#✦ contradictory fusion ✦ «perfect 16»

[xtoomanytimelinesx]

It's time, here’s my official muse self-report. I’m just gonna be going over the muses that particularly catch mine’s eye. This post is gonna be under a cut because it’s long

First up we’ve got @starxxtravelers / @mysticsxnxtyrants

Android 16 thinks Rosalia is so pretty, she’s so gentle looking but so strong. He can tell just by appearances alone that she has a long history and he wants to learn more about her at first meeting.

Paragus is an interesting one because it is difficult for 16 to place what it is about him that he finds attractive, he just thinks that he is an above average looking man with some features that he finds particularly appealing.

Zikom is big, he’s handsome, what more could he ask for? Seriously, he’s just his type. He also really appreciates the horns.

Taiko is such a beautiful and graceful looking namekian, something that Pota is unused to and loves. They are just so different yet familiar that it's very alluring.

Pota is weak for a strong person with bad intentions, it's never on purpose but he has a pattern of feeling attraction for villainous individuals. He’s compact and quite visually stunning, it’s mostly Frieza’s eyes and general shape for him.

They love a big, strong, sweetheart, so Broly is for sure on their radar. No.t also thinks that some of his expressions are adorable.

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@earthforsaken

Kakarot is a given, It was pretty much attraction at first sight. Despite their circumstances he immediately recognized him as attractive and that wouldn’t change no matter how hard he wished it would. He’s also got a weak spot for people with an alternative fashion sense and piercings/tattoos.

Android 16 also has a thing for Piccolo, his general body shape and stoicism makes for a full picture of an attractive and interesting man.

He loves the way Android 17 looks, his hair, his eyes, his stature; all of it. Even the way that he carries himself while doing nothing at all, he just thinks he's hot.

Usually 21 prefers more muscular women but Bulma is an exception, her fashion, her figure, she’s beautiful. Really, she is stunning and 21 can’t help but notice.

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@viopolis

Android 16 thinks Hit is very handsome, his eyes are strikingly bright and warm in contrast to the rest of him. He looks deathly serious and difficult to read, he is mysterious and that level of unknown is intriguing to 16.

16 loves Khett’s aesthetic, sharp edges and alternative fashion, He is very pleasing to the eye.

Nucleotide is imperfect and Pota love it, he thinks all of his physical imperfections make him cuter. He especially thinks that his asymmetrical crest is really cool.

Perfect 16 doesn’t find many people attractive but the one person who is irresistible is himself. Cell is a major exception to his usual disregard for appearances, he is the pinnacle of what he perceives as beauty. 

Like 21, Soma loves a strong looking woman. Chandra is bulky and tall, two things she loves. There’s also something about her eyes that she finds particularly pretty.

Chandra is a strong looking, pretty woman. 21 is weak for girls with muscles, especially ones that she considers to have pretty facial features.

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@polterxgheist-a

He thinks Bakura is so handsome, he also has a thing for long hair and his eyes are so beautiful. 16 also enjoys his overall aesthetic.

He thinks Bakura’s shape, his expressions, it's all so cute to him. Pota also has a thing for long hair so that’s a plus.

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@gazelessmenagerie

Android 16 thinks Broly is hot, his long dark hair, his jewelry, he thinks he’s really attractive. Usually someone’s body type doesn’t mean anything to him but there's something about how his musculature elevates everything about Broly that he thinks is attractive.

Tiflora is a big strong saiyan woman, what more can be said? Soma thinks she’s beautiful.

[immanentgames]

OPTOPHONEMES by Raoul Hausmann

Raoul Hausmann, born in 1886 in Vienna (Austria), lived in Berlin beginning in 1900, and deceased in Limoges (France) in 1971, is counted among the most important artists of the historical avant-garde of the 20th century.

He was one of hte founding members of Dada Berlin in 1918 together with Richard Hulsenbeck and Frantz Jung. During this period of intense activity he contributed to the review "Die Freie Strasse" and to the "Club Dada," a special issue of the same. He founded and ran, together with Joannes Baader and Richard Hulsenbeck, "Der Dada," the most celebrated review of the Berlin dadaists.

The Dada revolt demanded a fundamentally new art form and Hausmann turned towards new means of expression such as "phonetic poems" and photo-montages.

