#fogg library

[thepastisalreadywritten]

Harvard University has a library that protects the rarest colors in the world.

The Straus Center for Conservation and Technical Studies houses the Forbes Pigment Collection, which contains more than 2,500 samples of pigments, some incredibly rare and harvested from things like mummies, heavy metals, poisons, and precious minerals.

The collection was amassed by Edward Waldo Forbes (1873-1969), who directed Harvard's Fogg Museum, between 1910 and 1944.

Forbes is considered the Father of Art Conservation in the United States and spent most of his life traveling the world to collect various pigments that he used to authenticate classical Italian paintings.

The pigments are still used by art experts to authenticate and understand paintings.

[thatscarletflycatcher]

[asofterhibou]

This post from @spiders-hth-is-an-outlier making it as good a time as any for a The Magicians brain dump I guess: like the post says the Qualice reunion scene is a weird and weirdly perfunctory scene, and honestly who knows what the writers were smoking for those last two episodes, but. in the secretly good show in my head, the scene is perfunctory and not particularly romantic because it's not really supposed to be, or at least the main purpose of the scene is not exactly Quentin and Alice's romance. To me the narrative problem/tension of Qualice at this point in the show is not whether they love each other. They do. They've said it and shown it in multiple ways, there's not really any need for romantic declarations. In fact Alice made a romantic declaration at the end of s3 on the muntjac, saying that Quentin was the one she loved etc. And then still destroyed the keys in Blackspire, which Quentin clearly takes as a personal betrayal, why he can't trust her. In s3 Alice loves Quentin but she doesn't trust him, not with her feelings, or with her secret plans. Which is where the many many parallels of Alice and Eliot in s4 begin! If the plot of s3 (magic gone and fairy takeover) is mostly the consequences of Quentin and Margo's choices in s2, the plot of s4 (the monster and the library) is mostly the consequences of Alice and Eliot's choices at the end of s3 (with help from Fogg). In s4 Alice and Eliot are both prisoners, and they both escape their prisons, in different ways. And a lot of the tension of this scene for me, which is linked also with the flower scene, is - can Quentin escape his prison? He's repeating the same story he told himself in pilot episode, that false dichotomy: there is the escapist dream of Fillory/fantasy/magic where Quentin finally finds the secret door and becomes someone he wants to be, where his life becomes something he wants it to be, which is childish and must be left behind for the cold hard wasteland of the adult world, of harsh reality, and you just have to suck it up and deal with it. I don't think this scene feels particularly romantic because it's not supposed to be: Quentin says he can forgive Alice, can change his notions, his expectations, but he's still trapped. He can't see the third option yet, in the garden he says: isn't the idea of Fillory enough, but does he see it yet? It's not the idea of Fillory, it's his idea of Fillory, Quentin's idea, when it says in the magicians books that the world might be a wasteland but we are not, we're the source, there's no oasis out there waiting, we create the oasis ourselves.

Tldr this scene has Quentin and Alice getting back together but it's not actually about them, it's about Quentin's fucked-up-ness. Does the show actually know this? could not tell you if you paid me.

[chambersandfogg]

October 2nd, 1923

I’m not entirely certain I like this decade. Granted, we are only three years into it, but if it continues on in the manner it’s been progressing so far, I think it will become one of my least favorite decades. Nothing can truly win out over the terror that was the teens, but I think I far preferred the nineties to now.

I suppose that’s a privilege that comes with my…nature? Predicament? Blessing? Curse? I’m still unsure how to feel about my everlasting life. But having a defined ranking of favorite decades seems a good a use of my unique perspective as any.

All to say, the twenties so far are much too boisterous and loud for my taste. It feels I’m invited to some party or new club every weekend. It’s jarring how much frivolity has overtaken the city and every social circle I’ve become acquainted with in the past few years. This is never quite as obvious as John Fogg’s summer solstice party, which I’ve attended the last two years. It is always nice to see him, I suppose, but I don’t much care for the crowd he runs with.

To be honest, I don’t know how he stands it either. Just last year, the man had some kind of fit when his guests broke an entire tray of champagne coupes. I’ve seen it before in men who have experienced combat: shell shock. John seemed disinclined to discuss it in the following days and then this summer, the party was similarly loud and destructive and he seemed perfectly fine. But it makes my stomach turn—the excess, the thoughtless joy. It isn’t that I resent seeing people amuse themselves, but it seems to be at the expense of remembering what brought us all here. Then again, perhaps it is only me who refuses to forget. Perhaps they’re right to grab happiness however and whenever they can, knowing how fragile it is. But every time I have just a tad too much to drink, I see the faces of the men who died by my poisonous innovations, I see John’s pale, wide-eyed face in his quiet library, a raucous gathering happening just outside the room. I far prefer the quieter days spent at his estate in the days following the solstice, when the two of us can converse openly about our strange lives and enjoy the comfortable companionship that is inherent in sharing a space with someone you know so well.

John has invited me to another fête—a Halloween party of all things. I don’t have plans to go, but I still need to send him my regrets. In fact, I’ll likely be sending him more than that—I know I should share the news that I’m leaving New York. Perhaps I can give him my address in London, but I don’t think I’m going to stay there very long either. For the first time in my life, I’m feeling a real traveler’s bug. I feel cooped up here in the States and if we’re all throwing responsibility and common sense out the window, I may as well do some of that myself and travel the world. It won’t be the quiet company of a friend, but it won’t be the loud and tinny noise of America either. I think it’s time for me to experience something entirely new.

