#Files from Google Arts & Culture

[kommabortsig]

Matteo_di_Giovanni_-Madonna_with_Child_and_Angels-_Google_Art_Project.jpg

[technofeudalism]

Taller Nepantla: "So where do art and artists stand within this new techno-feudal political landscape?"

1) Artists don’t own anything.

We don’t own the studios. We don’t own the galleries. We don’t own the production of materials. We don’t own the newspapers. We don’t own the art schools and universities. We don’t own the mechanisms of art distribution. We don’t own our work. We don’t even own our own art. Artists have no labor protections and are content to work individually to perpetuate their own myth or pray to the sacred algorithm to go viral. By being atomized we are exactly like a feudal peasant of the Middle Ages, who lives in extreme precariousness giving away part of his crops to his local king. The art world, its industry, its weight, its impact, its trend, everything belongs to other people. Did you know 80% of the art-market is own by a small group of Mega Collectors? Those who control the means of artistic production control the artists.

2) By not owning anything, artists and cultural workers only rent.

We no longer sell handmade works, but instead we sell our hands for work. More and more the creative and artistic sector sells services rather than art. Artists need multiple jobs in order to invest in their art practice. Even more, just as in the feudal stage of history, we work the land in a territory that does not belong to us, the land belongs to the landowner. In this land artists will always pay rent, a tax, to the feudal lord. We use GOOGLE to send emails We upload our art to INSTAGRAM We educate ourselves through YOUTUBE We communicate through TIKTOK We pay to use ADOBE SUIT We buy materials through AMAZON We move through UBER We send files through WETRANSFER Every time we use these platforms, we generate money for the feudal lords.

The art world depends on these platforms, which collect our information and our data, to sell.

When a service is free, our attention is the product. That is, it is impossible for an artist to establish himself as an artist without generating money for the landowners who own the technological platforms. That is, the art world depends on these products. It is impossible to be an artist without using these technologies. Techno-feudalism keeps artists in a situation of -permanent-precariousness dependence on technological platforms. Just like in medieval times, peasants live off the crumbs offered by the crown, living in a house, working on land, and eating food that does not belong to them. Technocapitalists don’t want artists to own the means of artistic reproduction. Technocapitalist instead build a world where everything is rented. Every stage of artistic production from how you imagine an artwork, how you study an artwork, how you draft and artwork, how you build an artwork, how you show an artwork, how you distribute an artwork, how you perceive an artwork, and how you think about an artwork, is all determined by apps and tools which you rented from a tech corporation.

3) Artists SUBSIDIZE the profits of technological platforms.

That is, we pay an inflated price for these services directly from our pockets. The art world depends on the underpaid work of our services. If there were fair wages in the art world, then the entire pyramid wuld be destroyed precisely because it depends on the fact that most artists do not earn a fair wage. All the art we produce and share is being used to train algorithms to better sell us products. When a platform is free, like Facebook, Twitter, Instagram, Tumblr, we are the product that is sold. Even more, artists subsidize the entire artworld. We work for free. We work for low wages. We work for exposure. We are the “volunteer army” Jerry Saltz brags about. The artworld benefits from not paying us what we deserve.

4) The entire art world depends on the platforms of the Clouds.

All museums, galleries, fairs, biennials, and auctions depend on the technological infrastructure dominated by feudal landowners. In other words, there is a dependence on these technologies in order to promise an interconnected, cosmopolitan, and immediate “art world.” The feudal landowners who own the technological platforms, having no competition, can impose whatever price they want, and the art world must obey. They can raise prices without losing customers. The price we pay to use TechnoCapitalist services is completely arbitrary. It does not correspond with the quality of the service but rather to the whims of the landlords. One day, black ink for printing is free, the next day it costs $5.99 a month as a part of a subscription package. We are looking at you Anish Kapoor.

5) The algorithm decides what counts as talent as long as it can generate profits.

Algorithms are increasingly deciding what counts as “value.” Major collectors will be able to systematize the works on the market in order to deduce, through algorithms, the value of a work and whether it is a good investment. The algorithm has more power than art critics and art historians. An artist will then adapt to the algorithmic trends of his time, in order to go viral. A work of art that goes viral can change the artist’s life. NFT’s are just one example of techno-feudal experiments in the arts. NFT’s promise decentralization and transparency, but end up replicating the worst aspects of capitalism, feudalism, and what new technologies can do.

In short, the art world is interconnected with techno-feudalism. We artists are technologically and socially dependent on a system that exploits us. It is important to increase media literacy so that artists can build alternative technological systems to cut dependence on monopolistic companies. A king’s mindset is always to grown and conquer. In the end, the artworld’s investment in techno-feudalism will actively bring the destruction of other smaller artworlds in the global south. Techno-feudalism will produce a homogenized, sanitized, apolitical universal art, that privileges creations that protect the artworlds overlords."

[doubleedgemode]

A.B.A: Creature or Bride?

I have previously seen people compare A.B.A with The Bride of Frankenstein, and I used to think they were wrong, as to me, I saw parallels with The Creature instead and, me being frankly unfamiliar about the Bride (salve from very surface references in popular culture) thought they only adscribed the similarity due to being "frankenwomen" lmao. But as it turns out, they might indeed have more in common! They say "A wise man changes his mind sometimes but a fool never" so I do apologise for my incorrect assumption. While I do personally feel her inspiration would lean a little bit more on the Creature, I thought it'd be interesting to see A.B.A, the Creature and the Bride side by side to see their similarities:

(Disclaimer: As of now, I still haven't properly watched any of the classic Frankenstein movies, as I want to wait til I finish the book (which I haven't done yet), my knowledge comes from some research. So while I'm attempting this is all correct information I could perfectly be wrong about some facts. If so feel free to correct me!

