#serres rambles

[ser-res]

happy birthday ink! you little gremlin🎉

[howtotrainabraincell]

A little rant...okay I got carried away so it's kinda long... apologies divine readers

Am I the only one that has noticed a rather....toxic pattern in Assassin's Creed romantic relationships?

In Unity the "relationship" between Arno and Elise is...very one sided when I take a deeper look at it. I'ma be fr here...I hated her character. I didn't revel in her death, but the game certainly felt more enjoyable without her presence and without Arno's lovesick puppy act of following her around.

She didn't stand up for him or even question the accusation of him being framed for her father Francois' murder. No 'Hey I know Arno. I love him. I trust him and I know he did not kill my father' or anything. She LEFT HIM TO ROT IN THE BASTILLE??? QUOI?? I AM CONFUSION. She was mad at him for not going after Germain because he wanted to PROTECT HER because he LOVES HER - when they got the chance to meet and kill him again later. And then THE BIG ONE - she abandoned him under that rubble to take Germain on by herself. All she had to do was take a few extra seconds to free Arno, they could have fought him together, and maybe - JUST MAYBE - she wouldn't have died. And it's not just that either it's the leaving him under that rubble for me. She was supposed to 'love him' and she left him under something that was hurting and trapping him? If it were me, I wouldn't stop until he was free Germain be damned. I will free my baguette boy and then we ferry onward to glory!

It seemed like a lecherous kind of situation where Arno gave and gave, and Elise just took and took. I felt like she hardcore used him because she knew how much he loved her, and she fully used that to her advantage. Maybe she did it on purpose, maybe it was unintentional but either way...it had me shaking my head and waving my red flag like I was in the color guard.

The same thing occurs again in Origins with Bayek and Aya. Bayek seems to love Aya a whole lot more than she loves him, and I even get the vibe that she just stayed with him because she got pregnant. I mean...she rejected his proposal because SHE wanted to go back to Alexandria to follow her dreams, SHE didn't want to be the wife of a Medjay, she was what I believe could be termed an 'absent mother' as Bayek spent more time with Khemu than she appeared to, and then she left Bayek to go off on her own and they wound up separated for a year not too long after their son's death. Bayek had to grieve alone while she seemed to just...refuse to grieve. It was strange. She never wanted to discuss Khemu even though Bayek was emotionally available for her to do so (which I loved about him because most men don't do the 'emotionally available' thing as they think it makes them seem weak). The one time I remember in the game when Bayek said that he wished not to be separated from her again after Khemu's death, she shut him up with sex...and then left again not too long after that. Then she eventually separated (read: pretty much divorced him imo) from him to go do her own thing in Rome. I mean...it certainly benefitted the Brotherhood in the long run...but it seems to me like she ran from her grief, left Bayek behind, shut herself down to all discussion of Bayek and then she even changed her identity. Reference to the Aya - Amunet transformation.

Their relationship was just tragic overall to me and the shutting down a conversation with sex, was a major red flag to me that their relationship was not going to survive the death of their son. I do think that Aya had...a type of love for Bayek. A fondness. A feeling of loyalty and a high-level trust. But I do not think for a second that Aya loved Bayek as much as Bayek loved her. Man would have gone to hell and back for her.

Why is the 'men being absolutely whipped for a woman who doesn't appreciate them' a recurring thing in the Assassin's Creed games?

I know I probably read WAAAYY too much into this but as someone who's bigtime into psychology I just - OOF. These were not some healthy fully functioning relationships. And I did not care for either of them in the long run.

Arno deserved better as did Bayek. I think they're both sweethearts - that each have their own faults and flaws of course because they're human beings - but they deserved more.

[rozecrest]

palisade 41 spoilers - just rambling about my feelings in rot13

v fgvyy srry nyy zvkrq hc naq fnq nobhg svther… v yvgrenyyl znqr n cbfg evtug orsber guvf nep nobhg ubj v jnf jbeevrq nobhg svther qlvat v rkcrpgrq gur cbffvovyvgl ohg vg sryg fb fhqqra? naq v qba’g qvfyvxr gung, vg’f ubarfgyl bar bs zl snibevgr cnegf nobhg aneengvir va npghny cynl vf ubj qenfgvpnyyl guvatf pna punatr jvgu n ebyy be gjb, ubj vg pna srry wneevat naq hacbrgvp naq cneg bs gur sha vf jrnivat gur aneengvir gb rzoenpr rnpu arj harkcrpgrq guvat. naq v guvax qer naq nhfgva qvq n tbbq wbo ng gung jrnivat naq zbzrag uvg ernyyl uneq naq jnf n terng yvfgravat rkcrevrapr. gur pehrygl bs gur shgher… fhpu n cbvtanag ovg bs rzcunfvf sbe svther fcrpvsvpnyyl nf n sbezre pbafreingvir uvfgbel cebsrffbe naq gur svefg punzcvba creraavny jnf urycyrff gb fnir. shpx!

