#creative code india

[creativecodeind]

Corporate Video Production Company in Bangalore | Top Video Production House

Corporate Video Production Company in Bangalore: Looking for High-quality Video Production Companies in Bangalore? Creative Code Offer a Full Range of Video Production Services

[abhi-views]

Bard Takes Flight: Introducing Gemini, Ultra 1.0 and Your New Mobile AI Companion

Bard No More! Introducing Gemini, Your New AI BFF #Bard #Gemini #Ultra1.0 #GoogleAI #mobileaccess #onthegoassistance #creativity #coding #collaboration #factualaccuracy #informationretrieval #personalization #earlyaccess #India

Get ready to witness a metamorphosis! Bard, the AI you’ve come to know, is evolving into Gemini, powered by the cutting-edge Ultra 1.0 model. This exciting transformation brings not only a new name but also a significant leap in capabilities and accessibility. Buckle up, and let’s explore what Gemini has in store for you! Unleashing Ultra 1.0 Power: Gemini’s core is the revolutionary Ultra 1.0…

[deadlyviperquill]

Code Geass: Lair's Dice Circle int he Sand Part Two

Hi Everyone,

Part Two of Circle in the Sand is now on @deviantart for you to all read.

[eatmangoesnekkid]

What I know from quietly mentoring women over the years is that most women do not need to eat less. We need to eat more, especially more protein, which stimulates our metabolism to become more active. Eating more protein is not necessarily about mindlessly eating and killing more and more animals, these sentient beings who clearly do not want to be eaten by us. It does mean finding more creative ways to get more protein in our meals by centering eating more things that do not have a central nervous system like eggs, plants, fruit, soaked nuts and seeds, and oysters, or reusing bones from homemade bone broth over and over and over again but not just absentmindedly buying more meat from anywhere and everyone. While vegetarian sources of protein are ok like well-soaked, well-cooked kidney beans yet not as dense and bio-available as animal sources especially as we get older (and our digestive systems get older ), we do have to be mindful and thoughtful around our eating habits that can cause us to reap more negative forms of karma. Karmic cycles follow those who don’t close out chapters of their lives properly and live recklessly with no honor, principles, or values. I would love to see more collective care and deep soul ritual around how we relate to and consume animals. In another life, I would be a homesteader and live with intention, prayer, playfulness, and ritual around my farm animals and their rites of passage.

And when there was a sacrifice that needed to be made, I would be the one to do it all as a daughter of Oshun and Artemis, while adorned in the most beautiful elegant cowrie shells and form-fitting, colorful fabric wrapped into a little dress and I would make the ethical kill with love, respect, and precision. Oftentimes this is a missing key code with women—to face and come to terms with death and our need to give death to what is no longer serving, like a long term friendship that no longer feels solid and truthful or a farm animal who constantly attacks and creates fights that injure other animals on the farm. Both scenarios are one in the same frequencies. —India Ame’ye

[inspofromancientworld]

Zero, Negative, and Infinite Numbers in Antiquity

With the advent of accounting, numbers became more important to people of the Bronze Age and into the Iron Age. Numbers grew into a thing of philosophy as much as they were of accounting and geometry. Number systems were developed, based on systems of 10, 20, or even 60, depending on the culture, but numbers having a value based on where in the number they appear, such as the value of 4 being different in 4356, 43, and 354, was something that came along later. This is something we take for granted now, but wasn't developed until the Hindu people of India. The biggest development that allowed for a positional system of numbers is 0.

Zero shows up in some ways before the Hindu-Arabic numeral system was formalized. The Ancient Egyptians used a symbol called 'nfr' to symbolize when the amount received by pharaoh was equal to what was distributed, but they did not use a positional system when writing other numbers. The Babylonians also didn't use a positional number system, though they might use three hooks, or later two slants, as punctuation marks between between numbers like we use zero now, but they were never used alone or at the end of a number, showing that the concept wasn't fully developed yet.

By Miranche - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=55976282

The ancient Greeks seemed to be philosophically opposed to zero while also needing to use it for their astronomy. They used lower case omicron (ό) initially in place of the punctuation marks that the Babylonians used. The quantity of zero led to the philosophical question 'how can not being be?', on which the paradoxes of Zeno of Elea rest (one of which being 'that which is locomotion must arrive at the half-way stage before it arrives at the goal').

