#and esoteric aesthetic posters

[pussyvulture]

so fucking glad tumblr is alive again

[thesorceresstemple]

[lowpawly]

ok the way dni banners have progressed over the years is crazy to me cause like. okay. when I was like 18 I started running a kidcore/sensory themed blog cause those things were comforting for me and something that was a bit of an issue when you posted that stuff was that there were a Lot of ddlg based blogs who would kinda co-opt anything based on nostalgic kids media (especially very cute stuff like sanrio) and pass it around in their circle often leaving sometimes very explicit comments focusing around a form of roleplay that is uh definitely not for everyone especially if you have csa based trauma. so like if you wanted to avoid seeing cute stuff you posted passed around with people who often left explicit and triggering commentary the best way to avoid it was putting a banner at the bottom of your gifset or whatever that said ddlg blogs don't reblog. just cause like I mean if you have one of those blogs its very obvious when you aren't listening to the wishes of the original poster if you still reblog it and it's also something that kinda kills the aesthetic a little bit. NOT a perfect system obviously but like you know when it worked it worked. when I was running my blog I didn't want to use banners cause they made me feel dorky but one time I didn't and I posted a gif from a hello kitty cartoon I watched when I was 6 and it got passed around heavily in those circles and someone left a comment about it being them when daddy puts them in the punishment closet. so like you know I didn't make that mistake again LOL. but anyways nowadays they seemed to have devolved into like...something very weird where it's not really about keeping your stuff from entering an explicitly sexual circle and more like...I don't know how to put this. weird misplaced moral signaling? not that the groups that people ask not to interact with them are great but there is something very silly about posting a slime gif with a giant banner underneath telling every group with potentially offensive opinions not to reblog it especially when the stated groups get progressively esoteric and niche. and it gets especially useless when it starts including stuff that people don't self identify as like no one is going to see "racist pedophiles dni" and be like ohhhhh shit that's meeeeee fuuuuck!!!! I don't know like you know at the end of the day people can put what they want on their posts and to be fair I think people who get really wrapped up in that stuff tend to be younger anyways but it is still like. very silly and very far removed from the original specific intentions of using banners

[homestuckreplay]

radiation poisoning from my libertarian grandpa :(

(page 779-791)

A few days of updates here! I was kinda mad about the Fruit Update on the 18th. I like captchalogue mechanics, it’s fun to see how all the different modi work and the different situations characters can get into when the modi go wrong. But a five page update of just picking up fruit was too much for me. I simply could not find an interesting thing to say about that.

But now we’ve seen more of Jade’s house, and it’s… a lot. Her atrium having four wings might be relevant later, but doesn’t mean much yet – same with the beautiful pink and yellow clouds outside. Her real instrument looks like a bass guitar (due to its four strings). A trend I noticed before of the kids’ rooms getting messier and houses and lives getting weirder with each successive introduction definitely peaks here. Jade’s room is littered with plushies, plants, guns and uranium, and her grandfather might be the strangest of the four guardians, stranger than a business clown, a ventriloquist rapper, or a woman who builds a cat mausoleum with a secret passage.

Jade’s grandfather is a ‘WORLD RENOWNED EXPLORER-NATURALIST-TREASURE HUNTER-ARCHEOLOGIST-SCIENTIST-ADVENTURER-BIG GAME HUNTER-BILLIONAIRE EXTRAORDINAIRE’ (p.790) which doesn’t paint a great picture to me. That description suggests a man whose quest for personal glory eclipses any regard for other cultures, the environment, health and safety guidelines, or anyone ‘weaker’ than he is. He probably ‘discovered’ the frog statue island we see in WV: Ascend and took it as a trophy, raising his family there even if that’s not the best thing for the island ecosystem or his granddaughter’s life and health.

Jade’s bed and her two closets (below and inside her room) are all topped with strange reddish orbs on spires. It could be coincidence – there’s only so many shapes – but they remind me of the orb spires the kernelsprites land in after hatching (p.424), and as such, could have some connection to her strange powers. Jade’s other contraptions, gadgets and gizmos are a mystery to me – I know the window is a Problem Sleuth reference, but for the photoshopped in devices, I can barely begin to speculate. I do think that given the sciences of appearification, transportalization, alchemy, sylladices and strife specibi, these probably don’t have the same in-universe applications as their real world references. Physics simply works differently in the world of Homestuck, and I’m trying to make fewer assumptions about the world’s fundamentals (beyond gravity, which we’ve witnessed often).

Jade has been so associated with prognostication and esoteric knowledge that finding out she is also a nuclear physicist, a very different type of knowledge, was such a moment of characterization whiplash that puts her at both extremes of the science-religion dichotomy.

The uranium nuggets in Jade’s room, and recurring atomic symbol on her contraptions matching the bunker’s fuel gauge, are more connections between her and WV. But her room contains nods to all her friends, too. Her Slimer poster and magic chest are obvious John references. Her Squiddles poster and plushes are something Rose likes enough to put on a shirt, really hurting her dark eldritch aesthetic, and the anthropomorphic Sweet Bro and Hella Jeff art is signed TO: GG FROM: TG (he even drew his stupid record symbol). Worse, the Manthro Chaps Jade collects are definitely part of the Smuppets line of products; their design is so similar.

A becquerel is the standard unit of radioactive decay per second, and luckily for Jade, one becquerel is not harmful to human health – in fact, human bodies are constantly undergoing several thousand Bq of radioactive decay (even the skeleton has its own radioactive isotopes). I wonder if this is Jade’s cute name for her pet because she loves science, or if this creature has been mutated by Jade or her grandfather’s experimentation, and got the name that way. It could explain why Dave calls Bec a ‘devilbeast’ (p.382) and thinks he should be shot. (Seeing Jade’s gun collection also makes this line feel way too real).

JADE SHIRT DESIGNS TALLY: Atom, Leaf, Pumpkin, Slimer, Spirograph, Squiddle, Creature

> Jade: Engineer a glass case for your URANIUM and store it outside.

