#source: cm writer

[dcvidsrossi]

Luke: Thank you for not saying “I told you so”.

Tara: When you're as right as I am, you don't have to say it.

[walks-the-ages]

OP deactivated, and some of the links were broken/marked unsafe by Firefox, so here's a new compilation post of Leslie Feinburg's (She/her, ze/hir) novels and essays on being transgender:

Stone Butch Blues official free source directly from Author's website:

Stone Butch Blues, backup on the webarchive:

Transgender Liberation: A movement whose time has come, on the web archive:

Transgender Warriors: Making History from Joan of Arc to Dennis Rodman, on the web archive:

Lavender and Red, PDF essay collection:

Drag King Dreams, on the web archive:

(Also, if anyone ever tells you that the protagonist of Stone Butch Blues ""ends up with a man""........ they're transmisogynistic jackass TERFs who are straight up lying)

Please also check out your local public libraries for these books and see if they carry them, to help support public libraries! If you have a library card already you can checkout Libby and Overdrive to see if your public library carries it as an ebook that you can checkout :)

EDIT: another not included on the orignal masterpost-- Trans Liberation: Beyond Pink or blue !

annnnnd in light of the web archive losing it's court case, here's a backup of both PDFs and generated epubs a friend made:

5/26/2023: hello! I am adding on yet another book of queer history, this time the autobiography of Karl Baer, a Jewish, intersex trans man who was born in 1884! Please signal boost this version, and remember to check the notes whenever this crosses your dash for any new updates :)

6/24/2023:

Two links to share!

Someone made an Epub version of Memoirs of a Man's Maiden Years, which you can find Here , as a more accessible version than a pdf of a scanned book if you're like me and need larger text size for reading--

And from another post I reblogged earlier today, I discovered the existence of "TransSisters: the Journal of Transsexual Feminism", which has 10 issues from 1993-1995, and includes multiple interviews with Leslie Feinburg and other queer feminists / activists of the 90s!

Here's a link to all 10 issues of TransSisters, plus a 1996 "look back at" by one of the writers after the journal ended, you can find all 10 issues on the Internet Archive Here !

------

8/28/2023:

"Bi Any Other Name: Bisexual People Speak Out", can be found on the web archive Here, for the 25th Anniversary Edition from 2015,

and also Here, for the original 1991 version.

Each of the above can be borrowed for one hour at a time as long as a copy is available :D

This is a living post that receives sporadic updates on the original, if you are seeing this on your dash, click Here to see the latest version of the post to make sure you're reblogging the most up to date one :)

------------

October, 25th 2023:

"I began to dawdle over breakfast during shift changes, asking both waitresses questions. After weeks of inquiries, they invited me to a demonstration, outside Kleinhan's Music Hall, protesting the Israeli war against Egypt and Syria. I was particularly interested in that protest. The state of Israel had been declared shortly before my birth. In Hebrew school I was taught "Palestine was a land without peo-ple, for a people without a land." That phrase haunted me as a child. I pictured ears with no one in them, and movies projected on screens in empty theaters. When I checked a map of that region of the Middle East in my school geography textbook, it was labeled Palestine, not Israel. Yet when I asked my grandmother who the Palestinians were, she told me there were no such people. The puzzle had been solved for me in my adolescence. I developed a strong friendship with a Lebanese teenager, who explained to me that the Palestinian people had been driven off their land by Zionist settlers, like the Native peoples in the United States. I studied and thought a great deal about all she told me. From that point on I staunchly opposed Zionist ideology and the occupation of Palestine. So I wanted to go to the protest. However, I feared the demonstration, no matter how justified, would be tainted by anti-Semitism. But I was so angered by the actions of the Israeli government and military, that I went to the event to check it out for myself. That evening, I arrived at Kleinhan's before the protest began. Cops in uniforms and plainclothes surrounded the music hall. I waited impatiently for the protesters to arrive. Suddenly, all the media swarmed down the street. I ran after them. Coming over the hill was a long column of people moving toward Kleinhan's. The woman who led the march and spoke to reporters proudly told them she was Jewish! Others held signs and banners aloft that read: "Arab Land for Arab People!" and "Smash Anti-Semitism!" Now those were two slogans I could get behind! I wanted to know who these people were and where they had been all my life! Hours later I followed the group back to their headquarters. Orange banners tacked up on the walls expressed solidarity with the Attica prisoners and the Vietnamese. One banner particularly haunted me. It read: Stop the War Against Black America, which made me realize that it wasn't just distant wars that needed opposing. Yet although I worked with two members of this organization, I felt nervous that night. These people were communists, Marxists! Yet I found it easy to get into discussions with them. I met waitresses, factory workers, secretaries, and truck drivers. And I decided they were some of the most principled people I had ever met..." Transgender Warriors (1996) Leslie Feinberg

[nuveau-deco]

Siren and Octopus Inkwell by François-Rupert Carabin. Made in France around 1900; materials are bronze and wood; dimensions: W. 15 x H. 25 x D. 23.50 cm. From the Ferdinand Wolfgang Neess collection at Museum Wiesbaden in Germany, inventory number: MUWI-KS-AK-0146. Photo by Markus Bollen.