(This also especially applies to what I mention about Japanese words, as I don't know that language, I rely on google translator and internet dictionaries. Misunderstandings are bound to happen)

I might revisit this in the future once I get to up to date with the films and the book, if there's more stuff I haven't noticed while I type this. :)

Also, I think all Creature references I mention are related to especifically Film Creature, not the book's, those I can't go without mentioning at least one of A.B.A's traits, her wordiness, wouldn't correlate with any of the movies' simulacra, but the book's Creature, who can give long speeches. And yes, the movie version is refered to as Monster but I've grown fond of using Creature as a catchall for him)

Our first stop is part of these concept art files (which the kind @.famiccha fully uploaded for any A.B.A fan that wants to see them!), where A.B.A has wires in her head. Caveat: This art collection has concepts that didn't fully make it in (like Para resembling A.B.A's headkey or the latter's top clothing having an X on it), I don't think I've ever seen another instance of A.B.A having these wires, but this is an interesting reference of what they had in mind while trying to get A.B.A's design. According to google translator, the text with an arrow pointing at her wires says "a mysterious electric wire appears. This is a female version of Franken)". This is one of the parts I associate more with the creature, as there's no sign of the word bride. (花嫁, hanayome. In Japanese the Bride of Frankenstein movie is called フランケンシュタインの花嫁, which means the same as in English) in the picture, just Franken (フランケン, yes, just Franken, not the full name. Very curious. Btw, Frankenstein is said as, well, you guessed it, フランケンシュタイン) Electricity is obviously associated with both the Creature and the Bride, of course, but A.B.A having a key-shaped screw going through her head (according to ggworld) is something that only the Creature possesses, though in his case they're bolts that work as electrodes. Maybe A.B.A's screw works as an electrode, too... Who knows!

Funnily, I thought A.B.A's mysterious wire could be a way to call back to the Bride's iconic lightning shaped hairstreaks or, if you allow me to do the biggest reach ever, similar to The Bride's hair actually being partly made with wire, so to speak (more on that later, keep a pin on it), but after researching, I'm pretty confident it references the Creature, as he has a forehead scar held with metal clasps, which is close in position as A.B.A's!

“He was apt to cut the top of the skull straight across like a pot lid, hinge it, pop the brain in and then clamp it tight,” Pierce told the magazine. “That’s why I made the monster’s head square and flat like a shoebox and added that big scar across the forehead with the metal clamps to hold it together.”-According to Jack Pierce, the make up artist behind both the Creature and the Bride's looks

So, were we to adscribe a function to her "mysterious wire"... It could perfectly be to keep her head in place lol.

So, with all this and more (her being the one to instigate any romance, her Strive boots's design, and a big etc.) you might ask where did I even find similarities with her and the Bride (aside from uh.. being women and uhh.. Strive A.B.A having long hair???), so I'll explain:

A.B.A fans, isn't the Bride having bandaged arms (and just straight up being fully bandaged at first, when she's born) kind of familiar?

But there's another very important part of A.B.A's (classic) design that is either a reference to The Bride or one of the best coincidences ever:

See, I thought the Bride was supposed to have black hair. After all, the popular culture depiction of her, even some licensed Universal stuff has her sport this... But her movie appearance is played by Elsa Lanchester, who is a redhead. Here's Lanchester in the movie Bell, Book and Candle:

Her hair as the Bride is actually hers but, now, she could have dyed her hair for the Bride movie, right? Well, I couldn't find any report of her as the Bride having dyed hair! Even if not all Bride depictions share that hair color, we have officially seen her as a redhead in some depictions. I chose this illustration by Karoly Grosz, Universal's art director in the 1930's:

And of course, none other than the original movie poster itself!:

I hope you people enjoyed this admitedly wordy dive into some of A.B.A's design's inspirations as much as I did :)

Lastly, two fun facts:

First, here's what I meant with the Bride's hair being Lanchester's but also being sort of made with wire:

"Pierce co-created the Bride's makeup with strong input from Whale, especially regarding the Bride's iconic hair style, based on Nefertiti. Lanchester's hair was given a Marcel wave over a wire frame to achieve the style."-From Wikipedia

Second, in The Bride of Frankenstein movie, we see one of its characters, Dr. Pretorius, has created homunculi! (not refered as such in the movie but Wikipedia calls them as such, which is not surprising considering Pretorius' creations are small artificial humans, who are even (mostly) in jars)

[fainthedcherry]

When I was a child in 2013, visiting Nickelodeon's site and finding a treasure-trove of Spongebob, Winx and TMNT flash games was like magic to me. BUT MAN. The TMNT flash games are one of the best ever to me I've played in my life. (on an aesthetic stand-point! Turtle Tactics and Dark Horizons are so awesome man, legendary flash games to me.)

Since I am utterly autistic about 4 green alien turtles and their rat dad...Here we are again. With me posting OC cringe 2016 me would've killed myself over :V (cry about it 11 yo/ me, afraid of cringe culture back then, it's DEAD NOW)

Gonna sneak-post my redo of that ancient drawing I did of Alex 2 years ago, for the base-post : D

2 years ago, I used flashpoint to replay it for the first time in years and I remember crying of glee LOL (I still play Dark Horizons and turtle tactis to this day btw). I played Dark Horizons and Turtle Tactics and also TMNT: Throw Back (NO I DID NOT NAME THIS LIKE A MEME THIS IS ITS NAME. I STILL BURST INTO LAUGHTER LIKE A CHILD OVER THE NAME AGING POORLY DUE TO INTERNET LINGO)

Those 2 flash games are just so...Technically advanced?? For its time?? LIKE A FULLY FLEDGED 3D FLASH GAME WITH UNITY ENGINE BASIS? DAMN. And then Dark Horizons? CHEF'S KISS I LOVE THAT GAME SO MUCH. AESTHETICALLY AND THE COMBAT FEELS RLLY NICE TO ME IMO, AND JUST...Everything about THAT flash game, god TIMELESS CLASSIC I COULD YAP ON FOR HOURS ABOUT THIS NO JOKE.

I am enthralled by the designs and art of Dark Horizons, it's why I made this drawing. The game just..Speaks to me on so many levels. IT'S JUST SO PLEASING TO SEE ALL THE ARTWORK I EXTRACTED. As far to my knowledge- it never got released, so I might make a post of just a few favourites I liked from the game. :D

I just wonder if I can post those in the first place, it's after all, not my artwork, from a flash game, and TMNT, so yeah, legal IP and stuff. I unfortunately don't know who the artist if of the flash games, but if I can find that out via googling or digging for credits in the game or the files, I'll see if I can credit them, so that posting will be fairly accredited!!

