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Sustainable and Environmentally-Friendly Plastic Pallets
Plastic Pallets Manufacturers in Baddi have become increasingly popular over the years, thanks to their durability, cost-effectiveness, and ease of maintenance. However, many people have expressed concerns over the environmental impact of using plastic pallets, given the amount of plastic waste generated by various industries. This has led to a growing demand for sustainable and environmentally-friendly plastic pallets.
The good news is that plastic pallets can indeed be sustainable and environmentally-friendly. In this article, we will discuss the different ways in which plastic pallets can be made more eco-friendly, and how this can benefit your business.
Recycled Plastic Pallets
One way to make plastic Pallets Manufacturers in Noida more sustainable is by using recycled materials. Recycled plastic pallets are made from post-consumer and post-industrial waste plastic, which is melted down and moulded into pallets. This not only helps reduce plastic waste but also saves energy and resources needed to create new plastic products from scratch. Additionally, recycled plastic pallets can be recycled again, creating a closed-loop system that minimises waste.
Biodegradable Plastic Pallets
Another way to make plastic pallets more environmentally-friendly is by using biodegradable plastic materials. Biodegradable plastic pallets are designed to break down over time when exposed to certain environmental conditions. This can help reduce the amount of plastic waste that ends up in landfills, as the pallets will eventually decompose into harmless organic matter. However, it is important to note that biodegradable plastics require specific disposal methods and may not be suitable for all applications.
Reusable Plastic Pallets
One of the most effective ways to make plastic pallets more sustainable is by making them reusable. Reusable plastic Pallets Manufacturers in Hyderabad can be used multiple times, reducing the need to constantly produce new pallets. This not only saves resources but also reduces waste and disposal costs. Reusable plastic pallets can also be repaired and refurbished, extending their lifespan even further.
Lightweight Plastic Pallets
Using lightweight plastic pallets can also contribute to sustainability efforts. Lightweight pallets require less energy to transport and handle, which can help reduce carbon emissions and fuel consumption. Additionally, they can be stacked more efficiently, saving space and reducing the need for additional transportation.
Recyclable Plastic Pallets
Finally, recyclable plastic pallets can also be considered eco-friendly. These pallets are made from plastic that can be easily recycled and reused to create new products. Recycling plastic pallets not only helps reduce waste but also conserves resources and energy needed to create new plastic products.
In conclusion, plastic pallets can be made more sustainable and environmentally-friendly in a number of ways. Whether through the use of recycled materials, biodegradable plastics, reusable pallets, lightweight designs, or recyclable plastics, there are many options available to help reduce the environmental impact of plastic pallets. By making a conscious effort to choose sustainable pallet options, businesses can not only reduce their carbon footprint but also save costs in the long run. So, next time you are in the market for plastic pallets, consider choosing an eco-friendly option that supports a sustainable future.You can connect with Syntax Plastic Pallets for any type of plastic pallets like, Rackable Plastic Pallets, Stackable Plastic Pallets, Nested Plastic Pallets, Hygiene Plastic Pallets, Export Pallets.
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i need to be stopped
#wowwie#idk how to tag this#yippee#lego monkie kid#art#artists on tumblr#lmk#lmk syntax#plastic babies#customization#painting#paint markers#green#purple
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You can tell a machine is about to die when there is a whirring chorus of malfunctions echoing and the choir of syntax errors lights a candle for this plastic deity.
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Fictober (belated) Day 5 - Wake up call
Summary: Ali's nerves are getting the better of her with the new assignment and new partner.
Warnings: Violance (minimal)
Word Count: 814
Original Fiction
Based on characters from my serial Shutdown Syntax.
Prompt - "It's a new day, let's go!."
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
“It’s a new day, let’s go!” Harold Griffin heaved the mattress overhead, rolling Alison unceremoniously onto the floor.
Patting around, bleary-eyed, Ali found a shoe under the bed, hurling it in the general direction of the damned jerk that woke her. "What time is it?" she groaned, using both arms to block the neon light cutting through the openings from the blinds.
“6 am,” Mr. G answered.
Does this man never sleep?