"François-Rupert Carabin is one of the most extravagant representatives of French Art Nouveau. Typical of the Alsatian-born artist is the strong eroticization of the female nude, which also characterizes this small bronze. It was first exhibited at the Salon of the Société Nationale des Beaux-Arts in 1903. An almost identical, undated plaster model of the same size without a signature exists for the object. The octopus takes the place of the female sexual organ. Like a phallus, the pen holder must be dipped into the ink in order to absorb it. The creative act of writing is reflected in the symbolic pro-creative sexual act with the object. Analogous to the immaterial creation of the text in the writer's head, the sexual act between the writing instrument and the siren/octopus creates the material text." (Author: Thomas Moser)

(Source: museum-wiesbaden.de)

[themuseumwithoutwalls]

MWW Artwork of the Day (8/29/24) Pierre-Auguste Cot (French, 1837–1883) The Storm (1880) Oil on canvas, 234.3 x 156.8 cm. The Metropolitan Museum of Art, New York

When Cot exhibited this painting at the Salon of 1880, critics speculated about the source of the subject. Some proposed the French novel Paul and Virginie by Bernardin de Saint-Pierre (1737–1814), in which the teenage protagonists run for shelter in a rainstorm, using the heroine’s overskirt as an impromptu umbrella; others suggested the romance Daphnis and Chloe by the ancient Greek writer Longus. New York collector and Metropolitan Museum benefactor Catharine Lorillard Wolfe commissioned the work under the guidance of her cousin John Wolfe, one of Cot's principal patrons. Like the artist’s earlier "Springtime," it was immensely popular and extensively reproduced.

[bortbytingen]

Time & Measurements for Xianxia/Wuxia Writers/RPers

I rp within some xianxia verses (mainly mxtx stuff) and I've noticed (and been told) that some people struggle with some things regarding time, measures and money. So, I made this quick, handy info post. This is not all there is and some of this has changed with time. If you want more in detailed information, I recommend you do some own research (I'm adding sources, so you can always start there).

Time

During Daylight: shí-kè (時–刻) Also known as Chinese double/dual hours. The day was divided in 12 shíchén (时辰), which is roughly a 2 hour slot. This is sometimes further divided into chū (first/initial hour, 初) and zhèng (central hour, 正). Each shíchén is also assigned a zodiac animal.

There was also a shorter measurement of time called kè (刻). The exact length of a kè was 1/100 of a day, which is either 24 min, 14.4 min or 14 min 24 seconds.

zǐ (子) (rat) - 23:00 chǒu (丑) (ox) - 01:00 yín (寅) (tiger) - 03:00 mǎo (卯) (rabbit) - 05:00 chén (辰) (dragon) - 07:00 sì (巳) (snake) - 09:00 wǔ (午) (horse) - 11:00 wèi (未) (sheep) - 13:00 shēn (申) (monkey) - 15:00 yǒu (酉) (chicken) - 17:00 xū (戌) (dog) - 19:00 hài (亥) (pig) - 21:00

(An incense stick time is usually somewhere between 15-30 min)

Distance, Length & Weight

Since the metric and imperial equivalent of these measurements have changed with time, I've decided to use the 1915 conversions of them, which roughly corresponds to some of the ancient and imperial conversions.

chĭ (尺) - 32 cm or 12.6 in bù (步) - 1.6 m or 5.2 ft lĭ (里) - 576 m or 630yd

jiāliàng (嘉量) - ancient volume measuring device • yuè (龠) - ~52 ml or 1.822 fl oz • gě (合) - ~103.5 ml or 3.644 fl oz • shēng (升) - ~1.035 litre or 1.822 pt • dŏu (斗) - ~10.35 litre or 2.278 gal • hú (斛) (10 dou) - ~51.8 litre or 11.39 gal

qián (錢) - ~3.7 g or 0.1316 oz liǎng (兩) - ~37 g or 1.316 oz jīn (斤) - ~ 597 g or 1.316 lb

Currency

Wén (文) was the main currency denomination and based on the tael system (liǎng, see weights above) where the value of the currency was based on its weight in liǎng. This was due to there not being a central mint for making of a currency. The currencies commonly came as round copper coins with a hole in the middle or silver or gold ingots, often shaped as 'boats' (but could come in any shape).

Copper coins were often put on a string and a string of 1000 wén, yīguàn qián (贯钱) (usually divided into ten sections of 100 coins), which would then be the equal of one liǎng of pure silver (or one silver ingot).

(Currency changed depending on region, so this is all general)

Sources

Chinese Ancient Currency

Chinese Cash - Wiki

Chinese Units of Measurement Explained

Chinese Weights and Measures

Chinese Zodiac Time

How Was Time Measured In Ancient China?