OH YEAH RIGHT ALSO QUICK BANTER ABT ART SORRY I AM VERY PASSIONATE ABOUT THOSE FLASH GAMES AS YOU CAN TELL,,,

I studied the in-game sprites for a good few hours back then, and did my best to replicate it to the best of my abilities!! I think Mushu maybe could've been done better looking back at it, but I think it was the best that I could do back then. :D Plus, I remember being really happy, excited and proud of this piece, as it reflected something, my childhood self always wanted: For Alex to like.."fake" being an official character LOL. I had sooo many dreams where Alex was hanging out with the turtles and Ninjago and throwing in Power Rangers for good measure, just...Everything I liked as a child, I somehow connected in my dreams via either "OH YEAH THE RAINBOW FAIRY!" or "OH YEAH SUDDENLY PORTAL AND MY MARY-SUES JUST BRAVE IT WHILST THE OFFICIAL CHARACTERS DRAMATICALLY TELL THEM NOT TO GO"

^I had vivid and....Creative dreams as a child to say the least, sometimes even Darth Vader and Eggman appeared as the bad guys, despite TMNT and Power Rangers and Ninjago w/ the snakes and lord Garmadon or however you spell him (I never checked + I'm German so ofc his name might be different in english)- I- do I have to go on about the dreams I FULLY remember I had, as a 6-9 yo/, until I told myself at 10 how embarassing my dreams are and stopped doing so? I DIGRESS. I..Need to be more professional in these, instead of such pure fandom trash oml, I feel bad for whoever actually has to read through my blatant autistic interests as a child and thinking "wtf is he on about" dfgklfdg

ANYWAY NEKST POST IS THE BASE. I SWEAR. SORRY I LOVE RAMBLING

[trans-lykanthropie]

HAHAHAHAHA I WIN. FUCK YOU GOOGLE ARTS AND CULTURE, I MADE A HIGH RESOLUTION FILE OF OTTO DIX'S DER KRIEG FROM 53 SCREENSHOTS FROM YOUR SITE, YOU CAN'T KEEP ART OUT OF MY HANDS FUCK YOU IT ONLY TOOK AN HOUR AND A HALF

[capesandshapes]

Thinking about the invisible barriers to entry for publishing and how people who grew up in an upper to middle class background with supportive parents will start trickling into writing spaces for the next three months complaining about agents and publishers allowing additional consideration to people, members of the lgbtq+, and the disabled as a result of inclusive pitmads and open calls.

To query in the 2020s means having access to reliable technology in order to type out your novel, internet to query (and I was told in 2019 to send out 80 queries in my first round and expect to receive a form filled rejection letter like once-- the rest would never so much as acknowledge seeing your query), social media so you can be a part of all of the pitching events and jump on whatever opportunities you can (while being expected by some publishers to build your own following at the same time), and not only time but the emotional energy to write.

And I'm not even touching on the educational elitism that runs rampant through the arts, or the fact that many publishers and agents now expect you to query when a highly edited manuscript following their formatting guidelines in an approved file type (and no, it's not an imagined thing, converting Google drive documents to word does effect the formatting).

All of this is just to get your foot in the door. And half the time, the people who will tell you that it's easier to get a book deal if you're a marginalized person willfully ignore the fact that there are millions of people out there who couldn't get into the gated community that is access and stability to start walking towards the door. They don't want to talk about the people who were given additional consideration, but weren't accepted because an agent or publisher didn't feel that they were educated enough, or that they edited their manuscript enough, or their drive to word conversion turned all paragraph indentation into the dreaded five spaces instead of the much revered tabbing.

"You're more likely to get a book deal if you're a person of color, gay, or disabled," even once we move past how ungodly untrue that is, no one who bitches about agency and publisher calls for diverse writers wants to talk about the hundreds of people who were given additional consideration through those calls and didn't receive adequate marketing from their publisher or ended up grossly underperforming for reasons they cannot control. They don't see the people who will see the name on a book or flip to the back cover and put it down. Or that queer and non anglo Christian stories are going to be at a disadvantage in a marketplace dominated by white, straight, Christian culture.

Traditionally published people also aren't likely to be making bank to start off with, considering the fact that the majority of them fail even with all things working for them, and you don't get royalties until your advance is paid out by book sales. Publishers don't tend to give you another book deal or beg for a sequel if you aren't selling well, regardless of who you are.

There's about a dozen poc/lgbtq+/disabled authors from every publishing class (debut year), but everyone who bitches that it's definitely easier to get a publishing deal if you're a minority can only name like three successful POC authors, one disabled, and like if they try really hard like a single gay person in their genre-- like ignore the expanding literary canon that has introduced Toni Morrison and Walt Whitman to English programs across America, who in the genre that they write can they name off the top of their head that is not straight, white, neurotypical, and able bodied. Like, don't get me wrong, they've probably read a few more than just those people but can't remember off the top of their heads... Just like they can't remember the hundreds of books by white straight authors that they have read in their genre. Everyone knows the names of their favorite authors and the people that they consider themselves ~inspired~ by, but there are genuinely so many books by people of privilege that we don't really 'see' half of them.

But sure, whatever, it's unfair that you don't get as many publishing calls for you to submit your literary masterpiece, and you're surely being discriminated against. How will the world live without the new Shakespeare written by yet another monkey on a typewriter-- we even gave it internet.

[hclib]

Kitchen Interiors, Bad Roommates, 1930s Costume, and Levitation: Highlights from the Minneapolis Central Library Picture File

A range of cabinets on the 3rd floor of the Minneapolis Central Library hold the library’s Picture File, a collection of 600,000 images—in both color and black and white—sourced from books and magazines between 1895 and 2001. The collection provides a visual history of American culture in the twentieth century, tracking changing trends in fashion, interior design, and advertisement, as well as subjects in the news, reproductions of paintings and photography, and portraits of notable people. Many of these images were never digitized: you won’t find them in a Google image search.

Throughout the years, the Picture File has been a resource for local artists, History Day project students, theater set designers, zine authors, Halloween costume brainstormers, advertising creatives, and others looking for visual inspiration. The library’s annual report of 1943 even noted with pride that librarians from St. Paul Public Library had borrowed material for a children’s exhibit: “the reason for this—the St. Paul Art Department has no such collection of pictures.”

The files, indexed by subject, often reveal surprises. Librarians used the headings to play with meaning and stimulate the visual imagination, asking the question: what is a picture about? The way you read an image can change its focus and draw out new and unseen elements and contexts. The juxtaposition of images in a folder creates new connections: for example, “Everyday Life” groups mid-century advertisements for household appliances next to images of dogs and nuclear families next to the uncanny photography of Diane Arbus and conceptual works by Marina Abramović.

The Picture File contains images rich in local history as well. Clippings from historical Twin Cities publications and non-local photographic prints from the Minneapolis Times photo morgue, complete with original airbrushing, can be found throughout the collection. While most images in the collection can be checked out, folders with Minneapolis-related subject headings have been transferred to Special Collections for safekeeping. And local photos from the newspaper morgue can be found in the Hennepin County Library Digital Collections.

Above images from the Picture File at Minneapolis Central Library:

1. Interiors: Kitchens before 1960 2. Roommates, Bad 3. Costume: 20th Century, 1935-1939 4. Levitation

This post was written by Mark V. from the Art, Music, and Literature department. An exhibit on the Picture File will be on display in the atrium of Minneapolis Central Library for the month of April.

