#alexander design group inc.

[sgsjelfs]

Powder Room in Minneapolis Example of a transitional powder room design in black and white with multicolored floor tiles, blue cabinets, white walls, an undermount sink, and gray countertops.

[misstel]

Bathroom Master Bath Inspiration for a substantial contemporary master bathroom's porcelain and white tiles Bathroom remodel with white walls, an undermount sink, marble countertops, flat-panel cabinets, medium-tone wood cabinets, a two-piece toilet, and porcelain tile flooring.

[vaultsnakes]

Family Room (Minneapolis)

[mpchev]

You like reading fanfics? How about reading about fanfics? 😏

Here’s what I've read so far (or am currently getting through) for my dissertation on fanfiction bookbinding! I'll be updating it as I go until the end of July. If you have any recs to add to the towering pile or any questions/opinions about something on there, I’m all ears!

on fan studies & ficbinding ✔

Alexander, Julia, ‘Making fanfiction beautiful enough for a bookshelf’, The Verge, 9 March 2021 <https://www.theverge.com/22311788/fanfiction-bookbinding-tiktok-diy-star-wars-harry-potter-twitter-fandom> [accessed 12 June 2024]

Buchsbaum, Shira Belén, ‘Binding fan fiction and reexamining book production models’, Transformative Works and Cultures, 37 (2022)

Dym, Brianna, and Casey Fiesler, ‘Ethical and privacy considerations for research using online fandom data’, Transformative Works and Cultures, 33 (2020)

Jenkins, Henry, Textual Pochers: Television Fans and Participatory Culture (New York: Routeledge, 1992)

Jenkins, Henry, ‘Transmedia Storytelling 101’, Pop Junctions, 21 March 2007 <http://henryjenkins.org/2007/03/transmedia_storytelling_101.html#sthash.gSETwxQX.dpuf> [accessed 12 June 2024]

Hellekson, Karen, ‘Making Use Of: The Gift, Commerce, and Fans’, Cinema Journal, 54, no. 3 (2015), 125–131

Kennedy, Kimberly, ‘Fan binding as a method of fan work preservation’, Transformative Works and Cultures, 37 (2022)

Minkel, Elizabeth, ‘Before “Fans,” There Were “Kranks,” “Longhairs,” and “Lions”: How Do Fandom Gain Their Names?’, Atlas Obscura, 30 May 2024 <https://www.atlasobscura.com/articles/fandom-names> [accessed 12 June 2024]

Penley, Constance, Nasa / Trek: Popular Science and Sex in America (London: Verso, 1997)

Price, Ludi, ‘Fanfiction, Self-Publishing, and the Materiality of the Book: A Fan Writer’s Autoethnography’, Humanities, 11, no. 100 (2022), 1–20

Schiller, Melanie, ‘Transmedia Storytelling: New Practices and Audiences’, in Stories: Screen Narrative in the Digital Era, ed. by Ian Christie and Annie van den Oever (Amsterdam: Amsterdam University Press, 2018), 99–107

on folklore, the internet, other background reading ✔

Barthes, Roland, ‘La mort de l’auteur’ in Le Bruissement de la langue: Essais critiques IV (Paris: Éditions du Seuil, 1984)

Blank, Trevor J., Folklore and the Internet: Vernacular Expression in a Digital World (Logan, Utah: Utah State University Press, 2009)

Mauss, Marcel, ‘Essai sur le don. Forme et raison de l’échange dans les sociétés archaïques.’, L’année sociologique, 1923–1924; digital edition by Jean-Marie Tremblay, Les classiques des sciences sociales, 17 February 2002, <http://classiques.uqac.ca/classiques/mauss_marcel/socio_et_anthropo/2_essai_sur_le_don/essai_sur_le_don.html> [accessed 10 June 2024]

McCulloch, Gretchen, Because Internet: Understanding How Language is Changing (Random House, 2019)

Niles, John D., Homo Narrans: The Poetics and Anthropology of Oral Literature (University of Pennsylvania Press: Philadelphia, 1999)

hopefully coming up next (haven't started yet)

A Companion to Media Fandom and Fan Studies, ed. by Paul Booth (Hoboken: John Wiley & Sons, Inc., 2018)

A Fan Studies Primer: Method, Research, Ethics, ed. by Paul Booth and Rebecca Williams (Iowa City: University of Iowa Press, 2021)

Dietz, Laura, ‘Showing the scars: A short case study of de-enhancement of hypertext works for circulation via fan binding or Kindle Direct Publishing’, 34th ACM Conference on Hypertext and Social Media (HT ‘23), September 4–8, 2023, Rome Italy (ACM: New York, 2023)

Fathallah, Judith May, Fanfiction and the Author: How Fanfic Changes Popular Cultural Texts (Amsterdam: Amsterdam University Press, 2017)

Finn, Kavita Mudan, and Jessica McCall, ‘Exit, pursued by a fan: Shakespeare, Fandom, and the Lure of the Alternate Universe’, Critical Survey, 28, no. 2 (2016), 27–38

Hjorth, Larissa et al., eds. The Routledge Companion to Digital Ethnography (New York: Routledge Taylor & Francis Group, 2017)

Jacobs, Naomi, and JSA Lowe, ‘The Design of Printed Fanfiction: A Case Study of Down to Agincourt Fanbinding’, Proceedings from the Document Academy, 9, issue 1, article 5

Jenkins, Henry, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006)

Jenkins, Henry, Spreadable Media: Creating Value and Meaning In A Networked Culture (New York: New York University Press, 2013)

Kennedy, Kimberly, and Shira Buchsbaum, ‘Reframing Monetization: Compensatory Practices and Generating a Hybrid Economy in Fanbinding Commissions’, Humanities, 11, no. 67 (2022), 1–18

Kirby, Abby, ‘Examining Collaborative Fanfiction: New Practices in Hyperdiegesis and Poaching’, Humanities, 11, no. 87 (2002), 1–9

Kustritz, Anne, Identity, Community, and Sexuality in Slash Fan Fiction (New Work: Routeledge, 2024)

Lamerichs, Nicolle, Productive Fandom: Intermediality and Affecive Reception in Fan Cultures, (Amsterdam: Amsterdam Universtiy Press, 2018)

Popova, Milena, ‘Follow the trope: A digital (auto)ethnography for fan studies’, Transformative Works and Cultures, 33 (2020)

Rosenblatt, Betsy, and Rebecca Tushnet, ‘Transformative Works: Young Women’s Voices on Fandom and Fair Use’, in eGirls, eCitizens: Putting Technology, Theory and Policy into Dialogue with Girls’ and Young Women’s Voices, ed. by Jane Bailey and Valerie Steeves

Soller, Bettina, ‘Filing off the Serial Numbers: Fanfiction and its Adaptation to the Book Market’, in Adaptation in the Age of Media Convergence, ed. by Johannes Fehrle, Werner Schäfke-Zell (Amsterdam: Amsterdam University Press, 2019), 58–85

[allthecanadianpolitics]

"An Ontario judge has dismissed a $1-million libel action by three nurses who faced disciplinary action for their anti-vaccine views during the pandemic, calling the plantiffs' decision to sue "puzzling" and "surprising." 