The process of the photomontage, of which Hausmann could be considered the father, was also to be taken up by Hanna Höch, Johannes Baader, John Heartfield, and Georges Grosz. Ye tfor Hausmann, Dada had implications well beyond the realm of the artistic, and one can see that he was more attracted to the anarchist Baader and the militant communists Grosz and Heartfield than to Tristan Tzara.

After the Dada movement, he undertook research in optophonetics, and in 1926 he began his autobiographical novel, "Hyle," which he finished around 1955 in Limoges. At the beginning of the 1930s, photography became his preferred means of expression, with views of the Baltic Sea, the island of Sylt, and numerous nudes on the beach.

In 1933 he took refuge in Ibiza. There he developed research, not so far from that of ethnography, on the traditional settlement.

From 1937-38, he lived in Czechoslovakia, where he began more research on photography. He began a study on that subject and hoped to publish his research on optophonetic works with Moholy-Nagy.

During the war he lived in a little village in France, near Limoges.

In 1944 he moved to Limoges and, thanks to a parcel of photographic paper sent by Moholoy-Nagy, he made his first photograms. Then he returned to work in photography, photomontage, and sound poetry.

From 1959 to 1964 painting became one of the most important aspects of his artistic production, which he later transformed into pictographic writing.

Raoul Hausmann The Phonetic Poem / 1955 Published in Courrier Dada, Paris 1958. If academies petrify a language, it will take refuge among children and mad poets.

I was somewhat astonished in 1920 to learn that Hugo Ball had composed his Lautgedichte (phonetic poems) in 1916. It would seem that both Tzara and Huelsenbeck failed to realise what Ball had done. They paid no attention and completely passed it by. Indeed, Huelsenbeck never even mentioned their existence when I developed a very similar form in May, 1918.

But in 1920, he published one of Ball's phonetic poems in his Dada Almanac. That was the first time I saw Ball's work. Up until then, I had sincerely believed I was the inventor. So let me say here and now that it was Ball.

However, Ball's phonetic system was founded on unknown words, whereas my poems were directly and exclusively based upon letters; they were letterist.

Phonetic poetry was such a necessary purification of poetic poetry, that I simply invented it a second time.

It was only in 1921, when on tour in Prague with my friend Kurt Schwitters, that the latter realised the importance of phonetic poetry, opening the door to an entirely new phonetic-musical domain.

Our Dada Manifesto demanded a new poetry. By 1919, 1 had already gained a clear idea of the principles behind this poetry and the means of achieving it. Poetry was then dominated by expressionist form, introduced by August Stramm. He had achieved a sort of ecstatic stammering effect by eliminating pronouns, conjugation and declension, and by reducing syntax to a bare minimum.

I was also aware of Marinetti's essays on making poetry more dynamic through the use of letters (typefaces) and through bruitist onomatopoeia. Simultaneous poems, as for example the one in Cabaret Voltaire (19 16), promulgated by Tzara and Huelsenbeck following pioneering work by Barzun, in my opinion were too far removed from pure poetry where language is concerned with itself. A poem for me is the rhythm of its sounds. So why have words? Poetry is produced by rhythmic sequences of consonants and diphthongs set against a counterpoint of associated vowels and it should be simultaneously phonetic and visual. Poetry is a fusion of dissonance and onomatopoeia. Poems emerge from the poet's inner vision and ear, materializing as the power of sound, noise and tonal form, anchored in the very act of language itself. Spiritual vision, spatial form and material sound form are not poetry in themselves but they all make up the poem.

It was then that I wrote my first purely abstract poem. I had realised Huelsenbeck was mistaken in his allegiance to static poetry. A poem is an act which associates respiration with audition, linked inseparably to the passage of time. Phonetic poetry divides the time-space continuum into pre-logical number values which guide visual perception through the power of the written notation of letters. Each value in such a poem expresses itself individually and, by higher or lower declamation, of letters, sounds, vowel-consonant agglomerations, each sound unit is given its value. In order to communicate this typographically, I chose letters of different sizes and of different densities, treating them as a form of musical score.

Optophonetic and phonetic poetry represent the first step towards poetry that is perfectly non-objective and abstract.

