#SYM: Asymmetric

[ticktockstuck-ezodiac]

SCURIUS Sign of the Counterfeit

SCU(T)* = Silver Sign • *RIUS = Derse + Hope

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#814: A sign for proud fakers and actors with skill at replication. Even when they're only close to the original article, "close" can usually get them far enough.

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Silver Signs • Hopebound Signs • Derse Signs

[odessastone]

Nearly every aspect of Sym’s design here is asymmetrical! She’s got a braid only on one side, piercings only on one side, her visor only on one ear, her shirt/bra thing is two different colors, and she only has studs on one side of her jacket!

[darkhopping]

tungkol sa pagka asym ng mga chara designs ni lucan + kiyoshi

mas overt ung asym sa design ni lucan n magandang detail un kasama sa bg niya bilang kriminal? hiram hiraman lang ng insight galing sa ano isang arcane chara design vid na napanood ko pero sym = prestige, status etc asym = scarcity, deprivation

bilang contrast (foil? di aq sure) ni lucan si kiyoshi ud think na sym ung kabuuan ng chara design niya pero nde, asym rin di lang gaano ka overt parang kay lucan

dalawang elemento ung nagpapaasym (nagpapaasim lol) ng disenyo niya, ung captain badge thingy niya (surprisingly ano symbol of status + prestige kahit element ng asymmetricality) tas ung chunk na nawala sa cat ear niya

point is

1) overtly asym ung design ni lucan + generally sym ung design ni kiyoshi = nagpapakita kung gaano magkaiba ung background nila, kung gaano magkaiba silang dalawa sa isat isa 2) when in fact magkaparehas asym ung dalawang design nila = something something nagpapakita na sa halip ng lahat nakakahanap pa rin silang dalawa ng common ground . or ganun idk di ako nagbabasa ng felden arc

or something . idk what im saying . if this still makes sense when i wake up in the morning im gonna translate it into english

[nitewrighter]

Engineer and her Soldier trope for the Touch prompts. Either Sojourn/Mina for Hand Holding (3,8,45,19,37). Like a budding relationship during routine maintenance for her prosthetics. Or Symmpharah for Kiss (9,48,4,3,6). Like their first time of intimacy taking place behind closed doors. (Also didn't get to answer this for last ask game, but Scandalous by Prince is a good song for Sym/Pharah

Ahh you know I love Symmarah but I'd never considered Sojourn/Mina! That could be some fun dialogue!!

3. cold hands in warm hands

8. squeezing hand for comfort and encouragement

----

It was late morning in Overwatch's cybernetic research lab.

"You know I'm extremely busy right?" Mina walked over with her multitool kit before pulling out her chair across from Sojourn and sitting down.

"I know you need to see human faces at least once a week," said Sojourn, leaning her chin in her other hand, her prosthetic arm extended on the table..

"Mm... seems excessive," Mina said crisply as she pulled several small pliers, and screwdrivers from the kit. Sojourn snorted.

"You could've shoved one of your labtechs with me," said Sojourn, smiling.

"And then you'd be back three days later saying they didn't do it right and we'd spend at least an hour doing calibrations."

"Is that so bad?" There was a warmth to Sojourn's voice, not a dismissal of Mina's time or effort, but a little quip of 'I like seeing you and I know you like seeing me, even if the only way to drag you away from your tinkering is more tinkering.'

Mina pressed her lips together before gingerly running her hands down the sides of Sojourn's forearm, pressing two asymmetrical catches, opening a panel in Sojourn's arm with a short hissing whirr and click. She huffed a little, "Well... I will say it's nice to work on something I know will work."

"Hitting a rough patch with the baby?"

"She's not a--"

"You're calling it a 'She' again."

Mina furrowed her brows. "To answer your question," she said a bit pointedly, as she worked, "I would say I'm still adjusting to the personnel shifts."

"Is this about the new security we gave you?"

"You mean the ex-con suspended agent who took one look at my monitor and said, quote 'What's with the matrix shit?'"

"Come on, he's not that bad--" Sojourn laughed a little.

"No... he's not.." Mina admitted, "I guess I'm just bitter that I feel like we're being put in the same basket.

"Mina, we've been over this--it's just a temporary assignment to keep Cole from sulking around the base and keep Reyes from sending him on any unsanctioned 'vacations,'" said Sojourn.

"And why is that my problem?!" said Mina, "If Jack actually put his foot down with Reyes and they didn't play this 'plausible deniability' tango, I'd be--" she caught herself and huffed, "When we ended the Omnic Crisis... I thought it was a new chance not just for me, but for AI. I thought everyone understood that we needed to know more about artificial intelligence if we were to prevent something like the Crisis from happening again!" she sighed, "But the further along I get in this project, the more I'm Doctor Frankenstein. Getting shoved to higher security labs. Everything classified. Everything quarantined. I... I keep getting this terrible feeling that once this project's finished she--I mean it's... going to be shoved somewhere where it can never see the light of day. But I can do good with this. I know I can do good with this!"

Sojourn glanced off. Her mouth opened for a few moments and she moved to say something comforting.

"I know..." Mina said with an eye roll, continuing to methodically work through the circuitry on Sojourn's arm, "With all the fear still going around about omnics..."