[somnicity]

Tag Glossary

Figures Win32 - Main poster, blog curator. Meddling archival thing, manufactured angel. Digital aesthetic, esoteric techposting, angelic shit, robot gf jokes RAM - 'Director', Film Student Personality Syndrome. Pathways, choice, narrative as a tangible force, Tengu imagery, Doorways. Conducts story the way one conducts music. Task Manager - Main sword bitch. Manages some tasks. Minotaur, bells that sound the End, war-beast, mourning, loss, hope. Gentle. Bulls, swords, ink Kill process - The Wolf. The big bad wolf in a conceptual sense and its hard to get more detailed than that tbh. Sync - Things that were equally relevant to every individual above fsr ════════════════════════ Others Thread - the spouse The Cat - this weird thing in my library ════════════════════════ Misc

Chatter.exe - Text rambles Audio.exe - Music Visuals - Things that remind me of things we've seen, or things that resemble places we've been Data - Thinking about the mechanics of it all, bit by bit Reverb - Things that made our head buzz for indeterminate reasons Functioning - We are doing our job and we are doing it so well

[lareinamimada]

Academia

- Academia:

is a term referring to a group of aesthetics that involve learning, particularly through study, research, and reading.

- History:

Academia aesthetics, also known as scholarly aesthetics, have gained significant popularity in recent years, particularly on social media platforms and among young adults. These aesthetics are inspired by the academic environment, scholarly pursuits, and the romanticized image of intellectuals.

The history of academia aesthetics can be traced back to various literary and cultural movements that celebrated knowledge, learning, and intellectualism. One of the earliest influences on academia aesthetics is the classical Greek and Roman culture, which revered education and philosophy. The Renaissance period in Europe also played a significant role in shaping academia aesthetics, with its emphasis on humanism, art, and intellectual inquiry.

In more recent history, the 20th century witnessed the rise of literary and cinematic works that romanticized the academic setting. Books like "Dead Poets Society" and "The Secret History" depicted the allure of knowledge, intellectual pursuits, and the aesthetics associated with academia.

With the advent of social media platforms, particularly Tumblr and Instagram, academia aesthetics gained a broader following. Dark Academia emerged as one of the prominent subgenres, characterized by its dark and mysterious atmosphere, classic literature, and a focus on themes like introspection, melancholy, and a yearning for knowledge.

Over time, various other academia aesthetics have emerged, each with its own unique elements and interpretations. Light Academia, for instance, emphasizes a brighter and more optimistic atmosphere, while Vintage Academia draws inspiration from retro aesthetics and nostalgic elements. Gothic Academia combines elements of dark and gothic aesthetics with an intellectual focus.

Academia aesthetics continue to evolve and grow, with individuals embracing these aesthetics as a way to express their love for learning, literature, art, and intellectual exploration. They provide a sense of belonging and community for those who identify with the ideals and aesthetics associated with academia.

- Differences between common academia aesthetics:

Aesthetic: Dark Academia

Description: Embraces a dark and mysterious atmosphere, focusing on classic literature and intellectualism.

Key Elements: Gothic architecture, bookshelves, old libraries, tweed jackets, fountain pens

Aesthetic: Light Academia

Description: Provides a brighter and more optimistic take on academia, with a focus on nature and art.

Key Elements: Sunlit libraries, floral patterns, soft color palettes, flowy dresses, natural landscapes

Aesthetic: Vintage Academia

Description: Draws inspiration from retro aesthetics and nostalgia, evoking a sense of bygone eras.

Key Elements: Vintage books, typewriters, sepia tones, antique furniture, retro fashion

Aesthetic: Cottagecore Academia

Description: Blends academia aesthetics with the cozy and rustic charm of cottagecore.

Key Elements: Cottage interiors, floral motifs, nature-inspired artwork, handwritten notes, home libraries

Aesthetic: Art Academia

Description: Celebrates the artistic side of academia, with a focus on visual arts and creativity.

Key Elements: Paintbrushes, sketchbooks, art studios, gallery walls, colorful palettes

Aesthetic: STEM Academia

Description: Centers around the fields of science, technology, engineering, and mathematics.

Key Elements: Lab equipment, circuit boards, mathematical equations, science posters, futuristic elements

Aesthetic: Witch Academia

Description: Combines academia with witchcraft and magical elements, emphasizing the mystical and esoteric.

Key Elements: Crystal balls, tarot cards, spell books, candles, mystical symbols

- List of academia aesthetics:

Aesthetic: Ballet Academia

Description: Focuses on the elegance and grace associated with ballet

Aesthetic: Chaotic Academia

Description: Embraces chaos and unpredictability in academia

Aesthetic: Classic Academia

Description: Inspired by traditional and classical academic aesthetics

Aesthetic: Coquette Academia

Description: Blends elegance and flirtatiousness in an academic context

Aesthetic: Fairy Academia

Description: Incorporates whimsical and magical elements into academia

Aesthetic: Floral Academia

Description: Centers around floral motifs and nature-inspired aesthetics

Aesthetic: Goblin Academia

Description: Celebrates the mischievous and unconventional side of academia

Aesthetic: Green Academia

Description: Emphasizes environmentalism, sustainability, and nature

Aesthetic: Grey Academia

Description: Characterized by a neutral and minimalist color palette

Aesthetic: Internet Academia

Description: Explores academia in the digital age and online learning

Aesthetic: Miscellaneous Academia

Description: Represents a combination of various academia aesthetics

Aesthetic: Musical Academia

Description: Revolves around music and the intersection of academia and art

Aesthetic: Ocean Academia

Description: Draws inspiration from the ocean and marine aesthetics

Aesthetic: Pastel Academia

Description: Features soft, pastel colors and gentle aesthetics

Aesthetic: Progressive Academia

Description: Embraces forward-thinking and progressive ideas in academia

Aesthetic: Queer Academia

Description: Explores academia from a queer perspective and inclusivity

Aesthetic: Rebel Academia

Description: Challenges traditional academic norms and institutions

Aesthetic: Red Academia

Description: Symbolizes passion, intensity, and activism in academia

Aesthetic: Romantic Academia

Description: Evokes a sense of romance, idealism, and emotional depth

Aesthetic: Science Academia

Description: Focuses on the scientific disciplines and exploration

Aesthetic: Social Science Academia

Description: Centers around social sciences, human behavior, and society

Aesthetic: Theatre Academia

Description: Incorporates theatrical elements and drama into academia

Aesthetic: Vibrant Academia

Description: Embraces bold and vibrant colors, creating a lively atmosphere

Aesthetic: Winter Academia

Description: Reflects the coziness and introspection of the winter season

Aesthetic: Witchy Academia

Description: Combines academia with witchcraft, mysticism, and magic

Aesthetic: Writer Academia

Description: Celebrates writing, literature, and the art of storytelling

Aesthetic: Yellow Academia

Description: Radiates warmth, optimism, and creativity in academia

- Source: Internet (Fandom)