Traditional Chinese Timekeeping

[drjohannn]

Name: Woland Callsign: Satan Age: (unknown) Height: 181 cm Marital Status: Was in a relationship many years ago, now single Biography: Woland is the most mysterious member of the crew. According to him, he caught the City back when it was founded, witnessed every war and saw all the prominent people live. The story of the present day, on the other hand, begins in one of the Districts closer to the centre of the City, the Nest. The events begin in one of the parks, where Woland joins a conversation between the budding writer Bezdomny and his pal Berlioz about God, during which he predicts the future for one of them - death under the wheels of a tram. They don't believe him, but it really happens - Berlioz loses his head because he falls under the wheels of a tram, and Bezdomny is hospitalised because he is suspected of mental illness. This news quickly spreads through the district along with all sorts of intrigues of Woland's entourage: a small team of the cat Behemoth, the translator Koroviev-Fagot, the mysterious man Azazello and the beautiful Gella in various places organise mystical performances, driving people to madness. Woland himself at this time is interested in the story of a certain Margarita, who seeks revenge on the people who prevented her lover and deprived him of everything he had, including his life. To help his new assistant and fulfil his personal mission, he mysteriously becomes the manager of one of the teams in the Limbus Company. Character: The man is very intelligent and quite tough, but fair. Treats everyone very friendly and gentle, but likes to laugh at the ignorant. Criminals and just terrible people he does not mind to punish. He treats his team with special kindness. Otherwise, he is reserved and is more of an observer than a participant in any events. Even the events taking place in the District were just an idea, and his entourage were the executors. As a manager, he is a good strategist and is quite good at building relationships within the team. Facts: -He doesn't use all of his abilities to their full potential, explaining that he wants to teach the sinners to experience things on their own. -The old man's guise is not his real body, but he uses it as a disguise. He rarely uses other guises. -He made a blood pact with each of the sinners - they had to drink one glass of his blood. The glass was made from Berlioz's skull. -The very tram that marked the beginning of all events became the basis for the team's transport - it was named after the "bad flat" - "number 50" where the entourage lived for a while and also, according to Koroviev and Azazello, has the spirit of Pontius Pilate, the judge of Yeshua Ha-Nozri (ascending to Jesus). For this reason the crew is called "crew number 50," and the tram itself is affectionately called "Pontius" by the sinners. -Woland has a weapon - a sword, hidden under the guise of a cane with a headboard in the form of a poodle's head. However, he himself is not involved in battles. -Source: Mikhail Afanasyevich Bulgakov - The Master and Margarita

[inioranackatori]

Sci-Fi Writers Have No Sense of Scale, Part 2

I have little reason not to, so here we go. I’m going to poke and/or rant at every single eye catch tech spec in GaoGaiGar. The vanilla King of Braves only; I’m not touching Final with its funky formatting.

Speaking of funky, let’s talk about Guy Shishioh.

Guy Shishioh. The son of benevolent mad scientist Leo Shishioh. Astronaut and only person on board a super-classified shuttle at the ripe age of eighteen. Which means Guy is a chip of the old block and is a certified, certifiable genius.

We’ll skip over the obvious and hop straight to the bottom of the list: GS Ride Class Classified. This makes sense: Guy is an experimental cyborg. His very existence is classified, so of course his power source is classified.

Height: 201 cm. Just over six and a half feet tall. That’s a foot taller than the average, and around half a foot shorter than Soldato-J.

Weight: 125 kg. 275.6 lbs. A perfectly normal, respectable weight given his height and musculature.

Nothing really outstanding here, either. The Machineheart is a nice punk rock name band, though I’m fairly certain it’s a reference.

What does stand out to me is the power supply. Hi-Density Tubeler Battery. Tubeler, in this case, being a misspelling of tubular. The tubes are here:

Yup. Guy’s hair is a bunch of batteries. Which has got to make his hair care regiment… shocking.

Equip response time of two seconds. Note, here, Equip does not mean “put on all the armor”. It means putting on the helmet, activating the scanner thing built into it, and turning on the hair batteries. The batteries give him a 30% boost to power - the listed Power Up stat - and he can gain an additional 15% up when activating emergency powers. All the stat boosts are in the amazing hair.

The actual time to put on the whole armor set is unlisted. But we’ll get more into the full armor later. For now, let’s hit the last point.

Speed: 61.5 km/h. That’s about 38 miles per hour using the imperial system. That’s as fast as a greyhound dog. Or if you prefer -

Guy is as fast as a cheetah.

Wait… Something must be wrong. The absurd giant robot show doesn’t have absurd stats for its protagonist?

Nope! There it is!

“But Iniora,” I can hear you asking. “How is a knife absurd?” Two words.

Variable. Sharpness.

The sharpness is tied to Guy’s will power. The greater Guy’s will, the sharper the Will Knife becomes.

That means Guy can cut down a door with the strength of his will alone.

[mote-historie]

Maja Maldita by Federico Beltrán Masses, 1918, oil on canvas, 161.5 x 202 cm.

For contemporary critics and collectors, La Maja Maldita was perhaps the most famous of Beltran Masses' œuvre. The fact that it is also a portrait of an extraordinary figure from the world of dance has been subsumed by the painting's drama and title.

The sitter, Carmen Tortóla Valencia (1882-1955), was a dancer who invented her own unique style based on a study of Arab, Indian and African dance, combining the African-Carribbean music with that of her Spanish heritage. Like her near contemporary Isadora Duncan (1877-1927) she eschewed the strictures of conventional technique, instead embracing a freedom of movement that set both apart from the traditions of classical dance. Her innovative approach and extravagant performances brought her extraordinary fame and sold out performances across Europe and South and Central America, while she also took the lead roles in two Spanish silent films – Pasionaria and Pacto de lágrimas (both in 1917).

