.

Multiship & Multiverse. I only ship with ocs if you're a close friend. Any established relationships with my muse(s) are okay as long as it's a canon character pertaining to the canon of said muse(s) (if you're not sure about this, just ask me in IM).

Crossovers friendly!!

DO NOT REBLOG NOR LIKE ask memes from me, do it from the source, I'm not an ask meme ressources, I won't hesitate to hard block anymore if this rule keeps on being broken! If you could do the same with any reblog I do on this blog while at it, for the sake of my activity.

Speaking of ask memes, they're always available to send me, even if we're not mutuals, ask are open to everyone, only threads are for mutuals.

Tag anything NSFW & Gore for me, only visual stuff tho, if written, don't worry, I'll stop reading if not my thing haha. I will do the same.

And let(s have fun!!!

[fabiansteinhauer]

Visualität

1.

Nicholas Mirzoeff ist einer der internationalen Schreiber (nicht unbedingt ein Autor), die Bilder so behandeln, dass ich sagen kann: sie behandelt sie als Grenzobjekte und normativ.

Wie man im deutschen Recht das Dogma findet, dass das moderne, bürgerliche Bildrecht mit dem Bismarckfall angefangen habe oder die These findet, dass erst mit jüngeren Bildern Juristen durch Bilder beunruhigt würden, anders gesagt: mit einer der vielen Thesen zum Anfang eines neuen Verhältnisses zwischen Bild und Recht hat auch Mirzoeff eine These zum einen Anfang, den er den Anfang der Visualität nennt oder: Visualities first domain. Das seien die Plantagen in den Sklavenwirtschaften gewesen: Der abwesende Souverän und Eigentumer habe so seine Herrschaft über die Sklaven ausgeübt. Mirzoeff assoziiert das Bild mit einem Effekt, den er dann weiter mit einem Begriff Autorität nennt. Visualität ist bei ihm eventuell eine autoritäre Fassung von Bild und Recht.

Wenn man das Bild normativ und operativ definiert, kommt man Mirzoeffs Vorstellungen nahe, aber im Detail gibt es Unterschiede. Darum etwas vorab, bevor ich Mirzoeff weiter lese: Normen sind nicht verbindlich, durch sie kann man mit Limits der Bindung umgehen, also sowohl mit Verbindlichkeit als auch mit Unverbindlichkeit. Normen tragen Konflikte aus, so, wie man auch Zeitungen austrägt: An Normen und durch sie wird etwas unterschieden, das läuft rekursiv, das heißt: Die Kontur der Norm und damit die Norm selbst erscheint durch die Trennungen und die Assoziationen, die man dank der Norm und durch die Norm vollzieht. Man kann das tautologisch und widersprüchlich nennen: Etwas erscheint dank und durch seine Erscheinung. Manche nennen das selbstreferentiell, ich nicht, weil in dem Vorgang etwas kreuzt - also zum Beispiel Rauschen und Information, Sprache, Laut, Ton, Krach, Sehen und Blindheit etwas austauschen, was zwar vom Selben durchzogen sein kann, aber nicht durchzogen sein muss - es kann kann von Fremden, von Alterität durchzogen sein. Was daran an diesem Vorgang offen ist, was daran geschlossen ist, was daran beschreibbar ist und was daran nicht beschreibbar ist, was daran begreifbar ist und was daran unbegreifbar - diese elementare Frage verschiebe ich einfach mal und sage: Man kann die Grenzen eines Bildes wie die Grenzen einer Norm nicht leugnen, sie sind nicht selbtgenügsam. Sowohl die Norm als auch das Bild betrachte ich als unbeständig.