[from the personal diary of C. X. Chambers]

[to read the pre-1917 entries, join Atypical Artists and get access to the archive of 24 entries (5,000+ words), as well as ad-free episodes of Atypical's whole catalogue. to receive future monthly missives straight to your inbox, sign up for free here]

[cosmicanger]

Alan Saret

Open O, 1985 - 2005

Various steel alloys

Alan Saret’s (b.1944, New York) practice includes sculpture, drawing, painting, architecture, geometry study, writing, language study, and music. He is best known for creating sculptures with flexible materials, composed of wire and other “non-art” mediums. After a three-year sojourn in India in early 1970s where he focused on the spiritual and metaphysical, Saret’s approach to spatiality shifted to three-dimensional wire networks that explore the domain between order and disorder—leading to penetrated constructions that seem to come alive. Drawings with clusters of pencils, called “Gang Drawings,” were first used to represent sheet wire and later developed into an independent art form. While this work was labeled “anti-form” to distinguish it from hard-edged minimalism, Saret stresses its organic qualities, describing it as natural form because of nature’s flexible use of geometry. Although seen by some as process art, these works use process to reveal spirit and to ensoul.

Alan Saret’s work can be found in collections including the Art Institute of Chicago; Brooklyn Museum, New York; Dallas Art Museum; Detroit Institute of Art; Fogg Museum, Cambridge, Massachusetts; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Metropolitan Museum of Art, New York; Mildred Lane Kemper Art Museum, St. Louis; Minneapolis Institute of Art; MoMA PS1, New York; Morgan Library & Museum, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Princeton University Art Museum, Princeton, New Jersey; Saint Louis Art Museum; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.

[aroundtheworldwithphillyfogg]

October 20th, 1872: mischief in Mumbay

(This is the third post today. First post, second post)

The passengers of the “Mongolia” went ashore at half-past four p.m.; at exactly eight the train would start for Calcutta.

Mr. Fogg, after bidding good-bye to his whist partners, left the steamer, gave his servant several errands to do, urged it upon him to be at the station promptly at eight, and, with his regular step, which beat to the second, like an astronomical clock, directed his steps to the passport office. As for the wonders of Bombay—its famous city hall, its splendid library, its forts and docks, its bazaars, mosques, synagogues, its Armenian churches, and the noble pagoda on Malabar Hill, with its two polygonal towers—he cared not a straw to see them. He would not deign to examine even the masterpieces of Elephanta, or the mysterious hypogea, concealed south-east from the docks, or those fine remains of Buddhist architecture, the Kanherian grottoes of the island of Salcette.

Having transacted his business at the passport office, Phileas Fogg repaired quietly to the railway station, where he ordered dinner. Among the dishes served up to him, the landlord especially recommended a certain giblet of “native rabbit,” on which he prided himself.

Mr. Fogg accordingly tasted the dish, but, despite its spiced sauce, found it far from palatable. He rang for the landlord, and, on his appearance, said, fixing his clear eyes upon him, “Is this rabbit, sir?”

“Yes, my lord,” the rogue boldly replied, “rabbit from the jungles.”

“And this rabbit did not mew when he was killed?”

“Mew, my lord! What, a rabbit mew! I swear to you—”

“Be so good, landlord, as not to swear, but remember this: cats were formerly considered, in India, as sacred animals. That was a good time.”

“For the cats, my lord?”

“Perhaps for the travellers as well!”

After which Mr. Fogg quietly continued his dinner. Fix had gone on shore shortly after Mr. Fogg, and his first destination was the headquarters of the Bombay police. He made himself known as a London detective, told his business at Bombay, and the position of affairs relative to the supposed robber, and nervously asked if a warrant had arrived from London. It had not reached the office; indeed, there had not yet been time for it to arrive. Fix was sorely disappointed, and tried to obtain an order of arrest from the director of the Bombay police. This the director refused, as the matter concerned the London office, which alone could legally deliver the warrant. Fix did not insist, and was fain to resign himself to await the arrival of the important document; but he was determined not to lose sight of the mysterious rogue as long as he stayed in Bombay. He did not doubt for a moment, any more than Passepartout, that Phileas Fogg would remain there, at least until it was time for the warrant to arrive.

Passepartout, however, had no sooner heard his master’s orders on leaving the “Mongolia” than he saw at once that they were to leave Bombay as they had done Suez and Paris, and that the journey would be extended at least as far as Calcutta, and perhaps beyond that place. He began to ask himself if this bet that Mr. Fogg talked about was not really in good earnest, and whether his fate was not in truth forcing him, despite his love of repose, around the world in eighty days!

Having purchased the usual quota of shirts and shoes, he took a leisurely promenade about the streets, where crowds of people of many nationalities—Europeans, Persians with pointed caps, Banyas with round turbans, Sindes with square bonnets, Parsees with black mitres, and long-robed Armenians—were collected. It happened to be the day of a Parsee festival. These descendants of the sect of Zoroaster—the most thrifty, civilised, intelligent, and austere of the East Indians, among whom are counted the richest native merchants of Bombay—were celebrating a sort of religious carnival, with processions and shows, in the midst of which Indian dancing-girls, clothed in rose-coloured gauze, looped up with gold and silver, danced airily, but with perfect modesty, to the sound of viols and the clanging of tambourines. It is needless to say that Passepartout watched these curious ceremonies with staring eyes and gaping mouth, and that his countenance was that of the greenest booby imaginable.

Unhappily for his master, as well as himself, his curiosity drew him unconsciously farther off than he intended to go. At last, having seen the Parsee carnival wind away in the distance, he was turning his steps towards the station, when he happened to espy the splendid pagoda on Malabar Hill, and was seized with an irresistible desire to see its interior. He was quite ignorant that it is forbidden to Christians to enter certain Indian temples, and that even the faithful must not go in without first leaving their shoes outside the door. It may be said here that the wise policy of the British Government severely punishes a disregard of the practices of the native religions.