The ancient Chinese used a counting rod system that allowed positive and negative numbers depending on how exactly the numbers were written, but treated zero itself as a vacant place, lending the system a type of positional set up, but without having a zero or null concept. At some point prior to CE 1274, the symbol 〇 as the placeholder and was probably borrowed from the Indian people.

By National Geographic - National Geographic [1]. Non creative image of a 2D artifact from the 3-4th century CE., Public Domain, https://commons.wikimedia.org/w/index.php?curid=73315832

In India, a black dot was used as a symbol for zero, which gradually became hollow. It was fully recognized as a number as far back as CE 224, though Pingala, a Sanskrit scholar who lived around the 2nd or 3rd century BCE, created a type of notation similar to Morse code with long and short sylables and included a zero, using the word Śūnyatā शून्यता to represent zero. The word is generally translated as 'insubstance' or 'nothingness'.

Negative numbers are a part of accounting, so they existed from the beginning of the idea of counting. The only known group of peoples to have specific notation for them, though, are the ancient Chinese with their counting rod system.

By Nevit Dilmen - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4182698

In ancient cultures, infinity wasn't a number, but an idea to be explored through philosophy. The earliest record we have of this discussion is Anaximander, who lived from about 610-546 BCE, who called it apeiron ἄπειρον, which is translated as 'unlimited, boundless, indefinite'. He considered this to be the basis of reality. Anaxagoras, who lived from about 500-428 BCE, believed that the universe had the capacity to be infinitely divided (leading to the idea of atoms). Aristotle (384-322 BCE) rejected the idea that infinity was a real thing and could only be an idea. Aristotle's ideas were not widely disputed until the Enlightenment.

By I, Tó campos1, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2304574

Early Indian thinking on infinity was written into the Jain upanga Agamas जैन साहित्य around 400 BCE. There it is held that numbers can be divided into three groups: enumerable (lowest, intermediate, highest), innumerable (nearly innumerable, truly innumerable, innumerably innumerable), and infinite (nearly infinite, truly infinite, infinitely infinite). They were the first group to recognize that not all infinites are the same, which corresponds with the modern mathematical thinking. Infinite length, infinite area, and infinite volume are all infinites, but not the same infinite.

[mariacallous]

There’s a good chance you’ve seen a photo like this before: a man with a shaved head and a black jacket faces away from the camera. He’s got a swastika tattooed on the back of his head as a Nazi flag flutters in the background. 

It’s the kind of default image we often have of when we think of the far-right — obvious, identifiable and recognisable. That’s why this exact photo has been the cover image for so many articles about the far-right around the world. No matter that the image itself is from a very specific context, when a handful of neo-Nazis protested outside a Holocaust memorial centre in Illinois, USA back in 2009. 

But it’s seldom this straightforward to identify symbols the far-right uses, let alone identify members of far-right groups or advocates of such ideologies solely because of the symbols they use. 

For every culture, symbols of any kind matter. They evoke emotions in us, from the positive to the negative and the simple to the complex. Of course, this certainly doesn’t just exist in the context of far-right extremism. Think of the kinds of symbols in your life that you react to and the national, cultural, or subcultural contexts you come from.

Maybe it’s a symbol you’re quite literally attached to, tattooed on your body. Maybe it’s a symbol that angers you to the point where you feel your identity is threatened. Maybe it’s somewhere in between. You feel a bond, some sense of community with those who view and react to these symbols in the same way. So symbols mean different things to different people, at different times and in different contexts. They’re not static, nor are they usually as simple to interpret as the swastika tattooed on the back of that neo-Nazi’s head. They have multiple levels of meaning, even contradictory ones. This is particularly the case for the far-right, who use symbols in deliberately coy and confusing ways that make it more difficult to pin down who they are and what they believe in.  In her 2020 book, the US sociologist and expert on the far right Cynthia Miller-Idriss called this technique “game-playing” — coded messages laced with ambiguity, irony and humour with which the far-right not only “troll” their perceived opponents, but help “carry extremist ideas into the mainstream.”

Symbol, Context, Intention: Keys to Interpreting a Far-Right Symbol

So how should you go about interpreting, understanding and analysing a symbol which you think is or could be affiliated with the far-right?

There are three questions you should ask yourself, in any order you please. As you’ll see, these are questions that some of the simplest digital investigative tools and techniques — web searches and image searches — can help answer.

What symbol(s)?

