#but the setting is distinct and removing it from the equation would change a lot about how you tell the story

[235uranium]

on one hand I always feel highly embarassed thinking about anime crossovers with my Adult American TV Shows, on the other I do think of that one extremely well written hannibal/soul eater crossover

[shihalyfie]

Regarding Konaka’s influence on Tamers (or how much he actually didn’t have)

(Rest assured that if you’ve had a conversation with me recently about this issue, I’m not vaguing you; this conversation has come up a lot in the last few weeks, especially in my private chats, so this is just me deciding that I should write something about this for once since it’s been weighing on my head lately.)

I think, right now, with what happened regarding the DigiFes debacle, a lot of people are having complicated feelings about how to feel about Tamers, and this is completely understandable. I think there are also some things that may be inevitably unavoidable, such as starting to second-guess certain nuances in the series and what they might lead to. All of that is perfectly reasonable, and in the end, it’s going to be up to everyone to decide how they feel.

In light of this, a lot of people have been bringing up the fact that, while Konaka was the head writer, he was by no means the only person working on it. This is very much true, but I’d like to add something else to the equation: this is an issue that goes much deeper than the usual claiming death of the author for the sake of sanity. The full picture is that Konaka has always had much less influence on the series than the fanbase tends to attribute to him. Official statements have been very clear as to not attribute the entire series to him, and, among all the other controversial statements he’s made, Konaka himself has at least been very active about crediting the other staff members as far as their influence on the series! The idea that he was the only person who ever did anything substantial for Tamers is something I’ve been warning against since long before any of this happened (if you want proof, I have a post from April with this sentiment in it), and right now we just happen to be seeing what’s basically the worst possible outcome of the fanbase constantly worshipping him like the only real creative heart behind the series to borderline cult-like levels...when that’s never been true, and has resulted in unfairly taking credit away from people who deserved it.

I’ll go into detail below, and I hope this can help people understand the situation better and sort out how they feel about it.

Note that I make references to his infamous blog in this post, which I’m deliberately refraining from directly linking for obvious reasons, but all of the information is still there, so it should be verifiable if you decide to look for it yourself.

Personally, I’ve always found it really bizarre how there’s been this obsession with portraying Konaka as some kind of auteur whom the entirety of Tamers depended on. I’m not saying this out of spite towards him, because, again, even he himself was very insistent on disclaiming credit for things he wasn’t actually responsible for (he was quite humble in this respect, actually). Not to mention that I think it’s a mistake in general to constantly pin a single person in a multi-person production as the sole heart behind it, and the Digimon fanbase has historically had this strange double standard behind it when it comes to uplifting him as the only heart behind Tamers when nobody says that about any of the head writers for...anything else. (How many times has Nishizono’s name ever popped up when talking about Adventure? People are usually more obsessed with talking about Kakudou or Seki.) Konaka’s work is certainly distinctive, but Tamers had a lot more going on besides just that.

In fact, based on his own statements on the matter and all of the other official information we’ve gotten about Tamers production, while you can’t really quantify such things, it’s generally been estimated that Konaka was responsible for something like only a fourth of the series. Which is an incredibly low amount compared to what the fanbase would have told you before all of this happened, because of this fixation that he must be the genius mastermind behind the whole series. Not only that, this “brilliant auteur” image of him was so inflated that people were attributing way more of 02 to him than he deserved; 02 episode 13 was the only thing he contributed to the series and he was specifically brought on as a “guest writer”, and the overall plot of the episode was determined by the rest of the production staff and not him -- but ask the fanbase and they’ll tell you stories about how he invented some grand planned arc for 02 that got cancelled, or even that Tamers exists because of a “writer revolt” from him and other writers not being allowed to do what they wanted. (You know, as much as I understand 02′s a controversial series, it would be really nice if people didn’t make up completely baseless stories like this just to scapegoat it...)

I honestly cannot emphasize enough how much of the problem we’re in right now has been horribly enabled by the weird pedestal the fanbase has been putting him on. This is to the point where there’s even been a double standard where some of the more unpopular/criticized elements of Tamers must not have been the fault of a brilliant writer like him, and in fact was forced on him by the executives (this excuse had always been brought up anytime someone doesn’t like something about Tamers, just to make sure the image of him as a perfect writer was maintained). Turns out, as per his own admission on the infamous blog, while he wasn’t the one who initially had the idea of putting Ryou in, the part that rubbed the fanbase the wrong way -- that he came in as an accomplished senior who was better than everyone and played up by everyone in the cast -- was unabashedly his idea (he apparently was enamored with the idea of having someone like Tuttle from the movie Brazil). Again, this is a weird scenario where even Konaka himself has been more humble about this issue than the fanbase’s perception of him; he fully admitted whenever he had trouble writing certain parts. For instance, he doesn’t actually like writing about alternate worlds, felt they were out of his comfort zone, and only wrote in the Digital World because the franchise needs one; he’d stated that if he’d had his way, the Digital World arc wouldn’t have come in as early as it did, which might be a pretty shocking statement for a Digimon fan to hear.

If you want even more specifics, here are some extremely major parts of the series that Konaka was not actually the one behind:

The character backgrounds. Konaka stated on his blog that he wasn’t interested in going too much into character backstories because he felt it was too plot-limiting to say that a character is the way they are thanks to something in their past or background (basically, he cares more about plot than character for the most part), and that he’s also not into worldbuilding. Certain things like Ruki going to a girls’ school were supplied by Seki, who infamously loves worldbuilding, family backgrounds, and character settings.

Certain nuances of Ruki’s character, especially the part where she’s pigeonholed into uncomfortable places due to being a girl, were informed by Yoshimura Genki, writer from Adventure and one of the head writers of 02 (who eventually would go on to create an entire career out of feminist cinema).

According to the posts on his blog, Impmon’s character arc didn’t have much input from Konaka himself and was largely written in by Maekawa Atsushi (also a writer from Adventure and one of the head writers of 02).

The whole concept of Yamaki being redeemable in the first place was something Konaka didn’t originally plan for; he’d initially intended to make him a straightforward antagonist, but, of all things, his Christmas song, combined with the input of the other writers (especially Maekawa) humanizing him, led to the development where Yamaki eventually changed sides and became sympathetic. (This makes Konaka’s recent stunt revolving around Yamaki a bit painfully ironic.)

The director, Kaizawa Yukio, was deliberately picked because he didn’t have experience on the prior series, for the sake of changing things up, and he spent Tamers as a period of studying what Digimon should be like. Based on what he’s hinted, it seems Konaka's writing style and choices were able to have as much influence as they did because Kaizawa approved of them -- that is to say, Konaka’s detailed imagery and descriptions were extensive enough that Kaizawa could go “sure, let’s go with that.” But in the end, nothing Konaka did would have gone through unless Kaizawa and Seki (among many others) didn’t also approve of it or provide input. Moreover, Kakudou Hiroyuki (director of Adventure and 02) has also been stated many times to have been a valuable consultant on invoking Digimon so that the new staff could understand what to aim for and how to get the right feel (and also assisted with providing stuff for the mythos, such as the Devas). Nevertheless, Kaizawa also seems to have had his own strong opinions and input on the story; he especially seems to get passionate when it comes to the topic of making the story something the kids watching it could relate to and imagine. (He would eventually go on to direct Frontier and Hunters, along with several episodes of the Adventure: reboot.)

So in other words, looking at this, a lot of these things that people emotionally connected to and loved about Tamers are things that literally were not his personal creation, and were largely contributed by the other writers! Of course, Konaka’s “creator thumbprint” is very obvious -- he was the head writer, after all -- and all of this had to go through his own vetting to make sure he personally liked it as well -- but nevertheless, you can see that this very much was a collaborative effort from head to toe, with him being very open about this fact himself. Insisting on making sure that this fact is well-known isn’t just a coping mechanism to try and remove his presence in the series, but rather a desire to get people to seriously stop giving him credit that really should be going to others (especially since, again, even he himself was very diligent about assigning that credit).

In the end, I’ll leave you with another thing to keep in mind: Konaka doesn’t get paid anymore for Tamers work (unless they make something new like the DigiFes thing), so continuing to buy Tamers merch and supporting the series through fanart and such will probably end up going more towards the Digimon IP as a whole. Basically, if we’re just talking about Tamers specifically, what degree this is going to matter is only really relevant to the content in the original series, which is now twenty years old and remains unchanged. By Konaka’s own admission, he wasn’t into all of these conspiracy theories until 2010 at the earliest, so while it’s understandable to be a bit wary about the themes in Tamers having traces of the base sentiment, the original series itself does not seem to be an outlet for alt-right propaganda, and it’s probably forcing it a bit much to read into it that way. Konaka’s also repeatedly insisted that all of his attempts at a Tamers sequel have been rejected and that he’s been doing increasingly strange swerves to get around members of the original cast not entirely being available, and the Japanese audience has turned out to not be very fond of the contents of the 2018 drama CD and the stage reading for reasons entirely separate from the politics, so it’s also unlikely we’ll be getting a Tamers sequel from him or something in the near future.

So -- at least for the time being -- what’s done with him is done, and the remaining question is how all of us feel about Tamers. I think everyone will have differing feelings on it, and that’s perfectly understandable. Personally, given everything I just said above, I’m going to continue treating it as a series very important to me, and one that many people (including, as it seems, a very different Konaka from twenty years ago) worked on with a lot of effort and love, although you may see me getting a bit more willing to be critical about the series and its themes thanks to my concerns about some of the sentiments in it and what they imply. I also completely understand that there are probably people whose associations are going to be much more hurt and who will have a much harder time seeing the series the same way ever again, and I think that’s reasonable as well. But at the very least, going forward, I hope all of us can understand the depth of this situation, give credit where it’s due, and not force credit where it’s not due.

[salamencerobot]

How to write your dragon in an accurate way: a rage fueled essay by an environmental science major

first off @camille-the-space-ghost​ thanks for encouraging me

now, this is going to be two major parts (For now i might change it later on). 1. the environment, and 2. the dragon itself. also a lot of these tips can apply to fictional creatures in general, but they’re focused around dragons.

Part 1: environment

Now one of the main things you need to know about the world is that evolution works in niches. An evolutionary niche(Nee-sh) is what your creature specializes in/what makes it distinct. There aren’t any specific terms i’ve learned for them, but for example a rabbit would be a small burrowing ground-based herbivore that specializes in numbers over long lifespans. That sets it apart from say, squirrels, which are tree-dwelling.

There are two types of niches. Fundamental Niches is all the roles a creature COULD fill. in our case, a dragon could conceivably hunt most creatures in a standard irl forest. However, its Realized Niche would probably be large animals like wolves, deer, moose, etc, because while it COULD hunt smaller creatures, it would be less efficient at hunting them, so predators like foxes and wolves would take that up. The difference is a bit more nuanced than that, but it’s not too important. What is important to know is that two species cannot have stable populations while having the exact same niche. Their niches can overlap, but if they have the same niche, eventually one will overtake and outcompete the other. This is one of the reasons why invasive species suck so bad

So if your dragon is a purely water dragon, depending on it’s size, you may want to remove some species from it’s environment. if it’s whale sized, maybe orcas and toothed whales aren’t in that environment, because the dragon eats it’s food (baleen whales are chill though because they eat another food source). Food isn’t the only component of a niche, the available space can impact it too. for instance, if your dragon eats seeds and lives in tree trunks, it might be competing with trunk-dwelling birds for space, even though it eats seeds and those birds might eat insects. in this case, the birds might be chased out if the dragon population gets too big, but if they both stay stable, they could reasonably live in the same space since their food niche is separate.

1.5: environmental storytelling.

Most animals leave impacts in their environment. some are common, like poop or footprints or bite marks. Some are rarer like woodpecker holes or beaver dams. If you want your dragon to fit in, have it make an impact on the world around it. If your dragon is big, maybe it knocked down a tree or to when it was learning to fly. If your dragon is small, maybe it likes to collect a certain color of flower, so all those flowers are picked from its area. If you’re writing your dragon to be sapient (aka thinking like a human), you can have a lot of creativity with this. I reccomend looking up bowerbirds. they have hordes too, and you can get some ideas from them.

2. the dragon

the other half of this equation is the dragon itself. This will mostly focus on behavior and looks. This is important for artists and writers alike.

Behavior: we’re getting this out of the way now.If your dragons are not sapient, take your cues from nature. large herbivores are constantly wary and are some of the most dangerous beasts, since anything is a threat. Think hippo vs lion. Both are terrifying but at least you’re kinda safe around a full lion. A full hippo still thinks you’re a threat. If it’s a smaller animal, then they might be skittish and flee quickly. Think flight vs fight priorities. If a healthy adult could reasonably take it’s main predator, it’ll fight you too. If a healthy adult could NOT take it’s main predator, it’ll flee. (think about how in monster hunter, one of the most dangerous creatures is a herbivore. aka diablos) Obviously this isn’t a constant rule but it’s good enough for most situations. If your dragon is not sapient, note that animals usually eat until they are full. they have no concept of rationing. The reason that they dont exhaust their food source is that eventually their prey gets hard enough to find, and then their populations drop, and prey populations spike again. it’s a constant back and forth, it’s rarely perfectly stable, but usually species can stay extant in the same area without problems, because it’s also rare that animals kill after they’re full.