K P'ERI UM L P'ERIOUM N M' pernounnurn bpretiberrerrebee onooooooooh gplanpouk kommpout perikoul rreeeeeEEErreeeee A oapderree ringlepadonou nntnou tnournt This is where I differ from Ball. His poems created new words, sounds and above all musically arranged onomatopoeia; mine are based on letters, therefore excluding all possibility for creating language with a meaning or with coordinated movement.

The semantic revolution demonstrates that art can never be placed in the shopping bag of history.

Classification is worthless. Ideas emerge here and there, are pursued and perfected elsewhere; these leaps forward might sometimes outrage yet are never outrageous.

This is language wreaking revenge on poets!

And the birth of pure phonism.

Raoul Hausmann OPTOPHONEMES (1962) Around the world, the sounds of music are recognised according to certain vibrations and wavelengths. Sounds are coloured by secondary vibrations and by various timbres that can be ringing or muffled, rounded or jarring, husky or shrill. Drums make no "musical" sound, but just beat out a rhythmic noise. They provide a framework for the overall mixture of colours. A purely phonetic poem not only relies on a series of contradictory vowel and consonant sounds, equivalent to a drumbeat, but also possesses phonemes that can be clear, shrill, sonorous or sighing. It may therefore be considered as a hybrid between music as it is commonly understood in European, Occidental terms and in an Oriental, Asian or African sense.

The phonetic poem may be compared with a drum that can play half and quarter tones, as for example in Arabic or Chinese music, where these notes lend their timbres at different pitches to the general melody, changing intonation and thus altering the sense of words pronounced. A similar process occurs in phonetic poetry through architectural arrangement of contradictory groups of vowels and consonants as well as other non-linguistic noises; snoring, humming, croaking and so on.

Thus phonetic poetry employs hybrid sounds of language drawn from the depths of the mega-mneme (Translator's Note. Mega-mneme "great memory" is Hausmann's term for an idea similar to the collective subconscious though here it specifically relates to subconscious awareness of primitive language roots.) whilst simultaneously seeking to open up possibilities for a language of the future. This language of phonetic poems is made visible through typographical layout.

7 III 62

Take any sentence and print it backwards! sdrawkcab ti tnirp dna ecnetnes yna ekat !

Now redistribute the sentence on different lines sdrawkcab ti tnirp dna ecnetnes yna ekat ! and that's how to write a phonetic poem!

I've always been interested in turning words around and repeating simple sentences. This probably comes from hearing my father sing nonsense songs from his native village of Stcheleeves near Prague, where his family settled in the wake of Napoleon's Russian campaign. Stcheleeves means O'Bourg du Chardonneret' [i.e. Goldfinch Town] and that was something I was unlikely to forget.

When I first devised phonetic poetry, I happened to be living in the town of Steglitz-Stieglitz-Chardonneret, near Berlin.

[xtoomanytimelinesx]

Perfect 16/Kakarot too tho?

put a ship in my ask | Accepting

vomit / don’t ship / ok / cute / adorable / sexy / perfect / beyond flawless / hot damn / screaming and crying / i will ship them in hell

This is also so good, it's similar to kaka16 but simultaneously more emotionally repressed and more complex. Definitely another favorite

[xtoomanytimelinesx]

↕️ for Pota, 16 and Perfect 16!

𝐒𝐈𝐍𝐃𝐀𝐘 𝐇𝐄𝐀𝐃𝐂𝐀𝐍𝐎𝐍𝐒 | Accepting

↕️are they a sub, dom, or switch? top, bottom, or switch?

Pota is kind of hard to place because he's really flexible with his role in bed, I wanna say he's a true switch. He usually tops/doms but it's really partner dependent, he tends to be more attracted to people that he can top/dom but there are the occasions were he'll really want to sub or bottom.

Android 16 would say he's a true switch but that's just not true, he leans way more towards bottom/sub, specifically more towards sub. He's much more comfortable with being told what to do and allowing his partner to take charge. That isn't to say he couldn't or wouldn't top/dom, there are circumstances where he would but it is something that doesn't usually come naturally to him

I really don't think there will ever be anyone that could get him to bottom/sub, the thought has never once crossed his mind and he would find the idea of being that vulnerable utterly revolting. Perfect 16 would view both, acts of bottoming and subbing, to be a display of pacifism that is not befitting of him.

