#need to manifest rq <3< /div> Explore tagged Tumblr posts

[atitanbitch]

Theyre my favorites

the effortlessly cool and fun guy that everyone wants to befriend and the rizz-less autistic coded guy everyone wants to fuck

[luckykiwiii101]

How To Make Everything Sugar&Spice And EVERYTHING Nice After All ✨💗✨💗✨💗✨💗✨

(Everything you need to know):

Go back to the basics of manifestation. If you don’t know how, here are some resources:

“What is manifestation, and how do I manifest?”

+ For further understanding watch electrasoul’s videos: Part 1 & Part 2

“So how do I embody a state?”

Essential to the law of assumption. Methods are not what works. You make them work. And you don’t need any methods. Embodying a state is not a method. Methods like affirming and visualising are just to help you embody a state.

“What Key Concepts should I know?”

+ All you have to do is just return to the state of the wish fulfilled every time you naturally think of your desire. You don’t need to affirm or visualise etc for hours on end. Manifestation is effortless.

“I’ve got some doubts.”

Read the title of those posts and see if they relate to any questions you may have.

“I feel like over-consuming + quotes from @loasuccessarchive”

I really recommend reading this post. Contains reminders that are essential to loa!!!

“What happens to my reality when I manifest?”

How To Make Manifestation Even MORE Fun!!! (Optional)

“What If I Don’t Want To Persist?”

“How will things be for me when I persist?”

You will be just like the people on @loasuccessarchive 💗

“When will my desire materialise?”

Stop focusing on the 3D. If you are focusing on not having your desire in the 3D, then you aren’t fulfilling yourself. Every time you feel the urge to look for proof in the 3D, just return to imagination and KNOW that you have it there.

XoXo - Gossip Girl 💋 💌

[charmedreincarnation]

Ya bitch got into the void state

Champagne anon here and your mf girlll got in the mf void state and manifested her dream life. This happened a week ago, and I’ve been chilling but I do wanna share my story to help others. Gotta give Thanks to Maya, and so many other bloggers and even anon. Y’all hoes will forever be in my heart, and I’m forever grateful 🥹 also Maya girl you told me when I succeed to get into detail and I got nothing to do for the next two hours so imaaa just share it all here in detail.

I also wanna especially thank all the black creators on tumblr!! I didn’t know there were so many of us using the law. It always seems the world is so against us, and there’s nothing we can do abt it but nahhhh!! we can all live our best melanated lives regardless. Periodt, as we should it’s about goddamned time after everything we’ve been though 😂

Anyways!!!! after reading this: https://www.tumblr.com/charmedreincarnation/717864613626134528/im-your-bubble-anon-but-i-made-this-burner-to success story yesterday I got hella motivated. I read that shit and I thought I posted it on accident because it was everything I had been through, and had been thinking anyways. That anon ate your tumblr habits btw. If y’all haven’t seen my good sis’s sucess post go check that shut out rn, On god it will help.

At the end that anon (my mf dawg 🙏) included that they manifested for everyone. Now ion know if that shit actually work tbh. I’ve seen people say you can and can’t, but tbh the vibes were too high for me to doubt. I was like ight, okay fuck it, ima leave my dream life. Whether it me, that anon, or the devil himself ion give a fuck.

So that’s whatssss a bitch did!!! I just affirmed all day it was very fulfilling. People who hate on affirming are mad corny. I can’t lie that shit works hella fast even if you don’t believe it. Idk if that anon’s void manifesting helped or what but I didn’t do much and after 3 months of trying I entered the damn void state. I’m mad I thought I had to be on some ghandi shit to do this (no hate to him hes da man) but you rlly don’t y’all. BUT LEMME TALK MY SHIT ALL YOU NEED IS AFFIRMING AND PERSISTENCE.

Anyways I went go bed excited asl!! I wrote my script that was like 10 pages long I can’t lie I did the most… but it’s whateva. I woke up in the void state after waking up at 4 am or sum, and i was like oh shityyyt lemme manifest rq and skrttt out this hoe. So that’s what a mf did 😂😂

Anyways the part y’all’s is waiting for. This is what ya girl manifested

Desired face and body. I was in shock how all the details came to life. Y’all im a solid 100/10 it’s giving natural bbl and Aliyah. I swear to gahhh everywhere I go people be trying to peep. I’m not used to being treated like a fucking celeb everywhere I go, whole time it’s just my fat gyattttt

Being the hottest 16 yr old IT GIRL at my school, and having lucky girl syndrome. People call me a mini jayda wayda, but tbh I’m better than her now. No hoe is ever gonna cheat on meee like they did her…bye. She’s still gorgeous as fuck tho

Perfect school life. Your girl is set to be the Valedictorian when I graduate (my school has 4!) I’m also sophomore year President, captain of the basketball team, apart of some volunteer programs through my school, and so much more. My resume and college application is abt to be so fuckin fire in 2 years. As I should Columbia is a competitive ass school 😤😤 that aside everyone always tryna link, I got 3 guys fighting over me (whole damn love square), so many people tryna be my friends, teachers love me, and I excel in everything I do.

My Family being rich assss fuck. My dad got a Wikipedia now and his net worth is 22 million dollars. He owns a hedge fund company now, we love a man in finance 😍😍 AS HE FUCKING SHOULD. He got a material gurlll daughter. Two in fact now.

Fire ass crib. Bro it’s a 9 million dollar penthouse, perfect for ragers. I woke up here and my room is decorated to my personality, pintrest clothes all in my closet, I got an exotic pitbull and frenchie, and the house is just mad clean and fire, I’m obsessed with it. Rarely ever wanna leave now.

My mom not being strict. That bald headed ass hoe use to be mad annoying. Y’all know how Haitians are. Mad annoying as fuck and strict for no reason. Now I go out everyday and come home at midnight and no one gives a fuck. Everyone minds their own business as they should.

Having an older brother and younger sister. I was an only child, because I was a miracle baby bc my mom was infertile. Now she got 3 of us, so she can stop being only in my buisness. I’m just playin I love my mom regardless she’s just hella clingy. Anyways my brother is mad protective but also be wrestling mad aggressive for no damn reason. He gave me a bruise but it’s whateva Ima get my lick back. I also always wanted to be an older sister, bc I’d love to be a role model! My sister is 10 and adores me soo much it’s so adorable 🥹 lmfaooo, she’s mad spoiled by me and my mom but it is what it is.

Successful lip gloss business and being a successful drop shipper. Now you didn’t think a sista wasn’t gonna give herself a career just because I’m young right 🤨🤨 we’ll ya wrong. Ya girl is making 200k-400k a year. I barely even use my money cause I got an allowance from my parents… but still, financial literacy and wealth is so important to me especially as a black woman.

A pookie bae. Y’all know I wasn’t gonna deal with finding a loyal cute and funny guy in nyc. It’s like finding a needle in a haystack. Anyways I got me a fine ass boo. I just wrote down all the features I wanted in him like for exampleS finically secure so he can spoil me, handsome as fuck, tall, funny asl, kind, little clingy, deep raspy voice, nice hand, good hygiene and style,yanno yanooo !!! Plus some other shit and whewww the void did me so good. Nowww my boo bear is a lil cracker and I’ve never dated a white boy befuh but my am I surprised. I wake up everyday with some long ass appreciation texts and plans already made ! Y’all know I love me a dominant man who knows what he wants. He’s got some nice ass clothes, nice car and crib, made me a passenger princess and spoils me way too much. He doesn’t complain abt my mood swings and simps in the best way possible. Not to mention he’s fine afkkk he’s giving vinnie hacker. He’s also 6’1 and I’m 5’1 so that height difference is soooo hot I can’t lie I feel so so safe with him 🫣 I could go on all day but in short he’s more than perfect

+ so much more but this is what shocked me the most. Anyways I’ve been living like this for the past week and it just feel so natural. I keep forgetting I got into the void but whateva I’m the only who knows anyways. Anyways live yo best life and neva give upppp. I gotta go but I’ll probably eventually make a blog. My names angela so look out for it. I’m just mad lazy soo idk tho !!!

Angela out 🫡✌️

Girl this was so fun to read, I’m just as excited for you lmfao. I love seeing black women win, and thank you for sharing your methods! Enjoy your best life and come back if it resonates with your life bae !!!

[yermes]

PAC: 💐

Your presence adds to the world.

As ur tarot mommy I have some advice for u rq. you were not put on earth to suffer. You existing is another small little blossom on the tree of the divine. Each small cell that you possess just adds and reflects the divinity within you. Sometimes shit sucks. Sometimes shit is hard. Sometimes you go from quitting some thing you love, changing your life in a week, move home, have to get a life, have to change. Adjusting and changing is a hard process and you are very brave and gorgeous for sticking with that.