"C'mon Ali, up and at 'em! We're already late, and I can't cover for you. Aalato's already…"
"Oh, what stakeout? I was up all night on a stakeout," Ali continued blindly patting around for anything that would fit over her head. Pillow. Blanket. Plastic bag…
"You're on the stakeout with me. For the Coltier case."
Finding a pillow, Ali buried herself under it and relished the sweet, sweet darkness it enveloped her in. Her brain chewed slowly on what Mr. G said. Stakeout? Stakeout. "I'm on the Miller case. Not… Coltier." If she turned just a little, he might get comfortable on the wood floor of Mr. G's apartment. Wedged between the bed and... a coffee table?
“Aalato assigned you…”
“Because no one else can put up with your shit, Mr. G. But I’m on a case." Her mind chugged along, searching for rest. "Wait!" Ali sat up. She wasn't in her apartment... but this wasn't Mr. G's either. And this comforter? It was hers... but... looking around, Ali felt at home. This was home... so why... "Why the hell are you in my apartment!”
“The bigger question,” Private Investigator Harold Griffin sighed, “is why you’re only now asking questions.”
BANG!
Ali jolted awake, sweat soaking her sheets as the dream shattered. Nightmare, Ali corrected herself. Hair plastered to her neck and back. Her chest heaved, and the room slowly came into focus.
Though she was in her bed, Ali crawled to the edge, tapped the light panel on her bedside table, and… double-checked that her room was indeed hers. The pocket door separating her room from the living room lay half open like she'd left it, partially off the track. Her bundle of cords overflowed from the bin on her table. The picture of her and Mr G at her academy graduation came to life when the sensor detected her looking at it.
Ali's hand went to the new IrisLink port above her ear. Sore from the recent installation.
Detecting her being awake, IrisLink inundated her with morning updates. Task force notes, messages, weather, traffic, and the latest bot bout news muted a moment later with an angry swipe.
Free weights lay hazardously in the middle of her claustrophobically small bedroom floor. Sensors in her room registered she'd woken, too. Faint lighting flickered to life on the ceiling, which would stay dim until the motion sensors detected more movement.
She must have woken during an approved time. Coffee percolated in the next room, even as Ali flopped back on her twin bed.
There was no stakeout coming. But there was... a risk, for lack of a better word. Ali's first official undercover assignment… and the first time she'd rely on her new partner as her backup.
IrisLink pinged again, wanting to show her the schedule for today. More testing at the Vanguard City Police Department's Biosecurity and Augmentation Oversight division. She had to get these nerves under control. If she couldn't… Biosecurity would call for a psych evaluation and throw the entire operation into jeopardy.
There was… one thing she could do.
~*~*~*~*~*~*~*~*~*~
Ali settled her travel mug on the kitchen counter, considering Harold Griffin’s desk runneth over with papers—more than she ever saw in any precinct building combined. Shutting the window behind her, Ali double-checked that the fire escape remained empty, save for Mrs. Balla's bot charging via its solar panel two floors up.
Morning sun overpowered the unnatural pink neon from Mr. Griffin's building sign. It was as invasive as Mr. G's old morning wake-up habit when Ali slept on Mr. G's couch. Morning traffic was already on the uptick; self-driving cars with impatient passengers layed on their horns. Delivery drones buzzed through the streets. Ali didn't creep but walked to Mr. G's room, practically stomping, threw open the door, and decided the edge of the bed closest to the door would be best. Good leverage. He might not hit his head on the bedside table.
In one swift motion, she grabbed the mattress, grunting as she lifted it over her head. The springs groaned in protest as Mr. G tumbled from the land of sleep to the dismal abyss of the real world... and across the ancient, sagging mattress.
"It's a new day! Let's go!" she clapped, and the mattress landed with a heavy thunk on the box spring. "You need to drive me to my appointments."
“What the hell was that for?” Mr G complained.
Ali shrugged. "Payback."