Now if your dragon IS sapient, then you get to have fun! take your cues from human behavior (with some twists obviously). Have individuals that have eaten all the food in their area foolishly and are known to try and steal from other dragon’s hunting grounds. Have dragons that have made alliances with humans in exchange for gold. Have dragons that have pets because they think it’s cute, and the pets have learned to tolerate them (this doesn’t have to be like how we bred dogs to be tame. look at snakes, individual-wise their behavior is dictated by how much handling they get at a young age. its about tolerance and a lack of fear, not necessarily love). Have dragons that have favorite fishing spots that they SWEAR just has better tasting fish.

also, just a general thing, learn what features are defensive vs offensive. For instance. poison is generally defensive, while venom is generally offensive. think about the situations where an animal would use these features. This is one of the things that pisses me off about MH. Rathalos is a hunter and doesn’t reasonably need venom spikes, fire and talons and teeth work just fine. Rathian, on the other hand, has a completely practical use for them, which is defending the nest. you don’t want to blast the area around your nest with fire, and venom requires less movement to use (using claws could crush an egg on accident)

part 2.5: looks

this is the fun part.TAKE YOUR CUES FROM NATURE. there are animals in every kind of environment, Take inspiration from them. MH does this pretty well, with animals like cephalos, a desert creature, having large fins to cool off, and a relatively aerodynamic body to move through sand.

So, here are some ideas to make your dragon look like it’s made to live in the environment. These are not set in stone, you can use a couple, or none at all.

Flying-specific: White/blue belly scales to make it hard to spot in the sky. Feathers for warmth,. Tails that can spread out for braking and control. (Toothless did this right). look at hawks

Burrowers: animals that move and hunt through burrowing usually either use their claws to dig, or dig with noses (like hognoses!), look at burrowing snakes and lizards for this. They might also have better smell because they can’t see underground.

Forests: Stripes/spots for camouflage. If it perches on trees, give it bird feet. If it tends to walk on the ground, give it thicker feet for stability. If it uses calls to communicate over long distances, make them simple and LOUD. It’s hard to have detail in sound across distance in forest, the leaves absorb a lot of it. Give it sharp claws if it’s going up trees, as well as a thinner body so the tree can handle it. If it’s a nighttime hunter, give it better smell than sight.

Ocean: Movement is key, you want as aerodynamic a shape as possible. Horns are kinda eh here, fins are better because they can fold flat. Take inspiration from fish, eels, and sharks for movement types. You can also look at species like squids and octopi if you want something new. if you’re looking for camouflage in open ocean, many fish have light bellies and dark tops, so they blend in if looked at from the top or bottom. If you’re camouflaging in a reef, go fucking hog wild. If you want funky colors and shapes, you can look at cuttlefish, and octopi, masters of dynamic camouflage, color changing, and mimicry! If you want to make a species of dragon that swims in schools, give it a very thin stripe down the center! schools of fish actually use those to sense the movement of those around them. Communication in water is deep for long distances but high pitched for close distances. Think dolphins and whales.

                Deep Underwater: many species are blind, and those that have vision can only see specific kinds of light that they use for communication. Bio luminescence is used to communicate. It’s hard to get really big in the depths, there’s massive amounts of pressure, low oxygen, and food is hard to come by. you can do it, but most large deep dwelling creatures are just super long. Now you can have MASSIVE carcasses down there, because that’s where everything falls when it dies! If they live down deep, they’ll probably die when brought to the surface, because everything kinda fails.

Caves: If your dragon just uses caves as a home at night, you might not need many adaptations to the environment. But if your dragon lives deep in dark caves, then you’re gonna have to adapt to a whole new kind of animal. Many cave-dwelling animals are pale and blind, because you don’t get light down there. most eat tiny creatures, and it’s hard to get big down there. similar adaptations to living deep underwater. Limited food and nutrients, no sunlight, etc.

Sandy deserts: cooling down is the biggest focus here. Big fins and ears are what many species use to cool down, circulating blood through them. You also have snakes and lizards that walk weird and “dance��� to keep the sand off of most of their body at any time. If your dragon doesn’t have internal heating, they’ll likely burrow at night to conserve heat (sand stays warm for a while). Light colors are common here not just to camouflage, but also to reflect more sunlight. staying under cover is also very important, because of how open it is. Watering holes are peaceful areas, usually, though if your creature dwells in water that’s not gonna be the case (crocodiles)

The Poles: varies depending on if you’re in a tundra or a cold desert (like Antarctica), but some things stay constant. Many species build fat, for insulation. If your species doesn’t have fur, they better be thicc as hell, or I’ll be sad. Most species also have thick fur on their paws to stay warm, as well as claws so they can have traction in icy areas. You want extremities like ears and fins to be small, and shouldn’t exist without a use (Like fins could be used for communication and sensing motion in water, and ears are for hearing). limbs tend to be small and tight to the body to conserve heat. Think about how jackrabbits, a desert species, have long limbs and ears, while arctic bunnies are small and compact. Same with foxes. Tails are also included here, though again if it has a use it can stay (locomotion, and foxes use the tail to cover their face when they sleep). Snouts should also be small. Burrowing is also common here, because snow is a FANTASTIC insulator. if your species has a predator, it’s likely to have light colors because camoflauge is important here.

Alright, that’s all I can think of for now, thanks for reading! feel free to ask me for specifics if you need them, I’m always willing to help

[chanceywxy757]

How the 10 Worst GTA Online Money Generator from GTA5MONEYGEN.ONLINE Fails of All Time Could Have Been Prevented

Doubters have actually implicated publishers of abusing lawsuits, overemphasizing the damages done to knock rip off designers out of commission as well as frighten others. However, there's little doubt that online cheats impact many players, not just the ones who install them-- and authors can rely on that fact tipping lawful choices in their support. Since the moment of composing, cheating and also modding the tale mode element of GTA 5 is fair game, yet the online setting is a various story. Take 2, the game's publisher, has a tendency to relocate promptly, shutting down one cyberpunk after one more.

You can obtain all tools in the game conveniently, yet limitless ammo isn't feasible. There is no way to get limitless money through cheats in GTA 5. You'll have to make use of legitimate ways to generate income in GTA 5, such as buying the stock exchange. Though several of the hacks are not harmful, there are still a lot of gamers who take cheats as well far and mess up the game environment for everyone else. So today, Superstar Studios and Take-Two Interactive have actually made a massive leap to removing these cyberpunks.

Some gamers claim that they were illegitimately captured in the reset wave, while others are directly up ridiculing Superstar for not capturing them, or stating that their accounts still have millions left in the financial institution. Some are excusing the use of the problem by defining GTA Online as a grindy game, or are stunned that Superstar would go this far, as opposed to simply erasing the cash. Others are confused that Superstar would establish such steps when the MMO has, in their view, a lot larger disloyalty issues coming from malicious players who proactively attempt as well as destroy other people's games. Nonetheless, in spite of this, unfaithful remains to be a large problem in Grand Burglary Automobile Online, and recently it's only become worse. Gamers are clearly tired of Superstar's pretension, as well as especially the lack of interest they've offered to fixing the game's various free money problems. This implies that players who use cheats to add large amounts of money would have the ability to influence supply rates for non-cheating players as well, and Rockstar can't have that. It would skew the balance and negatively affect the game experience of gamers who don't wish to consider using cheats.

Spawn Golf Cart.

Said player then obtains charged an insurance fine due to the fact that they are "responsible" for "ruining" an additional gamer's cars and truck. Moreover, that unjustly criticized player obtains "bad sport" points, increasing their opportunities of entering into even worse servers with even more cyberpunks. If the track has a visual alongside it, try continually driving on and also off it, weaving backward and forward. Somehow or one more, this controls the physics of the game, boosting your auto's top speed. This strategy is known as "curb improving" and "kerb enhancing," as well as it's a lot more effective on PC, where you can get greater framerates. Of the lots of methods to generate income in GTA Online, racing seems like one of the much less criminal ones.

Based on the previous video games we are aware of what to anticipate from the Grand Theft Car 6 Cheats. Staple rip off codes like "Lower Wanted Level" and also Unlock All Weapon" are nearly guaranteed to be in the game. Many players are on the up and also up, grinding away or making use of Shark Cards to make cash money, however there are lots of cheats, also. Some are fun, briefly altering the look of other gamers in the entrance hall right into a sphere, yet others go a little bit too far-- be via making use of god mode or spawning limitless money. To make one of the most money in GTA Online as fast as possible you want to resource top-range automobiles and then market them on at the highest possible cost. This can be achieved by cheating the game right into only offering you distinct, premium lorries that aren't replicates. There is no way to obtain limitless ammunition by means of cheats in GTA 5.

The cheats listed below isn't for normal variation of the game. They will certainly work just if your port your game to PS4 from previous generation console. However, programmers of GTA 5 really did not add money rip off to the game. Right here, we have actually gathered for you the recognized rip off codes for GTA 5 on PlayStation 4!

Rockstar constructed these tools to handle their own livestreams or various other events.

This set of cheats are all targeted in your personality, so if you happen to're trying to spawn completely different automobiles to get round after that do that list of cheats proper right below.

Select which cheat to appoint to the LT/L2 faster way toggle.

Below you will the exact same cheats equated for the PS3 version of Grand Burglary Automobile 5.

This can likewise create the in-game Initial Person Speedometers on the PS4/PC/Xbox One version of the game to exceed their regular limitations, exposing that HGVs are capable of speeds of approximately 150 mph.

With each time you enter the cheat, time will certainly decrease even additionally.

Nevertheless, when it comes to GTA Online, you can obtain banned for using cheats to obtain a benefit over other gamers If you're a proud owner of Xbox One or Xbox 360, after that utilize these GTA 5 cheats sequence on your Xbox console to include some crazy components in the game. When it comes to GTA 5 cheats as well as codes, you can use them on PS3, PS4, Xbox One/360, and also PC. However, you have to understand the right command to make a specific cheat work. So, if you're starting with GTA 5 without understanding of cheats as well as codes, then do not worry.

Gta 5 Cheats: Vehicle Generate Cheats.

If, for one reason or another, you can not make use of Grand Theft Vehicle 5 cheats, then attempt utilizing an option method to apply cheat codes. As an example, if you're using COMPUTER and you can not apply cheats via key-boards, after that try utilizing the cellular phone to apply the cheats. Regrettably, no, there is no GTA 5 money cheat to obtain easy in-game cash. Much like various other players, you will have to strive to make some cash in Grand Burglary Automobile 5. It's very unlikely that you will certainly get prohibited for using GTA 5 cheats in the story campaign, specifically if you are playing offline.

The 'Enhanced and Improved' version of GTA 5 for PS5 and Xbox Collection X was introduced in mid-2020 and would certainly represent the third generation of consoles that the game will feature on. Its announcement as well as ultimate launch will certainly guarantee that GTA followers are amused up until GTA VI has an official date. Normal recipients of this promotion may wonder why they haven't gotten their free $1 million this month. The system to distribute the money has changed, and also we have all the details. As such, the game was re-released on last-gen, and it's also involving the PlayStation 5 as well as Xbox Series X for one more round.

Keep reading as we run through all GTA 5 rip off codes, including information on just how to activate each gameplay tweak regardless of your favored platform. Respecting its forebears, the GTA 5 cheats system does without a doubt involve numerous button inputs, with codes and also phone keypad series for COMPUTER as well. If you've ever before wished to make individuals explode with your fists or generate a BMX GTA 5 Online Generator from gta5moneygen on the top of a building (we have actually all existed) then you have actually concerned the best area. GTA 5 cheats will certainly aid you get one of the most out of Superstar's near-limitless digital playground.

[violethowler]

Dea Ex Machina: Goddess from the Machine

As pointed out in @leakinghate’s Seek Truth in Darkness meta, there is a significant chunk of the last three episodes that was excised during the edits brought on by executive meddling: How the Paladins caught up to Honerva in the other reality. As noted, you can tell from looking at Keith’s expressions here (images brightened to better distinguish the expressions; Image comparison borrowed from Hate’s meta):

That the Paladins fail to make it through the portal to the next reality in time and are left outside reality. Hate’s meta has posited that this shot was removed because Lotor was pivotal to whatever they did to escape back into reality and catch up to Honerva, as many of the edits in the second half of the season were done to remove him from the story. I’d like to offer the suggestion that in addition to Lotor, their catching up to Honerva was aided by another character, one whose existence thus far was only hinted at: The Lion Goddess, first mentioned by the Arusians in Season 1.

For those who don’t know, here’s a brief tidbit of Voltron history:

The anime Beast King GoLion on which Voltron was based featured two brief appearances from a divine figure only referred to as The Goddess of the Universe, her first appearance being at the start of the series, in a scene set thousands of years before the main timeline, in which the robot GoLion (Voltron’s original incarnation) arrogantly challengers her to a battle, and she splits it apart into five lions and casts it down to Altea as punishment so that it might rise again as the legendary protector audiences are familiar with.