Disclaimer: please take what I say with a grain of salt and not as the gospel. I just want to share some ideas of practicing and giving advice using the medium as often as I can with school, work, and my own personal studies and practice. But I am working on sharing my notes soon so that will be exciting! Liking and sharing does a lot 🥰

Socials: TipJar | Insta

Pick a meme

1 2 3

The cards

Clouds + Mice 🐁 ☁️ 

You are at a very vulnerable point in your life. But the best park about being unsure of the next step or even which direction to take is there are so many different choices. While the it may seem limited and you may feel small and confused you have so much to add you just need to take the first step out of the haze.

Cross + Tree 🌴 🚂 

You may be the type of person with health challenges which can manifest physically or mentally. But any struggle you face can be used to help and inspire others. You’re never at it alone even though it may feel that way at times. Anytime you can reach a hand out and help someone at where they are at is a blessing your personal struggle gives you ample resources to help others and makes helping yourself easier.

Person + Fox 🦊 👹

What does having good intentions even mean? You have intentions alright and they take you on a crazy ass journey therefore: good intentions. I think generally you work more on the side of self preservation. You may be in your reputation era at the moment but do not let this downward spiral take away from who you are and what you add. You add so much joy and sharp wit to the group use it for the better.

Extras: ☕️

Story/vent:

Im so tired but ily so have a reading

[permalockdown]

hello cakey!!! i notice u get a lot of results and i was curious if you have any tips for me ^_^

im just now joining the community after lurking for like a month, and your account (accounts???) had been my favorite to look at :3

hi!! i have had multiple accounts (radfleur which was originally a bait acc before i genuinely joined the rq space, cultmaxxing, translockdown, and this one) and only one of them is still up :-(

about my results, it all comes down to my belief in subliminal messaging and manifesting. i genuinely believe my subconscious projects into the real world, that i am in control. if something i dont like happens, it was not only bound to happen but NEEDED to happen.

i listen to various subliminal mixes but find really good results when i write my own. i do substantial research on my desired transitions (most notably lockdown, but i also use it for my trans- and sever- abled transitions), and i keep collections of items that bring me euphoria.

for things that come to me, things that arent a world-wide problem, i fake. i found that if i fake symptoms enough, they come to me. if i exaggerate my symptoms, they get worse. whatever i desire comes to me because of these.

[notanotherdexaccount]

hi ig

this wwas going to be an acct to soft launch me into rq spaces. but it's just. sort of a vent acct now. I don't really have any friends to talk to and even if I did im too scared to state my feelings easily.

if you do want to interact and check here. hi I'm dex, or Jasper. Jasper is more of my irl name but idrc enough to try and make that divide anymore. I'm Randal ivory kin and would like to become more like myself over time. I don't really have. a list of my transIDs listed out or anything. I'm maybe cis bpd, stpd, ocd, and CFS (self diagnosis). and then trans masc and trans? idk the term for wanting to be better at controlling magic and manifesting and controlling reality and shifting realities and stuff. but that. not being good at it is horrifically confusing for me.

have pretty limited ability to talk coherently about anything including my interests but I will try anyways. I really do want friends. maybe need a better space to do that in. I just feel better. for a lack of a better word. stalking the rq tags and sending a request for a term or a "your fave is" blog every 3 months. I feel like I understand some of you a bit from that but not enough to reach out.

[lizbotw]

😛.

[shotorozu]

attractive things you do a lot

[sorta milestone celebration, but also something i made during todo’s birthday]

character(s) : multiple; five or more.

legend : [Y/N = your name] they/them pronouns used, hinted to have a strong quirk but it’s not mentioned alot

post type : headcanons + scenario [fluff, the mildest of spice.] third year au! but it’s nothing nsfw, so no need to worry.

note(s) : i was planning on doing denki, tamaki, monoma, and 2 other characters— but my idea train stopped at shinsou so i’m sorry about that! just let me manifest some ideas rq, and i’ll make a part two.

»»————-　♡　————-««

todoroki shouto

eye contact is so attractive to him, he can’t explain it’s exact details

it’s definitely the way the both of you guys can practically read each other’s expressions just by staring into each other’s eyes it’s sorta telepathic?? im half joking

he absolutely loves the way you look away bashfully when you realize he’s staring at you— as you try to pretend he wasn’t just staring at you not so discreetly

and if you feel like it, you’ll stare back at him— totally teasing him with your eyes, as he slowly realizes that you’ve caught him staring

really adores your thinking face for some reason, you could be plotting about giving bakugou a knuckle sandwich, and shouto would just stare like “my s/o’s so attractive :))”

another thing he really likes is when you hold onto his hand, dragging his left side to your face whenever you feel colder than usual

you practically do the same thing when it’s too hot, and he doesn’t care if you’re sweaty or not. nope, not one bit.

he always found it attractive when he sees you bop your head to songs you really like. shouto just really likes seeing you enjoy yourself.

an extra to the cool/hot bit, he makes you run towards his direction by turning off the ac/heater.

last but not the least, his heart swoons when you kiss his scar. he has always been insecure about it, and you have helped him a lot!

mild spice here— whenever you bite your lip, his heart skips a beat

your lips are just so perfect to him, the shape, size, and color. so biting your lip does something alright. he doesn’t know what exactly though.

to conclude this, todoroki’s just whipped for you— it’s very noticable when he finds you extra attractive.

midoriya izuku

he loves seeing you hyped about something you’re really interested in.

like todoroki, seeing you enjoy yourself genuinely makes him content. his s/o having their own interests is really big for him

strength is something he admires (but he’s not power hungry like end*avor, don’t get confused).

so no, it doesn’t just reflect on your strong and capable quirk—

no. it’s so much deeper than that to him, seeing that you can overcome challenges makes his heart swoon

when you tilt your head when listening to him- omg. he might just short circuit from the way you’re looking at him intensely. 

he likes it a lot when you reach for his hand, enveloping your hand against his

an extra point if you pay extra attention to the callouses and scars on his hands— purposely rubbing a thumb across his scars

fixing his tie.

like.. [SIMP SCREAMS] he doesn’t really know how to fix it properly, but if you do it for him— he’ll start imagining a rather domestic life so BWNDNWNS warn him

mild spice here— but he loves seeing you fix your hero costume?? there’s something about it that makes him refuse to look away. he thinks you’re very hot btw

but the top tier? it’s when you get along with his mom, and children

like.. you don’t have to be good with them, but you should at least be nice to them! midoriya’s deal breaker is if you don’t get along with his mom so.. you really have to in this relationship

bakugou katsuki

when you put him back in his place- well.. let me explain this one

people are so easily intimidated by him, so people don’t talk at him when he says some shit

so he’ll be genuinely surprised if you talk back at him, because it shows him that you're not afraid of him (and that’s important in a relationship with bakugou) 

when you put his face in his palms. he’ll scowl and tell you off, but he actually likes holding your face in his palms

his hands are naturally clammy, so he’s secretly so insecure about them, and if you show him that you really don’t care- then.. that’ll keep him up at night. 

same thing with shouto, but if you run to him for warm in colder weathers, that’ll give him an ego boost. 

knowing that you’ll only look for him, whenever you feel cold makes him feel all “mushy” inside. again, like how bakugou is- he’ll pretend he absolutely despises it but he’ll actually love it.

mild spice here- but seeing you all worn out, panting under him when he spars with you is something that’ll leave him speechless for the rest of the day. man can’t stop thinking about it, and he has to restrain himself. 

last but not the least- it’s when you touch/play with his hair. 