Her unrestrained private life cast her in some eyes as the Accursed Maja of the title of this painting – the liberated seductress who had abandoned the corset as an an unwieldy restraint on female movement, whose male lovers were chosen for their intellect but with little regard to permanence, while her long-term companion was a woman, Ángeles Magret Vilá. She rejected the Catholic faith of her ancestors and instead embraced Buddhism, vegetarianism and morphine, but managed nonetheless to make a considerable fortune which enabled her to retire from the stage in 1930.

Her dancing and striking looks inspired poems by the Basque poet Pio Baroja,[i] the dramatist and later anarchist Ramón del Valle Inclan[ii] and the Nicaraguan born writer Ruben Dario. [iii] This portrait of her as the Maja Maldita is perhaps the truest to her character of all the many images of her in dance poses, sometimes wearing even more revealing costumes. Unlike these photographs, however, Beltran's painting portrays her recumbent, a mysterious seductress; there is no hint of movement or of the source of her fame. She stares into the distance, her vermillion lips emphasising her pale features, her unclothed right arm just touching the guitar that is a feature of so many of Beltran's paintings. Through the darkened window, framed by long translucent fabric, we glimpse a mysterious building placed against a deep blue starlit sky. (x)

[enigmalea]

Why I Contributed to FujoGuide

If you follow me here or mastodon you may have noticed that I've been reblogging/boosting a lot of posts for something called The Fujoshi Guide to Web Development (@fujowebdev). There's a good chance you followed me or know me from the Dragon Age fandom where I run communities, events, and zines and write fanfic, and you might be wondering why the sudden and drastic departure from my normal content. Why would a writer contribute to something related to webdev? Why have you stopped seeing thirst for Dragon Age characters and started seeing… whatever a FujoGuide is?

The answers to those questions (and more!) are below the cut.

My Coding Journey

I wrote my first lines of code in 1996 (yes, I'm old AF). It was the early days of the internet and tutorials for how to make your own websites were literally everywhere. You couldn't go more than two clicks without finding a how-to written in plain language. But it was painstaking and tedious. CSS didn't exist yet (literally, I started coding about six months before it was released) and even when it appeared it wasn't widely adopted or supported.

It was the "glory days" of Geocities, Myspace themes, Neopets, and Livejournal. If there was a cool site, you could use HTML and/or CSS to customize it. I honed my skills by coding so many tables character profiles for RPs, creating themes, painstakingly laying out user info pages, and building my own site.

Gradually, things changed. Web 2.0 showed up with locked down profiles and feeds you couldn't customize, free website hosts became more difficult to find, and point and click page builders became the way of the web. Shortly after, I took a long break from fandom; frustrated and disappointed with site closures, lost communities, and general fandom wank… it felt like it just wasn't worth it anymore.

I eventually came back, and when I did it meant customizing themes, figuring out how to create tools for my communities, coding tumblr pages (and learning they're not really supported on mobile), and looking at automations for my common tasks. One day, I woke up and thought, "I'm going to make a Discord bot… it can't be that hard."

So, I did it.

An Unexpected Friendship

About a month after I launched my bot to the public, I received a random Discord message from @essential-randomness. A friend had told her about my bot, and she was working on BobaBoard which needed volunteers. I was shocked. First, people were talking about my bot. Second, I wasn't a real coder. I didn't know anything! I just googled a bunch of stuff and got something working. I had no idea what I was doing.

She assured me it was okay. She was willing to teach me what I didn't know - and most of all, that she wanted my help. I took a day or two to think it over, and fatefully filled out the volunteer form. I didn't know if I could be useful or how I could be useful, but I wanted to try.

Programming Is Awful

In the years months that followed, I spent a lot of time in @essential-randomness' DMs complaining about programming… at least once I realized she wouldn't judge me. I was still very much doing things the hard way, taking hours to update a site to add a single link on all the pages. I knew there were easier methods, but I either couldn't find them or once I found them, they were filled with dense jargon which was terrifying.

"An all-in-one zero-javascript frontend architecture framework!" Is that even English? "A headless open-source CMS." Cool. Sounds good. "A full-stack SSG based on Jamstack extending React and integrating Rust-based JS." Those sure are words. With meanings. That someone knows. Not me, though.

I spent so much time looking at what sites claimed was documentation and losing my mind because I had no idea where to even start most of the time. With @essential-randomness' encouragement, I kept at it, experimenting with new things, and jumping in headfirst even when I had no idea what I was doing. And I was so glad. Where I used to struggle keeping one website updated, last year I managed to deploy and update 7 websites. Yeah, you read that right. It was amazing.

The new stuff made it all much, much easier.

An Idea Is Born

Meanwhile, we spent hours discussing why it was difficult to get fandom to try coding. Part of the barrier was the belief you must be some sort of genius or know math or that creative/humanities people can't do it. It is also partially coding communities being unfriendly to newbies and hobbyists; a culture which often thrives on debasing people's choices, deriding them for not understanding, and shouting rtfm (read the fucking manual) and lmgtfy (let me google that for you)- all of which are unhelpful at best and humiliating and abusive at worst. The tech dudebro culture can be unforgiving and mean.