Durch ein Bild, das normativ und operativ definiert wird, kommt zwar Wahrnehmung vor, dadurch wird etwas, nicht nur, aber auch das Bild wahrnehmbar (auch so, wie man Recht wahrnimmt, also bestreitbar und in gewisser Hinsicht ausübbar). Das Bild teilt aber auch die Wahrnehmung, teilt auch die Effekte. Das Bild ist nicht unbedingt autoritär, die Autorität wäre ein Teil des Effektes, ein anderer wäre etwa die Potentialität. Wie man im römischen Recht ab einer bestimmten Zeit auctoritas und potestas unterschieden hat (das wird für Warburgs Staatstafeln wichtig, weil der Unterscheid zwischen auctoritas und potestas später von einzelnen Autoren auch als Unterschied zwischen weltlicher und geistiger Macht übersetzt wird), so müsste man hier die Effekte des Bildes weiter unterscheiden. Wenn es eine Bildmacht gibt, dann ist das ein Effekt, der ebenfalls über Trennungen und Assoziation operiert, in dem Macht also zu nicht eine Ressource wird, die man hat oder nicht hat. Sicherlich kann man Macht nach denen unterscheiden, die sie ausüben und denen, sie sie erleiden, nur ist das nicht der Grundlage der Macht, nicht ihre Substanz, nicht ihr Bestand. Macht trennt und assoziiert dann auch den, der Machthaber oder Machtloser sein soll, auch in dem Sinne, dass die Macht ihn dann spaltet oder zerteilt - und ihm die Existenz einer Assoziation gibt, die man treffenderweise für eine unbeständige Angelegenheit hält.

Das Bild lässt Sinne wahrnehmen, weil es Sinne teilt, formiert, weil es Macht teilt, wenn nicht in die Formen, die man auctoritas und potestas nennt zum Beispiel die Formen, die andere Autoren konstitutionelle oder institutionelle Macht nennen (den Unterschied findet man zum Beispiel bei Vincent Descombe).

2.

Zurück zu Mirzoeff: Mirzoeffs schreibt nicht nur eine Gegengeschichte (gegen die anderen Geschichten stehen), er liefert auch Gegenbilder, gegen die andere Bilder stehen. Mirzoeffs Theorie des Bildes ist ein Dogma (den Begriff verwende ich nicht pejorativ, sondern als Synonym für Norm, die mit Bild einhergeht).

Mirzoeff arbeitet dabei auch an dem Bild, das ich ein römische Bild nenne und auf die Gründungerzählung von Plinius beziehe, mit der das Bild die Aufgabe habe soll, eine Abwesenheit zu überbrücken und einen Abgrund zu meistern oder zu bewältigen. Von da aus fasst Mirzoeff das Dogma der Visualität anhand des abwesenden Souveräns und Eigentümers, der mit dem Bild die Sklaven beherrscht.

Das will ich nicht widerlegen, ich will widersprechen, sobald das Dogma sich aus Situation löst, für das es gefasst wird; also sobald es sich vom Gebiet dessen löst, was Mirzoeff so schön bildllich eine first domain, eine fürstliches Anwesen oder eine herrschaftliche Domäne nennt. Aby Warburg hat eine andere Vorstellung vom Bild, die nicht von den Plantagen und Landbesitzern in den Kolonien kommt, sondern aus dem Bankgeschäft einer Hafenstadt und einer Familie, die sich in der Tradition von wandernden Wechslern sieht. Hamburger, Florentiner, Jude: pendelnd beschreibt sich Aby Warburg. Auch wenn er teilweise mit den Kulturtechniken arbeitet, mit denen die Verwalter auf den Plantagen arbeiten und sich diese Technik in seiner Geschichte und Theorie das Bildes fortsetzt, nämlich mit Verwaltungstechniken, die wiederum mit Akten, Tabellen, Listen, Protokollen und Kalendern arbeiten, kommt er doch zu einer anderen Geschichte und einer anderen Theorie - und das zeigt sich prinzipiell, also gerade an dem, was man dann als Anfang ins Spiel bringt. Auch Warburg definiert das Bild normativ und operativ, aber weiter noch darüber, dass bestimmte Regungen [Bewegungen] operationalisiert werden. Warburg befasst sich gleich am Anfang seiner Bild- und Rechtswissenschaft 8also ab 1896) zwar mit der mancipatio, also einem Akt, mit dem man (auch) Sklaven erwerben kann. Aber die mancipatio kommt weiter zum Einsatz (str. inwieweit), Warburg sieht in der Beziehung zwischen Herren und Sklaven nicht unbedingt etwas Negatives, vor allem aber markiert die mancipatio für Warburg nicht den Anfang der geschichte des Bildes. Im Atlas, der ab 1924 in Hamburg langsam entsteht, macht Warburg klar, dass er als erste, anfängliche Bilder Sternenbilder ansieht. Die mancipatio interessiert ihn, so lautet meine These, weil sie als Bild schafft, was Sternenbilder schaffen. In der mancipatio, die schon Gaius als Bild, sogar als eine Art wirbelndes Bild versteht ( "Est autem mancipatio, ut supra quoque diximus, imaginaria quaedam venditio...") sieht, das spitze ich jetzt zu, ein Vorbild und das ist das Sternebild, das um den Menschen elliptisch kreist, in dem doppelten Sinne, in dem etwas um etwas kreisen kann, also es damit umfassen kann, aber auch seine Krise Form und Formlosigkeit geben kann, also den Menschen logisch (sprachlich) begreifen und (krachend) kreischen lassen kann.