[mostlysignssomeportents]

This day in history

I'm on tour with my new novel The Bezzle! Catch me TOMORROW in SALT LAKE CITY (Feb 21, Weller Book Works) and then SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!

#15yrsago Tesla coils sing the Doctor Who theme in orgy of electric awesomesauce https://arcattack.com/about-us/

#15yrsago HOWTO Make a duct-tape corsage https://www.instructables.com/How_to_Make_a_Duct_Tape_Corsage_and_Flowers/

#15yrsago 419 scammer impersonates the nation of Ethiopia, takes $27 million from Citibank https://www.nytimes.com/2009/02/21/nyregion/21scam.html

#15yrsago On the demise of books, newspapers, music and movies https://web.archive.org/web/20090301000000*/https://www.internetevolution.com/document.asp?doc_id=171555&

#15yrsago Future of News video from 1981: epitome of foolish futurism https://memex.craphound.com/2009/02/20/future-of-news-video-from-1981-epitome-of-dumb-futurism/

#10yrsago Comic explains problems with Oakland’s Domain Awareness Center surveillance plan https://medium.com/the-nib/the-testing-ground-for-the-new-surveillance-db4f129a7177

#10yrsago Well-Sorted Version, an alphabetical Bible https://www.wellsortedversion.com

#10yrsago Sculptor collaborates with honeybees to cover statues with comb https://www.thisiscolossal.com/2014/02/artist-aganetha-dyck-collaborates-with-bees-to-create-sculptures-wrapped-in-honeycomb/

#10yrsago Obama’s top Trans-Pacific Partnership officials were given millions by banks before taking the job https://www.republicreport.org/2014/big-banks-tpp/

#10yrsago Report from a meeting of Wall Street’s secret, tasteless plutocrats’ club https://nymag.com/intelligencer/2014/02/i-crashed-a-wall-street-secret-society.html

#10yrsago Edgar Allan Poe’s interior design proscriptions https://www.smithsonianmag.com/arts-culture/edgar-allan-poe-interior-design-critic-180949543/

#10yrsago Museums and the free world: keynote from the Museums and the Web conference in Florence https://mwf2014.museumsandtheweb.com/paper/glam-and-the-free-world/

#5yrsago Florida inmates sue prisons for digitally confiscating the music they were sold https://www.jacksonville.com/story/news/crime/2019/02/19/florida-prisoners-could-form-class-action-to-demand-refund-on-confiscated-media-players-and-files/5881894007/

#5yrsago Owner of civil war reenactment business sues school district that canceled field trips after his far-right social media came to light https://www.latimes.com/local/california/la-me-rileys-farm-lawsuit-oak-glen-20190219-story.html

#5yrsago FDA: infusing young people’s blood will not improve your health https://edition.cnn.com/2019/02/19/health/plasma-infusion-young-blood-fda-bn/index.html

#5yrsago A malicious USB cable with its own wifi rig https://twitter.com/_MG_/status/1094389042685259776

#5yrsago Magic Lantern: feature-rich addons for Canon EOS cameras https://www.magiclantern.fm

#5yrsago Google admits Nest security product has a secret mic, insists it wasn’t supposed to be a secret https://www.businessinsider.com/nest-microphone-was-never-supposed-to-be-a-secret-2019-2

#1yrago Turbotax is blitzing Congress for the right to tax YOU https://pluralistic.net/2023/02/20/turbotaxed/#counter-intuit

[dzthenerd490]

File: Yume Nikki

SCP#: AFI

Code Name: Madotsuki, the Depressed Dreaming Goddess

Object Class: Euclid

Special Containment Procedures: When awake, SCP-AFI is given daily therapy sessions to various Foundation therapists in order to both stabilize her mental health and have her interact with various people. She has also been provided with Foundation anti-depression and anti-trauma medication. On a monthly basis she is to be escorted to one of the Nexus points in good relation or owned by the Foundation. A 16-person team of Foundation agents are to watch over her to ensure she is not harassed by anyone within these points and only build up good relationships with the locals. 

When it is time for SCP-AFI to sleep she is to be locked within Site-AF. She is contained within an 8x8 meter containment cell with the proper furniture, housing, and other housing accommodations. Her bed is made with the most comfortable materials and state of the art construction to ensure maximum comfort and sleep. The door to the containment room is reinforced with various strong metals as well as metals that prevent reality altering wavelengths to pass. four armed guards are to watch over the door while SCP-AFI is asleep in case any entities break out.

In the event of a containment breach, SCP-AFI's situation depends on where she currently is. If SCP-AFI is off site, she is to be kept away until the containment breach is cleared. If the containment breach lasts for a day and SCP-AFI needs to sleep, she is to be transported to Site-AB. She will be transported to the visual memetic dreaming testing room. She is to be placed on the seat and given the googles to help her lucid dream. It should be noted this is no healthy for SCP-AFI and even when lucid dreaming her dreams can easily get out of control. She should be made to stay awake for as long as possible without harming her health. Forcing her to lucid dream should always be considered a last resort.

If she is at Site-AF, she is to be locked in her room with four guards inside with her all armed with Foundation laser guns to ensure their own safety in case SCP-AFI falls asleep when they are on guard. The guard count outside the containment cell is to be increased from four to sixteen in case any Hostile Groups of Interest will try to kidnap her. 

Description: SCP-AFI is a Japanese young adult of at least 22 years old. In Japanese culture she is referred to as a Hikikomori, a shut in to be exact. SCP-AFI has refused to tell Foundation staff why she is a Hikikomori or anything else about herself other than her name being Madotsuki. SCP-AFI claims she doesn't know how she got her anomalous properties either and so far, the Foundation has found no links to it or any known Foundation anomalous resources, Items, or even any of the gods. 

When SCP-AFI goes to sleep she enters a strange dark room with 24 different doors each one leading to a different dream. Testing with the Poe Visual Dream Projector Helmet confirms this to be true. When she enters one of the rooms the setting starts leaking into our world and certain entities can manifest in our world as well. These entities are not necessarily hostile but are often disruptive and harm those close to SCP-AFI while she is sleeping. They are referred to as SCP-AFI-1 instances and sometimes resemble snowmen, objects with human limbs, hands that grow out of the floor, and/or various other chaotically random creatures. 

