#slag contemporary

[chronotsr]

No. 1 - G1, The Steading of the Hill Giant Chief (July 1978)

Author(s): Gary Gygax Artist(s): Erol Otus, Dave C. Sutherland III (cover), David A. Trampier Level range: Average of 9, preferably 5+ players Theme: Standard Swords and Sorcery Major re-releases: G1-3 Against the Giants, GDQ1-7 Queen of the Spiders, Against the Giants: The Liberation of Geoff, Dungeon #197, Tales from the Yawning Portal

I'm not sure if G1-G3 are the most remastered adventures of all time, but it's gotta be competitive. I think Tomb of Horrors might have it beat, but I haven't counted. The 4e conversion [the Dungeon #197 one] is really weird in particular because…4e feels like the edition least interested in the legacy of DND? It was boldly doing its own thing. A good quality, actually.

Anyway, it's time to slag off* on a beloved adventure. Note, I am using the earliest copy of G1 I can find, which is from waaaay later when D3 was complete. I apologize.

*And by slag off, I mean "be critical of at all". In practice, this module is actually showing some unusual acumen compared to its contemporaries.

EDIT: I forgot to mention a rather important thing when this was made live -- note the title there! We are officially in ADND land now, so put away your little brown booklets and switch over to the fuck-off awesome player's handbook with the iconic Moloch statue!

Somehow I had gotten my whole life at this point never really…understanding what this structure was supposed to look like? It looks like this.

I honestly think exterior shots of dungeons are critically underrated. Handouts are amazing and being able to flash the back cover art to safely show the party "like this" is actually great, I deeply wish that….any? of the previous modules had done that? I think the only one that did was Tsojconth. Weirdly, the interior drawing is very subtly different. Look at how the logs face:

Not a huge deal but, a kind of weird inconsistency that top one looks like a stockade and the bottom one looks like a log cabin. Side note, we know that the long dimension of this is using 210 feet tall logs, which is to say, the size of an average redwood. These are some big fuck-off trees -- which could be a very interesting detail about the local area.

Now the setup is pretty simple. You were hired to go beat up the giants because they've been raiding the local humans, figure out why they're raiding, and comeback posthaste. The locals have kitted you out with horses, guides, maps, et c -- but no compensation, they have simply omitted a finder's fee (cheap bastards). Also, if you fail, they'll execute you. With friends like these, who needs Giants?

Gary starts with some mild railroading (you accepted the job already, you are already kitted out, you already walked to a nearby cave, you waited til dusk to approach, you notice two guards are missing, and the cave is guaranteed to be moderately hidden. Sure, whatever, I'm going to ignore that if I run this tho. Gary notifies us of a few critical details:

Don't run this stock, that's immoral

Any surviving giants will flee to G2 if they have the opportunity (which, kind of inherently punishes clever play that avoids combat?)

There is a 2% chance per round that the wooden structure will be lit on fire due to chronic rain (why is this a dice roll??)

If you will permit me a tangent, player arson is truly the bane of interesting scenarios everywhere. Whenever a player wonders, "why are all the GM's dungeons underground or in stonework buildings?", it's because doing anything else invites arson as the default and best answer to all problems. Magic items are fireproof and most metal items will not get hot enough to be destroyed, so very often the best solution is to burn the place to the ground and loot it the next day. So, yeah. No wood buildings. Gary's fix is to have all the giants flee into the basement, then waste a week of the PC's time for daring to use arson. Kind of sucks!

Tangent complete.

Here's some random interesting bits:

Gary explicitly states that you can pass yourself off as hill giant kids, which is extremely funny. Minus the implicit child murder.

Naturally there are giant moms doing giant housemaid shit in several rooms. Presumably they have giant curlers too.

The secret door is, literally just a doorway covered by a pelt. I have to hand it to them, that'd trip up most players in 2024 AND make them feel stupid for not figuring it out!

The big reveal that Eclavdra the Drow is secretly behind it all is so lightly teased that it feels downright tasteful.

A giant that uses a ballista as a crossbow (based) and spears for arrows (also based) -- between the prevalence of lightning spears and greatarrows, one starts to think of a certain famous video game. Genuinely I think it'd be a fun exercise one day, for someone who is more knowledgeable than me about Japanese fantasy roleplaying culture, to talk about how anglophone fantasy works made their way into Japan and were interpreted.

One of the cloud giants has hidden a sentient giant slaying sword that speaks all the giant languages, it feels like there's a hell of a story going on there that is only alluded to!

To my knowledge, this is the first official depiction of an orc in DND? Which implies that Gary is team pig-orcs, which is cool. Frankly, I love porcine orcs, or even better just pigfolk in general, they're great.

I think it is actually a rather bold early stance for Gary to hold that, even here in 1978, Chaotic aligned creatures are not automatically friends. Granted, that's how it is in Elric, so it's not THAT bold, but clearly everyone else missed the memo. The orcs are willing to side with you at least in the short-run, and in our previous modules it was very rare to have groups of chaotic-aligned creatures fighting one another. It was always just personal beefs. In fact, the overall theme of G1 so far is that despite the boxy-ass dungeon design, there's already a command of naturalism that even modern dungeons really struggle with. Factionalism truly is the gift that keeps on giving for the GM!

So the big reveal internally to G1 (just think of that -- a reveal internally to G1, and externally to the GDQ supermodule -- we're already getting pacing!) is that the orc slaves have rebelled. And -- hey -- good for them. There's also a kind of…built-in companion refill system going on here? So in oldish DND the way it works is, the expectation is the party is not just 5 guys with swords. You've got companions to help fight, and you've got hirelings to do other stuff (test suspected traps, if you're evil). And you can only hire so many of these guys from town, but attrition is going to happen. So the modules simply provides, automatic replacements should you negotiate worth a quarter of a shit. A dwarf slave here, an orc slave there. Maybe a giant dissenter if you're really clever. One of the potential "rewards" you can get is more dudes to throw at problems.