The lawsuit was dismissed by the court under Ontario's anti-SLAPP legislation. SLAPP stands for strategic lawsuit against public participation and is a legal manoeuvre traditionally used by the rich and powerful to intimidate, silence and/or bankrupt opponents. Ontario introduced legislation in 2015 designed to protect against such gag proceedings from using the courts to silence expression on matters of public interest. 

Kristen Nagle of London, Ont., Kristal Pitter of Tillsonburg, Ont., Sarah Choujounian of Toronto and the Canadian Frontline Nurses filed their court action in December 2021, alleging the Canadian Nurses Association (CNA) and independent B.C. news outlet Together News Inc. (TNI) caused harm to their personal and professional reputations with separate online articles published in the fall of 2021.

In her 29-page decision issued Dec. 23, Superior Court Justice Marie-Andrée Vermette sided with the defendants, saying the plaintiffs "failed to establish they have suffered sufficiently serious harm" and "failed to show a causal link between the harm they allege and the publications in issue."

Vermette cited the anti-SLAPP legislation, saying there were "significantly more important sources of harm" to the nurses' reputations that were "unrelated" to the publications, including: 

Professional misconduct investigations of all three nurses by the province's nursing regulator, the College of Nurses of Ontario (CNO).The fact all three nurses were terminated from their respective jobs with cause.Numerous media reports about the the nurses, including articles by what the court called "high-profile media organizations."

Vermette also called into question the plaintiffs' decision to sue in the first place, calling it "puzzling," given that similar information appeared in "numerous" other articles published in Canada.

She also said the decision to specifically sue TNI, "a small and regional media organization," was "particularly surprising" because the plaintiffs "chose to ignore similar expressions made by media giants."

Alexander Boissonneau-Lehner, the lawyer for the plaintiffs, responded "no comment" in an email when reached by CBC News on Tuesday. 

The court's decision to dismiss the lawsuit under anti-SLAPP legislation is the latest judgment against anti-vaccine and anti-science groups attempting to use the courts to silence and intimidate critics. 

Until the COVID-19 pandemic, SLAPP suits were the traditional tactic of the rich and powerful to bully critics into silence, but the legal tactic has been increasingly used lately by those spreading��health misinformation in an attempt to hush critics."

Full article

Tagging: @politicsofcanada

[dankusner]

Benson

George L. Allen Sr. Courts Building.

Dallas Bar Association dedicates murals at courthouse Jillian BeckDecember 16, 2016 The Dallas Bar Association dedicated five murals in the garage of the George L. Allen, Sr. Courts Building on December 16.

The bar association raised private money to fund the artwork, which now covers the walls near the entryway to the courthouse.

The yearlong project stemmed from the vision of DBA President Jerry Alexander, the organization said in a press release.

Local artist Steve Hunter designed, painted, and coordinated the work on the murals and Booker T. Washington Arts Magnet School students painted one of the murals as a part of a class.

“Now the entryway for litigants, jurors, attorneys, and visitors coming from the parking garage into the George Allen Courthouse will present a much more positive first impression of the excellent legal system that we all strive for in that courthouse,” Alexander said in the release.

“The courts work hard in that building and the jurists and all that appear before them deserve this beautiful entryway to justice.”

Read more about the project on the Dallas Bar Association website.

Photograph courtesy of Dallas Bar Association. DBA President Jerry Alexander stands near one of the recently completed murals at the December 16 dedication.

Who's behind the new mural at a downtown Dallas courthouse?

The Communities Foundation of Texas has named attorney and entrepreneur James E. Bass as board chairman and appointed financier G. Stacy Smith as a trustee.

A passerby walks past a mural featuring the justices of the Fifth Court of Appeals after the dedicated of the George Allen Courthouse Mural Project at the parking garage entrance on Friday, Dec. 16, 2016.

The Communities Foundation of Texas has named attorney and entrepreneur James E. Bass as board chairman and appointed financier G. Stacy Smith as a trustee.

"With their vast business experience and knowledge of the community, Jim and Stacy will help guide CFT in its mission of amplifying philanthropic impact and catalyzing positive change throughout North Texas and beyond," said retiring board chair Frank Risch.

A graduate of Yale University and Stanford University Law School, Bass is on the board of managers at Trinity Summits LLC and Snowbird Holdings LLC and is a director of Reata Pharmaceuticals Inc.

His nonprofit work includes serving on the boards of the Trinity Trust Foundation, Hockaday School and St. Mark's School of Texas.

Bass joined the Communities Foundation of Texas board in 2011.

Smith co-founded private equity firm Trinity Investment Group and is managing partner of hedge fund SCW Capital LP. He also is a member of the Salesmanship Club.

He was formerly the portfolio manager at hedge fund Walker Smith Capital, which he co-founded.

The Communities Foundation of Texas shepherds over $1 billion in assets and distributed a record $106 million in grants in fiscal 2016 to support education, social services, health and scientific research and other needs.

Arty transformation

The tunnel from the garage into the George L. Allen Sr. Courts Building has been transformed from dim and dingy to bright and arty via funding from members of the Dallas Bar Association and support from Dallas County commissioners.

Dallas Bar Association president Jerry Alexander kickstarted the project to create the 11 murals that were dedicated last month.

"The total transformation of this space was accomplished through the combined efforts of members of the DBA, the Dallas Independent School District represented by Bernadette Nutall, County Judge Clay Jenkins, and County Commissioners John Wiley Price, Dr. Theresa Daniel, Dr. Elba Garcia, and Mike Cantrell, who got enthusiastically behind the project and made sure this county-controlled space was appropriately cleaned and painted and made 'art ready,' " Alexander noted.

Artist Steve Hunter designed and coordinated the colorful murals, including one executed by students at Booker T. Washington Arts Magnet School as a six-week class project.

"Now the entryway for litigants, jurors, attorneys, and visitors coming from the parking garage into the George Allen Courthouse will present a much more positive first impression of the excellent legal system that we all strive for in that courthouse," Alexander said.

The murals depict George L. Allen, a community leader who was the first black man to enroll at the University of Texas in 1938, plus current elected justices as well as landmarks including the Old Red Museum of Dallas County History and Culture and the Belo Mansion & Pavilion, which is owned by the Dallas Bar Foundation.

The lead donors were law firms Passman & Jones, where Alexander is president, and Polsinelli, according to the Dallas Bar Association. Terms of the donations were not disclosed.

[evlelo]

ADL has just unveiled their latest battery-powered bus, the Enviro100 EV, which is ready to hit the roads in the UK and Ireland. It's a compact bus, measuring just 8.5 meters in length and 2.35 meters in width, and can cover up to 285 miles in a single charge. It's designed to move the crowds on busy city and suburban routes, and ADL claims it can go as far as 260 miles. Plus, it's powered by NMC Lithium-ion cells, giving it a much higher total energy output of 1.4 GWh.

[cool-akashy-maximize]

Global Electric Bus Market Segmentation, Application, Technology, Trends and Growth Opportunities Forecasts to 2029

Global Electric Bus Market: was valued at 78,240 Units in 2021, and it is expected to reach 1,383,480 Units by 2029, exhibiting a CAGR of 43.2% during the forecast period (2022-2029)

Global Electric Bus Market Overview:

Extensive Global Electric Bus Market analysis is carried out by attentively monitoring important product positioning and the market framework's top competitors. Key competitors are profiled and their tactics are extensively examined to grasp the competitive perspective of the global Global Electric Bus market.

