#Question & Marking Scheme

[prasanththampi]

XIBMS MBA INTERNATIONAL BUSINESS EXAM ANSWER SHEET PROVIDED

XIBMS MBA INTERNATIONAL BUSINESS EXAM ANSWER SHEET XIBMS MBA INTERNATIONAL BUSINESS EXAM ANSWER SHEET XIBMS MBA INTERNATIONAL BUSINESS EXAM ANSWER SHEET

Xaviers Institute of Business Management Studies MARKS: 80 . SUB: International Business. N.B.: 1) Attempt any Four Case studies. 2 All questions carry equal marks.

CASE 1 Creating world class quality standards Introduction Customers expect to be able to buy products that meet certain standards. Standards can be written down and published for use by manufacturers and service providers. They can be used as guidance. BSI stands for British Standards Institution. It was the world’s first Standards body, and is the National Standards Body for the UK. BSI works in three main fields: . Setting British and international standards . Product testing . Quality management systems (QMS) Standards are based on agreed best practice. Businesses are keen to use standards to show they have a place in global markets. There are thousands of standards covering all manner of goods and services. Quality A quality product or service does what the customer wants it to do. This may differ from market to market. For instance, a cheap football provides enough `quality’ for a village match. For a league match, a better ball would be needed. Many organizations try to build quality into everything they do. They do this by using a QMS. This provides a framework that helps the business to improve in all areas. BSI helps organizations to identify best practice and translates this into standards. BSI publishes almost 20,000 standards and each year adds 2,000 new or revised standards to this list. The importance of standards Standards exist at a number of levels. These include: * International Standards, (ISO). These need to be agreed between countries, so are the most complex * European Standards (EN) * British Standards (BS). BSI contributes to all three. Standards help protect consumers’ safety. They also promote research. They promote the sharing of knowledge. They help businesses to compete. In markets where it is hard to compete on price, businesses can use standards to help them compete on quality. The Kitemark BSI is independent. It works with both the private and public sector. It makes sure that safety and quality standards in the UK and around the world are built into products. BSI also owns the famous Kitemark symbol which you see on many products. It shows that a business has had a product tested to the relevant standard. Schemes cover various products and services. Examples include lighting, 13 amp plugs, motor cycle helmets and car repair garages. The Kitemark shows that the business sees safety and quality as vital. It shows the customer that the product or service has been tested and has reached the relevant Standard. Other symbols are required by law, for instance, CE marking. This shows that a product conforms to certain European Union regulations. Processes ISO 9001 is a key international standard. It shows that the business uses a QMS. It shows that quality is built into all aspects of operations. This must include all systems, whether inside or outside of the business. It therefore includes suppliers. There are eight quality measures that must be met to gain certification to ISO 9001. Conclusion Products include both goods and services. These can be made, operated and sold on a global basis. International standards for them are therefore vita. BSI helps to create these standards. Standards help businesses to build good reputations based on quality, safety and reliability. Issues for Discussion 1. What do you understand by the term `quality’ in relation to a product you buy? 2. What is the BSI Kitemark? How might this help you to choose a product to purchase? 3. How might meeting the Standard ISO 9001 help a business to gain a competitive advantage over a rival? 4. Assume that you have developed a new manufacturing process – how might the BSI help you to develop this process?

Case 2 Sustainable business at Corus Introduction Corus is the UK’s biggest steel manufacturer. Even so, it still has to compete. In 2004 it launched a programme to make itself more efficient. Part of the program, called ‘Restoring Success’, focuses on recycling steel. The world economy is growing. The demand for steel has increased as more nations such as India and China have grown. Recycling as part of sustainable development has thus become vital. It has become a main concern for Corus. What is sustainable? Sustainable development is linked to resources. It means leaving at least as much for the future as we had to start with. This shows respect for the environment. It also shows thought the future. Everyone should try to aim for sustainability. This includes governments, businesses and people. Recycling Steel can be recycled over and over again with no loss of quality. This makes it stand out in terms of sustainability. It is easy to extract steel from waste because of its unique magnetic properties and recycle it from scrap. By recycling steel Corus helps to: * preserve natural resources * protect the environment * meet targets for reducing waste. Corus is working hard to make the public aware of what can and should be recycled. Steel can be recycled from drink and food cans, lids, paint cans and aerosols. Not everyone knows what can be recycled. For instance, 57% of consumers recycle drinks cans but only 7% recycle aerosols. Corus is working to develop a ‘closed loop’ for steel. The steel would go from consumers to recycling plants, then into production and back to consumers. Stakeholders Corus sees that there are two sides to recycling. There are gains, but there can also be extra costs. To keep all of its stakeholders happy, it must balance these. There are effects on : the planet. Fewer resources are used but energy is needed to recycle * consumers. They have a smaller carbon footprint but more time is needed to recycle * employees. More are involved in recycling *communities. Less waste is stored in landfill but there may be noise from recycling plants. Gains include lower production costs, governments hitting recycling targets and all of us having a better planet to live on. Costs and benefits It is possible to weigh up costs and benefits. A monetary value can be put on them. Businesses want gains to outweigh costs. Corus gains from recycling. Socially. Corus gains a good reputation. There is reduced impact on the environment, lower energy use and less waste. There are also costs. These include the cost of recycling and of collecting and sorting waste steel. Corus has created a number of targets to help measure its success. These are called Key Performance Indicators. They include • Corus’ UK energy use being reduced to less than 1997 levels • an increase in the steel recycling rate to 55%.

Conclusion Corus works to recycle as much as it can. This helps towards greater sustainability. It shows concern for all its stakeholders. Consumers can also help by recycling as much as they can. Issues for Discussion 1. What is sustainability and whose responsibility is it? 2. Describe three actions that an individual can take to support sustainability and two actions that a business can take? 3. Steel lends itself to recycling. What actions could be taken to increase public awareness of steel recycling? 4. Recommend actions that individuals and businesses can take to enhance the closed loop ‘steel to steel’ recycling process. 5. Recommend ways in which the benefits of steel recycling can be increased compared to the costs of recycling steel.

Case 3

[golearners]

GB Assessment R.M.E Mock Examination Question & Marking Scheme PDF

GB Assessment R.M.E Mock Examination Question & Marking Scheme PDF

Are you Preparing to write your 2022 BECE examination? Do you need mock questions and answers to help you in your preparation for the waec exams? if yes, then you are on the right page. Here we are going to provide you with GB Assessment R.M.E Mock Examination Question & Marking Scheme PDF. In our previous updates, we’ve given out the GBAT English Language Mock Examination Question & Marking…

[edulearnweb]

Likely 2022 BECE Social Studies Questions & Marking Scheme

Likely 2022 BECE Social Studies Questions & Marking Scheme

Take a careful look at our 2022 BECE Social Studies Questions & Marking Scheme (Likely Exam Questions) from one of the Mock papers that have not been made public. Solve the questions and compare your answers to our marking scheme. You can get the full set of questions and the entire marking scheme as well. JOIN US ON WhatsApp…We remove you from all groups if we find you in more than one. WhatsApp…

[kaminobiwan]

rest & relaxation

pairing: captain rex  x  engineer!reader

summary: bathtime n bedtime. (that means y’all get nakey nakey)

a/n: this isn’t smut, but I did make a sex joke here and there. but, I wanted to let it be known that clothes are off for those who want to avoid that. requested by two anons! one of them was from so long ago but here is Rex getting tucked in for you babes, as well as extra fluff for the anon from two days ago. this is basically my nighttime routine with the cap added in. enjoy loves! + my taglist

After a long day of staring at holos of preparatory battle plans and debriefings, Rex is simply exhausted.

Staring at a screen for hours on end tired him out more than any battle ever could — and he’d known that for sure, since he’d just escaped relatively unscathed from not one, but two encounters with a wild and rampant Zillo Beast. The following week had seen endless piles of bureaucratic bantha-shit, and his role as first-in-command to the Jedi that had been pivotal in saving the Chancellor meant that he was rewarded with the privilege of filling out the mountains of damage reports to the city. Returning to actual military work had been a small relief, but not enough to soothe his raging irritation. Once he’d dismissed Echo from their brainstorming at sundown, he’d felt the oncoming ache in his joints from sitting hunched over too long.

So when you’d approached him in the command center with Hardcase and Kix in tow, adorning scheming grins and bouncing with uncontained excitement, he hadn’t had the energy to even look suspicious.

“Don’t you have work to do, all of you?” He glances at your hands, free from the trademark mechanic’s gloves that usually cover them. You’re tapping your fingers against your leg, a habit he’d come to realize was a signal you were keeping something from him. But in this case, it seemed like you were dying to tell him.

“Oh, we’ve got a piece of work alright,” you reassure him, motioning for the boys behind you to grab each of Rex’s arms. “It’s you.”

He erupts in a chorus of protests when they begin to usher him none-too-gently after you, and glowers at Hardcase when the trooper simpers, “Trust us, Cap. Lady’s orders.”

You send a satisfied smirk over your shoulder, and the view from behind the determined strut of your walk was the only thing keeping him from wrenching out of his brothers’ grips.

———

He’s questions aren’t answered until he’s released at the front of your quarters, two hallways down from the rest of the bunks and his own room. You punch in the access code and then he’s pushed in, and after he sends a glare to the three of you, he stands confusedly in the middle of the room, still unobliged in his request for an explanation.

But then, he sees it — the hunk of metal shoved halfway into the refresher, too long to fit completely inside. It’s filled halfway with water, your detachable showerhead bubbling at the bottom as it fills the basin higher.

It’s...a tub.

“Surprise!” Hardcase shouts, face reflecting his full-blown elation. “Do you like it?”

Rex turns, mind still racing to connect the dots. “Like what?”

“We all thought you could do with a day off,” your hands land on his armor, pulling off his arm sleeves first, then his pauldron. “Think of it as a spa day.”

“And if you refuse to cooperate, I’ll officially mark you down for mandatory bed-rest.” Kix chimes in. “You’re due for some, anyway.”

The gesture isn’t lost upon him, your peppy faces beaming at him, but Rex is so fully drained that he can’t even express his gratitude out loud. Thankfully, it doesn’t seem to need to be said.

“Come on, get naked!” Hardcase cheers, but it’s interrupted by a jab in the side from Kix. “I mean, after we leave, of course.”

Kix shoots the both of you a knowing wink, and promptly shoves his vod back out into the hall. You trigger the door’s release to shut it, and then you’re alone.

He stares at you.

“Well, you heard him, Captain.” A roguish smile hangs across your features as your eyes flicker downwards. “Get naked.”

———

You’d gotten into the water first, testing out the temperature, then beckoned him to lay back against you so you could shampoo his hair. He’d raised an eyebrow at the violet liquid collecting in your palm, but you’d insisted. “It’ll keep the bleach job from getting brassy,” you explained. “Unless you want hair like Crys.”

He’d winced at the prospect, and no more convincing was needed. He’d gladly let you do whatever you wanted to him if it meant preserving his trademark dusty blonde.

Now, as you work at his scalp, Rex feels the tension leave his body for the first time in what feels like months. 

His appreciation simmers deep in his middle, pleasured feelings he doesn’t know how to describe washing over him the same way the small waves do with every swish of his legs in the tub. In the back of his mind, a voice calls him undeserving, but it’s quickly silenced by your own reminders he’d memorized, an attempt to undo his depreciative self-image. He’s been working on that, thanks to you.

