#but the beauty of all this is we can choose to interpret taylor's art however we want

[asteracaea]

re: the smallest man who ever lived. did you see that the Eras stage setup for this song emulates the Victoria Secret show invasion segment (from the vs show taylor supposedly met karlie)?

So l guess gaylors who are making this song about karlie have actually a point. Not only lyrics (many of the song's verses suggest kaylor), song callbacks (mad woman parallels) AND the stage setting for this song is giving karlie. She might be the smallest man who ever lived in Taylor's eyes.

i have an experience when i listen to taylor's music and see her visuals where, because i see such overwhelming evidence on the daily that suggests that not only is there no bad blood between t&k but in fact quite the opposite, i can feel karlie's presence in taylor's art as a general major muse. and so even though i do not believe they had a falling out the way the public believes they did, i can hear things in otherwise sad songs about heartbreak or loss - like cardigan, gold rush, the 1 - that evoke karlie with specifics but it doesn't make me question what i think happened or is happening between them.

taylor's literally constant references to the vsfs never feel like she's making a dig at karlie. to me, her obsession with these events in her art tell me that these were really significant times for her that remain important, and she wants people to keep looking back at that. i didn't notice this particular parallel in the TSMWEL set, but if it really is another reference to vsfs, it wouldn't make me question that all the other millions of instances of her doing that were not done with love. in fact, it would make me think about its use in this song and what that might actually mean in the context of the rest of her body of work: if all other vsfs allusions have been joyful/heartfelt/full of love, how might that alter the intended interpretation of this song?

[ordulotusspa]

Philosophy | Divine Madness

Plato's Phaedrus.

I wanted to start with this dialogue because even if it comes kind of late in history of antiquity, it really describes a very important part of greek tradition that influenced later philosophy and was very much present in romantic poetry and art. It's also a very pretty dialogue and one of my favorites. The Phaedrus of Plato was written in his midlife, around the 370 B.C. It presents his famous allegory of the Chariot, where he states that the soul has “wings” and explains how it becomes material, but mainly the dialogue is about love and the Madness of the Gods, which will be my specific focus here. This dialogue has been wrongly treated as mainly aesthetic, but the truth it's a theological dialogue with many spiritual additions, because love was for Plato a spiritual thing, not just an art or a satisfaction.

☀️ Synthesis

So let’s establish a little bit of context. The dialogue takes place in the countryside, and its actors are Socrates, as usual, Phaedrus, and Lysias (although he’s just mentioned). Lysias is a famous sophist, meaning he’s a speaker, and Phaedrus has a copy of one of Lysias’ most recent speeches, that after a lot of teasing and insistance, he ends up reading to Socrates. The speech verses about how it’s best to establish erotic relationships with a loveless person, rather than do it with a passionate lover. What Lysias says is that the loveless person won’t end up attaching to you, and the relationship won’t create gossip, involve jealousy, and it will much certainly allow for a larger selection of other lovers. Socrates is actually very sarcastic so he replies to this conclusion that Lysias should’ve written about the benefits of being the lover of an older or poorer man rather than a younger and richer one, and his words would be a good cause for the whole city. However, Socrates demostrates why he disagrees with Lysias, pointing precisely at the divine nature of passionate love. So in a very, very beautiful manner Socrates discusses why it's more beneficial to be loyal rather than a hoe lol. The dialogue treats the knowledge of the Gods and the nature of passion, how it comes to our souls through Eros, and helps us get closer to the divine and experience Them. This speech of Socrates is called the palinode.

☀️ The immortality of the Soul

First of all Socrates points at the immortality of the soul. To prove the existence of the Soul —of course, with the scientific knowledge available to them in their time—, Socrates points out movement. Things move because of a force, or because of will. For him, the sole observation that the Cosmos is full of movement and it's constantly advancing is enough proof for the existence of will and force, and thus the Soul. It's as easy as follows: things that move because of an external agent move by force and lack a soul, like stones, for example, or leaves. Things that move because of will have a soul and are bound to excercice it. For Socrates, the sun seems to move by will so it's evident that he has a soul, a much more complete soul than ours, bigger, and that makes him divine. The being that moves by will won't stop living, he says, because his movement must be continuous; if we move by will, but we die, then there's a part of us that doesn't die; our souls are divine and immortal. The body is a receptor of the soul, since movement by its own is the escence of the soul, and drive by force the escence of the body. So basically Socrates is saying you have soul because you can choose, you can think, you can move by will, and things that don't have a soul are less complex and can't do all of this. A body moved by will is animate, a body moved by force is inanimate.

Socrates then explains that the Universal Soul rules over the inanimate matter, and makes its evolution through the cosmos, manifesting itself under a million different forms. He speaks also of the wings of the Soul, that carry with them what is heavy (the material body) to the superior regions, where the Gods reside. This means that the Soul participates in divinity, through vibration. To explain it with a more modern concept: low vibes get you closer to matter, high vibes get you closer to the Gods. He also mentions that the Gods can't be defined by reason because reason is a human thing; nature lacks it, the universe lacks it, it's ours, and it's entirely theoretical.