The number of coding-based Discords I've left far outnumbers the ones I've stayed in.

We determined what fandom needed was a place for coders of all skill levels to come together to help and support one another; where they could learn to code and how to join open-source projects they love, and where they could make friends and connections and show off their projects whether they were new or experienced programmers.

And thus… Fandom Coders was born.

What About FujoGuide?

Of course, running a coding group and working on BobaBoard together means we spent a lot of time talking about the state of the web. We both lamented over poor documentation, jargon-rich tutorials, and guides which assume a baseline of knowledge most people don't have. What we needed to do was provide tutorials which start at the beginning… from the ground up (what is a terminal and how do I open it?) without skipping steps. What we needed to do was make those tutorials fun and appealing.

I don't remember exactly the journey it took to get us here if I'm honest. I have no clue who said it first. But I do remember I first started thinking about anthropomorphizing programming languages when we attempted to cast the languages as the Ouran High School boys… and again when I suggested we do a [TOP SECRET IN CASE WE DO IT] group project in Fandom Coders to help people learn about programming.

What I do know is that as last year ended, @essential-randomness became laser-focused on creating our gijinka and moving forward with FujoGuide… and I couldn't say no.

Okay, But… Why Contribute?

To be honest, it's not just that I was around for the birth of the idea. It's ALL of the things in this post - the culmination of three years of frustration trying to figure out what I'm doing with coding, of wading through dense documentation, of wanting to give up before I even start. It's three years of dipping my toes into toxic techbro culture before running away. All added to decades of watching the web become corporate-sanitized, frustratingly difficult to customize, increasingly less fun, and overtly hostile to fans who dare enjoy sexual content.

To sum all of this up, it's the firm belief that we desperately need a resource like this. Something that's for us, by us. Something that builds fans up, instead of tears them down; that empowers them to create for themselves and their communities what no one is creating for them. It is a project I'm deeply passionate about.

And I can't wait until we can bring it to life for you all.

[foxy-eva]

Your answer to this anon (https://www.tumblr.com/foxy-eva/755495676105850880/how-do-you-feel-about-the-discourse-around-writers?source=share) about writing spencer 100% canon means so much to me right now, you have no idea... I actually cried.

I mean, I love a good characterisation in a fic but I don't mind ooc's at all. But writing 100% in-character can be hard... I'm new to writing for cm, especially someone shy as spencer, and I have been struggling with this these past days a lot. I'm already so critical about my writing I struggle to finish my fics and I added this on top (no shade to anyone or something, this is entirely my own fault/problem; and I haven't been criticized about it in any way), it made it so hard to write... I've been telling myself that, like you said, it's fanfic and I just want to have fun with it so it doesn't really matter and is okay, but it didn't really work. But seeing it said out loud really helped.

Okay, this got longer than I wanted, sorry (':

Anyways... Thank you 💕

Link

Aww thank you for telling me this, dear anon!! I'm so glad my answer was meaningful to you. I really meant it! I can guarantee you that there will be people who enjoy reading your fics even if they aren't 100% in-character! Fandom is just this big fantasy world we create to have fun.

One of my favortite fics I wrote is very ooc for Spencer because he goes to a nude beach and actually takes his clothes off?? Like?? I am 100% certain he would never do that. But I had soooo much fun writing it because it's just a silly little story, you know? That's what it's all about! 😊

[all-things-alien]

The Scale of Close Encounters:

J. Allen Hynek was an astronomer that later worked for the United States air force on Project Sign, Project Blue Book, and Project Grudge from the late 1940’s until the late 1960’s. He wrote several books about UFO’s, and the close encounter scale was first proposed in his book called The UFO Experience: A Scientific Inquiry that was published in 1972. 

The Scale For UFO’s: 

Nocturnal Lights - light from a UFO is spotted in the night sky. 

Daylight Disks - A UFO is spotted during the day. Most of the objects focused on in his book were oval shaped. 

Radar-Visual UFO Reports - A sighting where the UFO is both seen in the sky, and on a radar. 

The Scale For Aliens: 

Close encounter of the first kind - Seeing UFO from a distance of less than 500 ft (or 152.4 meters) away, and being able to make out some detail. 

Close encounter of the second kind - The UFO has some sort of effect on its surroundings, or leaves a trace that it was there. It could be flying, suspended in the air, or on the ground. Some common examples of these effects are: animals start acting strangely, burn marks on the ground, and electronic interference. 

Close encounters of the third kind - A UFO encounter where an alien is also seen. 

Jacques Vallee’s Extension of the Scale: 

He is an astronomer, an engineer, and he has written several books about UFO’s. He wrote a couple of books with Allen Hynek. His expansion of the scale was introduced in a paper he wrote called Against the Extraterrestrial Origin of Unidentified Flying Objects that was published in 1990. 

Close encounter of the fourth kind - A sighting where the person is either abducted by aliens, or experiences something that alters their sense of reality. 

Close encounters of the 5th kind -  A sighting where the aliens communicate with a person. 

Ted Bloecher's Subtypes of the Scale: 

He was an actor, a writer, and the co-founder of The Civilian Saucer Intelligence organization that was active from 1954 to 1959. The group was an independent research facility based in New York that looked into UFO reports. He came up with 7 subtypes for close encounters of the third kind. 

