#awindow

[whyareweherereally]

What a beautiful vitro. It’s so nice. One of my favourite style choices in the game. Let’s see what it looks like from the outside 

Oh. It doesn’t. Then what is it if not a window? Wall art? It has been translated to vitros in pathologic’s 2 rendition of the cathedral so.... what?

[kissorkill16]

In this app, we care about LGBTQ+!

Cowards won’t Reblog

[rogerrcoyle]

i dance

[scucharlie]

oh my hoddddd bitb x mla0 oh my godd oh my godddd oh my godd IMGKNNA theowmyself out awindow

[gamjabyte]

MY FUCKING DASHBOARD JUST UPDATED IM GOING TO JUMP OUT AWINDOW

[imiging]

Daily original photographs and creations selected by the imiging team!

tulsa, oklahoma | @hannalchemy

[beyondspock]

My First Star Trek Convention

I was reading the newspaper in my Brooklyn home, just a few days shy of my nineteenth birthday in 1985. I saw that New York’s Penta Hotel was holding a Star Trek Convention!  I wasn’t really a Trekkie/Trekker who attended conventions. But I was a huge fan of the original series, as well as a fan of Leonard Nimoy. Not just because he was the famous actor who played Mr. Spock, but mostly because he was my cousin!

Although my relationship with Leonard would grow greatly over the years, at that point we barely knew each other. I had only just met Leonard when I was sixteen on a family trip to California. I was hesitant to call his home in California just to ask for free tickets to a Star Trek Convention. Mainly for fear he’d have no memory of me! So I just thought I’d buy a ticket and try to see him to say hello somehow.

TwoNimoys at One Star Trek Convention

I took the subway into Manhattan, and got off at the Madison SquareGarden stop. The Penta Hotel was directly across the street. I made my way to buy tickets, when I saw awindow that said WILL CALL. I was studying acting at NYU, and I thought maybe a little acting could save me some cash.

I got to WILL CALL and said, quite confidently, “I‘m picking up my ticket left by my cousin Leonard Nimoy.” Now usually a lie like this would go nowhere, but then I flashed my driver’s license. There it was, in NY State issued black and white. My last name was officially NIMOY, and there was only one other person with that name in the building. Suddenly, I became a VIP guest. They gave me a ticket, and I was in! Once inside, I flashed that driver’s license around like a detective showing his badge. (Read more at: https://thestoop.tv/2021/07/02/jeff-nimoys-visit-to-a-star-trek-convention-in-1985/)

[tidescentralizada]

Quer aumentar a vida útil dos seus computadores antigos?

Apresento vocês ao antiX Linux, um sistema operacional que roda utilizando apenas 120 MB de RAM, recebe updates frequentemente (Versão 23.2 lançou em 06/10/24) e pode estender a viagem da útil de seus computadores, notebooks e netbooks.

Trocar o OS de um computador parece ser uma terça difícil, mas hoje em dia o processo é muito mais fácil, rápido e pode ser feito via USB!

Outra coisa legal é que você pode testar o OS com ele rodando via a USB mesmo, para ver se ele vai mesmo funcionar em seu equipamento.

Requisitos de Sistema:

-Recomendado 512 MB de RAM

- 7 GB de espaço no disco rígido (Se você vai substituir o OS de seu equipamento, lembre que não precisa levar em conta o espaço gasto pelo seu OS atual, pois o mesmo será substituído)

O que você vai precisar para instalar o antiX seguindo este tutorial:

- O equipamento com um OS em funcionamento (Como um netbook utilizando o windows7)

- Conexão com a internet

- Um pendrive com 1.8 GB para a versão full ou 1.2 GB para versão base

Pré-preparação:

1- No seu computador, baixe o programa RUFUS via rufus.ie (Observe se a sua versão do Awindows é x32 ou x64. A versão x32 do Rufus é descrita como rufus-4.6_x86.exe)

2- Entre em antixlinux.com e baixe a versão compatível com o seu equipamento, x32 ou x64

Passo a Passo: Com o Rufus e o antiX baixados siga em frente:

1- Conecte o seu pendrive

2- Abra o Rufus

3- Selecione o seu pendrive no Rufus

4- Clique em "Boot selection" e selecione o arquivo do antiX, clique em "abrir"

5- Clique em "START"

6- Siga pelas instruções e avisos.

Instalando um novo OS:

Agora que você tem um pendrive com um OS gravado, desligue o seu PC

1- Conecte o Pendrive

2- Ligue o PC

Aqui, pode ser que nada aconteça, neste caso, você precisa entrar na BIOS do seu PC e modificar a "Boot Order" para o seu computador selecionar o USB primeiro.