YUUUP. 

so unexpected because he never lets anyone touch it, sometimes not even his own mother. 

but the only hands that are touching the ash blond mesh that is his hair is you. 

do whatever with them. create small braids, comb it, tie it with a scrunchy, straighten it. really- he has trust in you

he’s just so whipped when you do it, and it calms him down. 

kirishima eijirou

when you call him manly 🤠

and when you do things he considers as ‘manly’ like going out of your way to train your quirk— and helping him study for something he doesn’t quite get and when you succeed

another ‘manly’ thing is when you manage to encourage him— because he himself had confidence issues

so if you do that, he’ll be planning the wedding asap

whenever you just make grabby hands at his hair— wanting to style his hair

oh and if you wanted to redo his roots (if they grow back) then he’ll let you <3 because he absolutely adores it

when you start tracing his jawline when you’re staring at him. he was very caught off guard when you did this for the first time

but he absolutely loves the sensation.

stretching before any exercise! just the way you twist yourself with ease.. he’s mesmerized

he stares a little too much, to the point he gets called out by bakugou multiple times

a little spicy here — he likes your teeth. normal teeth, canine teeth, fangs, whatever!

doesn’t matter if you’re bite your lip, or runnig your tongue along the edge of a tooth. are you trying to seduce him?

he will be seduced 💀 face practically rivalling his faux red hair, trying to avert his gaze— thinking about how pretty you just looked like.

last but not the least!

back hugs. he’s such a fan of them, regardless if you’re taller than him, or shorter

surprise him, and he’ll turn around with this big dopey smile— and he’ll trap you in his arms

shinsou hitoshi

okay, if you randomly send him pictures of yourself (either your prettiest pictures, or the weirdest pictures) he’ll be so in love

like— just look at you! you’re gorgeous to him (saves every singe candid photo you’ve send him)

this is a really weird one but.. when you pick up things with your feet (bonus points if you do it with ease.)

when you start fixing your hair, doing whatever to it— he’s just in awe. (have you hypnotized him with your beauty?)

get him things for his hair like headbands, scrunchies, little barretts and pigtails

he’ll keep it in for as long as he can— since his hair is a little wild, a little braid or ponytail wouldn’t hurt, right?

spice warning (?) whispering into his ear makes his heart pound 10x faster like.. are you trying to kill him?

his quirk gave him a habit of listening to someone’s voice.. a little too much.

SO IF YOU WHISPER IN HIS EAR, HE’LL STOP FUNCTIONING :) do whatever with that info tbh

last but never the least— when you support him, and his journey to becoming a hero

because people have told him that he’ll never be a hero because his quirk was too villainy

nope. you think differently, and that’s what he thinks is most attractive about you.

the ability to support and believe him, even if his quirk seems a little misleading.

»»————-　♡　————-««

likes and reblogs are appreciated, thanks for reading!

i do not own bnha/mha and it’s characters. boku no hero academia/my hero academia belongs to horikoshi kohei. i only own the writing.

do not plagiarize my work :))

[remcycl333]

i’ve seen 5 people in different blogs feel guilty for wanting to change someone for the better because they feel like they’re in control of the person and that nobody is actually real. so lemme comfort them rq. bae, that’s not true you are NOT alone and everybody is real. the only thing that changed is that you figured out you are powerful enough to change and decide what u want, so is everybody else in this world. everyone can manifest and change anything they want including other people. the people u wanna change could change anyone they want as well but they don’t know about it. you do so u should be happy u can not worried, i understand what ur going through but don’t overthink it. life is the exact same as before u knew about manifesting, u now just are aware you are that powerful to change your entire life and to change the people in your life, ur changing people for the better. ur not controlling them. literally everyone else in this world can change anybody they want, they’re just not aware of it!!! only now, u know that you can change them but nothing has changed , ur friends and family are all one different person and they’re real and do actually exist if that’s what ur worried about lol. i promise you, ur not alone <3 u just know the secret to getting what u want when you want, ur a god and so is everyone else!!! nothing has changed from before so dont overthink it, everyone else can do it then so can u, there's no need to feel bad for something that’s natural? (manifesting) and if it really bothers u, u can affirm that u always remembered the people u changed to the way u desired like, u didn’t manifest them at all and that they were always like that, that can work really well actually<3

yup good points anon!! you will still be creating the people around you even if you don't consciously decide to do so!

[bakibakini]

due to the serious lack of jojo requests in my inbox , i thought i’d pull some old ones from my old blog !! <3 send wequestz pwease c:

anonymous asked :  can i rq how giorno would go about confessing? or maybe more fluff hcs;;

✦ giorno giovanna trying to confess ✦ headcanons 

pairing : giorno giovanna x gn ! reader

notes : giorno be my bf & manifest me a frog challenge ( also an everybody lives au , cuz i need best mom to help his son out ) 

✧˖*°࿐

giorno giovanna : 

giorno isn’t someone who wears his heart on his sleeve . despite learning how to trust and care over his time in passione , liking someone romantically just didn’t come to him as soon as it might’ve for other people . so with how unfamiliar that feeling was to him , it was safe to say that he was a bit surprised when a sudden warmth made its way to his face after you smiled at him .

he touched his cheek , it was definitely warmer than usual . what ... was that ? 

fortunately for him , he didn’t have to figure out his feelings alone . bruno noticed how troubled giorno had seemed lately and , being as concerned as he is , made sure to inquire if he was feeling okay . the answer he got made a small smile begin to decorate his features . 

“ when y/n walks by and smiles at me ... it makes me feel warm . and when they talk to me , i suddenly don’t know what to say . it bothers me . ”

all bruno has to say is that giorno likes you and it all clicks for him . he needs a little time to sit on it , but after he comes to terms with liking you , he tries to figure out what to do now . 

it’s true that he’s quite good with his words when he needs to be , but he doesn’t want to push it all on you instantly . instead , he opts to show his newfound admiration by using his stand abilities . 

“ here , ” he says one day , as he walks alarmingly close to you and puts a flower in your hair . “ it’s pretty . ”

he nearly said that you’re pretty , but shied away last second . still , the gesture makes you flustered for the time being . 

granted you like the flower he had given you , he proceeds to make you a flower crown , placing it on the top of your head with his own hands and the same close proximity as before , but this time , with a fond smile on his face . he assures you that they suit you very well and you wonder how many more times you’re going to be left embarrassed by this boy . 

he makes you tiny frogs , or birds ( -- or whatever you like , i just love frogs , eye- ) if you ever feel down , or at any time , really . and when you smile at him , and thank him , it makes him feel like he’s on cloud nine . one particular day , you even grabbed his hand with how excited you were , which made him blush and left you a little flustered as well . 

could it be that he likes you ?

you want to find out , so you invite him to hang out with you . he agrees awfully eagerly ( so eagerly that he almost visibly cringes ) and you go out to get some ice cream together . it was fun ; he bought you the ice cream , even as you told him you could do so yourself , you walked and talked for hours , and you don’t think you’ve ever seen giorno sound so ... giddy . he even laughed a few times and that alone made your belly become filled by butterflies . you felt warm , and happy , and the first time he laughed at one of your dumb jokes , it made you want to confront him , even confess , perhaps .

sunset was the perfect time to do this , no ? 

all you could think about was how beautiful giorno looked with the mix of pink and orange caused by the setting sun shining against him . it was almost ethereal . what you failed to capture , though , were the moments he’d glance at you every time you looked the other way .

it was now or never , but ... that applied for the both of you -- 

“ giorno - ”

“ y/n , i - ”

you both pause , looking at each other bashfully . 

“ you can go first , giorno . ”

he inhales . with you staring so intently into his eyes , he finds it difficult to fess up and tell you how he feels . he could ruin everything between the two of you so quickly . what if you end up hating him , abandoning him ? 

but he wouldn’t know if he didn’t try . 

“ i don’t want this to end , mia goia . ” he mutters , looking back at you with resolve in his eyes . “ i have feelings for you . you’re beautiful , and amazing , and you’ve always been there for me , and it’s scary how looking at you makes me feel like i’m about to melt away , but i don’t want to lose that feeling . ”

you nearly burst into tears at how tender he sounded saying that . unable to utter out a single word , you grabbed his hands and nodded rapidly . 

“ m - me ... me too ! ”

with a smile , he shifts his hands so he’d be holding yours instead , then brings your hands to his lips in order to kiss your knuckles gently . that was all he could to at the moment with how fast his heart was beating .

nonetheless , he couldn’t wait to show you just how much he adores you .   

✧˖*°࿐

in conclusion send requests

tag list : empty !! but comment to be added loves <3

[dogcopter]

character arc in unreverse

“Incomprehensible if you don’t think RQ is alive” Rose Quartz Steven Universe thoughts, a first pass. This is about a bunch of suspicious ghosts who are probably Rose, excluding Lion (see rose is lion 2020 tag for that)

I am certain to be missing some appearances and ideas still, but here’s some lore, assuming the Steven Universe writing process is (steven universe production voice) “every weird animal and dream is clearly just Rose. it will secretly be really funny every time and it will all pay off approximately 180 episodes into the series when we learn it was an intertwined Steven/Rose POV and character arc the whole time. we love lore.”

Rose’s Room Tiny Floating Whale appears when summoned, also asks Steven “what do you want”, has Rose’s voice even tho Steven hasn’t heard it yet. 

This episode is preceded by Beach Party, in which Steven convinces two bickering families to cooperate, and that episode is preceded by Lion 2, in which Lion goes to the movies with Steven and Connie and also makes them fight a killer robot.

