#Diverse product imagery

[fredtaiseer]

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[sgiandubh]

Prophetic

Every single time things look hard to decipher or farcical (and this is one of those farcical times), I remember a long post by @hardblazesong, dealing with BTS aspects and the intricacies of this cesspool of a fandom. I am yet to read something more clear and more bravely stated than the things she wrote almost eight years (!) ago, even if I do not necessarily agree with everything. Especially as far as SC's sexuality is considered and examined, for example - but that is secondary, to me.

Every word in this quoted passage was confirmed by what happened next, for example. And then, some more, if at all possible:

This is exactly what happened, rinse and repeat to oblivion. 'No one above D level status', with the odd lap dancer/Hooters waitress thrown in, for variety. Gross? Effective on the short term perhaps, to quench thirsty/insistent/too close to the real thing rumors and found tidbits, yet damn penalizing on the long run. MPC's dwindling subscription figures are testimony to it, as are the mediocre projects coming his way. And now he sorely needs a seriously good one to keep his rep at a decent level. You see, the entire kilt-cladded, warrior daddy imagery/fantasy is also quietly wearing off, as OL is coming to its merciful end. But believe it or not, S will survive even this life-changing experiment with fame. The key question here is 'how' and I have no definitive answer to it. But I am confident, and this Soroptimist approach of mine will always be my guilty pleasure, as far as S is concerned. Perhaps the only one, since the guy won't ever make me turn my head for him in the street. Not even sorry about that. But as I have already told you, I do like an underdog and know how to spot them, when I see one.

Now, as far as C is concerned, the 'low key thing' turned into the perfectly artificial farce we all know about. It is my sincere belief at least 85% of her Taliban Stan crowd is simply paying lip service to what they chose to believe and are constantly being reminded of by their trolling Sopranos. So much so, in fact, that it all reeks rather of Pollyannaism than critical thinking, no matter how brutal or self-assured they may sound. And at this point in time, with zero communication on the topic and C who apparently DGAF about narrative continuity when it comes to this, it's only fair to say more oil is being quietly, constantly thrown onto those embers of suspicion and legitimate, logical doubt.

As for going political, we all saw what happened with S's Gaza comment, didn't we? Case in point to never cross obvious red lines and allow your own emotions get in a mix you cannot control and which must not have been addressed, to start with. Especially when you are, above anything else, a media product manufactured on purpose for reaching the widest potential audience. MAGA Mommies crowd included.

Also, this:

Again, this is exactly what happened, and consistently so. Proof of this are the multiple times I had to excuse myself to powder my nose in the middle of a Zoom call or meeting, whenever my cellphone was blinking with concerned messages about this or that insignificant turn of an apparently endless, boring and disingenuous AF narrative. Shippers are worried and potentially even hurt every single time a Fitness Harem representative shows up on the roster. S knows that - how could he not, he is part and parcel of it? Trolls know that: in fact, this is their bread and butter in this fandom. And the reason this happens is an unnecessarily cruel and by now pathetic bout of schizophrenic trivia deliberately being thrown in, from time to time, for... eh... for reasons. Whether this is for 'protection' (complete quiet would be way more decent and effective, I think) or diversion, or remaining relevant, or even shits and giggles is entirely secondary, one more time. These allow to address all the factions of this fandom at once, using what are by now some lazy, well-tried and accessible plot devices (SM twisting reality, cheap pap walks, timeline innuendos, etc). Again, this is wrong and harmful, in the long run. It is refusing to see the forest for the trees and completely ignore the fact this is building the wrong persona and the wrong brand. Back to that sore need for a really good project I have mentioned before and own reasoning nicely tied in, thank you.

As for how SC feel about us, shippers, I suppose things are clear. I don't think they like us, and to be blunt, how could they? Mistakes have been repeatedly made, especially when it comes to projecting going completely, tastelessly out of control, the hyper sexualization and objectivation of both S and C (naively dirty fanfic, anyone? come on, we all read it!) and the liberties some took with decency, as far as C is particularly concerned. And by this, I don't mean stalking - that is pushing Covfefe Pics really too far and being a perfect hypocrite about it, when we know the entire faction was demanding proof, on many tones & in many ways and kept on pressuring for something along those lines to happen. To me, however, the most toxic part of it was definitely Jess' unfortunate drooling all over someone else's love story. It definitely had an impact and it was definitely been used as such, until it wasn't. The rest of all that obsessive approach are just spin-offs, but the bad seeds were gleefully planted there and then.

Before landing here, I carefully weighed in my options. And I chose to be primarily interested in business and legal paperwork simply because it so happened that an irritated reaction while on an Athens taxi ride prompted my arrival here. Then I realized it was the only way to bring something new to an already stalling body of public lore and keep it simple and real. What I did discover and what the trolls across the street chose to dismiss as trash is, in fact, evidence enough of the chasm that exists between what people are being served and supposed to gobble up, no questions asked, and a reality that certainly is more nuanced. This is what really makes me tick and this is why I am still here, while there are so many more useful and enjoyable ways to keep myself busy.

Rest assured, though: I am not going anywhere, even if from time to time life and a very strenuous job take precedence. I hope you can understand this. In the meanwhile, you have been so many witty, kind and warm people coming along my path, that I would feel like betraying you (and myself!) if I went away. And no, I have never felt more sure about SC than probably now, even if this 'SC' doesn't necessarily coincide with your own version of that saga.

Newbies can read the entire @hardblazesong's post here: https://www.tumblr.com/hardblazesong/678440162606350336/the-time-has-come-shipsters-to-write-a-lengthy?source=share

Thank you for reading this very long comment, summing up all the thoughts that nagged me while I was simultaneously translating and slaloming between my two mother tongues, while in Tunis. I am rather good at compartmentalization, you see. This post is also a clumsy homage of sorts to all the brilliant, brave and bold women, past and present, of The Shire, who have tried and managed to see beyond the thick veil of deceit this entire #shitshow is. The fact so many of us, across so many cultures and personal circumstances, saw the same damn thing and questioned it with integrity and wit, should be arresting evidence there are more things.

PS: I think we can all agree on the fact the Biggest Troll in this fandom is 'Erself, the Flip-Flop Blue Nailpolish Goddess. But that's a different story.

[northern-passage]

No Pride with Genocide!