"Jack's just not sure saying that Overwatch is working on a top-secret hyper-intelligent experimental AI when the Crisis is still fresh in everyone's minds is the best PR move--especially with the Blackwatch mess with O'Deorain," Sojourn finished the thought, "If you want me to transfer Cassidy, though, I can take care of that--"

"No--" Mina tucked a stray bit of hair back, now soldering in the new artificial carpal tendons, "He's... actually helpful--I mean granted, not in any programming capacity but... the AI is remarkably receptive to him," she chuckled, "I guess she's excited to have someone to talk to other than me."

"There's that 'She' again," said Sojourn, listening to the quiet fizz of the soldering iron. With the nerve responses in her arm turned off for maintenance, she couldn't feel the heat of the solder, but to be honest, one of the reasons she came to Liao for adjustment on her prosthetics was the fact that, despite using engineering tools to maintain them, Liao always made Sojourn's prosthetics feel like her body, not just a piece of equipment that just happened to also function as an arm or a leg.

"She feels like a 'she,'" Liao smiled, now cleaning out any metal filaments that flecked the interior of the prosthetic during the maintenance, "Well with the proper security clearances, I could bring you by to meet her, sometime."

"I'd like that," said Sojourn, "Plus, then I can reassure Jack you're not working on any Ultra-killer-deathbo-GYAH!" Sojourn suddenly flinched hard, one eye squinting shut and the other watering in pain at a sensation that could only be described as '10,000 beestings on a funny bone that is somehow also a vibrating tuning fork.'

"...sorry, should have given you the heads up that I was re-attaching the nerves," said Liao, glancing up.

"And...I probably... shouldn't have said... the ultra-killer-deathbot... thing..." Sojourn winced out between gritted teeth.

"Oh I know you didn't mean it like you thought I was working on an ultra killer...anyway--I'm just saying stuff like that doesn't even phase me anymore," said Mina with a shrug, "But I appreciate the thought."

"Mm!" Sojourn's eye was still squinted shut in pain as she eked out a nod before clenching and unclenching her prosthetic hand with ease, "Works like new!" she squeaked out.

"The sting will fade, it always does, just give it a few seconds," Liao gently layered her hands around Sojourn's fist, the movement like a flower closing at night. "Breathe..."

Sojourn took a few steady breaths as she sank back in her seat a little, pushing the ringing memory of the pain from her mind.

"...I think I know the other reason you come to me," said Liao, lightly running her thumb over Sojourn's prosthetic knuckles, "If you went to the regular infirmary, all the recruits would find out you're a big baby."

"Oh that's just mean," said Sojourn.

"But I'm right," said Mina.

"But you're right," said Sojourn with an eye roll.

[sketsj]

UPDATE (wip) . Started new asymmetric work totday with a geometric surreal twist .... A-SYM-METRIC (50x50) A mix of structure and aerosol, wedge, spatel .... Art by me SKETSJ (WIP) . . . #abstractart #art #gold #abstract #artist #painting #abstractpainting #modernart #artwork #artgallery #silver #artistsoninstagram #fineart #artoftheday #acrylicpainting #abstractartist #Photography #artcollector #drawing #belgium #canvas #gallery #bronze #bling #arte #abstraction #kunst #gallery #jewelry #sketsj (bij Ons Huisje - Muylle/Haegeman) https://www.instagram.com/p/CUMm5VKDkOT/?utm_medium=tumblr

[katebushwick]