Passepartout, however, thinking no harm, went in like a simple tourist, and was soon lost in admiration of the splendid Brahmin ornamentation which everywhere met his eyes, when of a sudden he found himself sprawling on the sacred flagging. He looked up to behold three enraged priests, who forthwith fell upon him; tore off his shoes, and began to beat him with loud, savage exclamations. The agile Frenchman was soon upon his feet again, and lost no time in knocking down two of his long-gowned adversaries with his fists and a vigorous application of his toes; then, rushing out of the pagoda as fast as his legs could carry him, he soon escaped the third priest by mingling with the crowd in the streets.

At five minutes before eight, Passepartout, hatless, shoeless, and having in the squabble lost his package of shirts and shoes, rushed breathlessly into the station.

Fix, who had followed Mr. Fogg to the station, and saw that he was really going to leave Bombay, was there, upon the platform. He had resolved to follow the supposed robber to Calcutta, and farther, if necessary. Passepartout did not observe the detective, who stood in an obscure corner; but Fix heard him relate his adventures in a few words to Mr. Fogg.

“I hope that this will not happen again,” said Phileas Fogg coldly, as he got into the train. Poor Passepartout, quite crestfallen, followed his master without a word. Fix was on the point of entering another carriage, when an idea struck him which induced him to alter his plan.

“No, I’ll stay,” muttered he. “An offence has been committed on Indian soil. I’ve got my man.”

Just then the locomotive gave a sharp screech, and the train passed out into the darkness of the night.

The train had started punctually. Among the passengers were a number of officers, Government officials, and opium and indigo merchants, whose business called them to the eastern coast. Passepartout rode in the same carriage with his master, and a third passenger occupied a seat opposite to them. This was Sir Francis Cromarty, one of Mr. Fogg’s whist partners on the “Mongolia,” now on his way to join his corps at Benares. Sir Francis was a tall, fair man of fifty, who had greatly distinguished himself in the last Sepoy revolt. He made India his home, only paying brief visits to England at rare intervals; and was almost as familiar as a native with the customs, history, and character of India and its people. But Phileas Fogg, who was not travelling, but only describing a circumference, took no pains to inquire into these subjects; he was a solid body, traversing an orbit around the terrestrial globe, according to the laws of rational mechanics. He was at this moment calculating in his mind the number of hours spent since his departure from London, and, had it been in his nature to make a useless demonstration, would have rubbed his hands for satisfaction. Sir Francis Cromarty had observed the oddity of his travelling companion—although the only opportunity he had for studying him had been while he was dealing the cards, and between two rubbers—and questioned himself whether a human heart really beat beneath this cold exterior, and whether Phileas Fogg had any sense of the beauties of nature. The brigadier-general was free to mentally confess that, of all the eccentric persons he had ever met, none was comparable to this product of the exact sciences.

Phileas Fogg had not concealed from Sir Francis his design of going round the world, nor the circumstances under which he set out; and the general only saw in the wager a useless eccentricity and a lack of sound common sense. In the way this strange gentleman was going on, he would leave the world without having done any good to himself or anybody else.

An hour after leaving Bombay the train had passed the viaducts and the Island of Salcette, and had got into the open country. At Callyan they reached the junction of the branch line which descends towards south-eastern India by Kandallah and Pounah; and, passing Pauwell, they entered the defiles of the mountains, with their basalt bases, and their summits crowned with thick and verdant forests. Phileas Fogg and Sir Francis Cromarty exchanged a few words from time to time, and now Sir Francis, reviving the conversation, observed, “Some years ago, Mr. Fogg, you would have met with a delay at this point which would probably have lost you your wager.”

“How so, Sir Francis?”

“Because the railway stopped at the base of these mountains, which the passengers were obliged to cross in palanquins or on ponies to Kandallah, on the other side.”

“Such a delay would not have deranged my plans in the least,” said Mr. Fogg. “I have constantly foreseen the likelihood of certain obstacles.”

“But, Mr. Fogg,” pursued Sir Francis, “you run the risk of having some difficulty about this worthy fellow’s adventure at the pagoda.” Passepartout, his feet comfortably wrapped in his travelling-blanket, was sound asleep and did not dream that anybody was talking about him. “The Government is very severe upon that kind of offence. It takes particular care that the religious customs of the Indians should be respected, and if your servant were caught—”

“Very well, Sir Francis,” replied Mr. Fogg; “if he had been caught he would have been condemned and punished, and then would have quietly returned to Europe. I don’t see how this affair could have delayed his master.”

[eliotqueliot]

New chapter of one of my fav fics is up!

Maybe I'm Waking Up - Chapter 3 - Librarity - The Magicians (TV) [Archive of Our Own]

It's just SO GOOD--Beast!Quentin's Point of View after he was awakened to his Shadeless state by briefly hosting Julia's Shade! And not to give spoilers, but because you need to know--Remember Eliot and Margo's ghosts in the Brakebills library in 23??? Quentin visits them (no, I won't spoil this, I won't! But! I don't want to think about a timeline in which Quentin and Eliot didn't end up together, so seriously, check out this story!!!)

@magicians4time Thank you so much for this!!!