Kurz und mit den Begriffen für Warburgs Bibliothek gesagt: Wie Sternenbilder lässt die mancipatio Wort geben und sich ein Bild machen, lässt orientieren und handeln, alles kommt bei Warburg aber in Situationen auf, die alles andere als beherrscht sind. Weil da kein Wort ist, muss man eines geben, weil man nichts sieht, muss man sich ein Bild machen, weil man keine Orienioterung hat, muss man sie finden, weil man ohnmächtig ist, muss man handeln. Mirzoeff assoziert das Bild mit Beherrschung, Warburg mit unbeherrschten Situationen, sogar unbeherrschbaren Situationen. Es ist wohl kein Zufall, dass der Anarchist Edgar Wind in der zweiten Hälfte der zwanziger Jahre intensiv an Warburg gerät, eine wichtige Rolle bei der Rettung der Bibliothek spielt und in den ersten Jahren in London si viel anstösst, bis er selbst wohl zum Anstoß und, wie manche behaupten, zur Paria des Insitutes wird.

Warburg und Wind sind zwei der wenigen Figuren, die das Bild nicht an Macht ketten, nicht mit Macht verschmelzen und nicht mit Macht verlöten oder verschweißen, sich nicht dann damit beschäftigen, wenn es sich um Leitbilder handeln soll - und die das Bild doch normativ und operativ definieren. Nur definieren sie es weiter über Regung, die anarchisch erscheint, weil sie unbeständig, meteorologisch und polar ist, sie kommt und geht, mit ihr kommt und geht was, das alles bleibt schwer berechnbar bis unkalkulierbar, aber gerade dafür sollen Bilder interssant sein: Bei aller Rigidität des Unverbindlichen mit der Rigidität des Unverbindlichen umgehen zu können. Bei aller Austauschbarkeit sollen man mit dem Austausch umgehen können, bei aller Auswechselbarkeit mit der Auswechslung, bei aller Windigkeit mit dem Wind, bei aller Wendigkeit mit den Wendungen, bei allem Kippen mit dem Kippen, bei allen Kehren mit den Kehren. Warburg zu sagen, er sei nicht machtsensibel, das wäre wohl ein Hohn. Warburg sammelt Nachrichten über Gewalt, immer, egal ob es sich um Polizei, Soldaten und Kriminelle handelt, jede Ausübung von Gewalt stösst ihn an, manche sogar um. Aber das Macht nur Macht sei und nur Macht Macht, das glaubt er nicht. Schon darum führt er auf Tafel 78 zwei unterschiedliche Mächte vor und eine Grenze, die damit mitten durch die Macht geht.

3.