Sometimes this question is relatively simple to answer. The far-right often uses obscure symbols or co-opted national symbols, such as the Patriote Flag in Quebec. They use symbols that have multiple meanings and symbols also used by non-extreme mainstream actors, such as the Eureka Flag in Australia. They even use symbols that are only meant to hint at the existence of other, more extreme symbols. It should be noted that while ultranationalist movements flourish across the world, such as in India, Israel, Japan and Turkey, the symbolism detailed in this article comes from white nationalist and far-right extremist contexts in Europe, the Americas and Oceania.  Many of these symbols can be found on regularly updated databases maintained by organisations such as the Anti-Defamation League (ADL). This t-shirt is sold on a website from a small European country.

The text reads “me ne frego” — an Italian phrase roughly translating as “I don’t care”.  A quick search online will reveal that it was used as a motto by Benito Mussolini’s Fascist Party.

Here’s another example, a smaller screenshot of a t-shirt sold by another European far-right website.

A lot of clothing in the world bears military-style design. That alone is not evidence of far-right ideology. But note the distinctive shape of the shield.  This specific shape, with a notch on the upper right-hand corner, was used by Nazi Germany’s Waffen SS Panzer divisions (other divisions’ patches had notches on the left-hand side, while some had none at all).

In addition, the brand’s logo could be interpreted as reading “HH” — a common far-right shorthand for “Heil Hitler.” For example, according to a report on extremist dress codes by the Konrad Adenauer Stiftung, a German foundation, the Norwegian fashion brand Helly Hansen has been worn by far-right extremists who import the same meaning to its acronym ‘HH’.

A screenshot of a Google Image Search of the above photo, showing several hits for a Waffen SS panzer division

Lastly, here’s another example of a t-shirt sold by a European far-right website.

There are several symbols we can analyse here — text reading “the colours of tradition” followed by the brand’s name. Those smaller coloured symbols resemble a Celtic cross, a symbol commonly used by the far-right. Here they also contain the brand’s initials. 

The words “colours of tradition” suggest that the use of black, white and red is significant. These are the colours not only of the old Imperial German flag but also of the flag of Nazi Germany — colours that were important enough to Adolf Hitler himself to note in Mein Kampf why the Nazis should use them. 

Neo-Nazis in Germany, Austria and beyond have long used these colours as allusions to these flags in order to circumvent prohibitions on swastikas and other more overt Nazi imagery.

Who, When, Where? Understanding Context

It’s a cliche to say something like ‘context is everything,’ but it really is true when you’re trying to understand far-right symbolism. 

The contextual spoiler for my three image examples above: they are from known far-right fashion brands. A quick reverse image search of all three photos will land you on the pages of these brands. (To that end, use a browser extension, like Search By Image or RevEye, to allow you to easily and quickly look for images across different search engines).

On the websites of these brands, you’ll see example after example of far-right symbolism, some more extreme and some more subtle. Researching their names reveals that these brands are well-known across European far-right extremist scenes. 

Every symbol you see, far-right or not, exists in a context. Always ask yourself: Where is the symbol you’re seeing? Is it on a social media page or account? If so, what other symbols does that page or account share? Are you seeing a symbol in a physical place, like a sticker or a piece of graffiti? If so, what other symbols are around it? Who has communicated the symbol? Is it a specific group or individual? What else can you discover about them and their associations? If it’s a piece of media, when was it photographed or filmed? Was it around the same time the image was posted? To what extent can you chronolocate the image — that is, narrow the time down to a year, season, day or even time of day if necessary? These questions can often be answered using elementary online open source verification techniques.

Context is key. For example, far-right extremists, especially on social media, like to use common number codes as symbols. Among others, there’s 14, referencing the neo-Nazi ‘Fourteen Words,’ or 88 (‘Heil Hitler’, ‘H’ being the 8th letter of the alphabet), and more.

Screenshots of messages from a variety of international far-right extremist Telegram channels. Note the colours of the three hearts and the use of an otherwise innocuous ‘hand raising’ emoji, presumably alluding to a Nazi salute

But if you were to see someone with, for example, an Instagram username with a ‘14’ or ‘88’ and proclaim that on this basis alone the user is a far-right extremist, you could be making a serious mistake.

The same goes for imagery co-opted and frequently used by the far right, like neo-pagan or Norse symbolism. For example, maybe you see someone in a photo with a visible tattoo like a vegvísir (a ‘wayfinder’ or compass symbol that resembles a snowflake) wearing some sort of clothing or jewellery with a mjölnir (Thor’s hammer).  