Maybe I'm Waking Up (16740 words) by Librarity Chapters: 3/4 Fandom: The Magicians (TV), The Magicians - Lev Grossman Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence, Major Character Death Relationships: Quentin Coldwater/Eliot Waugh, Margo Hanson & Eliot Waugh, Quentin Coldwater & Julia Wicker, Quentin Coldwater & Margo Hanson Characters: 23rd Timeline Quentin Coldwater, 23rd Timeline Eliot Waugh, 23rd Timeline Margo Hanson, Henry Fogg Additional Tags: Beast Quentin Coldwater, 23rd Timeline (The Magicians), Fix-It of Sorts, Character Death Fix, Magic, Canon-Typical Magic, Canon-Typical Violence, Ghosts, Time Loop, Implied/Referenced Character Death, Shadeless Quentin Coldwater, Angst with a Happy Ending, Resurrection, So Wrong It's Right, A little dark but they are happy, they deserve to be happy Summary: Quentin woke on the mottled cold tiles, eyes fixed on the arched ceiling etched in familiar Fillorian patterns, his body pressed against the steps leading to an overturned throne. Not long before, Julia, though not his Julia, knelt beside him. First, Alice Quinn brought him back; a Beast rather than a shy boy. And here he was again. Beast or man, he should be dead, owed to the grave, yet here he was, given an accidental second chance by a rising goddess. Honestly, he intended to make the best of it with the help of a few ghosts. #magicianssettingsweek DAY 2: the Underworld or the Whitespire throne room (Tuesday, March 28th)

[incorrectclassicbookquotes]

Phileas Fogg: I can't believe I just destroyed a library. I hurt books.

Inspector Fix: And we're no closer to getting home.

Aouda: And my "me" puppet is missing a button.

Jean Passepartout: And I swallowed a button.

[lboogie1906]

Hale Aspacio Woodruff (August 26, 1900 - September 6, 1980) was an African American artist known for his murals, paintings, and prints.

He was born in Cairo, Illinois. He grew up in Nashville, where he attended the local segregated schools. He studied at the Herron School of Art and Design in Indianapolis, the Art Institute of Chicago, and the Harvard Fogg Art Museum.

He won an award from the Harmon Foundation in 1926, which enabled him to spend four “crucial years studying in Paris (1927–31).” He studied at the Académie Scandinave and the Académie Moderne. He learned in the city’s museums as well, while getting to know other expatriates, including Henry Ossawa Tanner, the leading African American artist. He met leading figures of the French avant-garde and began collecting African art, which was a source of inspiration for many other modernists, including Pablo Picasso.

He returned to the US and married Theresa Ada Baker (1931). They had one son.

His best-known work is the three-panel Amistad Mutiny murals, which he completed for the Savery Library at Talladega College. The murals are entitled: The Revolt, The Court Scene, and Back to Africa, portraying events related to the 1839 Mende slave revolt on the Spanish Amistad ship.

His two other surviving murals are The Negro in California History, commissioned by the Golden State Mutual Life Insurance Company in Los Angeles. This work was a collaboration with Charles Alston. He completed six panels called Art of the Negro at the Clark Atlanta University Art Galleries. He joined the faculty at NYU. He taught there for more than 20 years. #africanhistory365 #africanexcellence #sigmapiphi

[randomfacts-dump]

Harvard has a library that protects various rare colours from all over the world.

The most unusual colors from Harvard's storied pigment library include beetle extracts, poisonous metals, and human mummies.

Edward Forbes, a historian and director of the Fogg Art Museum at Harvard University from 1909 to 1944, traveled around the world amassing pigments in order to authenticate classical Italian paintings. Over the years, the Forbes Pigment Collection—as his collection came to be known—grew to more than 2,500 different specimens, each with its own layered backstory on its origin, production, and use.

Today, the collection is used mostly for scientific analysis, providing standard pigments to compare to unknowns.

[thinkgrowgames]

The Atlas of Worldly Wisdom

ReadingList

The different stages below include chronological suggested readings that will help in understanding and appreciating important ideas and perspectives. Some of these super ideas have been mentioned in The Atlas of Worldly Wisdom, and others serve to build on certain themes.

The assumption is that between half an hour to one hour per day can be dedicated to this project

thisis where the expected timeline for each stage comes 

The different readings and suggestions are included in tabular form in the last page of this document. They have been categorized into the different spirals and the different stages. To get the complete information about any of the books, check the ‘References’ document.

Stage1: Basics-I– 10Books–~ 4months

SixThinking Hats (De Bono)

TheLessons of History (Durant)

The7 Habits of Highly Effective People (Covey)

TheMind Map Book (Buzan)

What theNumbers Say (Niederman)

TheArt of War (Sun Tzu)

Think-GrowModules : Personalities & Behavior 1

Think-GrowModules : Succeed

Think-GrowModules : Win-Win

ChooseOne :

Howto Win Friends and Influence People (Carnegie)

Oneof [ Brain Power or Verbal Intelligence ] (Both by Buzan)

1 For the Think-Grow Modules, check out the ‘Apps List’ Document, or go to: ahijazi.website

Stage2: Basics-II– 10Books–~ 4months

Howto think like Leonardo Da Vinci (Gelb)

Thinkingin Systems (Meadows)

ChooseOne :

AtomicHabits (Clear) or Tiny Habits (Fogg)

ThePsychology of Money (Housel)

Peak(Ericsson)

Think-GrowModules : The Better Brain Library

NakedStatistics (Wheelan)

ChooseOne:

TheRichest Man in Babylon (Clason)

CashflowQuadrant (Kiyosaki)

Think-GrowModules : Lead

ChooseOne:

Buildinga Second Brain (Forte)

NetWork (Anklam)

Stage3: Insights&Synthesis–10 Books– 4to5 months

Fuzzyon the Dark Side (Hijazi)

TheNew Leaders (Goleman)

TheArt of Worldly Wisdom (Gracian)

TheArt of Thinking Clearly (Dobelli)

The80/20 Principle (Koch)

Creativity, (Catmull)

Emotional Intelligence(Goleman)

ChooseOne :

Freakonomics(Levitt)

TheGreat Mental Models-I (Parrish)

OneSmall Step : The Kaizen Way (Maurer)

Theone left/not chosen from 10 [Stage 2]

Stage 4 (Mastery & Further) and Stage 5 (Cultured : Beyond) include a total of 16 books, but these will (probably) take significantly longer to finish than those in Stages 1 to 3.