In 1984’s Voltron Defender of the Universe, the context of that scene is changed to Haggar impersonating a goddess and splitting Voltron into the five lions herself on Zaron’s behalf when it comes close.

Voltron: Legendary Defender first references her in season 1 with the Arusians mistaking Allura for their “Lion Goddess”. While played for laughs in Season 1, the use of the Lion Goddess for a single one-off gag raises several questions:

How would the Arusians have known the Castle had anything to do with lions? The only lion present for ten thousand years was Black, and the only way they would have known that was if they had gone inside, which would have woken Allura and Coran up much earlier than canon.

Despite Pidge referring to the Trans Reality Comets as a naturally occurring phenomenon, floating rocks with the exact same colors as the Daibzaal comet Voltron was made from are visible in the background during Lotor and Allura’s trip to Oriande in “White Lion” implying that the Lions of Voltron were modeled after the realm’s guardian.

After passing the trial of the White Lion, a disembodied female voice tells Allura “there is no need to kneel”, nearly the exact same words Allura used in Season 1 when the Arusians believed she was the Lion Goddess.

All of which point to the idea that the Lion Goddess is a real character who exists in the VLD universe and serves as Voltron’s divine patron. But if she does exist, why hasn’t she shown up to help before? 

Except the Lion Goddess has already been helping the Paladins all along. It’s wouldn’t be out of left field for her to magically transport Team Voltron to where they need to be because she’s already done it before, when she accelerated their return to Earth in “The Journey Within”.

On the surface, the visions the Paladins see are the result of either space madness or the gigantic creature that shows up out of nowhere, and the mysterious energy that disables the lions magically transports the Paladins to Earth’s solar system, conveniently arriving right as Sam Holt and the rest of the Garrison are preparing for their last stand. It honestly feels like a deus ex machina and is never elaborated on or explained…Or is it?

Let’s take a look at the visuals in this episode. Specifically, this image:

Now let’s take a look at this image from the 1984 cartoon, which depicts Voltron flying towards the Goddess of the Universe.

Other than the color schemes, the paladins being outside their lions and the physical image of the goddess, these images are pretty much the same.

So, the “hallucinations” start with a vision of bird-like creatures flying around in a formation that is deliberately evocative of a recognizable shot from the original 1984 series, showing us rather than telling us that these visions are not hallucinations, but rather, are the work of the Lion Goddess.

The narrative that the visions were caused by the nameless creature hunting the paladins doesn’t hold up, because why would it wait so long to try and eat them?

But if you look at the geometry of the space monster, there’s something familiar about this beast.

Don’t see it? Look again.

The geometry of this creature’s face is found directly on the front entrance of the Castle of Lions when the Paladins arrive on Arus in Season 1. The outline of the doorway even follows the general shape of the creature itself. Cleary whatever this monster is, it’s something associated with Altean history or folklore to such an extent that its design is prominently featured on the Castle of Lions.

(On a side note, the visual association between the space creature and the Castle of Lions presents a beautiful parallel: the Paladins symbolically enter the creature’s maw when they leave Earth and must literally escape the creature’s jaws in order to return to Earth).

Something else to make note of is that the winged creatures in this scene greatly resemble the Altean crest visible on the back of the Green Lion’s shield. 

We know that despite it being used as the banner of the old alliance of the original paladins, as stated by Lotor in S5E5, this is an Altean signal because both it and the the hilt of Lance’s Altean broadsword have the same distinctive Y-shape. 

And something else to remember is that in Season 1, the Arusians didn’t declare Allura as their goddess until she established the castle as hers. Right from the start the series equates the lion goddess with ownership of the Castle of Lions. Imagery associated with the Castle of Lions can therefore also be considered imagery associated with the Lion Goddess.

And though the energy surge that disables the lions and later magically transports everyone to Earth is never explained in Season 7, there is one thing in the VLD universe that has been established as powerful enough to disable the lions, can teleport beings, and is associated with the color white:

For a better comparison, this what the shot of the White Lion psychically attacking Clone Shiro in “Omega Shield” looks like:

And this is what the energy surge in “The Journey Within” looks like:

Note the ropy energy lines and the cloudy/nebula-like bits. 

Something else to note, it’s very convenient that despite being months, if not at least a year – from returning to Earth along their normal route, with the energy surge they manage to arrive just as the Garrison is preparing for humanity’s last stand against Sendak. Almost as if it was… Divine Intervention.

A lot of foreshadowing works on the basis of Microcosm to Macrocosm storytelling: a story element that plays out on a small scale within a single arc is later repeated on a larger scale later in the narrative. I can’t find the post for it but I think someone on TeamPurpleLion explained it by demonstrating how it played out in Harry Potter: “In the microcosm (The first book) Harry thinks Snape is working for Voldemort but Snape turns out to have been Dumbledore’s agent all along. Later on in the macrocosm (the overarching narrative of the series), Harry thinks Snape is working for Voldemort after Snape kills Dumbledore, but Snape turns out to have been a double agent for Dumbledore all along.”

As for how that plays out in VLD, in the microcosm of The Journey Within, We have the paladins lost in an unfamiliar location, cut off from everything and everyone but each other. They encounter imagery associated with the lion goddess, something that evokes comparisons to the guardian of Oriande, and are then transported to where they need to be at the right time to stop the Big Bad of the season.

And in the macrocosm of the last three episodes of Season 8, we have the paladins trapped in an unfamiliar location when Honerva’s port closes before they can make it through, cut off from everything and everyone but each other. Then they suddenly arrive where they need to be at the right time to stop the Big Bad of the season. But because of Lotor’s removal from the season, the important parts, the ones involving the Lion Goddess that explain how the Paladins caught up to Honerva in time to stop her from destroying all realities, were cut out, leaving one more plot hole in the final season.

[thelastmemeera]

Stop Freaking Out About Gödel: How I Learned to Stop Worrying and Love the Incompleteness Theorems

So when I was in college, I noticed something a bit concerning: a rather large portion of people involved in hard sciences were totally unfamiliar with even basic philosophy of science. For example, when I talked to other science majors I discovered that the majority of them seemingly didn’t know the difference between a theory and a law. The most frequent definition I got was that theories are still somewhat uncertain, whereas laws have been proven to be true and are more or less never wrong. This is incorrect – first of all, a scientific law can absolutely be wrong. Throughout history, even well-established scientific laws often end up being modified or thrown out entirely as new evidence comes to light. For instance, it turns out Newton’s Laws of Motion are only accurate for large objects moving slowly; things that are extremely small or moving close to the speed of light behave by entirely different rules. The actual difference between a theory and a law is that a law has to be a concise description of how something in nature behaves that can usually be stated in full in one or two sentences, or more ideally an equation. For example, the Second Law of Thermodynamics states that the entropy of an isolated system never decreases, or simply ∆S≥0. A theory, on the other hand, is an interconnected collection of ideas that attempts to explain a natural phenomenon or range of phenomena, and will make multiple falsifiable predictions. It’s possible for a scientist to devote their entire lives to improving humanity’s understanding of a single scientific theory – biology’s theory of evolution is a good example.

Now at this point you might be saying “So what? You’re just nitpicking at semantics.” I would argue that misunderstanding the theory/law distinction betrays a more fundamental lack of grasp on the scientific method. Once we start conceptualizing certain ideas, even implicitly, as infallible or otherwise not worth questioning anymore, we start veering away from the realm of science and into the realm of dogma. I have a strong suspicion that a lot of the weird STEM elitism that’s so prevalent these days is a result of widespread illiteracy as to what science itself is at a basic level – otherwise it would become obvious how ultimately inseparable hard science is from soft science, from philosophy, from art. I could go on about this for ten more pages but this isn’t really the topic I want to talk about right now. My essential point is that it’s very easy for people who are otherwise highly intelligent and highly competent in their field to lack proper understanding of its underlying philosophy.

The reason I bring this up is because I am about to argue that almost everyone is interpreting Gödel’s Incompleteness Theorems wildly inaccurately. More specifically, I’m aiming to demonstrate that the idea that a mathematical conjecture can be “true but unprovable” is tautologically false. This is a misconception that stems from confusion over what constitutes mathematical truth – which is actually a philosophy problem, not a math problem. If you want to be able to say anything at all about truth or falsehood in this context, first you’re going to need a coherent and precise definition for mathematics itself.

Let’s start by trying to answer a narrower question: what are numbers? In what manner can numbers be said to exist? Can you look at a number? Can you touch a number? I can draw the numeral “4” on a sheet of paper, but that’s not really the number four, it’s just an arbitrary symbol we chose to represent it. If tomorrow everyone decided that we were going to switch the numerals for four and five (such that “5” now means four and vice versa), nothing about how math works would change, it would just look slightly different on paper. So then a number definitely isn’t a physical object like a proton or a chair or a planet. Now at this point you could argue that perhaps numbers are a property that things in the real world can have – for example, if an H+ ion has a positive electric charge, most people would agree that its charge is something that that exists in the physical world despite the fact that it can’t exist independently from the ion. Analogously, you can count a group of apples and always get the same results; if there are four apples then there are four apples. You can even use arithmetic to make accurate predictions about how many apples there will be if you add more, remove some, or divide them into groups. So you could claim: therefore, numbers must be real i.e. they must somehow exist in the universe independent of human thought.

However, this line of argument fails pretty quickly once you consider the fact that the all the rules of arithmetic change relative to how you happen to be looking at the problem. For instance, suppose you’re trying to figure out how many people you can fit in an elevator. You’re inevitably going to end up using the natural numbers – we can all reasonably agree you can’t have a fraction of a person (you could cut a human being in half, but they would cease to meaningfully be a person at this point). You decide you can cram about eight people in before running out of room, but then realize you forgot to consider the elevator’s weight capacity. If it can safely lift about two tons, then you’re also going to have to measure the combined weight of everything it’s carrying in terms of fractions of tons. Suddenly the math you have to use changes from discrete to continuous, which is a really important difference; there’s no way to have between one and two people, but you can easily measure a weight between one and two tons (say 1.5 tons), and then if you want you theorize a possible weight that’s between one and the weight you just measured (say 1.25 tons), and so on and so on indefinitely. This is all fairly straightforward, but it presents a significant problem if you want to contend that these numbers exist independently of human cognition. Which set of rules is correct? If numbers objectively exist then it logically must follow that any given number either can be divided into arbitrarily smaller parts, or cannot be. Do negative numbers really exist? As far as we’re aware it’s impossible for an object to have negative mass, and you certainly can’t have a negative number of people. Do complex numbers exist?

Another problem: the number we get when we determine the mass of a given object will be different depending on what units of measure we’re using. If we switch from using kilograms to pound-masses, none of the physical properties of the object have changed, but we’re now measuring completely different numbers. This is because mass is an objective physical property, but numbers are simply a system we’ve come up with to help us describe this. An object inherently has mass, but does not inherently have two-ness or four-ness or the like. Mathematics, then, is not an objective reality but merely a human invention we sometimes use to describe objective reality, somewhat conceptually akin to a natural language like English or Mandarin. Once we grasp this, it becomes possible to define math in a precise and consistent matter (and hence mathematical truth). All mathematical systems can be ultimately be characterized in terms of sets of symbols, axioms, and rules of inference. Mathematics, therefore, is simply the study of axiomatic systems.

In this context, Gödel’s Incompleteness Theorems are less “existential crisis inducing mind-screw” and more “fairly intuitive idea that perhaps should have been obvious in retrospect.” The second incompleteness theorem can be approximately stated as: “for any consistent system F within which a certain amount of elementary arithmetic can be carried out, the consistency of F cannot be proved in F itself.” How could any system of axioms conceivably prove itself consistent? By the logical principle of explosion, we know that in any inconsistent system we can prove literally any proposition that the system can express, meaning an inconsistent system would necessarily be able to prove itself consistent according to its own rules. Therefore, it would be impossible for us to distinguish a hypothetical consistent math system that could somehow prove its own consistency versus an inconsistent system that could prove its own consistency due to some internal contradiction we haven’t yet discovered.

The first theorem states, roughly: “Any consistent formal system F within which a certain amount of elementary arithmetic can be carried out is incomplete; i.e., there are statements of the language of F which can neither be proved nor disproved in F.” Remember, math isn’t “about” anything, it’s a series of games in which you manipulate strings of symbols according to a set of made up rules. No axiomatic system is fundamentally any more real than any other; some of these systems we study because they help us describe things in the real world, some of these systems we study because they have interesting properties, and some of them we don’t study because they’re neither useful nor interesting (such as systems that have been proven to be inconsistent), but ultimately what determines what kind of math is used or not is simple pragmatism. Thus, the only meaningful way to define mathematical truth is such that a statement is true within the context of a given math system if and only if it can be proven with the axioms provided by said system. The idea that a proposition could be “true but unprovable” is equivalent to saying that a statement simultaneously both can be proven and cannot be proven. A mathematical theorem is just a string of symbols; if you can produce this string within a given formal system then it is true, if you can produce its negation then it is false, and if you can neither produce the string nor its negation then it is undecidable i.e. independent of the axiomatic system you’re currently using. The first incompleteness theorem demonstrates that all relevant formal mathematical systems will necessarily contain such undecidable statements, but we should no more be upset about this than we should be upset about the fact that there are possible positions on a chess board that can’t be arrived at through normal play. If the math system you’re using doesn’t end up having the properties you want it to have, then the solution is to make up a system that does have those properties (side note: this is why everyone should just accept the Generalized Continuum Hypothesis as an axiom and get on with our lives instead of being obnoxious about it). The idea of “completeness” was always impossible and never really meant anything – it’s time to stop mourning Gödel and embrace mathematics for what it really is.