Es gibt einen Bedarf nach Theorieimport, Bedarf danach, auf Leute wie Mirzoeff zu verweisen. Es gibt Gründe dafür, warum solche Untersuchungen nicht an deutschen Fakultäten geschrieben werden, ich liefere sie aber nicht, gebe sie nicht, auch nicht weiter, weil ich diese Gründe für Quatsch und ärgerlich halte. Mirzoeffs Buch von 2011 erschließt einen Diskurs über Recht und Bild, versteht Rechtswissenschaft nicht als die Literatur, die Gerichtsentscheidungen und dazu noch die Literatur von staatlich anerkannten Rechtsautoritäten noch einmal zusammenfasst, kritisch kommentiert, systematisiert und dann vielleicht noch mit Zierleisten Philosophie versieht. Vor allem schreibt er ein Buch, weil andere es nicht tun, auch wenn er nicht behauptet, er sei der erste, der sich über das Thema Gedanken gemacht hätte. Ob und inwieweit Mirzoeff eine andere Vorstellung von dem Verhältnis zwischen Recht und Bild hat als ich oder als Aby Warburg, dazu habe ich bisher nur minimal etwas gesagt, nicht einmal den Fuß in die Tür gestellt, nur so ein bisschen angeklopft, ein paar kurez Passagen bei Mirzoeff und bei Warburg abgeklopft.

Eins kann ich eindeutig sagen, nämlich warum ich Mirzoeff hier vorstelle: Visualität ist bei ihm entweder das Sichtbare im Sinne von Cornelia Vismann, also eine Einrichtung oder Insitutierung von Sicht, die durch eine Sperre (englisch a bar), also eine Trennung und eine Assoziation (Vismann: "Cancellierung) erscheint. Das kann auch eine nackte Sichtbarkeit, nichts als Sichtbarkeit sein, aber die Nacktheit darin ist eben auch ein Akt, der wie ein Akte operiert, also auch über Sperren, Cancellierungen operiert (das beschreibt Vismann nicht im Aktenbuch, aber in ihrem Text "Vor ihren Richtern nackt"). In seiner Einleitung schreibt Mirzoeff "visuality is not the visible", ich würde das im Hinblick auf die Möglichkeiten der Übereinstimmung mit Vismann eventuell so übersetzen: Visualität ist zwar das Sichtbare, aber das Sichtbare ist eine gesperrtes, cancelliertes Sehen.

Entweder ist Visualität bei Mirzoeff also das Sichtbare im Sinne von Vismann, oder nicht, aber dann entwirft er immer noch eine Geschichte und Theorie der Visualität, in denen Sehen und die Sicht von Anfang an auch normativ und operativ verstanden werden, in dem Sinne: nicht so unschuldig wie Blümchen auf der Wiese, nicht als das, was noch frei und unbegrenzt wäre, bevor dann angeblich später erst das Recht käme. Mirzoeff füttert keine Phantasien über rechtsfreie Räume und unberührte, unlimitierte Sinne. Die Gründe, die mich Cornelia Vismann haben entdecken lassen, die sind insofern die gleichen Gründe, die mich Mirzoeff haben entdecken lassen. Heute bringe ich diese Gründe immer auf eine Formel: Immer dann, wenn etwas anfängt, dann fängt auch das Recht an, weil Anfangen eine juridische Kulturtechnik ist. Meine These lautet nicht, dass alles auf der Welt Recht ist, ich will aber an allem beobachten können, wie Juristen involviert sind - und entdecke bisher immer etwas.

[starberry-skies]

Hello! Sorry to bother you, but you are the only blog I know who makes IDs outside of their own stuff so I figured you were the best person to ask. Do you have by any chance ressources to learn how to make and practice them? I want to start using them but I'm not a native speaker and I'm kinda struggling ^^'

Thank you and have a nice day!

oh ofc!! if u want, i have some good posts in the #image descriptions tag on my blog, but i'll link some stuff here too :D

Why and how, basics

Quick tips and tricks

Describing comics

Describing videos

Image Description Guidelines

and a couple of my own tips !!

a great rule of thumb is, "the more time someone would look at an image, the longer + more detailed the description should be". This means, if it's a little doodle or a meme, u don't have to spend hoursss describing every little thing (ie, the clothes ppl are wearing, the lighting, that typa thing -- unlessss it's like,, part of the joke/meme. does that make sense ?) this post by mothfishing [hyperlinked] explains it SO much better than i ever could

on that note, a short/""bad"" id is always better than none at all!! don't worry too much abt the quality, or else you'll get stuck in a loop of fixing and editing and the description will never be published (or is that just me lol)

an absolute lifesaver for me was using a text-to-speech/screen reader to read my descriptions back to me ! especially if it were a longer piece, i would write an id, turn on the screenreader + close my eyes, then see if i missed anything important + if i needed to rephrase anything.