Watermelon Steven This episode is preceded by Garnet’s Universe which telegraphs the endgame. Steven brings melons to life, including his best friend Baby Melon, who is briefly kidnapped by Onion. (Onion wants Baby Melon. Can Onion perceive Rose Quartz or other astral projectors? Is Onion an agent of Evil Cookie Cat?) He comes to life to escape Onion and winks at Steven when rejoining him. When the watermelons go to war and Steven wants the fighting to stop, Baby Melon sacrifices his life to stop the fighting by punching Steven. Baby Melon dies. RQ kill count +1

(Relevant Dogcopter lore: In Lion 2, Lion attends the Dogcopter 3 movie with Steven and Connie. In Dogcopter 3, Dogcopter beats an evil army of robots. Connie and Steven both love Dogcopter. )

Lion 3: Straight to Video After Lion tries and fails to get Steven into the mane the first time, Steven dreams of Dogcopter. Dogcopter says some hippie nonsense about art, including the ironic “Just be true to yourself, and people will appreciate your honesty.” Dogcopter then says “take a deep breath” before Steven wakes up in Lion’s mane. This ep is preceded by Watermelon Steven.

Open Book The room manifests a Tiny Floating Whale again for a highfive. Idk if the rest of the room shenanigans are the room as its own entity or at all related to Rose or Evil Cookie Cat Rose (I’m going to gloss over the Rose’s room episodes because there’s a lot of good meta out there and they probably need their own post just in general) but the room’s Connie does ultimately force Steven to be honest with his feelings instead of hiding them. 

This episode is preceded by Rose’s Scabbard, in which Steven learns a bit about Rose’s secrets and her relationship with Pearl.

Chille Tid Steven exhausts himself on the search for Malachite and the Gems try to make him rest. After a dream vision of Lapis, Steven tells Pearl about a dream he had involving Lion and puts them both to sleep. Dogcopter appears in his dream, but doesn’t talk to him. Dogcopter meows, and leads him in the direction of Lapis. This is the ep where Steven’s astral projection is explicitly revealed. This episode is preceded by “We Need to Talk”. 

(In Dogcopter 4, Dogcopter dies and comes back to life and it’s revealed that his parents are cats, so probably Rose has either seen another Dogcopter movie without Steven and Connie or she’s involved in Dogcopter’s production.)

Super Watermelon Island Steven wakes up in a watermelon body. Melon Dog busts out barking excitedly. She leads him to the sacrifice ritual and tricks him into volunteering his hijacked body for death, which reveals the location of Malachite. This episode is a season premiere and is preceded by Peridemption arc. RQ kill count +1

Kiki’s Pizza Delivery Service Steven needs a boost to escape the pizza monster in Kiki’s dream, and Dogcopter appears to pick him up and meows at him. This episode is preceded by Restaurant Wars, in which, among other important developments, Pearl wears her hottest outfit to date and Jane appears for the second time. The first time is in Lion 2 when she sells Connie, Steven, and Lion tickets to the Dogcopter 3 movie.

Steven’s Dream Steven wants to know about Pink Diamond so Rose shows him the Pink Diamond murder location. If it’s a memory like later dreams, it’s a relatively recent one and she is crying in it. This episode is preceded by Three Gems and a Baby in which we see the aftermath of Rose’s death on Greg and the Gems.

Storm in the Room Rose literally just shows up in person to tell Steven to chill the fuck out while he’s stress dreaming about her via the room. She doesn’t affirm his feelings though.

This episode is directly preceded by The New Crystal Gems, in which Lion is named but does not appear, and that episode is preceded by the Zoo arc.

Jungle Moon Stevonnie is stranded on the moon of an abandoned Diamond Authority colony and their ship is broken so they can’t contact Lars. They find a moon base which used to belong to Yellow Diamond. They have a dream of one of Pink Diamond’s childhood memories of trying to play with YD while she’s working, which reveals the passcode to YD’s console. They use that info to call Lars and gtfo. This episode is preceded by Lars of the Stars, in which Steven and Connie go to space via Lion.

Can’t Go Back After Steven and Lion go to the moon, while Lion is napping downstairs Steven is napping upstairs, and Steven has a dream about Pink Diamond trying to convince the other Diamonds to leave Earth alone. He also sees Pearl with her sword. 

Meta: This episode is preceded by “Letters to Lars”, in which Steven describes how the whole town has formed interpersonal bonds and everyone is doing way better without Bill Dewey in charge. Also in CGB, Lapis talks about running away in fear and being lonely while they observe the CGs from the moon. RQ vibes on both counts.

Together Alone Steven is sleeping in PD’s room. Opens with a dream in which Pink is playing with Volley in her room. Yellow Diamond interrupts and they play their roles. They behave like cheerful buddies, but then the dream becomes a nightmare as Volley is taken away and Steven starts stress heaving Rose’s hair and sees a vision of White. This episode is preceded by Familiar, in which Steven tries to talk to the Diamonds and learn about Pink.

Escapism Steven tries to call for help by APing out of prison, and is diverted to Mask Island where Melon Dog 2.0 tries to keep him distracted. She’s worried about him when he takes off. Lion picks him up on the open sea and carts him home to deliver his message before his tender perishable body ends. Steven kill count +1

Change Your Mind Steven wakes up in prison, then realizes he’s dreaming another memory of Pink’s in which Blue comes to berate and shame her in prison for bringing cute organic life home. Blue mentions that White will take away Pink’s Pearl if she doesn’t quit the mischief. Steven also sees a flashback of what happened at the ball, and the Diamonds doing the corruption attack. Steven is disturbed by a dream experience of cycling between appearances - Pink, Rose, Steven - and then wakes up.

Meta: The focus on her relationship with Volley and the loss of Volley in hindsight contributes to what we learn later in Volleyball; although they appeared close from Pink’s perspective in the older happy HW memories shown, we learn Pink’s explosive temper frightened Volley and even injured her and that a manifestation of the injury lingered with trauma. From Volley’s perspective Steven’s angry outburst is terrifying and she says that Pink couldn’t keep a secret – Pink changes her behavior to such an extent afterwards that our mom Pearl knows her as almost entirely the opposite in both regards. Lion has also changed from RQ’s super loving, inspiring speech giving persona to an aloof, silent cat.

Change Your Mind Finale During the final confrontation, Pink Steven disobeys White Diamond to her face to protect Steven, and doesn’t run away. Pink Steven confronts White Diamond on Steven’s behalf, exclaims SHE’S GONE!, and affirms Steven’s identity to both WD and Steven himself, embracing him with joyous laughter and love as his gem reenters his body. 

Future:

Rose Buds Rose straight up just returns (but we’re not ready to admit that yet) and uhhh I’ve already done like ten posts about this ep so let’s stop there

other suspicious Future characters post Rose Buds:

A Very Special Episode One of Onion’s dolls waves at RQ2 even though it wasn’t umbrellafied. Might just be Onion eldritch shenanigans.

Prickly Pair Cactus Steven tries to talk to Steven after Steven opens up to him but is limited by his vocabulary. He might be his own cactus.

Reflections: See Lion megaposts for the Lion arc, I might make another big fucking essay one day taking both these and Lion into account but today is not that day, but one common thread is that these psychic ghost characters go from exclusively taking their cues from Steven and Steven’s immediate desires/needs to going out of their way to teach him things about Rose, first without contradicting the secrets and her post-death narrative, but ultimately by actually showing him truth.

[x----tine]

Artist Cristine Brache has developed an interest in surrealism. For her recent exhibition, Commit Me, Commit to Me (Cázame, Cásame) at New York’s Fierman Gallery, the artist has created a sculptural installation rife with references to some of the surrealist movement’s most important female practitioners. In particular, the anthropomorphic forms and hybridity between body and object of the figurative sculpture that functions as the installation’s centerpiece, Woman Getting Reupholstered, recalls those soft sculptures of Dorothea Tanning such as Nue Couchée, 1969. The larger installation—in which a figure appears seated with the floral pattern emblazoned on both the piece of furniture and the figure indistinguishable, a resin  moon illuminated by a striking shade of blue, entitled Gaslight (After Remedios Varo, Papila Estelar, 1958), is hanging from the ceiling concealed within a small bird cage, and a kind of miniature mountain replete with water depicts small figures bathing and swimming—references Mexican surrealist Remedios Varo’s 1958 painting Papila Estelar. Brache had previously only been familiar with the male surrealists, and the renewed interest in the work of the women within the movement—Carrington, Varo, Leonor Fini, Dorothea Tanning, and others—that has developed in efforts to correct its canon made Brache understand why people had told her in the past that her work evoked surrealism.