v’z whfg fnq nobhg svther yvxr, nf n crefba. ur’f unq fhpu zbzragf bs gevhzcu naq pynevgl nobhg uvzfrys guvf frnfba, ur jnf cbvfrq ng gur rqtr bs terng ubcr naq serrqbz naq vg jnf qnfurq njnl ol gur n fcrpgbe bs punapr naq yhpx gung’f orra unatvat bire uvz sbe nepf jvgubhg gurz rira xabjvat— juvpu vf irel ggect. ohg vg qvqa’g jbex bhg! yvsr pna or hayhpxl! v nterr jvgu nhfgva nobhg ubj gur gbar nebhaq inyrapr naq svther’f qrngu nyzbfg srry yvxr gur frnfbaf gurl unccrarq va fubhyq or fjvgpurq. irel irel vagrerfgrq gb frr ubj cnyvfnqr ynaqf rzbgvbanyyl.

v nz tynq ng yrnfg, gung svther vf gehyl tbar. gurve obql unf orra chg gb jbex, znqr n gbby ntnva, ohg ng yrnfg gurve zvaq vf abg pntrq. naq sbe n ovg, gurl jrer zber serr guna gurl rire unq orra. gung’f abg abguvat.

birenyy: vg znqr zr srry naq guvax n ybg, juvpu vf zl snibevgr cneg nobhg rkcrevrapvat sevraqf ng gur gnoyr. rkpvgrq va n fnq jnl gb frr gur arjf uvg gur cnegl, rfcrpvnyyl pbev naq oeavar. v’z tynq rpyrpgvp jnf yvxr shpx ab gung’f na vzcbffvoyr cubar pnyy gur znxr, fb gehr. zber yvggyr urnegoernxf gb pbzr sbe gur oyhr punaary. erfg rnfl svther ;-;

[keetika]

i hope it's okay if i ask you this serre, but what do you do to keep from getting burnt out on large commissions?

don't only just gif that commission. meaning, work on other faceclaims that you want to gif. set a goal aside for a day, like maybe getting 100-200 gifs of that commission done, and then work on something you want to work on. but honestly, instead of giffing someone else, just use that time to do anything other than tumblr or giffing. anything that'll take your mind away from it. if you feel like you're taking too long you could always have the option of someone paying in full or an estimate amount and send them the link so they can use them as you gif. and don't feel like you have to gif everyday.

i don't have tumblr on my phone so i don't check it unless if i'm on my computer/laptop. maybe try this so you don't feel pressure to start giffing right away or feel like you're falling behind people or feel like you have to message someone immediately. although we do this in our free time, you're still working in a way since you're getting paid and you're giffing someone you would have otherwise not considered giffing if it were your choice. you shouldn't allow it to take up all your free time or have it be something you check all the time.

people who commission from you will always understand if you prioritize other things and take your time. i've even been late on commissions for a month plus because i've had to take care of real life things and as long as there is a solid line of communication between you and the people who have commissioned, there really is nothing to worry about. everyone who has commissioned from me has always been very understanding and kind!

i kind of rambled so i'll end it off here! if you want more advice, feel free to send me another message. i hope this helps in the meantime!

[hikarinokusari]

Alright. Since my stupid warrior is finally 70 and I'm close tobget the amaro mount now, I'm just going to be housing real hard today.

[djunk411]

Man, I wish Unity had ended with Elise living and her and Arno starting a secret third organization that was a balance of the Templar's Order and the Assassin's Chaos. Like, it felt like the perfect setup for something like that with them both having been cast out of their organizations. But no, gotta make the MCs suffer the loss of anything that doesn't contribute to the Creed :/

[shamblingthing]

wip intro post  >:)

TITLE: Oat Street! (originally I was using ‘of all the small things,” which is. oatst. and honestly I think that oat street just sounds better. this will definitely change at some point. probably.)

DESCRIPTION: 

Prince Acetin does not have magic. He has not been taking a highly illegal, increasingly ineffective suppression potion for the past six years, and he is certainly not about to embark on a dangerous journey to finally rid himself of his blight, at any cost.

Prince Acetin is a terrible liar.

Unwillingly accompanied by his best friend, the man he’s been quietly in love with for, oh, about nine years now (but who’s counting), and an assortment of ghosts that he can’t bring himself to exorcise, Prince Acetin leaves the kingdom that loves him so that he might return as someone who deserves their faith. But peace is only good for most people, and something much deadlier than an enemy stalks them, intent on destroying everything for which Acetin might one day stand—as well as Acetin himself.

Set in a time long after revolution has succeeded across the continental nations, and the world is better for it, this is a story about a prince who will be the greatest king Ryon has ever known, despite his ruinous defect. It’s a story about betrayal and secrets and l*ve and forgiveness—it’s a story where you should believe nothing that you’re told.

GENRE: high fantasy, sword and sorcery, y/a

THEMES: is this all a metaphor for being queer? maybe. shhh. ft. magic (wow! shocker), time traveling pirates, conspiracy, hubris, gays, religious guilt, dragons, wretched bards, flowers, and being found.