Socrates also speaks of Himeros, God of desire and love; the feeling of exaltation that comes from him elevates the soul and helps it recover its wings. Socrates says:

“This affection, love, mortals know as Eros, the winged God; but the immortals know him as Pteros, the giver of wings.”

☀️ Theia Mania —the madness of the Gods

Remember what Socrates said about reason being unable to define the Gods? In Phadrus, Socrates exchange human intelligence for something greater and more beneficial: divine madness.

I know this is supposed to be our main topic, but really: Plato doesn't really say much about it. However, according to Thomas Taylor (who you should definitely read if you ever wonder about Plato, because he was an expert on the matter and openly pagan), Plato was usually exalted and inspired by divine madness when writing, specially dialogues like this one¹.

So as we had discussed in the summary, the dialogue starts with a discussion between Socrates and Phaedrus on Lysias' speech about choosing a non-lover rather than a “mad” lover. Phaedrus agreed that the mad lover will cause problems because he is so drunk in passion, that he cannot control himself: however, the non-lover will be satisfying enough, perhaps a bit cold, but won't cause troubles because he won't be invested in the relationship. As we know, the cause of desire is Eros. But Eros is a God, Socrates says, and Gods cannot be the cause of harm, ever. So the desire that the God has inspired in the mad lover must then be of good nature, beneficial and excellent. This madness of love, then, leads in the end to the highest kind of philosophical cognition.

There is two types of madness: the human type involving an internal state of psychic disharmony, and a divine type, involving possession by a God. Socrates says that the divine type of madness is always good, and we can see it in the Pythia, the priestess of Apollo. He says that when magicians try to read divine symbols or interpret certain phenomena, like the shape of the clouds or the sound of the birds, this is a type of wondering of the future that lacks divine inspiration because it uses human knowledge and it's more possible to fail. However, when the Pythia is possessed and inspire, it has been proven that her prophecies are true, and they do happen; she is actually losing control of her body to let the Divine enter her mind. These prophecies have always been beneficial to humankind, so this madness of the Gods is good and is real.

There is four types of divine madness, Socrates says:

Ecstatic Madness: caused by Apollo and Dionysos. Mantika, the prophetic madness of Apollo, and Telestika, the ritual madness of Dionysos. Then there's Inspirational Madness: caused by the Muses and Aphrodite. Poetika, the artistic madness of the Muses, and Erotika, the passionate madness of Aphrodite and the Erotes.

This madness spontaneously adapts itself to its producing cause, imitating a divine power, and thus necessarily becomes magnificent, vehement, and exuberant: for such are the characteristics of it's source².

Ain't this beautiful? The idea of divine madness will be later developed by neoplatonists and adapted to a set of practices called theurgy, which will presume the aid of achieving such unity with the Gods.

☀️ Observations

When reading on this topic, one must be careful and check the sources. Plato is a philosopher thats has been thoroughly misinterpreted and edited across history by both atheists and christians. Most authors will tell you he was a monotheist, or even an atheist. He wasn't: Plato was the product of his time and his culture, and a polytheist. When he speaks of divine madness and the Gods he does so literally, as he's a faithful and pious philosopher. His metaphysics are pluralistic and this dialogue is an evidence of such.

On another topic, we can see divine madness across many cultures in human history. The possession by a God always leads to a greater benefit and is good and pleasurable. So one can judge many experiences based on this: the possession by a lower spirit wouldn't bring forward the same results, emotions and characteristics that the possession by a Divine agent would.

So I want to know, if you've come this far, what do you think about Plato's approach to Divine Madness? do you have any thoughts on this concept? Please add your comments, I'll be glad to read them!

I hope this post has helped, there will be more ☀️💫🌻 A sidenote: this post and the whole series of Philosophy of the Gods is being made in devotion to Apollo, as he is the God of Philosophy, my patron God as a disciple, and was the God of Socrates.

Sources:

¹ Plato, Phaedrus, spanish edition (Gredos).

² Thomas Taylor, Introduction to Philosophy and Writings of Plato, The Prometheus Trust Edition.

[aelaer]

☕ WHY DO YOU THINK TONY DOESN'T LIKE BEING HANDED THINGS (OR IF YOU KNOW THE CANON REASON THAT WOULD BE AWESOME) 👀👀👀

From what I could find, there is no canon reason. And I didn’t have any headcanon for this. So I outsourced and went to the internet to see what they thought. They had interesting answers. Here are all of them. I put my favorite answer at the end. (Copy/pasted rather than screenshotted so I don’t have to worry about screen-readers):

Via Rob Taylor on Quora:

Agent Carter fleshed this out in the final episode. Basically both Howard and Tony have OCD tendencies, most geniuses do. But Tony has a LOT of psychological issues at play.In Howard’s case it was displayed with humor, that his gadgets were not stored right. Tony’s is more to do with avoiding any personal involvement where he can. Being handed things is just one part of it, he beds women and has Pepper eject them, he can’t stand the pendulum and is ALWAYS flippant and inappropriate around authority, in particular Fury. Tony always avoided bonding with people, literally has Rhodey as a friend and Stane as his father figure at the start of the film and Pepper and Happy as his staff, albiet close staff. Since Yinsen’s death he tries to avoid drawing others into his world as they get killed, which is exacerbated by the dangers faced by Pepper, Coulson’s death and Hogan’s near killing in IM3. He is even off with kids in IM3 where he isn’t previously, so he is also quite paranoid.