There’s no shortage of people affiliated with far-right extremist groups who adopt and wear these kinds of symbols. But there are plenty of people who have nothing to do with the far right who wear and display these kinds of symbols as well. Bikers, religious groups and heavy metal fans with no far-right sympathies have all used this symbolism. These symbols are often a necessary clue of far-right affiliations, but without further context they are seldom a sufficient one.

Why? Establishing Intent

Assessing intention can be the most challenging. It’s crucial to understand why a specific far-right symbol has been communicated at a specific time and place (virtual or physical) by a specific actor. This also means there’s a chance that someone displaying a far-right symbol — or what you think is a far-right symbol — isn’t doing so deliberately or doesn’t even know that people might interpret a particular symbol that way. 

First ask: who are the target audience(s)? Members of the general public? Existing members of the group or adherents of the ideology? Potential new recruits? Perceived adversaries or enemies (e.g., journalists)? Not every symbol flashed by a far-right group is intended to be seen by the same audience or interpreted the same way by different audiences.

Interpreting and analysing the far-right’s use of symbols can be a challenge because of a seeming lack of consistent messaging. Austrian linguist Ruth Wodak, who has written extensively about communication strategies used by the far-right, uses the term “calculated ambivalence,” which she describes as “the strategy of addressing multiple and contradictory audiences via a single, cleverly layered message.” 

As Bellingcat wrote in 2020, even Hawaiian shirts have become an example of this calculated ambivalence in action. They’ve been worn by some US extremists to flaunt their readiness for a forthcoming civil war, building off a number of subcultural references and memes. An even more innocuous example is the US and international far-right’s use of the ‘OK sign’ hand gesture. 

A screenshot of a t-shirt sold by the German far-right fashion brand discussed earlier

In 2017, far-right extremists on the website 4chan started a hoax claiming that the ‘OK’ hand gesture, an everyday gesture in the US and English-speaking world, was actually a hate symbol. They did so in order to provoke an overreaction from the media and opponents of the far right. Far-right extremists began using the symbol, posting photos of themselves making the gesture in order to troll and “trigger” their perceived opponents. The hope was to make them look ridiculous and mockable for claiming something so common was a far-right extremist symbol.

The far right’s use of the hand gesture has certainly remained an act of trolling — as antiextremism watchdog the Southern Poverty Law Centre (SPLC) writes, it’s a symbol which is “so widely used that virtually anyone has plausible deniability built into their use of it in the first place”. But it was deadly serious when the Christchurch terrorist, after his arrest in 2019 for murdering 51 people at two mosques in New Zealand, flashed the symbol in court before the cameras.

To paraphrase Wodak, there’s a double message at play here: one can either view a far-right extremist’s use of the ‘OK’ hand gesture as just a coincidence — i.e., a mainstream, non-extreme use of the gesture — or they can share the far-right extremist meanings implied by those making the gesture. 

The far right, whatever kind of symbol they’re flaunting, is interested in playing games like this. 

They’re more than happy to exploit the ambiguous, multivocal and often contradictory nature of symbols, especially in this digital age where we’re all bombarded by them every day. There are certainly some who are still as brazen as that neo-Nazi with the swastika tattoo, but today’s far-right extremists are far less conspicuous and much more creative in the ways they communicate the same old hateful views.

[revanthonlinetraining]

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[game-dev-cost-bangalore]

Game Development Cost in Bangalore

In the bustling tech hub of Bangalore, the cost of game development has become a topic of keen interest for startups, entrepreneurs, and established companies alike.

As the city cements its position as a leading center for innovation and technology in India, understanding the financial implications of game development projects is crucial for anyone looking to enter or expand within this dynamic sector.

Game development, a multidisciplinary endeavor that merges creativity with technology, encompasses various stages including concept development, design, coding, testing, and launch.

The cost associated with bringing a game from an idea to a market-ready product can vary widely, influenced by a myriad of factors such as game complexity, platform, development time, team size, and the specific services required.

In Bangalore, the heart of India's tech revolution, the cost of developing a game can range from a few lakh rupees for a simple mobile game developed by a small team, to several crore rupees for a high-end game designed for consoles or PCs, developed by a larger, more experienced game developers. This wide range reflects the diverse nature of the gaming industry, where independent developers can make a significant impact with innovative ideas, while larger studios may invest heavily in blockbuster titles.

One of the key factors influencing game development cost is the choice of platform. Mobile games, for example, are generally less expensive to develop than console or PC games due to the simpler graphics and mechanics involved.