- Searching by: @lareinamimada

[girlsagaiinstgod]

“Someone has to leave first. This is a very old story. There is no other version of this story.”

i saw joanna smith coming through the trees. the thirty-two year old was fleeing from manchester, uk when they came across novac, and have sought salvation within the motel of purgatory. joey has been in town for nine months and has been assigned as a groundskeeper to keep society running smoothly. no matter what, they will find something to fight for.

basic information

full name: joanna halley smith

nicknames: joey (preferred), jo (okay), annie (don't)

birthdate & place: 25 february 1991 — manchester, england, uk (age 32)

gender: cis woman (she/her)

orientations: homosexual, homoromantic

relationship status: single

former occupation: history student at the university of manchester

current occupation: groundskeeper

personality aesthetics: renaissance artwork / a notebook collating all the knowledge she has that may have been lost / crying for people you've never met / reading poetry / picking up things for those you love ' just in case ' / tangled headphone wires, a battery stockpile + a walkman from the 2000s / the ginger spice poster on the wall of her childhood bedroom / hands covered in flour / always feeling like your dreams are beyond you always smiling even when you don't feel like it, even when no one believes you, even when it's more like a grimace / peach flavouring / constant sleep debt / would've, could've, should've / never learning to ride a bicycle / the sound of a kettle boiling / anger buried so deep you have to dig it out / only raising your voice in others' defence / burying your own needs with the body of who you once were / feeling every year as it goes by / feeling your optimism slip like water through your hands

key traits: passionate / esoteric / artistic / self-sacrificing / perfectionistic / introspective / routine-oriented / ambivert / sentimental / philosophical / stubborn

conditions: autism ( undiagnosed )

meyers-briggs type indicator: infj ( the advocate )

astrological big six: pisces sun / cancer moon / virgo rising / pisces mercury / aries venus / gemini mars

theme song: prayer factory by florence + the machine

key lyric: ' i listen to music from 2006 and feel kind of sick '

basic bio

the smith parents were rarely home. such is the life in a working city, trying to support four children. joanna — the eldest of the family — was thus essentially tasked with the upbringing of her younger siblings, beginning a tendency to ignore her own needs and prioritise those of others that became progressively more maladaptive: she's never really made it out of that. she still doesn't know that she's allowed to.

until the age of twenty-one, she'd never truly pursued anything for her own sake. she made do with books borrowed from libraries, mostly concerning the renaissance, a mp3 player, and the great resource of the internet. she did her best by the younger siblings, not always perfect — a matter about which she carries a lot of self-directed anger. in 2012, she finally applied to study history at the university of manchester. she'd wanted to do so for some time, but it'd never worked out between trying to support her siblings and the family business.

she'd recently finished her first year when her youngest brother — who she'd raised, considerably, even by comparison to the middle siblings — was missing, having taken off on a school. file under things in joanna smith's guilt book. she set off for america to try and find jasper, concerned for him beyond words. and then: the outbreak hit, stranding her in america, leaving her to search for him. this had no success for a long time, increasingly separated from people as the situation worsened worldwide and in places unfamiliar with. but she never stopped searching america high and low for not only jasper but perhaps her other siblings if they'd had similar ideas, hoping she'd at least get closure if not reunion.

eight months ago, on christmas day, joanna and her travelling companion chose to stop in new mexico and pause her tireless journey across america. at least for a few days, if not longer. yet novac proved to have precisely what she was looking for: her siblings.

( it'll take her a long time to rationalise the haunting feeling she abandoned them, even unintentionally, and even longer to speak such a sentiment out loud. )

[radrush]

the whole "coworker culture" meme is basically predicated on two concepts in my opinion. the first being that "coworkers" are a specific type of normie that most self-identified esoteric posters would never choose to associate with if it were not for the circumstances of a work environment. the second being that the "culture" of normie coworkers represents a specific form of lowest-common-denominator engagement with concepts of aesthetic, intellectual, and artistic expression and exercise. the "coworker" is essentially doing the same work as the category of "normie" (and should be considered a normie subtype) but the specificity of the former concept is useful for people who actually leave the house because they have day jobs while still remaining partially immersed in the idiosyncrasies of various online/alt cultures, considering these people would themselves be considered "normies" by those posters who are less-socially-adjusted and can't or won't hold down a regular job

[2024idpgroup14]

Developing the Experience 

Blog Post # 1

Angelique Shelley (MA Concept Art)

When the module was launched, our group initially connected via WhatsApp. I created a Discord server for us to easily share our progress and ideas, set up a Google Drive for shared storage and also created a Tumblr account for our group posts. There were initial issues with the login details that had to be troubleshooted, but in the end, all group members were able to access the blog.

My initial idea pitch for the project was to have a Victorian steam-punk style hot air balloon ride through fantastic worlds. To make the idea more ambitious, we could add a time travel element: we would travel slowly through the sky while the vista showed the passage of time through buildings being constructed and the ebb and flow of nature. Within the top part of the balloon would be animated cogs, a changing calendar, steam and occasional bursts from the fire above our heads. It could be accomplished with realistic or stylised 2D and 3D elements. The aesthetic aim would be similar to this Wonka (2023) poster:

Fig. 1 A poster advertising the film Wonka, Warner Bros., 2023.

After our initial team meeting, we decided to create a chimera of our ideas for the final experience: we chose to use Liangying’s inner world concept for our first scene, I suggested that a surrealist or esoteric art style would match the concept and add some visual interest to the dome experience. We decided to incorporate these, and time-travel or clock, elements as a “portal” to the final scene which would be Sai’s apocalypse concept of a city being destroyed by a mythological entity. Ana helped keep the art direction clear and on track while combining our ideas. We decided to create some keyshots of our scenes to combine together, and Ana would work on conceptualising the monster.