for practicing:

if you see an image w/ a description, try to write one yourself for that image. then just check between those ! it's bound to be different, but how? try to figure out which fits the image better, then adapt !

whenever i'm bored/have nothing to do, i try to describe things in the room. this is mostly just a fun little game to keep my brain busy, but it's also helpful in building skills !

if i can, i like to read out my description to a friend/family member if they're around. i ask them to imagine what i describe, then i show them the image to see if it matches. getting other people's input is always v v helpful... and speaking of....

the people's accessibility discord server!!!!!! i cannot emphasize enough how cool and nice everyone is there !!!!! u can ask for help describing something, ask ppl to double check ur work, or just send an image for ppl to describe!! literally everyone there is just so wonderful and helpful :3 here's an invite link!

little things that i learned:

the screenreader on my phone reads quotes without pause. so it would read "a sentence just like this" as if the quotes weren't there. so i picked up the habit of putting a comma before the quote to break the sentence up. so saying "this" sounds much more different then saying, "this".

(desktop only i think) it's much better for a screen reader to read line breaks (holding shift and enter) than just paragraph breaks (just enter). with paragraph breaks, the person using the screen reader would have to tap on each new paragraph to read it, which can be a hassle. with line breaks, the screen reader just reads the next bit automatically, but the ID is still visually broken up.

save stuff to ur drafts to look over later !

for text-heavy images, use a OCR/image-to-text extractor. just put the image in and copy the text it spits out, maybe looking over it to make sure there aren't any mistakes. this definitely removes a lot of the burden of copying text painstakingly by hand yk

i'm sure there must be more i'm forgetting, so if any of my followers want to leave any more tips in the notes i'd greatly appreciate it :D

[palior]

Awards 2023 : Movies

Second category: Movies that I saw this year.

Higher, Further, Faster, Funnier Award - The Marvels

New favorite trio in the MCU <3

Queer Fantasy Award - Nimona

These gayz are saving the world !

To Be Continued Award - Spiderman Across the Spiderverse

Visually as stunning than the first one. Now to see the story through to its conclusion.

It's A Queer Metaphor Award - Neptune Frost

An original and interesting tale of queerness, colonization, imperialism and ressource expropriation. Unanimous goldmine !

Best Goodbye Award - Guardians of the Galaxy Volume 3

Probably the best arc in the MCU. The love and care given to the characters are my favorite. Rocket desperate scream is still haunting me to this day.

Best Animated Movie Award - Puss in Boots 2 : The Last Wish

So much heart in this movie. I'm still laughing at the random anti-gravity boots joke.

To Be Or Not To Be Award - Barbie

I loved *Ladybird* so I was expecting this movie to be at least good but I was not prepared for the character study of a doll that finds her own humanity and reason to live.

Best Movie Award - Dungeons & Dragons : Honor Among Thieves

As a big geek, I love D&D and this movie is a love letter to it. From the practical effects, to the lore, the jokes, the feel that you are in the middle of a campaign and some touching moments (special points for the Holga scene with her ex-husband that made me teared up), everything clicked for me.

[byunbaekhyunie]

admittedly I’m not that familiar with aespa’s discography but drama sounds too much like your middle of the road blackpink tt to me ://

[cavorta]

Book review

»Mastering Magick – A Course in Spellcasting for the Psychic Witch« by Mat Auryn

After reading »Psychic Witch« which I find very recommendable, my expectations for this second book of Mat Auryn were high … and they were completely met. This book starts with a good disclaimer and in the acknowledgments, the author mentions that he had a sensitivity reader and a neurodivergent test group. So my expectation grew that this would be an inclusive book. And it is indeed, for instance there are several ideas how to reach the alpha wave state for deep meditation/trance and the phenomenon of aphantasia (some people cannot see or visualize images before their inner eye) is also addressed.

The author also explains complex historical magick concepts, like the Hermetic Principles and the elements, in an easily understandable way which in my eyes makes this book very accessible to witchcraft/magick newbies.

