#gladys and aegis

[britishsass]

Oh, that is exactly their vibe. You're so correct. Doug isn't helping at all by being the absolute WORST witness to deal with-- and that's without noting he's also their defendant.

"There's no way he did the crime! "He couldn't-- He's too stupid."

I mean if you're willing to, can I ask for any of the Turnabout Dimensions cast with A1 or A3 of that "I'm so done" meme?

“I don’t think your puns are helping the investigation, Aegis.”

“You know, I think he did it.”

I listened to the Interrogation Song like five times while drawing this— It’s such a Turnabout Dimensions song imo

[a-certain-elf]

Janai/Amaya and 💛 reunion kiss / relief

Thank you for the ask/prompt!

It has been a long week for Janai. Not because of her duties as queen. Business as usual as far as she was concerned. No, her loving fiancee was out on a mission: to find the perfect flower for their wedding.

The daily duties as queen of the sunfire-elves and keeping the human-elf-camp in order were substantially harder without Amaya as her side. Partly because Amaya helped her with her duties and mostly because she was missing Amayas support. And her love.

She was bound to return soon. With Amaya wouldn't take long to find a flower that both her and Janai liked. She took Kazi with her and they packed 1 or 2 books so they could give Amaya some info on the flowers they encountered.

It was late in the day and Janai took a walk arround the camp after she finished her duties. Getting greeted by both humans and elfs along the way. Working with each other. It filled her with hope.

She soon reached the stables with one lonely inferno-tiger sulking in the corner, waiting for their friend. Embertail sensed Janai approaching, got up and pocked his head over the gate. Janai was quick to offer him a treat and some head scratches.

He suddenly perched up and looked into the sky. Janai did the same and saw a small black dot in the sky that was heading straight towards her. Eventually she was able to make out that it was an inferno-tiger. Aegis. Two people were riding it. One looked like an elf and the other like a certain human that she loved. Janais face lit up.

Amaya and Kazi flew 2 circles over Janais before landing next to the stables, all the while dropping different flowers. Amaya saw that her soon to be wife waited for her and hurried to dismount Aegis. The only thing on her mind in that moment was to embrace Janai. The elf had the same idea however and suprised Amaya by lifting her up and spinning her arround with armor and shield.

She sat Amaya down after a while and give her a deep,long and passionate kiss which her fiance glady reciprocated. It left them both breathless. Janai broke the kiss and said "I missed you".

"I noticed" Amaya responded with a wide smile.

It was only then that Janai noticed the bags on Aegis saddle overflowing with flowers. She raised an eyebrow at Amaya who just shrugged and signed.

"We got work to do"

[lboogie1906]

Joseph Wafula Sitati (born May 16, 1952) petroleum manager and the first man of Black African descent to become a member of the First Quorum of the Seventy in the Church of Jesus Christ of Latter-day Saints, was born in Bungoma, Kenya. His parents were Nathan Barasa and Lenah Naliaka Mwasame Sitati, both peasant farmers. He grew up in Nairobi and was raised Quaker. He found that faith to be overtly political, however, and not focused on spirituality. This sentiment changed when he heard his first Mormon sermon from a visiting LDS general authority in 1985. The sermon moved Sitati, and he was baptized in the LDS Church in March 1986.

While he embraced Mormonism, the Kenyan government, wary of Western religions, did not recognize the LDS Church as an approved faith. His high educational and professional profile helped reverse Kenyan governmental policy.

He a earned BS from the University of Nairobi in Mechanical Engineering. He received a diploma in Accounting and Finance from the Association of Certified Accountants. He served in multiple positions at Total, including strategy manager and consultant. He offered the dedication prayer in October 1991 in Nairobi, officially proclaiming Kenyan Mormons under the aegis of the LDS Church.

In 2009 he was summoned to be a member of the LDS First Quorum of the Seventy. He was the first Black African to achieve this position which entailed serving as a general authority of the LDS Church throughout the world, working directly under the Quorum of the Twelve Apostles, and sometimes giving sermons at the LDS General Convention. Since the lifting of the Black priesthood ban in 1978, Mormon members grew exponentially in sub-Saharan Africa, and he became the leader and spokesperson for the faith throughout the continent. Before becoming part of the First Quorum, he served as a stake president in Nairobi, an Area Seventy director of public affairs for Africa, and president of the Nigeria Calabar Mission.