All men are designers. All that we do, almost all the time, is design, for design is basic to all human activity. The planning and patterning of any act towards a desired, foreseeable end constitutes the design process. Any attempt to separate design, to make it a thing-by-itself, works counter to the inherent value, of design as the primary underlying matrix of life. Design is com- posing an epic poem, executing a mural, painting a masterpiece, writing a concerto. But design is also cleaning and reorganizing a desk drawer, pulling an impacted tooth, baking an apple pie, choosing sides for a back-lot baseball game, and educating a child. Design is the conscious effort to impose meaningful order. The order and delight we find in frost flowers on a window pane, in the hexagonal perfection of a honeycomb, in leaves, or in the architecture of a rose, reflect man's preoccupation with pattern, the constant attempt to understand an ever-changing, highly complex existence by imposing order on it - but these things are not the product of design. They possess only the order we ascribe to them. The reason we enjoy things in nature is that we see an economy of means, simplicity, elegance and an essential tightness in them. But they are not design. Though they have pattern, order, and beauty, they lack conscious intention. If we call them design, we artificially ascribe our own values to an accidental side issue. The streamlining of a trout's body is aesthetically satisfying to us, but to the trout it is a by-product of swimming efficiency. The aesthetically satisfying spiral growth pattern found in sunflowers, pineapples, pine cones, or the arrangement of leaves on a stem can be explained by the Fibonacci sequence (each member is the sum of the two previous members: 1, 1, 2, 3, 5, 8, 13, 21, 34 .. .), but the plant is only concerned with improving photosynthesis by exposing a maximum of its surface. Similarly, the beauty we find in the tail of a peacock, although no doubt even more attractive to a peahen, is the result of intra-specific selection (which, in the case cited, may even ultimately prove fatal to the species). Intent is also missing from the random order system of a pile of coins. If, however, we move the coins around and arrange them according to size and shape, we add the element of intent and produce some sort of symmetrical alignment. This sym- metrical order system is a favourite of small children, unusually primitive peoples, and some of the insane, because it is so easy to understand. Further shifting of the coins will produce an infinite number of asymmetrical arrangements which require a higher level of sophistication and greater participation on the part of the viewer to be understood and appreciated. While the aesthetic values of the symmetrical and asymmetrical designs differ, both can give ready satisfaction since the underlying intent is clear. Only marginal patterns (those lying in the threshold area between symmetry and asymmetry) fail to make the designer's intent clear. The ambiguity of these 'threshold cases' produces a feeling of unease in the viewer. But apart from these threshold cases there are an infinite number of possible satisfactory arrangements of the coins. Importantly, none of these is the one right answer, though some may seem better than others. Shoving coins around on a board is a design act in miniature because design as a problem-solving activity can never, by definition, yield the one right answer: it will always produce an infinite number of answers, some 'righter' and some 'wronger'. The Brightness' of any design solution will depend on the meaning with which we invest the arrangement. Design must be meaningful. And 'meaningful' replaces the semantically loaded noise of such expressions as 'beautiful1, 'ugly', 'cool', 'cute', 'disgusting', 'realistic', 'obscure', 'abstract', and 'nice', labels convenient to a bankrupt mind when con- fronted by Picasso's 'Guernica', Frank Lloyd Wright's Falling-f water, Beethoven's Eroica, Stravinsky's Le Sacre du printemps, Joyce's Finnegans Wake. In all of these we respond to that which has meaning. The mode of action by which a design fulfils its purpose is its function. 'Form follows function', Louis Sullivan's battle cry of the i88os and 18905, was followed by Frank Lloyd Wright's 'Form and function are one'. But semantically, all the statements from Horatio Greenough to the German Bauhaus are meaningless. The concept that what works well will of necessity look well has been the lame excuse for all the sterile, operating-room-like furniture and implements of the twenties and thirties. A dining table of the period might have a top, well proportioned in glisten- ing white marble, the legs carefully nurtured for maximum strength with minimum materials in gleaming stainless steel. And the first reaction on encountering such a table is to lie down on it and have your appendix extracted. Nothing about the table says: 'Dine off me.' Le style internationaland die neue Sachlichkeit have let us down rather badly in terms of human value. Le Corbusier's house as la machine a habiter and the packing-crate houses evolved in the Dutch De Stijl movement reflect a perversion of aesthetics and utility. 'Should I design it to be functional,' the students say, 'or to be aesthetically pleasing?' This is the most heard, the most understandable, and the most mixed-up question in design today. 'Do you want it to look good, or to work ?' Barricades erected between what are really just two of the many aspects of function. It is all quite simple: aesthetic value is an inherent part of function. A simple diagram will show the dynamic actions and relationships that make up the function complex: It is now possible to go through the six parts of the function complex (above) and to define every one of its aspects. METHOD: The interaction of tools, processes, and materials. An honest use of materials, never making the material seem that which it is not, is good method. Materials and tools must be used optimally, never using one material where another can do the job less expensively and/or more efficiently. The steel beam in a house, painted a fake wood grain; the moulded plastic bottle designed to look like expensive blown glass; the 1967 New Eng- land cobbler's bench reproduction ('worm holes $i extra') dragged into a twentieth-century living room to provide dubious footing for Martini glass and ash tray: these are all perversions of materials, tools, and processes. And this discipline of using a suitable method extends naturally to the field of the fine arts as well. Alexander Calder's 'The Horse', a compelling sculpture at the Museum of Modern Art in New York, was shaped by the particular material in which it was conceived. Calder decided that boxwood would give him the specific colour and texture he desired in his sculpture. But boxwood comes only in rather narrow planks of small sizes. (It is for this reason that it tradition- ally has been used in the making of small boxes: hence its name.) The only way he could make a fair-sized piece of sculpture out of a wood that only comes in small pieces was to interlock them somewhat in the manner of a child's toy. The Horse', then, is a piece of sculpture, the aesthetic of which was largely determined by method. For the final execution at the Museum of Modern Art Calder chose to use thin slats of walnut, a wood similar in