CHARACTERS:

prince acetin (a-see-tin): 20, he/him, bisexual, ftm.

acetin will not let any more people suffer in his stead. he was born to bear the weight of the crown and the dreams of his people: martyrdom runs thick and fast in his blood.

knight daphne romeis: 21, she/her, lesbian.

daphne was raised in an abbey under God and disowned when she turned on Her. (well, more accurately, she was disowned when she broke into the archbishop’s quarters, stole an ancient scroll, and fought her way down the coast to join the royal guard. semantics.)

knight serr corven: 19, he/him, gay.

when johnny manchild said “my father in me, breaking out so vicious/ would you believe it’s a condition?” and zoey van goey said “i would be safer on my own/ i didn’t care, you were the most exciting thing i’d ever known” and the districts said “you used to only lie when you needed sleep” and richard siken said “the voice that wants to be a hand” and—

carmen, wastemaker: 22, she/her, bisexual.

the witch on the hill. she will help you, but she will not love you. there is nothing that carmen loves anymore. it’s safer that way. she was a sorcerer in ryon, foolish enough to trust her heart—now she is a sorcerer in a place most would include on their maps just to warn travelers away from, and the only hearts she listens to are the ones she keeps pickled on a shelf for divination. 

STATUS: drafting >:)

might post snippets and ramble about this here, im not entirely sure yet! everything related will have the oat street wip tag. i have about 20k words right now and i imagine this draft will end up at 120k? yeah. yeahhh :)

(image id and credit below the cut)

tall, off-white stone ruins (half an arcade) against an overcast sky, framed by slightly blurred red flowers in the foreground. 

photograph by george f mobley for national geographic of roman ruins in Lebanon. 

[jnometeora]

HYPERMEDIA PUPPETRY

Black

It was a cold morning in Paris and I woke up early, I ramble over (…) and took a general view of the city. I crossed the Seine at the Pont Louis Quinze, and walked along the noble quays as far as the Island [1] I was already tired and I entered the bar “café du Louvre” on the Tv screen the journalist was yelling the news of the day; nobody was really caring about them.

The news media are the public's principal source of daily social, political, and economic information.[2]  I couldn’t help but notice the indifference of people for what was happening all around them. Their ‘playful indifference’ conceals the reality of the ruthless exercise of power: what they stage as aesthetic spectacle is reality for the masses of ordinary people. [3]

My mind went back to my childhood, when my parents were used to discuss of the newspapers’ news and to listen to the news on the TV. I realized that, as far as I could remember, the world has always been theater of wars, corruption, violence and crises. And for this reason, since we have always been aware of that, we simply got use to it, and let this indifference characterize our daily life. If I had asked my grandfather what hypermedia is, this question would have remained unsolved. At his time, the main vehicles of information were just few newspapers and some channels on the radio. Nowadays, hypermedia rules our daily life. In a world in which digital has become an unquestioned pillar,  the notion of “tell me more” is the root of hypermedia. Books without pages, a highly interconnected narrative or linked information. [4]

It’s now well accepted that hypermedia is used as an instrument of power to influence all of us. Every choice we make is indirectly dictated through hypermedia.

Our emotional states can easily be reformed so that the reaction to the advertising, political propaganda or “news” is as predicted by those generating it across the broad population as intended by them.

I took the “Pont Saint Louis” heading to the block I inherited at 42 Quai d’Orléans. Crossing the bridge a puppets street show was going on. And a constant thought started to cross my mind: we are nothing but puppets in the hands of powerful hypermedia puppeteers. I also realized that my own empire had a first line involvement in this, since our audience, just like puppets (…) often require several people to manipulate them.[5]

Lost in my though an idea enlighten my mind. I wanted all this informations and contents to be my puppets, in a way that I only need to meticulously play with them.

I wanted to become their puppeteer.    

Blue

Elizabeth as you asked us, we found a way to enhance synesthesia, which can be already naturally presents or induced by a specific drug, in a way that you and your guests might be able to interact with the hypermedia content.

Each chamber become an heterotopic space: physically accessible from the given pathway, and mentally accessible through the specific drug which will enhance a targeted type of synesthesia for every chamber.

In this way the content unfolds, and you and your guests are able to access and explore all the experiences, like a kid in a candy store.[10] Every drug related to its specific chamber will tell a different story; here people feed on other people for all their stimulation, information and satisfaction.[11]

You are now able to chose in which place of the world, which mind, which event you want to be transported and than live it. You will be able, thanks to enhanced synesthetic abilities, to change the sequence of the events.