He married Gladys Nang’oni Nassiuma (1976), and they were sealed (1976). They have five children together. #africanhistory365 #africanexcellence

[nadirajasmine]

thank you, 2018(9)

Trs beli gitar!! super seneng emg dari dulu pgn bisa main gitar tp gakesampean.. dan akhirnya w dikelilingi manusia2 yg bisa main dan mau ngajarin (daniel n finy)!! belinya wkt itu di m&g blok m!

Suka chill di kamar maul kl lg ada yana (kadang +aisyah/nina/finy) trs ngegosip, atogak gw main laptopnya maul. Bakal kangen bgt ni rumah parahhhh:( + kamar daniel + dapur mereka!! suka jd go-dira karna cowo kok berantakan af jd manusia:( trs paling seneng kalo yana udh masak di kontrakan HAHA trs sebelumnya belanja dulu di pasar pondok labu, sampe ada ibu2 jualan bumbu hapal sm gue:( karna gw gatau bumbu.. tp proud of yana sih gw, amazing bgt nih org bs masak APAPUN!! dan kl udh waktunya masak, gw paling males bantu masak.... akhirnya gw cm bagian beres2 wkwkwkwk love yana<3

CC! charity concert! Bersama 2015kuh<3 hehe segitu aja krn ga tau mau ngomongin apa disini??

Gladi posko! With my lovely tutor walopun sempet berantem karna hal apabgt wk tp sumpah gw sayang kok sm ni tutor:( terimakasih menjadi tutor penutup. You guys beyond amazing!😩😭🥰

Diksus!!! Hue capek bgt ini tp tetep aja senior yg dtg cm 2-3 org. Kzl. Dan terimaaci aldi dan deny sudah menyayangi w di kbk till die wkwkwkwkwkw<3

DIKSUS LGG!! Wkwkw Tp kali ini sama my aegis huhu super sayang. Karna walopun kita rame tp anak2nya menurut w penurut dan pekerja keras dan handal di tiap bidangnya. Tunggu gathering ya sayang2:(

[rnainframe]

an assortment of portal characters involved in WAY au

left to right, row by row:

Caroline / GLaDOS

Ruben Bowen / Rainbow Core

Nigel Smith / Gel Core

Oliver Wheatley / Idea Core [alpha timeline]

Oliver Whitfeld / Idea Core [beta timeline]

Virgil Hansen / Maintenance Core

Rick Manos / Adventure Core

Craig Manos / Fact Core

Gregory / AEGIS

Michelle [REDACTED] / Subject 01

Melanie Bernard / Subject 00

Clara Nelson / Subject 18

Andy / The Announcer

Cave Johnson

Samuel Morose / Morse Core

Lance / Space Core

Gladys Wheston / Morality Core

Katherine Curie / Curiosity Core

Jane / Logic Core

Becky / Anger Core

Jin / Light Core

Florence Manner / Mainframe / The Chassis

[nofomoartworld]

Hyperallergic: The Desire for the Unattainable: Myron Stout’s Paintings and Drawings

Myron Stout, “Hierophant” (c. 1955), oil on canvas, 38 x 30 inches, private collection (all images courtesy Craig F. Starr Gallery)

This is the last day of an exhibition, Myron Stout at Craig F. Starr Gallery that no one should miss. Stout was not a prolific artist, and even modest-sized shows of his work are few and far between. He was known to have spent ten years on an easel painting and just as long on a small drawing. Two graphite drawings in the show are around the size of a postage stamp. His passionate fans include an unlikely miscellany of artists: Eve Aschheim, Mark Greenwald, Catherine Murphy, Gladys Nilsson, Thomas Nozkowski, Jim Nutt, James Siena, Philip Taaffe, and Trevor Winkfield. What they all have in common is an intense focus on shapes, lines, and edges — formal issues not divorced from feeling in service of the imagination.