texture. When early Swedish settlers in what is now Delaware decided to build, they had at their disposal trees and axes. The material was a round tree trunk, the tool an axe, and the process a simple kerf cut into the log. The inevitable result of this combination of tools, materials, and process is a log cabin. From the log cabin in the Delaware Valley of 1680 to Paolo Soleri's desert home in twentieth-century Arizona is no jump at all. Soleri's house is as much the inevitable result of tools, materials, and processes as is the log cabin. The peculiar viscosity of the desert sand where Soleri built his home made his unique method possible. Selecting a mound of desert sand, Soleri criss-crossed it with V-shaped channels cut into the sand, making a pattern somewhat like the ribs of a whale. Then he poured concrete in the channels, forming, when set, the roof- beams of the house-to-be. He added a concrete skin for the roof and bulldozed the sand out from underneath to create the living space itself. He then completed the structure by setting in car windows garnered from automobile junkyards. Soleri's creative use of tools, materials, and processes was a tour deforce that gave us a radically new building method. Dow Chemical's 'self-generating' styrofoam dome is the pro- duct of another radical approach to building methods. The foundation of the building can be a 12-inch-high circular retaining wall. To this wall a 4-inch wide strip of styrofoam is attached which raises as it goes around the wall from zero to 4 inches in height, forming the base for the spiral dome. On the ground in Paolo Soleri: Carved earth form for the original drafting room and interior of the ceramics workshop. Photos by Stuart Weiner. the centre, motorized equipment operates two spinning booms, one with an operator and the other holding a welding machine. The booms move around, somewhat like a compass drawing a circle, and they rise with a spiralling motion at about 30 feet a minute. Gradually they move in towards the centre. A man sit- ting in the saddle feeds an 'endless' 4 x 4-inch strip of styrofoam into the welding machine, which heat-welds it to the previously hand-laid styrofoam. As the feeding mechanism follows its circular, rising, but ever-diminishing diameter path, this spiral process creates the dome. Finally, a hole 36 inches in diameter is left in the top, through which man, mast, and movement arm can be re- moved. The hole is then closed with a clear plastic pop-in bubble or a vent. At this point the structure is translucent, soft, but still entirely without doors or windows. The doors and windows are then cut (with a minimum of effort; in fact the structure is still so soft that openings could be cut with one's fingernail), and the structure is sprayed inside and out with latex-modified concrete. The dome is ultra-lightweight, is secured to withstand high wind speeds and great snow loads, is vermin-proof, and inexpensive. Several of these 54-foot-diameter domes can be easily joined together into a cluster. All these building methods demonstrate the elegance of solution possible with a creative interaction of tools, materials, and processes. USE: 'Does it work?' A vitamin bottle should dispense pills singly. An ink bottle should not tip over. A plastic-film package covering sliced pastrami should withstand boiling water. As in any reasonably conducted home, alarm-clocks seldom travel through the air at speeds approaching five hundred miles per hour, 'streamlining' clocks is out of place. Will a cigarette lighter designed like the tail fin of an automobile (the design of that auto- mobile was copied from a pursuit plane of the Korean War) give more efficient service? Look at some hammers: they are all different in weight, material, and form. The sculptor's mallet is fully round, permitting constant rotation in the hand. The jeweller's chasing hammer is a precision instrument used for fine work on metal. The prospector's pick is delicately balanced to add to the swing of his arm when cracking rocks. The ball-point pen with a fake polyethylene orchid surrounded by fake styrene carrot leaves sprouting out of its top, on the other hand, is a tawdry perversion of design for use. But the results of the introduction of a new device are never predictable. In the case of the automobile, a fine irony developed. One of the earliest criticisms of the car was that, unlike 'old Dobbin', it didn't have the sense 'to find its way home' whenever its owner was incapacitated by an evening of genteel drinking. No one foresaw that mass acceptance of the car would put the American bedroom on wheels, offering everyone a new place to copulate (and privacy from supervision by parents and spouses). Nobody expected the car to accelerate our mobility, thereby creating the exurbant sprawl and the dormitory suburbs that strangle our larger cities; or to sanction the killing of fifty thou- sand people per annum, brutalising us and making it possible, as Philip Wylie says 'to see babies with their jaws ripped off on the corner of Maine and Maple'; or to dislocate our societal groupings, thus contributing to our alienation; and to put every yut, yahoo, and prickamouse from sixteen to sixty in permanent hock to the tune of $80 a month. In the middle forties, no one foresaw that, with the primary use function of the automobile solved, it would emerge as a combination status symbol and disposable, chrome-plated codpiece. But two greater ironies were to follow. In the early sixties, when people began to fly more, and to rent standard cars at their destination, the businessman's clients no longer saw the car he owned and therefore could not judge his 'style of life' by it. Most of Detroit's Baroque exuberance sub- sided, and the automobile again came closer to being a transportation device. Money earmarked for status demonstration was now spent on boats, colour television sets, and other ephemera. The last irony is still to come: with carbon monoxide fumes poisoning our atmosphere, the electric car, driven at low speeds and with a cruising range of less than one hundred miles, reminiscent of the turn of the century, may soon make an anachronistic comeback. Anachronistic because the days of individual transportation devices are numbered. The automobile gives us a typical case history of seventy years of the perversion of design for use. NEED: Much recent design has satisfied only evanescent wants and desires, while the genuine needs of man have often been neglected by the designer. The economic, psychological, spiritual, technological, and intellectual needs of a human being are usually more difficult and less profitable to satisfy than the carefully engineered and manipulated 'wants' inculcated by fad and fashion. People seem to prefer the ornate to the plain as they prefer day-dreaming to thinking and mysticism to rationalism. As they seek crowd pleasures and choose widely travelled roads rather than solitude and lonely paths, they seem to feel a sense of security in crowds and crowdedness. Horror vacui is horror of inner as well as outer vacuum. The need for security-through-identity has been perverted into role-playing. The consumer, unable or unwilling to live a strenuous life, can now act out the role by appearing caparisoned in Naugahyde boots, pseudo-military uniforms, voyageur's shirts, little fur jackets, and all the other outward trappings of Davy Crockett, Foreign