The most hostile creatures born form SCP-AFI's dreams are SCP-AFI-2 instances though she refers to them as the Toriningen. The SCP-AFI-2 resemble teenage girls but with elongated pig snouts on their faces and abnormally large and grotesque eyes. They all have slender bodies wearing regular blouse and long skirts. These entities are not necessarily hostile but do like to mock SCP-AFI herself and tend to get very aggressive with anyone who is close to her. Thankfully these entities are physical and not immortal in any sense, meaning although they can harm, they can also be harmed. Normal gun shots tend to do the trick but it's possible for SCP-AFI-2 instances to survive multiple shots. Laser blasts have proven to be the most effective against any entity created form SCP-AFI's dreams.

SCP-AFI is not completely powerless, by entering these dreams she has gained a diverse among of anomalous abilities that change her appearance while also allowing her to do different things. For example, her frog ability makes her have the head of a frog while also allowing her to walk on water. The snow woman form allows SCP-AFI to resemble a Yuki-onna ghost and make it snow wherever she goes. Then there is the knife form which is simple SCP-AFI holding a knife though it can never be taken from her grasp until she gets out of the form. However, she is now more intimidating to anyone who wishes to do her harm and the knife is strong enough to cut through titatium even when she is barely putting effort into cutting. There are various other abilities SCP-AFI has gotten before capture and even after capture, but they all have various degrees of power, and some are so rare in usage they are practically worthless. 

SCP-AFI was discovered in 2004 when the tenant in her building reported several strange noises coming from her room as well as her rent being past due but her refusing to come out. An officer went to her room and managed to get in only to see her jump off the balcony and die. However as soon as she fell her body vanished only to reappear on her bed. The doctors confirmed the blood on the ground is Her's yet according to the evidence it was impossible for her to jump. 

Mobile Task Force Posideon-3 "Otaku Heart" was deployed and assigned to cover up the crime scene. It was altered to the point making it seem like SCP-AFI did commit suicide and the police officer was trying to cover it up. This resulted in him getting fired and arrested. Afterwards, SCP-AFI was captured and taken into Foundation custody where she was told about the Foundation and confirmed that her anomalous abilities are real and not just dreams. SCP-AFI was confirmed to be compliant with Foundation testing but is suffering from depression and is most likely planning to take her own life again. Foundation staff are advised to be nice to her and patient with testing not to rush anything even when she claims its fine. It is with hope that the Foundation can help SCP-AFI break out of her depression so that she can be processed by the Anomalous Employment Division. Or at the very least have her powers removed so that she can be processed back into society and given a better life with Foundation compensation money.

.

SCP: Horror Movie Files Hub

[re-strictedaccess]

Hey!! It's Teddie again, welcome back. Today we're talking software.

When I hear the word software, it’s really hard to come up with any kind of tangible definition. I know of computer software, that it exists, and that I probably see it every day, but I couldn’t explain to you exactly what it is or where it might be hiding. I think of the tiny panels inside my phone, circuit boards glued together with tiny signals somehow wirelessly escaping my little interface and travelling around the world to deliver bits of information. Thankfully, in his book Software Takes Command Lev Manovich reveals that software isn’t the mystical fibre optic cables or hard drives; instead, it’s actually the thing that brings the hard-wired confusion of computer science to meet the real, living world — “the very grounds and ‘stuff’ of media design”, Manovich quotes a colleague. But not only is it “stuff”, it’s also the very thing that connects us to everything digital, from Google to Photoshop, Facebook to the compass app on your phone (that I know you never use). Ironically, something that people (myself included) know so little about is the only key to accessing the seemingly endless stream of information coming from the internet and other digital tools.

It’s for this exact reason, as Manovich points out, that software is constantly affecting and being affected by culture and society. Similar to the back and forth of art and literature, software is ever changing alongside cultural shifts in values and interests, serving as both a catalyst and a response to societal changes. But arguably unlike the arts, software reaches across the globe to impact billions of lives simultaneously, influencing a globalize society at the click of a button (or however it is the developers create software updates). It’s interesting to think about how a key driver of societal change is consciously being designed and redesigned for us consumers.

Although I can’t say it is the primary goal of software developers to generate large-scale societal shifts, I find it particularly interesting that they have that power to do so. Manovich describes, for example, a shift in privacy in the 2000s: “the boundary between “personal information” and “public information” has been reconfigured as people started to routinely place their media on media sharing sites, and also communicate with others on social networks.” When software introduces us to new (seemingly harmless) tools, such as an option to share a file, it can quickly take affect on society and, in this case, debase previously long-lasting values (such as that of privacy). A similar, more drastic effect came from the eruption of social media, as people were encouraged to spend more of their time sharing their lives rather than actually living them. Then, as Manovich mentions, these social affects can be taken advantage of; “By encouraging users to conduct larger parts of their social and cultural lives on their sites, these services can both sell more adds to more people and ensure the continuous growth of their user base.” Now, not only does a select community of people have a huge power over social and cultural change, but also they can enact changes that only they get rewarded for.

While software is far from the first or only thing initiating these cultural shifts, software is among the first to accept immediate feedback through engagement (and non-engagement) and human attention — while we can’t (or at least, don’t) dip our brushes into the drying paint of a Picasso to change its colours, we can engage with software to support or prevent its growth in the digital world. When we like a friend’s photo on Instagram, or click on an ad, we actively lay out a pattern of what software was successful and what wasn’t, not only through the type of interaction but also in whether we interact at all; and this data allows software to conform so tightly to common social and cultural values in a way that arts could never. In a similar way, engagement gives software an ‘insider access’ to human behaviour, giving it a power to shape the way we conduct our lives without even intending to. It’s interesting to think that something we know so little about knows and affects so much of the way we live.

*if you find these kinds of discussions interesting, I highly recommend watching “The Social Dilemma” on Netflix - it talks all about the role of the internet and globalization on the real world!

[milesinfo]

Warangal’s SEO Hero: The Expert You Can Count On for Rankings | 6milesinfo

In the bustling and competitive landscape of digital marketing in India, Warangal emerges as a city with untapped potential. Home to vibrant culture and a rapidly growing digital ecosystem, Warangal is carving a niche as a hub for businesses and professionals striving to make their mark online. One key element of this transformation is the rising demand for Search Engine Optimization (SEO) services. For businesses looking to dominate search rankings and build a robust online presence, Warangal’s SEO Hero stands out as a trusted expert you can count on.

Whether you are a bride or groom preparing for your wedding, a business owner striving to capture the local market, an entrepreneur venturing into e-commerce, or a developer building the next big app, SEO can be your ultimate tool to achieve success. This article dives deep into why SEO in Warangal is a game-changer and how Warangal’s SEO Hero offers unparalleled services to meet your needs.

Understanding SEO: Why It Matters

Search Engine Optimization (SEO) is the art and science of optimizing a website to rank higher in search engine results pages (SERPs). With India witnessing a massive surge in internet penetration, businesses must leverage SEO to stay ahead of the competition.