Boot Order:

1- Com o pendrive conectado, ligue o seu PC e clique na tecla que acessa a BIOS

1.1- Possiveis teclas: DEL, ESC, F2, F10, F9...

2- Use as setas do teclaso para navegar até a opção Boot ou Boot Order

3- Selecione o seu Pendrive

4- Mova ele ao topo

5- Salve e saia da BIOS

Quando o PC ligar, você vai ser que ele entrou via o seu Pendrive que agora carrega o antiX.

Agora você pode testar o antiX antes de instalar ele.

Após o teste, clique no Installer para começar a instalação e siga as instruções.

Agora você tem um OS leve, rápido e atualizado no seu PC antigo!

[alethealt-context-studies-yr2]

Reading: Taking Apart the Body; Abjection and Body Art

I chose to read the article "Taking Apart the Body; Abjection and Body Art" by Rina Arya as part of the Performance Research journal. I wanted to explore the way bodies are used in art and Abjection Art makes up a large sector of the type of work I've been looking at. The text explores what Abjection Art is, different examples of it and how we react to it.

Abjection refers to the notion that the body isn't just one whole, but instead made up of its inside, outside and metaphysical parts (p.5). Embodiment is also something mentioned, which is "defined by the situation of both being and having a body." (p.5). Embodiment was often explored by artists with the use of opposite states, such as life and death and human and machine. Both concepts were also explored through transgression or the crossing of this boundary, usually through the use of "abject materials such as bodily fluids, excrement, dirt, dead animals and putrefying food." (p.6) or through damaging the body.

This art form was predominant in the 80's and 90's, but started its routes even earlier with artists such as Francis Bacon who were already exploring embodiment in his work. His pieces often blurred the lines between physical being and emotional state.

fig 1

Abjection art was usually explored by artists of marginalised groups; LGBT, women, different races/cultures. This was because the control they had in these performances juxtaposed the lack of control or a voice they had in society; "abjection provided a powerful means of transgression and reinvention for artists who had been denied the autonomy to speak for themselves." (p.7). A lot of these performances were also seen as disgusting or shocking, so marginalised artists used this to mirror the shock and disgust that society pushed on them at the time (p.7).

A big component of abjection art, especially in performance spaces, was about the viewing experience of the audience and how they react to the work. "Body art puts the alien, diseased, mutilated and dying body on show." (p.8) The viewing of the work and our interactions with it become abject in itself, blurring the boundary between artist and viewer which is a frightening and uncomfortable position for many. A specific artist mentioned in the text is Gina Pane and her work "Lait Chaud" in which she cuts herself and films the audience's reaction to it.

Fig 2 (Stills from her film)

The passage I chose to look at related to her piece of work:

"The viewer’s reactions and reflections become the subject of the work, and the duration of the performance traces the movement of the abject: at the beginning we are faced with an ‘ordinary’ body which becomes abject (which abjects itself ) in the performance and the viewers bear testimony to that transition. By ensuring aphysical separation between herself and the audience, Pane is playing acruel trick; she is reinforcing her autonomy, which gives her the right to cut herself up, but, by then turning the camera on us, she is making us culpable in heractions.Other artists also used recording equipment such as video cameras as away of including the audience in the performance. Throughout the performance we get ashift of focal point: subject becomes object and, in the above example, we go from victim to torturer as the camera moves onto us as we collude in Pane’s self-mutilation. The demand that artists place on the viewers here brings us to the question of the roles undertaken by the audience in performance practice. The dynamic of viewing is problematized: we cannot talk about discrete subjects or objects but about degrees of activity and passivity. At one end of the scale, viewers are passive and do not intervene in anyway. However, the attention bestowed is not of the same degree of passivity in the way that we might casually watch atelevision programme or the view outside awindow. The intense actions that occur cause the viewer to maintain astance of attentive viewing, which may or may not spur on action. Some performances demand more of the viewer, where they become involved in a verbal exchange or dialogue with the artist – who acts as interlocutor (Goldberg 1999:153) – which influences the series of actions that occur." (p.10)

I thought it was a fascinating section to look at as it delves into how these pieces of work seek to involve the audience, and what that adds to the meaning of the pieces. In most work we are just a viewer, but in pieces like this our simple viewing almost makes us a perpetrator to any of the pain/discomfort the artist is experiencing. We are the tortured yet also the victim.