You have probably seen the grotesque images of jubilant Israeli soldiers holding the pride flag on top of our scorched Gazan lands infiltrating social media feeds last week. The Israel State cynically publishes on its Twitter account, “The first ever pride flag raised in Gaza,” as it proceeds with its genocidal crusade and its concomitant Zionist propaganda campaign. We view these images with immense feelings of frustration and uttermost disgust, and we see through their despicable tactics of weaponizing homophobia and queer violence for colonial means. The following are notes from Queers in Palestine, elaborating on what such imagery tries to accomplish and what underpins their production:

1. Zionist Colonization is Anti-Civilization 

Colonial and Imperial powers have long used their fabricated lies of “civilization,” “rights,” and “democracy” to justify their plunder, military rule, and capitalist accumulation. We learn this from global histories of European colonization across Abya Yala, Asia, Africa, Turtle Island, Aotearoa, and Australia. The Zionist colonization of Palestine is no different. Oftentimes, the pretext of all of these bloodied invasions is that the “civilized” world is invading racialized communities to bring culture, education, and liberalism and instill it in societies it deems barbaric, immoral, and uncivilized. The images of the LGBT flag supposedly claim to bring rights and liberties to Gaza, but unironically, the soldier stands on top of the debris of hopes, dreams, and human remains of Palestinians he himself and the army he serves bombed moments before. The flag merely stands to reaffirm the simulacrum of colonization, death, white supremacy, and destruction. 

2. Israel Erases Palestinian Queerness

The images of the Israel Pride Flag and the other with the text, “In the name of love” send a clear message: Israel will not allow queer liberation unless it’s through its settler-colonial genocidal project. To that, we say No! We queer Palestinians have a vibrant, diverse liberation movement that is part of the Palestinian anti-colonial movement. For decades, we have been tirelessly working on carving up and maintaining a space for Palestinian queer life amongst our communities and not despite them. We are everywhere: in schools, streets, prisons, hospitals, and at the forefront of every confrontation in every corner of Palestine, from the river to the sea. What we are working towards is a Palestine liberated from colonialism, patriarchy, and capitalist exploitation.

3. Queer Opacity in Times of Hypervisibility

In a time when Palestinians are being prosecuted without trial, student movements shut-down and students in universities suspended and detained, and solidarity with Palestine and Palestinians at large are attacked and criminalized, visibility has proven itself to be a frontline of resistance against the erasure of Palestinians worldwide. In Palestine, Israel’s surveillance apparatuses hunt any expression for Palestine’s right to exist as grounds to attack, incarcerate, and murder Palestinian life. This over-fixation on the supposed lack of Palestinian queer visibility steers the attention from Israel’s campaign against all Palestinians – workers, activists, students, feminists, queers, and otherwise. Israel and its allies dangerously decontextualize the violence queers suffer from its historical colonial roots, and dissociate it from the impacts of current settler-colonial violence. This is an attempt to portray Palestinian society as unsafe for queers to legitimize the annihilation of our people, and in turn our annihilation as queers. Under Israel’s surveillance & police state, visibility, opacity and invisibility are survival and resistance tactics we use interchangeably, and aren’t always a matter of choice. None of us is safe under settler-colonization.

4. These Images Endanger Queer People Worldwide

The Pride Flag has long been hijacked and homonationalised. It represents a narrow and limited understanding of gender and sexuality and excludes the myriad of sexualities in the colonized world. This homonationalism renders colonized sexual and gender attitudes illegible to the liberal gaze and forces us to speak a language that compromises our experiences. Under nationalist and colonial regimes, our bodies and sexualities will always be regulated. What the pride flag has come now to represent is a commercial, imperialist, and white supremacist sexual ideologies, and this, in turn, puts us queer people in danger. This homonationalist project hinders our fight against anti-queer violence within our communities because our identities and sexualities are constantly being hijacked by the empires and colonies that brought destruction upon us. We need to reject such associations that only strengthen queerphobia in colonized societies, especially during this time in Arab and Muslim communities, when the soldiers and armies that are destroying our homes and killing our parents, siblings, friends, and children are doing so in the name of LGBT rights. 

5. Colonialism & Empire are Anti-Queerness

In the past, colonial projects sought to eliminate any sex-gender organization systems that fell outside of the European binary patriarchal model of man-woman. We learn this from the British criminalization of the Hijra in South Asia, or British and French social organizing efforts to enforce a binary sex-gender system in Yoruba Land, or Portuguese and Spanish efforts to eliminate “two-spirit” indigenous North Americans – deeming all uncivilized in need of external civilization. This was also the case in Palestine under British-Zionist military occupation, as same-sex relations and other diverse gender practices became criminalized and demonized. All the current laws in Gaza that criminalize queerness are, in fact, British and are upheld by Zionism. However, it becomes evermore absurd that rhetorics of bringing queer liberation to Palestine have been now hijacked by Zionists and, for the most brutal reasons, in service of annihilation of Palestinian life and mass destruction. We, Palestinian queers, position our movement for liberation alongside anti-colonial and anti-racist movements globally, and we stand firmly in objection to any attempt to hijack our movements, or exploit our bodies.

In the name of revolutionary love, a love which fuels our struggle for liberation and yearning for freedom, rooted in our love for our communities and our land; we tell you, there is no pride with genocide, and there is no pride in settler-colonialism.

Our pride can only come through true liberation for all, for us and for all the peoples fighting worldwide.

A Liberatory Demand from Queers in Palestine | Pinkwashing - Decolonize Palestine

[serpentface]

What is Imperial Wardi architecture like? I don’t recall seeing many drawings of buildings and stuff like that

The architectural styles across the region are pretty diverse, both due to different environmental conditions and a variety of cultural influences. Past occupation by Imperial Bur is the strongest external influence (with most older buildings in the major western cities being built in this period), in addition to well-established immigrant communities (Burri, Kos, Titen, and Yuroma being the most populous and thoroughly integrated into the cultural makeup). The historically native population of the region is also very diverse and lends distinctive regional influences to architecture, with the Wardi nationality alone being formed out of ten tribes (though few in the contemporary retain a strong sense of individual identity), in addition to the Hill Tribes, Cholemdinae, Wogan, and Jazaiti peoples.

The base commonalities in Wardi architecture region-wide are that most urban buildings are built with brick (depending on the part of the region/its environment, these are stone, clay, adobe, and cement), and often covered with plaster and painted with decorative patterns and imagery. Most native style buildings have flat or domed grass roofs, Burri influenced buildings tend to have sloped, pointed roofs.

Timber is used sparingly or is entirely absent in contemporary architecture, as there are very few intact forests remaining in the region (lost both to deforestation and a drying climate) and trees grown agriculturally are used mainly for fuel and other wood products (particularly to be used in tools and to produce bark paper). The city of Lobera is an exception due to its proximity to one of two remaining intact forests, it's architecture is still mostly stone/brick but known for distinctive carved wooden doors and pillars.

I don't have a lot of architectural drawings because buildings hard but here's a couple south Wardi houses.