The Indian Digital Landscape

Statistics: According to Statista, India had over 692 million active internet users in 2023, and this number is projected to grow to 900 million by 2025.

Consumer Behavior: More than 70% of Indian consumers research online before purchasing products or services, making SEO crucial for visibility.

For example, imagine a wedding photographer in Warangal looking to attract clients from across Telangana. With the right SEO strategy, they can rank for keywords like "top wedding photographer in Warangal" and "best pre-wedding photography in Telangana," bringing in a steady stream of inquiries.

Warangal: The Growing Hub for SEO Solutions

Warangal is not just rich in history and heritage; it’s rapidly becoming a hotspot for tech-savvy professionals and businesses. Here’s why the city is gaining traction in the digital marketing space:

1. Local Business Growth

Small and medium enterprises (SMEs) in Warangal are embracing digital marketing to reach larger audiences. Sectors like wedding photography, tourism, and retail are particularly thriving with the help of localized SEO strategies.

2. Skilled Talent Pool

Warangal boasts a growing community of digital marketers, developers, and content creators, many of whom specialize in SEO. Warangal’s SEO Hero is one such expert who combines experience with local insights to deliver results.

Top Trends in Wedding Photography SEO in India

For professionals in the wedding industry, SEO can be the key to attracting more clients. Let’s explore the top SEO trends shaping this niche:

1. Visual Content Optimization

Trend: High-quality visuals like wedding photos and videos dominate online searches.

Tip: Optimize image alt tags, file names, and descriptions with keywords such as "candid wedding photography in India" or "destination wedding photographer in Warangal."

2. Local SEO for Photographers

Trend: Local SEO helps wedding photographers appear in searches for nearby clients.

Tip: List your business on Google My Business with accurate location details and encourage clients to leave reviews.

3. Video Content Marketing

Trend: Short reels and highlight videos are trending on platforms like Instagram and YouTube.

Tip: Create SEO-friendly video titles and descriptions like "Best wedding highlights in Warangal" or "Indian bridal photography trends."

4. Long-Tail Keywords

Trend: People use detailed queries when searching, such as "affordable wedding photographers in Hyderabad."

Tip: Incorporate these long-tail keywords into your content strategy for higher rankings.

5. Mobile-First SEO

Trend: Over 85% of internet users in India browse on mobile devices.

Tip: Ensure your website is mobile-friendly, with fast loading times and responsive design.

Why Choose Warangal’s SEO Hero?

With over a decade of expertise, Warangal’s SEO Hero has earned a reputation for delivering tailored strategies that drive measurable results. Here’s what sets them apart:

1. Customized SEO Solutions

Every business is unique, and so are its needs. Warangal’s SEO Hero crafts bespoke strategies to target specific audiences and industries.

2. Data-Driven Approach

Using advanced analytics and tools, they identify trends, optimize content, and monitor progress to ensure success.

3. Affordable Packages

SEO services can be expensive, but Warangal’s SEO Hero offers cost-effective solutions, making them accessible to startups, students, and entrepreneurs.

Expert Tips from Warangal’s SEO Hero

Focus on Quality Content: “Content is king. High-quality, engaging, and keyword-optimized content will always rank better.”

Leverage Social Media: “Social platforms amplify your reach. Share optimized posts to drive traffic to your website.”

Track and Adapt: “SEO is an ongoing process. Regularly analyze your performance and adapt to changes.”

Special Offers

To help businesses kickstart their SEO journey, Warangal’s SEO Hero is offering an exclusive discount of 20% off on all SEO packages for a limited time. Don’t miss out on this opportunity to elevate your brand!

FAQs

1. What is SEO, and why is it important for businesses in Warangal? SEO is the process of improving your website’s visibility on search engines. For businesses in Warangal, SEO is essential to attract local customers and compete with larger brands.

2. How long does it take to see results? SEO is a gradual process. Typically, businesses start seeing results within 3-6 months, depending on the competition and strategy.

3. Can SEO help my wedding photography business? Absolutely! With the right keywords, optimized content, and a strong online presence, you can attract clients searching for wedding photographers in your area.

Conclusion

In today’s digital-first world, having a strong online presence is no longer optional; it’s a necessity. Whether you’re a bride or groom planning your dream wedding, a business owner aiming for growth, or a developer launching a new venture, SEO can make all the difference.

Warangal’s SEO Hero isn’t just an expert; they’re your trusted partner in navigating the complexities of the digital world. With proven strategies, cutting-edge tools, and a customer-centric approach, they ensure your business not only ranks high but also thrives in the competitive market.

Take the leap today and transform your online presence with the best SEO in Warangal . Your success story starts here!

[sharonnnassimos]

Artist Review 2

Artist Review 2

Read the article (The Rise of Glitch ArtLinks to an external site.) and pick one work by one of the artist. 

Find and post images, links, video or other information about the artist.

Create a short bio about the artist.

Choose one work to describe in detail and explain why you picked it.  (Use your own words. If you chose to include text from an article you should make it clear what text this is and note your sources.)

Ensure you post written response for both to receive full credit. thinking about the their  creative approach to making, themes and ideas they investigate with their images. 

The image I chose for this discussion attached below, is From the Dutch Landscapes series by Mishka Henner. Mishka HennerLinks to an external site. uses Google Earth to capture images of the Dutch countryside, revealing a modern, almost abstract view of the landscape. Henner is well-known for his work that frequently explores themes of monitoring, digital culture, and the intersection between the real and the virtual. This series of Henner's images is non-traditional in that it does not involve actual fieldwork or personal interaction with the environment around him.  Instead, they are created through the internet, emphasizing ways in which data and technology affect how we see the world. This strategy highlights the way that landscape photography is moving from everyday life to online environments. 

Contemporary photographer Mishka Henner was born in Manchester, England, in 1976. Mishka frequently generates and manipulates his imagery using digital tools and online platforms. He is known for integrating technological advances and internet platforms in his photographs. His art examines topics of technology, monitoring, and visual culture. In several of his pieces, he sources photographs from online collections such as social media, Google Earth, and other sources, turning them into controversial artwork that questions how we interact with and interpret our surroundings. Henner's creative method questions conventional photography through the use of technology and frequently examines how we view and engage with our surroundings. 