I believe that going forward, personal tastes and preferences can play a bigger role. These are landmark books that will expand your knowledge and awareness into key fields and to include important super ideas. Choose the ones you prefer, but try to keep moving between the categories of the Triple-Spiral (Awareness, Intent, Creativeness).

As you read the books in this category, many ideas for further readings will come up. The path should get progressively more interesting as you advance and customize it further with more personally-relevant choices.

Stage4: Mastery& Further –10Books –4to5months

GiftsDiffering (Meyer-Briggs)

ChooseOne:

GoodStrategy Bad Strategy (Rumelt)

Steal Likean Artist (Kleon)

TheBed of Procrustes (Taleb)

Fooledby Randomness (Taleb)

Skinin the Game (Taleb)

ChooseOne:

ScientificRevolutions (Kuhn)

Theone left/not chosen from 8 [Stage 3]

Bookof your choice on Design Thinking & Creativity

Bookof your choice on the Philosophy of Science

Bookof your choice from cognitive science

Bookof your choice from Popular Science (Evolutionary Biology or Quantum Physics)

Next you can go through the list of books I’ve included in the ‘Cultured: Beyond’ category, and keep growing your knowledge and understanding of the world and yourself.

This reading list is a work-in-progress. It will keep changing and will be updated regularly (I hope).

On the following page you can see the suggested readings as a table, categorized by level and dimension.

Good Luck!

[creativecourse]

Design for Hackers Information Uncover the visual tools at work everywhere so you can decipher then create beautiful design Face it: the old “Frankendesign” approach isn’t working We’ve all been there: you’re staring at a blank canvas, and suddenly everything is still. You can’t make a single move. Meanwhile, visions of perfection float in your head, darting in and out of your consciousness. You can’t seem to grab them before they slip away. Even if you could, you fear you couldn’t make them reality. Time is passing, and with it, you’re missing out on all of the other things you could be doing. You could be delivering your customers real value, but you can’t even seem to get started. Every moment that passes is money down the drain. So, you do what every other person in your position does: you “steal.” You scour the library of screenshots and links from your “inspiration” vault, trying to find something that brings that vision back to your head. You download Bootstrap once again, and try to make your idea come to life. And a new Frankendesign is born: a mishmash of a framework, stock icons, and fonts you picked seemingly at random, but that help make that Bootstrap look less “Bootstrap-ish.” It might get you by, but it falls way short of your vision. You’ve put so much passion and energy into your product. It doesn’t feel right to put its soul into a body that’s so lifeless. When you understand great design, you don’t have to “fiddle” All of this wouldn’t be so frustrating if it just didn’t matter. If only design were just pretty decorations there just for the amusement of their maker. These days, design is more important than ever for getting taken seriously. Look at any popular app you use day-to-day: from Facebook, to Twitter, and now even Google. The bar has been raised higher than ever. Good design is no longer a “nice-to-have.” Good design is a must. To make things even more challenging, production timelines have gotten tighter and tighter. Teams are moving forward faster than ever, with disciplines like design and development converging on tasks like never before. You need design to contribute in today’s world – not only to stand out, but to even stay relevant. Bad design destroys credibility How has design managed to become such a critical skill in today’s world? It may seem as if design somehow creates value out of thin air. It turns out, that’s pretty much what good design does. It gives you instant credibility. In a pioneering study, B.J. Fogg – who started Stanford University’s “Persuasive Technology” Lab on Stanford’s always-sunny, sequoia-tree-lined campus, discovered that design is the most important factor customers use in determining the credibility of websites. Participants in the study reviewed websites, and commented on whether they found them to be credible or not. Over 46% of all comments about whether someone trusted a site or not were about the visual design of the site. People said sites they trusted were “more professional-looking,” or that they “just looked more credible.” Do you have any idea how to make something “more professional-looking,” or “just look more credible?” Probably not. That’s why you’re here. It’s amazing that in a world where we know so much, things as simple as fonts and colors still make little sense. When you ask a designer about them, you get descriptions as head-scratching as the comments from Fogg’s credibility study. Yeah, you get that this font is “cool,” but WHY!? Still, you try. You scrape together articles, and capture samples of designs you like. You do little test projects, and annoy your designer friends trying to pick their brains. It feels like they’re not telling you everything – as if they’re a society of magicians, sworn to secrecy. Or maybe, you might think, a sense of design is just something you have, or you don’t. You might think your brain is “just wired differently.” You don’t have to have a degree to design I’m David Kadavy, the guy behind this design course.