The aim of the proposal is to induce a synesthetic experience(…), by taking both architecture and function to the limits of perception, to the critical point where synesthesia might occur in ‘normal’ brains.[13] Passion spaces here are compared with conceptual spaces (...) in the analogy of ‘logos vs pathos’.[13]

About the materiality of the block, Elizabeth, there are two types of skin, the inner and the outer. If the outer skin is made of hard stone, the durability of the building will be improved. [13]

We organized the inner space as follow: The part next to the facade will be left [14] empty in order to perceive the facade in its integrity from the outside but even on the inside, and working

as a puffer space, an osmotic membrane between the city and the inner tensions; in fact the entrance hall is the first step in the de-conditioning process.[13] This took the place of the atrium or vestibule.[15]

The chambers, are located on three different levels, corresponding to the conceptual organization of the nervous system and the associative routes of synesthesia [13]

These three levels are connected by a staircase; we have two types of staircase (...) one ascended not by stairs but by an inclined ramp, the other by steps. Personally, I strongly approve of stairs; the fewer the stairs in a building and the less room they take up, the less of an inconvenience they will be.[16] As you will see, we used both of them. The entrance hall is directly connected to two staircase ascended by steps: one where the life spaces are organized and the other one where those spaces are disposed. The three levels are then organized on ascending or descending ramps more or less inclined without differing to much from this rule: an incline of one part in height along the vertical to six in length along the baseline.[16] The ramps are designed and disposed following the natural men’s flow, theirs linger and their crossing principle.

The two pathways cross each other several times but never interchange. They fill the inner space as a double helix, where two different (but complementary) helixes will intersect keeping their belonging track.

We now come to the opening.

There are two types of opening, one for light and ventilation, and the other to allow man or object to enter or leave the building.

Windows serve for light; for objects there are doors and stairs [16], doors are only placed in accordance to the ramps disposition and windows are in our case only for light because the ventilation will be automatically regulated.

Of your block we kept the original facades, emptied the whole building and we organized the chambers as follow:

FROZEN PENDULUM :

A chamber, which will blurring the boundaries of the interior and exterior space. [13] Treated as a portico, the exact view of the site is displayed with an eight hours delay, this chamber is the only part emerging from the existing building, this circular Portico shall be covered with a Cupola. [16] The covering hemisphere is perforated from small opening bringing zenithal light into the space, corresponding to the displayed moment.

BLINDNESS HEARING:

This chamber is a theater in which a full orchestra is playing directed by a passionate and vigorous conductor, but nothing is heard. In order to obtain the best acoustic, the length of the “scaena” ought to be double the diameter of the orchestra.[17] And the wall has a height one ninth the radius of the central area [14].

SIGHT PERCEIVING: A chamber were lights openings are modulated and an obscure, cold, humid and foggy atmosphere makes it possible to see the small rays coming from all directions simulating a ray forest. Freely moving into the space single tones are reproduced when interrupting the lights rays.

HEARTBEAT SMELLING:

here you (..) will be seated in an anechoic chamber [18] were even the visual boundaries of the chamber are blurred, you will start to hear two sounds one high and one low.’[t]he high one is the nervous system in operation. The low one is blood in circulation’ [19] The brain then compensates the loss of auditive input by heightened attention to all other senses, and at this moment the brain is stimulated by introducing into the chamber an Imput such as a particular smell or a wall changing color.

MUTED COLORS:

the symphonies played by the orchestra are reproduced; every color is associated to an instrument, the “artist” is now called to paint what he is hearing in real time. Every color is only available when the related instrument is playing.

FLOWS TASTING:

This chamber is the only one accessible also from the street. It’s the apex of the path, a food court were finger food is served and notes are played on regular interval, or the space is suddenly saturated by one color.

Red

When Giotto and Eisenstein developed new ways to organize information in space and in time, their viewers also had to develop the appropriate ways of navigating these new information structures [20]

With only a pill, in that place we become, for a time, moving centers of expressive force, rather than puppets of forces controlled by others.[6]

Entering this “new dimension” of space and exploring the heterotopic space you are able to intertwine with this parallel reality and decide which hypermedia content explore and play with, you (and your guests) are now the architects of the space, the directors of the music, the conductors of the events. The content become in this space your theater and you can manipulate the plot as puppeteers do with puppets plays on the scenes.

[1] Woods, Letters of an Architect from France Italy and Greece 1

[2] Macek, Urban Nightmares The Media the Right and the Mo

[3] Lahiji, The Political Unconscious of Architecture ReOpen

[4] Negroponte, Being Digital

[5] Kostelanetz, A Dictionary of the AvantGardes

[6] Plummer, The Experience of Architecture

[7] Castells, The Power of Identity

[8] Kostelanetz, A Dictionary of the AvantGardes

[9] Cooley, Finding Augusta Habits of Mobility and Governance

[10] Goldberger, Building Art The Life and Work of Frank Gehry

[11] Goldsmith, Capital New York Capital of the 20th Century

[12] Serres, The Five Senses [13] Ascott, Art Technology Consciousness Mindlarge [12a.] Serres, The Five Senses [14] Alberti, On the Art of Building in Ten Books 1988 [14] Vitruvius, Ten Books on Architecture 1999 [15] Williams, Daniele Barbaros Vitruvius of 1567 [16] Alberti, 10 books of architecture 1755 [17] Vitruvius, The Ten Books on Architecture 1914 [18] Broeckmann, Machine Art in the Twentieth Century

[19] Smith, Bare Architecture A Schizoanalysis

[20] Kinder, Transmedia Frictions The Digital the Arts and t

[ser-res]

totally didn't forget

HAPPY BIRTHDAY DUST, YOU CRUSTY OLD GUY 🎉🎉/lh

[shardsof-stars]

Please tell me of your love for Élise de la Serre

OH GOSH WHERE DO I START. ELISE IS THE LIGHT OF MY LIFE, THE FIRE OF MY SOUL. SHE LIGHTS UP THE DARKNESS LIKE A BEACON. SHE IS MY ONE TRUE LOVE. I WOULD GLADLY FIGHT ARNO IN HAND-TO-HAND COMBAT FOR HER HAND IN MARRIAGE.