The objective of Mishka Henner's Dutch Landscapes series is to investigate the relationship between understanding, technology, and environment. Henner challenges how digital tools affect our perception of physical landscapes by taking pictures of the Dutch countryside with Google Earth. The series offers a reflection on how technology controls our view of the world by emphasizing the contrast between the impersonal nature of these digital photographs and the accuracy of technological depiction.

https://mishkahenner.com/Dutch-LandscapesLinks to an external site. 

https://photoworks.org.uk/mishka-henner-dutch-landscapes/Links to an external site. 

https://www.movingwalls.org/moving-walls/22/dutch-landscapes.htmlLinks to an external site.

Attached File: Art-work-by-Mishka-Henner-001.jpg.jxl

[ryangomes1]

History of Fonts

Fonts, in the modern sense, are an essential part of communication and design, from printed materials to digital displays. The history of fonts dates back to the early days of printing, evolving through technological advancements, artistic movements, and cultural shifts.

Origins of Fonts

The history of fonts can be traced to the invention of the printing press by Johannes Gutenberg in the 15th century. Gutenberg's press revolutionized printing, enabling the mass production of books and other printed materials. He created movable type, each piece of which represented a letter or symbol. This development led to the creation of the first fonts, often based on the handwriting of the time.

The Rise of Serif and Sans Serif

The earliest fonts were influenced by calligraphy and classical Roman inscriptions. These early fonts, such as the famous "Blackletter" used in Gutenberg’s Bible, featured decorative, heavy strokes. Over time, more legible, simpler fonts were developed, particularly in Italy. In the 16th century, type designer Aldus Manutius introduced the first italic font, inspired by the handwriting of the time.

The 18th century saw the development of the first "modern" fonts, with the work of type designers like John Baskerville. Baskerville’s typefaces featured refined curves and sharper contrasts between thick and thin strokes, which became a hallmark of modern serif fonts.

In the 19th century, the Industrial Revolution spurred further advancements in typography, including the rise of sans-serif fonts, which lacked the small decorative lines (serifs) at the ends of letters. Fonts like "Akzidenz-Grotesk" and "Helvetica" became popular during this time, marking the shift toward a cleaner, more streamlined aesthetic.

The Digital Era and TrueType Fonts

With the advent of computers and digital typography in the 20th century, fonts underwent a massive transformation. In the 1980s, Apple and Microsoft introduced the TrueType font system, which allowed fonts to be scaled without losing quality. This system allowed for greater flexibility in digital design and web development.

The 21st century saw the rise of web-safe fonts and the open-source font movement, with Google Fonts and similar repositories offering thousands of fonts for designers worldwide. The digital landscape continues to evolve, with variable fonts, which allow for multiple styles within a single font file, becoming more popular.

Conclusion

The history of fonts is a fascinating journey from the earliest days of printing to the digital age. Fonts have evolved alongside advances in technology, art, and culture, and continue to shape how we communicate today. Whether used for print, web design, or digital applications, fonts remain a crucial aspect of design and communication.

FAQs

1. What is the difference between serif and sans-serif fonts?

Serif fonts have small lines or decorative strokes at the ends of the letters, which can make text easier to read in print. Sans-serif fonts, on the other hand, lack these decorative strokes and have a cleaner, more modern appearance, often used in digital media for better readability.

2. Why are fonts important in design?

Fonts are important in design because they set the tone, mood, and readability of text. The choice of font can influence how a message is perceived, whether it’s formal, playful, modern, or classic.

3. How has digital technology influenced fonts?

Digital technology has made fonts more versatile and accessible, allowing designers to create scalable, web-friendly fonts. Innovations like TrueType and OpenType fonts, along with platforms like Google Fonts, have made it easier for people worldwide to access and use diverse typefaces for various applications.

[onenettvchannel]

BALITANG SHOWBIZ: Doraemon's Double Pioneer Japanese Voice Actresses of 'Nobi Nobita' have both died

KYOTO, JAPAN -- The world of Japanese animation mourns the death of two (2) pioneering voice actresses from the hit classic anime series 'Doraemon'. The death of 'Yoshiko Ota', acts originally for 'Mr. Nobita Nobi', and Noriko Ohara, her successor, has left fans and their colleagues in tears.

Yoshiko Ota, who first brought Nobita to life in the 1973 version of 'Doraemon' on Nippon Television, passed away last Friday on October 29, 2021 at the age of 89. Her agency at 'Theatre Echo' announced that she succumbed to heart failure after battling the condition for several years. Ms. Ota's portrayal of Nobita laid the base for the popularity that has not only endured but also left a mark on the series.

Nobita of the 1979 series 'Noriko Ohara', died alone on Friday (July 12, 2024) at 88 y/o. Ohara's agency '81 Produce' revealed on social media post that she had died after receiving unsuccessful treatment for an unspecified illness. Our news team learned to OneNETnews, it is not determine if she is related to natural death, health concerns or both.

With her voice, Ohara's instantly became synonymous with Mr. Nobita, the character loved by generations of Japanese viewers. In a career spanning more than 4 decades, she also voiced characters in other popular anime, including 'Yatterman' that was released in January 1977 and 'Conan: The Boy in Future' in 1978. Though their names share 'Conan' from the anime series 'Detective Edogawa Conan' are no connection, or being related between the plot, genre or voice production occurs.

First broadcast in April 1979 at All-Nippon News Network's TV Asahi, 'Doraemon' just about became an instant cultural phenomenon first in Japan and then around the world. The series follows a cat robot named Doraemon as he travels back in time to help a young boy named 'Mr. Nobi Nobita'. That success may be due only to the magnificent voice acting that realized these characters and made them emotionally resonate with audiences across all ages.

Internationally, 'Doraemon' found its place in more syndicated TV networks outside Japan, whether by free or cable TV, such as Disney XD in the United States of America (U.S.A.) and GMA 7 in the Philippines. Episodes in local languages, as part of global syndication aired most of the daily reruns with no new episodes. Such worldwide reach made the series a staple of childhood for most in the world, further making it a cultural icon.

A thoughtfulness tribute between Ota and Ohara marked an era for 'Doraemon' fans. In so many ways, their comforting voices will be deeply missed. Today, 'Ms. Megumi Ohara' already has to transition her around 2 decades ago, in continuing her new legacy for a voice actress of 'Nobi Nobita', because of the likeness that matches as a fictional male character.

As the anime community reflects on their legacy, the impact of Ota and Ohara's work will continue to be felt for generations to come. Both hard work and skills have all managed to touch the anime industry, in such a way that their voices will never be forgotten, always remembered in the hearts of fans worldwide.