I created the portal keyshots experimenting with colour and thinking about how it would act as a bridge between scenes (see fig. 2).

Fig. 2 My keyshot concepts for the portal.

Once everyone’s designs were in, I created a storyboard to combine the key art and also get a feel for the narrative of the experience. In the final panel I combined Ana’s creature concept with a very quick mock-up of the city I painted in Photoshop.

Fig. 3 I created a storyboard using key art supplied by the team.

Fig. 4 The storyboard with direction.

Our main feedback from Ian was that we were still thinking like it was a flat screen and not an immersive experience which may induce nausea with traditional movement. To avoid this, the objects should move toward the camera rather than the camera moving through a scene. Ian also suggested adding more surrealist elements to the work. 

Applying this feedback, I tried to troubleshoot the first shot with Liangying and suggested that an easy fix would be to travel vertically up the pillared room rather than using stairs. Maybe the spaces between the pillars could break away in a zero gravity effect, or move down, and reveal some beautiful sky or stars. I also offered help with modelling in Maya as this was quite ambitious. However, staying true to Liangying’s original concept, we decided to create an amphitheatre-like structure instead. I sketched out the idea as a proof of concept and also thought about how we'd introduce the next scene from above (see fig. 5). 

Fig. 5 A proof of concept I created to troubleshoot adapting Liangying’s concept for the dome experience. 

We discussed some alternatives to the eye-pillar, but in the end, Liangying decided to go ahead with it, which turned out well.

In our second meeting with Ian and Neil, the main feedback we received was to incorporate more surrealism: to make it weird and unsettling by using some footage of actual eyes and faces, or by using strange materials/textures for objects, to make it collage-like, or by playing with scale. For the technical aspect, we could use planes with transparency to incorporate the animations.

References

Warner Bros. (2023). Wonka. [Poster].

[ninjakelvin0789]

Unveiling the Social Artistry of Shepard Fairey: A Brush with Activism.

Introduction:

In the dynamic realm of contemporary art, Shepard Fairey stands as a luminary, recognized for his distinctive style and profound socio-political commentary. Fairey's art is a canvas that not only captivates with its visual allure but also resonates with a powerful narrative, delving into issues that define our society. This article explores the social artistry of Shepard Fairey, examining the impact and significance of his work, particularly in the realm of posters.

Shepard Fairey: A Maverick in the Art World

Shepard Fairey rose to global prominence with his iconic "Hope" poster, a graphic masterpiece that became synonymous with Barack Obama's 2008 presidential campaign. This work catapulted Fairey into the mainstream, showcasing his ability to blend artistic prowess with political activism. Shepard Fairey's art is a testament to the convergence of aesthetics and ideology, where each stroke carries a message, and every color serves a purpose.

Shepard Fairey Art: A Visual Symphony

Fairey's art is characterized by a unique blend of street art and pop culture aesthetics. His use of bold colors, striking imagery, and compelling typography creates a visual symphony that demands attention. The subjects of Sherpard fairey artwork often range from political figures to social justice icons, each piece telling a story that transcends the confines of the canvas. The visual appeal of Shepard Fairey's art is unparalleled, drawing admirers from diverse backgrounds.

Shepard Fairey Posters: Tools of Activism

At the heart of Shepard Fairey's social artistry are his posters, which serve as powerful tools of activism. The accessibility of shepard fairey posters allows his messages to reach a wide audience, turning public spaces into canvases for social and political discourse. The "Obey Giant" campaign, featuring the enigmatic face of wrestler André the Giant, became an underground phenomenon, challenging conventional ideas of authority and questioning the power structures embedded in society.

Shepard Fairey Artwork: A Chronicle of Social Issues

Beyond the iconic "Hope" poster, Shepard Fairey's artwork delves into a myriad of social issues. Themes of environmentalism, racial equality, and anti-establishment sentiments permeate his portfolio. Fairey's art acts as a chronicle of our times, capturing the zeitgeist with an unapologetic honesty. The bold use of symbolism and metaphor in his artwork invites viewers to engage in critical discourse, prompting reflection on the pressing issues that define our collective existence.

The Evolution of Shepard Fairey's Social Art

Shepard Fairey's journey as a social artist has been marked by evolution and experimentation. From the streets of Providence, Rhode Island, where he began his career with street art and skateboarding culture, to the global stage where his work adorns galleries and public spaces, Fairey's trajectory is a testament to the power of art as a catalyst for change. The evolution of his style mirrors the evolution of his activism, as he continues to adapt his artistic language to address contemporary challenges.

The Impact of Shepard Fairey's Art on Popular Culture

Shepard Fairey's influence extends beyond the art world; it permeates popular culture. The "Obey Giant" motif, with its subversive undertones, has become an emblem of counterculture, finding its way into fashion, music, and mainstream media. Fairey's art has the ability to bridge the gap between the esoteric realm of galleries and the everyday lives of people, making socio-political commentary accessible and engaging.

Shepard Fairey: Catalyst for Change

Beyond the aesthetic appeal and cultural impact, Shepard Fairey's art is a catalyst for change. By addressing societal issues through his work, Fairey encourages viewers to question the status quo and envision a more just and equitable world. The use of powerful symbols, such as the clenched fist and the iconic "Hope" image, serves as a rallying cry for social justice, inspiring individuals to become active participants in shaping their communities.

Conclusion:

In the tapestry of contemporary art, Shepard Fairey's social artistry stands as a vibrant thread, weaving together aesthetics and activism. His posters, characterized by bold imagery and powerful messages, transcend the traditional boundaries of art, transforming public spaces into platforms for social discourse. Shepard Fairey's impact on popular culture and his role as a catalyst for change underscore the enduring relevance of art as a medium for societal transformation.