A (Abroad) - An entity is seen inside of a UFO 

B (Both) - An entity is seen both inside and outside of the UFO. 

C (Close) - An entity is seen near a UFO, but doesn’t enter it or exit it. 

D (Direct) - An entity is seen, but no UFO’s are. However, UFO sightings have been reported in the area at around the same time the entity is seen. 

E (Excluded) - An entity is seen, but no UFO’s are. There are also no UFO sightings in the area. 

F (Frequence) - The person does not see an entity or a UFO, but they experience a sort of communication. 

SOURCES:

[nothing-like-the-sun-jgr]

El Greco (1541-1614) - 1587-97 Pieta (Niarchos Collection, Paris, France) by Milton Sonn Via Flickr: Oil on canvas; 120 x 145 cm. El Greco, born Doménikos Theotokópoulos (1541 – 7 April 1614), was a painter, sculptor and architect of the Spanish Renaissance. "El Greco" (The Greek) was a nickname,[a][b] a reference to his national Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, "Cretan"). El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before travelling at age 26 to Venice, as other Greek artists had done.[2] In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings. El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school.[3] He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.[4] en.wikipedia.org/wiki/El_Greco

[drjohannn]

Name: Martin Eden Weapon name: Nietzsche & Spencer. EGO: The will to live Details: Depression, Enormous Power Age: 26 Height: 191 cm Marital Status: Single Biography: Martin Eden has been an orphan of Backstreets since he was very young. The need to earn money and the lack of any ties make him try the most diverse jobs: from a simple errand boy to a sailor on various ships. However, life is not as simple as his trips to bars and a lot of admirers among the working class: one day he saves a guy from the Nest from the local bandits, for which he opens the way to the people and to a new love. Long and hard work for the sake of his beloved pays off with bright acquaintances, celebrity and wealth. However, what was it worth, if now the writer is considered to have perished in the abyss of the sea? Now his life is the secret of the whole team of the company Limbus. Character: On one hand Martin is a very kind and sympathetic dreamer. He will never get into a fight with someone who has not run into it himself, and he gets along with children as if they were his own. Along with this, he often goes into thought, making plans for the future and looking for ways to fulfill them. On the other hand - he is purposeful and rebellious, freedom-loving man of culture. Eden is always thirsty for knowledge, does not like lies and the imposition of another's worldview, and is an extraordinary writer and philosopher. In the middle of both of these sides is his desire for justice and his humble opinion of himself. No matter how great he is called, but this man is completely out of society and its opinion, considering himself inferior, but worthy of being recognized at least by his beloved. But this is not given to happen, and therefore all these traits are overshadowed by deep depression. Facts: -One of the Offices, headed by an old friend of Martin's, is named after Eden's work, "The Pearl of the Sea." -Lungs were replaced with artificial ones by the Syndicate who saved him. -Smoking has remained a habit, as it calms him down. -Sometimes tries sketching and writing short pieces, wanting to finally beat his depression and get back to the business of being a creator. -He collects various discarded items (figurines, jewelry, etc.), cleans them and often gives them to others. -Source: Jack London - "Martin Eden"

[styxorcom]

James Franco Peak, Age, Spouse, Web Value, Female friend, Biography & Extra

James Edward Franco was born April 19, 1978, known James Franco is an American actor and filmmaker. For his role in 127 Hours (2010), he was nominated for an Oscar for Best Actor. Franco is known for his roles in films, such as Sam Raimi’s Spider-Man Trilogy (2002-2007), Milk (2008), Rise of the Planet of the Apes (2011). He is known for his collaborations with fellow actor Seth Rogen, having starred in eight films and one TV series with him, for example Pineapple Express (2008), This Is the End (2013), Sausage Party (2016) and The Disaster Artist . (2017), for which he won the Golden Globe Award for Best Actor. Franco is also known for his television work where his first leading acting role was the character of Daniel Desario in the short-lived ensemble-drama Freaks and Geeks (1999-2000), which developed a cult following. . He played the main character in the television biographical film James Dean (2001), for which he won a Golden Globe Award, and received nominations for the Screen Actors Guild Award and the Primetime Emmy Award. Franco had a recurring role in the daytime soap General Hospital (2009-2012) and starred in the limited series 11.22.63 (2016). He starred in the David Simon-created HBO drama The Deuce (2017-2019). Franco volunteers for the Art of Elysium charity and has taught film classes at New York University, University of Southern California, UCLA, Studio 4, Palo Alto High School and at Playhouse West. Franco described himself as a Jew; Regarding his secular education, he told the Guardian he felt like he had “missed the Jewish experience,” but his Jewish friends told him not to care and said in the same interview that he ‘he liked “the idea of ​​religion as a source of community”. When asked if he was a “believer” he replied, “In God? I do not know. Yes. In a certain way. This is a complicated question. In 2015, he held an official bar mitzvah ceremony, chaired by a rabbi. After meeting on the set of What It Takes in 1999, Franco dated co-star Marla Sokoloff for five years. He was then in a relationship with actress Ahna O’Reilly until 2011. He confirmed their separation in an interview for the August 2011 issue of Playboy magazine, saying his interest in education separated them.