Modestly sized commoner house in the traditional style-

This is the native architectural style of this part of the region- built with clay brick, plastered and decorated, straw roof, guardian lions above the door.

Upper class villa-

This is a synthesis of the native style with significant Burri influence- made with clay bricks and decorated with paint and plaster, guardian lions, with the most distinct Burri elements being the sloping roofs with murals on their faces and walkable outer walls. It also contains a balcony with a garden above its entryway, and an open courtyard space at the center.

Homes commonly have guardian lion statues facing outward from the front entrance- while the Face Ganmache (ox) presides over the domestic sphere as a whole, the Face Odomache (lion) acts as a paternalistic guardian of the home (and particularly women and children). Most representations of Odomache depict a maned lioness (as Its broad nature is a protective mother to the collective people, nurturing via the female body and breasts and empowered via masculinization), but Odomache as household guardian represents fatherhood and the intended role of the family patriarch (protector and arbiter of the family, engaged with the public sphere so women and young children can be protected within the domestic sphere), and these statues are almost always distinctly male.

Houses tend to be built with a philosophy of a strong delineation of a semi-public and private sphere. The Wardi cultural sphere views blood family as the foundation of identity, you ARE your family name first and foremost, and an individual/member of your broader community second. Having a space that privileges only one's family and separates their domestic world from that of the public is tantamount to maintaining this sense of familial identity, as well as being both a physical and spiritual protection for its members. This delineation can be very small (or absent) in common, smaller homes, or very significant in a large, wealthy household like this.

There are strong elements of class stratification in this value system- poorer households both cannot have this physical delineation in full due to size constraints, and cannot experience this social delineation due to most or all members of the household having to frequently engage in the public sphere for labor (it is considered a privilege of wealth and security for women to live most of their lives secluded in the home).

In the villa example, a large entryway and 'living room' and courtyard are the spaces in which most guests will be received. These will have sets of couches and tables for eating. A large courtyard will have a central pool that drains into a cistern in the event of rain. Most large houses will have a kitchen adjacent to the public spaces, and quarters for any live-in servants usually occur in this area. The rooms beyond are a private sphere, containing bedrooms (which guests will virtually never enter), an additional 'living room' which will contain the hearth and household shrine, and other familial spaces. Most houses are one-story, though will often have accessible paths along the outer walls and/or an upper balcony.

Most households will keep some form of garden when possible, often for largely decorative purposes (in additions to practical growing of vegetables and spices). Flowers are culturally prioritized for both aesthetic beauty and symbolic value in relation to seasonal fertility and abundance (with the most dramatic native wildflowers growing in brief abundance after the first seasonal rainstorms), and are among the most common basic sacrificial offerings. A smaller household may just maintain wildflowers around the exterior of the home, while wealthier households often have high maintenance gardens (often with imported flowers from wetter climates) within courtyards and balconies.

[whencyclopedia]

Wari Civilization

The Wari Civilization flourished in the coastal and highland areas of ancient Peru between c. 450 and c. 1000 CE. Based at their capital Huari, the Wari successfully exploited the diverse landscapes they controlled to construct an empire administered by provincial capitals connected by a large road network. Their methods of maintaining an empire and artistic style would have a significant influence on the later Inca civilization.

The Wari were contemporary with those other great Middle Horizon (c. 600 - 1000 CE) cultures centred at Tiwanaku and Pukara. The more militaristic Wari were also gifted agriculturalists and they constructed canals to irrigate terraced fields. The economic stability and prosperity this brought allowed the Wari to implement a combined strategy of military might, economic benefits, and distinct artistic imagery to forge an empire across ancient Peru. Their superior management of the land also helped them resist the 30-year drought period which during the end of the 6th century CE contributed to the decline of the neighbouring Nazca and Moche civilizations.

The Wari were undoubtedly influenced by contemporary cultures, for example, appropriating the Chavin Staff deity — a god closely associated with the sun, rain, and maize, all so vital to cultures dependent on agriculture and the whims of an unreliable climate. They transformed it into a ritual icon present on textiles and pottery, spreading their own branded iconography and leaving a lasting legacy in Andean art.

Huari

The capital at Huari (25 km north of modern Ayacucho) is located at an altitude of 2,800 m and is spread over 15 square kilometres. It was first settled around 250 CE and eventually had a population possibly as high as 70,000 at its peak. Huari shows typical features of Andean architecture: densely packed wall-enclosed rectangular structures which can be further divided into a maze of compartments. The city's walls are massive (up to 10 metres high and 4 metres thick) and built using largely unworked stones set with a mud mortar. Buildings had two or three stories, courtyards were lined with stone benches set in the walls, and drains were stone-lined. The floors and walls of buildings were generally covered with plaster and painted white.

There is little distinction in Wari architecture between public and private buildings and little evidence of town planning. A royal palace has, however, been identified in the northwest section of the city, its oldest area of habitation and called Vegachayoq Moqo. A now ruined temple was located in the Moraduchayuq compound in the southeast of the city. It was built in the 6th century CE and had subterranean parts with the whole structure once painted red. Like other buildings at the site it was deliberately destroyed and ritually buried. The city seems to have been abandoned c. 800 CE for reasons unknown.

Tombs have been excavated at Huari which contained fine examples of Wari textiles. Ceramics are also amongst finds at the site. A royal tomb was discovered in the Monjachayoq zone which consists of 25 chambers on two different levels, all lined with finely cut stone slabs. In addition, a shaft descends to a third level chamber which has the shape of a llama. Finally, a circle chamber was cut out at a fourth level down. The llama-shaped tomb, looted in antiquity, was the royal resting place and dates to 750-800 CE.

Huari was once surrounded by irrigated fields and fresh water ran through the city via underground conduits. Further indicators of prosperity are the presence of areas dedicated to the production of specific goods such as ceramics and jewellery. Precious materials for these workshops and imported goods indicate trade with far-flung places: shells from the coast and Spondylus from Ecuador, for example. The presence of buildings used for storage at Huari and other Wari cities also indicates a centrally controlled trade network spread across ancient Peru.

Continue reading...

[psychedeliclush]

( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

POST-BRITPOP !

Artists: Coldplay, Keane, Bloc Party, Feeder, Arctic Monkeys

Most popular Era: Late 1990s - early 2000s

Basic definition: Post-Britpop emerged in the late 1990s as a reaction to the decline of Britpop, combining elements of indie rock, alternative rock, and pop music. It retained the melodic sensibilities and catchy hooks of Britpop while incorporating a more diverse range of influences and styles. Post-Britpop bands often explored themes of emotion and personal reflection in their lyrics. With bands like Coldplay, Travis, and Keane leading the way, Post-Britpop became known for its anthemic choruses, introspective lyrics, and polished production values.