I’ve been a part of this seemingly secret society of designers. I got my degree in Graphic Design, and I even won super-prestigious fancy-pants international awards for my work. After systematically honing my design skills to deliver in the fast-paced grinders that are Silicon Valley startups, I decided to “open source” visual design. So, I wrote a book called Design for Hackers to break down the fundamentals of good design. Finally, developers and programmers had a way to think about design that made sense for their brains. They were so hungry for this knowledge, D4H debuted in the top 20 on all of Amazon. My puny little “hacker” book was outselling Dick Cheney! The readers I’ve talked to have learned how to design better, faster, and with more confidence in their decisions. I’ve talked to whole teams, in fact, who have stopped burning everyone’s time arguing arbitrarily in design meetings. They finally have a common vocabulary with which to make decisions and move on! The one complaint I’ve heard over and over again from my readers, though, is that they struggle with having the time and the motivation to actually face design head-on and add that coveted “design pro” arrow to their quivers, once and for all. Design isn’t just for “creatives” Many people (even designers) believe the myth that visual design is only for “visual thinkers,” “creatives,” or artists. The truth is, just like programming, math, and language, great design is simply a combination of key parts. Once you break down and understand these elements, you can put them together in a way that makes sense. You don’t need a 4-year degree or a 300-page textbook to decipher and create beautiful design. Just learning the essential, actionable elements of design will transform how you view everything you see around you. Plus, you’ll know exactly where to start when staring down a looming project. D4H Video is specifically designed to make the most of your precious time. I’ve condensed the concepts from Design for Hackers down to the essentials. Learn the most important elements of the D4H approach in videos that are around 5 minutes apiece, packed with up-to-date examples. The core of the course is the Lite Package, which breaks down every little factor that comes together to create great design. The course is divided up into three modules and 20 lectures, to help you focus on each of those pieces one at a time. To maximize your learning, I recommend the Motivation Overdrive package, which has everything you get in the Lite Package, but comes with challenges, and community access to really get these concepts programmed into your brain. D4H Video is specifically designed to make the most of your precious time. I’ve condensed the concepts from Design for Hackers down to the essentials. Learn the most important elements of the D4H approach in videos that are around 5 minutes apiece, packed with up-to-date examples. The core of the course is the Lite Package, which breaks down every little factor that comes together to create great design. The course is divided up into three modules and 20 lectures, to help you focus on each of those pieces one at a time. To maximize your learning, I recommend the Motivation Overdrive package, which has everything you get in the Lite Package, but comes with challenges, and community access to really get these concepts programmed into your brain. Motivation Overdrive 15 actionable minutes a day, community & camaraderie You know how much you want to take your design skills to the “pro” level, but that can seem so daunting. As much design advice as you pore over day-to-day, don’t you feel like you should be there by now? The key is making manageable progress, getting that progress built into your habits, and ultimately translating those new skills to apply to your day-to-day work. The Motivation Pack: Finally internalize design basics The problem most people have when trying to learn design is they get overwhelmed. They see so much great design

out there, but they can’t seem to break it down and understand it in a way that they can translate into great work of their own. They just end up copying what they see, and feeling like impostors. Or, they end up reading a huge design textbook with no idea what to do next or how to actually apply what they’ve learned. But the key to making progress is having that progress broken down into manageable chunks. That’s the crux of the Design For Hackers Video Course. You’ll get only the essential pieces of design in to-the-point, short lessons and then steps for applying the lesson right away – so it becomes a seamless, automatic part of your design process. Kill overwhelm and get focused The reason many beginning designers get overwhelmed is they don’t understand what they see. They know they’re seeing great design, but it’s not clear just what is happening to make that great design. The Motivation Pack included in D4H Video Motivation Overdrive is designed to help you make comfortable progress, so you don’t get overwhelmed, and you can concentrate on the key components of making great design, one piece at a time. Think like a designer A great designer can make decisions quickly, throwing together a beautiful design with seemingly little effort. When you ask them how they did that, it seems they can never tell you. That’s because great design habits have been programmed into their brain by doing. They have internalized great design so well, they have no conscious awareness of how they’re actually doing it. What if you didn’t have to power through years of designs to reach this level of mastery? What if you didn’t have to just “figure it out” for yourself, writhing in agony with each new blank canvas? The Motivation Pack is designed to give you design challenges you can do easily, building the micro-skills behind doing great design, one at a time. Each lecture is accompanied with a 10-Minute Challenge that helps program the concepts into your brain. You set a timer for 10 minutes, and do the challenge within that set time. The focused work kills design overwhelm, and the short time frame keeps you motivated. Finally, the little pieces of design will feel easy to you. No random articles, a plan that makes sense Are you consistent with practicing design? Most people find themselves sorting through design articles and books in long sprints. By the end, they’re mentally exhausted, they aren’t sure what they’ve learned, and they don’t have the energy to try again tomorrow. What they should be doing is making a habit out of learning design. Research shows that you’ll have an easier time making a habit of something if you start small. If you’ve ever tried to start a workout program, chances are you worked out really hard for a day, then totally burnt yourself out. You didn’t have the energy to keep the program going. The Motivation Pack comes with a 5-week schedule that will help you make a habit out of learning design. Instead of trying to binge on design, we recommend watching one video per day, followed by a 10-minute challenge. This will guide you through understanding the framework behind design, and keep you from getting burnt out. What You’ll Learn In This Course? LESSON 1: FONT ANXIETY LESSON 2: SIZE STRESS LESSON 3: COLOR CLASHES LESSON 4: COLUMN SOUP LESSON 5: NERD-EYE BLINDNESS LESSON 6: UNDIVIDE ATTENTION, PLEASE About Author David Kadavy is author of the #18 Amazon best-selling book, Design for Hackers, and host of the Love Your Work podcast. Prior to writing Design for Hackers, David led design at two Silicon Valley startups, freelanced for clients such as oDesk, PBworks, and UserVoice, and launched numerous startups of his own – none of which failed hard enough to be worthy of mention in this bio. David's work has won international awards that only design snobs have heard of, and his free email courses have taught over 100,000 people the fundamentals of good design. More courses from the same author: David Kadavy

[hellsitesonlybookclub]

Around the world in 80 days, Jules Verne

CHAPTER X. IN WHICH PASSEPARTOUT IS ONLY TOO GLAD TO GET OFF WITH THE LOSS OF HIS SHOES

Everybody knows that the great reversed triangle of land, with its base in the north and its apex in the south, which is called India, embraces fourteen hundred thousand square miles, upon which is spread unequally a population of one hundred and eighty millions of souls. The British Crown exercises a real and despotic dominion over the larger portion of this vast country, and has a governor-general stationed at Calcutta, governors at Madras, Bombay, and in Bengal, and a lieutenant-governor at Agra.