James Franco Biodata and Biography

Name James Edward Franco Nick-name Ted, Teddy Sex Male Date Of Birth 19 April 1978 Age 43 Years (as in 2021) Profession / Occupation Actor, Producer, Director, Screenwriter, Painter, Author, Misician (American, English) Mother Tongue English, Portuguese, Swedish, Jewish Religion Not Known Nation American Zodiac Sign Aries Height / Weight 5′ 9” / 76kg First Movie Never Been Kissed (1999) First Debut Actor: Never Been Kissed (1999) Writer: The Ape (2005) Director: The Ape (2005) Producer: The Broken Tower (2011) TV Actor: Pacific Blue (1997) Money Factor Net Worth: $20 million –

James Franco Family and Relatives

Father Douglas Eugene (Ran a Silicon Valley Business) Mother Betsy Lou (A writer and an occasional actress) Brothers Tom (Artist) Sisters Dave (Davy, an Actor) Marital Status Unmarried Wife N/A Daughters N/A Sons N/A Girlfriends/ Affairs Marla Sokoloff (1999-2004) Ahna O’Reilly (2006-2011) Agyness Deyn (2011) Ashley Hartman (2004-2005)

James Franco Height, Weight and Body Measurements

Height in Centimetres 180 cm Height in Meters 1.80 m Height in Feet Inches 5′ 9” Weight 76kg Body Measurement 42-31-14 Chest Size 42 inches Waist Size 31 inches Biceps Size 14 inches Eye Colour Dark Brown Hair Colour Dark Brown

James Franco Favorites

Favorite Colour White, Red, Blue Favorite Actor Not Known Favorite Actress Not Known Favorite Food Not Known Hobbies Acting, Writing, Reading, Travelling Favorite Director Not Known Favorite Destination Not Known Favorite Car Collections Not Known Sexual Orientation Straight

James Franco Education School and Colleges

Education Qualification Ph.D (Program in English) School Palo Alto School, California, USA College / University University of California, Los Angeles (B.A.) Columbia University (M.F.A.) New York University (M.F.A.) Brooklyn College (M.F.A.) Warren Wilson College (M.F.A.) Yale University (Ph.D. student) Others Rhode Island School of Design

James Franco Residence and Contact Address

Birth Place Palo Alto, California, USA Home Town Palo Alto, California, USA Present Residence Palo Alto, California, USA House Address William Morris Endeavor Entertainment 9601 Wilshire Blvd. 3rd Floor Beverly Hills, CA 90210-5213, USA Phone No / Mobile No Not Known Email ID Not Known Website Not Known

James Franco Awards, Honours, Achievements

National Film Award Not Known Filmfare Awards Not Known IIFA Awards Not Known Screen Awards Not Known

James Franco Social Media

Twitter None Facebook None Instagram None Wikipedia James_Franco Read the full article

[fashionbooksmilano]

On the Necessity of Gardening  

 An ABC of Art, Botany and Cultivation

edited by Laurie Cluitmans

Contributors: Maria Barnas, Jonny Bruce, Laurie Cluitmans, Thiëmo Heilbron, Liesbeth M. Helmus, Erik A. de Jong, René de Kam, Alhena Katsof, Jamaica Kincaid, Bart Rutten, Catriona Sandilands, Patricia de Vries

Valiz, Amsterdam 2021, 240 pages,  24 x 32 cm, paperback, ISBN  9789493246003

euro 35,00

email if you want to buy :booksinprogressmilano@yahoo.it

'On the Necessity of Gardening' tells the story of the garden as a rich source of inspiration. Over the centuries artists, writers, poets, and thinkers have each described, depicted, and designed the garden in different ways. In medieval art, the garden was a reflection of paradise, a place of harmony and fertility, shielded from worldly problems. In the eighteenth century this image tilted: the garden became a symbol of worldly powers and politics. The Anthropocene is forcing us to radically rethink the role we have given nature in recent decades. Through essays and an extensive abecedarium this book reflects on the garden as a metaphor for society.

On the Necessity of Gardening appears simultaneous with the exhibition The botanical revolution, on the necessity of art and gardening that will be on view from 11 September 2021 to 9 January 2022 in the Centraal Museum in Utrecht (NL).

30/12/22

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[transistorpoweredheart-zine]

Contributor application information

Contributor applications are open from March 5th to April 9th.

How many contributors?

We are looking for around 40 to 50 creators (moderators excluded), with a ratio of ⅔ artists and ⅓ writers. We aim to have around 5 merch artists. The final number of contributors will depend on the number of applications we get, and on the ratio of writers and artists that apply. 

What are the dimensions of the zine?

The dimensions of the zine will be determined after the contributors have been chosen and we have a better idea of what the ratio of text vs image will be. We aim to have a zine in B5 dimensions (17.6 × 25 cm or 6.9 × 9.8 inches), but it might turn into A4 dimensions (21 x 29.7 cm or 8.27 x 11.69 inches). 

Contributors will be informed about the dimension that is chosen and will be provided with guidelines and templates.