Regardless, the nag to reciprocate your kindness remains. He should be doing something for you, too. Repay you, get you a gift or something. Return the favor.

Rex is a man of action, after all.

Words and action alike fail him, however, when your fingernails drag across the sensitive spot behind his ears and brush up, collecting the lather at the crown of his head.

You snicker. “Feel good?”

He nods, unable to speak with his mouth hanging open from the sensation.

“You look like you have a mohawk.”

“Don’t care what I look like, so long as you keep doin’ that.”

Without another word, you comply, and he doesn’t realize he’s falling asleep until it’s too late.

———

It’s his own snoring that wakes him up, then the rush of water filling his nostrils as he slips underneath the surface.

“Kriff!” A series of coughs and splashes draws your attention to his flailing form gripping the sides of the tub, in the middle of drying your hair at the sink. Your concern quickly dissolves into amusement, though, when he releases another string of curses in Mando’a.

“Those are new.”

His hacking is muffled into the towel you’ve handed him, and he turns a glare of betrayal towards you as he splutters. “‘S not-ack-funny.”

You swallow a laugh and opt to kiss the top of his head instead, conceding in favor of his pride. “You’re right, sweetheart. It’s not funny,” he blows his nose into the cloth as he stumbles out of the bath. “It’s hilarious.”

He gets you back by throwing his makeshift tissue at your freshly cleaned face.

After he’d dried off and you’d reapplied your nighttime products — though there really wasn’t a need to wash up again, there wasn’t any snot on your face, he’d checked — the limb-loosening heat of his bath had sunk in fully, drowsiness returning like a sheet of Kaminoan rain. You’d made cooing noises at his ‘adorable sleepy face’, and he was too weary to reject the compliment, even less so as you swept behind him and pulled him to sit on the bed between your legs.

Your arms squeeze around his chest tightly in a split second hug before releasing him, but your touch returns soon enough, accompanied by the sweet smell of the lotion you begin to massage firmly into his shoulders. Deft fingers rub the expanse of his scarred chest, and Rex holds in a groan at the sensation.

As you lean down to lay kisses along his clavicle, he smirks, “Should’ve told me to keep my pants off if you wanted to do this.”

At once, your hands freeze, and then you’re craning around him to look him head on. “Do what, Rex?”

The unimpressed expression on your face is enough to clue him in that this hadn’t been leading to where he thought it was, and he gulps as you raise a brow at him expectantly. “Um…”

“I’m not lubing you up to jack you off, di’kut.” A swat at his abs has him jerking upwards. Those Mando’a lessons were really backfiring on him. “That’s not what the lotion is for.”

“Well, according to Jesse…” Another swat, this time followed by a pinch. “Ow! Okay, sorry!”

You’re not mad, despite the way you roll your eyes, he can tell by the subtle tittering exhales as you hide a chuckle. He relaxes further into your body, back curving against your stomach. Your massaging resumes, and he lets his head roll backwards onto your shoulder. You turn your head to peck his cheek. “It’s lavender, for stress relief.”

And Rex thinks that his assumption could just as well be stress relief all the same, but he’s secretly grateful. After the day he’s had, he’s ready to just huddle close and fall asleep in your arms.

You finish a few minutes later, though not before the pull of sleep hangs heavy on Rex’s eyelids. Still, he catches the affectionate smile playing on your lips as you maneuver him to lay down fully. Though he knows that logically, every cot on base is the same standard sorry excuse for a mattress, your bed always seems to be the most comfortable. But just as you reach for the government-issued blanket at his feet, one last craving for your skin on his is enough to fight off his coming slumber.

He surges upwards with the last of his strength, hands gripping your hips softly and lips meeting their mark in a sweet kiss. Your mouth twists into a wider smile against him, and as you clamber over him in a slow motion dance of fumbled crawling, his head finds its place back onto the pillows, faces still connected.

“Rex.”

He hums dazedly, contentment thrumming through his veins. Maker, you’re so warm.

“You’re tired, Rex.” To his disappointment, you separate from him, but it’s placated by the look of fondness shining in your star-filled eyes. You gift him another kiss on the corner of his mouth, and he’s so struck by your reverence that he barely moves his lips to reciprocate. He’s weak at your touch, even weaker at your devotion. You make him feel treasured. You make him feel loved.

You say so, the same time he does. “I love you.”

A hushed giggle escapes you, and his cheeks sing with his adoration. It buzzes in the air, louder when you pull the covers across the both of you, shielding out the rest of the world with the thin blanket. His toes twitch at the cold air when they’re uncovered in favor of your impromptu fort, but the comforting weight of your body atop him is worth more than chilly feet in the night. Underneath the cheap fabric tented by your head, he is safe from any cold or evil.

Your grin, heavy-eyed and childish, is the last thing he sees as he finally slips out of consciousness. “Thank you,” he whispers, still smiling. “For everything.”

You nestle into the crook of his neck, and murmur a command into his ear. “Go to sleep.”

Like a good soldier, he follows your orders.

[dream-a-little-bigger-x]

Change My Mind | Carrie Wilson

Request: Hey! Love ur writing! Could I request a JATP fic where the reader is Julie’s sister who can see the band too, and she’s in love with Carrie. Carrie loves her too but she pushed her away. And basically Julie and the boys trying to get them together.

Author’s note: This is my first Carrie fic I’ve written! And the first wlw au at that! Thanks for requesting this, I loved writing for Carrie! I hope you like this! 

Song(s) used: Change my Mind - One Direction

Pairing: Carrie Wilson x Fem!Reader

Warnings: none

Words: 4,250

“Hey sis, we’re gonna rehearse, wanna co--” Julie stops in her tracks on the threshold of her sister’s bedroom as the older sibling quickly drops her phone on her bed, startled at the sudden noise from her sister.  “What are you doing?” Julie asks, finding it a tad suspicious why her sister would just drop her phone like that. “Nothing!” Locking her phone, she scrambles off her bed and moves towards the door, “Just scrolling through Instagram, waiting for you to come and get me for band practice.” Julie shoots her a questionable look, but decides not to dig any deeper even though she knows her sister is lying to her. And she’s right. The truth is, Y/N was stalking Carrie Wilson’s Instagram profile. She’s had a crush on the blonde-haired girl since the very first time she saw her perform with Dirty Candi. It may have been the pink wig, or just the fact she looked incredibly confident on that stage with her girls, but it just did something to Y/N that ignited the flame in her heart. Sure, Y/N is a year older than Julie and Carrie, and those two used to be best friends when they were younger, but that doesn’t take her enormous crush away. Besides, it’s not like Carrie could ever like her back. She’s only Y/N Molina, Julie’s big sister with no talent whatsoever. Julie inherited all of their mother’s skills and talent. “���Sup, guys!” Y/N throws up a peace sign as she enters the barn where Julie’s bandmates are waiting for the two Molina sisters to show up. Julie’s band are ghosts. Yep, you read that right. Ghosts. They showed up here when Julie played their demo and now, every time they sing with Julie everyone else can see them too. Julie and Y/N are the only ones who can see them all the time. It was kinda funny the first time Y/N saw them, actually.  They were about to eat dinner when Y/N found Julie in her mom’s studio, talking to three boys. “Uhm, Jules… What are these boys doing here?” Julie and the boys were very confused that she could see them too. But it made it so much easier for Julie since she could at least talk about them with someone. And ever since that first day, she’s been Julie and The Phantoms’ number one fan. The first few minutes of rehearsal, Y/N listens to every song and sings along softly with a couple of them, but by song number five, she’s back on her phone, scrolling through Carrie’s Instagram profile again. At first, it’s just a scrolling through her grid, but then she turns to the highlights of Carrie’s stories, starting with the one titled ‘Dirty Candi’. Giggling, she watches each and every single one of the funny behind the scenes bloopers from their rehearsals. As long as Carrie is certain they’re going to get these routines down and there’s no time pressure, she can actually be very chill and hilarious. Or that’s what Y/N has noticed whenever she sees them rehearsing in Los Feliz High’s gym. “Earth to Y/N,” Alex’s voice makes her snap up from her day dream about the it-girl. “Wh-what?” she stutters, unaware they were talking to her, but very aware she’s grinning like a fool. All four of them stare at the older Molina, all with teasing smirks on their faces. “What’cha looking at?” Reggie asks even though he already knows the answer. “Nothing,” she quickly utters whilst locking her phone as if that would make things less suspicious. “Just some funny TikToks,” she shrugs. Her four friends in front of her exchange knowing glances before placing their instruments on their stands or coming out from behind them to surround their very own Pinnocchio. “What were you really looking at, Y/N?” Luke asks, crossing his arms. “And don’t tell us another lame excuse, we know what you were really doing, Pinnocchio,” Julie adds, raising her eyebrows. Letting out an exasperated sigh, Y/N drops her phone next to her on the sofa and rubs her hands over her face. “We know how you feel about her, Angel,” Alex chimes in with that soft voice of his that could calm Y/N down in an instant. “You don’t have to lie to us.” Luke nods his head in agreement. “Yeah, Y/N. We just wanna help ya,” he says. Y/N hesitates, but then shakes her head anyway. “Just… Don’t,” she says and stands up from the couch before heading into the house again. The four bandmates are left dumbfounded and utterly confused. “Don’t what?” Reggie asks the others, “What can’t we do?” The three others simultaneously roll their eyes before getting back to their instruments. “Can’t we help Y/N? I mean, everyone knows she’s in love with Carrie, right?” he picks up his bass as the words roll off his lips. “Yeah, but if she doesn’t want our help, there’s not much we can do,” Alex replies with a shrug. “I know my sister like I know my own mind, she’ll want to figure it out by herself before getting others involved,” Julie adds while plopping down on the stool behind the keyboard. “So, we’re just gonna do nothing?” Reggie queries. The other exchange solemn glances. “Some friends you are,” he mumbles before plugging his bass into the amp. “Reggie’s right, guys,” Luke finally says. Reggie’s face lights up at his buddy’s words. There aren’t very many moments where Luke would agree with anything Reggie says. “We can’t just let her mope around the house and do nothing about her crush on Carrie, which by the way is totally mutual.” Julie’s eyebrows rise at the leadman’s words. “How’d you know that?” she asks. Luke lets out a huff as the corners of his lips turn up ever so slightly into the cheesiest smile as he shoots alarming glances at his buddies. “Luke  Patterson, how do you know that?” Julie’s voice sounds so stern and nearly angry, it scares Luke ever so slightly. “Uhm…” all three of them shriek out into that high-pitched tone of theirs they only use when they’ve said something they shouldn’t have. Alex sighs when he sees Julie’s face turn from angry to I-swear-I’d-kill-you-if-you-weren’t-already-dead. “We may have stalked Carrie a tiny bit when we found out about Y/N’s crush on her.” “Alex,” Luke snarls, but immediately calms down again upon seeing Julie’s glare directed to him. “But we actually found some pretty interesting things!” he continues as if that’s going to make it any better. “Yeah! We found her lying on her bed, scrolling through Y/N’s Instagram for a while before she started writing a song called ‘my love’,” Reggie carries on with the story. “Spoiler alert, she didn’t sing about a boy or ‘his eyes are so pretty’. Nope! It was actually about a girl!” “That could be about everyone, guys,” Julie rolls her eyes. The boys exchange another glance before bursting out into the snippet of the song they heard that day in Carrie’s bedroom. “I’d so be with you if it wasn’t for your sister, or the fact that you’d rather be with a mister!” Julie’s eyes widen at this. Girl code states you never date your brother, but in this heteronormative world, no one ever said anything about sisters. But that’s probably a given you wouldn’t date your best friend’s sister either, right? Plus, Carrie and Julie haven’t been friends for a while, that could be another reason why Carrie wouldn’t date Y/N. “You guys might be right,” Julie whispers as though she’s telling them a secret. “Let’s end rehearsals and think of a way to help them get together!” The four of them placed their instruments back in their places again or come out from behind them, and gather on the couch and armchairs to figure out a scheme to trick Y/N and Carrie into a date. It’s going to be difficult, but they’re all up for the task. They just want to see Y/N happy. 