More interesting bits

There is, what I can only really call an abortive idea going on here where there's a scary temple in the basement? But no one worships there and no information is provided. It is merely a fucked up altar. I think I vaguely recall that it's retconned Tharizdun in one of the remakes? They always retcon things to be Tharizdun. Busy man, Tharzy.

Gary, Gary no. Stop it. Stop this 78 guys bullshit. I thought we had established that giant rooms of giant clumps of guys was bad. I know you have terminal Napoleonics brain but stop.

Wait, Steading is a noun? I always thought it was a verb. Yknow, like "Steading those hill giants", taking 'em down a notch. Apparently, a Steading is a small farm -- same etymology as Homestead. I guess mark that as our first Gygaxism?

Our second Gygaxism is gill, which is "a quarter pint of an alcoholic drink", which is to say a few mouthfuls

Always end your adventures with weird, ominous non-diegetic text. On the flip-side, absolutely do not do what the adventure does, and end on a teleporter that takes you to the next dungeon. That is the worst option.

Anyway, that's the whole Hill Giant situation. Honestly, it's better than I remembered, but in proud module tradition up to this point it gets weirdly filler-y in the basement. There's just something about basements that makes dungeon designers stop giving a shit, I swear. I do need to give the man his due, even though he was a shitass person: Gygax wrote an 11 page module that is of noticeably higher killer-to-filler ratio than any of his contemporaries. G1 is better than any of its predecessors, pound for pound. It is way, way shorter which is I suppose a plus to me and a minus to others, but -- there is a clear internal logic to this place that is tragically missing from (say) The Dwarven Glory. And that internal logic is the beginning of good adventure design. Anyway, we have two fun tidbits to discuss before we end for the day.

First up, we have an of-the-time account of events in Dragon #19! It turns out that in Origins '78 they played G1-G3's prototype. The account is of the winners (mostly West Virginians, a few Michiganders), who used their magic extremely liberally to hide what they were doing as well as to scout. They did opt to light the place on fire, good for them! If you want to check this out, it's on page 3. I will mention G2 and G3 here as relevant later.

Second up, there's a weird interquel hiding in Dungeon #198! Hanging out as an informal G1.5 is "The Warrens of the Stone Giant Thane!" I will not review it in full because my understanding of 4e is, basically just skimming the PHB and reading the DMG, but essentially the Stone Giants are hypothetically aloof and not particularly loyal to their Fire Giant superiors, but someone gave them The Rock That Makes You Crazy and so now they are. Smash the rock!

Man, map design in the 4e era was so fucking bad. It looks fine, but like, this is four circles. And downstairs is, of course, cave as far as the eye can see. Aren't stone giants supposed to be skilled carvers? Anyway, If you feel like G2 would be too big of a jump mechanically compared to G1, this exists. I'm sure you could use it if you liked, and certainly there is a Genre of Grognard who would be kinda tickled at the thought of finding "lost content" for el classico GDQ.

Next week, we cover G2, which was also in July. So was G3! They're triplets!

[deathlessathanasia]

Were Aphrodite and Hephaestus ever considered a couple within cults? Or was it something strictly within the mythology?

I'm not aware of any explicit association between them in cult, but it is possible that their mythological connection had its origins in the religion of Bronze Age Cyprus.

„With the mining of copper and metal production in the Bronze Age, wealth and prosperity came to Cyprus and fell, naturally enough, under the patronage of the gods. In the 14th century an important and bronze-working complex was constructed at Athienou. In the next century, twin temples were erected at Kition in close proximity to one another, resembling Near Eastern prototypes that were dedicated to twin deities, male and female. Near the temples were two sources of wealth, a sacred garden and quantities of copper slag, the latter indicating smelting-workshops in the vicinity. …

Roughly contemporary with the second temple building at Kition was a sanctuary at Enkomi in which a bronze statue of a smiting god was found. He stands on a base shaped like an ox-hide ingot, as does a companion piece, a bronze statuette of a female deity, acquired recently in Oxford. … The evidence from Kition and Enkomi suggests that the flourishing metal industry on Cyprus in the 13th and 12th centuries BCE was under the patronage of twin male/female divinities. Could this cult have been a precursor to the later worship of a bisexual Aphrodite? The gardens connected with the temples at Kition recall the later association of Aphrodite with gardens: Strabo reports (14.683-684) that in the Classical period Aphrodite was worshipped on Cyprus in a place called Hierokepis or Hierokepia („sacred garden”). In the Greek world, Aphrodite's connection with metalworking was expressed in myth through her marriage to the smithy-god, Hephaistos. In the Athenian agora, the temple of Hephaistos was close to the place where Aegeus built the shrine of Paphian Aphrodite (Pausanias 1.14.7). … The more infamous sexual partner of Aphrodite was Ares, the warrior god. The Cypriot forebear of these two Greek mythical partners of Aphrodite may have been the smiting god standing on the ingot.”

- Bonnie Maclachlan, The Ungendering of Aphrodite, in Engendering Aphrodite: Women and Society in Ancient Cyprus

[anonymoushouseplantfan]

Robert Hardman in the DM: "To quote our late Majesty… recollections may vary: The South Africa trip where he met the Spice Girls, and the history teacher who mocked him at prep school. Prince Harry's version of events is very different to what ROBERT HARDMAN has unearthed"

dailymail . co . uk/debate/article-11612825/ROBERT-HARDMAN-quote-late-Majesty-recollections-vary . html

"it is in his casual disregard for the minor characters that Harry has been particularly harsh. For example, his account of his prep school, Ludgrove, paints several unkind portraits of individuals.

"A matron is mocked and disparaged for her physical shortcomings as well as her character. Harry describes his pain from the taunts of a history master who mocks him for his lack of interest in royal history. It compounds an image of a boy who seems to have been miserable from start to finish.

"Ludgrove contemporaries have a very different recollection. They remember the way in which the school, the staff and especially the headmaster’s wife, Mrs Barber, rallied round Harry after the death of his mother.

"They remember what a pain in the neck Harry — though lovable — could be and describe the history master as having ‘the patience of a saint’."