Song examples:

PSYCHOBILLY !

Artists: The Cramps, The Koffin Kats, The Meteors, Tiger Army, The Klingonz, Banane Metalik

Most popular Era: 1980s - 1990s

Basic definition: Psychobilly (also known as "punkabilly") is a fusion music genre that combines punk rock with rockabilly. It commonly uses fast-paced guitar riffs combined with aggressive or drowning vocals, typically using horror themed imagery. Lyrics often revolve around sci-fi, violence, sexuality, and other taboo topics, usually presented in a humourous or over-the-top way. Psychobilly bands often incorporate aspects of rock 'n' roll, country, and ska, creating an interesting blend.

Song examples:

[reasonsforhope]

Catherine Borowski has always had an active imagination. As a child, she dreamed that the car park on her north London council estate would be transformed into a garden. The reality was quite different. “No one had a car, so it was empty, grey and depressing,” she says. Now a sculptor and event producer, Borowski has made it her mission to fill unloved urban spaces with flowers – albeit virtual ones. 

She and her partner Lee Baker are the founders of Graphic Rewilding, a project to install huge nature-inspired artworks into the urban landscape. “Where real rewilding isn’t possible, our goal is to inject the colour and diversity of nature into rundown spaces, urging people to notice – and find joy in – the world around them,” says Baker.   

The pair believe that flowers possess serious powers, even when they’re not real. “We know that spending time in nature is good for us, but studies show that even pictures of plants have a positive effect on the mind,” says Baker. He cites research published in The Journal of Alternative and Complementary Medicine, which found that imagery of plants in hospital waiting rooms can help reduce feelings of stress in patients. 

Baker, a painter and music producer, has long understood the benefits of biophilic design. Having suffered a breakdown 10 years ago, he found that drawing flowers was the only way to soothe his buzzy brain. “I would set out to draw dystopian landscapes, representative of my state of mind, but I’d always end up drawing flowers, which uplifted me,” he says.

It was around this time that Baker met Borowski, joining her production company as creative director. The pair have collaborated ever since, launching Graphic Rewilding in 2021. Since then, they’ve installed floral murals at locations including Earl’s Court station, Lewes Castle and Westfield Shopping Centre in Shepherd’s Bush – all hand drawn by Baker. “We love galleries, but we focus on public art,” he says. “This way, our work is out there for everyone to enjoy.”

This year the pair have grand plans to create a series of stained glass pavilions (think greenhouses with colourful floral-themed panels), which they hope might find homes at Kew Gardens and the Eden Project. “The way light shines through the glass is magical,” says Borowski.  

Even so, they concede that art is no match for Mother Nature. “Some people have suggested that our project detracts from real rewilding efforts. But both can co-exist,” says Borowski. “Of course we want more green spaces.” adds Baker. “But we aren’t gardeners. We’re artists. In the absence of nature, we want to create inspiring spaces through art.”

Overall, the response has been hugely positive. “The joy that these artworks bring is palpable,” says Baker, highlighting an early project in Crawley, West Sussex. “Many people in the town were employed by Gatwick airport and Covid had taken its toll,” he recalls. In a bid to spread some joy, the duo painted brick walls, billboards, benches and even bins with their signature floral flair. “Peoples’ reactions were heartwarming. There were so many smiling faces,” he says.

Elsewhere, in Earl’s Court, the pair transformed “a ratty piece of tarmac” into a modern-day pleasure garden, which is now often filled with children dancing and doing cartwheels on the way home from school. “Putting art into a place that previously felt unloved feels like cultivating joy where there was none,” reflects Borowski. “If something like this had been installed on my estate when I was a kid, it would have been a dream come true.”

-via Positive.News, November 6, 2023

[strongermonster]

this is a really weird thing to complain about perhaps + has a really simple fix of "why don't you just switch banks then bc no one cares??"

but last year (maybe the year before?) my bank switched from a very conservative navy blue, berry red, and steel grey colour scheme that had a sort of feel of professional detachment to it that i've come to associate with dry corporate things like banking, to this "fun" new thing that's lime green and hot pink, with (mostly) light grey text on dark grey backgrounds, and uses exclusively black and white pictures of Attractive Diverse Youths of an Indeterminate Age Doing Fun Millennial-Appealing Non-Banking Activities to try and jazz it up, and i... i don't... hate it, but it feels... wrong?

it feels too very specifically engineered. calculated. like, you're a bank. you're a financial institution owned by a larger one that has all the money in the world and does not care to help a single soul with it, but you know it doesn't matter because we're stuck with you anyways.

"free spirited photography" "old-fashioned competition" "energetic black-and-white imagery" why does it feel like they're trying to convince me of something?? this is like a new wave social media app that hasn't figured out how manipulative phrasing has worked yet.

the whole thing feels disingenuous and tacky. they're an online only bank, so they're trying to appeal to millennials and younger by being Hip and Cool with the Youths, but it just feels sour. reminds me a bit of 'they live (1988)'-ish, or when you get a new job and they're like "we're a family here! 🥰" and everything is really sleek and buzzfeed/tech startup-esq and counter-productively techy in a really inhuman way and you end up getting fired over zoom by a bohemian chic hr woman wearing fashion glasses she doesn't need with bangles that jingle the entire time she gesticulates while telling you she's really-really sorry your mom has cancer, but you did break company policy by taking 10 days off this year 😢

also when i say "i don't hate it" i mean uhm. if this was the kind of colours and imagery that someone was using to promote a community-based event that involved interacting with other people, i would find it enjoyable and engaging. but there's something about it being used to encourage engagement with an app designed to take my money that makes me feel uhh well all of the above i guess.

i don't know. corporations have more access to us on a deeply personal level than ever before, so when i see things like this it makes me nervous to think about how many greedy corporate execs sat in a room workshopping the best way to seem like Your Cool Friend like some sort of shapeshifting social parasite. but maybe i'm just paranoid.

[finishinglinepress]

FLP BOOK OF THE DAY: Second Sight by Daryl Hafter

On SALE: https://www.finishinglinepress.com/product/second-sight-by-daryl-hafter/

The #poems in Second Sight explore the #world of #nature as it speaks to us, enjoying, questioning, and complaining in our shared earthly home. We hear the moaning of a tree being cut down, and the ecstasy of wind-tossed Autumn branches. We learn to bear grief through the screen of mountain forests. But our lived experience goes beyond material things. My adult Bat Mitzvah opened questions. I had new ways of thinking about #Creation and #humanity. I wondered, Why do we have a flawed universe? What is our role in “Tikun Olam”—repairing the world? These poems present glimpses into the rich and full #life surrounding us all.