Via Andrew Hart on Quora:

If you think back to (or go back and watch) Iron Man (the first one), you’ll notice Tony is handed things in the movie and it’s implied he’s handed many other things.

There are two situations that are most notable.

At the party when Christine Everhart comes up to Tony after he got back from Afghanistan, she hands him pictures of terrorists using Stark technology to attack Gulmira (however you spell it), which if you recall, is the place Yinsen says he is from. This hits Tony hard, because it’s HIS weapons being used to terrorise the place of origin of the man who died to save him.

In this same conversation, Christine accuses Tony of signing off to allow for Stark weapons to be given to those terrorists, which Tony is immediately upset by. It’s one of the few times when Tony doesn’t have a ‘smart comeback’, but is shown to be upset and disturbed by this information. This makes Tony wonder “What has he been signing? Could he have signed off for these weapons to be used without even knowing it?”

As CEO, he signs a lot of stuff, and he is responsible for everything Stark Industries does. Tony assumes the worst, that he signed off for the weapons to be used and didn’t notice it. He assumes it was just one of the random things people kept handing to him to sign.

So in this one conversation, we have Tony being handed images that deeply trouble him, and then being accused of signing paperwork that was handed to him to allow for these images to exist.

Basically this one conversation leads to Tony having a peeve about being handed things. Understandably.

Via KCreep on Reddit:

It hasn’t been outright explained. However my interpretation is this.

Ultra, rich, weathy, men have a tendency to have weird eccentric quirks. Think of Howard Hughes and him collecting his own urine in jars.  You don’t get super weathly without being a bit gifted and more importantly being right more often than not. So over time, they’d settle into the concept that everything they do is right.

My line of thinking is that Tony Stark is so cocky and sure of himself, that the entire concept of being handed anything means that he’s not in control of the current situation.

As in if someone hands him a file to look at. He might think that he’s the genius in this room, no one needs to tell him when he needs to get to work. And the act of handing a file to him would be offensive.  So while he may be too polite to just call it out for the way he thinks about it. He defaults to not liking being handed things.

Of course it’s just my insight, I could be overthinking it.

**edit then I just ran your question by my girlfriend and her immediate response was… He’s a germaphobe.  She brought up Jarvis handling things in his workshop, how his cars were all kept prestine, and how Pepper would be the one to hand things to him, someone he’d trust to be clean.  So you got two theories there.

Via Sarah Stodola on Quora:

I don’t think we have an official, worded answer from Marvel; they haven’t spelled it out. The following is my own observation and theorizing, after multiple viewings of most of the MCU films.

I think the core reason has to do with trauma and trust.

It’s not something he’s had or done all along. The trait didn’t actually seem to exist at the beginning of IM1 - he interacted with women and a pressing crowd at the casino, without issue. We also got the picture that he was a partier (crowds, booze, noise, sex) on a regular basis. We first see the hints of it later in IM1 (he’s uncomfortable with Obadiah, an old friend but also a very dominating personality, putting an arm around him - well before he knew of the betrayal), and then we have it pointed out very obviously in IM2. What changed?

Tony was held captive and tortured. Both people in his world and a lot of fans seem to forget that. Not just slapped around, but beaten, half-drowned, and electrocuted by people who seemed to take some pleasure in their “art” - all while having just undergone major wounding and open-chest surgery. He’s lucky he’s alive. He’s certainly not unaffected.

It doesn’t just show in not liking to be handed things; the issue is broader than that. That’s the piece he vocalizes, and he seems to play off it purposefully, obnoxiously even, as being difficult or quirky - better to be seen as annoying than vulnerable. But from IM2 on we also see that he doesn’t like crowds anymore - he will push through them if need be, but he goes visibly physically tense and does it quickly. He also startles quite noticeably when touched without warning on several occasions through the subsequent films - he downright jumps and half-turns if it’s from behind. It’s not just that he doesn’t like it. It actually spooks him; his eyes widen. His more dramatic anxiety/PTSD after “Avengers” seems to make most people he interacts with not look any deeper, but the older issues are still there.

He’s continually on some level of physical awareness; he holds himself very precisely. Even when dealing with the other Avengers he tends to circle - subtly - just out of reach, usually chattering steadily or joking to make it less obvious, and making conscious decisions to occasionally move in to do something like give or allow a brief shoulder grip. But it is obvious once you know to look for it. His body language downright shouts. The only times he seems to forget about it are when he’s angry (then he’ll get aggressive and up in people’s faces) or in an emergency (adrenaline, total focus on what needs to be done).

The only times he completely goes loose-muscled and unguarded are when locked in his basement hideaway (safe place), or under Pepper’s touch. The only times he moves comfortably in strangers’ close proximity are in the armor.