About three days later, while at school, Y/N receives a text from Julie, telling her to meet the band in the music room during lunch. Confused as to why the band would be at Los Feliz High, Y/N drags her feet towards the classroom, only to find a picnic blanket with food scattered all around it in the middle of the floor. “Guys?” she calls out, hoping the boys would explain what’s going on. “Y/N?” a soft, melodic voice sounds from behind her. The girl immediately turns to find, in her opinion, the most beautiful girl that ever walked this earth. Her hair is curled to perfection, cascading down her right shoulder and framing her beautiful round-ish face. Her brown eyes are curiously and confusedly darting around the room before landing on Y/N’s face. Question marks are haunting the beautiful dark orbs Y/N had fallen in love with. “What’s going on?” “I-I…” Y/N doesn’t even know what to tell her. She barely knows what’s going on herself. Carrie holds a perfectly manicured finger up as a thought crosses her mind. “This isn’t what I think it is right?” Y/N opens her mouth to say something, but nothing other than weird sounds fall out. Making a great impression, Molina, she thinks to herself. “Y/N, we can’t. I can’t. Just… Don’t.” Carrie turns on her heels and leaves the music room along with the sadness and pain of a broken heart. She hears a whoosh behind her before she hears Alex’s voice say, “We’re so sorry, Y/N, we wanted to help…” As tears stream down Y/N's face, she forcefully turns around to face her friends. “I told you guys to just not do anything and you can’t even do that! Stop meddling in my life, for crying out loud! I never needed you here! I never asked you to do this! Just stay out of my life!” Her voice is shrill and cold. So cold, it even chills the three ghost boys. After sending them one last sharp glare, she turns on her heel and rushes out of the room. She doesn’t even realize she’d run past her sister and her best friend, even though the two call after her. The sobs wracking through her body deafen her whilst she blindly finds her way to the bathroom and into a stall where she collapses to the floor. “Hermanita?” Her sister’s voice calling out is the first thing she hears between all the sobs and sniffles. Julie, hearing this, starts pushing against all stall doors until one opens slightly before bumping into Y/N’s knees. The girl scoots over as far as she can to let her sister inside, deciding she needs her little JuJu right now. “I’m so sorry, Hermanita,” she whispers as she slides down to the floor too on the opposite side of the stall. Their knees touch, which feels weirdly comforting to Y/N.  “No, it’s okay…” she sniffles, “At least now I really know where I stand, you know?” Julie presses her lips together into a tight smile before sliding forward onto the dirty bathroom floor and wrapping her arms around her big sister in a kind of awkward hug. “You deserve so much better than Carrie Wilson, Y/N/N,” she whispers in the older Molina’s ear. “So much better and so much more.” More tears roll down Y/N’s cheeks upon hearing these words. “But all I want is her, JuJu,” she cries out. Hearing her sister break down like this breaks Julie’s entire heart in a thousand pieces. She was so wrong about trying to set her sister up with Carrie on this date, but there might just be another way to help her instead. All she’d need is the boys for moral support and a bit of alone time with Carrie. That should do it. 

That night, Julie takes the boys with her to go to the Wilson’s. To Julie’s surprise, Trevor opens the door with a surprised smile on his face upon seeing his daughter’s ex-best friend. That ex-best friend, however, tries to focus on the man in front of her instead of the tensing, nervous boys behind her. They still hadn’t been able to talk to Trevor about the whole song-stealing thing. “Hey, Trevor, is Carrie home?” Julie asks with the widest smile on her face to try and hide how nervous she really is. This is either going to ruin Y/N chances with Carrie completely or help them finally get together. She’s banking on the latter, trying to stay optimistic. “Uhm, yeah, she’s upstairs in her room. She hasn’t left since coming home from school,” Trevor explains as he steps aside to let the young girl inside. “Think I heard her crying too, so I’m kinda worried, but kinda scared to go in and ask. You know how she is.” Julie simply nods her head at the overexplaining man. “I’ll go and check up on her. I wanna talk to her about something anyways.” Trevor offers her a thankful smile before letting her go upstairs. Still being followed by the three ghost boys, Julie makes her way up to Carrie’s room. Memories from when she used to come here on play dates when they were younger flood in her brain. It’s a nostalgic, yet heartbreaking feeling. Upon arriving at Carrie’s bedroom, Julie raises her fist to knock on the door, but stops half-way there. “What’s she waiting for?” she hears Reggie whisper behind her. “You got this, Julie,” Luke encourages, and Alex chimes in too with the words she needs to hear at this very moment. “For Y/N.” Her fist knocks a soft, steady beat on the wooden door, and then the waiting game commences. Which doesn’t last too long. Twenty seconds max. Before that, there’s some rustling, some nose blowing noises, and then the door opens. Carrie’s face falters upon seeing Julie’s face, but Julie doesn’t care. All she cares about is the fact that Carrie’s eyes look red and puffy, as if she’d been crying all day. Trevor was right about hearing sobs. “What do you want?” she asks sharply, but her voice still wavers ever so slightly. “I wanna talk to you…” Julie says, and as Carrie opens her mouth to object, she follows with, “About Y/N.” The blonde girl’s eyes tear up upon hearing the name as it’s clearly the big trigger for her breakdown. Carrie opens her bedroom door a little further before turning and walking inside, leaving it open for Julie to follow. She and the boys walk inside, and while Julie stops in the middle of the room, the boys scatter around. Luke goes to sit on the edge at the foot of Carrie’s bed since she’s resting against the headboard, Alex takes a seat in the bright pink armchair and Reggie sits down on her desk, knocking Carrie’s pencil case off. The owner’s eyes widen upon seeing the pencil case drop without a cause while Julie just shoots Reggie a glare. He whispers a sorry while holding his hands up in defense. “What do you have to say?” Carrie then focuses back on the intruder in her house. “I …” She realizes she has no clue what she’s going to say or how she’s going to say it. “Carrie… I know you’re in love with my sister,” she then blurts out. Carrie perches up at this, eyes wide and filled with terror. “It’s fine, Carrie. It really is okay. I’m glad, even! She’s mad for you too, girl. And I kinda set up the whole picnic thing in the music room to force you two together, finally, but I guess that kinda backfired…” “Y/N’s in love with me?” she asks, and Julie nods. “I thought she hated me because I kinda dropped both of you when your mother died…” A twinge of pain shoots through Julie’s body at the memory of their fight. “I don’t get it either, but she does really love you.” Carrie chuckles light-heartedly at that, telling Julie it’s okay to do so, too. “Why did you run away from her at lunch?” she then asks, looking at Carrie who’s fidgeting with the hem of a cushion. “Because I’m scared,” she says after a few beats of silence. “Scared that if we date, people are gonna talk. Scared our fighting might put a wedge between our relationship. Scared my dad’s going to react weirdly.” Julie subtly glances at Alex. He’s giving her a reassuring look, telling her Trevor was really okay with him being gay. “It’s 2020, Carrie, I’m sure most people at our school would be jealous of whoever you date, whether it’s a guy, a gal, or a non-binary pal.” She carefully inches closer to the bed. “I heard your dad is pretty okay with the lgbtq community. My mom once told me he had a friend that was gay and he supported him and didn’t treat him any different.” She takes a deep breath before sitting down next to Luke. “And as regards to our fight, I’m willing to put that grudge aside if it means you’ll tell my sister the truth.” A twinkle in Carrie’s eyes tells Julie she likes the sound of that idea very much. “It’s been a year, Carrie. I’m pretty sick of us fighting anyway and I miss the fun times we had together,” Julie shrugs as she brings out the words carefully. Before she can even register it, Carrie has launched herself forward and taken Julie in her arms for a tight hug. Julie is surprised at first, but then wraps  her arms around her oldest friend too. The boys watch the scene with tender eyes, glad this is going so well. After a while, Carrie pulls back and holds Julie at arm's length. “Can we keep the rivalry for our shows though? I think it adds a little more showbizz to it,” she says, which makes Julie snicker, shaking her head in disbelief. “Okay, then can I ask you for another favor?” “What is it?” Julie asks, glancing at Luke quickly. He’s as intrigued as she is. “I don’t know what to say to Y/N that doesn’t make me look like a fool.” The Carrie Julie used to know back in the day is rearing its head again. It’s a soft, shy version of the one Los Feliz High knows. It’s the version Y/N fell in love with. “I have an idea.” 