“When I saw [these artists’] work I found myself drawn to surrealism for the first time,” says Brache. “I was drawn to surrealism because it’s a code. Lately, I’ve been drawn to the ways in which oppressed groups speak in code to survive or avoid persecution for self-expression.” As an example of cultural codification, Brache often points towards the Orishas, or the spirits/deities of the African Yoruba diaspora who identities were merged into those of the Catholic saints to survive the onslaught of erasure that came with the Caribbean slave trade. “Due to the need to assimilate with the icons of Catholicism , the deities were assigned a correlating Catholic Saint,” she says. “The survivalist mutations of Santeria that draped Yoruba beliefs in a cloak of Christian beliefs is known as syncretization.” Her exhibition last year at Locust’s Projects in Miami, Cristine’s Secret Garden, explored this notion in depth. Ghosts, like ideas and concepts, are adaptable.

Brache believes that that codified language of surrealism—and as Roland Barthes pointed out in Death of an Author—is an especially codified language because it sought to unleash the potential of the unconscious mind via the “irrational juxtaposition of images” that help separate a work or text from its maker or author—is especially suited to women artists. She cites an article written by Lexi Mantakis for Dazed. “Women emblazoned surrealism with a new type of self-awareness never achieved by their male counterparts,” writes Mantakis. “Their intuitive expression turned the movement from something quite dissociated with reality, to a deeply personal exploration of human emotion, personal trauma, the subconscious, female sexuality, and identity, all through a lens of fantasy.”

Breton saw surrealism as a movement that liberated artists to explore and express “the actual functioning of thought.” To Brache and Mantakis, male artists used surrealism to project their interiorities and fantasy lives onto the world, while female artists used the codified fantastical imagery and language of surrealism to express something more rooted in lived reality. Surrealism gave women artists the opportunity to express themselves in a veiled way that allotted a kind of freedom, and were able to do this better than their male counterparts because women are used to being culturally conditioned to codify communication. “All marginalized groups find ways to codify their behavior to survive or avoid persecution,” says Brache. “Women often use (for example) beauty and demeanor/language as tool to operate within patriarchal systems (take women's use of exclamation points in emails). To me, this is a code.”

Brache sees surrealism as contradictory in its treatment of the women in its canon. From her perspective, the history of the movement has been typified by one persistent gaslight, or manipulation by means of denying reality, in which the artists who best exemplified its tropes have until very recently been relegated to the status of muse to some of surrealism’s most famous male artists. Tanning, for instance, was better remembered as Max Ernst’s wife than she was a significant artist in her own right until relatively recently. Photographer Dora Maar had long been historicized as one of Picasso’s muses, rather than one of surrealist photography’s foremost pioneers. Do women actually make for better surrealists? It’s hard to know, really, whether an artistic style can be better realized according to the genders of its practitioners. But nevertheless, Brache’s approach in her recent exhibition forces her audience to confront questions around gender, art history, manipulation, and cultural codification. For Brache, surrealism is emblematic of the oppressed artist screaming to be heard while self-conscious of who might actually be listening.

That Brache hadn’t quite understood her connection to surrealism is interesting, because manifestations of the style in her work have always been rather clear. On the surface level, one could make the connection between Brache’s working in a variety of disciplines and the multivariate practices of her surrealist forebears. Like Carrington, whose fantastical and bizarre short stories rivaled her visual artworks in their importance, or Unica Zurn, who produced writings that pioneered the “abstract horror” style that would later influence writers like Clarice Lispector and Blake Butler at the same time that she was producing macabre and strangely seductive illustrations and drawings, Brache is as serious about her work in text—poetry, specifically—as she is in her visual artwork. “It's totally a different process, but I think the feelings and intentions come from the same place,” says Brache. “I like different media because it does different things and it can enhance an idea as a result of its very form.”

But perhaps more indicative of Brache’s connections to surrealism is her underlying artistic ethos. The artist excavates her own psychology and personal experiences, and connects it to broader collective struggle. The work isn’t about her necessarily, but nevertheless her own memories and traumas inform the ways in which she makes art about the world around her. The personal, the political, and the social collide and coagulate in the work, blurring the structural boundaries between self and group “I draw from my personal experience and use that to look to the world in order to articulate a collective experience to bring awareness and empower people (on a personal level),” says Brache. “I would never want to make work about something I haven't experienced myself because I don't think it's my place to.” Her 2018 painting, Painting of a Collage My Mother Made (she cut Michelle Pfeiffer’s face out so she could be catwoman), recreates a collage made by her mother in which her mother’s face replaces the actress in the second Tim Burton Batman film. The image becomes a tender homage to a mother while it also emphasizes a woman’s desire to be creatively fulfilled, empowered, demanding to be heard and seen.

Partially, one of the reasons that surrealism remains seductive to contemporary viewers is its direct, libidinal simplicity: the clarity in the paintings of René Magritte, the frank and explicit sexuality in Louis Aragon’s novels, the freedom in the automatist approach to art making. Surrealism utilizes simplicity to transport content and ideas directly into its viewers’ subconscious minds. Like the vampire priest in Park Chan Wook’s Thirst who reanimates his dead lover with sex and the offering of his own blood, surrealism allows the artist to share his/her world with a viewer through blunt, erotic, and sometimes violent imagery. The content is codified, but the concept communicated is often clear. Directness, or simplicity, characterizes Brache’s work as well, and she concedes that directness is something that she strives for, but makes sure to differentiate it from ‘flatness.’ “If you can communicate something complex simply, then I believe you've distilled the idea to its purest form,” says Brache. “There’s nothing around the idea that gets in the way of its interpretation.”

You see this directness in her poetry, its blunt provocations and incisive observations of sex, womanhood and contemporary life in liquid modernity. In her poem Sophie, the text reads like something you’d read off of some lurid dating profile.

my name is Sofia, black eyes, with a tight and petite body, I am 168cm,49kg, 35c-24-34. a cute and sexy girl. I work in a cloth shop in daytime, but in nighttime I am also doing some part time escort.

In Brache’s video piece made in collaboration with the artist Brad Phillips, ppants (for Brad), Brache is depicted in lower profile and over the course of two minutes she slowly urinates in her own jeans. A pee spot grows in width over her crotch while the flash of a camera is seen going off behind the frame. The elemental transgression of taboo becomes both playful and heroic; the decision to lose control over bodily functions becomes an act of power. One can imagine the ghost of Henry Miller watching from behind the camera, muttering “I love everything that flows.”

Surrealism has long been the spectre haunting Brache’s work, but in Commit Me, Commit to Me (Cázame, Cásame) the spectre has become corporeal. She is now dealing with the legacy of the movement as she has always dealt with art making: directly. Brache is placing herself within the legacy of surrealism, and seeing within it a style specifically suited to be made by women who have already adapted to codify their language within the oppressive hierarchies of contemporary life. Surrealism is an art of “code-switching.” Brache is an artist interested in codes.

[archistudentsufs4]

Reflection 3: urban FLESH deterritorializing URBANITY

RQ: How does an urban development (in other words, a precedent of an urban-SLICE / urban-fragment / urban-corridor / urban-development) accommodate the flesh of the city, human flesh, bodies and embodied social dramas?

The reason for investigating an urban-SLICE (urban-corridor) precedent is to understand how an urban development accommodates the flesh of the city, the human flesh, bodies, and embodied social dramas that manifest within it. The investigation into an urban architectural configuration (building precedent in a complex urban environment)  is to understand how architectural configurations can be open and porous to the urban environment or folding onto the urban environment is accommodating and allowing for lines of flight in the urban environment.

The urban-SLICES which are being investigated are Rue Mouffetard, Paris, France and Fitchardt Street, Bloemfontein, South Africa. This is to investigate market streets of different places of the world and compare them to see how these systems guide movement and interaction of the body within the place and how this in turn speaks to embodies social dramas and how these corridors accommodate and contribute to the surrounding urban flesh.

The buildings being analyzed are those of Mount Royal University Taylor Centre for the Performing Arts by Pfeiffer in Calgary, Canada and the Sand du Plessis Theatre in Bloemfontein, South Africa. This analysis will focus on Performing Arts Institutions and how many of them seem to embrace a porosity within their facades and tend to fold out onto the urban context serving as a paradigm of urban connectivity, bringing together buildings, people and greenery in different ways.  