Stout had his first exhibition in New York at the Stable Gallery in 1954 and his second one in 1957 at the artist-run Hansa Gallery in 1957. Although his work was included in important group shows throughout the 1960s and 70’s, he did not have his third show in New York until his retrospective, Myron Stout, at the Whitney Museum of American Art (February 5–April 6, 1980). By this time, Stout was losing his vision and was only able to work with the help of an assistant. Around 1980 he stopped altogether.

In the obituary he wrote for The New York Times, Michael Brenson cited the words of Stout’s longtime friend, the writer B.H. Friedman, from the Whitney’s catalog. Describing the artist’s paintings and drawings, Friedman wrote:

[Stout] has made from his deepest feelings what amount to ritual objects — objects so physical, so full of the grain and texture of life that they suggest metaphysical photographs taken somehow simultaneously at the dazzling speed of light and at the slow, grinding pace of eternity.

Since that large gathering of the artist’s work, there have been only a handful of exhibitions in New York that have brought together the black-and-white paintings and graphite drawings he did between the mid-1950s and the late-1970s, which is why this exhibition of five paintings and eleven works on paper dating between 1950 and 1979 at the Starr Gallery is a truly rare occasion.

Stout, who was born in Denton, Texas, in 1908, made an early decision to be a painter but didn’t hit his stride until the late 1940s, after he had served in World War II. It was while he was attending Columbia University, where he had gotten his M.A. in education before the War, for a doctorate  that would enable him to teach “art appreciation,” that a friend told Stout about a drawing class taught by Hans Hofmann on Eighth Street. It was January 1947, the beginning of his second semester at Columbia. Going to that class and meeting Hofmann motivated Stout to fully recommit himself to painting. It took about two years for Stout, who was on leave from a teaching job in Hawaii at the time, to disentangle himself from one life and begin another. Between 1947 and ’52, he studied with Hofmann intermittently, but by his calculation it added up to about “two years.” More importantly, he withdrew from New York in 1952 and moved to Provincetown, Massachusetts, where he lived in modest circumstances until his death in 1987.

After Stout moved to Provincetown he abandoned geometric abstraction and the use of color. The primary inspiration for his movement to pared down, biomorphic forms in black, white, and gray was his reading of Greek tragedies. Having read a book of Greek myths when he was a child, Stout returned to Greek plays and literature throughout his life.

Myron Stout, “Apollo” (c. 1955), oil on canvas, 40 x 23 inches, private collection

Four of the five paintings in the exhibition are of a single white form on a black ground, while the graphite drawings are gray, black, and white. The exception is “Apollo” (1955), the largest painting in the show, which measures 40 by 23 inches. In Greek mythology, Apollo was a complex, oracular figure. He was the god of music, poetry, the sun, and keeper of the herds, as well as the one who could bring plagues. Hermes made a lyre for him.

Stout’s “Apollo” consists of two forms: a white circle floating within a U-shape that could be the frame of a lyre or, more distantly, the horns of a sacred bull. By paring down his forms to memorable abstract shapes, Stout maintains a connection with his source. The key to this connection is drawing, which is the underpinning of all his work.

The balance between the white form and the black ground is so exquisitely calibrated they seem to switch places, with the black ground becoming the form and the white becoming the ground. If you move closer to the painting, you can see the differences in Stout’s application of the paint: the black ground is thin enough to reveal the texture of the canvas, while the white form has been built up and worked along the edges. The contrast is graphic and visceral. The shapes are mesmerizing— they evoke the archaic but do not feel the least bit nostalgic. This drive to get to the essence of things is something Stout shares with Constantin Brancusi. The difference is that Brancusi tried to get to the essence of observable forms – a head or a fish – while Stout aimed for mythical ones.

Myron Stout, “Aegis” (1955–79), oil on canvas, 24 x 20 inches, private collection

Stout’s titles hint at the artist’s preoccupations. The white tapering form in “Aegis” (1955–1979) can be translated as the shield carried by Athena and Zeus. A “Hierophant” (ca. 1955) is a priest who brings worshippers in touch with the holy through interpretation. The form in the graphite drawing “Tiresias II” (1965) is an inverted variation of the one found in “Hierophant” — it looks like an abstract mushroom or open umbrella. In Greek mythology, Tiresias was a blind prophet and clairvoyant. This is the kernel of Stout’s genius: he is able to imagine abstract forms from his reading in Greek literature. Although they were finished at different times, all the paintings in the exhibition were started between 1954 and ’56 — his first breakthrough into a territory all his own. In this three-year burst of creativity, Stout most likely began all the paintings that would consume him for the rest of his working life. I doubt that there are more than two-dozen completed paintings.