But British India, properly so called, only embraces seven hundred thousand square miles, and a population of from one hundred to one hundred and ten millions of inhabitants. A considerable portion of India is still free from British authority; and there are certain ferocious rajahs in the interior who are absolutely independent. The celebrated East India Company was all-powerful from 1756, when the English first gained a foothold on the spot where now stands the city of Madras, down to the time of the great Sepoy insurrection. It gradually annexed province after province, purchasing them of the native chiefs, whom it seldom paid, and appointed the governor-general and his subordinates, civil and military. But the East India Company has now passed away, leaving the British possessions in India directly under the control of the Crown. The aspect of the country, as well as the manners and distinctions of race, is daily changing.

Formerly one was obliged to travel in India by the old cumbrous methods of going on foot or on horseback, in palanquins or unwieldy coaches; now fast steamboats ply on the Indus and the Ganges, and a great railway, with branch lines joining the main line at many points on its route, traverses the peninsula from Bombay to Calcutta in three days. This railway does not run in a direct line across India. The distance between Bombay and Calcutta, as the bird flies, is only from one thousand to eleven hundred miles; but the deflections of the road increase this distance by more than a third.

The general route of the Great Indian Peninsula Railway is as follows: Leaving Bombay, it passes through Salcette, crossing to the continent opposite Tannah, goes over the chain of the Western Ghauts, runs thence north-east as far as Burhampoor, skirts the nearly independent territory of Bundelcund, ascends to Allahabad, turns thence eastwardly, meeting the Ganges at Benares, then departs from the river a little, and, descending south-eastward by Burdivan and the French town of Chandernagor, has its terminus at Calcutta.

The passengers of the “Mongolia” went ashore at half-past four p.m.; at exactly eight the train would start for Calcutta.

Mr. Fogg, after bidding good-bye to his whist partners, left the steamer, gave his servant several errands to do, urged it upon him to be at the station promptly at eight, and, with his regular step, which beat to the second, like an astronomical clock, directed his steps to the passport office. As for the wonders of Bombay—its famous city hall, its splendid library, its forts and docks, its bazaars, mosques, synagogues, its Armenian churches, and the noble pagoda on Malabar Hill, with its two polygonal towers—he cared not a straw to see them. He would not deign to examine even the masterpieces of Elephanta, or the mysterious hypogea, concealed south-east from the docks, or those fine remains of Buddhist architecture, the Kanherian grottoes of the island of Salcette.

Having transacted his business at the passport office, Phileas Fogg repaired quietly to the railway station, where he ordered dinner. Among the dishes served up to him, the landlord especially recommended a certain giblet of “native rabbit,” on which he prided himself.

Mr. Fogg accordingly tasted the dish, but, despite its spiced sauce, found it far from palatable. He rang for the landlord, and, on his appearance, said, fixing his clear eyes upon him, “Is this rabbit, sir?”

“Yes, my lord,” the rogue boldly replied, “rabbit from the jungles.”

“And this rabbit did not mew when he was killed?”

“Mew, my lord! What, a rabbit mew! I swear to you—”

“Be so good, landlord, as not to swear, but remember this: cats were formerly considered, in India, as sacred animals. That was a good time.”

“For the cats, my lord?”

“Perhaps for the travellers as well!”

After which Mr. Fogg quietly continued his dinner. Fix had gone on shore shortly after Mr. Fogg, and his first destination was the headquarters of the Bombay police. He made himself known as a London detective, told his business at Bombay, and the position of affairs relative to the supposed robber, and nervously asked if a warrant had arrived from London. It had not reached the office; indeed, there had not yet been time for it to arrive. Fix was sorely disappointed, and tried to obtain an order of arrest from the director of the Bombay police. This the director refused, as the matter concerned the London office, which alone could legally deliver the warrant. Fix did not insist, and was fain to resign himself to await the arrival of the important document; but he was determined not to lose sight of the mysterious rogue as long as he stayed in Bombay. He did not doubt for a moment, any more than Passepartout, that Phileas Fogg would remain there, at least until it was time for the warrant to arrive.

Passepartout, however, had no sooner heard his master’s orders on leaving the “Mongolia” than he saw at once that they were to leave Bombay as they had done Suez and Paris, and that the journey would be extended at least as far as Calcutta, and perhaps beyond that place. He began to ask himself if this bet that Mr. Fogg talked about was not really in good earnest, and whether his fate was not in truth forcing him, despite his love of repose, around the world in eighty days!

Having purchased the usual quota of shirts and shoes, he took a leisurely promenade about the streets, where crowds of people of many nationalities—Europeans, Persians with pointed caps, Banyas with round turbans, Sindes with square bonnets, Parsees with black mitres, and long-robed Armenians—were collected. It happened to be the day of a Parsee festival. These descendants of the sect of Zoroaster—the most thrifty, civilised, intelligent, and austere of the East Indians, among whom are counted the richest native merchants of Bombay—were celebrating a sort of religious carnival, with processions and shows, in the midst of which Indian dancing-girls, clothed in rose-coloured gauze, looped up with gold and silver, danced airily, but with perfect modesty, to the sound of viols and the clanging of tambourines. It is needless to say that Passepartout watched these curious ceremonies with staring eyes and gaping mouth, and that his countenance was that of the greenest booby imaginable.