#fictober24#fictober#fictober 2024#writing prompt challenge#writing prompts#short story#creative writing#writeblr#fictober event#original fiction#original writing
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Most Essential Vocabulary #4
This time I’m focusing on the vocabulary that’s probably the most confusing in terms of grammatical gender: words with confusing gender, words from Greek, words that are feminine that take masculine articles etc etc etc
This could be its own post on grammar but I’m including it in essential vocabulary because these are things that a lot of people either don’t fully explain or that aren’t touched upon in great detail. But just know that this post includes some grammar info in addition to simple vocabulary lists
I decided to do it this way because these are words and concepts you’re going to need to know, and especially if you don’t have a teacher or are doing self-study, this is something you’ll come across and be VERY confused by
Basic Vocabulary / Vocabulario básico
el género = gender / genre [of media]
la gramática = grammar
la sintaxis = syntax
la concordancia
el sustantivo = noun el nombre = noun / name el pronombre = pronoun
el subjeto = subject
el objeto = object
el adjetivo = adjective
la concordancia = “gender agreement” [meaning that adjectives should “agree” with the nouns; lit. “concordance” or “agreement”]
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Some Confusing Nouns / Unos sustantivos confusos
el día = day
la mano = hand
el barco = large ship, “ship”
la barca = small boat, “boat”
el bolso = purse, handbag el bolsillo = pocket
la bolsa = plastic bag, shopping bag
la bolsa / La Bolsa = stock market / The Stock Market
el rayo = lightning bolt / ray
la raya = line, stripe
el síntoma = symptom
el modelo = model [noun] el modelo, la modelo = model [profession]
el testigo = witness / something or someone that witnesses an event, “testimony” el testigo, la testigo = a witness / witness, someone providing testimony [legal]
la víctima = victim [always feminine]
el caballero = knight / gentleman / “men”, “gentleman” [as opposed to damas which is “women”; where sometimes gendered things like clothes or bathrooms are used with hombres “men” or caballeros “gentlemen”... and women with mujeres or damas] damas y caballeros = ladies and gentlemen la caballero = lady knight
el sofá = sofa, couch
el pijama = pajamas, pyjama [often used in singular while English says “pajamas/PJs”]
el karma = karma
Words like el sofá, el pijama, and el karma are called “loanwords” [los préstamos lingüísticos, lit. “language/linguistic loans”] - where el sofá and el pijama come from the Arabic/Sanskrit and the Islamic world, while el karma is a Hindu/Buddhist term
Most loanwords come into Spanish as masculine - el clóset [instead of el armario], el kiosk/el quiosco “kiosk”, el yoga “yoga”, el quipu “quipu” [from Quechua, an Inca string with knots for counting] el origami, el vodka, el samovar, el feng shui, or el básket [instead of el baloncesto for “basketball”]. There are some that come as feminine like la katana from Japanese, but it’s a rarer case
In general, most of the time a loanword will be masculine. Feminine loanwords do exist, but it’s often more professions that change forms. The most common is el chef or la chef from French as “chef”.
See also: el/la gurú “guru”, el/la samurái “samurai”, or el chamán, la chamana “shaman”. Many loanwords that are professions can exist in masculine or feminine and most don’t change forms but some do - like el sultán and la sultana, or el vikingo and la vikinga.
In my experience it tends to be more related to how long the word has been present in Spanish / Pan-Hispanic consciousness, and how easily it is to adapt to traditional Spanish linguistic conventions [like “Viking” goes to vikingo and so since it ends in -o, you could end it in vikinga]
Also note that there are some expressions in Spanish that are from Latin and considered loanwords in some cases, though they’re more established in Spanish - etcétera, or viceversa, versus, or something like a posteriori “after the fact / in hindsight” are common examples but may have other translations or versions... like de facto may be de hecho [in fact/in deed]. Others are more specifically legalese just like English.