I suspect “don’t hand me things” is simply an excuse he can get away with to not to get within arm’s reach of most people - one fewer reason to end up in close quarters with another human being. The only regular exceptions to the rule are also the only people he’s shown to be actually comfortable being in physical contact with - Pepper of course, Rhodey, Happy, and oddly enough, apparently Bruce Banner. (And yes, Peter later on, I was reminded. Tony shows some stiffness for awhile with him too, but seems to relax gradually.)

Really, when you look at all the little things unspoken but added up to a clear picture, it’s hard not to realize just what an amazing actor RDJ really can be. To express so much about a character’s state of mind without using words at all - except the occasional snarky “I don’t like to be handed things.”

**

The above of course is all about Tony Stark in the MCU. I saw from another answer that this trait has also been carried into the comics. I can only surmise that either 1.) it would come from a similar history and mental state in the comic character, or that 2.) the writers carried over the trait from the films without looking into why it existed there, in which case it could end up a lot shallower of a reasoning.

I think Sarah hit the nail on the head and that’s the reason I like the most. Feel free to choose as you like. That’s the beauty of headcanons.

[speaknowslut13]

A Relative Lyrical Analysis- Cruel Summer

Cruel Summer is stuck on replay in my head.  Its catchy, it’s daring, and its brilliant.  I wanted to start doing lyrical analysis on Taylor Swift’s songs because I’m 100% that nerd.  I started thinking though, that sometimes its not important exactly how Taylor Swift’s experience is coming through but how we take the art she’s given us and have interpreted it through our life lenses.  So, without further ado, I give you my first Relative Lyrical Analysis. 

The Lyrics:  “Cruel Summer” by Taylor Swift, 2019 Lover

     (Verse 1:)

Fever dream high in the quiet of the night

You know that I caught it

The syntax she chooses to use is so interesting here. She’s flipping the sentence a bit (very Object/Subject/Verb or “Yoda” syntax).  If you want to really understand what she’s saying, read it like a proper sentence.  This is a technique she uses throughout the song.  I love it.

Let’s break this down:  She’s caught the “Fever Dream High”.  What is a Fever Dream High?  Without looking it up, I would say think of a high fever.  If you’ve ever had one, time seems to move by at its own pace.  It’s a weird world that seems dream like.  Sometimes you think hours have passed but its been seconds.  Other times it moves so fast much like dream logic.  It is surreal.  

So, she’s caught it.  The imagery here is a disease.  Which makes sense with her metaphor of a Fever Dream High.  

The part that is pretty fascinating is the quiet of the night.  Not only does this conjure up an image, it captures the feeling that goes along with that.  She’s alone suffering through this fever.   But there is something so delicious about this fantasy that she sits alone at night combing it over.

bad bad boy

Shiny toy, with a price

You know that I bought it

Let’s start off with “bad, bad boy”.  It mirrors MAATHBP “bad, bad girl” which is fantastic.  Maybe she did it on purpose, maybe it’s a coincidence; either way I love it.  

This part makes me think that she went into this relationship (whatever type it is) believing she was in control.  Taylor is aware that the subject is known to be ‘bad’. Taylor knows that the subject is ‘bad’ for her.  

He’s a “shiny toy with a price”.  Boy toys are boys whom one uses for an intended purpose. Often its for fun (hence ‘toy’).  When something comes with a price, it has a risk versus benefit analysis.  In other words, do the risks of the option outweigh the benefit or vice versa?  Because Taylor goes on to say that she “bought it” it implies that she determined the benefit was greater than the risk.  

killing me slow

Out the window

I’m always waiting for you to be waiting below

So, not going to lie, I struggled for a bit with this one.  The feeling is tangible but putting it into words was difficult.  Initially I was reminded of a song that I love, Killing Me Softly.  However, I eventually decided that the feeling I was picking up was being teased. I imagine it’s a scenario where a game is being played with her emotions.  Once I was able to put it into words I felt better.  He’s playing a cat and mouse game.  The control she has (probably imagined) is slipping.  She’s now waiting for him every night.  She is used to him being below her window.  It’s like a distorted fairy tale.  

 Devils roll the dice

Angels roll their eyes

The continued game imagery.  As well as control imagery.  Clearly this is not up to her but the fates playing with her life. The control of how this is going to go is out of her hands.  

What doesn’t kill me

Makes me want you more

This ties in the rest of the first verse imagery. A Fever Dream High, dangerous and is Killing her Slowly.  She decided that risking this disease was worth the benefit she’d find with him.  A beautiful metaphor for deciding to jump into a relationship.  She comes back and says this isn’t going to kill me, but it is making me want you more. She’s losing control over the situation. The emotions she’s receiving are too powerful to walk away.  She just wants more.  Like a drug.

     (Chorus: )

And it’s new

The shape of your body

It’s blue

The feeling I got and it’s

Ooh

It’s a cruel summer

The shape of his body is new.  Literally it points to his newness.  He’s a new partner.  However, this can be taken figuratively.  The feelings are different to Taylor.  Somehow the subject elicits a different and new response in her heart.