Unhappily for his master, as well as himself, his curiosity drew him unconsciously farther off than he intended to go. At last, having seen the Parsee carnival wind away in the distance, he was turning his steps towards the station, when he happened to espy the splendid pagoda on Malabar Hill, and was seized with an irresistible desire to see its interior. He was quite ignorant that it is forbidden to Christians to enter certain Indian temples, and that even the faithful must not go in without first leaving their shoes outside the door. It may be said here that the wise policy of the British Government severely punishes a disregard of the practices of the native religions.

Passepartout, however, thinking no harm, went in like a simple tourist, and was soon lost in admiration of the splendid Brahmin ornamentation which everywhere met his eyes, when of a sudden he found himself sprawling on the sacred flagging. He looked up to behold three enraged priests, who forthwith fell upon him; tore off his shoes, and began to beat him with loud, savage exclamations. The agile Frenchman was soon upon his feet again, and lost no time in knocking down two of his long-gowned adversaries with his fists and a vigorous application of his toes; then, rushing out of the pagoda as fast as his legs could carry him, he soon escaped the third priest by mingling with the crowd in the streets.

At five minutes before eight, Passepartout, hatless, shoeless, and having in the squabble lost his package of shirts and shoes, rushed breathlessly into the station.

Fix, who had followed Mr. Fogg to the station, and saw that he was really going to leave Bombay, was there, upon the platform. He had resolved to follow the supposed robber to Calcutta, and farther, if necessary. Passepartout did not observe the detective, who stood in an obscure corner; but Fix heard him relate his adventures in a few words to Mr. Fogg.

“I hope that this will not happen again,” said Phileas Fogg coldly, as he got into the train. Poor Passepartout, quite crestfallen, followed his master without a word. Fix was on the point of entering another carriage, when an idea struck him which induced him to alter his plan.

“No, I’ll stay,” muttered he. “An offence has been committed on Indian soil. I’ve got my man.”

Just then the locomotive gave a sharp screech, and the train passed out into the darkness of the night.

[oceansedits]

As I haven't watched season 5 yet, and it's been like 6 years since I read the novels;

Eliot post season 4, has a relapse (although he was never sober), he has a relapse and spends several months at Brakebills, healing from the wound from the axes to slay the Monster, and mourning Quentins death. After eight months at Brakebills, pushed by Fogg, he returns to Fillory and returns to his kingly duties and starts to have HEALED from Q's death, and is now delicated solely to Fillory.

subject to change once i've bitten the bullet and watched s5 / re-read the books, which i know El's ending in the books, is essentially just being King

Until again until s5 i seen, post s4 she is correcting the wrongs that she has done still, as well as messing with the Library, and will eventually lead to her gaining a lot of power and creating her own world (like fillory) as her book ending goes.... also my alice is heavily canon divergent, as i am a lesbian, and a exes-only alice/q person, i love alice and quentin as frinds but never romantically, adored the idea of of the fanon comphet lesbian hc for alice, so season 3 and season 4 is her coming to terms with that

Julia is canon divergent upon s4, since i don't like her not having the choice in what she did, so julia would chose to accept/remain a goddess, and so Julia post s4/s4 finale, is pursuing being a goddess and regaining her magic to full power

i will see how i feel once i watch s5, i know that they had to write in Stella's pregnancy or chose to write in, I am rejecting the pregnancy line even when I watch it / will reemove the pregnancy part of her story line

[oldmke]

Old timers will remember when Jones Island was a fishermen's village, managing without electricity, sidewalks or sanitary facilities, but adequately equipped with drinking establishments. Like this one - John Fogg's Saloon. The convivial group assembled at the front door of what was described as "one of four major thirst emporiums on the island." Jones Island was used in pre-Civil-War days as a place to repair sailing vessels. In 1854, James M. Jones and his family arrived to establish a bona fide ship yard there, and also gave the island its name. In the 1870s, immigrant fishermen settled there and prospered, catching lake trout, perch, herring and whitefish. Gradually, the island became a quaint fishing village, and a fashionable place for Milwaukeeans to dine on fish dinners. Its location at the entrance to the harbor was ideal for industrial development, so eventually it was acquired by the city for a municipal harbor and sewage disposal plant. By 1938 most of the fishing sheds and little yellow houses were torn down. Photo courtesy of John J. Patock and information from the Milwaukee Public Library local history collection.

[nikolettphotographylevel3]

Intimate Portraits 2

I have found this task extremely exciting. I have outdone myself this time, instead of the required 200 shots, I have taken over 500. So please excuse my ignorance to chose more than just my 10 best images. I hope it will be accepted.

I had an idea to create images that resembles a certain era from back in the days. I had my partner dress up as an English gentleman/professor from the old days. Some say I achieved a “gangster” look. I have bought props for the photoshoot, cigar, vintage suitcase, 2 hats, umbrella and asked him to wear his best suit. Chosen lots of different locations, St Pancras International, British Library, Mr Fogg’s restaurant by Piccadilly, National History Museum, Old Cinema Café at Piccadilly. It took us all day Sunday from 9am till 5pm. I thoroughly enjoyed it. We nearly had fallen out a couple of times though but it just made our relationship stronger 🤣. It was difficult to avoid people because it was extremely busy, so I needed insane amount of patience which I don't have much of sadly. 😄

I tried to aim for backgrounds that had a lot of interesting pattern, lines, old writing on the boards, signs etc. Turned my photos black and white and sepia, except one that was best in colour in my opinion. 

This photo does not look blurry on my pc but when i upload it to Tumblr, it looks out of focus. I hope that's not the case when we view it in class.