Kiverstein, an Assistant Professor of Neurophysiology at the University of Amsterdam argues that embodiment can be understood through three definitions, the third of which mostly relates to architecture an that is the understanding of embodiment as what he calls ‘body-enactivism’ where the body is understood as the source of meaning- this articulates the ways in which the body connects or make a situation meaningful to an agent (2012, 741). My interpretation of this is that, a person understands the world through the interaction of the world and their body and it is this interaction which allows a person to draw meaning from the situation they are in. The theme of embodiment carries many term with it which I have interpreted as the following.

Porosity is defined  as “the absence of spatial boundaries and divisions between phenomena, one thing permeating another , the merging of old and new, the interior and the exterior and the diffusion of public and private “(Porter, 2004: 114). I interpret this as the characteristic of architecture that embraces pores or holes within the building which connect the interior and exterior  and allow the urban dweller to figure themselves within the building because of this connection, therefore making the building a component of the greater urban context which entices the urban dweller to dwell within the space.

A folded form in architectural terms is defined as ”a form of construction, including structures derived from elements which form a folded structure by their mutual relationship in space” (Šekularac, Šekularac & Tovarović, 2012: 1). The way in which I understand this in terms of embodiment is how a building uses three dimensional elements  which protrude out into the surrounding urban context to  create depth within the facades and to form a connection between the building and the urban context which invites the public into the building  from the urban context.

Lines of flight: “designates an infinitesimal possibility of escape; it is the elusive moment when change happens, as it was bound to, when a threshold between two paradigms is crossed.” (Fournier, 2014). My interpretation of lines of flight in architecture is creating spontaneous route of disappearance within the design which evokes the dweller to make a sudden choice of going with the expected route through the design or fleeing from it. This doesn’t necessarily need to be a physical path of fleeing but can be an opening, a window to the exterior which allows the mind to escape the space through figured flesh ( the imagining of space differently by understanding a space through placing yourself within it to imagine the possible experiences a body would have within it).

Rue Moufftard, Paris, France

RQ: How does this corridor listen to the narratives and engage the body of the urban dweller?

Rue Moufftard is not only a market street but it is also a street market with the retail spilling and folding into the corridor.Rue Moufftard has become the premier market street of Paris and is always bustling with people getting their treats for the day. 

How does this urban corridor care for  and accommodate (not denominate) the human body, human narratives, memories and the imagination?

1. A purely pedestrian street

This corridor purely aims to please the pedestrian and by creating this street which invites walking, draws urban dwellers in.

2. The narrowness of the street

The fact that the street is so narrow, forces those within it to walk closely to each other and closely to the products being sold, this is a clever tactic used to make sure the urban wanderers see and possibly even feel all the products on display as they meander through the street, increasing the chances of them buying something.

3. Drawing on all the senses of the urban dweller

plays on all the senses of the urban dweller to invite them into the space to buy the products.

4. Embodied social dramas

By creating a space of exploration through the tactics above, this corridor invites the creation of embodied social dramas.

Nooks, Crannies vs. Great Open Spaces

This corridor, because of the protruding and receding of the adjacent buildings, includes many little nooks where the urban dweller can explore and experience.

As the Street Moves, so do You

Rue Moufftard bends as it moves through the urban context, and as the street is so narrow, this urges the urban dweller moving through it to take these bends as well until thy reach the element of hierarchy at the end of the road where the narrow street opens into the square towards the fountain.  even though this is a slight bend on plan, when walking along the corridor, it hides what is to come (the great opening of the space), creating anticipation within the urban dweller.

The Shelter of Canopies

 When walking through the street, the dweller is confronted with the many colourful and decorative hanging canopies above their heads which creates a sense of scale for the urban dweller in the street, separating the residential aspect of the mixed use buildling above you from the street, making it a much more intimate and romantic experience.

Thresholds, Porosity and Lines of Flight

A play with thresholds and porosity of a buildings, creates an interplay between those within the urban context and bodies and objects within the building itself. It’s easy to see the way in which the thresholds are played with by means of windows within the different purposes of the building. Juliet balconies or normal balconies, blurring the threshold between inside and outside inviting these dwellers to become a part of the street.

Figured Flesh within the Corridor

I thought of the figured flesh, of how I could figure and imagine myself within this space to think of the experiences I would have within it. This is a powerful tool of interpretation and understanding of embodiment within a space, especially as under the current lock-down regulations, it is impossible to experience this space in person. 

The Market Street Typology in South Africa: Fitchardt Street Market Corridor, Bloemfontein

Fitchardt Street is Bloemfontein CBD’s main street market which is located from the entrance of the Central Park Mall. Even though this is not upmarket as that of Rue Moufftard, I believe that this street market employs some of the same embodiment strategies within its makeup although not as many as this space was not designed to be a street market but rather a vehicular entrance to the mall. 

When looking at the plan of Fitchardt street, it can be seen that the prefabricated stall table structure splits the market street space in half. This narrows the pathway the dweller has to walk and, just like Rue Moufftard, plays with embodiment but in this case, unfortunately not enough to force the dweller to walk in close proximity to the products being sold, increasing the chances of them buying something.  

The coldness and hardness of the steel and the lack of textures and patterns, unlike Rue Moufftard, does not celebrate the touching body but rather creates a space of movement as the dweller simply moves through the space, not necessarily wondering and exploring it.

Although the canopies and stalls narrow the space that the urban dweller can maneuver through, the market space is still much wider than that of Rue Moufftard. This decreases the interaction between those moving through the space and the market fabric but additional market space is added by other informal traders which make use of the shop-fronts as their market space. This creates more interaction between the bodies within the streets but reinstates a threshold which is blurred by means of the shop front windows and so the connection between the inner flesh of the retail portions of the buildings and the bodies within the streets is somewhat lost.

I find it much harder to be imaginative within this corridor than that of Rue Moufftard.It might just be because this is not a space I would usually find myself within because of the way I have categorized the city but I think it could also be because of the way the corridor is so much wider and colder because of the materials, textures and colours within it. 

Conclusion of Street Markets 

All in all, Fitchardt Street market and the Rue Moufftard Street Market Corridors have similarities in how embodiment plays a role within the spaces but I believe the Fitchardt street market is not as successful in embracing and celebrating the bodies through embodiment because of how the corridor in which it lies was not initially designed for this purpose but rather the system of the locals was imposed on the space because of how the mall does not entirely accommodate for the systems of the local informal traders which is embraced within our country. 

Mount Royal University Taylor Centre for the Performing Arts by Pfeiffer

RQ: How can an architectural configuration be evaluated as open and porous to the urban environment, folding onto the urban environment or accommodating and allowing for lines of flight in the urban environment?

The design process of this Urban Component could be described by Alberti’s ‘Materia’ theory as many elements are derived from the specific natural context around it. The design of the building celebrates the unique characteristics of the area, its topography (as the Western praries and and Eastern foothills of the Rocky Mountains meet) and memories embedded within the location of Calgary.  I believe that this is a great example of Weak Architecture in how it compliments the natural flesh within which it stands. 

Having all the different forms superimposed, creates a connection between this urban flesh and that of the urban dweller as it alludes to the hierarchy and inner-functions inside the building, creating anticipation and intrigue within the dweller. This specific superimposition of forms also allows an articulation of the entrance which orientates and invites the urban dweller into the building.

The Building as a Paradigm of Urban Connectivity through Porosity, Openness and Folding

Due to its location, this site experiences long winters with little sunlight and so the design had to optimize natural light which is achieved through a combination of large curtain walls and skylights. This porosity within the facades blurs the threshold between the inside and the outside, and through doing this, the same is done with the threshold separating the buildings flesh with that of the urban context. This connects the urban dweller within the surrounding urban context to the inner-workings of the building, allowing them to figure their flesh within the spaces and allows those within the building to find mental ‘lines of flight’ through the windows to the outside urban context, creating an experience where the body is both inside and outside. 

This building is a good example of how an architectural configuration folds out onto the surrounding urban context as the designer made use of a play with the thresholds of public, semi-public and private using the stairs and ramps and the landscaping, to make is seem as though the building falls out into its surroundings, once again blurring the threshold between the building and the urban context. This use of folding the building, opens the building, especially the entrance, up to the urban dwellers within the university which creates an inviting architecture which draws bodies in. This play with folding and the landscaping also creates an inter- active exterior to the building with many spaces within which the bodies passing by, can associate with and gather within, creating an experience of the building without even being in it.

Celebrating the natural flesh

The interior of the concert hall’s steel structure portrays the expressed steel structures of the prairie barns. The acoustic absorption panels of woven mesh, which adorn the walls, reference the native tee pees and the an abstracted Alberta Rose inspired the design of the acoustic hanging panel which besides the stage, is the focal point of the hall. All of these elements referencing the natural context of the area, as the exterior elements do, celebrates the natural flesh within the flesh of the building, connecting the two.