The Global Electric Bus market study also gives information on the leading businesses functioning in the Global Electric Bus industry's strategic ambitions and company growth strategies. Mergers and acquisitions, government and corporate transactions, partnerships and collaborations, joint ventures, brand promotions, and product launches are among the methods evaluated in the research. To summarise what has been said thus far, the report provides a comprehensive picture of the Global Electric Bus market in both global and regional markets.

Global Electric Bus Market Dynamic:

Increasing need for zero-emission and energy-efficient mass transportation solutions: The transportation industry is a major contributor to global greenhouse gas (GHG) emissions. According to the United Nations Environment Program (UNEP), the transportation sector accounts for around one-quarter of all energy-related greenhouse gas (GHG) emissions and is a major source of urban and regional air pollution. According to the US Environmental Protection Agency (EPA), buses produced 1.1% of total GHG emissions from the transportation sector in 2019. Vehicle emissions are solely responsible for emitting 29% of ozone-depleting chemicals, which cause air pollution and are hazardous to the environment.

To Get A Free Sample of the Global Electric Bus Market, Click Here: https://www.maximizemarketresearch.com/request-sample/23325

Market Scope:

This research on the Global Electric Bus industry is based on a thorough examination of the market, supported by secondary and primary sources. Market volume is determined by a country-by-country model mapping of Global Electric Bus utilizing internal and external private information, as well as relevant patent and regulatory sources.

Global Electric Bus Market Segmentation:

Based on propulsion type, the market is segmented into fuel cell electric vehicles, plug-in hybrid electric vehicles, and battery electric vehicles. In 2021, the battery-electric cars sector had 91.4% of the market. The high-capacity battery sets onboard battery-electric buses store electricity. These buses are designed to take advantage of the benefits of those batteries in order to power the electrical motor and all onboard electronics. The fuel cell electric vehicle category is also expected to increase exponentially during the forecast period since hydrogen fuel cell buses run longer and have faster refilling capabilities than standard e-buses. During the forecast period, the plug-in hybrid electric car category is expected to increase steadily. These buses may charge the battery by both hooking into an external power supply and regenerative braking. Based on range, the market is segmented into less than 200 miles and more than 200 miles. Due to reduced total operating cost (TCO)/km and less recharging time, the segment of less than 200 miles accounted for the biggest proportion of the market. The segment of more than 200 miles is expected to grow at a faster rate during the forecast period. Reduced battery costs, as well as improvements in energy consumption and mileage of new e-buses, will support the expansion of this market.

Global Electric Bus Market Key Players:

• BYD Company Ltd. • Yutong • New Flyer Industries Inc. • Proterra Inc. • Solaris Bus & Coach SA • Zhongtong Bus Holding Co., Ltd. • Shenzhen Wuzhoulong Motors Co., Ltd. • EBUSCO BV. • Dongfeng Automobile Co., Ltd • Alexander Dennis • King Long • FAW Group • AB Volvo • Daimler AG • TATA Motors • Ashok Leyland • Nova Bus • Foton Motor Inc. • Ashok Leyland Electric Bus. • JBM Solaris ECOLIFE. • Electric Bus K9. • SKYPAK XL Bus.

A team of research professionals updates and amends our data regularly to reflect the most recent trends and facts. To fulfill the needs of both individual and corporate clients, we have substantial competence in research and consulting for a wide range of business disciplines. Our knowledgeable staff uses proprietary data sources as well as a range of additional approaches. The key players in the Global Electric Bus business are...

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The study presents regional competitive circumstances. These insights help market participants improve their approaches and provide new opportunities to achieve amazing results.

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The spread of the COVID-19 pandemic has had a wide-ranging influence on people's lives all around the world. Markets have been forced to adopt new norms, trends, and tactics as a result. Essentially, the study report tries to paint a picture of the market's initial and future projections.

Key Questions Answered in the Global Electric Bus Market Report are:

What will be the CAGR of the Global Electric Bus market during the forecast period?

Which segment emerged as the leading segment in the Global Electric Bus market?

Which are the prominent players in the Global Electric Bus market?

What will be the Global Electric Bus market size by 2027?

Which company held the largest share in the Global Electric Bus market?

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A versatile market research and consulting firm, Maximize Market Research employs experts from several sectors. Medical device manufacturers, pharmaceutical companies, science and engineering, electronic components, industrial equipment, technology and communication, automobiles, chemical goods and substances, general merchandise, alcoholic beverages, personal care products, and automated systems are a few of the industries we cover. To name a few, we offer client impact studies, technical trend analysis, critical market research, competitive analysis, production and demand analysis, and market-verified industry estimations.

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[lasclseeker]

Bartender 2 slash commands

#Bartender 2 slash commands series#

4.3.1 N-gram Sensitivity to the Training Corpus. 3.10 Detecting and Correcting Spelling Errors. 3.8 Lexicon-Free FSTs: The Porter Stemmer. 3.4.1 Sequential Transducers and Determinism 3.5 FSTs for Morphological Parsing. Ĭontents Words & Transducers 3.1 Survey of (Mostly) English Morphology. 2.2.7 Relating Deterministic and Non-Deterministic Automata 2.3 Regular Languages and FSAs. 2.2.1 Using an FSA to Recognize Sheeptalk. 2.1.6 Regular Expression Substitution, Memory, and ELIZA. 2.1.2 Disjunction, Grouping, and Precedence. Regular Expressions and Automata 2.1 Regular Expressions. 1.6.4 Empiricism and Finite State Models Redux: 1983–1993 1.6.5 The Field Comes Together: 1994–1999. 1.4 Language, Thought, and Understanding. 879Ĭontents Preface Introduction 1.1 Knowledge in Speech and Language Processing. 741 Question Answering and Summarization. IV Semantics and Pragmatics 17 18 19 20 21 123 Hidden Markov and Maximum Entropy Models. I Words Regular Expressions and Automata. Ltd., Singapore Editora Prentice-Hall do Brasil, Ltda., Rio de Janeiro Limited, Sydney Prentice-Hall Canada, Inc., Toronto Prentice-Hall Hispanoamericana, S.A., Mexico Prentice-Hall of India Private Limited, New Delhi Prentice-Hall of Japan, Inc., Tokyo Prentice-Hall Asia Pte. Prentice-Hall International (UK) Limited, London Prentice-Hall of Australia Pty. Printed in the United States of America 9 8 No part of this book may be reproduced, in any form or by any means, without permission in writing from the publisher. The author and publisher shall not be liable in any event for incidental or consequential damages in connection with, or arising out of, the furnishing, performance, or use of these programs. These efforts include the development, research, and testing of the theories and programs to determine their effectiveness. The author and publisher of this book have used their best efforts in preparing this book. Pearson Higher Education Upper Saddle River, New Jersey 07458 This book was set in Times-Roman and TIPA (IPA) by the authors using LATEX 2ε. The back cover drawing is Alexander Graham Bell’s Gallows telephone (Rhodes, 1929). FIX THIS The front cover drawing is the action for the Jacquard Loom (Usher, 1954). ISBN 0-13-095069-6 FIX THISĮditor-in-Chief: FIX THIS STUFF Publisher: Tracy Dunkelberger Editorial/production supervision: Scott Disanno Editorial assistant: Executive managing editor: Cover design director: Cover design execution: Manufacturing manager: Manufacturing buyer: Assistant vice-president of production and manufacturing:Ĭover design: Daniel Jurafsky, James H. Includes bibliographical references and index. (Daniel Saul) Speech and Language Processing / Daniel Jurafsky, James H. Library of Congress Cataloging-in-Publication Data Jurafsky, Daniel S.