[centaurianthropology]

The Magnus Archives ‘Left Hanging’ (S04E04) Analysis

An episode about the open sky, an Archivist at loose ends, and the return of everyone’s favorite wacky old wizard.  Definitely less happening this week, but still quite a bit to think about.  Come on in to hear my thoughts about ‘Left Hanging’.

One of the interesting things about the opening of the statement is the emphasis of a theme of this show: there is nothing special about the people who get targeted by the powers, usually.  They haven’t often done something to draw attention; they aren’t some Chosen One.  They’re people at the wrong place in the wrong time. I think that feeds into the heart of the cosmic horror of the show: people are small.  Who they are and what they’ve done don’t matter to the powers. They were the nearest person to hand when ineffability strikes, and they therefore experience something horrific. Horror, therefore, is not a retributive force in TMA, nor is it an allegory for something about that person. It is random, hitting good people, bad people, and all the people in between without discrimination.  If the powers do indeed ‘make decisions’ the way that we perceive, those decisions are beyond our understanding.

So we have statements like this, of a guy why just happened to be on the wrong cable car in Austria. A cable car with everyone’s favorite wacky wizard, Simon Fairchild.  As soon as I heard ‘gentle amusement’ and using his walking stick only when he remembered to do so, combined with a cable car suspended miles above the ground? Yeah, I was certain that Simon was going to put in an appearance.

Again, they are above nothingness, and a mist appears, and Simon steps out into nothingness.  Big old wink, and then gone.  Does this mean that Simon is gone, or did he simply go somewhere temporary?  Did he finally find the Vast beings he was looking for?  After that, the rest of them shot up through the nothingness, so it’s possible that Simon actually set them up for their ride, and he was stepping off to let them enjoy themselves.  That seems more his modus operandi.

Especially since a long, spindly creature with a laugh like Mike Crews’ took the cable car driver. It makes me think that this was just another adventure that Simon engineered for hapless people he just happens to be around.  And Simon, much like the powers, will ‘gift’ these experiences to people.

Jon states that Simon is ‘evil’ and likes to torment people to feed the power that sustains him, but that seems less than clear from Simon’s actions.  I do genuinely wonder if Simon might think that he’s giving these people the experience of their lifetimes.  That this is a good thing, not a cruel thing.  That letting them experience the void will be as joyous for them as it is for him.  It’s hard to say, but he never seems … malicious in his glee.  He seems like he’s sharing a joke that everyone he harms just haven’t quite understood.

Or that could just be me, the massive Simon Fairchild fangirl that I am, reading something into the situation that isn’t there.  But I think Jon needs to believe that there is that clear distinction.  That Simon is malicious and evil, and therefore knows that he’s harming people.  Because if he doesn’t know, or even if he thinks it’s doing his victims a favor, then mightn’t Jon do the same?  After all, they’re both Avatars of their powers.  Jon knows that taking statements drags at least some part of his own victims into the nightmare realm of the Beholding.  But he keeps doing it.  At least he doesn’t think he’s helping the people he’s gathering statements from; at least not yet.

But of course, his objection to Compelling Basira was that he didn’t want to burn a bridge, not that it would be the wrong thing to do or hurt a friend, so that’s less than encouraging.

The ending with Martin also really fit into the title of this particular one.  Whatever is happening with Martin, he either won’t or can’t tell Jon about it.  He sounds so distant, barely more engaged with Jon than Basira was.  And for someone weeping in the trailer before making his decision, that’s worrisome.

It’s interesting that Martin implied strongly that he wasn’t working for Peter Lukas (although calling him ‘Peter’ probably didn’t do anything to help Jon’s jealousy).  There’s clearly something going on.  Martin’s been so busy that he has no time to write poetry, or to stop and really talk with Jon.  Maybe he’s afraid.  Maybe he’s been forbidden from really talking to Jon.

I definitely think that what’s happening with Martin and what Basira is up to are going to be ongoing themes, perhaps even the main plot points of the first half of the season. It’s frustrating, because they all know that Peter works for the Lonely, and therefore is trying to isolate everyone in the Institute.  And yet none of them, even those who seem to not be locked into some secret agreement, are going out of their way to stay in touch.  Maybe Basira and Melanie have been sticking together, but from the way that Basira talked about Melanie, that seems less likely.  Unless, of course, she doesn’t trust Jon enough to let him know what she and Melanie are up to.

But it leaves Jon exactly where the Lonely wants him.  He’s isolated, reading statements and doing little else.  With the threat of other powers trying to make a move against the newly-awakened Archivist, I doubt he’s leaving much either.  Martin would be the ideal person for him to turn to, given their history, but Martin has somehow been removed from the equation while still being there.

And interestingly, Jon didn’t compel him.  Of all the times when compelling a friend might be both justified and useful to all parties, this might be it, but Jon is handling his friends with kid gloves. Likely, Melanie’s state and her open hostility have taken him aback, and he doesn’t want to make things any worse with Martin or Basira.  So they’re all in a holding pattern (without the holding).

I want to know why Basira no longer trusts Jon at all.  Is it simply thinking he couldn’t have come back right after six months?  Is it blaming him for Daisy?  Is she just too troubled by whatever’s really going on with her to look too far outside herself?

Conclusions

The emotional situation in the Archives never seems to be anything better than tenuous, and as I said often enough through the past few seasons, this current state can’t stay for long.  There are too many threads about to snap.  Basira feels like the calm before the storm.  Melanie is going to explode in one direction or another, it’s just a question of what’s in her way when she does.  And Martin is keeping secrets.  A lot of secrets, likely because he believes it’s the only way to help Jon and the others.  And if he’s not working for Peter Lukas, I have to wonder what it is he’s doing.  It’s clearly with Peter, but perhaps it’s more of a loan or secondment?  A pledge of time in Peter’s service in exchange for the protection that the archives is now afforded?  Or is Martin more active than we realize?  Does he have a plan of his own?

We’ve been with Jon while he was plotting and planning throughout the show, so it’s interesting to see Jon on the other side of this impenetrable wall that six months of trauma has produced.  He can’t even pick up the pieces, because the pieces are nowhere near where he left them. Everyone has radically changed toward him.

As big a dick as Elias was, I may hate the Lonely more.  With Elias, we knew what he was about.  He wanted Jon to be the ultimate Archivist, and he wanted the Watcher’s Crown to proceed as planned.  But the Lonely’s motives are inscrutable, and without more information, Jon’s stuck. He needs to dig into the Archives, to try and find stories about the Lukases or their patrons and how he might oust the Lonely from the Institute.  

He already sounds defeated. He’s not interested in looking into this current story beyond a cursory glance.  He’s not interested in putting all the pieces together, which to my mind is the ultimate point of the Archivist.  He just reads and feeds his god by rote, without anything more.

Maybe that’s Peter’s plan. Immobilize Jon, remove all his supports and sink him so far into depression that he reads the statements and doesn’t try to research his way out of the problem.  That sort of inert feeding of the Beholding might actually be the most effective way to prevent the Watcher’s Crown, at least for a time.

But like I said, the situation is tenuous.  Something, sooner or later, is going to give.

[final-fantasy-iii-blog]

Thumbnail Blaster Review and Bonus

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[kfteasers-blog]

Jane Re.

“I am content with who I am and how my past experiences have shaped me. What is important is that I know that both of those sides–Korean and white–are a part of who I am.”

How do you identify ethnically?

I am half-Korean, half-white. In Korea they call it honhyol.

How do you feel like you belong to each ethnic identity?

Honestly, I feel like I still don’t quite belong to either. Koreans will still look at me strangely, notice my honhyol-ness, and white people will still view me as Asian. I’ve learned to embrace my Korean side as I’ve learned more about my family. I don’t know if I would call it “belonging,” but maybe a deeper understanding, respect, and appreciation for it. I do think I now feel more secure in the title “Korean-American.” I can still be Korean, practice certain values (read: nunchi) and view the world a certain way, but also find community and connection among white people. Some of my dearest friends today are white; and while it’s been a difficult (if awkward) journey of mutual understanding on both sides, I think that we’ve reached a point where I can feel truly comfortable being with them, not like a stranger or foreigner.

Was there one side of your heritage that you identified with more as a child? Do you feel like you belong to one identity over the other now?

I can say that when I was little, my uncle made being white sound shameful. Growing up, everyone in my neighborhood looked at me differently because I didn’t quite look like them. People (especially my uncle) treated me a certain way because I was honhyol, not fully Korean like them. Whatever “bad” qualities I had, they were attributed to my father–my “whiteness.” So as much as I wanted to be seen as Korean, it felt as if social circumstances and my own upbringing wouldn’t allow me to. I used to despise being this in-between. But as I’ve said before, since then I’ve come to learn that my whiteness isn’t a curse, and can in fact be an advantage: I have access and immersion in not one, but two divergent cultures. And I can either let them cripple my sense of self-worth and identity (like it used to), or let them reflect their positive impact in me. Even if I do subconsciously gravitate towards one identity over another, it doesn’t matter to me. I am content with who I am and how my past experiences have shaped me. What is important is that I know that both of those sides–Korean and white–are a part of who I am.

How has movement influenced your feeling of belonging to your identity?

I’ve definitely had my fair share of moving. And now that I think about it, with each move I practically forced myself to belong. When I was an au-pair at the Mazer-Farleys, I followed Beth’s rules and sat through hours of talks with her. I met my first white friend Nina, who encouraged me to dress more provocatively as they did in the clubs in the city. But at the time there was something in me that didn’t feel right about the situation in which I had placed myself (in no small part due to my affair with Ed), and I felt the sudden but strong impulse to leave altogether.

There was an article I read once in The New York Times, about South Korean adoptees returning to their country of birth. There was one sentence in particular that stood out to me: “How can a person exiled as a child, without a choice, possibly fathom how she would have ‘turned out’ had she stayed in Korea?” I thought of my grandfather, and how he had sent me away to live in America because he foresaw a future in Korea where I’d be judged for my mere appearance. So when I moved to Korea, I think I equated belonging with becoming just like them, at the cost of losing myself. I became so immersed in a different culture and lifestyle, that I felt the only way to belong was to conform to it. I changed my appearance and clothing, acted differently, and almost lost Nina. It took me a little while to realize I was doing it all wrong. The measures I was taking were making me feel more Korean, at least according to the standards of this modern society I was thrown into. It was becoming a norm for me–could’ve even been a “home”–but it was definitely not one I was comfortable in. It was much like how the South Korean adoptees felt; as much as they tried to conform by spending time in the country, Korea would never be home for them. I was actively trying to find a place to belong, that I didn’t realize that the change began within me, as cheesy as it sounds. I make the most of the place I am in. I am the one who can determine where I belong or who I belong with. My parents did that, and they were happy, so why couldn’t I? So I moved back to the United States, where I could be among the people with whom I wanted to be and live a life on my own terms. And from there I became happy.

Recount the scene in Food where Beth and Sang meet for the first time. That seemed to be a distinct clash of white and Korean culture–describe how you felt in that moment. Have there been any other instances in your life in which parts of your identity do not align/clash with each other?

That was probably the most significant (and awkward) clash of cultures I’d ever seen. It was bound to happen, since neither side had really had such close contact with the other. It’s weird to describe it that way–like they’re completely different species or something. But that’s what it felt like in that moment; Beth’s lack of nunchi was made all the more obvious in this little world that was dominated by it, while Sang couldn’t pick up on Beth’s own culturally-influenced behaviors. This woman who always seemed to have control of the situation and had the answer to everything suddenly didn’t, and she could feel it. Honestly, I probably watched it with such sick fascination because it was like a physical manifestation of my own identities clashing with each other.  At that point in my life, I felt like they could only exist separately, and that episode at Food only seemed to further prove this point.

Reflect on this passage from The Night Counter (“Like I was saying, I look at myself in the mirror a lot. I see sickly and pimply, but I don’t see Arab, or Chinese, or Black. I do see someone who could definitely pass for Latino but not a hot one like Shakira or Jennifer Lopez…I used to think I would look weird ice fishing, but once someone thought I was eskimo, so I guess I could go ice fishing one day if Brenda would want to do anything fun.”) How do other people’s perception of your identity affect your own perception of your identity?