A poet and historian, Daryl Hafter has published three books on women in eighteenth-century France, with the support of the American Philosophical Society and the National Science Foundation. She has a B.A. from Smith College and a Ph.D from Yale University. Her life-long poetry writing was inspired by growing up in a rural Utopian community called Free Acres. Her home now is Ann Arbor, Michigan.

PRAISE FOR Second Sight by Daryl Hafter

Daryl Hafter‘s poetry is universal and personal and her subjects go far and wide—- a walk in the neighborhood, a tree which has become a friend, a woman fleeing during Exodus from Egypt–a dialogue with herself about the existence of a divinity, the pleasure of reading scriptures, the contradiction of religious belief, doubt. Diverse subjects, always treated with wit and humor.

–Clare Goldfarb, Fmr Chair, English Department, Western Michigan University

In this collection of wonderful poetry, the story each one tells with vivid visual imagery immediately captures the reader’s attention. The writing is direct and powerful, the language is chosen for impact as well as beauty, and the underlying structure is strong. Poems such as the stunning Consolation are unforgettable.

–Monica Starkman, MD, University of Michigan

Daryl Hafter‘s “Second Sight” is a poetic journey through time past as it is given new life in the present, and as a historian, she is well qualified to take such an approach.

There is a sense of spiritual unity in these poems about daily life touched by nature, beautifully illustrated both by the words and the paintings that accompany them.

–Bette W. Oliver, Ph.D., Poet and historian, University of Texas at Austin

Please share/please repost #flpauthor #preorder #AwesomeCoverArt #poetrybook #read #poems #nature #world #creation #humanity #life #environment #artwork

[asinusrufus]

Magical Gemstones: An Abridged Guide

Magical gemstones are a type of talisman made of semiprecious stones —such as hematite, carnelian or amethyst— that were worn set in rings or as pendants and their size ranges from 1.5 cm to 3 cm.These gemstones haven't magical, protective characteristics because of the nature of the gem itself but because the representations of Gods and holy names carved conceded them virtues through holy dynamis: This is, among other things, the inherent power of divine names and/or their representations.

These depictions are normally inverted (negative) This, together with the fact that some of the gems show a certain degree of worn indicates that they were manipulated in some way—probably rubbed or even licked, in order to increase their efficacy—proves that they were not conceived as seals but as amulets or talismans.

A magical gemstone, to be considered as such, should have one or more of the following elements:

An iconographic language generally belonging to syncretic Gods or that combines Gods from different origins.

Charakteres (magical signs. They can be planetary, protective, etc.)

Voces magicae (Words of power and phrases whose formulation and structure may hide secret, sacred names of Gods as well as prayers or incantations dedicated to them, sometimes with the intention of controlling their emanations and daimonēs) and logoi (magical names, permutation of magical names and vocals).

The practice and use of magical voices was transmitted orally across the eastern Mediterranean, but it wasn't until the early 1st century b.c.e. the practice began to be included in written form. The abundance of amulets and gems with magical names and signs are evidence of this change of paradigm.

In addition, elements are usually complemented by two structural features:

The gemstone is engraved on both the obverse and the reverse, sometimes even on the edge.

The inscription appears directly and not in mirror writing.

These magic gemstones, in addition, can be magical gemstones stricto sensu and amuletic gems. The latter differ from the former in:

That the iconographic patterns they contain are explicitly described as belonging to amulets in textual sources such as Posidippus's Lithika

They bear a prophylactic inscription, usually "diaphylasse" (protect me!), "sōzon" (save me!) or "Heis Theos" (One God).

Its production began during the late Hellenistic period, but it was not until the 2nd and 4th centuries c.e. that it reached its apogee. Magical gemstones' imagery demonstrates the diversity and plurality of Greek, Roman, Egyptian, Egyptian, Christian, Gnostic and Jewish representations and ideas from the Mediterranean from the Roman period, as well as the popularity and diversity of magical activities and practices.

These magic gemstones were rarely used for evil purposes, such as harming someone. Their most common use was to offer protection or solve personal health problems: those showing an ibis tied by an altar and including the command "pésse!" (digest) were used to heal indigestion and other stomach problems; others, depicting a uterus, offered represented a womb, offered protection during childbirth and guaranteed fertility.

Although most of these magic gemstones were used as jewelry, it is possible that they also had other uses, as part of a ritual to heal a patient or as a physical component for an incantation, such as those with depictions of Harpocrates seated on a lotus the nomina magica Bainchōōōch (Bainchōōōch, Ba of the Shadow, isn't only a vox magica/nomina magica but a God on their own right. PGM aside, Bainchōōōch appears in Pistis Sophia as a triple powered deity that descends onto Jesus, giving him his powers)

An interesting fact is that of the production of magical gemstones during the 17th and 18th centuries of our era. Although the production of these gems continued during the Middle Ages and the Renaissance —irregularly, of course— they reflected the magical and religious reflected the magical and religious practices of their historical context.

This, however, was not the case during the 17th and 18th centuries, where magical gemstones of great quality and sophistication were produced, which not only reproduced the iconographic motifs and logoi of the pre-existing graeco-egyptian magic gemstones, but also introduced new ones. An example of these gems are those with representations of Christ-Osiris or Jesus-Khepri

Sources:

Nagy, M. A., (2015) Engineering Ancient Amulets: Magical Gems of the Roman Imperial Period. in D. Boschung and J. Bremmer (eds), The Materiality of Magic (Morphomata 20). Paderborn, 205-240.

Faraone, C. (2018) The Transformation of Greek Amulets in Roman Imperial Times, Filadelfia; University of Pennsylvania Press.

Simone, M., (2005) (Re)Interpreting Magical Gems, Ancient and Modern en Shaked, S., Officina Magica: Essays on the Practice of Magic in Antiquity (IJS Studies in Judaica, vol. 4), Leiden; Brill, 141-170.