#Bartender 2 slash commands series#

PRENTICE HALL SERIES IN ARTIFICIAL INTELLIGENCE Stuart Russell and Peter Norvig, EditorsĪn Introduction to Natural Language Processing, Computational Linguistics, and Speech Recognition Computer Vision: A Modern Approach ANSI Common Lisp Speech and Language Processing Learning Bayesian Networks Artificial Intelligence: A Modern Approachį ORSYTH & P ONCE G RAHAM J URAFSKY & M ARTIN N EAPOLITAN RUSSELL & N ORVIG

[dustedmagazine]

Sun Ra And His Solar-Myth Arkestra — The Solar Myth Approach Volumes 1 and 2 (Corbett Vs. Dempsey)

There is a quote attributed to Bob Mielke, playwright and author of Calling Planet Earth: Close Encounters With Sun Ra, in the liner notes to The Solar Myth Approach Volumes 1 and 2, that goes beyond the truth to get to the heart of the matter. “Sun Ra’s not for real — he’s for myth!” 27 years after he left the planet Earth, Le Sony’r Ra’s disciples still play his music, his voice just turned up in episode 7 of Lovecraft Country, and people still trying to untangle his tangled discography. It’s true, his myth looms larger than life. 

And that’s just the way he wanted it; why would a smart Black person born in Alabama in 1914, a person who was queer on many levels, want to accept any reality that the world he lived in would a lot to him? Better to turn the tables on the whole lot. But Ra did not settle for merely laying low, or even for reproaching the world from a soapbox (although there was a time when he did just that). He used his talents as a composer, arranger, improviser, and keyboardist to build a bigger soapbox. With the Arkestra, the band he led from the 1950s until 1993, and which still carries his name, he could both castigate reality and propagate his own myth. But to be able to do that over a span of four decades, it helps to be able to figure out when to deal with reality and drive the best bargain that you can. Sooner or later, you gotta feed that band and some bills! And that’s where records like The Solar-Myth Approach Volumes 1 and 2 come in. 

In 1970, around the same time that Ra and the Arkestra finished settling into a row house in Philadelphia, they also began touring the world beyond North America. Europe already had its own free jazz scene, and even free jazz bandleaders like Peter Brötzmann and Alexander von Schlippenbach who were beginning to deal with the possibilities of bigger bands. But they hadn’t experienced anything like the Arkestra’s combination of electronics, free jazz, modern composition, and sci-fi meets storefront church pageantry. The early responses were mixed; there was work to be done. So, in addition to keeping the Arkestra on the road, Ra starting releasing records on European labels. An obvious place to start was BYG, which released records by hippies like Gong as well as free jazz ex-pats such as Archie Shepp, Steve Lacy, and the Art Ensemble of Chicago. The catch was that BYG’s ownership was pretty shady. Not long after they issued an indifferently produced first edition of each volume of The Solar-Myth Approach, the label shut down, and the people who ran it started re-releasing the record, often in even shoddier editions, and with never a penny of the proceeds making it back to Ra. 

But the point of this record wasn’t to make a lot of money; it was to get people acquainted with what Ra and the Arkestra were about. To that end, Ra put together a sampler that included music recorded years earlier, some of it by versions of the Arkestra that sounded quite different from the one he helmed, and then he annotated the album with blithe disregard for who played on it or when it was made. That’s how myths are made! In recent years a group of Ra scholars have made it their business to restore Ra’s back catalog and funnel the income back to the current Arkestra. Producer Irwin Chusid’s liner notes lay out certain flaws of earlier editions; the music throughout has been cleaned up as much as possible, although it still sounds murky in places. Asnd this double CD version (also available on the Arkestra’s Bandcamp page) provides the best guesses about when and where the music was recorded, who plays on the tracks, what synthesizer Ra played, and why parts of the album sounded so off. 

For example, the wooly synthesizer solo “Scene 1 Take 1” was not, as has been widely supposed, played on a Mini-Moog, but most likely on a full-sized modular Moog synthesizer. And when it was tucked between a languid space chant, “Outer Spaceways Inc,” and the ruminative clavinet solo, “Pyramids,” someone double the speed of the tape. And a brief, up-tempo version of “Ancient Ethiopia,” a regally exotic tune that was part of the Arkestra’s repertoire in Chicago in the late 1950s, probably dates from the Arkestra’s first arrival in NYC in the early 1960s. The jaunty “They’ll Come Back,” which is entirely too hummable to have fit into the Arkestra’s 1970 sound, likely dates from around that time, too. Why the errors and omissions? It could be mere sloppiness, but it could also be that Ra wanted to give a picture of what he was about that transcended the moment in order to project maximum possibility. 

And there’s plenty of possibility spread across these two volumes. Some pieces seem superficially chaotic, but are cannily orchestrated. Ra may have used the instrumental vernacular of free jazz, but he often wrote those parts into compositions. “The Utter Nots” lays buzz-saw saxophone and a massed drum barrage over a horn arrangement that pits a march against an orchestra sounding an alarm. And the pacing of the horn-drum exchanges on “Strange Worlds,” which dates from a performance in France mere months before the album came out, hints at the theatrical staging that likely accompanied the music. “Adventures of ‘Bugs” Hunter” is flute-forward, outer space funk; “Scene III Took 4” fashions a link between organ jazz bass patterns and B-movie sound design. “Satellites Are Spinning” uses the contrast between woozy chanting, quasi-African drumming, and agitated clavinet to draw the listener into an unknown realm beyond imagination. This music wasn’t just far out, but far out with a purpose; if he could get humans to think beyond what was possible, life might not be so impossible. By showing those Europeans something that they’d never seen before, Ra invited them to consider that the ways things were didn’t have to be a life sentence. This double CD edition of The Solar-Myth Approach broadcasts that message anew, and with the world the way it is, it’s a message worth hearing.

Bill Meyer

[the-scooby-gang]

Finally watched the Scoob!movie

Here we are in the future! As you guys know I was REALLY EXCITED to see the new movie. Well, here we are, so I will share my thoughts.

This one is a long one, so buck up!

Let’s break the movie down and see its high and low points, shall we? 

One thing that I noticed right out of bat is that the movie is following the typical Hanna-Barbera crossover logic: “Hey audience, you already know these characters and their dynamics, so we will not really focus on them (unless is a plot point on the narrative) and focus more on the adventure”

Which worked for me. But I also know that I’m a 20 years old woman that was a child when Wacky Races, Dastardly and Muttley in their Flying Machines, Scooby-Doo and Captain Caveman was on every day at morning before I went to school.

What I mean is, I already know these characters, so watching the movie was just like watching the crossover episodes. It was fun, not because of the plot, but because the characters that I grew loving were sharing a screen.

But now I think of a new audience that may have NO IDEA who these other characters are and are kinda mislead by the title of the movie because, and lets be honest here, the movie should have being called something like:

Scooby gang and the Falcon Team!

or more precisely

Scooby, Shaggy and the Falcon Team!