I understand that Elise gets a lot of flak in the Assassin’s Creed fandom, and some people don’t like her character because they feel she “used” Arno; or that she did not love Arno as much as he loved her; or even that she never loved Arno at all.

I can understand why people would think this way. But I personally feel she is one of the most complex, multi-layered characters in the AC franchise, and one of the most subtly written, and there’s so much more to her character than she lets on or is revealed in the game. We play the game through Arno’s perspective, so we see very little of how the events of the game were seen through Elise’s eyes and don’t get a full understanding on her character.

So here’s my take on Elise’s character. Much of it is based on my own speculation (and okay, I’m just going to admit here I might just be the slightest bit biased), but I tried to base it on as much existing evidence as I can.

Reasons Why I Think Elise Is an Awesome Character That People May Have Overlooked:

♥ She knew from the very moment that Arno joined her family that he was descended from Assassins, yet it did not discourage her friendship and eventual romance with him. Remember, she was raised as a Templar, and in the Templars’ eyes, the Assassins are bloodthirsty, cowardly murderers who strike from the shadows, and who would selfishly disrupt peace, order and progress for their own devious ends. Yet she completely and fully accepted Arno, despite knowing about his bloodstained heritage, and the centuries-long rivalry between their ancestors.

♥ Also, even though Arno was very much raised by Francois de la Serre like a son, he was never formally adopted into the family, and remained very much part of the servant class – which would have made a relationship with Elise, who was in a higher social status, almost unheard of. Yet Elise only ever saw Arno as her equal. She sought a romantic relationship with him even though there would be little chance of their marriage being accepted by Elise’s noble peers. Elise did not ever see his social status as something of concern – which was why, when she confronted him in Sequence 11, Memory 1 (“Bottom of the Barrel”), she lashed out at him:

Arno: “You made it fairly clear you no longer required my services.”Elise: “Don’t. Don’t you DARE talk to me like that!”

She was angry at him because it was Arno who brought up their difference in social class to create distance between them. She had loved him and admired him her whole life, and only ever saw him as her equal, and yet here Arno was, dismissing their relationship by putting himself in the place of the servant, and implying she was the haughty noblewoman who could order him around like a dog. It was a very subtle, vicious insult (actually that’s very characteristic of Arno – he uses words more than his fists to hurt people, and he does it very effectively) and of course Elise was very upset by it.

♥ Yet Elise forgives Arno, again and again. On this thought, I firmly believe that Arno’s love for Elise was very much reciprocated – she would never have forgiven him so much if she wasn’t as in love with him as he was with her. Elise has a fiery, unforgiving temper, and is the sort of person who, if you ever crossed her, would make you regret it by retaliating with fury and revenge. Yet it’s evident she has a huge soft spot for Arno, and keeps going back to him.

♥ The biggest evidence for the point above is that she forgave Arno for not delivering the letter that would have saved her father. She was devastated by Francois de la Serre’s death, but hearing that Arno (someone whom she grew up with, and whom she loved and trusted with all her heart) was the main suspect accused of that murder, must have turned her world upside-down. At that moment, I can imagine she would have doubted Arno had anything to do with Francois de la Serre’s death … but finding the undelivered letter, while nursing a deep grief over the loss of her father, must have sent her mind to a dark place. Yet she was convinced of Arno’s innocence and forgave him. It must have taken a lot of strength to move past all her dark thoughts to do that.

♥ It’s no secret that Elise de la Serre is a strong-willed badass who would stop at nothing to do the Right Thing™. She was going to get revenge for her father’s murder, and bring those responsible to justice, and give her father’s memory peace. She wasn’t content to just sit back and let Germain corrupt her beloved Templar Order, which was rightfully hers to lead, and so wrongfully taken from her. And she certainly wasn’t going to just let Arno do all the work for her – she was right there by his side, right up to the very end.

♥ So I personally don’t like Ubisoft’s writing decision to kill off Elise. I find very little justification for it. Perhaps it’s because if Elise had lived, she and Arno would have successfully created the first Templar-Assassin alliance after centuries of war, and Ubisoft cannot successfully sustain a Assassin-vs-Templar modern-day storyline dynamic if Templars and Assassins reached a successful truce in 18th Century France. So kill off Elise, keep the war going.