I actually read this book. Nina recommended it to me, saying it reminded her of me. I guess because I always used to talk about how I’d look in the mirror and see neither a Korean or a white person. I’d just see me, a honhyol. And I thought that was a bad thing unlike this Decimal character, who didn’t seem to really care what she looked like, especially to other people. It’s odd, actually–in the United States, I was condemned by my family for looking too white. But in Korea, I was praised for my honhyol-ness. I had a friend who said she envied my “white skin, big eyes, big nose and small chin.” I’d never considered them as admirable features, more like things that set me apart from everyone else. There’s this article I found once called “Whatever Happened to the Kayumanggi?” It basically talks about how Filipino Malay people admire the fair skin of white people at the cost of acknowledging the beauty of their own golden-brown tone, called “kayumanggi” in Tagalog. This fascination had its roots in historical circumstances, like how the Spaniards converted the Filipino natives into worshipping white-skinned religious figures, or how the Americans brought along with them a vision of the Hollywood ideal. What I learned from this article, and my time in Korea, is that sometimes skin color can be associated with a specific value. It can truly affect how people think of themselves and others–which is probably why Monica always had a bitter undertone whenever she commented on my appearance or position as a half-Korean, half-white woman. The ads on the trains in Korea, my aunt’s fascination with cosmetics, it’s all a part of this attempt to attain what history and society has defined as a beauty standard. And while I let it get to my head a little bit, I think I’ve reached a place where I don’t care as much how people perceive me–because I am happy with the person I’ve become.

Reflection

Jones, Maggie. “Why a Generation of Adoptees Is Returning to South Korea.” The New York Times, The New York Times, 14 Jan. 2015.

Although Jane is not adopted from South Korea, she was similarly removed from the country due to the decision of others, and seemingly for her own benefit. This New York Times article essentially explores the impact this displacement (to the United States, no less) has on the adoptees, and how this impact is felt once they return to South Korea. There are various individuals interviewed who all come from different environmental circumstances and upbringings, which wound up affecting how they adjusted to the country of their origin: some were able to adjust and move their permanently, while others had a difficult time viewing it as another home for themselves. Jane falls into the latter group, raised in her own version of Korea and utterly unprepared for the world she threw herself into. The article captures a relevant angle on the concept of belonging and its relationship with movement: and in Jane’s case, how physically journeying to a part of your ethnic identity is not always a return home.

Pedero, Dero. “Whatever Happened To The Kayumanggi?” Philstar.com, The Philippine Star, 6 July 2003.

Pedero dissects Filipino society’s favoring of whiter, fairer skin and their disregard for “kayumanggi,” or the golden brown skin color that is characteristic of most Filipinos. This article, although focused on a specific nation, can be applied to several others who attempt to emulate the white American/European ideal. Striving to model oneself after this type of person, or even having such a mentality subconsciously ingrained into one’s way of thinking, can have damaging effects for self-perception and racial identity. Jane was raised in an environment that belittled and shamed the white side of her, in terms of both appearance and negatively stereotyped values. When she goes to South Korea, though, her whiteness is praised as an enviable trait. The extreme dichotomy Jane experiences between these two reactions ultimately gives her the perspective she needs. Skin color is not always a direct reflection of one’s ethnic identity, but it is certainly not a determinant of one’s value.

[discord-trolls]

A new old friend (a soft reboot drabble)

Ponyville was as unfortunately ordinary as it could be. The sky was it’s usual blue, birds chirped the same monotonous tunes and the pony folk all ran their usual little rat races that day. Such an environment was not becoming for the lord of chaos.

Discord was in the marketplace to collect snacks. It seemed that Twilight Sparkle and the girls were going on a ‘friendship retreat’ meaning the castle would be empty and free for a rousing guy’s night of Ogres and Oubliettes. He asked Spike why he wanted him to buy the snacks rather than conjure them with his magic, the dragon said store bought tasted better. That didn’t sit well with Discord to say the least.

He perused through the different shops, a hint of grumpiness to his step as he collected everything on Spikes list. Even after Discord would have been done gathering the refreshments, it’d still be a long agonizingly dull day before guy’s night got started. He silently prayed for some form of excitement. A bugbear attack. An earthquake. He’d even settle for a thief chase.

He soon got his wish in the form of a powerful shiver that shot through his body.

Being the spirit of chaos came with a fair share of abilities. One of them being the power to sense magical imbalances. Such a distinct surge registered on his metaphysical radar then and there, snapping himself out of his daze. His amber eyes, wide with surprise and curiosity, turned to the source of the disturbance. It wasn’t far. Just a few miles from Ponyville, in the heart of the Everfree Forest.

Being too intrigued to resist, Discord snapped his eagles talon and willed himself to the source of the surge without hesitation. What he found was quite unexpected, and that’s saying a lot.

“Listen to your Queen!” Chrysalis bellowed. “We must retrieve the Elements of Harmony!”

The shouting returned Twilight’s attention to the changeling. This wasn’t the Princess Twilight Sparkle the rest of a Equestria knew however. This was a dark double. Brought to life not a moment ago by a single piece of hair and a dark spell conjured by Chrysalis. She, along with the copies of Applejack, Rainbow Dash, Rarity, Fluttershy and Pinkie Pie were created with the sole purpose of harnessing the power of the Elements of Harmony in the name of the Changeling Queen.

From the looks of her ‘colleagues’, however, this Twilight could see the plan was off to a bad start. Their lazy, idiotic self serving behavior seemed to be too much for even the ‘her Majesty’ to control. ‘Twilight’ walked up to her, disdain and disrespect very prevolent in her approach.

“Why didn’t you just attack them!?” she demanded.

“Excuse me?” Chrysalis asked, venom dripping from her voice.

“You got close enough to pull hair from their manes! Why not take your revenge then?”

“They defeated my army. I know better than to strike alone. I need....”

“Friends?” ‘Twilight’ finished her sentence with a smarmy tone.

”... Servants!” Chrysalis growled back. “And the power of the elements.”

“Right.”

‘Twilight’ Examined their surroundings once more. “So where are these ‘Elements of Harmony’?”

“The location of the most powerful magic in Equestria isn’t something made known to just anypony. I learned they were hidden somewhere in this forest.”

“Yeah well, it is a big forest.” the clone shot back before walking away. She was not impressed with their master Chrysalis in the slightest. So much so, that as they finally started to get on with

their mission, an ulterior motive was already brewing in her mind.

Discord looked down at the scene with surprise and amusement. It would seem that Chrysalis was rather ambitious with the revenge she swore onto Starlight Glimmer after she had freed her changeling hive from the Queen's’ control. Her plan to use copies of Twilight and the girls to harness the element’s power was a bold, if horrifically flawed plan.

What caught his attention most of all was the Twilight. He could see in her eyes there was something especially special about her compared to the other five. Her composure, her snark, the gears he could see turning in her head. It was the version of Twilight he had always hoped to see.

Now, a responsible ally to Equestria would swooped in, done away with the copies and apprehended Chrysalis promptly and without hesitation. Of course, while Discord is many things, responsible is not often the first descriptor that comes to mind. He kept his distance and continued to observe the group as he considered what he should do next.

It had been hours since this mission had begun and they had barely made any progress. ‘Twilight’ all but stomped through the forest looking for her companions. “Keep it together. You can do this,” she told herself through gritted teeth. “You need those imbeciles if your plan is going to come together.”

“You’re plan, eh?” a voice called out.

‘Twilight’ stood at attention, looking around for the source of that unfamiliar voice, readying herself for if she needed to fight her way out of something. Soon, her eyes fell upon one of the strangest things she had ever seen laying on a tree branch. A grotesque, patchwork amalgam of different creatures with a distorted equines head at the top. It stared at her with asymmetrical amber eyes and a long, toothy grin.

“What? Who are you!?” she demanded.

“Ah, so you don’t have her memories,” the creature noted. “Excellent. I love fresh starts.”

It swooped down from the branch and landed before her. “Discord. Spirit of Chaos and Disharmony. Hi, how are you?” he greeted, extending his lions paw out to her.

The alicorn grimaced, starting to turn around. “I don’t have time for this nonsense, monster. I have things to do!”

“Yes so I noticed. You and Chrysalis both seem dead set on finding those elements.”

She froze. ”... What do you know about the elements?”

“More than you do. That much is certain.”

“And I suppose that you intend to stop us?”

“I don’t have to,” Discord corrected, laying back in mid air. “Because I know you’re going to fail.”

‘Twilight’ just stood there puzzled for a moment. “What’s that supposed to mean?”

“Well let me answer that question with a question. Your boss Chryssy told you that Princess Twilight and her friends had the ability to wield the elements but did you ever tell you why?”

She narrowed her eyes at the smug creature before finally answering. ”... no.”

“Figured as much. She doesn’t know either.” he chuckled. “It’s because those six ponies in fact embody the qualities required to wield such a power. Honesty, Laughter, Generosity, Kindness Loyalty etc. See, that’s the part most people seem to miss about how they work.”

Discord twirled a single claw of his eagle’s talon in the air, causing the area around it to twist and change until a small rift opened up. The rift showed Princess Twilight, back when she was a unicorn standing with her friends before the lord of chaos.

“You see, like your Queen, I was once enemies with those girls as well. I knew they weilded the only thing in Equestria that could defeat me so I needed to remove them from the equation. So with a few choice words, and a dash of magic, I was able to turn those ponies into the exact opposite of the elements they embodies. A liar, a grump, a hoarder, a brute and a drifter to name a few.”

He turned his gaze from the visual aid back to ‘Twilight’, an even wider grin on his face. “Sound familiar?”

She looked down, thinking back to the other five. Their behavior, coupled with the creatures explanation caused worry to begin flooding her system.

”... You’re bluffing.”

“Sure, let’s go with that.” he replied, trying hard not to laugh.

”So what? Are you trying to say the elements won't work for us because we aren’t goody goods?”

“Oh them not working for you is the best case scenario,” he explained. “It’s equally as possible that the Tree of Harmony will know you and the others are just tainted copies and possibly purge from existence.”

Her knees began to wobble slightly. Only now was she considering the very serious chances of failure and to say she didn’t like it one bit was the say that the sun is a bit toasty.

“Why? Why are you telling me this?” she asked.

Discord shrugged. “Well maybe it’s just my gentle loving heart, but I would hate to see the worst happen to somepony over a doomed revenge scheme.” He lowered himself down until he was eye to eye with the clone. “Besides, I like you. You’re filled with ambition, cunning and a refreshing lack of crippling neurosis. You have potential. And if there’s something I love doing it’s realizing potential.”

He extended his paw out again. “So, dark Twilight,” he said cheekily. “Do you want to carry on with her Majesty’s already failed plan, or would you rather come with me and truly make something of yourself?”

She frowned, knowing full well this was the illusion of free choice. Whether or not this creature was telling the truth, the fact remained that there were too many rogue variables to take that chance. Whether by this Tree of Harmony or Chrysalis herself, she risked oblivion, Begrudgingly, she lifted her hoof, accepting his paw.

“Fine.”

“Excellent!” Discord beamed. “Shall we go gather your compatriots? They seem fun.”

“No,” she responded flatly. “If what you say is true, then they’re useless to me.”

Discord whistled. “My you are as cold as they come aren’t you. I knew I liked you for a reason.”

‘Twilight’ scoffed and eyed Discord with an unamused glare. “Well, shall we?”

“Indeed,” he said with a smile, raising his lion’s paw up. “You’ll likely need a place to stay, I imagine. I hope you like lava beds.”

“Lava wha-?”

With a snap of his fingers, the two vanished from the forest.

[gelissaleveille]

Tully and the Horror That Is Motherhood

     Motherhood is a fright, a concept that is coming more into the public sphere as time goes on. More and more women are telling their truths about what being a mother is about, despite the heavy burden to maintain the facade of perfect motherhood. These truths are often uncomfortable but have allowed mothers to shift the perspective from unsustainable standards to the changing landscape of politics that women have to deal with. This means coming to terms with a political landscape which uses motherhood as ammunition while ignoring the realities that many of them tackle. Media still finds mothers interesting, illustrated by the plethora of films centered around mothers and their children. What fascinates filmmakers more than motherhood are the oft-unspoken horrors that motherhood can become. 2018’s Tully sets the scene of a weary Marlo (Charlize Theron) beleaguered by the figurative weight of child rearing and the literal weight of a third-term pregnancy. Throughout the film, tension builds between Marlo and her kindergarten-aged son, Jonah, who has an unnamed neurodivergence which adds to the pressure Marlo already feels. She feels judged on all sides, a sentiment which she hides with little effort, even though she knows that being the perfect mother is a sham. With Tully, Diablo Cody unveils the man behind the curtain that is perfect motherhood, and in doing so, shows that the man is truly an infant, irate and irritable, ripping his way from the inside out.

     When Marlo is still weeks out from giving birth, she and her husband Drew, visit her wealthier brother, Craig and his carefree wife, Elyse, for dinner. Her sister-in-law has recently given birth, snapped back from her pregnancy with style, and has hired a night nanny to watch her children. She glows with the light of someone unencumbered by GMOs and stress and speaks to Marlo with a levity that makes Marlo look like the Grinch. Marlo is tired, and this is evidenced by her constant frown and generally frumpy appearance. Marlo is tired, like anyone would be who is weighed down by a 10 lb dependent that is eating her nutrients. Compared to Elyse, Marlo diverges from what “good” mothers are and she would resent that more if she wasn’t so tired. Diablo Cody’s writes about women and the expectations they face, especially while they’re in difficult transitions in their lives and the rejection of others’ perceptions of them. Her films dismiss satisfying, closed endings, instead choosing to end at the beginning of the next stage of her character’s lives.  And what is most evident about her films is that they embody a particular type of expectations of white femininity that remains blind to the diversity of women and femmes surrounding it.