That’s the first low point: The opening minutes leads you to believe that, even if Shaggy and Scooby have most of the screen time, after all the plot of the movie is clearly about their bond as best friends, you expect that the whole Scooby Gang are going to have equal screen time. But that is not the case.

They have nice moments of course! One of the first high points is that the gang is really wholesome when they are together! They are good friends that care about each other! What breaks them apart is not some forced antagonism between them, but an outside force (MOTHERFUCKING SIMON COWELL) and, by the way things went, if the plot had not kicked in on the bowling alley, the gang would unite again, hug, call Simon Cowell an idiot, reassure Shaggy and Scooby that they are valid and find a new person to sponsor the expansion of Mystery INC. 

In fact, now that I think about it, the plot could have gone WAAAAAAY different, but that is a talk for another post.

High point one and a half: The movie was funny and cute. Self aware jokes, Muttley and Dick antics, Dick’s disguises, the F-Bomb, Shaggy is a Potterhead, Scooby was animated with “This dog deserves hugs” mentality and I approve.

High point number two: Dick Dastardly. His entire personality, his disguises , his motivation. God his motivation. I too would open the gates of hell to get my dog back (and also some treasure, this is Dastardly we are talking about)

In fact his interactions with Muttley are high point number three. THEY ARE SUCK ASSHOLES BUT THEY CLEARLY LOVE EACH OTHER SO MUCH I LOVE THAT!

But that also opens the gates for Low point number two: Where Dick arc is finished in a satisfactory way (being an asshole that cares for one (1) asshole dog) , Brian’s a.k.a Blue Falcon doesn’t.

You see, in the movie Shaggy clearly sees that Brian acts the way he does because he is NOT Blue Falcon. He is his son. He has the weight of a legacy on his shoulders and he is not coping well with that. This is highlighted by how Dynomutt sees him and his childish ways. (in fact, Dynomutt just being done with Brian shit 95% of the movie is high point number four) And you think “They are going to make a scene were he and Dynomutt are more open with each other. Where Brian says how scared he is and how the pressure of the legacy is maybe too much for him and that he is no hero, and them Dynomutt is going to reassure him that, No. You are a hero. I’m sorry for expecting you to be like your father, instead of doing to you what did for him: guiding you” and we got that! .....Really rushed in the middle of the final action scene with no emotional punch at all as a side effect from the “we expect you to know who these people are” crossover logic. Because I never watched Dynomutt and the Blue Falcon

I don’t how their dynamic was supposed to go. Even more by being the original Dynomutt with a new Falcon. I have no bases of how things used to be to feel anything. Especially because I don't know how the OG blue falcon acted in comparison to his son to see were he was falling short. I don't know how Dynomutt acted with the OG Falcon to see were he was setting the bar for Brian. Without that information, even if Dynomutt being done is entertaining  and fun, it leaves the emotional impacts hollow.

Low point number three is also to blame here: the movie fells INCREDIBLY RUSHED. And I think I know the reason. Hanna-Barbera is no stranger to crossovers, but they never did more them one property + another before, three properties at most. It was always Scooby Doo and The Wacky Race or Scooby Doo and Captain Caveman or Scooby Doo and The Blue Falcon but never Scooby Doo and All of them together. 

Even in the episode of Mystery incorporated “Mystery Solvers Club State Finals” were ALL THE HANNA-BARBERA MYSTERY SOLVER TEAMS WERE TOGETHER UNDER ONE ROOF , they made the mystery about the disappearing of all the mystery solvers except the mascots, which left the cast of characters of the episode more manageable them having all the gangs fighting for screen time, and even them some of the mascots have more dialog and character beats them others.

With so many characters, they had to pic which ones got a full arc or important plot beats, which left all the other character lacking as a side effect.

That brings us to low point number four: THE MYSTERY IS WEAK. It’s weak even for Scooby Doo levels and that is saying something. I saw episodes of Be Cool (that is a really good incarnation character design aside, you should check it out) that had a more well rounded mystery them this. The focus of the movie was divided in so many places that the mystery had no room to breath (Dick, Shaggy and Scooby, Shaggy and Scooby and the Falcon team, Dee Dee and Dynomutt backs aching by having to carry the plot forward, Shaggy and Brian have a heart to heart moments, Captain Caveman fight scene, and finally the mystery gang and the, you know, mystery)

The mystery is about “why the fuck Dick wants Scoob so bad” and the answer is “Because Scooby is descended from Peritas, Alexanders the Great Dog, and he needs him to open the gate to the underworld that Alex and Perry created to protect their treasure, plus save Mutley that is stuck there”

That could have being such a strong mystery!!! They would think that he only has greed in mind by opening the gates, not giving a flying fuck about the giant Cerberus that is going to eat Athens while he fills his pockets, only to discover that, yes there was greed in his actions but there was also a man looking for his best friend stuck on the other side, with would have made such a strong emotional parallel to Shaggy and Scooby final challenge. Missed opportunity. 

Back to the high points to balance thing out, the high point number five: Fred is a himbo that loves his friends and his van. The moment were they hear that Shaggy and Scooby are in danger and he immediately turns the van around nearly launching Velma and Daphne though the window was really good, plus the “Leave Shaggy Alone” and the fact that when the Fake!Fred appears (Dastardly in one of his ultra-realistic disguises) in the island and Shaggy calls his name and they hug in the most wholesome way, the fact that Shaggy doest think that the wholesomeness is out of character implies that the Real Freddie is just as sweet.

High point number six: Daphne gains first an Allie and then an entire robot army for her friends though the power of compassion. This is a nice take on Daphne. They say that Fred is the Brawn, Velma is the Brain and Daphne is the People person, which I take is the fact that she can make fast friends and easy contacts to solve the mysteries + think about why someone would do something, like, Velma sees the logic behind the mystery while Daphne sees the emotion that lead to the mystery in the first place.

Which, unfortunately leads to low point number five: even if I can make all that character analyses from one phrase and this specific moment and its outcome, thanks to Low point number three and four a.e. Lack of character focus and lack of mystery I can't truly see if I’m right or not about Velma's logic and Daphne’s emotional knowledge... BECAUSE I CAN BARELY REMEMBER VELMA AT ALL. Velma is the one that suffered the most by the lack of mystery because there is where she thrives. The moments were Velma piece the clues together is so overshadowed by everything that is going down that you barely notices it. Same thing for Dee Dee. She and Dynomutt are, thanks to the way the plot was build, the only ones that are actually making moves to compel the plot forward, but outside of being the one flying the ship and trying to find were the skulls macguffings are, I can barely remember her besides  a moment were she and Dyno are baffled about Brian thinking that Anonymous was an actual name.

Dee Dee is from Captain Caveman, she was the brains of the group, which we kinda see, but she is apparently in a point in time where she and Cavey don't even know each other. I think if they had removed the Caveman fight scene and instead added dialog of her talking about how she and her friends discovered a caveman on ice and they are planing on defrosting him, you know, THE PLOT OF THE ORIGINAL CAPTAIN CAVEMAN AND THE TEEN ANGELS would have being better.  Or maybe just say that she is just here because she promised the OG Blue Falcon that she would help train his son to replace him and when her work is done she is going back to her team. You know, actually stabilising a more connected world without inflating your cast and making things difficult for yourself and the script writers.