He apparently slags reporters, teachers, employees, aides, etc... No one, no matter how humble, is spared (pun intended). It sounds like he is a complete a-hole.

[beatrice-reden-official]

I mean considering I have a protocol for contemporary speech. If that was the slag of the time yeah.

OH FUCK YEAH-Bibi

[mywifeleftme]

148: Neko Case & Her Boyfriends // Furnace Room Lullaby

Furnace Room Lullaby Neko Case & Her Boyfriends 2000, Mint (Bandcamp)

2000s indie rock had plenty of intelligent, unusual singers who knew how to maximize what gifts nature had allotted to them but there was always a sort of unconscious deference when people talked about Neko Case’s voice—like the one student in an art school class of postmodernist pranksters who can really paint. It’s easy to slag off the old notions of beauty till someone shows up with a vast, grain-gold whipcrack of a voice who wants to put it to good use. Case came of age in Pacific Northwest (Seattle/Vancouver) punk scenes, and she carried its spiky but communitarian DIY attitude with her, even as she gradually transitioned into the countrified sounds on which she’d make her name. Her breakthrough LP Furnace Room Lullaby turns away from contemporary pop-country, but it’s not the refined country-folk of a Gillian Welch or an Alison Krauss either. Despite her lyrical chops, she’s more of an update on a Loretta Lynn or a Tanya Tucker, full of fierce underclass pride and melodrama.

Case was always well-reviewed, but you can detect notes of pessimism in the notices from American East Coast critics. I was stumped at the time by this polite but slightly chilly reception, but in retrospect, I understand it better. When I hear Orville Peck’s music, or Shakey Graves’, I think it’s mostly fine but also phony as hell, and in the late ‘90s and early ‘00s a lot of critics had their hackles up about anything you could call alt-country. Too many urban hipsters affecting a twang and singing about rural alienation, the contention went, and indeed the conversation around alt-country’s inauthenticity presaged a lot of today’s discourse about appropriation. (And a lot of alt-country turns out in retrospect to have indeed been corny as hell!)

But I think as we approach the 25 anniversary of Furnace Room Lullaby, it has become clear those reservations about her music were unfounded. Its fusion of classic honky tonk country with the ‘90s Canadian roots rock of bands like Blue Rodeo and the Sadies (the latter of whom frequently backed up Case during the period) has aged such that there are few visible seams between the traditional and the modern. Case and her collaborators deliver one of her strongest sets of songs—less overtly poetic than the imagistic fables of follow-ups Blacklisted and Fox Confessor Brings the Flood, but in some ways better for it. It’s still the best introduction to her catalogue and, depending on who you’re recommending it too, a fine introduction to country as a genre. Start with “Set Off Running,” and you never need to stop.

148/365

[thejackmeister-mongolhistory]

TURKIC(?) FURNACES OF THE ALTAI

Not only did the empires of the Eurasian steppe have access to furnaces for metalworking, they employed several kinds over the millennia to serve different roles. Usually all that survives archaeologically, is the slag remnants of the bottom of the structures and an outline of their foundations. Given that most of these were made of clay, they essentially dissolved over time. But as some of these were constructed of large stones, a better idea of their shape can be constructed (and on occasion, contemporary illustration survive, either medieval or early modern).

These furnaces could range from very small clay structure, hardly 30 cm high (used by, say, an individual family and built for a single-use) to great behemoths, such as the so-called Kosh-Agach style furnaces (illustrated here). The remains of these are found along the Kuektanar River in the Altai Republic, and have been dated to anywhere from the 3rd century to the 9th; from the Rouran Khaganate to the Göktürks depending on the estimate.

The height of the smelting chamber was two meters tall, with a long channel running from it for which the molten slag would run down the slop into the river. A 350 kilogram block of slag was found at the bottom of it, an indication of huge volume of material it could handle. Keeping such a huge space heated required great skill on the part of the guys running it; tuyeres (clay pipes) were in it sporadic to keep up airflow. A great supply of charcoal would have been necessary even for one heating of it.

This was not a construction to provide a family with arrowheads; this was a huge, professional operation requiring an extensive network to supply it. Whatever iron implements they were making here— tools, armour pieces, weapons, whatever— they were making a lot of it.

My latest video series discusses this matter of production, furnaces and other details around nomad blacksmithing:

Part 1: Overview

Part 2: from the Xiongnu to the Türks and Uyghurs

[the-alan-price-combo]

Wow, That Was Long. And I’m Gay.

“Eric got publicity for a certain amount of time by slagging me off. But that’s just how it was. No one wants to hear you are best buddies.” - Alan Price, 2008. (https://safc.blog/house-of-the-rising-sunderland-fan/)

“These two fascinate me to no end, what the heck? Like, how did they even function around one another? They hated each other so much. (Wrong, 2020!Connie 😐)

Like, everytime I feel I can get a grip on their dynamic, I fail because they were absolutely polar opposites yet attempted to work with each other not only as a band, but as composers, with tensions arising because of pride on both of their parts. Alan was jealous of Eric and Eric was confused by Alan and it shows. What the heck, gay little monkeys.” - Me, November 23rd, 2020.

Wow, so we’ve reached the end. 30,000 words, I wrote about these two… and I’m so, so glad that I did.

Now, I guess the million-dollars-that-Michael-Jefferies-stole question is: why did I do this? And I’m not just referring to spending a month of my life writing this all out, but spending nearly two years of my life combing through the minimal recorded footage of them that exists, the handful of biographies, and an intense amount of obscure magazine scans (many of which, I purchased myself) to compile information about them?

Well, I think it can all be traced back to that expression Alan makes in Dont Look Back, after Bob had asked him if he left the Animals. Anything revolving around Alan all comes back to that expression, for me.

Because that’s an expression that suggests something far deeper than dissatisfaction with how his band was functioning and a distaste for traveling. It was an expression of regret, of fear, of loss, of confusion. Many things could have caused this expression that flashed across his face, and I immediately recognized that as another person. Someone was the root of his uncertainty about this decision, and I wanted to know who.