Embracing the Urban Dweller

The urban dweller is only able to fully understand and interpret other flesh through experiencing it with their body.This is a place of movement, not only for the performers on stage, but also for the urban dwellers which experience the space.

“The balanced play of geometric against organic forms, and the rich, warm finish pallet foster a sense of intimacy for the performers and audience alike” (Archdaily, 2018).

Through the design celebrating the touching body and the sensuality of things by materiality, textures, colours and forms within the building, it evokes touching and makes the building enticing for the body to stay within the building and experience the different spaces.The use of forms upon forms, allows for the creation of nooks and places of associating where the urban dweller is able to figure the possibilities of the body and the complexities and contradictions within the space creates movement variance. Movement is created within this building  through a constant interplay with the narrative of it as the body moves through it,  exploring the building by moving through the time and engaging with the text. 

The Sand Du Plessis Theatre (PACOFS), Bloemfontein, South Africa

This building has many similarities to that of Mont Royal University Taylor Center in terms of its porosity and folding onto the urban context. This building is much more heavy and dominant in it’s monumentality due to materiality,but celebrates the timelessness of ‘monumentality’ and is not dominant within its urban context because of its scale, its celebration of landscaping as an element of the facades, and because of the natural colours used for the roof and ‘platform’ which it stands upon. 

These large expanses of windows, similar to the previous example, are used functionally to get as much natural light into the atrium entrance foyer space as possible but simultaneously, creates intrigue for the urban dweller in the street, connecting them to activities within the building.  Growing up, I always associated the Sand Du Plessis Theatre as the place with the lights. At night, the unique chandelier is put on and all who move through St Andrews Street, see these magnificent glowing orbs floating in the building, connecting their imagined flesh to that of the building and allowing them, like myself, to picture themselves within that romantic space and to form a memory of the building and what my figured flesh experiences within it. 

Folding onto the urban context

The theater celebrates the exterior spaces as part of the building as well as part of the landscaping through integrating their designs and through the large curtain walls which open up to it. 

The terrace balcony allows for those using the building to be separated from the street and vehicular areas below while still connecting them to the views of the surrounding urban context. This gives them an experience of being ‘within’ the building, as it fold out into the terrace, creating intimate experiences within the nooks of the terrace, while giving them ‘lines of flight’ either into the city (if on the south side of it) or into the garden. The circular element of the terrace creates a very interesting experience where the bodies use this space as a viewing deck to experience their surroundings of the city or to experience the fountain which is placed within it.  This terrace also interlinks with the folding out of the Fidel Castro Building as there is a bridge which connects the two terraces, inviting urban dwellers to the spaces and giving them many options for entering the spaces, making it as easy as possible for the architectural configuration to connect with the city goers.  

Conclusion

Through investing the urban slices of Rue Moufftard and Fitchardt Street, I have come to an understanding that even on other sides of the world in very different economic situations and for different reasons, the body is always an element in creating a market street because it is these bodies that need to be drawn into the space and that need to be invited and persuaded for these corridors to be successful in their purpose. Fitchardt street does not celebrate embodiment and the benefits it could have on the overall flesh of the corridor as much s Rue Moufftard but I must say that I am impressed in how some of these elements have already been instigated within the corridor without any education on the subject. The intermingling between the human flesh and the flesh of the urban context, I now realize, is an intuitive instinct that we, as humans have, when composing anything, even a market street.

With regards to the architectural compositions, I believe that both of these precedents are successful in how they embrace porosity, and through this, create an openness to the public and through the way they fold onto the urban environment, invite and entice the public to become part of the space and create experiences within it. By doing this, the compositions play with public, semi-public and private thresholds through ‘lines of flight’, blurring thresholds through windows and embracing the landscaping as an element of the building which needs to be designed, which invite the urban dwellers without sacrificing security for the buildings. The interaction seen within these precedents between the various kinds of flesh within a space, often dictates ether that space is imbued with the gesture of care and hospitality, making both of these performing spaces successful in their ‘weakness’.

I have learned a lot about how the flesh of the body, that of the urban context and that of the natural context, all need to be embraced within a design to make it a truly successful design that makes people want to go explore, celebrate and dwell within these spaces.

REFERENCES:

Arcdaily. 2020. Mount Royal University Taylor Centre for the Performing Arts / Pfeiffer. [online] Available from: https://www. archdaily.com/934899/mount-royal-university-taylor-centre-for-the-performing-arts-pfeiffer/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user. [Accessed 21 April 2020].

Avanzino, L., Canepa, E., Chiorri, C., Fassio, A., Lagravinese, G., Scelsi, V., 2019. Atmospheres: Feeling Architecture by Emotions Preliminary Neuroscientific Insights on Atmospheric Perception in Architecture. International Journal of Sensory Environment, Architecture and Urban Space, [Online]. 5. Available from: https://journals.openedition.org/ambiances/2907 [Accessed 14 April 2020].

Bonjour Paris. 2011. Rue Mouffetard in Paris: Latin Quarter Place to Meet, Eat, Drink, Dance and Shop. [online] Available from: https://bonjourparis.com/archives/rue-mouffetard-paris-latin-quarter-eat-drink-shop/. [Accessed 21 April 2020].

Boundas, C. and Tentokali, V., 2018. Architectural and Urban Reflections After Deleuze and Guattari. 1st ed. London: Rowman & Littlefield International Ltd.

Chang, Y., 2014. A Study on 'weak architecture' of Kuma Kengo and Sou Fujimoto. Journal of the architectural institute of Korea planning & design, 30, p. 117-125.

Fournier, M., 2014. Lines of Flight. Transgender Studies Quarterly, [Online]. 4 (1-2), 121-122. Available at: https://read.dukeupress.edu/tsq/article/1/1-2/121/91705/Lines-of-Flight [Accessed 14 April 2020].

Hays, K., 1998. Architecture Theory since 1968. 1st ed. Cambridge, Massachusetts: MIT Press.

Kiverstein, J., 2012. The Meaning of Embodiment. ⁄ Topics in Cognitive Science, [Online]. 4, 740-758. Available at: : 10.1111/j.1756-8765.2012.01219.x [Accessed 19 May 2020].

Marcelo, G., 2017. Narrative and recognition in the flesh: An interview with Richard Kearney. Philosophy and Social Criticism, 13(8), p. 1-16. PACOFS. 2019. PACOFS Buildings. [online] Available from: http://pacofs.co.za/wp/pacofs-buildings/. [Accessed 21 April 2020].

Philosophy for Change. 2013. Lines of flight: Deleuze and nomadic creativity. [online] Available from: https://philosophyforchange .wordpress.com/2013/06/18/lines-of-flight-deleuze-and-nomadic-creativity/. [Accessed 14 April 2020].

Porter, T., 2004. Archispeak. 1st ed. London: Spon Press.

Project for Public Spaces. 2010. 9 GREAT STREETS AROUND THE WORLD. [online] Available from: https:// zwww.pps.org /article/9-great-streets-around-the-world. [Accessed 14 April 2020].

Project for Public Spaces. 2015. A STREET YOU GO TO, NOT JUST THROUGH: PRINCIPLES FOR FOSTERING STREETS AS PLACES. [online] Available from: https://www.pps.org/article/8-principles-streets-as-places. [Accessed 14 April 2020].

Rue Mouffetard. 2014. Rue Mouffetard Market. [online] Available from: https://www.rue-mouffetard.com/market.html. [Accessed 21 April 2020].

Šekularac, N., Šekularac, J. I., Tovarovic, J., 2012. FOLDED STRUCTURES IN MODERN ARCHITECTURE . Facta universitatis - series Architecture and Civil Engineering, [Online]. 10 (1), 1-16. Available at: 10.2298/FUACE1201001S [Accessed 19 May 2020].

Thornton, E., 2018. On Lines of Flight: A Study of Deleuze and Guattari’s Concept. PhD in Philosophy. London: University of London.

- Gaby Chemaly

[hudsonespie]

A Guide To HAZMAT Cargo Loading On Ships

A variety of ships carry different types and form of cargo at sea. As per maritime regulations, there are approximately more than 5000 HAZMAT products in the database of different categories. As a maritime professional, it is important to know if there is a HAZMAT cargo on your ship.

It is a common misconception that IMDG code is the only reference for all the hazardous material shipped via sea. The IMDG code covers approximately 3500 products whereas the rest of the products are covered in IMSBC, IGC. MARPOL Annex I etc.