Low point number five and a half : Captain Caveman is completely superfluous. He was a funny beat, but outside of that, the time that they expended getting to his island, finding him, fighting him and losing the skull macguffing anyway  could have being expended on character moments either between the falcon team, or better yet, the Mystery gang. Or put more time on the mystery itself.

Now to high point number seven and the most important of them all, after all it is the plot were the entire movie is set upon: When Shaggy is speaking with Brian about how the pressure of his father shadow over him is beyond overwhelming, Shaggy is so insightful in that scene that it heavily implies that he feels in part in a similar way in the gang and that is one of the reasons he felt offended when Simon Cowell, and later on Dick Dastardly, say that he is virtually insignificant  to the group and them gets jealous of Scoob when he starts to spend more time with the Falcon Team. 

Is one thing to be the scary cat with your best friend, is another thing entirely to be the scary cat alone. AND I LOVE THAT

Shaggy and Scooby bond has being highlighted from the opening scene (high point number eight) and Shaggy’s felling of loneliness. That before Scooby came into his life, he had no one. And even after the gang was united, Scooby remains his first and best friend. The slight idea of losing his friend to something that he can never compare (What is a Shaggy in face of a Blue Falcon Team membership) makes him lash out. We joke about Scooby being Shaggy service dog, but for all effects, Scooby is his emotional support, his light on the end of the tunnel that was his loneliness. The gang are his friends, but they are really different from him. Meanwhile he and Scoob are almost always in the same wave lane. And them suddenly Scoob appears to be changing. Moving away. 

The entire movie is Shaggy dealing with the idea of losing Scooby. Of losing his first friend and scared cat companion. What he ultimately learns is that the power of his friendship with Scoob is way too strong to let simple thing as “going away” or “changing” diminished what they created through the years. That’s why he says he has changed in the final. That he has grow. Because he has come to realise that even if Scoob changes and becomes more brave or something, he has nothing to fear. Because being friends is to know that, even miles apart, dimensions apart, your friendship lives on.

By acknowledging that Scoob can change, or even leave but never truly abandon him, Shaggy himself grows.

That’s why he chooses to be the one stuck on the other side.

Because he knows that he is not alone, not really.

So the final count is:  HIGH points = 7,5 LOW points = 5,5

I liked the film. I was giggling like an idiot the entire time. My inner child was happy, even if my adult brain was not as pleased in many moments after further thought. However both my child heart and my adult brain agree that the movie is far from perfect. Many interesting ideas but poor execution of many of them.  With is fine. We all know that the Scooby movies have already peaked *cough* Legend of the Phantosaur *cough*

This was a long ass review of the Scoob! Movie.

[cool-crap-daily]

Here is a cool thing I wrote. It's meant to be a prologue, but the book it's a prologue to doesn't exist because I am lazy. If you don't like it, too bad, you just read the whole thing sucks to be you ig.

Earth. 

    A planet full of natural wonders, rich in resources, and green with life, reduced to a festering pile of rubble and poverty. Not decimated by some outside force, no, it was ruined by scientific advancement and the sinfulness of man. The paragons of those horrors were called The Ascended. The Ascended were a group of individuals who had used the secrets of The Breakthrough to ‘ascend’. Each of them gained levels of power akin to those of the gods of legend. Every man, woman, and child in The Empire knew their names. Havoc, Seraphim, Volt, Stratagem, Hive, and finally, The Beholder.

    Havoc mastered the art of destruction. Originally the CEO of the world's leading weapons manufacturer, "Arcturus Armaments", The Breakthrough allowed him to fuse his mortal form with the instruments of chaos he created. Wielding atomic lasers and hypersonic rail-cannons as well as a panoply of other ordinances, he became an unstoppable courier of fire and death. To top it all off, his body was armor-plated in a composite meta-material that left him virtually invincible.

    Seraphim, the biological angel of life, had mastered the power of healing, the inverse of Havoc. Once the world's foremost scientist of medical studies, she created technologies that saved millions of lives. After the breakthrough, however, she melded herself with prototype machines she'd been working on in secret and obtained the ultimate treasure. The terrible prize that so many in history had sought after. Immortality. Any wounds she received closed as quickly as they opened, her aging halted in its tracks. She had an immune system aided by nanotech so that no pathogen stood a chance against her. Alas, she gave in to her dark fantasies of endless reign and destroyed all notes, machines, and evidence of her immortality tech, so that only she would be without a mortal end.

    Volt, the mover of mountains and Hermes incarnate, was once a man known as Ahmad Cunningham. He was the lead engineer of Athletonics Inc, the world's largest manufacturer of cybernetics, as well as his own startup: Fusoria Industries, the most advanced in Fusion power research. Using The Breakthrough, he molded his body into his most ambitious exoskeleton yet. This suit had so much potential that it needed impossible amounts of power to function. The only thing that could fuel such a bionic juggernaut was a prototype fusion reactor that he incorporated into the design. He could run and fly at incomprehensible speeds and could deliver enough energy in a single blow to flatten a skyscraper.

    Stratagem, the shadow of the abyss and master of illusion, was a trillionaire like the others in her former life, but her field of choice was espionage and stealth technologies. The Breakthrough allowed her to become nothing but a whisper on the airwaves, just a flickering of distortion on the edge of the most advanced cameras on the planet. She cloaked herself in stealth tech decades ahead of anything else ever conceived. She was completely invisible to the naked eye, and utterly silent to the ear. The only sensors that could hope to detect her were the ones she herself invented and replaced her eyes with. She could look through concrete walls and magnify her view enough to see miles away.

    Hive, the unfeeling swarm of symmetrical horror, was born out of a man named Stewart Stanford, the Head of Robotics and Androids Research of Rubicon Industries. Rubicon Industries used to be a competitor of Athletonics Inc. until the Ascended took over. Utilizing The Breakthrough, he uploaded his consciousness into his company’s hypercomputers, which were capable of processing petabytes of information per second. In doing so he gained unbelievable power but lost his humanity. After stealing FTL communication tech from a competing company, he could command his legion of millions of drones as if they were his body, seeing through myriads of eyes, controlling an endless swarm of weapons and tools. He could mine resources to create more drone factories and computers for himself, and there was nothing to stop him from doubling his forces every few weeks if left unchecked.

    The final member of the Ascended was The Beholder. Unlike the others, who are all incredibly infamous, few knew much about The Beholder. He used to work as a scientist at Tesseract Labs, whose main goal was to discover the secrets of quantum mechanics and dimensional dynamics. Before The Breakthrough, they had produced an FTL communication prototype, but it had vanished mysteriously, and they lost their government grants. Just before they shut down, an infinite number of new avenues for research opened up thanks to The Breakthrough. The lab was back in action. Using the power of The Breakthrough, they built a machine to study the secrets of existence itself. The machine was to a particle accelerator as a particle accelerator was to a particularly uninteresting rock. Alas, the scientists became arrogant and dug too deep, and it cost them everything. A horrible calamity struck as they probed into the folds of reality, ripping the entire facility out of the fabric of the universe and whipping it into the deepest Oblivion as the machine imploded. 