And pay special attention to loanwords that come from English - anglicismos or “anglicisms” - as they may be more regionally used in some countries than others. Spain for example tends to frown more on English being adapted into Spanish. A common example is computer technology terms; el internet is sometimes referred to as la red “net” or “network”, and while some countries may say online, others may say en línea “on line”
One example that people use a lot for this preference towards keeping Spanish Spanish is el feedback for “feedback”, which in some countries may be seen as la retroalimentación which is literally “backwards feeding”
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Gender Matters / El género importa
el radio = radius la radio = radio [from la radiotelegrafía; feminine la radio often refers to the actual device]
el frente = front la frente = forehead
el capital = money, capital / “start-up money”, resources la capital = capital (city) el capitolio = capital building, ruling government building capital = capital, crucial, significant [adj]
el cometa = comet la cometa = kite [probably from the trailing tail on a kite]
el cura = priest [often Catholic in my experience; synonymous to el sacerdote] la cura = cure la curita = (small) bandage, “band-aid”, plaster [UK]
el orden = order (of events), sequence / order (not chaos) la orden = order (command), military command
el coma = coma, comatose la coma = comma [the , symbol]
el cólera = cholera la cólera = rage, wrath, ire
el mar = sea [common] la mar = sea [deeper water, poetic, or significant] / “sea”, a large number of alta mar = high seas, open waters
el azúcar / la azúcar = sugar [both are correct; sometimes you’ll see either gender, so don’t be surprised if you normally see el azúcar “sugar” in one setting, but la azúcar morena “brown sugar” in a different setting”]
el sartén / la sartén = frying pan [depending on region it will be masculine or feminine]
el arte = art las bellas artes = fine arts las artes marciales = martial arts
With el arte it usually refers to “art” like a piece of art, or painting/drawing/sculpting and other forms of art.
The word las artes only really takes on feminine in plural form and it tends to mean “specific ways of doing something” as a kind of group or umbrella term.
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Words from Greek / Palabras que provienen del idioma griego
el idioma = language, idiom
el clima = weather / clime, climate
el planeta = planet
el síntoma = symptom
el cisma = schism, rift
el tema = subject, theme
el poema = poem
el teorema = theorem
el drama = drama / drama, theater [subject]
el problema = problem
el lema = motto, slogan
el trauma = trauma, hurt
el enigma = puzzle, riddle, enigma
el estigma = stigma
el sistema = system
el esquema = schematic, diagram
el magma = magma
el dilema = dilemma, problem
el aroma = aroma, smell, fragrance
el carisma = charisma
el diafragma = diaphragm
el cromosoma = chromosome
el fantasma = ghost, phantom
And as a general rule anything [at least 99% of anything] ending in -grama in Spanish is masculine:
el diagrama = diagram, chart
el anagrama = anagram
el telegrama = telegram
el holograma = hologram
el crucigrama = crossword puzzle
You should also know that the vast majority of words ending in -ista are unisex
el artista, la artista = artist
el dentista, la dentista = dentist
el electricista, la electricista = electrician
el especialista, la especialista = specialist
el futbolista, la futbolista = football player / soccer player
el ajedrecista, la ajedrecista = chess player
el budista, la budista = Buddhist budista = Buddhist
el idealista, la idealista = an idealist idealista = idealistic
el activista, la activista = activist
deportista = sporty, “a jock”
optimista = optimistic
pesimista = pessimistic
perfeccionista = perfectionist
egoísta = selfish
realista = realistic
renacentista = Renaissance [adj]
modernista = modernist posmodernista, postmodernista = postmodern, postmodernist
derechista = right-wing, conservative
izquierdista = left-wing, “leftist”
racista = racist
fascista = fascist
socialista = socialist
comunista = communist
Additionally...
la tesis = thesis
la sinopsis = synopsis
el análisis = analysis [in plural it’s los análisis which can throw people off]
la hipótesis = hypothesis [in plural it’s usually las hipótesis]
la diéresis = umlaut, dieresis [the symbol with two dots on top like ü]
Another very specific word to be aware of is el atleta or la atleta “athlete”, which is from Greek and unisex, though it ends in A
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Feminine Words with Masculine Articles / Palabras femeninos con artículos masculinos
This is a larger grammar topic that isn’t always properly explained.