Legionnaires, and Cossack Hetmans. (The apotheosis of the ridiculous: a 'be- your-own-Paul-Bunyan-kit, beard included', neglecting the fact that Paul Bunyan is the imaginary creature of an advertising firm early in this century.) The furry parkas and elk-hide boots are obviously only role- playing devices, since climatic control makes their real use redundant. A short ten months after the Scott Paper Company introduced disposable paper dresses for QQC, it was possible to buy throwaway paper dresses ranging from $20 to $149.50. With increased consumption, the price of the 99c dress could have dropped to 40c. And a 40c paper dress is a good idea. Typically, industry perverted the idea and chose to ignore an important need- fulfilling function of the design: disposable dresses inexpensive enough to make disposability economically feasible for the consumer. Greatly accelerated technological change has been used to create technological obsolescence. This year's product often incorporates enough technical changes to make it really superior to last year's offering. The economy of the market place, however, is still geared to a static philosophy of purchasing-owning' rather than a dynamic one of 'leasing-using', and price policy has not resulted in lowered consumer cost. If a television set, for instance, is to be an every-year affair, rather than a once- in-a- lifetime purchase, the price must reflect it. Instead, the real values of real things have been driven out by false values of false things, a sort of Gresham's Law of Design. As an attitude, 'Let them eat cake' has been thought of as a manufacturer's basic right. And by now people, no longer 'turned on' by a loaf of bread, can differentiate only between frostings. Our profit-oriented and consumer-oriented Western society has become so over specialised that few people experience the pleasures and benefits of full life, and many never participate in even the most modest forms of creative activity which might help to keep their sensory and intellectual faculties alive. Members of a 'civilised' community or nation depend on the hands, brains, and imaginations of experts. But however well trained these experts may be, unless they have a sense of ethical, intellectual, and artistic responsibility, then morality and an intelligent, 'beautiful', and elegant quality of life will suffer in astronomical proportions under our present-day system of mass production and private capital. TELESIS: 'The deliberate, purposeful utilisation of the processes of nature and society to obtain particular goals' (American College Dictionary, 1961). The telesic content of a design must reflect the times and conditions that have given rise to it, and must fit in with the general human socio-economic order in which it is to operate. The uncertainties and the new and complex pressures in our society make many people feel that the most logical way to regain lost values is to go out and buy Early American furniture, put a hooked rug on the floor, buy ready-made phoney ancestor portraits, and hang a flint-lock rifle over the fireplace. The gas-light so popular in our subdivisions is a dangerous and senseless anachronism that only reflects an insecure striving for the 'good old days' by consumer and designer alike. Our twenty-year love affair with things Japanese - Zen Buddhism, the architecture of the Ise Shrine and Katsura Imperial Palace, haiku poetry, Hiroshige and Hokusai block-prints, the music of koto and samisen, lanterns and sake sets, green tea liqueur and sukiyaki and tempura - has triggered an intemperate demand by consumers who disregard telesic aptness. By now it is obvious that our interest in things Japanese is not just a passing fad or fashion but rather the result of a major cultural confrontation. As Japan was shut off for nearly two hundred years from the Western world under the Tokugawa Shogunate, its cultural expressions flourished in a pure (although somewhat inbred) form in the imperial cities of Kyoto and Edo (now Tokyo). The Western world's response to an in-depth knowledge of things Japanese is comparable only to the European reaction to things classical, which we are now pleased to call the Renaissance. Nonetheless, it is not possible to translate things from one culture to another. The floors of traditional Japanese homes are covered by floor mats. These mats are 3x6 feet in size and consist of rice straw closely packed inside a cover of woven rush. The long sides are bound with black linen tape. While tatami mats impose a module (homes are spoken of as six-, eight-, or twelve-mat homes), their primary purposes are to absorb sounds and to act as a sort of wall-to-wall vacuum cleaner which filters particles of dirt through the woven surface and retains them in the inner core of rice straw. Periodically these mats (and the dirt within them) are discarded, and new ones are installed. Japanese feet encased in clean, sock- like tabi (the sandal-like street shoe, or geta, having been left at the door) are also designed to fit in with this system. Western- style leather-soled shoes and spike heels would destroy the surface of the mats and also carry much more dirt into the house. The increasing use of regular shoes and industrial precipitation make the use of tatami difficult enough in Japan and absolutely ridiculous in the United States, where high cost makes periodic disposal and reinstallation ruinously expensive. But a tatami-covered floor is only part of the larger design system of the Japanese house. Fragile, sliding paper walls and tatami give the house definite and significant acoustical proper- ties that have influenced the design and development of musical instruments and even the melodic structure of Japanese speech, poetry, and drama. A piano, designed for the reverberating insulated walls and floors of Western homes and concert halls, cannot be introduced into a Japanese home without reducing the brilliance of a Rachmaninoff concerto to a shrill cacophony. Similarly, the fragile quality of a Japanese samisen cannot be fully appreciated in the reverberating box that constitutes the American house. Americans who try to couple a Japanese interior with an American living experience in their search for exotica find that elements cannot be ripped out of their telesic context with impunity. ASSOCIATION: Our psychological conditioning, often going back to earliest childhood memories, comes into play and pre- disposes us, or provides us with antipathy against a given value. Increased consumer resistance in many product areas testifies to design neglect of the associational aspect of the function complex. After two decades, the television-set industry, for instance, has not yet resolved the question of whether a television set should carry the associational values of a piece of furniture (a lacquered mah-jongg chest of the Ming Dynasty) or of technical equipment (a portable tube tester). Television receivers that carry new associations (sets for children's rooms in bright colours and materials, enhanced by tactilely pleasant but non-working controls and pre-set for given times and channels, clip-on swivel sets for hospital beds, etc., etc.) might not only clear up the astoundingly large back inventory of sets in warehouses, but also create new markets. And what shape is most appropriate to a vitamin bottle: a candy jar of the Gay Nineties, a perfume bottle, or a 'Danish