However, developing a game that runs smoothly across different devices and operating systems can add complexity and, therefore, cost.

Another crucial component is the game's complexity. A game with intricate gameplay mechanics, high-quality graphics, and multiplayer features requires more resources and time to develop, driving up the cost.

The choice of technology and tools also plays a role; utilizing cutting-edge game engines or incorporating virtual reality (VR) or augmented reality (AR) experiences can enhance the game but also adds to the development budget.

The development team's size and expertise are also pivotal in determining the overall cost. A larger team with specialized skills in areas such as graphic design, coding, and audio production can deliver a more polished product, but also increases labor costs.

In Bangalore, where there is a vast pool of talented developers, game development companies have the advantage of accessing skilled professionals, but must also compete in a market that values talent highly.

Outsourcing certain aspects of the game development process to specialized studios, such as Juego Studios, can be a cost-effective strategy. Juego Studios, with its extensive experience in game development, offers a range of services from concept art and design to development and post-launch support. Partnering with such studios allows companies to leverage expertise and technology that might be too expensive or time-consuming to develop in-house, potentially reducing overall project costs while ensuring high-quality results.

Moreover, the marketing and distribution of the game represent additional costs that must be considered. In today's digital age, creating a game that stands out in a crowded market requires effective marketing strategies and platforms, which can significantly affect the total investment required for a game's success.

In conclusion, the cost of game development in Bangalore, as in other major tech hubs, is influenced by a complex interplay of factors including the game's scope, platform, development timeline, team expertise, and marketing efforts. For those looking to navigate this exciting but challenging field, understanding these cost drivers and exploring partnerships with established game development services like Juego Studios can provide a solid foundation for success. As the gaming industry continues to evolve, so too will the strategies for developing and launching games in a cost-effective manner, making it an ongoing journey of innovation and financial planning.

[toucansafari]

ngl i have been contemplating learning new skills like coding or something because especially in india, ai-generation will be seen as the go-to tool for almost every creative role i can think of (and people i know are already using it to replace the freelance graphic designers they've been hiring till now)

not sure if i should eve pursue gamedev as a job now. but at this point idk what could i do with 0 experience in other fields >.>

[33-108]

«Esoteric Tradition holds that the Nagas ('Serpent-Folk') were the descendants of a prehistoric race whose homeland was destroyed by a great cataclysm some 10,000 years ago. This time-span indicates a link to the sinking of At-al-land: 'After you leave my island you will not find it again and this place will vanish under the sea's waves.' This island was one known as Naga Dwipa, and these "Serpent-Folk' appear tp have been Vedic Aryans whose totem was the Hooded Serpent - the Cobra. They were Initiates and Guardians of the Ancient Esoteric Knowledge. What is interesting here is that the Naga Chief, Takshaka, was a patron of medicine and healing, and expert in poisons and antidotes to poisons. The Naga Symbol was that of a Coiled Serpent, or Coiled Serpents around a central rod, the symbol known as the Caduceus of Mercury to the Greeks. This same symbol can be found in India related to Shiva. I am here reminded of certain links to Woden - Votan of South American Legend was of the Race of Chan ('Race of the Serpent') and came from Tullan or Tula (Thule). Questzalcoatl of the Aztecs was known as 'The Feathered Serpent'. Kukulkan was also associated with the Serpent. Woden is shown as a healer in both the Merseburg Charm and in the Old English Nine Herbs Charm; but in the latter he cures bites from the venom of the serpent. The mention of Votan, obviously 'Wotan' of Germania, is important since the word for 'serpent' - Chan - is very much like the Kan-Rune which itself means 'Fire-Serpent' or 'Fire-Dragon' at one level. The term Naga actually means 'Wise Serpent'. The Nagas were clearly Aryan Initiates ('Twice-Born') and the Serpent is symbolic of the Energising Creative Force of the Cosmos. Clearly, the Nagas were a highly advanced people ('Caucasian' in appearance) who were descendants of the Folk of At-al-land, and who possessed an abundance of this Creative Force or Creative Energy and were thus 'creators'. Having said that, we can relate this to Woden-Rudra/Shiva as a Force of Destruction-to Re-creation, and also to the Vedic Agni who we know as Ingui. The Ing-Rune forms part of the Caduceus of Mercury or Staff of Hermes which in India was known as a Naga-Coil and was made up of two 3 1/2 coiled serpents facing each other - the Kundalini-Serpent or Fire-Serpent. This is the force that moves up and down the Spinal Column in man, symbolised by the 'squirrel' Ratatosk in Norse Lore. Interestingly, the word rata used in 'Ratatosk' and also 'Rati' in that of the Myth of Knit Mountain, is akin to rasa in Sanskrit which means 'vital essence' or 'elexir' and rasayana means 'Elexir of Life'. This all relates to the Serpent-Force which was the power of the Naga Aryans. Thus, the Aryan is the 'Generator of Motion' who has an abundance of this Life-Energy or Cosmic-Energy which is the Creative Energy of Pure Consciousness and thus the highest state of consciousness. This is the Naga-Wisdom which we have inherited through our DNA Code, passing back through At-al-land to Hyperborea in an unbroken continuum. In a different 'world' or 'dimension' there exist different laws, or no laws at all, and within another realm lay the Archetypal Images of which there is an Aryan Archetype. ...The ancient Rishis, Nagas, and Hyperborean Druids were the 'Masters of the Life-Force' or 'Serpent-Force'. Through the Nagas and the various different traditions of White Gods we can safely say that the Serpent-Dragon was originally an Aryan Symbol, used of the Aryan Initiates».