In the beginning, Mat Auryn writes a bit about his childhood and how he got interested in magick. I would like to put a content warning here because he also recalls experiences with a violent, abusive relative. As in »Psychic Witch«, Mat Auryn sometimes refers to pop culture to explain some things, for instance with a quote from Frank Herbert’s science fiction series »Dune« with regards to »the Mysteries« or a reference to the BBC shows »Sherlock« and »Dr. Who«.

Other than »Psychic Witch« the chapters of this book do not build upon each other. Instead, the author writes about several different topics of witchcraft and magick, with lots of exercises and also really interesting contributions by other witchcraft/magick authors. Several of the exercises/spells resonated immediately with me (as in, »This is great, I want to try it soon«), some not so much, but that was something what I expected before starting the book, so that’s okay for me.

The author not only writes spells and exercises, but also explains their purpose and where they are orginally from. For instance, he has developed some of his own and there are also some which he has learned by other witchcraft/magick teachers and has adapted them a bit or simplified them, or else.

For most of the spells, some items are needed, for instance herbs, crystals, witchcraft tools, but there are also some you can perform without any items, just your mind, body and (psychic) senses.

While the basis of many spells in this book is often a general topic (like cleansing, protection, a freezer spell, working with magical shapes, a witch ladder/cord, magical poppets...), the spells themselves are quite unique. Related to the people who have contributed here, these spells as well as those by Mat Auryn himself, also have their own style. With this I mean that you won’t find something similar with a quick internet search. There are also some good guided meditations/journeys included, four of them about the elements.

As in any good witchcraft/magick book, there is a bibliography in the end and I'm not exaggerating when I say that this one is really extensive, so there are lots of good ressources for further reading.

Conclusion: I can highly recommend this book to any witch and magical practitioner, no matter if you are just starting out as a newbie or have a few years of experience. I would also recommend to read »Psychic Witch« if you can.

Link to the author's website: http://matauryn.com/ Link to the publisher's page of the book: https://llewellyn.com/product.php?ean=9780738766041

[moinsbienquekaworu]

Salut ma bien-aimèe! I wanted to thank you again for the fic recs, and also let you know that your compliment of my frenglish has been living rent free in my head since you sent it and just thank you so much <3

But I did take your suggestion of sorting by word count, and found some drabbles that were translations, and I shouldn't be this surprised but the parallel reading between the English and French actually helped a lot! So I think I'm gonna go off the deep end and read Cambiare Podents >:)

In the meantime, I'm def gonna be getting ahold of the French editions of HP, but you mentioned having some regular book recs too? Whenever you have the time, I'd love to see those 👀👀 I don't want to use you as a free resource, but I really massively appreciate the time you've been putting into this for me and I super appreciate your patience with my very limited vocabulary!

That's all, have a lovely evening and sleep well!! Love you!!!

MON AMOUR!!!! You're welcome I loove talking about what I read especially to people who are interested. Honestly the frenglish took me out I had to comment on it like it's wild. I talked about you to my family (yeah I don't have classes to complain about at diner anymore and your message was sweet) and your word order wasn't usual when you said 'j'aimerais les bons mots utiliser' (you'd put the utiliser before that, j'aimerais utiliser les bons mots) but my dad thought it was charming and it sounded like Yoda. So. That's a compliment obviously. (talking more about my online friends so that when I have the money to take a plane to come see y'all my parents don't go 'who are you going to see??' also)

Hehe Cambiare Podentes was SO important to me honestly! I started with the french translation but there were only a few chapters translated and it stopped right as it was about to get more interesting, and since the chapters are all the size of a novella the translator was updating like once a month/every few months. I didn't want to wait thought so I said well surely I can read it in english! And now here I am. So I hope you have fun with it too!!!

You're not using me as a free ressource you're giving me enrichment!! I love love love talking way too much about things that interest me but usually people aren't on the same wavelength so they listen politely but they don't really care that much. Which is fine but it's so cool when you know your recs actually have a chance of being read! I'll find you a little list of books + try to get a clean epub/pdf because I just know a lot of the stuff I like isn't going to be available outside of France and I'd feel bad for giving you recs you can't get your hands on. There's also a few visual children's books I'm thinking of (like the Claude Ponti books) that I have at home that I could probably take pics of/scan if you want, once again because I have no idea of the availability outside of France and potentially neighbouring countries/Québec. You'll have to tell me if Cambiare Podentes is the right level or if you want some simpler stuff because I can also do children's books with smaller vocabularies and easier sentences, I just have to know haha.