modern' style salt shaker ? The response of many designers has been like that so unsuccessfully practised by Hollywood: the public has been pictured as totally unsophisticated, possessed of neither taste nor discrimination. A picture emerges of a moral weakling with an IQ of about 70, ready to accept whatever specious values the unholy trinity of Motivation Research, Market Analysis, and Sales have decided is good for him. In short, the associational values of design have degenerated to the lowest common denominator, determined more by inspired guesswork and piebald graphic charts rather than by the genuinely felt wants of the consumer. Many products already successfully embody values of high associational content, either accidentally or 'by design'. The Sucaryl bottle by Raymond Loewy Associates for Abbott Laboratories communicates both table elegance and sweetening agent without any suggestion of being medicine-like. The Lettera 22 portable typewriter by Olivetti establishes an immediate aura of refined elegance, precision, extreme portability, and businesslike efficiency, while its two-toned carrying case of canvas and leather connotes 'all- climate-proof. Abstract values can be communicated directly to everyone, and this can be simply demonstrated. If the reader is asked to choose which one of the figures below he would rather call Takete or Maluma (both are words devoid of all meaning in any known language), he will easily call the one on the right Takete (W. Koehler, Gestalt Psychology), Many associational values are really universal, providing for unconscious, deep-seated drives and compulsions. Even totally meaningless sounds and shapes can, as demonstrated, mean the same thing to all of us. The unconscious relationship between spectator expectation and the configuration of the object can be experimented with and manipulated. This will not only enhance the 'chair-ness' of a chair, for instance, but also load it with associational values of, say, elegance, formality, portability, or what-have-you. AESTHETICS: Here dwells the traditionally bearded artist, mythological figure, equipped with sandals, mistress, garret, and easel, pursuing his dream-shrouded designs. The cloud of mystery surrounding aesthetics can (and should be) dispelled. The dictionary definition, 'a theory of the beautiful, in taste and Art' leaves us not much better off than before. Nonetheless we know that aesthetics is a tool, one of the most important ones in the repertory of the designer, a tool that helps in shaping his forms and colours into entities that move us, please us, and are beautiful, exciting, filled with delight, meaningful. Because there is no ready yardstick for the analysis of aesthetics, it is simply considered to be a personal expression fraught with mystery and surrounded with nonsense. We 'know what we like' or dislike and let it go at that. Artists themselves begin to look at their productions as auto-therapeutic devices of self- expression, confuse licence and liberty, and forsake all discipline. They are often unable to agree on the various elements and attributes of design aesthetics. If we contrast the 'Last Supper' by Leonardo da Vinci with an ordinary piece of wallboard, we will understand how both operate in the area of aesthetics. In the work of so-called 'pure' art, the main job is to operate on a level of inspiration, delight, beauty, catharsis ... in short, to serve as a propagandistic communications device for the Holy Church at a time when a largely pre-literate population \vas exposed to a few non-verbal stimuli. But the 'Last Supper' also had to fill the other requirements of function; aside from the spiritual, its use was to cover a wall. In terms of method it had to reflect the material (pigment and vehicle), tools (brushes and painting knives), and processes (individualistic brushwork) employed by Leonardo. It had to fulfil the human need for spiritual satisfaction. And it had to work on the associational and telesic plane, providing reference points from the Bible. Finally, it had to make 30 identification through association easier for the beholder through such clichés as the racial type, garb, and posture of the Saviour. 'The Last Supper', by Leonardo da Vinci. Earlier 'Last Supper' versions, painted during the sixth and seventh centuries, saw Christ lying or reclining in the place of honour. For nearly a thousand years, the well- mannered did not sit at the table. Leonardo da Vinci disregarded the reclining position followed by earlier civilisations and painters for Jesus and the Disciples. To make the 'Last Supper' acceptable to Italians of his time, on an associational plane, Leonardo sat the crowd around the last supper table on chairs or benches in the proper positions of his (Leonardo's) time. Unfortunately the scriptural account of St John resting his head on the Saviour's bosom presented an unsolvable positioning problem to the artist, once everybody was seated according to the Renaissance custom. On the other hand, the primary use of wallboard is to cover a wall. But an increased choice of textures and colours applied by the factory shows that it, too, must fulfil the aesthetic aspect of function. No one argues that in a great work of art such as the 'Last Supper', prime functional emphasis is aesthetic, with use (to cover a wall) subsidiary. The main job of wallboard is its use in covering a wall, and the aesthetic assumes a highly subsidiary position. But both examples must operate in all six areas of the function complex. Designers often attempt to go beyond the primary functional requirements of method, use, need, telesis, association, and aesthetics; they strive for a more concise statement: precision, simplicity. In a statement so conceived, we find a degree of aesthetic satisfaction comparable to that found in the logarithmic spiral of a chambered nautilus, the ease of a seagull's flight, the strength of a gnarled tree trunk, the colour of a sunset. The particular satisfaction derived from the simplicity of a thing can be called elegance. When we speak of an 'elegant' solution, we refer to something consciously evolved by men which reduces the complex to the simple: Euclid's Proof that the number of primes is infinite, from the field of mathematics, will serve: 'Primes' are numbers which are not divisible, like 3, 17, 23, etc. One would imagine as we get higher in the numerical series, primes would get rarer, crowded out by the ever-increasing products of small numbers, and that we would finally arrive at a very high number which would be the highest prime, the last numerical virgin. Euclid's Proof demonstrates in a simple and elegant way that this is not true and that to whatever astronomical regions we ascend, we shall always find numbers which are not the product of smaller ones but are generated by immaculate conceptions, as it were. Here is the proof: assume that P is the hypothetically highest prime; then imagine a number equal to 1 x 2 x 3 x 4 ... x P. This number is expressed by the numerical symbol (P!). Now add to it 1: (P! + 1). This number is obviously not divisible by P or any number less than P (because they are all contained in (P!)); hence (P! + 1) is either a prime higher than P or it contains a prime factor higher than P . . . Q.E.D. The deep satisfaction evoked by this proof is aesthetic as well as intellectual: a type of enchantment with the near-perfect.