And once I found out who that was, and how many misconceptions seem to be shared about their relationship, I knew I wanted to learn more.

You see (and, as I mentioned way at the beginning), even I fell into the trap of thinking Alan and Eric’s relationship was nothing but homoerotic pettiness for their entire professional careers together. Frustrated that they couldn’t songwrite together like their contemporaries, Alan jealous of Eric’s abilities and being moody in general, Eric confused about Alan’s attitude and world view, and both constantly forced together, be it because they were in the same social sphere or for arbitrary reunions. I found them compelling, sure, but in more of a meme-esque way. Like, “Look at these guys in their early-20’s acting divorced even before their band breaks up.” - even more hilarious for me after my time observing McLennon for a while and just how affectionate things between “those two particular members of the band” could be. They wouldn’t be the only duo in 60’s bands to be behaving like this, of course… but it was just so hysterical.

However, that’s just with the context of Sean Egan’s biography about the Animals and some miscellaneous documentaries/articles about them fueling me. This was before all of those magazine articles, those seemingly lost pieces of footage of Alan saying they had “common souls” and Eric saying they had a “delicate relationship”, those photographs of them on Ready, Steady, Go!, and those little sprinklings of information here and there. I found most of it steadily, back in late-2020 and early-2021, putting together a somewhat more affectionate picture. Then I met tealightwhimsy in late-2021 and she found the scan archive in early-2022, and the floodgates opened. No, I don’t see Alan Price and Eric Burdon as perpetually divorced, from 1963 to 1983, before actually divorcing from 1983 onwards.

I see Alan Price and Eric Burdon as two, genuine friends, sharing a bond with one another, in music and in each other, that they didn’t have with anyone else. They contrasted, yet also complemented one another in personality and energy. While they could only function effectively with the other in specific circumstances where they weren’t pressured by other people - due to their individual stubbornness, Eric’s headstrong nature, and Alan’s moods - when they did get together on their own time, they blossomed. And they always did. Even now, when Eric is thoroughly salty and refuses to speak to Alan and Alan is fully aware of the bridges he’s burned… they still hold an immense amount of respect for each other. In a different universe where things turned out a little better and Alan wasn’t so stingy with the royalties and his recounting of the story, there’s no doubt that their friendship would’ve persisted to this day, much like Eric and Hilton’s had. We don’t live in that universe, but that doesn’t mean we have to ignore the friendship that was so clearly there.

I understand that some folks, be they classic rock fandom-dwellers or musical boomers, may find their relationship unsalvageable for many reasons, and that’s completely okay. Some people can’t get over what Alan did in general, so of course, their relationship is already tainted right out of the gate. I’m not saying they’re perfect, or the most healthy relationship in the world; they’re entirely imperfect, which is what I love about them. They’re unabashedly human, especially with one another. Of course, I have my immense Alan Price Bias that makes it easier to look past that one unequivocally, objectively terrible thing he did to see the nicer moments he had with the Animals and Eric, but it’s also pretty easy to adopt this mindset once you learn a bit more about his psyche. They were never rivals, and they were never enemies… even now.

Tying back to that quote I started with at the beginning of this section, Alan’s “No one wants to hear that you are best buddies” speaks volumes here, because he’s completely right, at least about a certain point in time. I observed this in the Beatles/McLennon fandom a while back as well: interesting how so many think-pieces written by folks from basically the break-up of the Beatles in 1970 to the early 2000’s leaned so antagonistic, especially between John and Paul (but also all of them, if we’re being honest), despite all four of them saying time and time again that they still cared about each other. It wasn’t until the rise of prominent online fandoms in the late-2000’s and 2010’s that there emerged vocal groups of fans that wanted to learn and document all of the more affectionate moments between all of them, even during their own “divorce arc” in the 70’s.

And it’s interesting that a lot of this digging done by fandoms is spearheaded by young, LGBT+ folks, both to find hints of homoeroticism as well as paint a less antagonistic picture than the… ah, mostly cishet men had been writing about for 30 years, pitting the four (but particularly John and Paul) against each other like action figures.

There’s no doubt about it: drama sells, rivalry sells, even back then. Funnily enough, Alan and Eric and the rest of the Animals weren’t nearly antagonistic enough with each other for this to be marketed upon, even post-’83. They were too tired and mellow to say much of anything besides passing jabs at one another, yet reads of them are still skewed so negatively. People think Alan Price and Eric Burdon hated each other since day one, even though Eric dressed up as a bear on live television for Alan to help him promote a song. Because it’s a lot easier to consume regurgitated, half-hearted information circulated since the 90’s about all of them hating one another. It doesn’t force you to confront heteronormativity or toxic masculinity, in other words. 😐

Anyway, that’s why I’m thankful that there’s been a shift - be it thanks to renewed fandom or culture as a whole - towards more positivity in research and wanting to look for the more pleasant, affectionate moments between all of these rock bands. Sure, for a lot of us, this is fueled by a lot of us being flaming homosexuals looking for flaming homosexual moments in the music history we enjoy for validation, but we also… just want some good vibes.

It’s the reason I’ve hyper-fixated on the original Animals so specifically. Alan in particular, and of course his relationship with Eric, but all of them. It’s unmarked territory, populated by earnest 60+ folks on Facebook, with just three biased biographies, two autobiographies from a band member, and a few dozen bad-faith-in-good-faith articles that don’t have the full picture to show for it. It’s a niche, in other words, and a niche that I absolutely love - one I can forge my own path within, and a path other folks can also explore if they so choose. I’m not trying to change the world or anything… but I do try to be lighthearted and fun with my art and writings like this to reflect this relative lack of antagonism early on, so folks of all ages can appreciate the Animals, and Alan and Eric, as a unit. And it makes me so incredibly happy that, already, I’ve touched people’s lives and helped them learn, through the legitimate stuff and the silly, gay, speculative stuff.