But if I really had to justify her death, I would say that I understand how the story would come to it. Elise was under a lot of emotional and psychological strain by the time she and Arno finally confronted Germain at the Temple. I think she secretly wanted a release, an escape. She somehow knew she was going to die, and wrote her last letter to Arno in preparation for it. I don’t blame Elise for her choices, because I think, in her head, there was no other choice.

Templars, unlike Assassins, put the greater good of Mankind above all else. If sacrifices have to be made in the name of that “greater good”, then so be it. Elise sacrificed herself – and her future happiness with Arno – because she thought it was the only way to ensure Germain’s death, and the liberation of the Templar Order from his machinations. Her happiness was secondary to the end of the Reign of Terror.

Considering all of this, I hoped I’ve explained why I see Elise de la Serre as one of the strongest, most beautiful characters I have ever come across, and why I adore her so much.

Plus we can all agree that shes gorgeous, come on. Not to sound shallow, but DAMNNN. Look at her, she’s a work of art.

[truefeels-assemble]

About AC Unity (1)

Another AC played so it’s time to talk about it!

I was really interested in Unity since it was released and I’ve enjoyed it a lot. I’m gonna try not to ramble but it’s gonna be a long post and this time I’m going to split up in three parts XD

Obviously there are spoilers

About the main story:

I like it and I think it’s well written but I find it too short. Besides I miss a comforting ending ;_; we see Arno losing a lot of things during the story and how that affects him, but we don’t get to see how he recovers from all that. The dlc attempts to show us that process a little bit but like the main story it’s too short.

About Arno:

AC always caught my interest but Unity has been the first that got my attention because of the protagonist XD. I love his design and his character. He is soooooo beautiful XD and sassy but also gentle and romantic. Arno is definitely my fav assassin.

                                                -Can you not?-

I love those little details on his clothes and house where you can see how messy he is (he doesn’t know know how to dress nor how to make the bed XD).

                                                 - Some examples :P -

Arno is a character that seems  tough but in fact he is broken.

He has been reminding himself that his father died for his fault since he was 8 ;_;

                                                -The true culprit-

And then he blame himself because of de La Serre’s death, he is forced to kill his mentor, and to watch  Elise die without being able to do anything. He can´t be alone, he needs people around or he falls into despair and wine. It’s curious how the fandom has this protective instinct with Connor (me too), and not with Arno who among all the assassins is the one who need a hug the most XD

                                                -Are you sure?-

When he is kicked out from the brotherhood, but you keep the hidden blades and the café, I was like ‘great, you’ve turned him into Batman X_D‘

                                                        -Exhibit A-

Long story short: I love him :3

(Part 2) / (Part 3)

[walkingcorruptor]

"una volta che conosci l'italiano, le altre lingue europee sono facili." She added with a bright smile, seeming to perk up when someone else knew about Leonardo Da Vinci, maybe he knew about Ezio too... "The fact you taught it to yourself is amazing, honestly. I'm teaching myself french so I can understand more about the De La Serre family and the tragedies of it all." She stopped herself from talking, realising she'd begun to ramble but she looked so much happier talking about this stuff and seeing someone relaxed around her.

Time machine 📱 (older teen) - Rich //high school au 😏

Lucy had made somewhat of a reputation for herself, not really a good one but not a bad one either. High School to her was just the thunderdome, fights almost every other week. Probably didn’t help that she was in a literal fight club.

People teased her every now and again, almost always to do with the fact she didn’t live with her birth parents, but now that she’d started sticking up for herself, it was less frequent than normal. Lucy was currently wearing some skinny cargo jeans, a black racerback vest with a leather jacket and black boots; her brown hair was in a loose fishtail braid and pulled over one shoulder. She was just roaming the halls, looking for her locker but also people watching.

Hank told her that she had two new people to meet tonight that were her age so she was going to see if she could find out who they were before the last bell rang.

@ask-humanrichard-dbh

[ser-res]

Thought I'd finally make a pinned post.

HELLO THERE, the name's Res/Rex, or Bonkers, whichever you prefer. He/They/It, ~pronouns.~

Welcome to my little chaotic Tumblr.

What you will find here;

> KROSS / Killer x Cross

> Art☆

> Some little stories/drabbles

> Other fandoms like tadc, or fnaf maybe?

> Mainly UTMV

> AU/MVs I've made myself

> I'm open to most ships here! iif you don't like 'em, feel free to leave this tumblr page, in the most respectful way possible. I'll try to fit in as many ships as I can but you'll mainly see Kross, as stated above.

> Here's my carrd if you want to check it out! Just a little introduction to me :D And also a silly little socials page!

Tags;

> serres art = my art stuff!

> serres stories n drabbles = story stuff

> serres rambles = rambling☆

This page will probably chaotic anyways, but I think it's neat to have some baselines of what you might find here.

If you have any asks, questions, or stuff you wanna say to me(just be mindful :3); feel free to press the [silly button]! I'm hoping to share more of my Multiverse and AUs :D

anyways, before this goes on too long, hope you enjoy the stuff I make here!

have a nice day and hopefully, you stick around!

and remember, you're always welcome here!

also yes i am very cheesy haha

[tatjanbe]

VOGUE

The centerpiece of each ball is the voguing category. Voguing is a dance inspired by Vogue magazine, it is characterized by model-like poses integrated with angular, linear and rigid arm, leg and body movements. The five elements of vogue are: Hand Performance, Catwalk, Duckwalk, Floor Performance, Spins and Dips.