     What we see when we watch Tully is the loneliness that surrounds Marlo, and this is made more distinct with the arrival of the titular Tully (Mackenzie Davis), a young, effervescent night nanny that Marlo succumbs to hiring. Motherhood and loneliness walk hand in hand with each other, and we see the loneliness Marlo is subjected to. Her husband is rarely seen in the movie, except when he comes home to play video games before falling asleep. He seems to be unaware of Marlo’s fatigue and Marlo talks to very few people throughout the film. Her loneliness is palpable, so much so that I caught myself asking where her female friends were, since mothers often stereotypically surround themselves with other mothers. Marlo is already burdened by two other children, which is to say they bring her no real joy. She doesn’t hate them, that much is evident, yet her tense relationship to her son (not with her son, as he is a child whose feelings are naturally centered around himself) is a tool to view her tense relationship to her feelings toward motherhood. It is this thing happening to her, something that she cannot control, which sucks at her life force without giving her a day of rest. It is when the night nanny comes that she is able to finally experience motherhood like all the magazines say one should and it is then that the horror begins.

     Pregnancy is a dangerous affair, and the effects of it range from person to person. My favorite way to describe a fetus is to compare them to parasites since their existence is inherently parasitic. Their connection to their mothers is real, as mothers are the vessels that they not only grow in but are the means of remaining alive by taking from the mother’s own body for itself. Babies have no real survival mechanisms, it’s a fault of our species, so their dependence on their mothers is vital. Because of that, there’s a real psychological connection that takes place. The pregnant woman is the only person who can verify the child’s personhood, it being an extension of themselves. Death by childbirth has enjoyed low risk in recent times, yet it is still something that can occur, sort of like the child discarding its past vessel to enjoy a new one.  The aftereffects of birth remain horrifying and mothers can take years to fully recover from it with optimal care. If they aren’t afforded that care, they are subject to remaining in their weakened state for longer than necessary. Postnatal can be even worse, evolving a woman into a postpartum depression that for many goes undiscovered. Postpartum depression has been illustrated in numerous films and television shows and paints these mothers as murderesses bent on ending the lives of their children. It’s because of this idea of postpartum depression that many mothers hide how they are feeling, lest they are decreed an ‘unfit mother’ and have their babies taken from them. This fear of the unfit mother can lead to some mothers spiral deeper into their depression since they can’t express their feelings.

     When Marlo is finally graced with Tully’s presence, she is able to embody the ideal white American supermom that she wanted to be. She bakes and cleans and performs motherhood in ways that she has been unable to do before. She is no longer tired and greets everyone with a preternatural cheerfulness that she finally allows herself after her birth. Tully is almost too perfect. She is serene and graceful, allowing Marlo to rest while also becoming a backboard upon which Marlo can fully unwind her thoughts. Her loneliness is fed as Marlo starts spending her nights with Tully before she goes to bed. She is not only able to meet her own expectations of what it means to be a mom, but everyone else’s as well, and that’s what really matters. It quickly becomes evident that Tully and Marlo share far too many similarities to be coincidence, so the audience is left to question how Tully could possibly know Marlo so well. Things start rapidly turning sour as Tully irresponsibly invites Marlo into NYC, leaving her newborn alone, just for a bit of fun. As the night goes on, Marlo comes face to face with the reality of her age and that she has grown up a lot from the person she’d been when she was younger. It is then that we see that Tully and Marlo are one and the same and that the nights of allowing Tully to take care of the child was Marlo entering a fugue state in which her fatigue hallucinated a persona to take care of herself and her baby.

     What is most horrifying about this realization is that Marlo’s body burrows deeply into the psyche of her loneliness and manifests that into Tully, how Marlo remembers herself to be at her best. It is a reflection of who Marlo wishes she was and in creating that hallucination, she is able to immerse herself into a protected space within her mind that saw only what it wanted to see. She was tricked by her own body. It casts pregnancy into an untrustworthy light, and since this wasn’t caught until she literally fell over a bridge, it brings up the question of which mothers will find themselves in the same state. For women who are able to become pregnant, the greatest accomplishment is having a healthy pregnancy, from which one can recover in record time. Putting Marlo into this situation brings focus to the fact that many mothers aren’t rejoicing in their change of status to mothers; they suffer in silence while trying to get through it. The baby is an unknowing revelation of the true horror in your own body betraying you because of something your body has created, the urge to kill the parasite which made you a shell of your former self.

     It would be remiss to note that this is the reality for many black women when they are pregnant. Black mothers have a frighteningly high risk of death during childbirth and it is the myth of the strong black woman that keeps medical professionals from taking their pain seriously. Cody, in her films, creates a landscape of the woman contrasted against the ideals of what femininity can be. However, her femininity is centered around white womanhood to such an extent that women of color are never seen in her films. In Juno, the film which put her on the map, she shows a teenage girl who ends up pregnant and how she comes to deal with putting the child up for adoption, while still trying to navigate teenage life. For magnitudes of black teenagers, this reality is often punctuated by socioeconomic hurdles that change the direction of their lives. This isn’t to say that Juno should have been put on the street like many other black teenagers, but there is a lack of accountability in Juno from noting how her life has been spared because of her place in life. Like many other white women when dealing with serious issues, she is able to remove herself from the equation relatively unscathed.

     For Marlo, it appears that her problems are all solved! She’s safe and her husband sees the extent to which he was ignoring his responsibilities. The unspoken conclusion though is that fatigue, postpartum depression, and mild psychosis are never solved after a chance visit to the hospital. When might Marlo’s hallucinations start again, now that she knows what her body is capable of? In a way, it can be deduced that her struggles with motherhood will be lifelong if her son Jonah can be used as a reflection of his mother. It is unknown if Marlo previously had any mental illness or neurodivergency that passed down to her son. It is unknown what the future holds for her. While she is now safe from herself, how does she return to the person that she originally hid from? Tully manifests a horrorscape that is a reality for mothers around the world. It questions what one thinks they know of themselves and tricks them into thinking something else. For Marlo, maybe her journey is done once the credits roll, but for millions of women and mothers around the world, that story may never end. The fright buries itself in the trenches of the mind so that life after birth becomes a mystery of mental illness that many women might never stop hiding.  

[myexpertblogaboutmakeupremovercl]

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Simply put, yes-- but the degree to which they're greener than traditional pads and tampons is difficult to measure. Here's the important things: The Epa doesn't publicly share details on the precise effect that disposable menstruation items have on the setting. That said, we know sufficient to believe that, whatever the effect might be exactly, it isn't great.

Susan E. Powers, Ph.D., the Spence Teacher of Sustainable Environmental Systems and also the supervisor of the Institute for a Sustainable Environment at Clarkson University, tells SELF that, according to study she published last year in Resources, Conservation, as well as Recycling, a single person who menstruates utilizes anywhere from 108 to 504 menstrual products in a year. Working with approximately 240 products annually as well as a representative weight of 10 grams per product, she then approximated that a person person that menstruates will certainly utilize concerning 2.4 kgs (or around 5.5 extra pounds) of menstruation products in a year. Powers explains, "That would actually range from one to five kilograms of sanitary items," and also also then, these numbers just account for completely dry, unused tampons as well as pads plus their product packaging, with absolutely nothing to say of how much liquid (as well as consequently extra weight) they might soak up after use.

An extra 5 extra pounds of waste yearly could not seem like a lot, however based on information from the Globe Wellness Organization, we can approximate that a person's main reproductive years are in between the ages of 15 and also 49. This indicates that most people obtain their duration for about 34 years, provide or take some years for points like pregnancy, not getting your period while using a hormone IUD, and so on. That has to do with 187 additional pounds of waste throughout one's life time-- just from period products. While some brands do market disposable pads as well https://theuniqueblogaboutclearasilpads3666.mozello.com/blog/params/post/2613216/bamboo-make-up-remover-pads-are-saving-my-acne-prone-skin-and-also-aiding-t as tampons as naturally degradable, this term can be a bit deceptive. Usually biodegradability is based upon whether or not a product will decompose in a natural environment (like being immersed in water), yet a lot of land fills aren't precisely "natural surroundings," so snagging naturally degradable products could not be as environmentally impactful as you 'd expect.

But it isn't just whatever we end up throwing away that makes single-use pads less than environmentally friendly. We also need to consider the sources as well as energy needed to create them in the first place, Powers claims. "Solid waste is frequently what we think about since that's what we see, yet there's all this various other things," she claims, noting the chemical emissions launched when preparing wood-pulp products that enter into pads (as well as the environmental impact of harvesting the timber). Simply put, a non reusable pad already has an environmental impact prior to it even gets to the store, Powers states. By comparison, a multiple-use pad will generate some quantity of waste throughout its life expectancy simply because of the fact that it's washable, which requires you to use even more water and also detergent (a pollutant) than you would certainly with a non reusable pad, however its overall footprint will still be a lot smaller sized, Powers explains. And also, if you're dropping the pads in with the rest of your washing, it's probably not including much to your general footprint.

So the short answer is yes, changing to reusable pads would possibly minimize the stress that any type of single-use pads you would or else make use of could put on the environment. But Powers explains that you don't need to quit disposable pads cold-turkey to make a distinction. Pads that are unbleached or packaged in more cardboard and also much less plastic are somewhat far better options because they create smaller sized footprints, she states, including that making these sort of modifications to your period regimen is an "intermediate step that could minimize people's effect" on the environment. "It's a bigger barrier to say, 'I'm mosting likely to utilize a multiple-use product,' than it is to state, 'I'm mosting likely to lessen the product packaging,'" she says. "Much better to obtain people to take even the tiny steps to move away from our present technique." That said, if you're ready to cross that obstacle, we have some recommendations for you.

Reusable Cotton Pads - Why as well as Just how to utilize them

As we are seeking to minimize our ecological footprint, much of us are opting for multiple-use choices in our life. From shopping bags to straws, there are now readily available many no waste choices to single-use products. Among them is recyclable makeup pads, which help reducing the ecological effect of using makeup and using toner. Below we describe why they are such a good selection.

Why Should You Make The Button?

Usually, each woman uses 3 cotton pads daily which totals up to around 1.000 per year. Plus the plastic packaging, which is typically not recycled as well as ends up polluting our earth in a garbage dump. It is a great deal of waste, right? Even if 100% cotton, single-use cotton pads can be composted just if they have not been in contact with chemicals such as makeup, nail polish remover or disinfectants. In addition to that, cotton pads are typically mixed with artificial products, such as polyester, which can not be reused. Cotton is a natural product, however it is additionally among one of the most environmentally demanding crops: each kilogram of cotton calls for 20,000 liters of water to be created; over fifty percent of the world's cotton production occurs in locations with high or extreme water tension; the cotton market eats a lot of chemicals, 6% of the globe's chemicals as well as 16% of pesticides. It additionally exposes both cotton growers and also consumers to toxic carcinogenic chemicals that are utilized during production. Besides the environmental footprint, cotton farming and also manufacturing are additionally frequently connected with several violations of moral manufacturing criteria such as forced and youngster work. Select reusable over non reusable to help in reducing your ecological effect one action at a time.

How To Use Your Reusable Makeup Pads

The switch to recyclable makeup pads is really easy as well as it represents a great solution for any lasting lifestyle. They're utilized much like single-use makeup pads however washed after each usage. Apply your makeup remover on the pad as well as utilize it to clean away any type of makeup. You can additionally use them to apply your toner, with nail polish remover when needed, or in lots of other means you would certainly utilize single-use makeup pads. After that, you can merely hand laundry or toss them in the cleaning machine, air dry as well as reuse. Relying on the degree of treatment, multiple-use makeup pads will certainly last you years. This significantly decreases your environmental impact and also assists you live an extra environment-friendly way of life.

[myimpressiveblogaboutcottonpadsr]

The Benefits Of Using Organic Cotton Pads

Our series of bamboo makeup remover pads can help in reducing your waste outcome. Typically, one reusable pad is the equal to consuming to 300 non reusable cotton pads.

We create our items to have the least environmental influence to advertise moral consumption, this often indicates a careful balancing act in between different materials and sources. In order to make the most of reusability as well as washability, our reusable pads are made from 70% Bamboo as well as 30% Cotton. The product packaging box it can be found in is made from 100% recyclable cardboard.

So what are the benefits of using recyclable cotton pads?

You can save money

Our recyclable cotton pads can quickly help you save cash over time. If you were to acquire a pack loaded with 50 cotton pads for ₤ 3 - ₤ 4, how many packs would you purchase in a year? Allow's state 7 for arguments sake. That would certainly equate to 350 cotton pads for 365 days in the year. That would certainly cost you ₤ 28 a year. Additionally you can invest ₤ 11 on a pack of 10 recyclable cotton pads which will conveniently last you a year. (As long as they are cleaned properly. (Read just how to increase the longevity of your multiple-use cotton pads below). That's ₤ 17.00 in your budget, not counting the thousands of cotton pads that will certainly not wind up in the garbage dump.