IMDG code is for the cargoes which are carried in packaged form, however, there are many ships that carry solid, liquid and gaseous cargo in bulk.

The Hazardous Material (HAZMAT) is transported by sea complying with various regulations concerning proper packing, storage and communication between authorities and parties involved in the transport to avoid any mishap.

The involved parties have to comply with tougher requirements as compared to other regular cargoes. The nature or category of the hazardous cargo may vary as some cargo are only pollutants, some can be harmful to humans, and some can be both.

Related Read: A Classification of Dangerous Goods

If the cargo is in packaged form, it is the duty of the shipper to properly pack the cargo as per the requirements of the IMDG code. Container ships are the most popular mode of maritime transport today and one container may carry items for different shippers. When it comes to Hazardous Material cargo, a separate container may be used to store this type of cargo with proper and secured stowage arrangement. No other form of cargo is loaded (depending upon the property of the HAZMAT) even when the container has space to occupy more cargo.

The HAZMAT cargo can be transported through different modes to reach its destination, however, out of all, transportation by the sea is considered to be the most stringent as the quantity transported is usually enormous as compared to air and road. To prepare the HAZMAT cargo transportation from the sea, Shipper and Vessel have to perform respective roles for ensuring safe passage.

Related Read: 8 Things Deck Officers Must Know While Handling Packaged IMDG Cargo

Responsibility of the Shipper:

– It is the responsibility of the shipper to classify the category of the cargo as per the specific maritime code/ annexe. This should include the Proper Shipping Name (PSN), details of the Hazardous Substance (RQ), the flash point of the product to be shipped in bulk, category of the Marine Pollutant etc.

Different Hazard Sign

– To appropriately pack the HAZMAT cargo to ensure the safety of the ship’s crew and cargo. If the cargo is being packed and shipped, proper securing and storing in the pallet might be needed, which is to be effectively done by the shipper

– To provide appropriate paperwork and certificates for preparing dangerous goods manifest as per the cargo to be loaded on the ship. As per the requirements, without these documents, the vessel will not load the cargo

– To provide handling and emergency procedures (e.g. Firefighting procedure for specific cargo). Some products (e.g. chemicals) may have different handling procedures and firefighting requirements when compared to a gas bottle carried as cargo on a ship

Related Read: Material Safety Data Sheet or MSDS Used on Ships

– To provide precaution and safety measures to the vessel for planning the cargo stowage. Many HAZMAT cargoes react with other types of cargo if kept together. The shipper needs to provide such details to the vessel for helping in planning the cargo stowage. For e.g. a shipment of division 2.2 non-flammable gasses and Class 3 flammable liquids must never be kept close to each other, even when they are in separate containers

– When a HAZMAT cargo is carried in the container, the shipper has to provide the Container Packing Certificate along with other HAZMAT documents to the Master/ Chief officer of the vessel, which should contain:

A declaration stating the packing of the container has been carried out in accordance with the applicable provisions of the IMDG code

Name of the certificate authority

Structural serviceability of container

Segregation requirements

Freight container HAZCOM requirements

Packages inspected and in good condition 

The Responsibility of the Master and Ships’ Crew

Once the cargo is ready to load on a ship, the master will have the overall responsibility to ensure all the required codes and regulations are being followed properly. As the shipper will supply the documents for Master’s assessment, he/she should ensure that all shipping paper entries, package markings and certifications related to the HAZMAT cargo are in English ( or additional required languages) and permitted for ease of use.

If the shipping papers, shippers’ declaration, Container Packing Certificate and other HAZMAT related documents are not complete or miss any information, the mater has the authority to stop the loading of such cargo.

Deck officer on a Tanker Ship

Once the master receives HAZMAT cargo for loading and its related paperwork, he/she should ensure the following:

Concerned authorities (the port where cargo to be offloaded) are notified about the HAZMAT cargo description and requirements

The chief officer has made the cargo stowage plan keeping in mind, the requirements for HAZMAT cargo

During loading, the packaging (if packaged cargo) is checked and verified as per the requirement of the IMDG code

The cargo stowage for HAZMAT cargo is done as far as possible from the accommodation

The deck crew responsible for cargo stowage and watch knows the emergency response information

Proper segregation of cargo is done by the crew if the ship is carrying multiple HAZMAT cargoes

Related Read: A Guide To Plan Stowage On Chemical Tankers

The crew is aware of the incident reporting requirements

The crew has been updated with HAZMAT Training and Security requirements

The chief officer needs to prepare the Dangerous Cargo/ goods manifest

The HAZMAT cargo received on the ship has been reported to the Regulatory Authorities 

Dangerous goods Manifest (DGM): 

Dangerous Goods Manifest is the stowage plan document for the HAZMAT cargo, which is prepared by the chief officer once the shipping papers from the Shipper or agent are received. The main purpose of creating the manifest is to ensure all the information about the HAZMAT cargoes on a ship is available at one place in a single document known as DGM. The Dangerous Cargo Manifest (DGM) has all the important and relevant information from the shipping papers and packing certificates, hence these documents are not required to accompany HazMat shipments on a vessel.

The prepared dangerous cargo manifest should include:

Information as found on shipping papers

Stowage plan of HAZMAT cargo loaded on the ship

Segregation information plan of HAZMAT cargo loaded on the ship

Emergency action plan for the HAZMAT cargo

The vessel shall retain a copy of the DGM for at least one year

The Content of the DGM:

The Name and IMO number or call sign of the vessel

The nationality (Flag state) of the vessel

Technical name and the class authorized for the dangerous good by the International Maritime Organization

Complete description and classification of the hazardous cargoes (as given in the shipping papers)

Total number of such packages being carried

The location of such cargo as per the cargo stowage plan of the ship

Responsive action in case of an emergency

An emergency response contact number

Gross weight for each type of packaging.

Related Read: How to Get Dangerous Cargo Endorsement Certificate?

Other relevant information which can be added in the DGM and used by the maritime or port authorities are:

Name and contact details of the ship operator

Location of vessel’s mooring equipment

Details and contact number of the cargo owner

A complete record, by time intervals of one week, of all receipts and disbursements of HazMat

Location of the IMDG locker on the ship

Firefighting arrangement on the ship

Location:

The Dangerous Cargo Manifest is usually kept on the vessel’s bridge when the ship is sailing and a copy is made available in the cargo control room in a designated marked holder before reaching to a port.

Even if the next port if not where the HAZMAT cargo needed to be discharged, the copy is made available for reference. As per the requirement, the Dangerous Cargo Manifest should be located as such that it is readily available in need.

The Dangerous Cargo Manifest must thoroughly be checked by Master and acknowledge for the accuracy by signing the same.

Reporting of HAZMAT cargo:

Many countries and maritime authorities require reporting of the loaded HAZMAT cargo information to a common database centre (For e.g. European Maritime Safety Agency – EMSA)  for the following reasons:

To ensure the ship is complying with legal requirements

To enhance awareness among various stakeholders about HAZMAT cargo

To assist the reporting parties and the authorities in finding the correct information

For supporting the authorities by providing options for validating information received

To assist in training personnel involved in HAZMAT Cargo

To share the best practices in the area of handling HAZMAT

To share the insight of accident or near miss reports for handling emergency situations

To determine the place of refuge for ships in need of assistance

 For risk assessments in ports and waters under the jurisdiction of a member state

A common reporting platform is made available to send the report, for EMSA it is National Single Window or NSW, which can be accessed by relevant maritime and national authorities.

The Master, ship agents and ship operators are responsible to make sure that the HAZMAT goods information about the cargo being carried on the vessel is reported correctly and accurately to the NSW or relevant similar authority, depending on the location of their voyage.

Port Crane Loading IMDG Container

The most important details which need to be reported are:

Classification of HAZMAT goods with details of related IMO Code(s) or

Convention Product’s name as found in the legal instruments

UN Number of the HAZMAT good to allows the identification of the cargo

IMO Hazard Classes – essential for the proper identification of the characteristics and properties of the substances, materials and articles

The total quantity of each HAZMAT cargo carried on the ship

The location on board to identify the dangerous and polluting goods which are onboard a ship for providing the necessary assistance during rescue or salvage operations

Identification of the transport units containing dangerous or polluting goods

Where appropriate, the class of the ship as defined by the Irradiated Nuclear Fuel Code.

Over to you..

Do you know any other important point that can be added to this HAZMAT cargo handling guide?

Let’s know in the comments below.

Disclaimer: The authors’ views expressed in this article do not necessarily reflect the views of Marine Insight. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Marine Insight do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader.

The article or images cannot be reproduced, copied, shared or used in any form without the permission of the author and Marine Insight. 

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