The feeling she has is blue.  This is making her sad to feel this love.  Interestingly, the new/blue references can be linked to a recurring theme through the album and that is the wedding rhyme.  Something borrowed, something blue, something old, and something new.  She’s using the same syntax as before here too.  I’m living for Yoda Taylor.  

It’s cool

That’s what I tell ‘em

No rules in breakable heaven but

Ooh

These seem self-explanatory.  Noteworthy, however is the contrast in word choice between “Summer” (which is hot) and “cool”.  This is a beautiful unsaid connection to Cornelia Street’s lyrics “when we were card sharks”.  This screams poker.  Its clearly a bluff.  It becomes abundantly clear with the bridge.  

Breakable Heaven is such a vivid metaphor for a tentative relationship.  It describes this relationship as a poorly built construct.  The slightest change in pressure, temperature, wind could bring it crumbling down.  And yet it is just so beautiful and seems so pure.  

It’s a cruel summer

With you

Let’s talk about Summer.  I am living in a place called Phoenix, Arizona.  So, I know a LOT about summer.  Its basically one of two seasons that we have.  Let me tell you that this line conjures up so much pain its ridiculous.  I have literally branded myself on a metal seat buckle.  It was painful.  It’s hot. Dehydration is just a thing that happens.  There is sweat, dirt, and no reprieve.  Except for maybe the Costco dairy rooms.  Other than that, it’s miserable.  However, there are some benefits to Summer.  You can bake cookies in your car while you’re at work.  I’m kidding.  A little bit. However, there is so much sunlight. The nights are warm.  Swimming.  I have many good memories attached to summers.  So, hear me out when I say that “Cruel Summer” is more figurative than a literal time stamp.  Granted, the story behind this song could have been set in literal summer.  But saying that it’s a “cruel summer with you” seems to be more of a description than anything else.  I feel that this hearkens back to the beginning of the song where Taylor mentions a “Fever Dream High”.  Summers are long and hot.  Time has its own pace it seems.  This seems to be a theme so far.  He could be the refreshing Costco refrigeration.  Or the large iced water with lemon in it.  But it is gone too quickly.  Eventually the water is gone and you’re thirsty again or you’re kicked out of Costco.  This being left high and dry after such a refreshing moment is cruel.  

      (Verse 2: )

Hang your head low

In the glow of the vending machine

I’m not dying

This is one of the few times in this song that I will say that this is a snapshot memory.  The detail in this is precise in such few words.  It is Taylor’s forte.  We will never know what memory it is that she’s sharing here.  So, I’m going to attach the feeling I get from that last line “I’m not dying”.  

This sounds like a mantra you tell yourself. The feeling I get here is one of grasping for control in an out of control situation.  In fact, it reminds me of myself.  There was one summer that I tried and failed to convince myself that the guy I liked was not the guy I liked.  I then tried to convince myself months later that I just wasn’t in love with him.  It didn’t work.  So this “I’m not dying” business just feels like a person trying to convince themselves that the perfect nature of this image has no affect on them.  She’s ‘melting’ as she’s watching their profile. Maybe they don’t see her moment of control loss.  Maybe they do.

Lyrically it also ties in the “killing me slowly” motif from verse one.  

We say that we’ll just screw

it up in these trying times

We’re not trying

When you’ve been burned one too many times, eventually you start saying you’re just not going to try anymore.  Things are out of control and you just don’t want to live through more heartache.  Everybody’s threshold is different so maybe one person’s never been in a relationship but has seen so many fails so they don’t try.  On the other hand, maybe, someone has been in many heartbreaking relationships, so they’ve stopped trying.  It happens no matter how sad it sounds.  This is also an image that reminds me of summer flings.  It’s a fling, not meant to be taken farther than companionship for a few weeks.  Anything further and it might be too hard to get through.  Its playing it cool in a non-commitment because there is just too much outside pressure.

So cut the headlights

Summer’s a knife

I’m always waiting for you just to cut to the bone

So, here we have this knife imagery.  In a way it reminds me of a sadistic game of Russian roulette.  With a knife. It’s a cynical way of saying I’m waiting for the other shoe to drop.  All of this is figurative to explain how they’re both playing hot potato with their feelings.  Once again, he’s teasing her and she’s engaged but she’s expecting the worst from this exchange.  

Devils roll the dice

Angels roll their eyes

And if I bleed you’ll be the last to know

She’ll never let him see if her deck was good or not. Taylor will not be letting him know her true emotions.  It seems to be one last grab at control.  She desperately wants to control how this is going to end. Even if she’s bleeding and hurting, her poker face will stay in place.  

        (Chorus Repeat)

        (Bridge: )

ALL THE ROM COM CLIMAX FEELS

I’m drunk in the back of the car

And I cried like a baby coming home from the bar

The alcohol imagery in her lyrics are just *chef’s kiss*. This is the other snapshot memory but oh so much more loaded.  I think she’s literally drunk, but I also relate to this as a lack of emotional inhibition. She’s done and she’s lost control.