[chelseainjapan-blog]

June 19- Nara Day Trip

We did a lot in Nara! Starting with lunch off the train, I was able to try Gyukatsu finally! Casey, Julie, and I have walked by the gyukatsu restaurant by the Kyoto station almost every day, but the line is always super fat and we never make it in. It was really buttery and smooth, I think I prefer it to pork katsu. Then, as a group we walked over to the Nara deer park, where we fed the deer. The deer were incredibly greedy and hungry, but also very cute. I wondered if this type operation would ever be successful in America but I think someone would kidnap the deer for money or something that level. Then, we walked over to the Todaiji Temple which houses Japan’s largest indoor Buddha. When I first heard we were going to see another Buddha, I thought there was no way I would enjoy it, but I was pleasantly surprised by the experience. On first entering the temple, the Buddha is VERY imposing, and so are all the other statues around it. Also, they had a fun mini-game which was to see if you would fit in the nostril of the Buddha. I personally did not fit or try hard enough to, but maybe the next time I come back to Japan, I will. Then, we headed over to our very last shrine which was the Kasuga Taisha shrine. This was also probably my favorite shrine we’ve been to, as the aesthetics of the lantern and also the surrounding deer added to the experience. To top off the day, (surprise!) we went thrifting more and had 7/11 dinner.

Academic Reflection

The continuing legacy of Nara is evidence of Esoteric Buddhism's ongoing vitality. The presence of committed priests and followers at the city's temples demonstrates the ongoing respect for and dedication to this spiritual tradition. Through our interactions, I learned more about the unique human experiences and spiritual journeys that make up Esoteric Buddhism. It was a sobering reminder that this ancient tradition is alive and well as a spiritual path that is constantly growing and not just preserved for posterity.

As I observed and took part in rites in Nara's temples, Harvey's discussion of devotional practices within Mahayana Buddhism struck a particularly deep chord with me. I observed the passion and faith of practitioners as they forged a stronger connection to the spiritual world through their prayers, incense offerings, and rhythmic chanting filling the sacred places. I was able to personally witness the transformative power of devotional acts and the development of compassion within oneself by participating in these rituals.

[project-gain]

GAIN ゲイン (001) PLUS Green

[cyberianpunks]

[quayrund]

Parasite Eve

[blacksunscorpio]

The Planets, Elevated

Sun

As the Most Elevated indicates a drive to express one’s creative essence and core ego values before the world. This individual will shine amongst their circle of peers. This person’s 15 minutes of fame can extend to a lifetime of fame in one area of life or another. The world is a stage they play on. They were put here on earth to display their creative gifts and talents. They tend to be leaders. Tend to be worshipped. Popular. If the elevated planet is conjunct the Midheaven, this is a strong indicator of celebrity. Martin Luther King had his Sun in Capricorn as the Zenith of his chart. Albert Einstein’s Sun was his most elevated as well.

Moon

As the Most Elevated is more inverted than the Sun. Whereas those born with the Sun highest in the chart can feel an urge toward leadership or expressing their egoic and creative impulses in a public way, those with the Moon highest are more often drawn to project their personality or their emotions into the spotlight. Many actors and musicians have this placement. Individuals with the Moon at the Zenith of their chart can become well-known for their nurturing talents. Their emotions. Their moods and the creativity surrounding them. Their temperament and what they create with them/ expressing their emotions to the public can gain them notoriety. The late John Lennon of Beatles fame had his Moon as his most elevated. Academy Award winner, Meryl Streep’s most elevated planet is the moon as well.

Mercury

As the Most Elevated indicates a native with an urge to project one’s ideas or verbal skills before the world. They will find many ways to get their voices out there or “broadcasted to the public”. The sign the Planet is in indicates how this will be done. This individual will be renowned for their linguistic, mental, and/or intellectual talents. Could become well known for their teaching abilities, writing abilities, communications abilities, or public relation abilities. Writer Sylvia Plath had Mercury in intense Scorpio as the highest planet in her chart.  

Venus

As the most elevated indicates a desire to project beauty and/or harmony in some way before the public. Widely desired/admired.  Marilyn Monroe was born with Venus as her highest planet, and she became virtually synonymous with mainstream ideals of beauty. They will be the Models, the creatives, The fashionistas, the person with a “nice girl or nice guy” persona.  This placement often leads to occupations directly or indirectly involved with aesthetics and design. Tom Hanks, widely considered as Hollywood’s nicest leading man [A Beautiful Day in the Neighborhood, anyone?] has Venus as his most elevated. Marilyn Monroe and David Bowie both did as well.

Mars

As the most elevated Indicates a drive to project energy and strength before the world. Muhammed Ali had Mars as his most elevated planet. Ruthless ambition. Renowned undefeated heavyweight champion in boxing. Martial arts ruled his life and where he received the most notoriety. Definitely a feisty placement as well as one that will make the native hard to ignore. This placement indicates a leader. The types to set shit off. The type to be the “boss” in whatever field of work they choose. Spearhead some sort of militant movement. The ‘Gangster” placement. Very often seen in the charts of those who take part in sports. Franklin D. Roosevelt had Mars as his most elevated planet and he was the driving for behind America’s decision to partake in WWII. Founding father of the Mafia Lucky Luciano also had Mars at the zenith of his chart.

Jupiter

As the most elevated Indicates there is confidence about matters of career or dealings with the public. As a result, this is one of the leading chart indicators of popularity and success, as well as general “good luck,”. Global awareness, travel, teaching, and philosophical/spiritual matters will be their forte. The “prophet” or “guru” aspect. Someone who’s calling in life may involve lots of travel or they can be a “citizen of the world”. Angelina Jolie has Jupiter at the highest point in her chart and not only was her film career a huge success, but she also became a bit of a 2nd Mother Teresa, traveling internationally to adopt children, and doing humanitarian work worldwide. There is also an interest in different spiritual teachings [i.e the Cambodian prayer tattoo on her left shoulder blade.]  This is one of the hardest-hitting horoscopic indicators of popularity and success, as well as general “fortune/luck” in life. Basketball heavyweight Michael Jordan has Jupiter at the Zenith of his chart as does Kim Kardashian. This is also an indicator of one who can become famous or well known for their ideas/thoughts on spirituality. If Jupiter is in Virgo, the native can become renowned for their writings on esoteric or spiritual matters.