Campbell-Bonner Magical Gems Database (http://cbd.mfab.hu)

[angstics]

I keep seeing ppl blame the Hays code for everything. Who’s telling these people about the Hays code. Destiel didnt happen because the show didnt care, they didnt want it, not because of Will H Hays. If the production code was never in place, gay people would still be underrepresented in film because of regular homophobia. The Hays code was set-up bc films were exempt from the 1st amendment — they were at risk of national censorship bc of national outrage about sacrilegious and sexual imagery. It didnt come out of nowhere. It had a lot of impact, and the stunted development of gay stories is one, but “invented censorship” isnt it. Assuming censorship was ever the issue with Supernatural. Which it wasnt. But even in the case of 911 in which a character’s bisexuality was confirmed by the actor to be rejected by a network exec — that wasnt because of any history of censorship. It’s just homophobia!! I keep seeing this diversions of blame masquerading as historical parallels. It ignores so much. Codes are both tool and influencer for different individuals, but they are not both for the same person. Also not to mention TV had a different censorship code 😭

[ipartv]

"The Evolution of Movies: From Silent Films to Streaming Giants – A Journey Through Cinema History"

The Evolution of Movies: From Silent Films to Streaming Giants

Movies have been a cornerstone of global culture for over a century, captivating audiences with their ability to tell stories, evoke emotions, and transport viewers to different worlds. From the early days of silent films to the rise of streaming platforms, the film industry has undergone a remarkable evolution, reflecting changes in technology, society, and audience preferences.

The Birth of Cinema: Silent Films and the Golden Age

The history of movies begins in the late 19th century with the invention of motion picture cameras. The Lumière brothers are often credited with pioneering the art form, showcasing short films like Arrival of a Train at La Ciotat (1896), which astonished audiences with its realistic depiction of movement. Silent films dominated the early 20th century, with stars like Charlie Chaplin and Buster Keaton becoming household names through their physical comedy and expressive performances.

The 1920s and 1930s marked the Golden Age of Hollywood, as studios like MGM, Warner Bros., and Paramount Pictures churned out iconic films. The introduction of sound in The Jazz Singer (1927) revolutionized the industry, paving the way for musicals, talkies, and more complex storytelling. Classics like Gone with the Wind (1939) and The Wizard of Oz (1939) emerged during this era, setting the standard for cinematic excellence.

The Rise of Blockbusters and Special Effects

The 1970s and 1980s saw the rise of the blockbuster, with films like Jaws (1975) and Star Wars (1977) redefining the movie-going experience. Directors like Steven Spielberg and George Lucas embraced new technologies, such as advanced special effects and sound design, to create immersive worlds that captivated audiences. This era also saw the emergence of franchises, with sequels and spin-offs becoming a staple of the industry.

The 1990s and early 2000s brought further advancements in computer-generated imagery (CGI), enabling filmmakers to push the boundaries of visual storytelling. Films like Jurassic Park (1993), The Matrix (1999), and The Lord of the Rings trilogy (2001-2003) showcased the potential of CGI, blending it seamlessly with live-action footage to create breathtaking spectacles.

The Streaming Revolution

In recent years, the rise of streaming platforms like Netflix, Amazon Prime Video, and Disney+ has transformed how audiences consume movies. The convenience of on-demand viewing has challenged traditional theatrical releases, leading to debates about the future of cinema. Streaming services have also become major players in film production, producing critically acclaimed movies like Roma (2018) and The Irishman (2019).

The COVID-19 pandemic accelerated this shift, as theaters worldwide closed and studios turned to streaming to release their films. Blockbusters like Black Widow (2021) and Dune (2021) debuted simultaneously in theaters and on streaming platforms, signaling a potential new model for film distribution.

The Power of Storytelling

Despite the changes in technology and distribution, the heart of movies remains storytelling. Films have the unique ability to reflect societal issues, challenge norms, and inspire change. From the social commentary of Parasite (2019) to the representation of diverse voices in Black Panther (2018), movies continue to shape and reflect the world we live in.

As the industry evolves, one thing is certain: movies will remain a powerful medium for entertainment, education, and connection. Whether experienced in a crowded theater or on a smartphone screen, the magic of cinema endures, reminding us of the universal power of a great story.

From silent films to streaming giants, movies have come a long way, yet their essence remains the same: to entertain, inspire, and bring people together. As technology continues to advance, the future of film promises even more innovation and creativity, ensuring that the art of cinema will thrive for generations to come.

For more insights and updates on the world of movies, visit www.ipartv.com.

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[narwhalandchill]

(soo ignition teaser thoughts ig)

hmmmm im ngl the trailer itself as a like prelude to what is coming in 5.0 intrigue and plot wise is like. compared to the region teasers that came before w lazzo and overture. its just. its kinda bad im sorry KWKJKWDJKWDJK like okay cool seeing the new cast and production value is high as always (+ music) but its such a middling teaser for the story itself?? it feels like a powerpoint presentation of the cast more than anything narratively coherent with an inherent draw and mystery

like theres mavuika speaking to the flame thingy (xbalanque that u? "one entombed in the primal fire" perhaps????) with some intrigue i suppose as well as her brief thing w capitano. ororon also appearing to be working together or aligned with capitano given theyre standing together there which could make for an interesting plot thread but beyond that its very.... eh. its not giving us a lot to grip onto ya know???? and thats rly a shame especially since i also felt that way abt the teaser in the 4.8 livestream. i wish we got more

and sure theres a tournament wahoo but like. its really Not helping to hype up that thing when half the introduced cast isnt being like "OMG the tournament!!!!1!1 this is HUGE!!!1" (or even. "oh no this is BAD!!!1" to set up basic conflict. like why would they dread it?) but instead just. "oh right... the tournament 🙄🙄" like who thought that was a good idea 😭😭 if the PEOPLE of natlan dgaf abt the big plot event happening then how am i as the viewer supposed to feel majorly invested in it . wow theyre tossing a ball around . wow nobody wants it guess ur tournament is having a bit of a PR issue in the making mavuika lmao

anyway i wouldnt even call myself a true capitano glazer despite being a fatuiHQ enjoyer on the side but like. that hmph still carried welcome capHIMpeaktano truly o7 JWDJWDJKDWJK also did yall see the. anemo-ish turquoise flare when mavuika is confronting (?) him? wonder if thats a thing with her flames or is it implying cap as anemo or sth.... i think itd fit him decent enough but ya. looking forward to HIM for sure

(+ congrats to him for losing the goofy timbs from arles animated short lmao like his design looks so fucking sick now)

character design wise uhhhh. well theres the obvious huge fucking issue here and while id say that hoyo p much already showed their true colors on the matter with sumeru that doesnt rly. make it any less disappointing and egregious wrt all the cultures and peoples theyre So willing to gather inspiration from in all possible aspects Other than the diversity of the people themselves. like its just... bad and such a shame but also not very surprising unfortunately.