I think work in this space is incredibly interesting as it's often boiled down to mindless shock content with no purpose or message, but when it's looked into they're often very powerful pieces. On the surface it may just be needless pain and disgust but that method of delivery sticks in people's minds; you may hate these pieces or the way they're done, but a violent and intense delivery of a social message is more likely to last in peoples minds. I find it interesting that people often hate this work so adamantly, as if the fact that they can still remember it to be able to hate it is proof of the piece's success.

fig 3 (stills from the performance)

Another performance mentioned was "Rhythm 0" by Marina Abramovic and I find this piece the most fascinating example in this space. In this performance, Abramovic stands by a table with 72 objects and invites the audience to use any of them on her. In this, "the audience is forced to become the makers, the instigators of action who determine the course of events." (p.9) The objects on the table ranged from lipstick to weapons like a gun and knives. the performance was 6 hours long and by the end her clothes had been cut off, she'd been "cut, painted, cleaned, decorated, crowned with thorns and had the loaded gun pressed against her head." (p.9) Throughout this piece, Abramovic became nothing more than an object, a canvas for the audience to use however they wanted. It's interesting to see how this piece looks at being powerless compared to how in other performances like this other artists sought to gain power and control. I mostly find this piece fascinating because of the audience reaction; "Without group participation the objectives cannot be achieved and the performance does not occur. While the individuals in the audience were not obliged to participate, there was an expectation for them to take part. Without group participation the objectives cannot be achieved and the performance does not occur. While the individuals in the audience were not obliged to participate, there was an expectation for them to take part." (p.9-10) The people who didn't take part, in a way, were still just as guilty as those that chose to hurt her; they did nothing to intervene and they kept watching in some sort of morbid fascination. It becomes quite a psychological piece as it begins to explore the human condition and how disgusting we can be if there is no perceived consequence, or if we are told to do something. It reminds me of the Milgram Experiment; a set of experiments conducted by Stanley Milgram which observed human obedience to perceived authority (Stephen, E.2024) The experiments concluded that people would be willing to inflict pain on somebody just because they were being told to by somebody with authority. Whilst there isn't really an authority in this performance, Abramovic could almost fill that role as she is inviting people to engage.

REFERENCES:

Rina, A (2014) Taking Apart the Body, Performance Research, 19:1, 5-14, DOI: 10.1080/13528165.2014.908079 (Accessed 3rd March 2024)

Stephen, E (2024) Milgram Experiment. Available at: https://www.britannica.com/topic/authority (Accessed 3rd March 2024)

FIGURE LIST:

Fig 1: Bacon, F. (1953) Study after Velazquez's Portrait of Pope Innocent X [Oil on Canvas]. Des Moines Art Centre, Des Moines.

Fig 2: Pane, G. (1972)Le Lait Chaud [Film].

Fig 3: Abramovic, M. (1974) Rhythm 0 [performance].

[yoursminehourss]

someone ipened a awindow behind wherre km sitting andim cffffreeeeeezijngg

[neonbreakor]

Rune nods and hits the call button on the screen and awindow pops up. A moment later, Gurren steps into frame. A smirk on his face as he notices whose shirt Rune is wearing.

"I'm hoping you didn't call to tell me this is exactly what it looks like"

He says with a raised eyebrow and crossed arms.

Penn perches on the arm of the couch like a gargoyle and gives a thumbs up, paying no mind to the fact that not only is he still shirtless, but Rune still has his shirt on.

"Ready whenever you are."

[annettedwiloveus-blog]

Books are the window to escape, out from all our problems. 

Reading takes our soul to the land of peace and wisdom away from pain.

[wilczachannn]

━ HELLO EVERYONE !!

just a few informations for today!!

- i won't be really active today, because i feel like shit and need to get a few things done. [so no answering asks, sending anyone asks, rebloging etc.]

- i will be online in case i get requests, so it is possible for me to see if i get asks etc.

- i feel like shit for no reason again, please try not to comfort me or anything, these feeling will be gone soon.

- please tag me in anything related to me so i can see it later.

i think that's all, goodbye!! <3

have a great day/night!!

[rogerrcoyle]

what if i cry

[thespacenico]

hello please recommend me good klance fics darcy or i will just reread hey mom i met a boy (i’ve read it so many times) ((it’s very acceptable to rec your own work because you know i live for it))

SORRY FOR ANSWERING THIS VERY LATE BUT AHEM HERE WE GO

‘til no space lies in betweentwo kids, you and menot a dream after alllet’s go; don’t waitgrowing painsa bullet just to meet youyou should date meas long as i’m breathing (i’m not leaving)in the airwaywith quiet whisperswould you like fries with that?so what are you waiting for

[starlightments]

staaaar do you have any klance fic recs rn? i’m talkin that all lowercase title from a poem or a song and it’ll wreck my world for a couple weeks type of fic 💕

Giiiiiiirl I wish I had something for you...... I’ve been on writing lockdown for the past few weeks so I can finally get this chapter done, and haven’t done any new reading in that time, it’s so sad :’(