Said ‘I’m fine’ but it wasn’t true

This is how I imagine it.  The subject is at a party or bar with her and he takes the opportunity to make her jealous.  He’s trying to get a rise out of her.  And in order to keep control, she’s pulling the “I’m fine” card.  LADIES.  Oldest trick in the book.  A decent detective can see that you are clearly NOT fine.  

I don’t want to keep secrets

Just to keep you

This is the moment he runs after her in a rom com. The big confrontation.  She’s done trying to keep her feelings to herself. She may also be done sneaking around with him.  She’s in love and she can’t hide it.  

 And I snuck in through the garden gate every night that summer

Just to seal my fate

I have this image of Taylor Swift creeping into a dark garden like a cartoon criminal.  It cracks me up.  

I don’t know—I’m weird.  

However, here she says that this snapshot series of memories have solidified her fate.  She’s finally admitting to him that she was never in control.  

And I scream ‘For whatever it’s worth,

I love you, ain’t that the worst thing you ever heard?’

Clearly this is a loaded moment.  For starters, if we’re talking specific to Taylor, anybody she loves will be drug through the media mud with her.  That can be terrifying.  

In general, it’s a self-conscious nature.  Her love is a terrible fate.  It also means that if this is a casual situation, its now over. Screaming it is just her fighting at him.  I’m not going to say with.  Its more of an ‘at’ action.  

He looks up grinning like a devil

THIS LINE.  He’s known this. He has been angling for her to finally admit it.  Its been a long con. He’s been teasing her, goading her, so she’ll let him in.  The cheeky devil is clearly pleased with himself.  He’s put her through all this so that she’ll finally let go of controlling this narrative.  He definitely has her number and he most definitely loves her back.  Its frustrating but its sweet.  

         (Chorus/Bridge repeat)

In conclusion. WOW.  What a song.  Taylor Swift has returned to her story telling roots with style.  I feel like I’ve watched a really good rom com.  One where I am playing back my own memories as the plot line.  I get a strong sense of Friends with Benefits vibe, or summer fling but I also can see this applied to the time old ‘are we/aren’t we’ story.  I feel like both life and art melded into each other to create such a beautiful bop.  I really drew from my own memories to create the feeling attached to this.  And I think that’s art.  Its subjective.  Her experience has been made universal by purely being relative to the listener.  

 If you enjoyed this, go ahead and leave me a comment.  You can also message me with requests.  I’ll give them my best shot.  I’ll answer any questions too.  Share your opinions and just be lovely to each other!

 Love,

Lauren

[exoticarmy127]

#GetCreative project:  where readers become writers.

Hey guys! 2016 has passed and it was definitely a very busy year. I finished book 3 in the Dark & Wild series, edited two books, all the while keeping up with my new day job. There was so much going on that the year passed without Switch it Up Week ever gracing this blog. I want to apologize for being unable to hold this event as promised, since this was supposed to be an annual thing. But to make up for it, there will be two Switch it Up events this year! So part 2 will happen in the second half of the year. 

Switch it Up Week 2017: #LSS Edition is the same as our previous event back in 2015. This is basically a reversal of roles where for a whole week, you guys get to be the writers on this blog instead of myself. <3 It’s a great opportunity for scenario blog newbies to promote their works and for everyone to try and dip their toes into writing their own stories. You can check out some of the amazing 2015 submissions HERE.

However, this year’s prompts are not going to be random lines and quotes like that of 2015, which brings me to the sub title: #LSS Edition. 

As you all know, I have a series in this blog called LSS a.k.a. Love Song Series (mobile masterlist). Similar to this story playlist, you would have to write a piece inspired by songs lyrics. 

But before we get to the prompts, let’s get into the mechanics on how you can participate in this event!

Mechanics

This is a fanfiction drabble/scenario game featuring one-shots with a word limit of 4,000 words. Chaptered works or any writings that would exceed the word count would not be acknowledged or re-blogged.

Choose a member from BTS or EXO to feature. Pairings and ships are allowed. You may feature other fandoms (e.g if you want Harry Potter to make a cameo in your story, why not?) but BTS/EXO must be the main characters. 

Choose only one of the prompts from the list. I will not require lyrics to appear in your stories for you can interpret the whole song (though it would be nice if you guys focus on the lyrics provided) but if you want to challenge yourselves, by all means go ahead. 

Make sure to include the prompt in your post, highlight it in BOLD, and then put the word count before the story begins.

Any genre is accepted. If you will be writing smut or themes of violence, sexuality, language use/profanities, and any form of abuse, please put warnings/triggers so that readers would be informed.

To submit your works, simply make a post and tag me:(@exoticarmy127) This is IMPORTANT for I will be looking at my notifications and browsing through my username tag, so you need to tag me so I would be able to reblog your works.

Switch it Up Week is from February 01 - 10 2017. Submissions would be posted simultaneously, so in the next few days, be ready to see stories on my blog dash… written by YOU. ;)

HAVE FUN AND GET CREATIVE!!! Keep in mind: the first idea that comes to your mind once you see a certain prompt is your best idea. But think again and that just might be your greatest idea.

Lastly, read the mechanics again and make sure all rules are followed. For questions, don’t hesitate to ask! I’ll answer them as soon as I can. :)

Requirements

Stories must have titles.