(and really it just. looks especially bad given they clearly Can put melanin on people its just... enemy mobs only.)

beyond that i kind of dont have anyone that super catches my eye rn??? mainly because . well leaks moment eek but its basically official info now so basically. xilonens existence as a geo and a 5* (which like . u dont need leaks to guess she will be im sorry jdwjdw) was leaked a bit ago as well as the patch she should appear meaning. im actually in chiori rerun savings mode since its very high chance that she will be back w xilonen if anyone. so thats my plan for now kjdwjkdwjkdwjk

in terms of the actual cast i do like kinich and ororons designs v much, the design motifs of the latter especially are interesting bc those eye-like patterns are almost giving quantum symbol (= black hole imagery) to me???? and thats V interesting especially if hes actually working w capitano and the fatui. now him being a cat boy or whatever animals ears those turn out to be isnt like sth thats huge for Me personally but i do think hes valid and also W for anyone whos into that, congrats guys im happy for u ! but like fr itd be such an insane twist if hoyos Finally introducing the void quantum abyss whatever element w him (and maybe cap too.) bc that symbol Rly is looking Curious. or then hes just electro lol. for kinich its like. yeah fair he might be xiao-tighnari-gaming from minecraft ill admit that but. i do like the color scheme and his outfit a lot JKWJKDJKDWJKD so like i forgive it

w the girlies i overall find them all like. quite nice but so far without any personality + lore known its hard to settle my complete thoughts on them just yet. tho citlali being pink is super refreshing for genshin since we do have a shocking absence of it so like shes definitely one im drawn to, chasca looks interesting and like she could play a bigger part plot wise (maybe?) so that might be neat. both her and citlali being cryo is kinda surprising?? but cool. maybe ill get to unbench my shenhe and play some cryo teams again lmao freeze has been dead in abyss for so long now....

xilonen again w the kemomimi isnt sth im particularly into or not into but she looks cool, depending on personality and how her kit synergies turn out (+ assuming the chiori rerun, the fate of those pulls too), i might try for her as well? theres an Energy to her i like it. if she has proper Attitude and flair thats gonna be a massive bonus for me

mualani i think is rather bland to me, sth about her outfit and design just doesnt click for me even if the shark thing from the teaser before is neat and everything. the chibis are never sth im actively drawn to but like both do look okay, im kinda hoping kachina could be a lynette moment for 5.x and end up a free 4* since her exploration roomba looks p fun

anyway then theres. mavuika and i. well at least the design wasnt. That concept art one (ThoseWhoKnow...) . so instant massive W improvement solely on that basis holy fucking shit but ehhhhh im sorry i still dont know how to feel abt the very modern like. biker bodysuit thingy. im not a huge fan of the bodysuit type designs anyway so its not that surprising but still. her eyes + hair is absolutely stunning tho like not a question at all.

tbh in a way i kinda feel like having too many Thoughts on her design is kinda just unnecessary bc like. shes the archon. of Course the kit is going to be insane so i will get her anyway (UNLESS a pyro onfielder JKWJKJKWJKWJKWFKJ like god please no). and in terms of like is her design and energy from what this vid is giving us good enough that i wont like. Actively resent having to get her for meta and strong teams??? Absolutely. so in that sense ig its all cool lmao

but yeah. idk i just think as a teaser for the upcoming story its rly a shame how weak this felt for me???? like sure overture ended up being a bit of a misleading teaser since it gave the impression of arle as this mastermind of the fontaine AQ which didnt rly happen but it still served as a source of hype and intrigue. and yes lazzo is sth that can Never rly be beat in terms of how out of nowhere it was and how fucking insane the whole harbinger reveal went (+ elogia cinerosa existing) for lore and long term hype but its just. unfortunately those 2 are the regional teasers this natlan one is supposedly meant to parallel and it just didnt deliver anything comparable to those for me

like still looking forward to natlan and seeing the rest of its cast (like im fairly convinced the flame thingy might be xbalanque and hes gonna be a big deal ultimately or sth) and where it goes and all its environments but this trailer didnt rly. grip me the way i wouldve expected it to. which is unfortunate kdjkdwjkwjkdwj but yea thats all

[olderthannetfic]

You're right; we need for diversity in higher ups who can tell what good writing is. By far, I think the most annoying thing about the Disney live-action remakes is that it's clear they're being made by people who fundamentally don't understand the original stories and devalue animation as an artform. Yeah, all the lost boys have to be boys because Peter Pan is about Wendy choosing to grow up and confront adulthood (as a girl) even though it's scary, which is why it starts with her being moved from the nursery with her brothers. Yeah, Eric has to save Ariel at the end of TLM because it's a coming of age story about Ariel and her father. Eric has to save her and all the mermaids at the end, to prove to her father that all humans aren't bad, and Ariel has grown up and can make her own choices (And he's the only one with any experience steering a ship at all, let alone in a storm). The Lion King worked because it was animated, so there's suspension of disbelief. If we think of them as actual wild animals, the story stops making sense. It's just Shakespeare: Hamlet/ (a little) Richard III. It's not impressive or progressive to cast POC in these productions just to improve a company's ESG score when it shows they're just too lazy to do anything new and want to refresh the IP. Now they're talking about Tiana from the Princess and the Frog as this #girlboss for working hard and not needing a man, as though the Strong Black Woman isn't a racist controlling image that we as Black women have to deal with every single day (Not to mention how they're animals for most of the movie and it demonizes an African-based religion, Louisiana Voodoo, with its racist imagery. if they wanted to actually challenge norms, they would've shown the Black woman being a damsel who needs help like everyone else). It's like diversity made by people who don't even understand what it actually means. When will it end?!

--

When will it end? In the biggest budget things made in a country with a powerful ethnic group hogging all the power, never.

[girlfriendsofthegalaxy]

tuesday again 11/28/2023

tuesday again no problem will be taking a break for the 12/12 edition (not next week but the one after)

listening

previously featured Os Mutantes, a countercultural brazilian rock group, is back bc i heard A Minha Menha on an instagram reel by @/ vintagepulps on a showcase of brazilian pulp magazine covers.

the SECOND that driving riff hit i experienced a brief moment of fuckor bc this is exactly and precisely the kind of song i like. this translation tells me it translates to My Girl. it's got moon/sun imagery. it's exactly the kind of song to drive around to in the summer while having an absolutely crippling crush on the person in the passenger seat. spotify

-

reading

you wouldn't download a woman...