Lenny enters the house again. Suddenly it was very quiet and he wondered where all the other beings had disappeared. A gentle wind blows through the window, it has become night. Through a majestic door he enters into the main hall, the ballroom, located underneath the Plaza. The stellar pattern of the floor recalls a type of medieval cosmological patterns. [1] The floral theme alluded to the association with the women of the house. [2] We here move to a space in which what matters is a process of subtle becoming other: of gradually dissolving traits of being standardly male as these give way to certain accustomed ways of being female, and vice versa; the same ambiguity obtains for the dyad of human/animal. [3] Useless luxury; ostentatious luxury; wastefully excessive luxury. [4] Observe that part of a beautiful woman where she is perhaps the most beautiful, about the neck and breasts; the smoothness; the softness; the easy and insensible swell; the variety of the surface, which is never for the smallest space the same; the deceitful maze, through which the unsteady eye slides giddily, without knowing where to fix, or whither it is carried. [5] Such was the appearance of the ballroom.

House: „And now for the next category: Vogue! Come on girls, work the runway!“

Lenny is aroused, he puts down his robe and goes onto the stage. The dance with unfolding matter takes place inside of him. [6] He is dancing with the house, falling in love with it, competing against it, in this captivating final performance. 

House: „May you, once a day, in order to cool it down, forget your culture, your language, your nation, your dwelling place, your village’s soccer team, even your sex and your religion, in short, the thickness of your enclosures.“ [7]

[1] Costelloe, The Sublime

[2] Blackwell, Nineteenth Century Architecture

[3] Casey, The World on Edge

[4] Asimov, Complete Robot Anthology

[5] Grillner, Ramble Linger and Gaze

[6] Braidotti Hlavajova, Posthuman Glossary

[7] Buehlmann, Mathematics and Information in the Philosophy of Michel Serres

[jnometeora]

Hypermediatic Synesthesia

Black

It was a cold morning in Paris and I woke up early, I ramble over (…) and took a general view of the city. I crossed the Seine at the Pont Louis Quinze, and walked along the noble quays as far as the Island [1] I was already tired and I entered the bar “café du Louvre” on the Tv screen the journalist was yelling the news of the day; nobody was really caring about them.

The news media are the public's principal source of daily social, political, and economic information.[2]  I couldn’t help but notice the indifference of people for what was happening all around them. Their ‘playful indifference’ conceals the reality of the ruthless exercise of power: what they stage as aesthetic spectacle is reality for the masses of ordinary people. [3]

My mind went back to my childhood, when my parents were used to discuss of the newspapers’ news and to listen to the news on the TV. I realized that, as far as I could remember, the world has always been theater of wars, corruption, violence and crises. And for this reason, since we have always been aware of that, we simply got use to it, and let this indifference characterize our daily life. If I had asked my grandfather what hypermedia is, this question would have remained unsolved. At his time, the main vehicles of information were just few newspapers and some channels on the radio. Nowadays, hypermedia rules our daily life. In a world in which digital has become an unquestioned pillar,  the notion of “tell me more” is the root of hypermedia. Books without pages, a highly interconnected narrative or linked information. [4]

It’s now well accepted that hypermedia is used as an instrument of power to influence all of us. Every choice we make is indirectly dictated through hypermedia.

Our emotional states can easily be reformed so that the reaction to the advertising, political propaganda or “news” is as predicted by those generating it across the broad population as intended by them.

I took the “Pont Saint Louis” heading to the block I inherited at 42 Quai d’Orléans. Crossing the bridge a puppets street show was going on. And a constant thought started to cross my mind: we are nothing but puppets in the hands of powerful hypermedia puppeteers. I also realized that my own empire had a first line involvement in this, since our audience, just like puppets (…) often require several people to manipulate them.[5]

Lost in my though an idea enlighten my mind. I wanted all this informations and contents to be my puppets, in a way that I only need to meticulously play with them.

I wanted to become their puppeteers.    

Blue

Elizabeth as you asked us, we found a way to store informations and experiences into a customized database designed  [8] from the informations accessible through hypermedia at your company, we managed to organize and develop your new building, where information are organized as books are in libraries.

Each chamber is physically accessible from the given pathway, and psychologically accessible through the specific drug which will enhance a targeted type of synesthesia for every chamber.