Author: Wulfinga

Illustrator: Kevin Catalan

[osk419]

India is an ancient nation with a youthful population. India is known for its traditions. But the younger generation is also making it a hub of technology. Be it creative reels on Insta or real time payments, coding or quantum computing, machine learning or mobile apps, FinTech or data science, the youth of India are a great example of how a society can embrace latest technology. In India, technology is not only about innovation but also about inclusion. Today, digital platforms are empowering the rights and dignity of people, while protecting privacy.

In the last nine years, over a billion people got a unique digital biometric identity connected with their bank accounts and mobile phones. This digital public infrastructure helps us reach citizens within seconds with financial assistance.

माता भूमि: पुत्रो अहं पृथिव्या:

This means -the Earth is our Mother and we are her children.

Indian culture deeply respects the environment and our planet. While becoming the fastest growing economy, we grew our solar capacity by Two Thousand Three Hundred Percent! Yes, you heard it right – Two Thousand Three Hundred Percent!

We became the only G20 country to meet its Paris commitment. We made renewables account for over forty percent of our energy sources, nine years ahead of the target of 2030. But we did not stop there. This is a way to make sustainability a true people’s movement. Not leave it to be the job of governments alone.By being mindful in making choices, every individual can make a positive impact. Making sustainability a mass movement will help the world reach the Net Zero target faster. Our vision is pro-planet progress. Our vision is pro-planet prosperity. Our vision is pro-planet people.

And this year, the whole world is celebrating the International Year of Millets, to promote sustainable agriculture and nutrition alike. We reach out to others during disasters as first responders, as we do for our own. We share our modest resources with those who need them the most. We build capabilities, not dependencies.

That I think is the most humble and propatriotic way 😅

[creativecodeind]

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[resourcesofcolor]

ABOUT.

This blog is dedicated to resources for writers and creators of color, and writers of tumblr’s roleplaying community. We hope to provide inspiration, visuals, and writing resources for our BLACK, BROWN, INDIGENOUS, and ASIAN writers in the online creative community! If you have any questions, desire to promote yourself as a bipoc creator, or even offer advice and/or recommendations, please feel free to inform us !! Inbox and Submissions are always open. This is a safe space for Black, Indigenous, and Brown marginalized writers, and BIPOC in general. I encourage and welcome white writers/roleplayers to follow this blog and educate themselves, but this will remain a safe space for BIPOC first and foremost.

GUIDELINES.

This blog is primarily for BLACK, INDIGENOUS, BROWN AND ASIAN PEOPLE, or BIPOC, but we heavily support the rights of the LGBTQ community, especially queer + nonbinary + transgender BIPOC. Tags for masculine, feminine and nonbinary posts do not consign to the sex/gender binary dyad. Femininity and Masculinity are not exclusive to cisgenders.

here is a link to BIPOC-LGBTQ resources: https://resourcesofcolor.tumblr.com/tagged/queeresources.

Want us to promote your blog or artwork (including writing)? If you are a writer/artist/creator of color, feel free to send an ask or submission requesting a boost! 

NSFW material and ADULT CONTENT are present on this blog, and will always be tagged as erotica and nsfw. Content warnings will also be tagged, such as food, racism, transphobia, nudity, etc.