With all of that being said, thank you so much for reading. Be it just a few parts, or the entire thing - the fact that you read me gushing about and awkwardly quoting Alan Price and Eric Burdon for who knows how long truly means so much to me, and I appreciate it. I don’t want to get too sappy and personal, but these two (and the Animals as a whole) have been an immense source of comfort and respite for me over the past two years - I honestly don’t know where I’d be without them, or if I’d even be alive. I’m so thankful for them - their contributions to music and music history as a whole. And Alan and Eric… I’m thankful that, through their imperfections and troubles, they found each other, time and time again.

Feel free to message or send me asks if you have any questions, about these two or the Animals in general! And, of course, questions can regard speculation or headcanon as well! I love talking about them… even with 30.000 words already out there. Also, I draw the Animals (especially Alan and Eric) a lot so… look forward to more silly stuff.

Anyway, time for another Dr. Pepper as I watch Alan Price and Eric Burdon - Live at Newcastle City Hall 1982 (ARCHIVE MASTER TAPE) for the 437th time. Comfort, I tell you!

– Connie

All Sections | Thanks for reading; I love Alan Price and Eric Burdon

[adhesives122]

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[flowingfloorsltd]

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Because of its extreme durability and ability to tolerate high foot traffic, concrete floors are perfect for both residential and commercial settings. In contrast to conventional flooring materials that could break down or need constant upkeep, concrete surfaces are meant to stay. They can keep their look even in heavily frequented locations since they are resistant to stains, impacts, and scratches. Concrete floors may also be extremely resistant to moisture and stains with the right sealing, extending their lifespan.

Versatility in Design

The adaptability of concrete flooring is one of its most attractive features. Contemporary concrete flooring may be tailored to match any interior design aesthetic, from industrial to sleek and minimalist. Concrete may be given several finishes, such as glossy, matte, or even upscale marble-like qualities, by staining, polishing, or texturing it. Because of its versatility, concrete floors may be easily matched with any type of interior design, improving a space's overall appearance.

Low Maintenance

Concrete flooring is really simple to keep clean. Concrete floors simply need the occasional sweeping and mopping to keep clean, unlike carpets or wood floors, which need routine cleaning and treatments. You won't have to worry about enduring stains or damage since sealed concrete floors are stain and spill-proof. Furthermore, concrete floors are a healthier option for homes and workplaces since they don't retain dust, dirt, or allergies.

Energy Efficiency

In contemporary environments, concrete flooring helps to reduce energy use. Concrete's thermal mass allows it to collect and store heat during the day and release it at night, which helps to control indoor temperatures. This can result in lower heating and cooling expenses since concrete floors contribute to year-round temperature stability. For areas where underfloor heating is installed, concrete is an excellent choice since it efficiently distributes heat from the system into the space.

Eco-Friendly Option

Sustainable Materials: Cement, sand, and aggregate are common, naturally occurring materials used to make concrete. In order to cut down on the requirement for virgin resources, it can also use recycled elements like fly ash or slag.

Waste Reduction: Reusing or repurposing existing concrete helps reduce waste. This lowers the need for new materials, which promotes more environmentally friendly building techniques.

Sustainable Construction Practice: Concrete flooring is an environmentally responsible option for people who want to reduce their influence on the environment. It also encourages eco-friendly construction practices.

Cost-Effectiveness

Long-Term Savings: Although initial installation costs may be higher, the durability of concrete floors results in lower maintenance and repair expenses over time, leading to overall cost savings.

Economical Design Options: Concrete flooring offers a variety of design possibilities, enabling homeowners to achieve a high-end appearance without the hefty price tag associated with other premium flooring materials.

Durability: The robust nature of concrete means it withstands heavy use and environmental wear, reducing the need for frequent replacements and repairs, thus providing a cost-effective flooring solution in the long run.

Conclusion:

Concrete floors offer various benefits that make them an excellent choice for modern spaces. Their durability, versatility, low maintenance requirements, and eco-friendliness align perfectly with contemporary design principles. Whether you’re looking to enhance the aesthetic appeal of your home or create a practical and stylish environment for your business, Concrete Floors Manchester provides a lasting and attractive solution. Embracing Flowing Floor Ltd means investing in a modern, functional, and sustainable option that complements any design vision.

[andrewrobertsoncreativeenquiry]

Creative enquiry

This module’s current working title is “The biggest elephants in the room.” It will focus on two of the global issues I am unable to ignore and often play on my mind, in an almost uncontrollable fashion.  

war and the production and sale of weapons

the climate crisis.

The brief

The main purpose of this module will be to produce a body of work that encourages thought and hopefully insights for the viewer to delve deeper into these topics, with the aim of further understanding how the actions of our governments and citizens play a part in these issues.

Research

To further understand these issues and how other artists have approached them I will utilise a variety of different sources from both the art world and the world of journalistic media, as well as United Nations data and Official statistics, some of which will be listed throughout this proposal.

Artist research

Source: https://www.instagram.com/spellingmistakescostlives/

Darren Cullen 

"Britain-hating anarchist who knows the value of nothing" - Johnny Mercer MP

Cullen’s work is often a bit brash for my tastes however I do like a lot of what he produces and have an interest in similar issues. I believe his choice to swich from advertising to fine art whilst studying has given him a style which has both visual impact and strong meaning, something which I endeavour to achieve in my work, yet in different ways using my already developed/developing style.        

Sources: https://www.instagram.com/peterkennardx/

“Peter Kennard's work is haunting. Eschewing words, it insists upon not being forgotten. He is a master of the medium of photomontage. His images are impossible to convey with words because of their unmistakable visual texture, pure and dirty, suggesting a strange amalgam of X-ray, satellite image and slag. The future - which for so long was a mine of gory rhetoric for those holding power - today depends upon those who insist upon looking beyond their lifetime. And to do this we have to scrutinise, like Peter Kennard, our nightmares and suppressed hopes. His art cannot be ignored.”   John Berger for the Guardian news paper

Media based research

Some examples of the sources of journalistic content I will be using, spanning online news sites such as the BBC news website, newspapers, and documentaries.