You develop way much less waste behind you

According to research by Mintel, 47% of make up users on a regular basis utilize single-use face wipes and cotton pads; with most of single-use cotton pads being non-biodegradable and also practically indestructible. The majority of single-use comprise remover pads are comprised of a significant amount of plastic, which can take hundreds of years to break down. It do without claiming, changing solitary usage cotton pads with reusable cotton pads can help in reducing the variety of cotton pads winding up in land fills.

Eco-friendly cotton pads is much better for your skin

According to makeup musician and elegance specialists, using reusable makeup pads can be very helpful for your skin. Making use of a multiple-use cleansing towel or make up removal pads to get rid of compose as well as clean the skin makes sure complete cleansing. A multiple-use cloth can be made use of numerous times and washed; it's much less abrasive on the skin, as well as by utilizing warm water, it's much less most likely to create inflammation.

Do reusable pads actually make an environmental difference?

Simply put, yes-- yet the level to which they're greener than traditional pads and also tampons is hard to evaluate. Right here's things: The Environmental Protection Agency doesn't publicly share information on the exact effect that non reusable menstruation products have on the setting. That said, we know sufficient to believe that, whatever the influence might be precisely, it isn't wonderful.

Susan E. Powers, Ph.D., the Spence Professor of Sustainable Environmental Equipments and also the supervisor of the Institute for a Sustainable Atmosphere at Clarkson University, tells SELF that, according to research study she published last year in Resources, Conservation, and Recycling, a single person that menstruates makes use of anywhere from 108 to 504 menstrual items in a year. Collaborating with an average of 240 products per year as well as a representative weight of 10 grams per product, she after that estimated that person that menstruates will use about 2.4 kilos (or around 5.5 pounds) of menstrual items in a year. Powers explains, "That would really vary from one to five kgs of sanitary items," and also even then, these figures just make up dry, unused tampons and pads plus their packaging, with absolutely nothing to state of how much fluid (as well as as a result extra weight) they may soak up after usage.

An added five extra pounds of waste annually may not seem like much, however based on information from the World Health Company, we can approximate that a person's key reproductive years are between the ages of 15 and also 49. This means that most people get their period for concerning 34 years, give or take some years for things like maternity, not obtaining your period while using a hormone IUD, etc. That has to do with 187 additional pounds of waste over the course of one's life time-- simply from period items. While some brand names do market non reusable pads and also tampons as eco-friendly, this term can be a little bit misleading. Often biodegradability is based on whether a material will disintegrate in a natural environment (like being immersed in water), but a lot of garbage dumps aren't specifically "natural environments," so getting naturally degradable products might not be as eco impactful as you 'd anticipate.

However it isn't simply whatever we end up throwing away that makes single-use pads less than green. We likewise need to think of the resources as well as power required to create them to begin with, Powers claims. "Strong waste is frequently what we think about since that's what we see, but there's all this various other stuff," she claims, keeping in mind the chemical exhausts released when preparing wood-pulp items that go into pads (and also the ecological influence of harvesting the wood). Simply put, a non reusable pad currently has an environmental footprint before it also reaches the shop, Powers claims. By comparison, a multiple-use pad will certainly create some quantity of waste throughout its life expectancy simply as a result of the reality that it's cleanable, which needs you to make use of more water and also detergent (a pollutant) than you would with a non reusable pad, but its overall impact will certainly still be much smaller, Powers explains. Plus, if you're going down the pads in with the remainder of your washing, it's possibly not including much to your general footprint.

So the short answer is of course, changing to reusable pads would probably minimize the strain that any kind of single-use pads you would certainly or else make use of may put on the setting. However Powers points out that you do not have to give up disposable pads cold-turkey to make a distinction. Pads that are natural or packaged in even more cardboard and also much less plastic are somewhat much better options due to the fact that they produce smaller sized footprints, she says, including that making these sort of changes to your period routine is an "intermediate action that can minimize people's effect" on the setting. "It's a larger obstacle to state, 'I'm going to use a multiple-use item,' than it is to claim, 'I'm mosting likely to reduce the packaging,'" she states. "Much better to obtain individuals to take also the small actions to move away from our current technique." That said, if you prepare to cross that barrier, we have some recommendations for you.

Recyclable Cotton Pads - Why and How to use them

As we are looking to reduce our environmental footprint, much of us are opting for recyclable alternatives in our life. From shopping bags to straws, there are currently available several no waste choices to single-use items. One of them is recyclable makeup pads, which help in reducing the ecological impact of putting on makeup and also applying toner. Right here we explain why they are such an excellent choice.

Why Should You Make The Switch?

Generally, each lady makes use of 3 cotton pads each day which totals up to around 1.000 each year. Plus the plastic product packaging, which is typically not reused as well as winds up contaminating our world https://articlescad.com/your-guide-to-using-organic-cotton-pads-615217.html in a land fill. It is a lot of waste, right? Even if 100% cotton, single-use cotton pads can be composted only if they have not been in contact with chemicals such as makeup, nail polish remover or anti-bacterials. In addition to that, cotton pads are typically mixed with artificial products, such as polyester, which can not be recycled. Cotton is an all-natural product, however it is likewise among one of the most environmentally demanding crops: each kg of cotton requires 20,000 liters of water to be generated; over fifty percent of the world's cotton manufacturing happens in areas with high or severe water stress and anxiety; the cotton industry consumes a lot of chemicals, 6% of the world's pesticides and 16% of insecticides. It likewise exposes both cotton cultivators and also consumers to poisonous carcinogenic chemicals that are utilized throughout manufacturing. Besides the environmental impact, cotton farming and also manufacturing are also typically related to many violations of ethical production requirements such as forced and kid labour. Pick reusable over disposable to help reduce your environmental influence one step at a time.

How To Usage Your Reusable Makeup Pads

The switch to recyclable makeup pads is very simple and also it stands for a terrific option for any type of sustainable way of living. They're made use of much like single-use makeup pads yet washed after each usage. Use your makeup remover on the pad and use it to clean away any kind of makeup. You can also utilize them to apply your printer toner, with nail polish remover when needed, or in lots of various other means you would certainly utilize single-use makeup pads. After that, you can merely hand laundry or toss them in the washing maker, air dry and reuse. Depending upon the degree of treatment, reusable makeup pads will last you years. This considerably lowers your environmental influence as well as aids you live an extra eco-friendly way of life.

[officialr2f]

Is Forex Trading same as Bitcoin

The Advantages and Disadvantages of Forex trading Today, We'll be talking about something which may intrigue a lot of you future traders and investors. Though some may argue that there are many similarities between cryptocurrency trading with forex trading is like comparing apples and melon. but you'll find for yourself that is not entirely true.

Forex involves trading currencies as the currency market is bigger and well-established, while the crypto marketplace is a new participant in the spectacle. Forex entails middlemen, agents, and Several different associations that typically collect fees at virtually every step of the trading procedure. But, in crypto trading, there is no middleman and that is most likely the biggest draw for this. Another Significant gap we must mention between both would be the liquidity available in foreign exchange and also the absence of it from crypto, As soon as you drift away in the significant cryptocurrency coins.

If You're wondering which Kind of Trading, to begin with, this guide can help you. Let us begin.

Whether You Decide to exchange Forex or Crypto, you must understand that every sort of trading conveys its particular risk and benefits and negative and positive sides.

The feeling that they're digital trading forms of money. As previously mentioned, all you will need is access to the net and a calculating device to begin trading.

Construction of each market location differs. There are numerous similarities, but equating them is, as we mentioned, such as comparing two different fruits together.

Many forex dealers have turned into the cryptocurrency markets because of the recent increase in popularity. In the conclusion of the afternoon, the choice of whether to exchange forex or cryptocurrency is dependent upon your objectives, assets, and risk tolerance. Also, we advise you to devote some time to perform research and analysis on both markets before choosing which to trade.

What is Bitcoin

Bitcoin is only electronic money without a physical form at all; it is strictly peer-to-peer, though its title may suggest otherwise. Consequently, there is no middleman involved, in the kind of banks, aside from the purchaser and the vendor. Working behind the scenes to earn bitcoin operational is your so-called blockchain tech. Every trade is set on a people ledger, in the shape of interlinked data cubes, where everybody with access can see the background of particular purchases. Additionally, data can't be erased without eliminating all the preceding blocks from the series, effectively preventing manipulation in the kind of forgeries.

Conducted 24/7, whereas overseas is restricted to just five days per week and closes throughout the weekend. This permits dealers to buy and market bitcoin in their leisure.

Another interesting thing that makes Bitcoin an international trading product is its decentralization. Bitcoin is not tied to any particular nation or lender, thus rendering it completely autonomous. The cost is, therefore, regulated solely by the men and women in the conventional kind of demand and supply. This, nevertheless, has its drawbacks. Significantly, bitcoin is overly volatile for a currency due to its fast-changing prices, changing during one day with a couple of hundred bucks occasionally, whereas forex is much more stable seeing as it changes only by several cents in the least.

Also, be utilized to catch some easy cash if you get lucky enough to purchase it if the rates are low and sell when they are very large. By way of instance, five decades back, 1 bitcoin was worth roughly a hundred dollars, now it is worth more about fifteen million, but then again, who is ready to take a seat a single currency for such a long time?

What is Forex Trading

Forex trading isn't as complicated. In Reality, if you went into a foreign nation, by way of instance, in the United States to Germany, you likely had to take part in certain forex trading yourself.

Its fundamental principles operate the Identical way As bitcoin trading, just now you are comparing two currencies rather than this one. By calling where the money's value is going, you may either purchase it or sell it at a subsequent date to create profit. These forecasts are based on geopolitical equilibrium, inflation, preceding tendencies, and so forth.

Fortunately, are readily accessible social dealer platforms, which lets you monitor currency values in real-time, in addition to executing wise auto-trades along with different traders.

Along with providing excellent Help to newer faces on the current market, they create your brokering life easier, yet more rewarding at precisely the same moment.

Forex Currency trading is a whole lot easier to enter than bitcoin trading.

The Guideline is to begin small, Say investing about $30 daily until you learn the basics of the transaction and begin earning a profit. This is not a distinct chance with bitcoin because it needs much more investment in the part simply to get one bitcoin.

Bitcoins for a long time before you're able to sell them and even then, it is a high-risk high-reward investment, whereas using forex, you can run commerce daily, based on the firmness of this marketplace.

Volatility is not a problem with forex as It's with bitcoin. But, physical monies are published, occasionally in excess, resulting in inflation. This subsequently devalues the monies to a level, whereas bitcoin includes a limit of merely twenty-one million coins present at a single time in the entire world. Meaning, its cost will most probably be going upward, exponentially, later on.

How To choose between Forex and Bitcoin Trading

Furthermore, forex trading incorporates a controlled environment to give extra safety to dealers. The market contains large players and institutional investors that give a greater amount of money to trading.

At precisely the same time, investors may benefit greatly from cryptocurrency trading since the marketplace isn't yet entirely mature. Bitcoin, altcoins, and electronic tokens have a massive possibility to scale. Making investments in the main stage may allow a dealer to procure massive gains in forthcoming decades. Furthermore, cryptocurrencies are prone to a higher level of volatility. A savvy dealer can leverage the variable of volatility to acquire substantial returns.

While forex currency trading markets are mainly held by institutional investors, cryptocurrency investments incorporate retail dealers too, in part as a result of comparatively-less funds crypto trading demands compared to forex. The expenses of top trading charges are also removed when coping with crypto markets.

The two crypto and foreign exchange markets have advantages and risks. It depends upon A single trader to get their favorite trading environment, and In these two landscapes, a dealer needs to have a particular level of knowledge and consciousness. However, given the appropriate study, both systems Present the chance of a massive return on investment.

In Conclusion, forex Is Now the safer Option because it has been a proven process of trading long before bitcoin started becoming popular in the market. Additionally, bitcoin's volatility is much similar to a double-edged Sword -- there is no saying if the prices will fall or rise Considerably in a short time-frame. So it's better to do proper research before investing in either of them by considering their pros and cons.

[arksstech0005]

Is Forex Trading same as Bitcoin

Today, We'll be talking about something which may intrigue a lot of you future traders and investors. Though some may argue that there are many similarities between cryptocurrency trading with forex trading is like comparing apples and melon. but you'll find for yourself that is not entirely true.

Forex involves trading currencies as the currency market is bigger and well-established, while the crypto marketplace is a new participant in the spectacle. Forex entails middlemen, agents, and Several different associations that typically collect fees at virtually every step of the trading procedure. But, in crypto trading, there is no middleman and that is most likely the biggest draw for this. Another Significant gap we must mention between both would be the liquidity available in foreign exchange and also the absence of it from crypto, As soon as you drift away in the significant cryptocurrency coins.