Saturn

As the most elevated Like Jupiter, Saturn near the top of one’s chart can show considerable success and prominence in one’s life. But unlike Jupiter, this usually involves far more work and a few tough building blocks along the way. There’s a “late bloomer” quality to the lives of these natives. Many instances, they can experience great struggle in building their career and reputation — that constant ‘between a rock and a hard place”. Yet these people often live to see great rewards and prestige as a result of said hard work. The types to be in inevitable positions of authority in whatever they do but also the types to hold themselves to impossible standards. They must be the best. They will often become well known/ be in positions that involve structure. For example, Queen Elizabeth has this placement, I don’t know a life more structured than the life of a monarch. Spanish artist Picasso was born with Saturn in Taurus as his highest planet; he was subject to enormous criticism regarding his art early on, but eventually found prosperity and fame as a result of his discipline and productivity. Bill Clinton has Saturn at his Zenith and became the leader of the free world. Jazz musician Louis Armstrong rose from an intensely difficult childhood in Louisiana to become a pioneering artist admired by audiences all over the world.

Uranus

As the most elevated indicates a native who possesses a fiercely independent streak and a desire to pursue uniquely personal or unconventional life paths. The weirdo who becomes famous for being.. well, a weirdo. Needless to say, this generally makes it difficult for these people to adapt to rigid routines and structured environments, and in terms of career, they like to have/need as long a leash as possible. They think outside the box and as a result, can gain prestige for doing just that. The “fuck it I do what I want” aspect. This attitude may make them famous and even admired. Geniuses. Actor Steve McQueen had Uranus in Aries as his highest planet, and virtually became Hollywood’s poster boy for the ‘Rebel’ archetype. He also spent time in reform school as an adolescent. The late great Nipsey Hussle had Uranus at the Zenith of his chart and he lived his life in unapologetic opposition to the law being part of the Rolling 60′s Crip gang. You can see this rebel spirit in many of his songs that went platinum. Many Astronauts including Edgar Mitchell have this placement. Those with Uranus as their most elevated see “beyond”. This also indicates the maverick spirit of innovation. This placement is often connected to technology or the media [remember, Uranus has an ‘electric’ energy to it]. A prime example is Apple computer founder Steve Jobs who had Jupiter and Uranus in conjunction as his highest point.

Neptune

As the most elevated indicates a spirit of “reaching for the stars”. I see this planet most elevated in the charts of those renowned for their artistic talents. ESPECIALLY in music and the arts. Many actors have this placement, which is fitting considering Neptune is the planet of dreams/fantasy, and actors are paid to pretend to be someone else. Famous for the mask they wear. Powerful spiritual impulses. An inspiring individual. Can become famous/well known for their idealism or the spiritual messages they send out to the world. When well aspected or unafflicted it can indicate an individual who can become revered for their fantastical ideas. Walt Disney’s most elevated planet was Neptune and I feel many of us can agree that his classic works of fantasy shaped our childhoods. His billion-dollar empire still stands today decades after his death. Elevated Neptunian Bruce Lee not only brought martial arts to the attention of thousands but also expounded on its spiritual philosophy in writings and interviews. He even created Jeet Kune Do, a martial art deeply rooted in spirituality, wrote a book about it, too. 44th President Barack Obama has Neptune as his most elevated planet and his campaign slogan “hope” gave many just that during the 2008 election. An affliction to this most elevated planet can still make one very well known but not necessarily for the best reasons.  When afflicted it can be a dangerous placement and one can suffer or make others suffer from fanatical or delusional teachings. Cult leader Jim Jones had Neptune has his most elevated and his spiritual teachings resulted in the death of hundreds of naive and innocent people due to drugged [Neptune] kool-aid.

Pluto

As the most elevated indicates that an individual’s career or sense of “calling” will be involved with any or all 8th house dealings. Sexuality, death, transformation, secrets, the occult. Megan Fox has Pluto at the highest degree in her chart, though she is a Taurus, her MC is in Scorpio and conjunct her Pluto which is the most elevated. She comes off an undeniable Sex [Plutonic/8th house] symbol. Same for the late great musician Prince, who was very public about sexuality. Vladimir Putin, President of Russia has his Pluto closest to his MC and he was a KGB spy. This is definitely a placement of someone with considerable power. Not one to be underestimated. Capable of covert manipulation and may/can become famous for it. They may also become well known for dealing with dark matters. Jack Kerouac, who celebrated the bohemian “underworld” had his Pluto elevated. Mary Shelly, author of Frankenstein became renowned for a book that had to do with a monster made of dead bodies transformed through supernatural means. It is now one of the first books parents will read to their children on Halloween.

Honorable Mentions

There’s been an ongoing discourse about Asteroids/Hypothetical Points being considered “elevated.” It’s a topic of debate within the astrological community. However, if we are to entertain them, this is what they can mean:

Chiron

As the most elevated indicates a calling in life dealing with healing. Dealing with the pain of others and making things better for them. A teacher that is known for helping others find their way.

Lilith

As the most elevated indicates an individual feared and admired for their rebellious sexual spirit. The seductress/seducer. The individual can become loved or hated for their ability to put their wily charms on both men and women. Audrey Hepburn had Lilith at the zenith of her chart, quite close to Saturn near the MC.

Juno

As the most elevated planet may become famous for their marriages or whom they are married to.

Vesta

Famous for their devotion or well known for becoming homemakers.

Pallas

As the most elevated can indicate someone known for their wisdom. How they temper their instincts with discretion.

[dustedmagazine]

Music for Films, Vol. II: Chick Habit

For good and for ill, Quentin Tarantino’s movies have been strongly associated with postmodern pop culture — particularly by folks whose reactions to the word “postmodern” tend toward pursed lips and school-marmishly wagged fingers. There for a while, reading David Denby on Tarantino was similar to reading Michiko Kakutani on Thomas Pynchon: almost always the same review, the same complaints about characters lacking “psychological depth,” the same handwringing over an ostensible moral insipidness. Truth be told, Tarantino’s pranksome delight with flashy surfaces and stylistic flourishes that are ends in themselves gives tentative credence to some of the caviling. Critics have raised related concerns over the superficiality of Tarantino’s tendency toward stunt casting, especially his resurrections of aging actors relegated to the film industry’s commercial margins: John Travolta, Pam Grier, Robert Forster, David Carradine, Darryl Hannah, Don Johnson and so on. There might be a measure of cynicism in the accompanying cinematic nudging and winking, but it’s also the case that a number of the performances have been terrific.