TWICE

-

watching

I'm No Angel (1933, dir. Ruggles) a 1936 black comedy written by Mae West and starring the babiest Cary Grant you've ever seen. i added it to my letterboxed bc i saw screenshots of this one specific dress. that’s so much sideboob. good for her.

we don't use the term "adventuress" anymore to describe a woman who does various physical or social stunts to land a husband and i think that's a shame. Tira (yes) is a burlesque dancer and (separately) a lion tamer at a down on its luck circus, becomes famous through putting her head in a lion's mouth, and leverages that fame to fall in and out and back into love.

your enjoyment of this movie will hinge on your tolerance for astrologers, circuses with animals in them, and depictions of black housemaids that have not aged super well, even if they're mostly there to stroke her ego. i'm sort of torn on what rating this would get today-- i'm assuming R bc there's a woman expressing desire but nothing actually happens beyond kissing and some sitting in laps. some peril for the lions i guess?

i do not think this particularly nailed its landing, and i'm not totally sure why they got back together, but mae west in straight up burlesque and the shimmiest dresses you've ever seen is so much fun to watch it doesn't really matter. this is sort of sidelining the her very funny, extremely quotable script. apparently any movie she wasn't allowed to write or heavily doctor her own lines just completely flopped, which i also think is very funny.

just straight up on the internet archive

-

playing

triple header for Things That Came Out This Decade: Genshin Impact (September 2020), Deliver Us Mars (2023) and Gamedec (2021).

brief Genshin update: your main companion in the game, Paimon, the little fairy bitch, has been the recipient of some worrying foreshadowing lately. hey Paimon you wanna tell us anything???

Deliver Us Mars, free on Epic this week. i want to like this game. i think there should be more weird little eurojank original scifi B-franchises like this and you should be able to feed your family by making them. i do not want to continue playing this particular little franchise.

it's the second game by KeokeN (The Netherlands) and published by Wired Productions (UK, although they are partnered with Koch, which means they’ll be bought up soon), a studio of under 20 counting support staff (some of who are certainly part time or on hourly contracts) and an intern. after doing that basic background research i ratcheted my expectations back a couple notches and deleted a somewhat catty paragraph about video game hair.

this is a sequel to Deliver Us The Moon, which was a successful Kickstarter and Steam greenlight (TM (C) R) and it seems they spent the four interval years mostly polishing up the predecessor Deliver Us The Moon, which i do not own and do not plan on playing.

Deliver Us Mars bills itself as an action-adventure, but during my time with it, it was more of a cinematic movie/walking sim with extremely light puzzle/platform mechanics. there are extensive childhood flashbacks following a dad around as he trains his daughter to be an astronaut. the timing and insertion of these never quite clicked for me-- they take forever and they were never as interesting as what they interrupted.

this game is not good at signposting or tutorializing. i had to restart a chapter twice bc the unique controls popped up for a brief fleeting moment on screen and weren’t in the keybinding settings. i could never quite get the mouse and keyboard camera sensitivity right, and platforming/vertical elements seem to only be partially implemented: you can only really successfully approach certain segments from extremely specific dead-on angles. there are like three big boxes in your path that you have to clamber over at one point and i do not think it should take a solid minute and a half for me to get over them. some reviewers praised the lack of signposting during the launch sequence (causing you to frantically look around at a million unlabeled buttons and levers to see if any of them were highlighted as a thing you can click) as a fun way to ramp up stress but i fucking hated it.

after two and a half hours, and only just making it to a ship OUTSIDE mars, i decided there are other games in the world. this hits some sort of minimal viable story benchmark for me, i can see why some people love it, but i don’t want to find out what happens bad enough to play through a slow game that handles terribly and isn’t much fun to exist in.

does get points for big fuckoff dishes.

Gamedec is an isometric RPG, where you are a near-future private investigator who handles delicate personal matters inside wildly popular MMORPG VR games. unfortunately all the trailers suck shit.

this is catnip to me. i love a no-combat game where i have to walk around and talk to everyone and click on everything and write things down in a little notebook. i loooooooove being nosy. i've played through the first two and a half chapters (kinky second life, racketeering farmville, and real life uh oh) and i'm having a fucking marvelous time. the writing team clearly had a lot of fun, the VR game worlds feel very alive and vibrant-- there's a ton of possible weird little flavor interactions that go a very long way toward making me forget this is a limited-perspective isometric. this is like praising an RPG for doing what it says on the tin and being an RPG, but the most recent RPGs ive played have been fucking terrible. it's not shoehorning me into one-true or main-path choices. extremely forgiving of failure, which is good bc i straight up accidentally killed my first client. i know he was a kid but he kinda had it coming imo. sometimes kids just suck shit

im so delighted by this shitty little apartment-- it's got to be fucking bizarre to exist in, bc of the ultra-loft ceilings you need to make it be isometric, but it somehow manages to feel like a studio apartment and a seedy back office all at the same time. a game that is in general very fun to Look at. will have more thoughts as i continue playing but this is really scratching some sort of itch for me. commits to the bit. funny but sincere. a pastiche in ways i personally do not find annoying. has not hit me with like konami code style references yet. due to the fact this is also in my epic games store library i believe this was also free at some point

-

making

fallow week for me. phil has been regrowing skin at a good clip and i can no longer feel each individual vertebra, AND we have another vet appt on friday to get more/different antibiotic goop and all of her vaccinations and microchipping done. mack made a hairball and is getting put back on an actual wire slicker brush grooming schedule. my beautiful girl seems to have a particularly dense coat among the domestic shorthairs of my acquaintance, although that may be bc she is a new england girlie and we constantly exist in air conditioning?? mixed feelings about scheduled brushies from her, even with short and light sessions. we’ll get there.

helping.

[4me4you]

4me4you features digital creator: _mindeye_ aka Veronika Pell  - “sweets and night terrors“.

Veronika Pell, a multidisciplinary artist based in Helsinki, has built a diverse body of work that spans across film, television, photography, and multimedia production. Her creative practice encompasses video art, performances, installations, street art, and cutting-edge explorations with neural networks. Pell's work has been exhibited internationally, including at the Moscow Museum of Modern Art, and she is a co-founder of the XYZ Society, a collective known for its innovative, interactive city events that engage and inspire the public.

Pell also works under the pseudonym Mindeye, where she collaborates with artificial intelligence to explore the boundaries between the artificial and the natural world. Through her AI-driven projects, she creates immersive, magical realms that expand the viewer's sense of reality, questioning the fundamental nature of existence. Her characters—often fragmented or morphed—hover on the brink of abstraction and decay, reflecting the fluid, ever-changing nature of identity.

Her unique approach, which she terms "growing imagery," involves applying algorithms to generate endless permutations of shapes and network-like textures, revealing the hidden structures that underlie all things. Through this method, Pell exposes the invisible forces that shape the world around us.

Thematically, Mindeye delves deep into existential questions, using allegories to confront the tension between life and death, destruction and rebirth. Her works explore the interplay of resilience and fragility, the playful and the monstrous, inviting the viewer into a speculative, dreamlike realm. This seductive tension encapsulates the full spectrum of human experience, from the light-hearted to the profound, and challenges us to reconsider the boundaries between reality, perception, and imagination.

SEE MORE:

INSTAGRAM: https://www.instagram.com/mindeye_/