If You're wondering which Kind of Trading, to begin with, this guide can help you. Let us begin.

Whether You Decide to exchange Forex or Crypto, you must understand that every sort of trading conveys its particular risk and benefits and negative and positive sides.

The feeling that they're digital trading forms of money. As previously mentioned, all you will need is access to the net and a calculating device to begin trading.

Construction of each market location differs. There are numerous similarities, but equating them is, as we mentioned, such as comparing two different fruits together.

Many forex dealers have turned into the cryptocurrency markets because of the recent increase in popularity. In the conclusion of the afternoon, the choice of whether to exchange forex or cryptocurrency is dependent upon your objectives, assets, and risk tolerance. Also, we advise you to devote some time to perform research and analysis on both markets before choosing which to trade.

What is Bitcoin

Bitcoin is only electronic money without a physical form at all; it is strictly peer-to-peer, though its title may suggest otherwise. Consequently, there is no middleman involved, in the kind of banks, aside from the purchaser and the vendor. Working behind the scenes to earn bitcoin operational is your so-called blockchain tech. Every trade is set on a people ledger, in the shape of interlinked data cubes, where everybody with access can see the background of particular purchases. Additionally, data can't be erased without eliminating all the preceding blocks from the series, effectively preventing manipulation in the kind of forgeries.

Conducted 24/7, whereas overseas is restricted to just five days per week and closes throughout the weekend. This permits dealers to buy and market bitcoin in their leisure.

Another interesting thing that makes Bitcoin an international trading product is its decentralization. Bitcoin is not tied to any particular nation or lender, thus rendering it completely autonomous. The cost is, therefore, regulated solely by the men and women in the conventional kind of demand and supply. This, nevertheless, has its drawbacks. Significantly, bitcoin is overly volatile for a currency due to its fast-changing prices, changing during one day with a couple of hundred bucks occasionally, whereas forex is much more stable seeing as it changes only by several cents in the least.

Also, be utilized to catch some easy cash if you get lucky enough to purchase it if the rates are low and sell when they are very large. By way of instance, five decades back, 1 bitcoin was worth roughly a hundred dollars, now it is worth more about fifteen million, but then again, who is ready to take a seat a single currency for such a long time?

What is Forex Trading

Forex trading isn't as complicated. In Reality, if you went into a foreign nation, by way of instance, in the United States to Germany, you likely had to take part in certain forex trading yourself.

Its fundamental principles operate the Identical way As bitcoin trading, just now you are comparing two currencies rather than this one. By calling where the money's value is going, you may either purchase it or sell it at a subsequent date to create profit. These forecasts are based on geopolitical equilibrium, inflation, preceding tendencies, and so forth.

Fortunately, are readily accessible social dealer platforms, which lets you monitor currency values in real-time, in addition to executing wise auto-trades along with different traders.

Along with providing excellent Help to newer faces on the current market, they create your brokering life easier, yet more rewarding at precisely the same moment.

Forex Currency trading is a whole lot easier to enter than bitcoin trading.

The Guideline is to begin small, Say investing about $30 daily until you learn the basics of the transaction and begin earning a profit. This is not a distinct chance with bitcoin because it needs much more investment in the part simply to get one bitcoin.

Bitcoins for a long time before you're able to sell them and even then, it is a high-risk high-reward investment, whereas using forex, you can run commerce daily, based on the firmness of this marketplace.

Volatility is not a problem with forex as It's with bitcoin. But, physical monies are published, occasionally in excess, resulting in inflation. This subsequently devalues the monies to a level, whereas bitcoin includes a limit of merely twenty-one million coins present at a single time in the entire world. Meaning, its cost will most probably be going upward, exponentially, later on.

How To choose between Forex and Bitcoin Trading

Furthermore, forex trading incorporates a controlled environment to give extra safety to dealers. The market contains large players and institutional investors that give a greater amount of money to trading.

At precisely the same time, investors may benefit greatly from cryptocurrency trading since the marketplace isn't yet entirely mature. Bitcoin, altcoins, and electronic tokens have a massive possibility to scale. Making investments in the main stage may allow a dealer to procure massive gains in forthcoming decades. Furthermore, cryptocurrencies are prone to a higher level of volatility. A savvy dealer can leverage the variable of volatility to acquire substantial returns.

While forex currency trading markets are mainly held by institutional investors, cryptocurrency investments incorporate retail dealers too, in part as a result of comparatively-less funds crypto trading demands compared to forex. The expenses of top trading charges are also removed when coping with crypto markets.

The two crypto and foreign exchange markets have advantages and risks. It depends upon A single trader to get their favorite trading environment, and In these two landscapes, a dealer needs to have a particular level of knowledge and consciousness. However, given the appropriate study, both systems Present the chance of a massive return on investment.

In Conclusion, forex Is Now the safer Option because it has been a proven process of trading long before bitcoin started becoming popular in the market. Additionally, bitcoin's volatility is much similar to a double-edged Sword -- there is no saying if the prices will fall or rise Considerably in a short time-frame. So it's better to do proper research before investing in either of them by considering their pros and cons.

[dancoleman-ma]

Annotated Bibliography

This text looks at the changes to the landscape art being produced in a post digital media arts context. The source looks at a number of varying digital media landscape arts and critiques and analyses them.The findings in the text are that landscapes have gone through similar changes to many more traditional styles of art, having embraced technology but also having expanded on the traditional meaning of a landscape, creating artworks that leave the canvas behind and engage with people in a more interactive way.

I found the text really interesting in the way it looks at a more ‘traditional’ subject like landscapes and shows how they have been transformed into digital art. I think it is great to look back at great art traditions and to understand how these can be created in a modern digital art way. The source seems very authoritative, being recent and giving a huge amount of evidence of its research. I think for my artworks in the future I will not forget to look at traditional artworks and see how  I can transform them into a digital media piece. 

Cruz, T., Paulino, F.F. and Tavares, M.N. (2019). The Landscape in Digital Media Art. Proceedings of the 9th International Conference on Digital and Interactive Arts.

This paper looks at the collaborative relationship between scientific study and the creation of digital art. Three case studies were looked at spanning 20 years of collaborations reflecting on and evaluating them for some lessons for future collaborations. The paper looks at the study of HCI (Human Computer Interaction) and how the growth and expansion of this field has given interesting insights into how digital art can successfully be consumed and be used to provide new experiences of users through collaborations. It also concludes that HCI still needs to develop to discover what a meaningful art experience consists of.

I found the engagement of different disciplines and fields of study and an interesting way to find out more about digital art and its future. The text gave good insight into how digital art will grow alongside HCI and the development of future technologies. I found the text to be reliable and highly informative, with storing use of evidence, however it is a little dated and I wonder if the field of HCI has given greater insight in the years since this publication.

England, D. (2012). Digital art and interaction. Proceedings of the 2012 ACM annual conference extended abstracts on Human Factors in Computing Systems Extended Abstracts - CHI EA ’12.

This source looks into generative art and in particular using saliency detection to do this. The text goes into detail how images are processed and then rendered. The rendering takes place as different strokes and the different equations and formula for this are included in the text.

I think that this source is helpful in my work due to having done some generative art and hoping to do some more. I think that this  source stands out in particular due to the focus on saliency. The source is from a conference on machine learning and seems very authoritative on the subject. I think it is interesting to learn about particular techniques within generative art and would be useful if i were to decide to create some generative art using these techniques. I think understanding unique and definite niches of different types of digital art, in this case generative, can lead to much better and interesting art.

Wu, T. (2018). Saliency-aware Generative Art. Proceedings of the 2018 10th International Conference on Machine Learning and Computing.

The source here poses the idea that scent can be used in digital art and how it has been used in the past. It references a couple of gallery exhibits and examples of where some artists have utilized scent in different ways. It states that smell can be used in many different ways in conjunction with digital media; ambient, entertainment, stimulating, informative, augmented. The text goes on to give some ways smell can be used in the future with digital media.

This source talks about something that I had not seen written about before and for this reason I think that this source would be considered authoritative on this subject considering the evidence used within it as well. I think this idea about using scent is an interesting idea as it is a sense often overlooked when thinking about lots of art, especially digital and this is something that could really be thought about in the future when creating digital art especially for gallery settings. While I would not explore this now I think it would be a great way to be innovative and unique in the digital art world

Lai, M.-K. (2017). The Scent of Digital Art. Proceedings of the 8th International Conference on Digital Arts - ARTECH2017. [online] Available at: https://dl.acm.org/citation.cfm?doid=3106548.3106616 [Accessed 16 Oct. 2019].

This source looks at the field of digital painting and its development as its own field of study and looks at the future of digital painting in style but also with the impact of commercialisation. The source states even though its history has been short, it has led to a wide and diverse art with an irreplaceable positioning in today's digital world.

I found this source interesting because even though I haven't done much digital painting I think the ideas about it can be applied to many different forms of digital art. I think the strength of this source is that I have a deep understanding of digital painting and its ability to define it well, and discuss the cultural place for it, making it an authoritative source on the topic. I think if i were to ever do more digital painting it would be something i'd read again to understand more on the topic 

Cui, J. (2017). Research on Digital Painting Art and Its Diversified Performance. Proceedings of the 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017).

This source discusses the ideas of the artists creating digital works are able to curate their own work using social media and the internet and how this changes the artworks produced by the artists. The text explores the fact that now artists can self curate and upload their work for the whole world to see, and how this has changed the way people consume this art. The main point of the text is that the removal of barriers to new artists has led to more traditional institutions like galleires have had to adapt to keep up with new waves of art being produced, and these changes are discussed.   

I think the article gives some great insight into how digital curation of art has led to more self curation with art and has meant it can be shared worldwide and with ease, bypassing traditional methods of sharing art. In my opinion this source is a good one, by authoritative authors and having a recent publishing date. The text also uses a wide variety of evidence to back up its findings

Giannini, T. and Bowen, J. (2016). Curating Digital Life and Culture: Art and information.

This source explores a range of topics on digital performance but the chapter I looked at was the involvement of digital media in theater. The text discusses a number of different practitioners of digital media in theater and contrasts and compares them, giving insight into the complexity and techniques behind them.

I think as a digital artist it is important to think about how digital art can be incorporated into traditionally not digital spaces, and how this combination of mediums can elevate different artistic practices. I think even though this source is a little dated it still covers interesting topics and ideas when thinking about digital art in theater, however I think it would be interesting to see how the techniques and execution of these techniques has changed since some of the evidence used is old now.

Dixon, S. (2015). Digital Performance: A History of New Media in Theater. Cambridge, Mass.: Mit Press.

‌This piece looks at some of the questions being asked of digital art history and the need in this modern age to define what digital art history is. The article questions whether there is a difference between ‘traditional’ art history and ‘post-digital’ art history. The text argues that there is a need for a pluralistic model for digital art history.

I think for my own studies and creation of my  work it is important to think about how the art I produce will fit into the wider art community and how it is then viewed by others in different  artistic fields. This text being about digital art history has given me insight into something that relates strongly to my practice but at the same time does not overlap. While this topic is quite different to the others i have looked at in the past, I find it interesting to see how there are other fields in art that need to see how they fit in as a ‘digital’ practice and whether there needs to be a distinction or not between them.

Rodríguez-Ortega, N. (2019). Digital Art History: The Questions that Need to Be Asked. Visual Resources, 35(1–2), pp.6–20.

This article looks into the ways that street and advertising board art can be evolved and turned into AR artworks and interactive pieces.the text looks at the way public spaces are used by the public and how it can be reclaimed or expanded through the use of AR and the usefulness of the AR experiences. It argues that the connection of public space and its citizens can bring a dialogue about certain aspects of that area and engage people in more meaningful ways. The idea that giving people a deeper connection with their public spaces is argued that it leads to the residents becoming more psychologically invested in their communities and caring for them more.

I found this idea of bettering a public space through AR an interesting idea.  AR in itself is usually a public experience but is often confined to the space of a gallery or installation and the possibilities that a community can engage with their spaces through AR is an exciting and interesting path for AR art. The source seems authoritative on this topic giving evidence, and this topic could be something i look at future projects  

Biermann, B. (2018). Augmented reality, art, and public space. ACM SIGGRAPH 2018 Talks on  - SIGGRAPH ’18.

In this article the main topic is the use and technology being used in interactive AR art installations. The article covers the different aspects of the user relation to the ar art and the ar experience. The first part of the text looks at the installation where the users were given hololens AR headsets to interact and consume the art, and the second part looks at the participant giving an evaluation of their experience. What was found was that while the interaction with the air headsets was enjoyed and experienced well by the users the headsets themselves were uncomfortable for the users to wear and concluded that this may be something found with many AR headsets used for art installation. 

I find this useful to my studies as it gives insight into some of the complications or limitations of viewing certain types of digital art, the main one being discussed how users see these AR creations. It is something as someone interested in AR art. I must understand how to easily and comfortably share my art with the user and it's important to think how this may affect what I decide to produce in the future. 

Ine Mols, Van, E. and Eggen, B. (2020). Everyday life reflection: Exploring media interaction with balance, cogito & dott. Association For Computing Machinery, Inc -02-06.