    The only survivor, if one could even call him that, was the man who was operating the machine during the calamity. Alexander Belton. The Beholder. His consciousness was caught between the two sides of the schism, split into an infinite number of parts and pieced together again over and over for an abstract eternity. Slowly, he learned to control the forces beyond reality and started to hold himself together. He built himself a physical form, found his way through the ever-changing miasma of the ethereal beyond back to our world. Coming back into existence crippled him, though, limiting his power and preventing him from ever leaving again. He anchored himself to this plane. Still, he was the most powerful of the Ascended by far, able to manipulate reality and travel through spacetime effortlessly, though not able to interact with the past. No one knew anything about where he was, what his motives were, or if the stories were even true. The other Ascended denied his existence, but endless numbers of sightings and stories of hope from the oppressed said otherwise.

    Together, the Ascended ruled the world uncontested, vowing a tentative truce, and promising to never allow anyone else to discover the secrets of The Breakthrough. They feared someone else could ascend using its power, jeopardizing their rule. They had scuffles occasionally, obliterating a few square miles of city here and there, but mostly they minded their business. They held a public meeting once a month to make decisions and ensure benevolent relations between them, as well as to agree on any new tenets to press onto the dying people of their world. They were corrupt, and they were only growing more so, but they enslaved the people in factories and power plants, under so much surveillance that the citizens were utterly powerless to stop them.

    Each of them controlled a different aspect of The Empire. Havoc was in charge of all military efforts as well as policing the citizens. His loyal knights carried out executions and silenced hope, armed with weapons that had power mirroring his own.

Seraphim was responsible for all biological research and plague control, as well as the only hospital left in existence. The Hospital was only open to the most elite, and only they could even afford a visit.

Volt was in charge of all power generation for The Empire. All electricity was generated by four massive fusion reactors, one in each district. Each absolutely dominated its skyline and required only tiny amounts of fuel to run in comparison. The fuel that they did need, however, was incredibly hard to produce, requiring tens of thousands of hours of manual labor involving harsh chemicals and radiation to create even a single gram.

Stratagem worked day and night to make sure that every square inch of The Empire was surveilled by one of her cameras, bugs, drones, or agents at all times. This way, the Ascended could stamp out any notion of an uprising or rebellion before it even began. She had hundreds of operatives who scoured The Empire and cyberspace for any intel or data that the Ascended could use.

Hive controlled all construction and resource gathering, his body made up of an endless swarm. If another thirty-story domestic housing unit needed to be constructed, it could be done overnight. Any steel or alloys that were required, he strip-mined from the less habitable parts of the planet, placed onto automated trains that carried them back to the factories. If any single part of the logistic chain was broken or destroyed, there was enough redundancy in the system that he could fix it in a matter of hours or even minutes.

Together, the six Ascended ruled The Empire with an iron fist, surveying their dystopia with cold, calculated, pride. They took comfort in the fact that no human alive could ever hope to topple their rule. It all worked like a well-oiled machine; oiled with blood, but oiled nonetheless. They sat on their thrones in The Floating Citadel, basking in the perverted glory of their ultimate abomination. Earth.

But seven became eight, and now, The Godhunter stalks her prey.

[Initiate Epic Soundtrack]

[steamedtangerine]

So, I was fascinated about this Starlog Magazine from 1982 that made mention of this artist named Deborah F. French who worked with Jim Henson on the Dark Crystal, and could find little on. https://steamedtangerine.tumblr.com/post/640587836720103424/so-i-happened-upon-an-old-starlog-magazine-from

However, a different Deborah, who had also worked on the Dark Crystal, had appeared that sent me down an investigative rabbithole:

Deborah Huglin was this very talented artist who opened an amazing shop in New York that was short-lived (too short-lived for Spy Magazine to catch upon) that specialized in a collection of robots.

I searched online and found this:

https://ephemeralnewyork.wordpress.com/2009/08/11/the-robotorium-of-mott-street/ with this image:

According to an early IMDB entry:

Along with production and acting, Debbie is a professional sculptor who has 21 years of formal art training under her belt along with degrees in Art, Sculpture, Humanities and Repatriation Archaeology. She does museum quality classical sculpture and portraits. She also works in Mid-Century Modern style, as she has since she worked with Sandy (Alexander) Calder as a kid in her home town where Calder was creating a bank building from the ground up. She is as comfortable making mobiles and stabiles as carving portraits or making large water features at country clubs. Debbie loved working with Jim Henson who had a great time at her robot store, Robotorium, Inc. on Mott St in Little Italy in New York City in the early 1980s. Debbie just got back on the puppeteer production wagon as Production Designer for The Teenie Tones, an in production children's marionette and music SciFi/21rst Century Mid-Century Mod series created by Emmy Award-winning producer, Barbara Valentine of Ravel Media Group. Stay tuned for the next exciting adventure!

Yet, the story gets more interesting and unfortunately tragic:

This blog entry- http://www.michaelgingrich.com/mytests/huglin.htm -describes Huglin as an amazing person gifted in arts and music, who was involved with work on Dark Crystal, Labyrinth, and Fraggle Rock, and in later life Huglin worked as an art instructor at Chuckawalla Valley State Prison in Blythe. As an activist in the American Indian community, she advocated returning Indian artifacts to tribal descendants. Once a month, Huglin and Vogel transported two life-size, work-in-progress sculptures of Kumeyaay women to the San Diego Art Institute's Museum of the Living Artist in Balboa Park. They brought tools and plaster so that visitors and schoolchildren could give sculpting a try.

The major sadness is that she went missing in March of 2008  while hiking around the San Jacinto Mountains, her body later found-no foul play suspected.

It was because of some obscure sci-fi article about a robot shop in New York that sent me off to find more info about this amazing person.

[kimberleyannefreeman]

After graduating from the Rhode Island School of Design in the 1970s, Eve Kaplin began designing jewellery from a selection of beads and metal components. She moved to New York and created a small but successful jewellery business. Eve's signature collections were called "Mechanical" and "Mobile". Their bright colours and bold shapes were popular alongside a fascination with the "Memphis Milano" design style created by Ettore Sottsass and Michael Graves around the same time. Although Eve never claimed to be part of this movement. Her pieces have also been referred to as "Alexander Calder-esque" (especially her earring designs). Eve started working with her friend Joyce Loughran (a painter and artist), to produce a series of wall clocks. They became business partners in 1984 and produced the clocks under Eve's name. Did I mention Eve was also part of a Capoeira group? A Brazilian martial art which is a brilliant mix of dance, acrobatics, and fighting. Unfortunately, Eve fell ill during a trip to Brazil with this group, and did not make a recovery. She died in 1985, aged only 28. After her death, her family (including her brother Stephen) worked with Joyce to keep Eve's designs and the company alive. They were joined (later in 1985) by Mary Shields. They continued to produce Eve's mechanical designs, earrings and reversible necklace. They expanded the range to include the "Script" series and "Ring" styles, and the "Fables" brooch series. They also expanded the homeware range to include more wall clock designs, switch covers and candle holders. The company's popularity peaked between 1982 and 1993. Eve Kaplin jewellery was sold in Museum and arts shops, including the Hirshorn Museum Shop on the Smithsonian Mall in Washington D.C. Some of the company's most iconic designs are in the permanent collection of the Cooper Hewitt Smithsonian Design Museum. Joyce left the company in 1992, Mary continued to run the company until it's closure in the mid-1990s. After the company closed, Mary continued to design jewellery, expanding on the "Script" and "Ring" series she had worked on under the Eve Kaplin company name.