For about a week, Carrie comes in on rehearsals to rehearse their surprise for Y/N, but of course, they have to hide it for the older Molina. They’d rehearse at Carrie’s place or in the garage whenever Y/N was with friends or at Carlos’ baseball games. Whenever she did walk in, Carrie would hide behind Alex’s drum kit, trying her hardest to withhold herself from jumping out and just confessing her love to the girl. This is the most perfect surprise and if she ruins it now, it’s going to take away the romantic flair of it all. On Friday, they’re finally ready to execute the plan. Julie sets up her keyboard outside in the garden underneath her sister’s bedroom window, along with a microphone for Carrie, plugged into the amp. The boys are ready to jump in too, instruments in hand, ready to go. “Ready?” Julie whispers to Carrie. The girl nods her head, but the fear in her eyes says something different. “You got this,” she utters the words Luke always tells her. “Okay, let’s go,” she whispers. Julie starts playing a couple of notes on her piano whilst Luke starts to strum his guitar, suddenly appearing to Carrie. The girl, now a little calmed down, inhales deeply before starting to sing, her soft melodic voice carrying through the night. “The end of the night We should say goodbye But we carry on While everyone's gone” Y/N’s lying on her bed, scrolling aimlessly through Instagram when she hears the voice of an angel in the night from outside her bedroom window. Thinking it’s Julie and the band rehearsing, she ignores it and continues scrolling. “Never felt like this before Are we friends or are we more As I'm walking towards the door I'm not sure” Alex and Reggie join in too, appearing next to Luke and Julie, and giving Carrie another boost of confidence. In the past week, these hologram boys have really given her a little more confidence for this surprise as she really didn’t think she could do this. “But baby if you say you want me to stay I'll change my mind 'Cause I don't wanna know I'm walking away If you'll be mine Won't go, won't go So baby if you say you want me to stay Stay for the night I'll change my mind” Y/N finally starts to realize that this isn’t Julie’s voice at all, and crawls off her bed, leaving her phone there. Carefully, but drawn in by the music, she moves to her window and opens it further to find Carrie along with the rest of the bend on the lawn. Upon seeing Y/N’s beautiful face, Carrie’s lips curl upwards, reaching her eyes. The other confidence boost she needed. “Lean in when you laugh We take photographs There's no music on But we dance along” Y/N sits down on her window sill, enthralled by the gorgeous voice serenading her from her backyard. She glances at the boys and Julie once, and each of them has the proudest, happiest smile on their faces. Happy they could help their friends finally get together. “Never felt like this before Are we friends or are we more As I'm walking towards the door I'm not sure” Then Y/N focuses back on Carrie and the words she’s singing, feeling each and every single one of them deep in her heart. It even makes her tear up a little. “But baby if you say you want me to stay I'll change my mind 'Cause I don't wanna know I'm walking away If you'll be mine Won't go, won't go So baby if you say you want me to stay Stay for the night I'll change my mind I'll change my mind” Carrie takes the mic off the stand and walks even closer towards the window, never breaking the intense eye contact the two are sharing. “Baby if you say you want me to stay I'll change my mind” Quickly wiping away the tears that have fallen, Y/N makes her way downstairs and into the yard as fast as she can, in time to hear them sing the last chorus. Carrie, having seen this, is waiting for her at the door and grabs her hand to lead her towards the rest of the band whilst still singing to her girl. “But baby if you say you want me to stay I'll change my mind 'Cause I don't wanna know I'm walking away If you'll be mine Won't go, won't go So baby if you say you want me to stay Stay for the night I'll change my mind” The boys stop playing, and to Carrie, they disappear, but Y/N can see they’re still there. It does make her relax a little, knowing she has their moral support. Carrie takes both her hands in hers, pulling her a little closer to her body as she inhales deeply. “That was beautiful, Care, I--” Carrie interrupts her by placing a finger on her lips. “Please, let me talk?” Y/N nods her head slowly as Carrie removes her finger and places her hand back in Y/N’s. “I’ve been so scared about what people at school would say behind my back or what my dad would say, but… I don’t care what they say, Y/N. I am so in love with you and I have been for a while now, but I was so scared to admit that even to myself. But I know now that it’s okay to love whoever you wanna love and I know that the people who love me will still love me and will realize that nothing has changed. I know now I wanna be with you, Y/N.” A smile plays at Y/N’s lips upon hearing those words. The words she wanted to hear for such a long time have now finally reached her ears and settled in her brain for her to think back on later. “I wanna be with you too, Carrie. You have no clue how long I’ve wanted to tell you that,” she chuckles, and Carrie lets out a giggle too. It’s Y/N’s favorite sound in the entire world. Carrie then lets go of Y/N’s hands and places hers on her cheeks instead, bringing the girl closer to press their lips together for their very first kiss. The firework-filled, long-awaited kiss that sends Julie’s ghost band into loud cheers. Y/N is too focused on the girl kissing her, she doesn’t even notice. Carrie is finally kissing her. The girl she’s been pining for is finally kissing her. They’re actually together. That’s something she’d never thought would happen, but now that it’s happened, it’s better than she could ever dream of. 

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[thearistocratsblog]

 The adoption of a memory should lead us to spend reflex in the brain act itself. We have in this case reached the automatic reflex as it is found in the dog Piraux as well as turtles Grey  Walter, the perception Commander automatically action, as well as in the human reflex we know that the perception does not go to the brain: in the spinal cord itself is in fact a summary of the present and the past, its behavior depending what he sees and what he has seen. Thus it is apparent that we reproduce a model elementary artificial brain true if one was sure that at any moment the decision is a result of complex sensory impressions of this cutting and memories stored in a memory , and it is this problem that we tried to address with the fox-mail.

 The anatomy of the motor is classic. Three-wheeled support it based on the model of tricycle, the front wheel is director and  Driving while "taking turns" are associated with one of the rear wheels. And the front wheel is below the neck of the animal, the latter bearing at the end of an insulating support a set of bodies constituting the head of the fox. The head in question has a field of exploration of 180, demanding course that the engine is crawling with an inverter walk. The order is automatic when the head is at the end, completely turned to the right or left, or when the animal is in a period of exploration, an obstacle comes oppose the lateral movement of his head. As for the running engine mounted on the front wheel, we have chosen powerful enough because of both the relatively high weight of the fox (4 kg) than in the interest of obtaining a device with no moving too slow to that the observation is not tedious. The capacity of batteries is modest (8 volts; 6 AH), but luckily this engine running works only so discontinuous: when drilling, the total consumption of the fox is in the order of only 1 amp, and it even fewer in times of "reflection".

 In this case, the basic body movements deciding fox is a "reverser system" that directs the flow of battery to the motor running or sends in a circuit where the engine is mounted exploration in series with another engine, said "character", which we will shortly explain the role. Such an inverter system is obviously controlled by a relay inserted at the exit of the posts that make up the electronic brain of the fox.

  This one is fed by the circuits from the sensory organs, according to a "combination" as broad as possible impressions gathered. Admittedly, it may not be complete. Suppose that the fox advance in a certain direction and that  Suddenly be an obstacle placed in his path: he must necessarily stop. This means that the tactile sense is "priority" over others. That was the formula adopted in all the past achievements. On the contrary, for the hearing and sensory impressions, it is mechanically possible for the animal to walk as well as to explore. In other words, if we consider the five senses that owns the fox, the combination may only refer to three of them, the tactile sense to be a completely autonomous circuit, while the flair we have adopted an intermediate. Such a situation is not devoid of interest: the combination of impressions from three senses is indeed a complex reproducing judgment. For example, assume that the fox track and a light comes up in a state such as a current 0.51 milliamp circulated in the relay. Accepting that this relay has been closed and it opens to a current of 0.50 milliamp, it will remain closed. The animal has "decided" to walk, but only just a little intense it will indeed be able to bring down the current plate momentarily below 0.50 milliamp, and the relay will then remain open, because for the "close "a current of 1 milliamp is necessary. The "critical areas' of his behaviour and lie around 0.50 and 1 mA, amplifiers have been resolved in such a way that these areas may correspond to" case "easily achieved in practice. In addition, regardless of the concept of judgement, we can say that the tactile sense ensures reflex, ie, as in higher organisms, the behaviour of both the fox depends reflex that acts brain. In practice, the five senses were made in the following manner: 1. The view is provided through two photo electric cells fitted with blinkers. Through this way, the sensation is not the same with a light four times more intense, at a distance twice less, as would be the case with a single cell. In other words, it can be argued that this gives to some extent the fox the perception of the terrain. 2. Hearing consists of a microphone, it is a rudimentary model, but sensitive, with a pellet shot at using the current Battery and feeding a transformer coupled to an electronic amplifier. 3. A sense of direction is represented by a potentiometer housed in the neck of the animal. He then brought to the polarization of a certain lamp L ', while the sight and hearing are ordering the lamp L, the main one being sensitive relay inserted in the circuit plate Joint L and L'. We see that this assembly performs well a combination of three types of sensory impressions so far considered. 4. The touch is ensured by the papillae tactile housed in the head, the animal it is that close contacts as soon as a body outside touch this head. The contacts in question were inserted into a circuit directly controlling the inverter system. 5. The flair is a metal plate which forms the nose of the fox, the principle being that the papillae capacitive raised about Miso. The Capacitor they excite a relay special command that may act on the reverser system like the taste of contact, but this relay is also linked to the "post character." [Note RH – This is the so-called “sense of smell” – not real smelling at all.]

THE MEMORY AND CARACTÉRIEL INTEGRATIVE However, under the previous scheme we have not yet seen the memory integrative, element number 1 of the Act cerebral. Note well what fundamental difference between memory and integrated memory simple, commonly known recording. This formula corresponds to the recording of a sequence of signals on any media, as a result of which there will subsequently recover from this simple scroll which we find illustrated both with the wire with the conventional magnetic disk phonograph. Instead, the memory is a true integrative synthesis of memories: one can, in this case, imagine under the appearances of a surface initially plane, in which the various events just make as many small deformation. Thus all the events in which man has witnessed since its birth as they mark his mentality can be achieved by the appearance of its surface mnémique as a result of all its strains, each of which has been forgotten in detail. Thus with the character that we tried to reproduce such a principle integrative memory. It is, as we have said, with an engine of exploration, and so is likely to be turned on whenever the sensory impressions of fox reach the threshold of excitement that toppled the regime reverser. This engine is in this case coupled with a knob that controls the voltage of the grid auxiliary tube '. If this tension is very high, the current passes through L ', even though the main gate is biased negatively. Instead, a low voltage of the auxiliary gate has the effect of blocking L '. Through this mechanism, it appears that the sensory impressions at the same time they control the movement of foxes change the setting of its amplifiers, ie, faced a similar situation, his behaviour is not the same from one day to another, since the fox has "lived" in the meantime. However, we felt it appropriate that this character is not turned on at all times. To this end, we did it depend on a command post capable of short-circuiting. He makes himself the synthesis of several phenomena, it depends on three contacts controlled by the movement of the character itself (which means that, in itself, the character hangs at the end of a time Operating determined), by the movement of fox (an inverter is controlled by the rear wheels), with the relay of Inductor. When the character is action, the sensitivity of the fox is changed, and we can say that it is varied. On the contrary, when it is short-circuited, the character is fixed, or at least can no longer mention that "variations in mood," according to the voltage of the batteries. This tension, which directly controls the polarization of light ', is indeed a function of the state of discharge of batteries that the energy required by the engines and various windings. If the decision by the fox to a given situation represents a synthesis of the present and the past, it should be noted that the "weight" of the past is variable depending on the position of the head. We have in fact indicated that the movement thereof acts on a potentiometer commander lamp L ', the sensitivity of the tube being so great when the head is right, and on the contrary low if the head is completely turned to the right or left. Similarly, it appears that, depending on the individual, the burden of the past is more or less depending on their temperament all levels with the possibility of hedonistic while the contemplative, for a given individual, the part of the past also varies depending on the circumstances. So when the fox look straight ahead, can we say he lives primarily on his memory, especially as he takes on his perceptions when his head is turned. A DISCONTINUITÉ OF PERCEPTION Worth noting simply, without discussing this issue here, we wanted to introduce a cell of imagination in this fox, as he speaks for binary through two bulbs green and red respectively worn by her head. But above all, we tried to reproduce a further analogy with the human brain by adopting the principle of a perception discontinuous, this discontinuity is of a paramount importance to us, In this case, our brain can be considered as a working machine in a vacuum, except during short intervals which are repeated at a rate of 10 to 12 per second, during which information is collected specifically in our cerebral areas. Moreover, this rate though we explained our eye sees the images if they succeed because of Brettermeier per second, while over a dozen is the cinema, and similarly our ear perceives sound if noises successive obey a similar law. In fact, it is neither our eye or our ears that need to be blamed, but rather the brain, the latter taking cognizance of the world in order to change discontinue its work in the light of new information received. To achieve such a discontinuity in the fox, we have called these comptetours "solidarity" with a rear wheel, which he had previously discussed. Thus, a contactor primary is closed all three rounds, which blocks a relay memory likely to be released only if a cause affects the movement of the head. On the other hand, a contactor school is closed all six rounds. However, the closure of these two contacts has the effect of bringing Engine exploration and character, while everyone's perceptions are cut, this state of affairs remaining until one of the two contacts is open. This happens in practice if the head hits an obstacle side or, at the end of the course, ie when the head turned completely on the one hand, is required to change its sense of exploration. At that moment, the fox sees the outside world with a new spirit, as we pointed out that it is precisely at the end of the race that the weight of the past is minimal …