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Weight Wise This System Works Well Being That Toinsulation” Works Double Duty Throughout The Day

I have both a ENO DoubleNest and a Hangloose Hammock.

Plan on making my Hangloose my sleeping rig and ENO as a spare, I'm could be camping for 3 weeks in my hammock and will take both.

I am sure that the fabric feels better and it's about 8″ longer which I like. I'll be replacing nautical rope as long as my whoopieslings arrive in tomail. Derek, in section ridge lines I detected a little mistake.

I'm sure you mean under totarp.

You wrote With ridgeline running under tohammock, it also provides handy points for clipping gear to air dry, or to attach a bug net. Basically, it also provides handy points for clipping gear to air dry, or to attach a bug net, with ridgeline running under totarp. Hanging tarp over a full length ridgeline provides additional structure and can be preferred during extreme conditions when ridgeline can like during a snow storm. While you get extra coverage and protection from toelements, it can take some practice to master pitching teqniques to get most out of these shelters. Large tarps also provide good privacy for modesty when changing clothes, and suchlike There are I can't quite distinguish if it's really similar tarp in 2 setups. So here is the question. Care to share toexperience? Thank you lots for all great advice on this website. Normally, should you mind sharing model name please. Notice that I'm looking for a no fuss tarp that is able to take rrents ) and these on photo 6 and 8 caught my eye. Your hammock must last for many years. HOW LONG WILL IT LAST? They shouldn't be left outdoors for long periods of time. You can retrofit guylines with elastic shock cord or purchase them 'ready made' from a couple of manufacturers. Needless to say, even tightest pitch before preparing to bed may slacken by morning, quite a few tarps stretch throughout the night. Then the tarp will remain taut as tarp stretches, with shock cord on guy line. Eventually, wHAT ARE HAMMOCKS MADE OF? By the way, the body of p hammocks are 'hand woven' from 100 cotton. Consequently, it requires two rings mounted to walls or posts, two S hooks, and two strong lengths cord. That said, you can purchase these items wherever hammocks are sold. While using equal lengths of cord, with both ends at really similar height, suspend hammock to hang symmetrically. HOW SHOULD IT BE HUNG?

Me moreover like to keep myself and my gear dry hense reason my tarp goes all way to ground And so it's light weight and very effective.

I havent figured out why people leave there cover so far from ground as point is to stay dry guess everyone likes getting there feet wet. Needless to say, I use a 12×9 tarp from walmart was about 12 $ works great and goes all way to toground. Essentially, just my opinion. Is there a Hex/ 'CatCut' that is light and not so expensive that should work for light weight and hammock to ground transition if needed? So, my buddy had a hammock. I only did my first backpacking trip this weekend. I am also working to develop my rig as a light weight setup. I am seriously considering going all hammock! My tarp needs replaced anyways but Grand trunk funky forest tarp seems look for to wait few days extra to start researching tosetup. By the way I was hoping to get a hammock I could use my exped pad in and hold off on an under quilt for now, probably making an attempt to get advised, however,hammocking that smaller tarps require greater skill to keep dry in adverse conditions. Usually, So it's often necessary to sleep in a specific direction under a 'a sym' tarp to maximize coverage. Consequently take line around support and after all attach line back at beak of tarp. One method for attaching line to support is to create a V around post Whether 'end only' ridge lines,, or you use a full. You can set line for awhile line to center it, with a fulllength ridgeline. It's often easier to center a tarp between supports with a fulllength ridgeline than with 'endonly' lines. Guy lines of approximately 6 ft allow enough length so you can guy tarp around other nearby supports or to a stake in toground. You can set guy lines, only after ridge of tarp is set. Setup can be quicker, diamond or asymmetric tarps have as little as two guy points. You back up to it, pull far side well above your head to Notice, hOW DO YOU USE IT? Simply lower your feet to ground and stand up, intention to get out. HOW DO YOU STORE IT? One way is to grasp end loops and twist any in opposite directions until entire length is twisted tightly, hereafter hold it above your head, and it will spin and wrap around itself like a skein of knitting yarn.

Surely it's generally agreed that fullcoverage tarps, or winter tarps are best for four season camping when you need maximum protection from toelements. Winter tarps usually add extra flaps or doors to ends of tarp that can be folded inward to enclose all four sides. It's abeing that I'm often using other trees or branches to tie off and extra length is nice.

I don't think it's worth it.