Websites (to be used to gather information and statistics)  

https://www.defense.gov/   (US Department of Defence)

https://www.ohchr.org/  (UN Human rights)

https://www.baesystems.com/ (UK based weapons producer)

https://www.lockheedmartin.com/ (US based weapons producer)

https://www.mil.gov.ua/en/ (Ministry of Defence for Ukraine)

https://eng.mil.ru/    (Ministry of Defence for Russia)

War is a smoke screen, and both the reporting of it and the presentation of information about it from official sources can prove to be angled or inaccurate. This is something I will have to be aware of, and perhaps draw attention to, with some of the works produced.

After preliminary research, I have decided that much of this work will be based around the production of mock weapons. This will work as a personal attempt to get into the headspace of those who produce, sell, and licence the sale of weapons, while also producing a thought provoking and visually stimulating body of work. This will be carried out using a variety of mediums including plaster casting and use and alteration of ready-made items. Some of these will be toys intended for children, with the intent of leading to an examination of the effect of war and use of weapons on the development of children and young people.

Current works in progress for creative enquiry

A Robertson October 2023: Babies’ mobile made using altered child’s dive toys

This work is about the affect of growing up in a war zone and how this perhaps can normalise war or at very least make it seem a possible option.

A Robertson October 2023: Plaster of Paris casts of artillery shells (photoshop impression)

This work more directly looks at the production of weapons and may become some sort of memorial to lives lost in conflict during 2023. 

The Climate Crisis

The other component of this module will explore attitudes and reactions to the ever-worsening climate crisis, both on a collective and personal level. The works produced will use a mix of stills photography and moving image.  These will be used to highlight the hypocrisy of our own actions and our governments’ actions in relation to this crisis.

This will be a smaller component of the module. It’s important to note that this may not be progressed due to a variety of concerns at this stage, including my time, heath considerations and the fact that there may be a lack of synergy between the two suggested topics. However, I feel that I have some good work in the pipeline on this topic and that there are important links between the use of fossil fuels and war and weapons production.

 

Source: https://www.instagram.com/anyrobot_____/

[helloparent]

A Guide to NCERT Solutions for an Elementary School in a Slum

Introduction to "An Elementary School Classroom in a Slum"

The moving poem "An Elementary School Classroom in a Slum" vividly depicts the harsh reality that kids learning in slums must deal with. The poem criticizes the socioeconomic injustices that impede these kids' academic and personal growth through its lyrics. NCERT solutions are included in this guide to assist students in exploring the themes, images, and messages of the poem.

Understanding the Poem

Themes Exploration: Dive into the central themes of inequality, hope, and the transformative potential of education. Discuss how the poem uses vivid imagery to highlight the gap between the educational experiences of children in slums versus those in more privileged environments.

Imagery and Symbolism: Analyze the use of imagery to depict the classroom's conditions and the lives of the children. Discuss symbols such as the "narrow street sealed in with a lead sky" to understand the poet's portrayal of confinement and lack of opportunity.

Key Questions and Answers

What is the significance of the title?: 

Explore how the title sets the stage for a critique of educational inequality and prepares the reader for a journey into the lives of underprivileged children.

How does the poet describe the children in the classroom?: 

Discuss descriptions that convey physical and emotional deprivation, yet also hint at the innate potential stifled by their circumstances.

Multiple Choice Questions (MCQs)

The poem primarily critiques which aspect of society?

A) Economic policies

B) Educational inequality

C) Technological advancements

D) Environmental issues

Answer: B) Educational inequality

Which symbol in the poem represents a bleak future?

A) Sun breaking through the window

B) Maps on the classroom walls

C) Slag heap

D) The "lead sky"

Answer: D) The "lead sky"

What does the poet suggest as a solution to the children’s plight?

A) More rigorous academic programs

B) Government intervention

C) An overhaul of the educational system

D) Opening the windows to the outside world

Answer: D) Opening the windows to the outside world

Analyzing Poetic Devices

Metaphor and Simile: Identify and discuss the use of metaphors and similes, such as comparing the classroom to a "slag heap," to convey the grim realities faced by the children.

Alliteration and Assonance: Examine how sound devices contribute to the poem’s mood and tone, enhancing the reader's emotional engagement with the text.

Discussion Points for Classroom Engagement

Role of Education: Debate the poem's portrayal of education as both a failing system and a potential vehicle for change. Encourage students to discuss their views on how education can be made more equitable.

Personal Reflections: Invite students to share their thoughts on how the poem's themes relate to current social issues, fostering empathy and a deeper understanding of inequality.

Utilizing Technology for Enhanced Learning

School Parent Apps: Discuss how these school parent app can be used to share additional resources, homework assignments, and foster discussions outside the classroom about social issues highlighted in the poem.

Digital Platforms for Collaboration: Encourage students to use online forums and platforms to collaborate on projects that explore the themes of the poem, such as creating their own poetry or art inspired by the text.

Conclusion

"An Elementary School Classroom in a Slum MCQ" offers a profound commentary on the disparities in educational opportunities and their impact on children's futures. This NCERT solutions guide aims to provide students with the tools to critically analyze the poem, understand its themes and devices, and reflect on its relevance to contemporary society. By engaging with the poem's content and exploring its messages, students can gain insights into the power of education to transform lives and the importance of striving for equality in all aspects of society.

Check: Preschool in Pimple Saudagar, Preschool in Wagholi, Preschool in Noida

[pink-blue-red-from-everhood-zero]

fun worldbuilding concept for modern sci-fi:

"Up until the collapse of the Yankee Empire, nuclear power went completely overlooked in the public understanding that mass human safety and the total recapture of toxic waste should be held paramount in scenarios up to and including improv terrorist attacks; a LUXURIOUS standart to which NO other contemporary generator was held.

*presents napkin*

Here's a modern power supply slightly closer to parity with midwar petrochemical reactors: you can make one of these little man-portable Mephistophiles with an Arduino, a sodapop 2-liter, a kilogram of lead and a pound of 2-part radioisotope nightmare slag I'm whimsically christening "Fizzium Plutofermentate."

Keep heavy-duty power cables and a large, empty battery on hand. And under NO CIRCUMSTANCES should you let it pop."