If the fox claims reproduce the basic characteristics of cerebral work, understand that it is a "model" Basic reduced, both at the perception that the trial: two photo electric cells appear in effect Accessories well as poor against the 140 million cell door as our retina. And on the other hand, it is assumed that our brain has about 10 billion neurons! As such, there is no doubt that we have barely glimpsed the fantastic opportunities that lie ahead. And indeed, in the past, many manufacturers have shown us automates all the subtlety of behaviour that may be expected from a machine if you have the patience to develop it accordingly. The prestigious name of Vaucanson is there, with its wonderful machines: if we consider only a "wing" of the famous duck, we must not forget that it incorporated elements 400, while the same Vaucanson knew how to build representation " Cleopatra "Marmontel a snake that s'élançait across the stage whistling and went with astonishing precision drill with the queen. And manufacturers automata unaware that agent wonderful electricity soul of sensory organs and today's engines! One might ask what machines they would have done with the resources of modern electronics. In fact, the technique we now enter an era of genuine "electronic watches" where one can build tubes the size of a pea, before tomorrow transistors big as a phonograph needle. In the electric shows, we can see no other an electric motor and a battery offering 1 single aspect of pellets? Under this sign, it is hoped to build tomorrow's electronic brain the size of a human brain, ie true miracles are to be expected in terms of electronic animals, beyond which our current DIY appear in a Poverty disconcerting. As to the desirability of such animals artificial, it seems considerable. First theoretical usefulness is real, real machines analogies allowing us the most interesting studies on the functioning of our nervous system. Importantly, we believe qu'inéluctablement, besides calculating machines and electronic brains ever more complex over which man relies more and more to solve a growing number of operations intellectual grounding peuplera tomorrow ' a large number of robots that are able drive: extending the wording of these artificial animals, they represent a people capable of slaves' to perform all tasks material which man will hear the charge, under the species of  The most diverse races …

[the-marksman-cely-film-cesky]

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Když se Jerry přestěhuje do luxusního hotelu na Manhattanu, kde právě probíhá svatba století, její zoufalá organizátorka si najme Toma, aby jí pomohl se myšáka zbavit. Hon kocoura a myši vzápětí skoro zničí nejen její kariéru a chystanou svatbu, ale i skoro celý hotel.

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Žánr: Akční, Thriller, Krimi Hvězdy: Liam Neeson, Katheryn Winnick, Teresa Ruiz, Juan Pablo Raba, Dylan Kenin Režisér: Robert Lorenz, Robert Lorenz, Francisco X. Pérez, Wilhelm Pfau, Mark Williams

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and given freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is given in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following

[spaceorphan18]

SO’s Guide to the MCU

A handy guide for @coffeegleek to decide if she (or anyone else) would like join the ranks.  It’s fine if you don’t want to, but that means more shawarma for us.  

1. Iron Man - 

Robert Downey Jr. plays himself Tony Stark, an asshole billionaire, genius, playboy, philanthropist, who nearly dies, and saves himself by becoming Iron Man.  This film kicks off the tone of the MCU combining humor and action and just being a fun ride.  Completely recommended to get a jump start into the MCU to see how it all begins.  

2. The Incredible Hulk

Rightfully considered the black sheep of the Marvel family.  It’s... not good.  In fact, I couldn’t even find a gif for you.  Eventually, they’ll switch out Edward Norton for the much more entertaining Mark Ruffalo, and pretty much nothing in this movie matters to the big scheme of things, so it’s entirely skippable.  And I mean, even if you are a huge Hulk fan - I’d probably still recommend skipping it. 

3. Iron Man 2

This film is considered by a lot of people to be one of the weaker ones - and while I still enjoy it a lot, it’s understandable as to why people think that.  It’s funny and has charm, but it’s kind of a mess - so... if you had fun with Iron Man 1 and really want to see more Tony Stark I recommend! Otherwise, feel free to move on.  Black Widow is introduced here, but her introduction in The Avengers is just fine.  

4. Thor

For me, the first Thor film is a little ‘meh’, though it does have some charm.  Chris Hemsworth plays a frat boy god who gets grounded to Earth after he misbehaves by his father Odin.  The real gem of this film is Tom Hiddleson’s Loki and the family dynamics between Thor, Loki, and Odin.  The stuff with Natalie Portman and the Earlings is fine.  But I almost recommend watching Avengers first and seeing if you like that first, and if you do, come back and watch Thor if you’re interested or if you just want to see Chris Hemsworth be pretty for two hours. 

5. Captain America: The First Avenger

The epic romance that is Steve and Bucky starts here.  If you’re totally intrigued by tumblr’s fascination with ‘Stucky’ this is a must!!  But more seriously, C:TFA is a fun film, yes set in the 40s, but I think it handles that well and Chris Evans is an absolute delight as Cap -- or Steve Rogers, a plucky kid from Brooklyn who just wants to prove what a big heart he has.  It’s much more entertaining for than the Thor film (IMO), though if you’re still on the fence, again, watch Avengers first, and come back if Cap holds your attention. 

6. The Avengers

If you’re really unsure about any of the first phase of films, then start off with The Avengers.  This film is amazing -- it’s funny, and emotional, and is nicely paced, and you really get a nice sense of who the characters are and what they stand for.  This film is just fun, with the MCU’s trademark humor and intriguing action (and I say this as a person who really isn’t into action films if you can believe it).  I can’t say enough good things about this film - it’s really good, go watch it!! 

7. Iron Man 3

Iron Man 3 is the continuing adventures of Tony Stark.  This film is batshit insane at times (but I kinda love it - though I love Iron Man, so...)  It’s got some great character work for Tony Stark if you’re interested, which I think is the best thing this film has going for it.  It doesn’t, however, play much of a part in the bigger scheme of things, so if  Tony isn’t your person, then you can skip past it. 

8. Thor: The Dark World

This film is often considered the weakest (after Incredible Hulk), but I’m not gonna lie, I find this way more enjoyable than Thor 1.  It’s... not a good film, but if you’re a fan of Thor, or Loki, or just utter nonsense in a fantasy setting then check it out! 

9. Captain America: The Winter Soldier

The Epic Romance of Steve and Bucky pt. 2: The Return of Bucky!!  I’m kinda being tongue-and-cheek, this film is honestly pretty amazing.  It’s a political spy-thriller where Cap has to go underground and undercover when Shield (the good guys) is infiltrated by a Nazi organization.  Everything about this film is done wonderfully well, and I highly recommend this one.  (Though, I’m not doing it justice - just ask @ckerouac) 

10. Guardians of the Galaxy

Do you like epic space operas with a quirky sense of humor and a good soundtrack?? Well then Guardians is right up your alley.  The first film Chris Pratt is Star Lord - a scavenger Han Solo type who finds himself caught up in space hijinks.  There are green aliens and talking trees and raccoons and whatever Drax is.  It’s fun and entertaining.  I think general audiences like it more than I do - but I do agree that it’s a wonderfully done film. 

11. Avengers: Age of Ultron

Well, let’s be honest - the Avengers sequel just isn’t what the first film is.  It tries, and has some charming moments, but just doesn’t hold together very well, the main issue being that the villain - Ultron - just isn’t a very good villain.  If you liked Avengers - give it a shot, it introduced Scarlet Witch and Quicksilver and a lot of the next batch of films, but I recommend going into it without much expectation.  However, you can always come back to this one if you want to wait to see if you like some of the later films first. 

12. Ant-Man

Ant-Man, played by the delightful Paul Rudd, is a low stakes fun heist film that’s kind of a mix between Honey I Shrunk the Kids, Ocean’s 11, and every other MCU film.  It’s cute and lighthearted - and if you find Paul Rudd charming, I totally recommend it.  If you’re still on the MCU fence, though, there are other films I’d much rather recommend first. 

13. Captain America: Civil War

Captain America: The Epic Stucky Romance pt. 3 -- Steve Rogers breaks up with his current BF Tony Stark so to be with his one true love, Bucky Barnes... Meanwhile, Tony Stark finds out he’s a dad -- to a teenager. 

Okay, I’m kidding.  Here’s the thing... 

This film is hard to discuss.  Some people love it (me! - I love the characterization stuff we get in it, plus the deep nods to the comics, and the introduction of Spider-Man), others hate it (@ckerouac - this is not a Cap film, It’s Avengers 2.5.  I want my Cap film!!) and, much like the film itself, there are valid reasons for everyone’s point of view.  It does play a major part in the fabric of the MCU - so I do recommend seeing it at least once so to gather your own opinion. ;) 

14. Doctor Strange

Benedict Cumberbatch plays a mystical Tony Stark Doctor Strange.  I think it’s an interesting film - it’s kind of got an Inception/Matrix vibe about it, but I like both the character and Cumberbatch in the role.  However, I don’t think it’s anywhere near the strongest of the MCU films, so if any of that doesn’t interest you, then it’s okay to skip -- Doctor Strange’s appearances in other films are better if I’m being totally honest. 

15. Guardians of the Galaxy, Vol. 2

Guardians 2 is probably my second least favorite film of the bunch.  I think it kind of lacks the charm of the first one and amps up the 12yo humor.  But that’s just me.  If you really liked Guardians 1 check it out! Otherwise, feel free to move on. However, it does gain a few points for Baby Groot. 

16. Spider-Man: Homecoming

Let’s be real - This film is basically Tom Holland being a precious little muffin for two hours, and if you aren’t sold entirely on that premise, well then, I can’t help you. ;) 

17. Thor: Ragnarok

Underwhelmed by the first two Thor films? Thought the Hulk movie sucked? Well - welcome to Thor Ragnarok -- the film that just does not give a shit what came before it and does whatever the hell it wants because it’s like a 70′s acid trip.  And walks away being, perhaps, the best comedy in the MCU.  Everything is delightful about this film -- and if you wanted more from a Thor film, more Loki, more crazy antics with Mark Ruffalo - then you’ve come to the right place.  Also - bonus batshit crazy Cate Blanchett, Tessa Thompson as an amazing lesbian/bi (?) female warrior, and Jeff Goldblum -- Jeff Goldblum-ing.  

18. Black Panther

Chadwick Boseman is Black Panther - and I’m sure you’ve heard all the stuff swirling about how amazing this film is.  There are two things I personally really enjoy about the film -- the fact that it digs deeper than your average superhero film and is not afraid to tackle relevant questions we’re talking about in society right now, and the fact that the female cast in this one is fantastic and incredibly worth watching.  This one’s a definite must! 

19. Avengers: Infinity War

So...  I’m sure you’ve probably heard all about this one by now.  Here’s what I have to say about it -- I recommend seeing if after you’ve seen all the previous ones that you’ve wanted to see -- it does build on the others in a way a TV show builds to its finale.  And honestly, left me emotionally satisfied (knowing it was the first half of a two parter).  It’s a great film, imo, and worth it.  

20. Ant-Man and the Wasp

Ant-Man and Wasp is a lot like the first film, only ramped up a little more.  After the heaviness of Infinity War, it’s light and a treat.  It’s not entirely (or at all) essential, but it’s a lot of fun if that’s what you’re looking for.  