After meeting Hofmann and reading Greek literature, particularly the tragedies, the next big change happened when Stout went to New York and saw George Seurat: Paintings and Drawings at the Museum of Modern Art (March 26 – May 11, 1958). While drawing was central to Stout’s practice, and he was a firm believer in drawing from nature, the Seurat show inspired him to begin using graphite. Stout’s graphite drawings constitute a distinct body of work within this artist’s small oeuvre, and are one of the singular achievements in the medium in postwar art.

Myron Stout, “Untitled” (1977–79), graphite on paper, 5 3/8 x 8 inches, The Museum of Modern Art, New York. Gift of the Gramercy Park Foundation, Inc., 1980

In his conté crayon drawings, Seurat feels his way across the paper, sensitive to the interaction between his drawing instrument and the paper’s tooth. Echoing Seurat, Stout’s graphite drawings are done in black, white and gray. The relationship between the graphite and the paper enabled him to focus on edges, varying states of solidity and dissipation, and the interplay between austerity and luxuriance.

A number of the graphite drawings are based on things that he saw, including Provincetown’s stone jetty and the view of the moon as it changed over the course of months, as seen through a row of clerestory windows stretching across one room of his modest apartment on 4 Brewster Street in Provincetown. In “Untitled” (n.d.), a drawing of the moon in its different phases, Stout chose a piece of paper that measured 2 ¼ by 13 ½ inches. There are eleven images of the moon, with some larger than others, moving from a sliver to a circle, with a rhythmic arrangement that embraces the symmetrical and asymmetrical, the balanced and imbalanced.

Myron Stout, “Untitled” (n.d.), graphite on paper 21 1/4 x 13 1/2 inches, private collection, Houston

This is what Stout said to Friedman about his graphite drawings in the catalogue published on the occasion of his retrospective:

When I start drawing, I work with the black and white areas as well as their enclosing lines. Jogging them back and forth. Feeling my way. Pushing a black area up. Starting out with a black area across the bottom. … [ I ] erase and mark out, and shift without actual drawing, more like in the painting process. So actually, I work both ways in drawing — both in the linear way and in the more painterly way of working with areas, in masses of black and white.

I hear in this statement Stout’s understated desire to attain a perfection that will only become visible to him when he completes the work. He expresses neither angst nor impatience with his process. His work arises out of the paradoxical combination of paring everything down, while employing a process of patient accretion. He caressed his work into being. No doubt Stout was aware of the paradox of reducing while adding. It seems that he briefly had a pet snail he called “Jocko” (short for “Jockey”), and was pleased when “it escaped.”

Myron Stout ends today at the Craig F. Starr Gallery (5 East 73rd Street, Upper East Side, Manhattan).

The post The Desire for the Unattainable: Myron Stout’s Paintings and Drawings appeared first on Hyperallergic.

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[legallymean]

First Line Tag Game

I was tagged by @britishsass , and I’ll try to do 20 like the rules of the game say, but I might not be able to since I don’t write nearly as much as I should

1) “The aftermath”

Caroline tossed and turned until she woke up. After a few seconds, she realized something was off about her surroundings.

(This a fic I’m writing based on a particularly awful kin memory of mine, so I’m afraid you won’t be getting context due to its sensitive content.)

2) “Anyway Watch 9 to 5”

“Caroline, would you bring the employee performance reviews to my office?”

(This is a fic I’m writing based on the fantasy scenes from 9 to 5, where the three secretaries imagine different ways to get rid of their sexist egotistical lying hypocritical bigot of a boss, except it’s Caroline and Cave.)

3) “Run.”

Caroline stood in Mr. Johnson’s office, drinking a coffee as he rambled away, the irrational thoughts of a dying man.

(Another fic about Caroline, but this time she’s running from her fate of becoming GLaDOS.)