[chemicalsectorupdates]

Navigating Regulatory Challenges in the Ilmenite Industry

Ilmenite: An Important Mineral For Titanium Dioxide Production It is a weakly magnetic mineral that contains iron, titanium, and oxygen. Its chemical formula is FeTiO3 and it crystallizes in the trigonal system. Its usually contains around 50-65% titanium dioxide and ranges between 35-49% iron(II) oxide. Trace amounts of other elements like magnesium, manganese, chromium are also sometimes present in the mineral. Ilmenite has a black to steel-gray color and its hardness on the Mohs scale ranges between 5-6.5. It has a submetallic to dull luster and leaves a brown streak. Occurrence and Deposits It is one of the most abundant titaniferous minerals found on Earth. It occurs in igneous and metamorphic rocks as well as in some sedimentary deposits formed by erosional processes. Some of the major occurrences of ilmenite deposits include Australia, South Africa, Canada, Norway, India, Ukraine, Russia and the United States. Australia has some of the largest deposits in the world located in Western Australia. Its deposits often form placers and heavy mineral sands near ancient or contemporary coastlines. Alluvial deposits concentrated by ocean currents and wave actions have also produced many ilmenite accumulations over geologic time. Uses and Application It is primarily used for the production of titanium dioxide which possesses valuable properties like brightness, high refractive index and stability under light exposure. Around 95% of the mined element is processed to obtain titanium dioxide, which is used extensively as a white pigment in paints, paper, plastics, textiles, ceramics, floor coverings etc. Titanium dioxide has superior opacity and hiding power compared to other white pigments like zinc oxide and lead carbonate. It is also used as a reinforcing agent in laminates, abrasives and welding rods. Ilmenite can be transformed into titanium tetrachloride or titanium sponge - important intermediates needed for the manufacturing of titanium metal. Due to its magnetite content, it also finds applications as an important source of iron. Mining and Processing Ilmenite deposits are mined through conventional open-pit mining methods. Overburden and waste rock are first removed to expose the ore bodies. Heavy mining equipment like excavators and haul trucks are used to extract and transport the run-of-mine ore rocks. The mined element is crushed and ground to liberate individual mineral grains before being concentrated through gravity or magnetic separation techniques. This results in an upgraded ilmenite concentrate ranging between 55-65% TiO2. The concentrate is then subjected to various pyrometallurgical processes to convert it into usable materials. The sulfate process and chloride processes are commonly used for transforming the concentrate into synthetic rutile, titanium slag or titanium tetrachloride respectively. These intermediates serve as feedstock for various titanium products worldwide. Market Dynamics and Industry Trends The global market was valued at around USD 2.5 billion in 2020 and has been growing steadily. China, India and Japan are the leading consumers of ilmenite due to large-scale paint, plastic and paper manufacturing industries prevalent in these countries. China alone accounts for more than 40% of the total global demand. Rising population and economic growth in Asia Pacific are projected to elevate its consumption in the coming decade. Tightening environmental regulations regarding the use of lead and other toxic pigments will also boost demand for titanium dioxide pigments produced from it. New mining projects coupled with advancement of mining and processing methods are helping to augment global ilmenite supplies.

[symetriie]

Embodied Carbon: What it is and how to deal with it

As architects, you’re not just creators of spaces but custodians of the future environment. Sustainability is the keystone of contemporary architecture, guiding both design philosophy and construction practices. And among the most critical aspects of sustainable design is embodied carbon, a metric that evaluates the environmental impact of the materials and methods we employ from the ground up.

In this blog, we delve into the significance of embodied carbon in the sustainability narrative and investigate how it can serve as a benchmark for the green credentials of our new buildings. Let’s get started, shall we?

Understanding embodied carbon

“In the building industry, embodied carbon refers to the greenhouse gas emissions arising from the manufacturing, transportation, installation, maintenance, and disposal of building materials. In contrast, operational carbon refers to the greenhouse gas emissions due to building energy consumption.” – Carbon Leadership Forum

The Paris Agreement has set a threshold: to prevent a disastrous shift in our climate, we must cap the rise in average global temperatures at 2°C. The building industry is responsible for 39% of annual CO2 emissions, and embodied carbon alone accounts for 11% of global annual emissions​. With atmospheric carbon accumulation and a narrowing window to avert the tipping point, the carbon we emit today weighs heavier on our climate's fate than carbon released in the future.

Most of a building's embodied carbon emissions occur during the product stage, marking the beginning of its life cycle. Unlike operational carbon, which can be reduced over time through energy-efficient measures, embodied carbon is fixed once construction is complete, with no retroactive solutions available. This makes the decisions made during the design and material selection phases crucial, as they have immediate and lasting environmental consequences.

Considering our immediate and long-term climate goals, addressing embodied carbon from the initial stages of design is essential.

Addressing embodied carbon

Effectively reducing embodied carbon in new constructions hinges on choosing the appropriate materials. Ideal materials should be:

Durable and reusable

Using more durable materials means a longer building lifecycle and less need for repairs. It also increases the ability to re-use the materials when the building does reach its end of life. For example, if a material can withstand greater loads or stresses, it may be possible to use less of it to achieve the same structural performance, thus reducing the embodied carbon associated with material volume.

Made of wholly or partially recycled materials  

Using recycled materials can extend the lifetime of raw materials and reduce the need for extraction of new materials from the earth — which, in turn, reduces the energy required to produce new materials. For example: substituting cement with slag, fly ash, or other pozzolanic or lime-based materials can reduce embodied carbon by 14–33% at no cost or even a cost reduction.

Sourced and/or produced locally

If materials — virgin or recycled — are sourced locally, the energy and emissions associated with transportation can be significantly reduced compared to shipping materials from potentially distant locations. The further a material must be transported, the more energy is used, and the greater the emissions are from the vehicles used for transportation.   We have both the privilege and the responsibility of shaping the environmental legacy we leave behind. By making informed decisions in the design phase, selecting sustainable materials, and adopting innovative construction techniques, we can significantly mitigate the environmental impact of our creations.