Author’s name should be written at the end of the story, with a link to your personal/scenario blog (consider this a reference for readers who would want to read more of your works. If you have a masterlist page, this is the place to link it to.).

At the beginning of your story, write the word count, main characters, triggers/warnings (if any), and that this is an entry for exoticarmy127’s Switch it Up Week 2017 (This is for tagging purposes :P) and put in a link to this post so others will be informed and they may want to join too.

REBLOG THIS POST if joining (or just help me promote the event! The more the merrier, right?)

Some final notes: this is not a contest and is created for the enjoyment of readers and writers on this site. I believe each piece is a work of art and should be appreciated. If you like a story, reblog it and give the author your comments! They’re going to love that. Rest assured that all the stories I will reblog will have notes from me. I’ll be your first reader, after all. haha! Though please be patient. I can only read and reblog so much and I need to comment on each story but yes, I will read all of them. 

Are you ready for the prompts? Without further ado, here’s the playlist!

*I’ve included the song titles and its artist so you guys could look it up and listen. <3

“Once I was seven years old…” (7 Years by Lucas Graham)

“I like being submerged in your contradictions…” (Beautiful Mess by Jason Mraz)

“Bittersweet and strange, finding you can change, learning you were wrong.” (Beauty and the Beast from Disney)

“Take these broken wings and learn to fly.” (Blackbird by The Beatles)

“I don’t care what they say, I’m in love with you.” (Bleeding Love by Leona Lewis)

“This love is another name for the devil.” (Boy Meets Evil by BTS)

“Is this the start of something wonderful or one more dream that I cannot make true?” (City of Stars from La La Land OST)

“Every new beginning comes from some other beginning’s end.” (Closing Time by Semisonic)

“She acts like summer and walks like rain, reminds me that there’s a time to change.” (Drops of Jupiter by Train)

“I’ll spend forever wonderin’ if you knew, I was enchanted to me you.” (Enchanted by Taylor Swift)

“All I know at the end of the day is you love who you love, there ain’t no other way. If there’s something I’ve learnt from a million mistakes, you’re the one that I want at the end of the day!” (End of the Day by One Direction)

“Even if I’m born again, I can’t be with anyone but you.” (For Life by EXO)

“Someone comes into your life, it’s like they’ve been in your life forever.” (Heart by Heart by Demi Lovato)

“You’ll never know the psychopath sitting next to you. You’ll never know the murderer sitting next to you. You’ll think, “How’d I get here, sitting next to you?” (Heathens by 21 pilots)

“People talk about the guy who’s waiting on a girl. There are no holes in his shoes but a big hole in his world.” (Man Who Can’t Be Moved by The Script)

“Cause I’d rather hurt than feel nothing at all.” (Need You Now by Lady Antebellum)

“Loving him was like driving a new Maserati down a dead end street. Faster than the wind, passionate as sin, ended so suddenly.” (Red by Taylor Swift)

“And you don’t have to change a thing, the world could change its heart.” (Scars to Your Beautiful by Alessia Cara)

“Why can’t you hold me in the street? Why can’t I kiss you on the dance floor?” (Secret Love Song by Little Mix)

“Hello from the other side. I must’ve called a thousand times.” (Hello by Adele)

“He was always there to help her, she always belonged to someone else.” (She Will Be Loved by Maroon 5)

“If you’re gonna be somebody’s heartbreak, if you’re gonna be somebody’s mistake. If you’re gonna be somebody’s first time, somebody’s last time… baby be mine.” (Somebody’s Heartbreak by Hunter Hayes)

“We had the right love at the wrong time.” (Somewhere Down the Road by Barry Manilow)

“Summer after high school when we first met…” (The One That Got Away by Katy Perry)

“I overdosed. Should’ve known your love was a game, now I can’t get you out of my brain. Oh, it’s such a shame.” (We Don’t Talk Anymore by Charlie Puth feat. Selena Gomez)

And there you have it! Some of these songs were suggested while some I took from my personal favorites and from putting my playlists on shuffle. They’re really great songs and each line can have a million different meanings. So knock yourselves out and build stories around them!

I’ve given you guys a few days to write and prepare before I officially start re-blogigng. Yes, you can submit more than one story but please use only one prompt per submission. For questions, just drop me a message.

Thank you and have fun!

- Kaye Allen

[jacquelinemulvaney]

Project Evaluation

12.12.19

BA (Hons) Photography                                              Years 2

Module: 4IMAG003W.Y The Constructed Photograph

PROJECT CRITICL EVALUATION FORM  

Name Jacqueline  Mulvaney

          Jacquelinemulvaney.tumblr.com

36RoseS

   Project Title

My project title did not change I kept with the title the ‘Mock Beatles’. This reason for this was there are only one set of Beatles and anything else would be disrespectful of the them, hence I kept with my original title

Subject

I choose to represent affordable art for everyone. I used album covers as my starting point and explored several different styles and artist. I started off by replicating a few iconic well-known albums covers in a fun way before selecting the Beatle second album, ‘With the Beatles’. This album cover was important as it was the Beatles first step to taking control over themselves. George Harrison was very disappointed with the art work of the first album, ‘Please Please me’, and felt this was where the band actively got involved. This was the start of their ‘Let’s get arty’, stage’. At the time this cover broke new ground in the production of album covers, as up until then most album covers were cherry, smiling images in lovely knitwear in beautiful locations. This distinctive cover in stylish black and white, with the Beatles faces looking moody in half shadow was a striking change from the norm. The photograph was taken in 1963 in a dark corridor of the Palace Court Hotel in Bournemouth. The lighting of this image was a big draw for me as I loved the moody atmosphere and felt that it would be a perfect way for me to explore lighting. I had some struggles but felt that I was able to do this image justice in the end.    