The writer-director brings a similar sensibility to his sound-tracking choices, demonstrating the cooler-than-thou, deep-catalog knowledge of an obsessive crate-digger. Tarantino thematized that knowledge in his break-through feature, Reservoir Dogs (1992). Throughout the film, the characters tune in to Steven Wright deadpanning as the deejay of “K-Billy’s Super Sounds of the Seventies”; like the characters, the viewer transforms into a listener, treated to such fare as the George Baker Selection’s “Little Green Bag” (1970) and Harry Nilsson’s “Coconut” (1971). As with the above-mentioned actors, Tarantino has sifted pop culture’s castoffs and detritus, unearthing songs and delivering experiences of renewed value — and thereby proving the keenness of his instincts and aesthetic wit. “Listen to (or look at) this!” he seems to say, with his cockeyed, faux-incredulous grin. “Can you believe you were just going to throw this out?” And mostly, it works. If the Blue Swede’s “Hooked on a Feeling” (1974) has become a sort of semi-ironized accompaniment to hipsterish good times, that resonance has a lot more to do with Tim Roth, Harvey Keitel and Co. cruising L.A. in a hulking American sedan than with the Disney Co.’s Guardians of the Galaxy (2014).

In Death Proof (2007), Tarantino’s seventh film and unaccountably his least favorite, soundtrack and screen are both full to bursting with the flotsam and jetsam of “entertainment” conceived as an industry. 

In just the opening minutes, we see outmoded moviehouse announcements, complete with cigarette-burn cue dots; big posters of Brigitte Bardot from Les Bijoutiers du claire de lune (1958) and of Ralph Nelson’s Soldier Blue (1970) bedecking the apartment of Jungle Julia (Sydney Tamiia Poitier); the tee shirt worn by Shanna (Jordan Ladd), which bears the image of Tura Satana; and strutting under all of it are the brassy cadences of Jack Nitzsche’s “The Last Race,” taken from his soundtrack for the teensploitation flick Village of the Giants (1965). Bibs and bobs, bits and pieces of low- and middle-brow cinema are cut up and reconstructed into a fulsome swirl of signs. And there’s an unpleasant edge to it; the cuts are echoed by the action of the camera, which has been busily cleaving the bodies of the women on screen into fragments and parts. First the feet of Arlene (Vanessa Ferlito), propped up on a dashboard; then Julia, all ass and gams; then Arlene’s lower half again, chopped into slices by the stairs she dashes up (“I gotta take the world’s biggest fucking piss!”) and by the close-up that settles on her belly and pelvis, her hand shoved awkwardly into her crotch. 

As often happens in Tarantino’s movies, furiously busy meta-discursive play collapses the images’ problematic content under multiple levels of reference and pastiche. The film is one half of Grindhouse (2007), Tarantino’s collaboration with his buddy Robert Rodriguez, an old-fashioned double-feature comprising the men’s love letters to the exploitation cinema of the 1960s and 1970s. In those thousands of movies — mondo, beach-cutie, nudie-cutie, women in prison, early slasher, rape-revenge, biker gang, chop-socky, Spaghetti Western and muscle-car-worship flicks (and we could add more subgenres to the list) — symbolic violence inflicted on women’s bodies was de rigueur, and frequently the principal draw. Tarantino shot Death Proof himself, so he is (more than usually) directly responsible for all the framing and focusing — and he’s far too canny a filmmaker not to know precisely what he’s doing with and to those bodies. The excessive, camera-mediated gashing and trimming is a knowing, perhaps deprecating nod to all that previous, gratuitous T&A. His sound-tracking choice of “The Last Race” metaphorically underscores the point: in Bert I. Gordon’s Village of the Giants, bikini-clad teens find and consume an experimental growth serum, which causes them to expand to massive proportions. Really big boobs, actual acres of ass. Get it?

Of course, all the implied japing and judging is deeply embedded in the film’s matrix of esoteric references and fleeting allusions. You’d have to be very well versed in the history of exploitation cinema to pick up on the indirect homage to Gordon’s goofy movie. But as in Reservoir Dogs, Tarantino doesn’t just gesture, he dramatizes, folding an authoritative geekdom into the action of Death Proof. In the set-up to Death Proof’s notorious car crash scene, Julia is on the phone, instructing one of her fellow deejays to play “Hold Tight!” (1966) by Dave Dee, Dozy, Beaky, Mick & Tich. Don’t recognize the names? “For your information,” Julia snorts, Pete Townsend briefly considered abandoning the Who, and he thought about joining the now-obscure beat band, to make it “Dave Dee, Dozy, Beaky, Mick, Tich & Pete. And if you ask me, he should have.”

It’s among the most gruesomely violent sequences in Tarantino’s films (which do not run short on graphic bloodshed), and Julia receives its most spectacular punishment. Those legs and that rump, upon which the camera has lavished so much attention, are torn apart. Her right leg flips, flies and slaps the pavement, a hunk of suddenly flaccid meat. Again, Tarantino proves himself an adept arranger of image, sign and significance. Want to accuse him of fetishizing Julia’s legs? He’ll materialize the move, reducing the limb to a manipulable fragment, and he’ll invest the moment with all of the intrinsic violence of the fetish. He’ll even do you one better — he’ll make that violence visible. Want to watch? You better buckle up and hold tight. 

Hold on a second. “Hold Tight”? The soundtrack has passed over from intertextual in-joke to cruel punchline. It doesn’t help that the song is so much fun, and that it’s fun watching the girls groove along to it, just before Stuntman Mike (Kurt Russell) obliterates them, again and again and again. The awful insistence of the repetition is another set-up, establishing the film’s narrative logic: the repeated pattern and libidinal charge-and-release of Stuntman Mike’s vehicular predations. It is, indeed, “a sex thing,” as Sheriff Earl McGraw (Michael Parks) informs us in his cartoonish, redneck lawman’s drawl. Soon the sexually charged repetitions pile up: see Abernathy’s (Rosario Dawson) feet hanging out of Kim’s (Tracie Thom) 1972 Mustang, in a visual echo of Arlene’s, and of Julia’s. Then listen to Lee (Mary Elizabeth Winstead) belt out some of Smith’s cover of “Baby It’s You” (1969), which we most recently heard 44 minutes before, as Julia danced ecstatically by the Texas Chili Bar’s jukebox. Then watch Abernathy as she sees Stuntman Mike’s tricked-out ’71 Nova, a vibrating hunk of metallic machismo — just like Arlene saw it, idling menacingly back in Austin, with another snatch of “Baby It’s You” wisping through that moment’s portent. 