Queerphobia, ableism, transphobia, transmedicalism & bioessentialism, racism, and other forms of bigotry against marginalized groups are not welcomed. This includes disingenuous “bad faith” takes/opinions that intend to demonize queer and/or BIPOC creatives. Anyone who sends such themes via inbox will be blocked and reported.

this website has a lot of people who love going 'anonymous mode’ to talk shit through asks, because they are terrified of confrontation and can’t actually communicate properly without revealing their reactionary paranoia and deep-seated rejection sensitivity. so, we remind everyone who encounters this blog: this is not a blog owned by a public figure, or a celebrity with their own PR team and social media manager. take that into consideration before trying to play Keyboard Warrior. this blog is not obligated to be ‘professional’ or play around with ‘respectability politics’ for cop-coded bad faith anons who talk too much.

Everything is queued. Everything. Even when it isn’t tagged as queued. Sometimes we do reblog things in real time, but not frequently.

...

HEALTH/CARE:

selfcare.

health.

mutual aid.

AESTHETICS:

aesthetics.

fashion.

fem. (feminine, not cis)

masc. (masculine, not cis)

enby. (nonbinary, genderfluid, gnc, agender, genderqueer, etc.)

body.

interracial.

relationships.

parenting.

erotica. (nsfw, nudity)

GENRES:

action.

fantasy.

horror.

historical.

romance.   ( flf.   /    m/f.     /    mlm.  /   poly. )

science fiction.

comedy.

WRITING:

writing.

prompts.

musings.

psa.

history.

RESOURCES:

art.

queeresources. (queer education + queer BIPOC content)

resources.

tutorials.

textures.

fonts.

themes.

pages.

PSD.

people.

REGIONS / ETHNICITY.

indigenous.

africa. : senegal. / nigeria. / egypt. etc.

oceana. : micronesia. / polynesia. / melanesia.

asia. : india. / china. / japan. / korea. / philippines. / vietnam. / thailand. / indonesia. etc.

americas. :  brazil. / bolivia. / mexico. / canada. / united states. etc.

[iskconchd]

श्रीमद्‌ भगवद्‌गीता यथारूप 2.32 https://srimadbhagavadgita.in/2/32 यदृच्छया चोपपन्नं स्वर्गद्वारमपावृतम् । सुखिनः क्षत्रियाः पार्थ लभन्ते युद्धमीदृशम् ॥ २.३२ ॥ TRANSLATION हे पार्थ! वे क्षत्रिय सुखी हैं जिन्हें ऐसे युद्ध के अवसर अपने आप प्राप्त होते हैं जिससे उनके लिए स्वर्गलोक के द्वार खुल जाते हैं । PURPORT विश्र्व के परम गुरु भगवान् कृष्ण अर्जुन की इस प्रवृत्ति की भर्त्सना करते हैं जब वह कहता है कि उसे इस युद्ध में कुछ भी तो लाभ नहीं दिख रहा है । इससे नरक में शाश्र्वत वास करना होगा । अर्जुन द्वारा ऐसे वक्तव्य केवल अज्ञानजन्य थे । वह अपने स्वधर्म के आचरण में अहिंसक बनना चाह रहा था, किन्तु एक क्षत्रिय के लिए युद्धभूमि में स्थित होकर इस प्रकार अहिंसक बनना मूर्खों का दर्शन है । पराशर-स्मृति में व्यासदेव के पिता पराशर ने कहा है – क्षत्रियों हि प्रजारक्षन् शस्त्रपाणिः प्रदण्डयन् । निर्जित्य परसैन्यादि क्षितिं धर्मेण पाल्येत् ॥ “क्षत्रिय का धर्म है कि वह सभी क्लेशों से नागरिकों की रक्षा करे । इसीलिए उसे शान्ति तथा व्यवस्था बनाये रखने के लिए हिंसा करनी पड़ती है । अतः उसे शत्रु राजाओं के सैनिकों को जीत कर धर्मपूर्वक संसार पर राज्य करना चाहिए ।” यदि सभी पक्षों पर विचार करें तो अर्जुन को युद्ध से विमुख होने का कोई कारण नहीं था । यदि वह शत्रुओं को जीतता है तो राज्यभोग करेगा और यदि वह युद्धभूमि में मरता है तो स्वर्ग को जायेगा जिसके द्वार उसके लिए खुले हुए हैं । युद्ध करने के लिए उसे दोनों ही तरह लाभ होगा । ----- Srimad Bhagavad Gita As It Is 2.32 yadṛcchayā copapannaṁ svarga-dvāram apāvṛtam sukhinaḥ kṣatriyāḥ pārtha labhante yuddham īdṛśam TRANSLATION O Pārtha, happy are the kṣatriyas to whom such fighting opportunities come unsought, opening for them the doors of the heavenly planets. PURPORT As supreme teacher of the world, Lord Kṛṣṇa condemns the attitude of Arjuna, who said, “I do not find any good in this fighting. It will cause perpetual habitation in hell.” Such statements by Arjuna were due to ignorance only. He wanted to become nonviolent in the discharge of his specific duty. For a kṣatriya to be on the battlefield and to become nonviolent is the philosophy of fools. In the Parāśara-smṛti, or religious codes made by Parāśara, the great sage and father of Vyāsadeva, it is stated: kṣatriyo hi prajā rakṣan śastra-pāṇiḥ pradaṇḍayan nirjitya para-sainyādi kṣitiṁ dharmeṇa pālayet “The kṣatriya’s duty is to protect the citizens from all kinds of difficulties, and for that reason he has to apply violence in suitable cases for law and order. Therefore he has to conquer the soldiers of inimical kings, and thus, with religious principles, he should rule over the world.” Considering all aspects, Arjuna had no reason to refrain from fighting. If he should conquer his enemies, he would enjoy the kingdom; and if he should die in the battle, he would be elevated to the heavenly planets, whose doors were wide open to him. Fighting would be for his benefit in either case. ----- #krishna #iskconphotos #motivation #success #love #bhagavatamin #india #creativity #inspiration #life #spdailyquotes #devotion