[xtoomanytimelinesx]

☄ Android 16, ☄ N.ot 16, ☄ Perfect 16

Send ☄ for one random headcanon I have for my muse! | Accepting

Android 16 hates the smell of tomato paste and red sauces, there really isn't a reason for it other than how strong these scents tend to be. He just cant stand the smell, if someone is cooking with tomato products, 16 is probably gonna be somewhere else.

No.t has an interesting sense of fashion. Their personal style of dress is typically considered ugly or painful to the eyes, clashing patterns, different fabric textures, and bright colors make up their wardrobe.

While Perfect 16 may be openly apathetic towards just about every living creature, he does have a soft spot for bugs. It may be some remnant of 16's love of living creatures mixed with Cell's vanity but for whatever reason, he is fascinated by insects.

[xtoomanytimelinesx]

How Attractive are you from 1-100?

“Obviously this shit is broken.”

“Obviously I am the superior 16.”

[xtoomanytimelinesx]

📺 + "Perfect 16, what ARE you?"

send 📺 + a question, and my muse’s shadow will answer it!

"I...I am me, I am perfect. Perfection, that is what I am supposed to be, without flaws. I am Cell."

[xtoomanytimelinesx]

do 16 and Perfect 16 for the character bingo ✨️

Character Opinion Bingo <3

I'll be keeping these under a cut so I don't take up the whole dash

I am so attached to this bastard, I love him and I love to torture him

I love insect like humanoids so much, I also love him but I enjoy hating him too

[xtoomanytimelinesx]

💿 If he hasn't been done already: Perfect 16?

Send 💿 + a muse name and I'll list the songs I associate with that character!

(still gotta remake his banner)

Mute - Drowning Pool

Getting Away With Murder - Papa Roach

God Syndrome - Madame Macabre feat. Ashe

Stop A Bullet - Black Light Burns

Don't Mess With Me - temposhark

[xtoomanytimelinesx]

I put this forward with no expectations, just pure curiosity: Dek and Perfect 16.

put a ship in my ask | Accepting

vomit / don’t ship / ok / cute / adorable / sexy / perfect / beyond flawless / hot damn / screaming and crying / i will ship them in hell

Oooo this is one that I have thought about before, I think it could be really interesting to explore! There's a lot that could go into this!

[xtoomanytimelinesx]

is Kakarot fuckable? (for All the 16s, and bonus Kurn)

ask game: Is this character fuckable?

repulsive | no | just a hug | kissable | maybe | down to cuddle | yes | absolutely | Take Me Now

i’d top them | i’d bottom for them

i’d dom them | i’d sub for them

one night stand | fuckbuds | partner | marry me

repulsive | no | just a hug | kissable | maybe | down to cuddle | yes | absolutely | Take Me Now

i’d top them | i’d bottom for them

i’d dom them | i’d sub for them

one night stand | fuckbuds | partner | marry me

repulsive | no | just a hug | kissable | maybe | down to cuddle | yes | absolutely | Take Me Now

i’d top them | i’d bottom for them

i’d dom them | i’d sub for them

one night stand | fuckbuds | partner | marry me

repulsive | no | just a hug | kissable | maybe | down to cuddle | yes | absolutely | Take Me Now

i’d top them | i’d bottom for them

i’d dom them | i’d sub for them

one night stand | fuckbuds | partner | marry me

[xtoomanytimelinesx]

Alright, new Perfect 16 design just dropped!

[xtoomanytimelinesx]

Perfect 16 redesign time! I want everyone’s opinion on the color palettes that I’ve picked out, please tell me which one you all prefer!

[xtoomanytimelinesx]

More muses as dragons, No.t 16 and Perfect 16 edition

[xtoomanytimelinesx]

the only alignment chart that matters

[xtoomanytimelinesx]

bug type for Perfect 16

Send me a Pokémon Type and I’ll make a Team for my muse using only Pokémon of that type.

(I've still gotta redo Perfect 16's banner but that's a later thing)

Vikavolt - Bug/Electric

Scizor - Bug/Steel

Scolipede - Bug/Poison

Volcarona - Bug/Fire

Golisopod - Bug/Water

Yanmega - Bug/Flying