For a certain kind of viewer, the Nova’s low-slung, growling charms are hard to resist, as is the sleazy snarl of Willy DeVille’s “It’s So Easy” (1980; and we might note that Jack Nitzsche produced a couple of Mink DeVille’s early records, connecting another couple strands in the web) on the Nova’s car stereo. Those prospective pleasures raise the question of just who the film is for. That may seem obvious: the same folks — dudes, mostly — who find pleasure in exploitation movies like Vanishing Point (1971), Satan’s Sadists (1969) or The Big Doll House (1971). But there are a few other things to account for, like how Death Proof repeatedly passes the Bechdel Test, and how long those scenes of conversation among women go on, and on. Most notable is the eight-minute diner scene, a single take featuring Abernathy, Kim, Lee and Zoë (Zoë Bell, doing a cinematic rendition of her fabulous self, an instance of stunt casting that literalizes the “stunt” part). Among other things, the women discuss their careers in film, the merits of gun ownership and Kim and Zoë’s love of (you guessed it) car chase movies like Vanishing Point. One could read that as a liberatory move, a suggestion that cinema of all kinds is open to all comers. All that’s required is a willingness to watch. But watching the diner scene becomes increasing claustrophobic. The camera circles the women’s table incessantly, and on the periphery of the shot, sitting at the diner’s counter, is Stuntman Mike. The circling becomes predatory, the threat seems pervasive. 

If you’ve seen the film, you know how that plays out: Zoë and Kim play “ship’s mast” on a white 1970 Dodge Challenger (the Vanishing Point car); Stuntman Mike shows up and terrorizes them mercilessly; but then Abernathy, Zoë and Kim chase him down and beat the living shit out of him, likely fatally. In another sharply conceived cinematic maneuver, Tarantino executes a climactic sequence that inverts the diner scene: the women surround Stuntman Mike, abject and pleading, and punch and kick him as he bounces from one of them to another. The camera zips from vantage to vantage within the circle, deliriously tracking the action. All the jump cuts intensify the violence, and they provide another contrast to the diner’s scene’s silky, unbroken shot. The sounds and the impact of the blows verge on slapstick, and our identification with the women makes it a giddily gross good time.

So, an inversion seeks to undo repetition. Certainly, Stuntman Mike’s intent to repeat the car-crash-kill-thrill is undone, and predator becomes prey. But, as is inevitable with Tarantino’s cinema, there are complications, other echoes and patterns to suss out. For instance: as the women stride toward the wrecked Nova, while Stuntman Mike pathetically wails, the camera zooms in on their asses. Bad asses? Nice asses? What’s the right nomenclature? To make sure we can put the shot together with Julia’s first appearance in the film, Abernathy has hiked up her skirt, revealing a lot of leg. Repetition reasserts itself. In an exacerbating circumstance, Harvey Weinstein’s grubby fingerprints are smeared onto the film. Rodriguez’s Troublemaker Studios is credited with production of Grindhouse, but Dimension Films, a Weinstein Brothers company, handled distribution.  

When the film cuts to its end titles, we hear April March’s “Chick Habit” (1995), with its spot-on lyric: “Hang up the chick habit / Hang it up, daddy / Or you’ll never get another fix.” And so on. Even here, where the girl-power vibe feels strongest (cue Abernathy burying a bootheel in Stuntman Mike’s face), there are echoes, patterns. Note how the striding bassline of “Chick Habit” strongly recalls the pulse beating through Nitzsche’s “The Last Race.” Note that March’s song is a cover, of “Laisse tomber les filles,” originally recorded by yé-yé girl France Gall. The song was penned by Serge Gainsbourg, pop provocateur and notorious womanizer. The two collaborated again, releasing “Les Sucettes,” a tune about a teeny-bopper who really likes sucking on lollipops, when Gall was barely 18; the accompanying scandal nearly torpedoed her career. Gall refused to ever sing another song by Gainsbourg, and disavowed her hits.  

Again, that’s all deeply embedded, somewhere in the film’s complicated play of pop irony and double-entendre and the sudden explosions of delight and disgust that intermittently reveal and conceal. Again, you’d have to know your pop history really well to catch up with the complications, and Death Proof moves so fast that there’s always another reference or allusion demanding your attention as the cars growl and the blood spurts. Too many signs to track, too many signals to decipher — that’s the postmodern. But perhaps we have become too glib, assuming that all signs are somehow equivalent. Death Proof insists otherwise. Much has been made of the film’s strange relation to digital filmmaking, of the sort that Rodriguez has made a career out of. Part of Grindhouse’s shtick is its goofball applications of CGI, all the scratches and skips and flaws that the filmmakers lovingly applied. They are digital effects, masquerading as damaged celluloid. Tarantino cut back against that grain, filming as much of the car chase’s maniacal stuntwork in meatspace as he safely could. Purposeful practical filmmaking, for a digitally enhanced cinematic experience, attempting to mimic the ways real film interacts with the physical environment and its manifold histories. Is that clever, or just more cultural clutter?  

Amid all the clutter that crowds the characters onscreen, and their conversations in the film’s field of sound, it can be easy to lose track of the distinctions between appearances and the traces of the real bodies that worked to bring Death Proof to life. Which is why Tarantino’s inclusion of Bell is so crucial. She provides another inversion: Instead of masking her individual presence, doing stunts for other actresses in their clothes and hair (for Lucy Lawless in Xena: Warrior Princess, or for Uma Thurman in Tarantino’s Kill Bill films), Bell is herself, doing what she does best, projecting the technical elements of filmmaking — usually meant to bleed seamlessly into illusion — right onto the surface of the screen. And instead of allowing one group of girls to slip into a repeated pattern, bodies easily exchanged for other bodies, Bell’s presence and its implicit insistence on her particularity (who else can move like she does?) breaks up the superficial logic of cinema’s market for the feminine. She disrupts its chick habit. There’s only one woman like her. 

Jonathan Shaw