[almondbranding]

Almond Branding, a well-known design and branding agency in india, has taken on the task of redesigning the packaging and branding for a 150-year-old green tea brand from Nepal. This brand carries with it a rich heritage and history that has been passed down through generations, making it an important part of the Nepalese culture.

The challenge for Almond Branding was to create a design that reflected the brand's rich history while also appealing to modern consumers. They needed to strike a balance between maintaining the brand's traditional values and updating the design to make it more appealing to today's market.

To achieve this, Almond Branding conducted extensive research into the brand's history and heritage, as well as the current market trends in the tea industry. They used this information to create a design that incorporated traditional Nepalese elements, such as the country's iconic Himalayan mountains and intricate patterns, while also using modern typography and color schemes to make the packaging more visually appealing.

The result is a beautiful and elegant packaging design that pays homage to the brand's heritage while also appealing to a modern audience. Almond Branding has managed to create a design that is both visually stunning and deeply meaningful, capturing the essence of the brand and its history. This is a testament to the agency's creativity, attention to detail, and commitment to preserving the value of a brand's heritage.

Revamp Of Nepal's 150 Year Old Tea Brand

The Brand Tokla is as old as the tea industry in Nepal. With this 150 year old heritage, its not surprising that the name Tokla has become synonymous to tea or Chia as its locally known in Nepal.

The brand has a variety of offerings from regular CTC tea, premium long leaf, Masala tea and the likes and has recently ventured into Green tea to reach out to the rapidly growing health conscious audience in the Himalayan country. However, the packaging of Green tea badly needed a facelift inorder to appeal to this slightly different discerning audience.

Decoding The Brand Equity

There has been a few attempts made locally to modernize the pack but they had failed miserably, each time resulting into dip in sales as they had swayed away too much from the family of Tokla.

The range from Tokla had a characteristic dark green colour with Tokla branding in white and our research showed that the masses in Nepal identified the brand with this colour codes. We also observed that there is a ‘not-tobe-missed’ white teacup right at the centre of each pack.

The key challenge was not to deviate far from the parent Tokla Design language and yet connote the modern and premium offering to an evolved audience.

The Design Solution

Our proposed approach was three fold

Retain brand Tokla boldly on green at top Take advantage of Trust & Heritage as well as familiarity

Bring in premiumization with design elements and a strong Visual Hook for recall Reach out to the evolved sensibilities of the evolved consumer

Convey the Freshness and Organic certifications and claims on Front of Pack(FOP) Back it up with health benefits on the Back of Pack (BOP)

Design Inspiration : Elements & Patterns

Almond Branding used its proprietary Brand Nomenclature process to coin a new Brand Name that will stand true to the ethos of the company. The company with its strong focus on technology and consumer centricity has been striving to bring the most innovative offerings to the consumer

Category: Food & Beverage Services: Branding | Packaging Design

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