What kind of content is allowed in the zine? (ships, ratings, AUs, etc)

The zine will be aimed at people of age 15 or more, to allow mature themes such as death, violence, abuse, depression, which are all part of Tony’s story. This corresponds to Marvel comics’ rating of “PARENTAL ADVISORY – Appropriate for 15 and up. Similar to T+, but featuring more mature themes and/or more graphic imagery. Recommended for teen and adult readers.” (source: wikipedia)

The focus will be on Tony himself and his life, struggles, adventures, friendships and teams.

Non-canon romantic relationships will not be allowed. While canon romantic relationships are allowed, the focus should still be on Tony. Platonic relationships such as friendships or maybe mentoring the younger heroes can be explored in depth. Here, the focus should also be on Tony.

Content taking place at any time in canon is allowed, and encouraged. Whether you want to draw vintage Iron Man or write about Tony’s hair in the 2021 Iron Man annual, you’re good.

AUs will not be allowed. Canon-close canon divergence will be allowed. For example: “Tony Stark reveals his secret identity to Janet just after the rest of the Avengers” and “Tony dies after injecting Extremis into himself” are allowed, but “Tony’s father is actually Dracula and Tony becomes a vampire” or “Tony has three sisters and is best friends with Charles Xavier” are not.

What universes are allowed?

According to the results of the interest check, we will include both 616 and other comics universes. The aim is to have around 65-75% 616 works and 35-25% other comics universes. In your application you can choose several universes that you would like to create for. If you are accepted, we will tell you which universe to create for.

Who can apply to the zine?

Any contributor over the age of 18, regardless of popularity or how new they are to fandom are accepted. You do not need previous zine experience.

We encourage applications from all over the world.

What do I need to put in my application?

All contributor applicants are encouraged to showcase at least one example of a work with comics Tony in it. It is not necessary, but it will be to your advantage because it gives us a better idea of how you would depict/draw him. The work you show us in your application does not need to follow our zine specifications, but please warn for any NSFW content (explicit sexual content, blood, gore, etc). Use the application to show us what you can do. Concentrate on something in a style you’d also like to create for the zine, but you are also free to add whatever you think shows off your skills best.

What will I be allowed to create? 

Contributors will need to create a new piece that hasn’t been published before.

Creativity is encouraged: we have listed a few options of types of work that you can do, but if you have another idea, feel free to mention it in the relevant part of the application form. Since we can’t guarantee that we will allow that type of work in the zine, we encourage you to also pick at least one of the options we have given.

Authors can produce fanfiction, meta and character studies (example 1, example 2), poetry, fake articles and other in-universe written media (think interviews, blogposts, etc).

Artists can produce full page illustration (portrait format), spread page illustration (landscape format), a sketch page (example), a comic or art with text incorporated in it, technical specs or industrial design drawings (example). 

Artists can apply to create the cover art.

What are the content specifications? (wordcount, illustrations, comics, sketches, etc)

Authors will have a word count of maximum 3000 words, as a stand-alone piece of fiction or other text. Full page illustration and spread page illustration artists need to provide a fully finished piece of art, usually in colour. For alternative visual art formats (a page of sketches, armour specs, etc), corresponding requirements will be set. Comic artists will create a comic between 1 and 6 pages. 

The cover art artist will need to produce a fully rendered illustration with background. They will not need to add text (Title, etc) to the art but will coordinate with the Layout mod.

Merch artists will need to create one (or more, if desired) merch item, with clean lines and colour and an amount of detail appropriate for the merch item.

Can I apply for several roles?

You can apply for several roles. Please use the same username and email on each application so that we know you're the same person. You can change the username when the zine is produced (for example if your art account has another name than your writing account). You will be accepted for one role only.

Are collaborations allowed?

Collaborations in teams of two are allowed. They can be collaborations between artists and writers, between writers and writers, or artists and artists. Examples of collaborations are: fanfiction with illustration, comics with a writer for the text and an artist for the art, illustrations where one artist does lineart and the other does colouring, a fake interview where one writer writes the questions and the other writes the answers, and so on. 

Collaborative works will follow the same restrictions as works by one person, plus one page. For example, a team making a comic can create a 7-page comic if they want, a team writing together can write up to 3500 words (one page is around 500 words), and so on. 

A team will count as two contributors. This means that the maximum number of teams we can accept for the zine is 25. 

Applications: Each member of the team should apply separately. In the form there will be a question where you can show that you are applying as a team and tell us who you’re applying with. For example: JOCASTA and FRIDAY want to apply as a team. JOCASTA writes in her form that she applies with FRIDAY. FRIDAY writes in her form that she applies with JOCASTA. 

In the application form, you can choose whether you only want to be accepted as a team, or if you are fine with being accepted even if your collaborator isn’t accepted. This means that if only one of you gets accepted, you will have to create something on your own.

How do you decide who will be accepted?

We will decide based on your general skill. For artists, we will look at anatomy, the quality of linework (when art contains linework), and the use of colours and lighting (where it is relevant). For writers, we will look at general flow, grammar and spelling, and characterization. Since the mods are trying to have an interesting combination of pieces in the zine, the style and themes may also factor into the decision. There is always a subjective aspect present when art (be it fics or art) is judged, and you should not take any rejection as a proof that your art or writing is worse than what will be part of the zine.