Eve Kaplin's designs were produced from circa 1979 until 1993, both by Eve herself, and after her death in 1985 by the company "Eve Kaplin Design, Inc" (1985 - 1993). Her peices were unusual in that they used "cold connections", no soldering or metalsmithing was involved. They were also playful, colourful, architectural, and often "kinetic" (they moved).

I am hugely grateful to the team behind the "Eve Kaplin Design, Inc" Facebook page, for telling Eve's story, and for providing an authentication service to keep the memory of Eve's incredible work alive. Do go and give them a like! 

[itstimetoyoutuberewind-blog]

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[spookilyfingergunsoutofexistence]

Temporary (Sanders Sides)

Read it on ao3

Tw: depressed state of mind. Slight separation anxiety. Exams. Tell me if I missed anything.

Fluff? Am I ill? The answer is yes.

Pre-romantic & romantic Royality. Background romantic analogical.

High school Au.

—————————————————————

"-I just don't know anymore! I'm not stressed and I'm not scared and I'm failing! I'm failing Virgil and yet I can't bring myself to revise! I've got my drama exam in less than two weeks! I haven't even learned the words never mind got a costume prepared and I just..." Roman let go of a strangled sob, clutching his phone like a life line as he ranted down it, "...I just feel so... Numb."

"You're not motivated." Logan, Virgil's boyfriend, spoke calmly through the phone and into Romans ear.

"Not motivated?! I am motivated.. I want to explore the world and find the love of my life and be successful and happy! I have the motivation." The argument fell deaf against uncaring ears, "Look Roman, I'm not your therapist—" ("Yeah that's why I called Virgil assbag..") "—But I can tell you that the things motivating you are not motivating you to pass these exams. You're stuck in a loop—" ("You can say that again...") "—You're stuck in a loop and you need to find things to help you get out of it. I'm not one for emotions but I have a friend who is and could help you if you desire it." Roman felt himself sighing. Was Virgil ever alone these days? When did this conversation get taken over by Mark Suck-erberg?

"Hey dude. Trust Logan on this one. This guy is like practically my dad at this point. He's great." Roman felt himself laughing at that and stubbornly agreed to meeting this boy who they both said was called Patton. Roman would like to say he was excited but he really did feel hopeless lately.

Trapped.

So when Monday had rolled around and he was sat in the freezing cold bench before school waiting for this boy to show up, who honestly he was surprised he had never seen, he couldn't exactly pretend or act joyful.

And then his hero arrived.

Ah yes- quite the hero. The boy was in a lower year. He was short and cute with naturally pink cheeks and pale skin covered from head to toe in freckles and was a pudgy kid with a smile like sunshine that was infectious. God- What was his name again? Patton. Roman really needed to name his next disease on plague inc 'Patton's smile' because damn... It was illuminating.

The small boy raced over to Roman, already running very late to school and gave a dopey grin. He ran a hand through his messy blond locks and waved, "Hiya Roman! I'm Patton!" The boy exclaimed with pep. It was way too early in the morning for such an excited tone of voice. Did this boy really hang out with his beloved emo and infuriating nerd? He was good incarnate and last time Roman had checked his friends certainly were not the 'sunshine and rainbow' types.

"Hello dearest Patton. It's an honour to meet someone that even Virgil cannot find a bad thing to say about." Patton giggled, "You talk funny.." He'd commented before linking arms cutely with the way taller boy and skipping into school. The teacher hadn't even stopped them. Hadn't even put them in detention of given them a late point... This boy was an angel... He must be.

Roman can't remember a time he had become enamoured with another person, especially a person that wasn't his age. Patton wasn't stunning, he wasn't some toned jock type that Roman so often found himself attracted too, he wasn't tall or older or grown up. He was childish and giggly and excitable and adorable. He wasn't sexy like Virgil so often stated Logan was. He wasn't charming like Roman's friend Toby. He wasn't ripped like Alexander or popular like Gina. He was just Patton.

Just Patton with his big blue eyes that were as deep as the ocean and just as mysterious to Roman. Just Patton with his chapped pink lips and his messy curls and his puffy cheeks and his thick thighs. Just Patton with his clunky, awkward hands that never seemed to stop moving. Just Patton with his gap tooth and fluorescent grin..

To anyone else he wasn't anything. He was just some guy.

Roman though he was perfect. Beautiful.

'Shit.' Roman thought to himself, 'I'm so hopelessly gay..'

Within weeks Roman had found his motivation for life and exams and for a future it turned out he had lost hope in again. This motivation came in the form of a freckled faced bean called Patton Tristes. It had been barely a month that Patton had been sitting with them at lunch. Roman found himself wanting to spend all of his time with the him. Every morning they would meet by the bench and talk before school started. They would spend their breaks and lunch times chatting constantly and would even hang out outside of school either at Patton's house or in the local park sat talking whilst swinging on the swings. Roman would help the lower year student with his homework and by doing so found himself finding his current revision easier to remember as he taught what he knew to somebody else. It had been so long since Roman had felt this attached to another person and it broke his heart that soon these exams would be over and with that so would high school. Before long he'd be off at college and what would become of his friendship then? Patton would find new friends in school and forget all about Roman. The thought of it was enough to make Roman want to cry. But he didn't. Instead he made sure to keep that perfect amount of distance.. No matter how much more he felt himself fall for Patton each passing day he reminded himself that they were just friends and that his crush was as temporary as this friendship.

"I bet you can't wait to go to prom hey Ro?" Patton gushed, "All those boys and girls flocking to be with you and dance with you. All that attention and the pretty lights and nice music and the food and wow! I'm so excited to be working on the decorating committee! I promise you'll love it."

"I don't think I will." Was the response Patton had gotten; dry, dull and gloomy. Roman didn't doubt how great prom was going to be. He knew with Patton working to help design the prom it would be absolutely fantastic but it didn't change the fact that he couldn't go with the only person he really wanted to go with. Only people from Roman's year group could go and even if Patton was his age Roman was sure Patton would already be taken and surely would have no interest in Roman.

This is just temporary.

He watched Patton's excited smile drop slightly. It dropped even more when he overheard Logan and Virgil's current conversation, "I can't believe we all finish next week! I'm so excited to get out of this hell hole."

That frown settling on Patton's face just wouldn't do. His mind reminded him that it was all just temporary once more but Roman was done pretending. He had one week. One week to be with Patton and like hell he wasn't going to shower that boy in love. Who cares if his feelings aren't reciprocated- it's better to try and be rejected then to never try at all.

"Hey Patton?" The boy in question looked up from where he was poking his food with his fork that no longer looked as appealing to Patton as it once did, "I was wondering. Instead of me going to prom how about we go see a movie?" Patton stared at him in shock.

"L-Like a date...?"

"Exactly. Like a date."

Patton flung himself into Roman's arms hugging him tightly, "A date! Oh my! I'd love that! We could watch one of those cute family movies and cuddle and go get food and eat spaghetti lady and the tramp style and we could hold hands and ooo! I have to plan!" Roman could feel the happy buzz of Patton from within his arms and hear the utter joy in his voice. He felt his heart fluttering in excitement too. He wanted this. He loved Patton. He hugged the boy back gently and stroked a hand through the soft locks.

High school was temporary. But this? This beautiful boy in Roman's arms? This newly forming relationship between the two already inseparable boys? Well, Roman couldn't predict the future but this?

This was forever.