21. Captain Marvel

Okay, so Captain Marvel isn’t out yet - but the trailer looks delightful, I know who Cap Marvel is from the comics, and it’s time the MCU got its shit together and put a woman in the front.  I say go see it! Plus, I’m sure it’ll be relevant for the next Avengers film. 

22. Avengers: End Game

So, um, also not out yet - but if you’ve liked everything up until now, I’m sure you’ll not only go see - but cry buckets full <3 

23. Spider-Man Far From Home

Let’s be real - we’re all gonna need another two hours of Tom Holland being a precious little muffin after whatever Endgame throws at us.  ;) 

///

And that’s it! That’s the MCU in a nutshell (so far).  Marvel has, like, it’s next ten years planned out, so definitely not the end.  But - hey - if anything interests you - I really do recommend checking that out first and coming back to fill in things if you want to know more. :) 

Guide to Non-MCU Marvel Films Part 1 Guide to Non-MCU Marvel Films Part 2

[cinaed]

Noir Film Recommendations

Here is a classic noir films recommendation list I promised @madame-madeleine weeks ago. I put them in release order, because trying to organize them from personal best to least best was going to take too long. There are plenty of noir films out there besides these, this list just has my personal favorites!

The Maltese Falcon (1941)

Summary: A private detective takes on a case that involves him with three eccentric criminals, a gorgeous liar, and their quest for a priceless statuette.

Recommendation: This one's a classic for a reason, though I actually watched this film first for Peter Lorre and second for everything else. But it's a great film, with fascinating characters and an engaging plot. 

This Gun For Hire (1942)

Summary: When assassin Philip Raven shoots a blackmailer and his beautiful female companion dead, he is paid off in marked bills by his treasonous employer who is working with foreign spies.

Recommendation: I love Alan Ladd, and his portrayal of a ruthless assassin is amazing here. Raven's dynamic with Ellen, a woman he encounters in the film, is also really fascinating, and I think both the story and the characters will keep you engaged!

Arsenic and Old Lace (1944) 

Summary: A drama critic learns on his wedding day that his beloved maiden aunts are homicidal maniacs, and that insanity runs in his family.

Recommendation: Listen, I know this is a parody and that apparently Cary Grant hated his performance in this movie. It's still in my top five favorite movies of all time. Everyone is hysterical, the jokes are great, and this film cemented my love of Peter Lorre. I loved this movie so much I once requested it for Yuletide and got an amazing fic!

Double Indemnity (1944)

Summary: An insurance representative lets himself be talked into a murder/insurance fraud scheme that arouses the suspicion of an insurance investigator.

Recommendation: This film has one of my favorite femme fatales, and the dialogue is great. Inspired by a true story, this one's a great psychological maze, and I really enjoyed it. 

Gaslight (1944)

Summary: After the murder of her famous aunt, a woman is sent to study in Italy to become a great opera singer as well. While there, she falls in love. The two return to London, and she begins to notice strange goings-on: missing pictures, strange footsteps in the night and gaslights that dim without being touched. 

Recommendation: "Fun" fact, this film and the play it was based on inspired the term gaslighting, which means to "manipulate by psychological means into questioning their own sanity." You can probably guess what happens in this movie, but oh man, that final scene between husband and wife? One of my all-time favorite scenes in any movie. 

Laura (1944)

Summary: A police detective falls in love with the woman whose murder he is investigating.

Recommendation: I love this one. It's such a twisty, psychological thriller, and I love Laura's presence throughout this, and the way the detective falls in love with her the more he learns about her-- or at least falls in love with his concept of her. 

Gilda (1946)

Summary: A small-time gambler hired to work in a Buenos Aires casino learns that his ex-lover is married to his employer.

Recommendation: GILDA! I love her so much, and everyone's dynamics here are fascinating. Lots of homoerotic subtext, too. Some day I will write a less bleak queer fix-it version of this for myself, but in the meanwhile, I can always watch "Put the Blame on Mame" on Youtube. 

Sunset Boulevard (1950)

Summary: A screenwriter is hired to rework a faded silent film star's script, only to find himself developing a dangerous relationship.

Recommendation: Another classic for a reason. Norma's faded glory and desperation is fascinating to watch, as is Joe being drawn to her despite himself. Also inspired an okay musical with like three or four great songs. 

Strangers on a Train (1951)

Summary: A psychotic socialite attempts to force an amateur tennis star to comply with his theory that two complete strangers can get away with reciprocal murders.

Recommendation: Hitchcock was a master of atmosphere, and this one's a prime example. The rising tension as the two go from a relatively normal interaction into something far darker and deadlier. 

Dial M for Murder (1954)

Summary: A tennis player frames his unfaithful wife for first-degree murder after she inadvertently hinders his plan to kill her.

Recommendation: Okay, I don't know why tennis players keep getting involved in noir, but it's a good movie! I read that Hitchcock filmed this one almost entirely inside rather than allowing a lot of outdoor scenes, to give a sense of claustrophobia and it works. 

Rear Window (1954)

Summary: A wheelchair-bound photographer spies on his neighbors from his apartment window and becomes convinced one of them has committed murder.

Recommendation: I love this one in spite of itself. I don't particularly like the main couple's dynamic in this, but I do love the glances into the lives of the people Jimmy Stewart's character is spying on, and the tension amps up wonderfully as the film progresses.

[aditisharma089]

What is the Pattern of the IBPS RRB?

Banking is one of the most sorted and secure career options in India. There are various banking exams conducted to recruit candidates in PSU and private banks. IBPS RRB is one of those major banking exams conducted every year across various cities of India. If you are someone who is searching for IBPS RRB Exam Date, Pattern and other important details related to this exam, you will find this article quite helpful.

About IBPS RRB Exam: IBPS RRB is a national-level banking entrance exam held by the Institute of Banking Personnel Selection (IBPS) to recruit candidates for Regional Rural Banks located across India. The IBPS RRB Exam is held for the recruitment of four different posts: (i) IBPS RRB Clerk (also known as IBPS RRB Office Assistant) (ii) IBPS RRB Officer Scale I (also known as IBPS RRB PO) (iii) IBPS RRB Officer Scale-II (IBPS Generalist & Specialist) (iv) IBPS RRB Officer Scale III

There are three stages involved in IBPS RRB Exam 2022 (i) Prelims (ii) Mains (iii) Interview

IBPS RRB Exam Pattern 2022 (Post-wise) IBPS RRB Exam Result Pattern (Assistant Officer, PO & Clerk) IBPS RRB Exam 2022 for Office Assistant (Clerk)and PO (Officer Scale-I) Post will be divided into three stages: Prelims, Mains and Interview. Below we have mentioned IBPS RRB Exam Pattern for Prelims and Mains exam for Assistant Office Recruitment. Preliminary Exam:

The IBPS RRB Assistant Prelims Exam will have two sections: Reasoning Ability and Numerical Ability.

Total Sections: 2 ; Reasoning Ability and Numerical Ability

Type of Questions: MCQs Total Question: 80 (40 questions in each section) Maximum Marks: 80 Marks (1 mark for each question) Time Duration: 45 minutes Medium: English & Hindi Negative Marking Scheme: Yes ( 1/4th marks will be deducted for each wrong answer )

2. Mains Exam: In IBPS RRB Mains Exam for PO and Clerk, there will be 5 sections which are Reasoning Ability, General Awareness, Numerical Ability, Language, and Computer Knowledge. Total Sections: 5 ; Reasoning Ability, General Awareness, Numerical Ability, Language, and Computer Knowledge.

Type of Questions: MCQs

Total Sections: 5 ; Reasoning Ability, General Awareness, Numerical Ability, Language, and Computer Knowledge.

Type of Questions: MCQs

Negative Marking Scheme: Yes ( 1/4th marks will be deducted for each wrong answer ) IBPS RRB Officer Scale-II Exam Pattern — ( General Banking Officer post) IBPS RRB Exam 2022 for Scale-II Officers, will be a single-level examination followed by an interview. Here is IBPS RRB Exam Pattern for the Officer Scale-II exam: Total Sections: 5; Reasoning ability. Quantitative Aptitude & Data Representation, Financial Awareness, Language and Computer Knowledge

Type of Questions: MCQs

Total Questions: 200 (40 questions in each section) Marks weightage section-wise: All sections will consist of 40 marks except Computer Knowledge which will carry 20 marks weightage, Quantitative Aptitude & Data Interpretation, and Reasoning Ability will carry 50 marks weightage each Maximum Marks: 200 Marks (1 mark for each question) Time Duration: 2 hours Medium: English & Hindi

Negative Marking Scheme: Yes ( 1/4th marks will be deducted for each wrong answer ) IBPS RRB Officer Scale-II Exam Pattern (Specialist Cadre) So, again IBPS RR Officer Scale III exam for Special Officer recruitment is a single-level exam followed by an Interview. Here's the exam pattern for the same: Total Sections: 5; Reasoning Ability, Financial Awareness, Quantitative Aptitude & Data Interpretation, Language test and Computer Language

Type of Questions: MCQs

Total Questions: 200 (40 questions in each section) Marks weightage section-wise: All sections will consist of 40 marks except Computer Knowledge which will carry 20 marks weightage, Quantitative Aptitude & Data Interpretation, and Reasoning Ability will carry 50 marks weightage each Maximum Marks: 200 Marks (1 mark for each question) Time Duration: 2 hours

[golearners]

GBAT English Language Mock Examination Question & Marking Scheme PDF

GBAT English Language Mock Examination Question & Marking Scheme PDF

GB Assessment  English Language Mock Examination Question & Marking Scheme PDF: If you are a candidate, parent, or teacher who is looking for some free questions and answers to try your hands on, then the below GBAT English Language Mock Examination Question & Marking Scheme For 2022 will be of help. These questions are extracted from the previous year’s GB Assessment mock examination to help you…

[edulearnweb]

2022 BECE Social Studies Questions & Marking Scheme (Likely Exam Questions)

2022 BECE Social Studies Questions & Marking Scheme (Likely Exam Questions)

Take a careful look at our 2022 BECE Social Studies Questions & Marking Scheme (Likely Exam Questions) from one of the Mock papers that have not been made public. Solve the questions and compare your answers to our marking scheme. You can get the full set of questions and the entire marking scheme as well.   2022 BECE Social Studies Questions & Marking Scheme (Likely Exam Questions) SECTION I THE…

[aion-rsa]

Jupiter’s Legacy: From Page to Screen

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This article is presented by:

How do you bring a comic book to life? It’s a question that studios have been struggling with since they first began making live-action superhero serials in the 1940s. Netflix’s newest comic book series adapts Image Comics’ metatext on the medium, Jupiter’s Legacy. Created by Mark Millar and Frank Quitely, the story centers on two generations of heroes. In its quest to bring this story to life, Netflix has enlisted costume designer Lizz Wolf. Though she’s new to the superhero genre, she has plenty of experience with massive actioners—including Rambo, The Expendables, and Pacific Rim: Uprising–and she dived in head-first to create a unique and vibrant visual landscape which respected the comics while bringing the texture and depth needed to translate the archetypal heroes to the small screen. 