Also if you want me to speak french at you/with you I have a lot of free time now so 👀👀 text/voice, whatever you want, I'm free a fair amount is all I'm saying.

Thank yoouu you too! I think you said you were going to a concert so I hope you had fun! (and I didn't know if I should say it in the replies but you looked really good in that pic you posted)

[acre-of-wheat]

Hi, hope this doesn’t sound weird. You've said before that you work in stuff for accessibility for people on the spectrum. Do you happen to know of any ressources with stuff such as check-lists for morning routines? Like, all I can find online is stuff where they're like

1. Get up

2. Do some yoga

3. Eat breakfast

4. Go to work

Where, I'm searching for much more specific help, like

1. Get up

2. Go to the bathroom

3. Eat breakfast

3. 2. Drink water

4. Brush your teeth

5. Take your wallet/keys/charger/earbuds

6. Take lunch and water bottle

7. Go to work

You know what I mean? Like, specific stuff to help not forget elementary self care things, you know?

It's alright if you don't have an answer, of course :) have a nice day

Oh! I've actually been to some expos where I've seen people who have developed things like this. Of course there are phone apps and stuff like that, but honestly I think the visual/tactile model of a chart like that makes it *much* easier to use than a digital one.

Honestly I'd just take a look through Etsy, because you'll see a lot of different options and can look at the different layouts, see what you think looks both aesthetically attractive to you and feels like it would work best and where it would fit in your home.

I feel pretty confident that I've met the people who make this particular one?

And here's the Etsy page to look through!

I might suggest one that looks like it has a degree of customization, because none are going to be exactly perfect for what you want, but if it leaves open a few cards/magnets/pieces for you to put tasks of your own on, you can tailor it to your needs.

Hope this helps!

[papirouge]

This seems like a silly question, but do you recommend any passages about how to interpret/read signs from God and about being brave? I know He tries to help, and I've been praying for guidance about what to do for a career. I suppose I'm relatively "new" to wanting to accept God more after years of tethering towards agnosticism, but it feels so comforting. He's great, but sometimes I feel a little scared, and I'm afraid of making more mistakes and misreading him. I don't think He's supposed to be confusing.

Not a silly question at all! Actually, it's interesting how I'm getting this ask when I'm pretty much at the same page as you, anon 😭

Who knows, maybe by trying to articulate some advice to you, God is trying to make to find ressources in my own heart to fix my struggle 🥲

But to be frank with you anon, you'll never stop being scared. I think that fear is one of the consequences of us being separated from God since the Fall.

I literally got a panic attack today and I've been praying God for a while about what I should do... And I've yet to get a definite sign...

But God isn't stupid, He's not going to behave with a new convert (you) like He does with a bit more experienced Christian (me). I had my fair share of battles and God always proved me to never let me down so I now understand He doesn't have to be as much demonstrative as he was before because I have to be more confident and trustful. That's why God can get "silent" at times. That's what Faith is about. Let's not forget that after freeing the Hebrews, God let them wander in the desert for 40 years...

Shortly after my dedicating my life to God, He talked to me a lot through visuals/outfits because I am fashion graduate and am a very visual person who's very receptive to this kind of stuff (I vividly remember answering to one of my questions through a message on a totebag - I was so stunned I almost burst into tears lol). Actually it's cute how God is so attentive to what we like and what fits our personality.

I really recommend you to be attentive to small details around things you like. Don't be discouraged at God not replying to you straight away : God timing is different from ours. But it's important to never stop relying on God to get answers. Of course you can ask people around you, but ultimately, if you are a new convert, the best advice I can give you is to learn to be reliant to God, by praying, telling Him how you feel, that you're tired feeling like you want to give up, etc. God isn't heartless and will never abandon you to despair. And I type this when I'm currently getting absolutely desperate about everything. God is so cheeky I- 😭