FILE and ART PHOTO COURTESY for REPRESENTATION: Google Images and Jainish Ramanuj via Figma PHOTO BACKGROUND PROVIDED BY: Tegna

SOURCE: *https://en.wikipedia.org/wiki/Nobita_Nobi *https://en.wikipedia.org/wiki/Yoshiko_%C5%8Cta *https://en.wikipedia.org/wiki/Noriko_Ohara *https://www.figma.com/community/file/990094112434879347/nobita-by-jainish [Referenced Art Photo via Figma] *https://www.animenewsnetwork.com/news/2021-11-08/voice-actress-yoshiko-ohta-passes-away/.179327 [Referenced News Article #1 via Anime News Network] *https://www.animenewsnetwork.com/news/2024-07-23/voice-actress-noriko-ohara-dies-at-88/.213502 [Referenced News Article #2f via Anime News Network] *https://www.epicdope.com/noriko-ohara-voice-behind-nobita-from-doraemon-dies-at-88/ [Referenced News Article via Epic Dope News Bureau] and *https://www.youtube.com/watch?v=tjBQ9dKYtI4&t=1833 [Referenced YT VIDEO via Rulumi]

-- OneNETnews Online Publication Team

[travellhq]

Finding the Right Miami Portrait Studio: Tips and Recommendations

Miami is renowned for its vibrant culture, stunning landscapes, and eclectic art scene. When it comes to capturing your memories or celebrating a special occasion, finding the right portrait studio is crucial to ensure that your photos reflect the unique energy and beauty of this city. Whether you're looking for a professional family portrait, a stylish personal shoot, or a creative engagement session, Miami offers a plethora of portrait studios to choose from. Here’s a comprehensive guide to help you find the perfect studio that aligns with your vision and needs.

1. Define Your Needs and Style

Before diving into your search, it's essential to define what you're looking for in a portrait session. Are you seeking a classic, traditional look or something more contemporary and artistic? Do you have specific themes or concepts in mind? Clarifying your preferences will help narrow down your options and ensure that the studios you consider are a good fit for your vision.

Types of Portrait Photography:

Traditional: Classic and timeless portraits, often with formal poses and settings.

Lifestyle: Natural and candid shots that capture everyday moments.

Fashion: High-end and stylized images focusing on clothing and personal style.

Artistic: Creative and unique concepts, often incorporating props or elaborate backdrops.

2. Research and Recommendations

Start your search by researching local portrait studios in Miami. Online reviews, social media, and recommendations from friends or family can provide valuable insights into the quality of service and the studio’s reputation. Websites like Yelp, Google Reviews, and Instagram are great platforms to gauge customer satisfaction and see examples of previous work.

Key Points to Research:

Portfolio: Review the studio’s portfolio to ensure their style aligns with your vision.

Experience: Consider how long the studio has been in business and their expertise in portrait photography.

Client Testimonials: Read feedback from past clients to assess their overall experience and satisfaction.

3. Visit Studios in Person

Once you’ve shortlisted a few studios, schedule visits to get a feel for their environment and meet the photographers. This will give you an opportunity to discuss your ideas and see how they respond to your vision. Pay attention to the studio’s atmosphere, professionalism, and how comfortable you feel during the visit.

What to Look For:

Studio Space: Check if the studio has a variety of backdrops and settings that match your style.

Equipment: Ensure they use high-quality cameras and lighting equipment.

Staff Interaction: Observe how the staff interacts with clients and their level of professionalism.

4. Discuss Packages and Pricing

Portrait photography can vary significantly in price, depending on the studio, the length of the session, and the final products included. Discussing packages and pricing upfront will help you understand what’s included and avoid any surprises.

Common Inclusions:

Session Time: Duration of the photo shoot.

Number of Edited Photos: How many images you will receive.

Prints and Digital Files: Availability of print products and digital copies.

Additional Costs: Any extra charges for additional edits, prints, or travel.

5. Review Contract and Terms

Before finalizing your decision, carefully review the contract and terms of service. Ensure that you understand the cancellation policy, delivery timelines, and any other important details. A clear agreement will help protect both parties and ensure a smooth experience.

Key Contract Details:

Payment Terms: Deposit requirements and payment schedule.

Copyright and Usage: Rights to the images and how they can be used.

Delivery Time: Expected timeframe for receiving your final photos.

6. Prepare for Your Session

Once you’ve chosen a studio, it’s time to prepare for your portrait session. Communicate your ideas and expectations to the photographer and discuss any specific details such as wardrobe choices, props, or locations. Being well-prepared will help ensure that the session goes smoothly and that you achieve the results you’re hoping for.

Preparation Tips:

Wardrobe: Choose outfits that complement the style of the shoot and avoid overly busy patterns.

Props and Accessories: Consider any props or accessories you’d like to include.

Personal Preparation: Ensure everyone involved is well-rested and ready for the session.

7. Enjoy the Experience

Finally, remember that the portrait session is an opportunity to have fun and capture meaningful moments. Trust your photographer’s expertise and enjoy the process. The more relaxed and natural you are, the better your photos will turn out.

Top Miami Portrait Studios to Consider

Here are a few notable portrait studios in Miami known for their exceptional work and customer service:

Studio A Photography: Known for their stylish and contemporary portraits, Studio A offers a range of packages for different needs.

Miami Portraits: Specializing in classic and elegant portraits, Miami Portraits provides a professional and polished experience.

Artistic Expressions Photography: Ideal for those seeking creative and unique portrait sessions with a focus on artistic flair.

Vibrant Visions Photography: Offers a range of lifestyle and family portrait options, with an emphasis on capturing natural moments.

Conclusion

Finding the right portrait studio in Miami involves understanding your needs, researching potential studios, and ensuring clear communication throughout the process. By following these tips and recommendations, you’ll be well on your way to capturing stunning portraits that reflect your unique personality and style. Whether you're celebrating a milestone, documenting a special moment, or simply wanting to create beautiful memories, Miami’s portrait studios offer the expertise and creativity to make your vision a reality.

[scottwellsmagic]

836: Julie Eng - My Life in Magic

If you are a magic collector or you have attended one of the recent MAGIC Live! conventions, then no doubt you have seen, met or otherwise know Julie Eng. She is the executive director of Magicana, a Toronto-based organization dedicated to the exploration and advancement of magic. She is also the editor of Magicol, the “house organ” of Magicana that’s filled with delightful stories from noted authors about the rich history of our art.

You cannot tell the story of what Julie Eng does without knowing her background with her father, Tony Eng, proprietor of Tony’s Trick and Joke Shop in Victoria, British Columbia. Not only learning magic, but also a strong work ethic and marketing skills necessary to be the successful magician she is today. Enough has been said about women in magic that there should be no separation between a female and male magician. But when you also throw in her Asian cultural background, then the “elephants in the room” must be addressed, which it is in this week’s episode.

Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.