    Aims, Objectives, Concept

 My main aim for this project was to prove that the enjoyment of art is for everyone, it is everywhere, it can be interrupted and produced in many ways. Album covers are the first impression of the music you will be expecting from the artist and are amazing pieces of artwork that have been very carefully produced to make them eye catching and identifiable, as well as being the wrappings and advertisements for the music they hold. Such is the importance of the album cover many famous artist and photographers have been commissioned to design these covers. They can be very simple or complicated pieces of work. I wanted to bring the appreciation to the work and thought that goes into the creations of this. And as we are moving on from vinyl to CDs and even further the artwork of music being reduced to a tiny tile on your screen, I wanted to make you think about  what we would be missing out on if we did not go on treasuring this artwork that we are being handed as a by-product of the music we enjoy. For some people this is their only encounter with artwork and needs attention brought to it.

I feel that I have in some way achieved this, as by involving people as my models for my image and my image being viewed  and my talking about it,  it has, I hope, made people think and want to look at and value the artwork that they already own and feel proud.            

   Form, medium, presentation

 The image was taken on film, in a studio with four studio lights on four models using a medium format camera. It was then scanned and had some manipulation with photoshop. The image is being printed A3, in a square format with a white border to represent an album cover, to reinforce that album covers can be appreciated as a piece of art. I will also display the negative slide that will emphasize that it is valuable, a negative shows the it is respectable. I could fly post my image but that would infer that the image is disposable, and I want it to be valued. I could post it on Instagram but that would infer that the image is fleeting, here now and then gone, I want the idea of this method of art to be long lasting, so, it will be printed and displayed.  

Research Methods

 For my research to decide what I would like to use as my guidance, I looked at numerous albums covers, looked at many books and searched the internet for inspiration as to what album I wanted to cover. I started by reconstructing some iconic albums using my friends and family. To start with they were done very simply just to give me an idea of what was achievable to me with the resources that were available to me. I looked at photographers famous for their constructed photography:

Jeff Wall- who makes large scale colour images that capture people engaged in everyday life.

Gregory Crewdson- he stages cinematic photos of alienation and eerie scenes

Cindy Shermen- she poses herself as a verity of characters to comment on the female roles defined by society.

Sam Taylor Wood- A self portrait artist taking images of herself suspended in harnesses and then digitally removing all traces of them.

Erwin Olaf- who uses a mix of photojournalism and studio photography to document social issues.

Simon Johan- explores fantasy of which are dark and disturbing, he uses 100s of negatives to create his images.

Nick Waplington- using constructed and manipulated images to represent reality.

Duane Michaels – considered one of the pioneers of staged photography, he liked to work in studios with models, he said he didn’t need to walk around taking photographs, since it was already in his head.

The list is endless, since it can be argued that all photography has an element of staging and has been done since the invention of photography.  The photographer will always use the light, the location, the composition, the decisive moment, to say what it is that they want to show and say. And with new artist emerging Denny Treacy, Noemi Goudal, Julia Curtin, Victoria Jenkins, Peter Ainsworth, Julie Cockburn, this research could have gone on forever.      

I decided on using the ‘With the Beatles’ as it was ground breaking for its time. It was the first time this style of album cover had been used, and the first time it was recognized that art might be used alongside other genres of artistic talents.    

It also gave me the opportunity to be able to explore studio lighting, as this is still quite new to me. I really enjoyed this challenge, although I encounter some difficulties along the way, I do not regret taking on this subject. I now feel a whole lot more confident with using lighting and will not be afraid to use it in the future, I now see lighting as a friend and not something to be afraid of and avoided.      

References  

I found it really inspiring looking at all the different style that photographers choose to follow, but at the same time confusing. I did not like some of the stuff that I looked at, and just did not understand what it was or what it was all about, other I was blown away by. I think that photography, the same as writing and film making is subjective, you take from it what you want too. I looked at all these influences and took what I wanted and needed from what they were offering, however, I think it was down to me to do it in my way.  Everybody interprets and sees things in different ways, therefore I can only represent things in the way that I see them and hope that my message is there for others to also experience. It was important to look at different artist to see how they did things and executed their ideas, from the point that I could decide what I liked or did not like, what I thought worked and what I thought did not, by doing this I was able to produce my final image to the best of my ability and be happy with the outcome. I have enjoyed this task and feel that it is the base to all photography, construction to a photograph is always there we are just not always aware of it.