Every step we take towards reducing embodied carbon is a stride towards a more sustainable and resilient future. Let us not underestimate the power of our choices and the positive ripple effect they can have on the world.

📄 Want to learn more about material selection’s role in reducing embodied carbon? Check out our infographic, Sustainable Buildings for Sustainable Futures.

[auction5254]

The Allure of Glass Slag Lamps and the Timeless Appeal of Slag Lamps for Sale.

In the world of lighting design, the glass slag lamp stands as a beacon of timeless elegance, casting a warm and captivating glow that transcends eras and styles. These exquisite lamps, crafted with precision and artistry, have become coveted pieces for collectors and enthusiasts alike. Join us on a journey to explore the allure of glass slag lamps and the quest for those seeking the perfect slag lamps for sale.

The Artistry of Glass Slag Lamps

Glass slag lamps, often hailed as functional works of art, boast a distinctive aesthetic that marries craftsmanship with visual appeal. These lamps are characterized by their ornate metal bases and shades crafted from vibrant, multicolored glass slag. The unique patterns and hues result from the blending of different colored glass during the manufacturing process, creating a mesmerizing mosaic that comes to life when illuminated.

The artistry involved in creating glass slag lamps lies not only in the fusion of colors but also in the meticulous shaping of the glass and the design of the metalwork. Each lamp tells a story of skilled craftsmanship, attention to detail, and a commitment to creating an object that transcends its utilitarian purpose.

A Timeless Elegance Illuminated

Glass slag lamps epitomize timeless elegance, making them cherished additions to both classic and contemporary interiors. Whether placed in a Victorian-era parlor or a modern living space, these lamps effortlessly blend with diverse decor styles, adding a touch of sophistication and warmth.

The interplay of light through the glass slag creates a soft, ambient glow that enhances the atmosphere of any room. The elegance of these lamps lies not only in their visual appeal but also in their ability to evoke a sense of nostalgia, transporting onlookers to eras where craftsmanship and design were paramount.

The Quest for Slag Lamps for Sale

For enthusiasts and collectors captivated by the allure of glass slag lamps, the quest for the perfect slag lamp becomes a journey of discovery and appreciation. The market for slag lamps for sale offers a diverse array of options, each lamp telling its own story and carrying a unique charm.

When embarking on the quest for slag lamps, collectors often find themselves exploring antique shops, online auctions, and specialized dealers. The availability of these lamps in the market is a testament to their enduring popularity and the demand for pieces that blend history, artistry, and functionality.

Navigating the Antique Market: What to Look For

As collectors seek the perfect slag lamp, there are key considerations to keep in mind when navigating the antique market. The condition of the glass and metal components, the authenticity of the lamp's design, and the presence of any manufacturer's marks are crucial factors that contribute to the lamp's value and desirability.

Originality is highly prized in the world of antique lamps, with collectors often seeking pieces that retain their original glass shades and metalwork. The patina of age, when well-preserved, adds character to the lamp, reflecting its journey through time and enhancing its vintage appeal.

The Versatility of Glass Slag Lamps in Modern Decor

While glass slag lamps have a rich history rooted in the early 20th century, their design versatility ensures they seamlessly integrate into modern decor schemes. Design enthusiasts often leverage the lamps' timeless appeal to create eclectic interiors that blend the old with the new.

The ability of glass slag lamps to complement various design styles, from industrial chic to vintage glam, contributes to their enduring popularity. Whether chosen as a focal point or as an understated accent, these lamps bring a touch of sophistication to contemporary spaces.

The Restoration Journey: Preserving the Legacy

For collectors who acquire vintage glass slag lamps, the journey often involves restoration and preservation efforts. Ensuring the structural integrity of the metal base, repairing or replacing damaged glass, and cleaning accumulated grime are common tasks undertaken by those committed to preserving the legacy of these timeless pieces.

Restoration efforts not only breathe new life into a vintage lamp but also contribute to the ongoing narrative of its existence. Each meticulously restored lamp becomes a testament to the dedication of its caretaker, ensuring that the artistry and craftsmanship endure for generations to come.

Investment Potential: A Guiding Light

Beyond their aesthetic appeal, glass slag lamps also carry investment potential for collectors with a keen eye for vintage treasures. The rarity of certain designs, coupled with the growing appreciation for craftsmanship and historical significance, has contributed to the increased value of these lamps in the antique market.

Collectors who invest in slag lamps not only acquire a functional and visually stunning piece but also participate in the preservation of cultural and design history. The investment potential of these lamps adds an intriguing layer to the quest for the perfect slag lamp, making each acquisition a carefully considered choice.

Conclusion: The Timeless Glow of Glass Slag Lamps

In the quest for glass slag lamps for sale, enthusiasts embark on a journey that transcends mere acquisition; it's a voyage into the rich history of design, craftsmanship, and timeless elegance. These lamps, with their vibrant hues and intricate patterns, cast a warm and inviting glow that has the power to illuminate not just physical spaces but also the imaginations of those who appreciate the artistry of a bygone era.

Whether sought for their aesthetic charm, investment potential, or historical significance, glass slag lamps continue to captivate collectors and enthusiasts, ensuring that their timeless glow remains a guiding light in the world of vintage decor.

[gplewis]

I FORGOT MY LAPTOP

on a day i’m so on fire with dozens of days of high performance behind me, i have my eyes (that see me) to offer you, the world, eternity, infinity — i am qualified and initiated into appreciating and becoming music, dance, movement, reverence of nature, prayer, wonder ~ all the right words, no need to prove, no doubt: all faith and love for now; love comes and goes: another post meant to finalize and totalize; real artists know things keep going on and on; even death doesn’t stop it (well, others might think so; now i’m self-conscious of the dance between the freedom of subjectivity and objectivity ~ this slag painting is not superior to others from days past or other contemporaries’ plumed brushstrokes ~ what matters is the intensity of wanting to express, to name, to be real, and the nature of that union between soul and reality, via language and belief, which causes memory to stir and erupt the faces of venomous snakes (woman becomes Medusa)