I buy a spool of #18 braided nylon mason line. Known it's something I know gets loads of abuse. Notice, I also don't invest in expensive guy line. hiking hammocks This is tocase. I also camp in rocky areas where instead of stakes I wrap line around rocks. It's strong and light and cheap. I actually have line that has lasted many years. Anyways, most ridge lines fall under one of two categories. Fulllength ridgelines run entire length of tarp and can be used under tarp or over totarp. Endonly lines essentially eliminate rope between tarp tieouts, that can reduce some weight. Square or rectangular tarps with multiple tieouts can allow for greater pitching options than other tarps. With Hike Your Own Hike, it's equally important to Pick Your Own Pitch and Choose Your Own Tarp. Just as look, there're as many hammock options to choose from, look, there're equally as many tarp configurations and rigging options to match. Also, I have a couple of tarps to pick from according to my trip type. For a while because it means you can customize your shelter system to match conditions, so that's good news. Pitch tarp low during adverse conditions. Pull tarp out and open, even using trekking poles or sticks to open tarp for more ventilation or views. Known you can also guy down one a side tarp to protect from wind and rain and open other side in porch mode, determined by conditions. Besides, I use an older ENO under my ENO DoubleNest and find I can easily regulate quantity of insulation to ward off CBS and get a great night's sleep. [embed]https://www.youtube.com/watch?v=OMjrPyGcRP4[/embed]

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CORVANTALIS Sign of the World-Walker

COR(V)* = Onyx Sign • *ANTALIS = Derse + Quest

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#774: The sign for wanderers of long-gone wastes, forever left to pick up the pieces of crumbled palaces and abandoned plazas. All that remains in the end is the well-traveled roads and the World-Walker to travel along them.

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Onyx Signs • Questbound Signs • Derse Signs

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PEGACOGIUM Sign of the Idle

PEG(A)* = Sugilite Sign • *COGIUM = Prospit + Sloth

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#772: A sign for the hampered, the burdened, and the indolent. Shoes of iron slow their movements, thoughts of trouble ahead slow their pace, and aches on all fronts slow their thoughts.

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Sugilite Signs • Slothbound Signs • Prospit Signs

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KYRO Sign of the Rhadamanthine

K(E)* = Lilac Sign • *YRO = Derse + Tune

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#776: A sign for the severely strict who follow their personal creed with absolute dedication. Not a bit or byte can be allowed out of place in the program, drawing a hard binary between the lawful and the unlawful.

Production commentary: This sign was largely inspired by that one series of old clip-art characters. You know, the ones that are inanimate objects with the "• O" eyes and the stick-legs, that are basically impossible to look up anymore? Those ones.

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Lilac Signs • Tunebound Signs • Derse Signs

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SCORNIUS Sign of the Bright

SCOR* = Cerulean Sign • *NIUS = Prospit + Hope

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#745: A sign for intellectuals with good intuition and a glowing complexion. They have a tendency to pour over documents from dawn to dusk, and will pour over texts cover to cover in order to be right. This sign replaces the canon Scornius, which was converted from a Hopebound sign to a Woebound sign in the ivory caste, currently under the name Colven.

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Cerulean Signs • Hopebound Signs • Prospit Signs

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VOLOPENA Sign of the Pearlescent

VOL* = Garnet Sign • *OPENA = Prospit + Glam

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#705: The sign of a sleeping beauty who glimmers like starlight and moonbeams, a fixture in the dreams of their suitors. The sign of a waking nightmare that soon puts their scorned and blind followers to an early rest.

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Garnet Signs • Glambound Signs • Prospit Signs

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DRAPHEUS Sign of the Patriarch

DR(A)* = Ruby Sign • *PHEUS = Derse + Word

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#693: The sign of one kinder than they look, and whose kindness is darker than it seems. Charity one day turns to expectations of a return the next, reliability into dependence the next, and dependence is soon mangled into obedience. Production commentary: An older ruby in the catalog, this sign used to look slightly different. It's not as significant a change as some other old signs have received - it just used to have a circle instead of the T-shaped head it does now. Its loop also used to loop in a circular fashion instead of the point it has now, but that version just looked...too clean, is the best way I'd describe it.

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Ruby Signs • Wordbound Signs • Derse Signs

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PUPPIBORN Sign of the Ingenious

PUPP* = Moss Sign • *IBORN = Derse + Rage

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#720: A sign for great thinkers and motivators - give them a little input and they'll return the investment in spades. As expectations grow, however, they'll need more and more until the unsuspecting find themselves thrown into the fires instead. Moss signs are designed to pair with specific members of the chocolate and verdigris castes to form larger images, usually vehicular in nature. This sign's partners in those castes are Carenox and V????.

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Moss Signs • Ragebound Signs • Derse Signs

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TAURZER Sign of the Tertiary

TAUR* = Bronze Sign • *ZER = Derse + Mood

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#710: A sign for those who are necessary, but not at first glance. In threes they rise above the rest, in pairs they work best, alone they are one-dimensional, and without them there is only darkness. Production commentary: An experimental type of bronze in that this is neither round nor symmetrical, but I feel it still manages to keep that bronze caste feel in spite of those distinguishing features.

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Bronze Signs • Moodbound Signs • Derse Signs

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VIRELEON Sign of the Preserver

VIR* = Jade Sign • *ELEON = Derse + Shade

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#702: A sign for the monument-makers and street artists, whose works of art allow moments in time to persist long after the clock leaves them behind. The stone may someday crumble, the colored paint may fade, but images shine eternal in the mind.

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Jade Signs • Shadebound Signs • Derse Signs