In an unusual series of events, Wolf was brought on very early in the production in order to allow her to build the sartorial universe of Jupiter’s Legacy from the ground up. It was a rare chance for the costume designer to truly create something immersive and all-encompassing. “This project was an opportunity that very few costume designers get,” Wolf says. “In order to conquer the Herculean task of bringing the vast universe that Mark Millar and Frank Quitely had created to life, I had to strap myself in for the ride of a lifetime.” 

Seeing that world come to life has been nothing short of a joy for artist and Jupiter’s Legacy co-creator Quitely. While the show does bring plenty of new layers to the costuming and characters, he was blown away by how much inspiration they took from the comics. Even when things were changed he feels it was for the better. 

“Where they have embellished things, it’s not so much that they’ve done their own thing,” Quitely says, “it’s that they’ve taken what we had in the comic, and they’ve added to it and translated it in a way that’s going to work better for television. It’s a very interesting process for me to see.”

So how did Wolf get started on translating such an epic series through the lens of costuming? 

“As this universe is literally littered with superheroes and villains with varying degrees of power, I created a doctrine based on the character depictions in the comic book,” she says. “A platform of their capabilities and back stories. This was the connective tissue to then assemble a visual language and start the design process. This design language was a culmination of the extensive research we did for each of the superheroes and their subgroups. I relied heavily on science and nature to guide me. I was inspired by everything from the natural world, architecture, black line tattoos, ancient symbols, alchemy, microbial photography, atomic ordering, complex life forms, and parametric equations.”

When it came to directly adapting the costumes from the comics, for Wolf it was a balance of respect and inspiration. 

“In the beginning, I focused on the story to inform the design,” she says. “In order to achieve a cinematic feel, we had to extrapolate what was intrinsic to telling the story through an emotional color palette, composition, function, and the capabilities of each member of the Union from the source material. Then, of course, we had to pump them into three-dimensional characters.” 

When Quitely visited the set, he got to explore those three-dimensional reimaginings of his art, something that he calls a privilege. While he visited each and every part of the production, and enjoyed it all, the costume department was something of a highlight for the creator. 

“They were very faithful to all the main costumes,” Quitely explains. “But because there are so many supporting characters, they had basically come up with a lot of costumes that were just inspired by what they’d already found in the comic. That was really great to see.”

Discovering the creators were fans of her designs early on was an unforgettable moment for Wolf. She was keen to talk about their impact on her, and what she called a seminal vision of superheroes. So when Millar, Quitely, and the showrunners came back with good things to say, it was “the catalyst of confidence” for her. “It was truly a professional high point to hear that Mark [Millar] had liked the designs and the direction we were going in.” Wolf says. “That acknowledgment was everything!”

Paying homage to the silhouettes and color schemes of the comics costumes was key to Wolf. But she wanted to amp up the technology and detail. With suits that have to exist over decades, it was vital to make sure that they had durability and that classic Golden Age vibe. “These suits had to travel the expanse of 100-plus years and hold up, as well as remain relevant and be able to inspire generations to come,” she says. “That was a challenge!” 

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Wolf battled through those challenges and found unexpected inspiration in the works of industrial 3D knitters. Diving deep into this new creative process gave Wolf a new insight, and what she called “single thread technology” led to the basis of what she describes as the show’s “suit mythology,” which also shaped the designs of the next generation’s suits. 

Taking inspiration from anatomical artists like George Bridgman and Andrew Loomis, Wolf crafted a musculature for the super suits that was exaggerated yet natural. And she even built the origin of their powers, imbued following an “event,” into the suits. “This muscular structure was a molecular reaction of this event integrated into the suit itself,” she says. 

That level of detail was something that immediately stuck out to Quitely. He was particularly excited by the intricate detailing that Wolf and her team added. Though the costumes might look the same from a distance, up close Quitely found an impressive array of subtle details, including emblems and alien patterns built into the material itself. “They’ve put so much thought and love and enthusiasm into the way they’ve gone about recreating this world, making it bigger and fuller in a way that will work for television,” Quitely says. “It’s been fantastic.”

Wolf was equally as enamoured with the process, describing it as a highlight of her storied career. “Designing the superheroes was an incredible thrill! I’ve experienced nothing like it. I’d have to say overall that Jupiter’s Legacy is my favorite project that I have ever done!” 

Sacred Geometry

Lizz Wolf added a unique costume detail which created its own visual language, much of which was inspired by the concept of “Sacred Geometry.” The term references the idea of ascribing meaning and symbolism to certain geometric shapes and proportions. While usually used in religious buildings and art, Wolf strived to craft a superheroic Sacred Geometry for each of the six Union members using symbolic emblems and totems which were later integrated into their suits. “These were extractions or reflections of each character’s individual journey.” Wolf explains. 

While researching the look of Jupiter’s Legacy, the team discovered amateur micro photography of frozen ice crystals. This naturally occurring phenomenon developed into the overall language of the costumes. “We created a series of these lichen-like formations that represented expressions or glyphs based on an alphabet of sorts,” Wolf says. “It was used on each of the Union’s super suits as an adornment or to create declarations.”

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Jupiter’s Legacy: Josh Duhamel on Becoming The Utopian

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The Utopian signified a particular challenge as his plain white suit was simple yet iconic. But Wolf built on his archetypal comic book silhouette that she felt represented the mythology of the character. While she didn’t feel like he was particularly formidable at first, once they built in Sheldon’s own Sacred Geometry which was built from “extractions from conjured celestial maps that could have guided Sheldon in his calling” the costume designer reveals, “he emerged to be very intimidating.” 

Dressing Two Generations of Superheroes

Jupiter’s Legacy is a story about family, two generations of distinctly different heroes. The older and more archetypal group known as the Union are shaped by idealistic dreams and Golden Age comics. Then there’s the children of the Union, whose lives have been molded by their parents’ fame, privilege, and celebrity endorsement campaigns. When it comes to costuming, the differences are clear. The Union wear classic superhero suits, making them icons of hope and heroics. But their children rock civilian outfits, still just as recognizable but a clear rejection of the traditions of their family. 

The Utopian 

When it came to designing The Utopian, Quitely looked towards Superman and other classic Golden Age stories. But for costume designer Lizz Wolf, it was all about building only on what already existed in the comics. Keeping his white silhouette was key and Wolf “built on the mythology of the character,” giving him what she calls an “almost archaic, statuesque feel.” She adds that building that texture was key. “This is where the musculature was profound in exhibiting his mortal strength,” she explains. “This brought majesty to his suit, and then Josh Duhamel brought his god-like presence!” 

Skyfox 

One of the most significantly different costumes is that of Skyfox. Gone are his leotard/undies from the comics. Instead, Wolf crafted something with “a rugged sexiness.” The team retained his “iconic color scheme that is certainly a nod to royalty and his social status as George Hutchence.” But rather than drawing directly from the comics, they shifted tactics.

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Jupiter’s Legacy: David Julian Hirsh Couldn’t Wait to Play Blue Bolt

By Ed Gross

“His inspiration was part gunslinger, part playboy, 100% badass,” Wolf says. “His equipment is intentionally worn low on hips to provoke that rock star, cowboy vibe. He also has what amounts to the ‘Rosetta Stone’ of the Union embedded in his suit. The crowning element is his fractal-like Fox emblem. It’s like a talisman inspired by his fox-themed heirloom jewelry pieces from the 1920s.”

Brainwave 

Another slight shift was Brainwave. In the comics, his suit evolves in the modern age. But Wolf decided to keep his iconic early look for the entire series. “This allowed us to really make his suit beam and keep his natural swagger evident. I love his suit and his veining motif. He just lights up in it and it appears to be actively circulating.”

Read more

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Jupiter’s Legacy: Ben Daniels Plays Mind Games as Brainwave

By Ed Gross

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Jupiter’s Legacy: Andrew Horton on the Importance of Being Paragon

By Ed Gross

Wolf reveals that a strange mistake ended up playing a vital part. “That fabrication was one of those divine accidents. During our R&D period, a run of printed fabric went in an unintentional direction. That material mysteriously became more radiant when stretched over his muscular structure. That mistake became the end result.”

The Union

For artist Frank Quitely and writer Mark Millar, the Union’s costumes were key, as were their influences.

“We went right back to Superman and Batman. The early Marvel and DC heroes. The heroes from the mid 1930s through the ’40s, ’50s, ’60s, and ’70s,” Quitely says. The older generation wear traditional suits making them easily identifiable as heroes. “We were looking at everything that had gone before. We were wanting things that were recognizable and reminiscent of classic superheroes, even for people that weren’t immersed in comic book culture. Most people have got a rough idea of what Superman and Spider-Man are about. We wanted to deal with archetypes and representations of superheroes that would still strike some kind of chord with people that only had a passing interest.”

The Next Generation 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Growing up in Scotland shaped Quitely’s choice to make the younger generation’s uniforms their everyday outfits. “I read a lot of comics when I was younger. Desperate Dan, Dennis the Menace, The Broons. The characters tend to wear the same clothes,” he explains. “It’s the same with your Saturday morning cartoons like Scooby-Doo. Their costumes are part of the aesthetic of each character. They wear the same clothes and colors all the time because it makes them more recognizable. To some extent we did that with the characters in Jupiter’s Legacy that didn’t have a superhero costume. Even if the clothes change, they have a recognizable style. And it’s important to try to stick with that because it helps build the character and it helps make the visual storytelling easy to follow.”

Jupiter’s Legacy premieres on Netflix on May 7. Read more about the series in our special edition magazine!

The post Jupiter’s Legacy: From Page to Screen appeared first on Den of Geek.

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[browndragon]

Liquid Tiles and State Machines

Hello again! I got stuck in a rabbit hole, but I had fun.

One of the things I built is strictly less fun than the other, so I'll lead with it even though it's not what you wanted. The other is the pretty video above.

State Machines

TL;DR: See https://www.npmjs.com/package/@browndragon/sm .

I got annoyed that the big state machines in javascript were too verbose for what I wanted, so I wrote my own. I think I've already written this post, but this time it's even better.

Each "state" (inconsistently called a node) is a function that returns another node. You load some initial node up in a state machine (here called Cursor). The Cursor invokes its current node whenever you call next (and whatever it returns is the next node). However! It's invoked in the context of the Cursor itself, so you get some interesting bells and whistles automatically: this.here is the current node, for instance -- normally it's hard to get access to that in javascript, but not so here. Since they're each function objects, they're less prone to object equality stupidity of certain sorts, and more prone to it of other sorts. There is no method to predeclare the set of states that exist, so your states can create states (by returning inner functions for instance). These are all features I thought I'd need ;).

You can write nodes that assume they're useful for their side effects, or nodes that assume you'll examine the state machine's here. Cursors implement the iterable & iterator interfaces, so you can use them in loops and such also.

However, for more power you need the full Machine (which extends Cursor). This does things like track state for every node (which is why the nodes are not called states...), with advanced features like history, traps (so that if a node returns undefined it can be rebound to actually go to handleUndefined()), and similar. This makes them O(n) in the number of nodes (and indeed, O(n) in the number of calls to next), but sometimes that's the featureset you need!

Give it a try. Or don't!

Liquid Tiles

TL;DR: The demo above, but the code isn't published anywhere [yet].

I kept playing with dough connected by springs, but I think I'd need to do tile deformation or shader tricks to make the dough look good. As written, the arbitrary offsets allowed glue tiles to shift, leaving gaps. Ensuring coverage would require stretching the tiles or having additional backing color. Or: a change in scheme.