4) “Welcome Home, Gladys.”

Gladys let out a heavy breath as she left the airport.

(This is from an au I made where the Portal characters are Ace Attorney characters, with GLaDOS as Miles Edgeworth.)

5) “Franziska Investigations”

Franziska sat in her office, eyeing the phone.

(This a concept I have for a Franziska-centric Ace Attorney Investigations game.)

6) “Photo op”

Franziska sighed.

(This is about Franziska fainting at work.)

7) “Exile”

Caroline.

(This was originally going to be about Gladys’s time in Europe, but turned into a fic about Turnabout Dimensions, a case that a friend and I made about a crossover between our respective Portal aus.)

8) “Haha Pineapple Upside Down Cake”

Gladys sighed in relief.

(Turnabout Dimensions fic where things end.. very badly for Gladys.)

9) “Muzzle of Nemesis but it’s Franziska”

The belled tolled.

(I noticed a few parallels between the Muzzle of Nemesis and Franziska’s story and I decided to write a fic about it.)

10) “I was gonna write the 9 to 5 thing but I feel awful so you’re getting this instead”

What was there to say?

(Story about how Caroline felt between the time they stored her brain data and put her into GLaDOS.)

11) “Test Chamber 19”

Everything was going swimmingly.

(Story about how GLaDOS felt during the last part of Portal 1)

12) “AA! au Antics”

Gladys thought to herself.

(AA! Aegis and AA!Gladys having sibling shenanigans™️)

13) “Are you running away?”

Gladys checked her phone.

(Ending of JFA for the AA! Portal au)

And that’s all my fics!

..Moral of the story seems to be I need to write more.

I’m not gonna tag anyone because I don’t usually post tag games, shsggsshsg

[rnainframe]

Small portal au doodle requests are open!

I wanna draw the WAY designs for portal characters - so here's a list of everyone involved in every version of the au minus OCs involved that I don't own! Send me a name or two and I'll draw them! The acronyms are the things they were introduced in. -- Adventure Core - Richard Ramos / p2 AEGIS - Gregory / psm Ambition Core - Karl / underground Anger Core - Becky / p1 Announcer - Andy / p2 Antagonism Core - Jackson / oc Atlas / p2 Creativity Core - Jeffery / oc Criticism Core - Nancy / oc Curiosity Core - Katherine Curie / p1 Drill Sergeant Core - James / mtc2 Ego Core - Jonathan / underground Elite Core - Evan / underground Enthusiasm Core - Ray / mtc2 Fact Core - Craig Ramos / p2 Friendship Cores - Blue and Yellow / underground Gel Core - Nigel Smith / at GLaDOS - Caroline Johnson / p1 Glitchy Core - Mallory / mtc Heavy Metal Core - Wilhelm / at Humor Core - Bo / mtc2 Idea / Intelligence Dampening Core - Oliver Wheatley (alpha) / Oliver Whitfeld (beta) / p2 Interview Core - Jim / underground Light Core - Jin / oc Logic Core - Jane / p1 Mainframe / The Chassis / Central Core - Florence Manner / oc Maintenance Core - Virgil Hansen / psm Motel Supervisor Core - Tobias / mtc2 Morality Core - Gladys Wheston / p1 Morse Core - Samuel / oc Music Core - Daniel / mtc2 Narrator Core - Kevin / mtc2 Omni Core - Nicholas / mtc2 Oracle Turret - Cassandra / p2 Oxygen Core - Oxford / mtc2 P-Body / p2 Painterly / Affection / Rainbow Core - Ruben Bowen / psm Paranoia Core - Maya / underground Party Escort Bot - Maya / p1/underground Photography Core - Elliot / oc Protocol Core - Finn / underground Radio Core - Shawn / oc Rusty Core - Hart / mtc Security Core - Chuck / mtc2 Space Core - Lance / p2 S74NL3Y - Stanley / mtc2 Subject 00 - Melanie "Mel" Bernard / psm Subject 01 - Michelle "Chell" [REDACTED] / p1 Subject 18 - Madeline "Del" Carver / at Time Core - Horaz / oc Truth Core - Lyra / oc Turret Core - Turid / mtc