In this way the library opens up, and you and your guests are able to access and explore all of the stored experiences, like a kid in a candy store.[10] Every drug related to its specific chamber will tell a different story; here people feed on other people for all their stimulation, information and satisfaction.[11]

The aim of the proposal is to induce a synesthetic experience(…), by taking both architecture and function to the limits of perception, to the critical point where synesthesia might occur in ‘normal’ brains.[13] Passion spaces here are compared with conceptual spaces (...) in the analogy of ‘logos vs pathos’.[13]

About the materiality of the block, Elizabeth, there are two types of skin, the inner and the outer. If the outer skin is made of hard stone, the durability of the building will be improved. [13]

We organized the inner space as follow: The part next to the facade will be left [14] empty in order to perceive the facade in its integrity from the outside but even on the inside, and working

as a puffer space, an osmotic membrane between the city and the inner tensions; in fact the entrance hall is the first step in the de-conditioning process.[13] This took the place of the atrium or vestibule.[15]

The chambers, are located on three different levels, corresponding to the conceptual organization of the nervous system and the associative routes of synesthesia [13]

These three levels are connected by a staircase; we have two types of staircase (...) one ascended not by stairs but by an inclined ramp, the other by steps. Personally, I strongly approve of stairs; the fewer the stairs in a building and the less room they take up, the less of an inconvenience they will be.[16] As you will see, we used both of them. The entrance hall is directly connected to two staircase ascended by steps: one where the life spaces are organized and the other one where this library is disposed. The three levels are then organized on ascending or descending ramps more or less inclined without differing to much from this rule: an incline of one part in height along the vertical to six in length along the baseline.[16] The ramps are designed and disposed following the natural men’s flow, theirs linger and their crossing principle.

The two pathways cross each other several times but never interchange. They fill the inner space as a double helix, where two different (but complementary) helixes will intersect keeping their belonging track.

We now come to the opening.

There are two types of opening, one for light and ventilation, and the other to allow man or object to enter or leave the building.

Windows serve for light; for objects there are doors and stairs [16], doors are only placed in accordance to the ramps disposition and windows are in our case only for light because the ventilation will be automatically regulated.

Of your block we kept the original facades, emptied the whole building and we organized the chambers as follow:

TIME SEEING:

A chamber, which will blurring the boundaries of the interior and exterior space. [13] Treated as a portico, the exact view of the site is displayed with an eight hours delay, this chamber is the only part emerging from the existing building, this circular Portico shall be covered with a Cupola. [16] The covering hemisphere is perforated from small opening bringing zenithal light into the space, corresponding to the displayed moment.

SOUNDS WATCHING:

This chamber is a theater in which a full orchestra is playing directed by a passionate and vigorous conductor, but nothing is heard. In order to obtain the best acoustic, the length of the “scaena” ought to be double the diameter of the orchestra.[17] And the wall has a height one ninth the radius of the central area [14].

LIGHT HEARING: A chamber were lights openings are modulated and an obscure, cold, humid and foggy atmosphere makes it possible to see the small rays coming from all directions. Freely moving into the space single tones are reproduced when interrupting a light ray.

HEARTBEAT SMELLING:

here you (..) will be seated in an anechoic chamber [18] were even the visual boundaries of the chamber are blurred, you will start to hear two sounds one high and one low.’[t]he high one is the nervous system in operation. The low one is blood in circulation’ [19] The brain then compensates the loss of auditive input by heightened attention to all other senses, and at this moment the brain is stimulated by introducing into the chamber an Imput such as a particular smell or a wall changing color.

SOUNDS TOUCHING:

the symphonies played by the orchestra are reproduced; every color is associated to an instrument, the “artist” is now called to paint what he is hearing in real time. Every color is only available when the related instrument is playing.

TASTE HEARING:

This chamber is the only one accessible also from the street. It’s the apex of the path, a food court were finger food is served and notes are played on regular interval, or the space is suddenly saturated by one color.

Red

When Giotto and Eisenstein developed new ways to organize information in space and in time, their viewers also had to develop the appropriate ways of navigating these new information structures [20]

With just a pill and a well organized database, in that place we become, for a time, moving centers of expressive force, rather than puppets of forces controlled by others.[6]

[1] Woods, Letters of an Architect from France Italy and Greece 1

[2] Macek, Urban Nightmares The Media the Right and the Mo

[3] Lahiji, The Political Unconscious of Architecture ReOpen

[4] Negroponte, Being Digital

[5] Kostelanetz, A Dictionary of the AvantGardes

[6] Plummer, The Experience of Architecture

[7] Castells, The Power of Identity

[8] Kostelanetz, A Dictionary of the AvantGardes

[9] Cooley, Finding Augusta Habits of Mobility and Governance

[10] Goldberger, Building Art The Life and Work of Frank Gehry

[11] Goldsmith, Capital New York Capital of the 20th Century

[12] Serres, The Five Senses [13] Ascott, Art Technology Consciousness Mindlarge [12a.] Serres, The Five Senses [14] Alberti, On the Art of Building in Ten Books 1988 [14] Vitruvius, Ten Books on Architecture 1999 [15] Williams, Daniele Barbaros Vitruvius of 1567 [16] Alberti, 10 books of architecture 1755 [17] Vitruvius, The Ten Books on Architecture 1914 [18] Broeckmann, Machine Art in the Twentieth Century

[19] Smith, Bare Architecture A Schizoanalysis

[20] Kinder, Transmedia Frictions The Digital the Arts and t