Dough is just a really thick liquid, right? (Over a long enough timescale, aren't all solids?) So how would I model a liquid? I might do it with freely chosen blocks connected by links (the current dough system), but that would likely be too chaotic. Instead, I'd probably split the liquid up into regular domains and analyze each domain. So I did that! Liquid tiles are the result, a system similar-to but different-from phaser Tilemaps, but providing a similar grid-based interface to the world.

First, the data structure

I'm continuously at a loss for high quality datastructures, so instead I write my own low-quality ones. I needed a store of tile information -- unindexed integer 2-tuple keys, arbitrary1 values. Easy enough; I wrote a dense one which uses an allocated array of fixed size (so that array[y*width+x] is the value for (x,y)) and a sparse one which uses fully arbitrary (x,y) pairs and stores points under their stringification. As I write this, I realize that these data structures are not so very different in javascript, where arrays can arbitrarily allocate keys, but what's done is done.

I called the keys in this datastructure x,y tuples, but that's not entirely true: they're really u,v tuples; I wrote a little tilemath class to hold the geometry for mapping between an XY space (like phaser) into the UV space of the tiles (like the tilemap indices) and vice-versa. I am pretty sure it still has some ugly edge effects (tiles do nothing to fix the default anchor(0.5, 0.5), potentially favoring the top/left sides! etc), but it's functional by visual test. The naming scheme (xy space vs uv space) provides very sensible method names -- u(x) is pretty unambiguous. There's no obvious uv analogue to width and height, so I settled for uCount and vCount, which is what it is.

Second, a dip in the Pool

Obviously, we need a Pool of tiles (where tiles are just managed instances of Image, Sprite, or subclasses). A Pool is obviously a Group2, providing mechanisms to manipulate its managed contents -- putTileAt and removeTileAt for instance. But then the next question: what are you putting in these tiles; how are you passing the grid-based information which you need to pass to them into them? I say that Tilemap got this right, you're passing them a tileId (whatever your arbitrary first parameter to putTileAt is); I say that Tilemap got this wrong in that it knew that tileIds were lookups into arrays which were preregistered along with spritesheet geometry etc.

Everything else: mappings and shadows

Anyway: I created Conformers to address the problem of how to map tileId onto actual asset. Conformers are functions which take a tile entry (a gameObject, uv coordinates, tileId, maybe other stuff) and makes the game object conform with the other parameters. A simple one can setFrame(someTexture, someFrame) by just looking the tileId up in a big array; a more complex one might play(someAnimation) or do wangId calculations or whatever. This is also a great place to put state transition logic, since you can detect whether this conformation is a change from a previous state, or a put for a state that the tile was already in.

Okay! Now we're ready: since I know I want this to follow dough blobs around, and the doughblobs are acted upon by the rest of the physics system, I needed some ability to have a sprite "cast" an effect into the dough tile system. I called this a ShadowPool (which extends Pool extends AutoGroup extends Group). Every element of the shadow pool's WatchGroup casts a shadow into the pool made of tileIds; each tile's tileId the bitwise or of its place within the element's boundary (so for instance the upper left corner of an element's boundary is 0b0010, the bit for the lower right corner set.) That, at long last, is what the video above is showing, with fancy transition effects.

Next?

The animation of specific dough elements remains tricky; doughjiggle is still going to look bad under this new quantized regime, even as the interior of the dough looks better. But now I can emulate slugs, and spilled paint, and footprints, and other mass nouns without feeling like I've got to pay the cost of a full tilemap. Indeed, since tilemap layers render in one pass, using a pool even for walls might let me do the fabled "figure in front of bush & behind tree" 3/4 view I've been after this whole time. Certainly the ability to "layer" collisions by material type is very valuable to me, and missing from the current tilemap classes.

I'm now imagining a hybrid scheme: dough is drawn as nodules (free moving spheres of dough with weakly drawn borders) on top of a ShadowPool which draws the base of the nodule, thus the outline of the dough group (wang tiles with strongly drawn borders). Dough regions which quiesce could remove the nodule and mark the tiles from the shadow pool as "permanent", so that they can take over the nodule's mass. Animating the movement of the base can add more detail to this, since it can theoretically hide the quantization by masking portions of the tile and sliding it out in the (known!) direction of change. For instance, if the tile had been undefined and now has the bottom right set, it is clearly sliding in from the bottom right. This will cause slightly strange initial effects (of course), but edge effects are to be expected.

Fast moving dough would be represented as nodules (large borders). Slow speed dough would be thin-border nodules on top of a ShadowPool, sticking-and-unsticking the dough and an unstable equilibrium. Stopped dough would be pure ShadowPool entries. Dough spring would be provided via interaction with the shadowpool.

I mean, arbitrary at first. Obviously they're gonna be tiles. ↩︎

As an implementation note, each Pool is actually a singleton group; that's just more convenient to my way of thinking about these things. ↩︎

[arkanarmada]

Texts from the Other Side

It turned out to be a lot worse than we thought. This whole endometriosis thing is no joke. We tried to make light of it, but then it grew darker and darker around the house.

Plants died, dishes went undone. She got so weak, she couldn’t lift a thing. And I was no help around the house, I was too busy looking after her. As her button nose refused to rise in that upward jerking motion I’d come to like. Her skin grew waxen and oily to the touch. I had to force her to drink fluids. Any food, and she’d just puke it right back up.

I took her to the hospital and they stuck needles in her arms, tubes down her throat, cameras up you know where. And this is my wife for Chrissakes. Looking like a shish kabob, eerie in the blue glow of the machines.

---

It was fine for a while. Took me about two weeks to come to terms with the fact she wouldn’t be going to bed with me at night… wouldn’t be there to make a mess of the coffee the next day.

I fell back into old routines. Drinking too much. Smoking too much. 5 a.m. conversations about Faulkner and McCarthy, debates about who was the darker writer… that kind of stuff.

It was nice, I admit. Felt sort of like a vacation from myself. Got back to the way things used to be, before we got married, settled down, built a life of responsibility around the tree that grew right through the center of the house.

But when I finally went in to see her, I knew something wasn’t right. I sat with her a few days, played the dutiful husband, and sometimes I’d see a flutter in her eye. There were small indications that she was still alive. I sat there all night with her, even though she was mostly unresponsive. I just wanted her to know I was thinking about her. That I cared. Still do.

They said the pain would be too exquisite, that’s why they induced a coma. It takes a lot out of a person, getting layers of your uterus lasered off. Now we’re on day 30 of Helen in the Hospital and I don’t know how she does it. Today she looks positively radiant under those soft incandescents.

I’ve only been here about 3 days and I’m starting to acquire a film like I’m working my way into my own chrysalis or something. So, I blink my contacts back into place, gather up some of the crunchier flower petals from the windowsill and touch her fingers.

I want so bad to lean in and kiss those hands that pulled at me so eagerly just a few nights before, but I’m afraid to disturb her. Now that she looks peaceful…

I lean in and whisper in her ear, “I’ll be back later. I’m in desperate need of a shave,” I sort of laughed. She hated it when I didn’t shave. And my phone starts vibrating. “Don’t leave me,” the text says. Says it’s from number 12345678910.

I step back because this is a little much. Are the nurses playing tricks on me? I’m sure they’ve got a running tally and staying with a coma patient for 3 days straight must be up there, right? I’m a good guy... Bzzt. “I’m cold,” the next text says.

Now, I’m freaking out. I’m looking all around for some sort of electronic device. I’m starting to believe it. She was always cold. Especially her hands.

I touch her hands and they’re freezing. At that moment I wished I were a doctor so I could check her vital signs and everything, but I knew she was still in there. My Helen. My dark little minstrel. My warrior princess.

In a haze, or maybe I had an aneurysm or a mild seizure or something, but all of a sudden, I smelled a candle burning. Over to her left, near the window. I went over there and started sniffing. I had pretty much transformed at this point, getting down on all fours and sniffing around. Bzzt. “Our anniversary. Remember.” Bzzt. “The bath.” Bzzt. “You left the water on.”

I actually got carried away and hurriedly texted her back, “Wait, is the water on now or do you mean before?” “Before, silly…” Phew, I heaved a sigh of relief.

“And now.” I blinked down at my phone, incredulous. I was at a loss for words for once, which is rare for me. “Well, all righty then,” I’m furiously texting back, fingers flying over the screen like I’m the Flash on a mission to save some damsel in distress. But of course, this is not that kind of story. I’m really just freaked out and pissed and scared all at once, wondering, what the fuck. Is this really happening? I get all cocky. “Oh, yeah, well, if you’re so psychic or whatever, why don’t you just turn off the faucet at home then???” I used way too many question marks on that last text. But by now I’m all excited. It’s like some sordid game I’m playing with myself. Seriously, though, am I dreaming?

I look around the hospital room. Almost forgot she was lying there. I had this vision she was at home or whatever, poking around the house, tidying up, leaving the bath tub running out of spite. Sometimes she got like that. Uppity. Callous. Vengeful.

She started really scaring me sometimes when she got home and she was all super pissed about something at work. Why did she have to take it out on me? I’m her husband. I’ve been nothing but good to her. Gave her her own art space, sacrificed my writing space, and for what? Now she’s in this coma, not five feet from me and I’m “texting” her, apparently, like a crazy ass meth addict or something. Dreaming up schemes.

Wait, but is the bath tub on now???

“YESSSSSSSSSSSSSSSSSSSSSSS” a thousand esses in that last text. Bzzt. Bzzt. Bzzt. Bzzzzzzzztttttt….

I grab my keys off the bedside swivel lunch tray, shove ‘em into my pocket, pivot on my feet towards the door. I’m all amped up now. Every muscle taut with kinetic energy. I’m like a spring on the verge of exploding through this olive drab and depressing ass artwork on the wall, but a thought strikes me and I turn back toward her, finger thrust in her direction. I say aloud, “Now, don’t you go anywhere. I don’t know if I trust you right now”. My eyes all squinty like a shifty raccoon.

Look at me, talking to a coma patient. Who’s the crazy one?

Seriously though, I feel insane.

I leave the hospital, I’m flying down 94, I whip into the driveway, vault up the stairs, and sure enough… the water’s dripping in the bath tub. Dwoop. Dwoop. It’s not exactly on, per se. It’s not gushing forth in unwarranted torrents of otherworldly anguish or whatever. Until I look away.

I reach to tighten the faucet and a rattling begins behind the walls. “This is not good…” I say. The pipes come bursting through the shower tiles in a spray of ceramic dust and yellowing grout.

Something must have knocked me out, because the next thing I know, I’m in a coma. Pushing all of my brain power into sending her electronic messages. Using the currents of microwaves, FM radio signals, whatever I can get ahold of to send her this story.

She does come visit me sometimes, but I feel like for the most part, she’s enjoying her time alone for once. At first she said she was pretty lonely, she was texting me all the time. But you get used to it I guess. Start up 10 projects, finish none, whatever it takes to keep you busy.

She’s getting me back for letting her be a stay-at-home mom… it’s not as easy as it sounds, apparently. And other things… daddy issues or whatever. We’re working through our problems. Finally. Getting it all out. In writing. We were always better at communicating that way, anyway.

[doestheoutlinecomebefroeor473]

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