There are certain words in Spanish that begin with A- or HA- that are technically feminine but take masculine articles in singular [el or un], but will take feminine articles in plural [las and unas]
This is a unique rule that is compared to the difference between “a” and “an” in English
The gist of it is that if that for this to occur, a noun must
be feminine
begin with A- or HA-
have its stressed syllable be the first one; i.e. the A- or HA- is the stressed syllable
For example: el agua “water”... is technically feminine (#1), it begins with A (#2), and it is pronounced agua (#3). Another one is el hambre “hunger”, technically feminine (#1), begins with HA (#2), and it is pronounced hambre
All of this is done to preserve the A sound [which is why it’s compared to “a” and “an”]. If you were to say “la agua” it would come out as “lagua” due to the two A sounds melding together in Spanish syllables. In other Romance Languages, this problem also exists and may be fixed with apostrophes [’] or other symbols to make sure a word is fully pronounced and understandable
el agua = water
el hambre = hunger, famine
el alma = soul
el arpa = harp
el arma = weapon
el águila = eagle
el ascua = ember
el hada = fairy
el ave = bird las aves = birds, fowl [umbrella term, as opposed to el pájaro an individual “bird”]
el aula = classroom
el ala = wing
el álgebra = algebra
el ancla = anchor el áncora = anchor
el hacha = axe, hatchet / big candle, torch [depends on context]
el asma = asthma
el alba = dawn
el área = area, zone
el asta = antler
el hampa = gang, criminal group
el ama = female owner, “mistress” [not in the romantic sense which is amante; the ama female form of “master/owner” which is el amo], lady of the house el ama de llaves = housekeeper [lit. “owner/keeper of the keys”; in older contexts this is the seniormost maid or the one in charge of managing the female maids; today ama de llaves is often “housekeeper” or “cleaning woman”] el ama de casa = housewife
Note: There’s also el ampa which is also written el AMPA [la asociación de madres y padres de alumnos] which is basically the Spanish equivalent of the PTA [Parent Teacher Association]... literally el ampa means “the association for mothers and fathers of students”
Note 2: There’s a Spanish drama called Las señoras del (h)AMPA which is a pun on el ampa and el hampa; being a group of women in the PTA who get involved in criminal activity - the pun works since H is silent and in this case “optional”
~
Despite the masculine article, the word itself is feminine and takes feminine adjectives:
el águila calva = bald eagle
el ave acuática = waterfowl las aves acuáticas = waterfowl [pl]
el hada madrina = fairy godmother
el álgebra avanzada = advanced algebra
agua pasada no mueve molino = “let bygones be bygones”, “water under the bridge” [lit. “passed water doesn’t move the mill”]
This also applies to the continents: Asia and África are technically feminine but if you ever used an article with them it would be el and take feminine adjectives
For more of the grammar information related to this please see: THIS POST
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Indeterminate Feminine / El femenino de indeterminación
These are commonly adverbial phrases, but many of them use feminine or feminine plural - there’s no specific subject or noun [thus the “indeterminate” or “that which is not determined”], but many times these things that aren’t specified may take on feminine adjectival forms
a la ligera = “lightly”, “not seriously” tomar algo a la ligera = to take something lightly
a medias = “halfway”, “by half measures”, “half-assed”
a diestra y siniestra = “all over the place” [lit. “to the right and left”; diestro/a is the word for “right-hand/right-handed”, and siniestro/a is the older word for “left-hand/left-handed” which is now zurdo/a given the moral implications of “sinister”; so literally it means “to the right-hand and to the left-hand”; in some cases this expression is in masculine form but I’ve seen it most commonly in feminine]
a secas = “by itself”, “with nothing else included” / “ungarnished” (food context) [lit. “dryly”]
a tientas = by fumbling, by touch, “fumbling around”
a ciegas = blindly / blindfolded
a oscuras = in the dark, in darkness, without light [synonymous with en la oscuridad]
a solas = one-on-one, alone, privately
a escondidas = in secret, “behind someone’s back”
a sabiendas = knowingly, “knowing full well”, “consciously”
a gatas = on all fours
(despedirse) a la francesa = “to leave without saying goodbye” [lit. “to say goodbye the French way”]
a las claras = “perfectly clear”, “crystal clear”
de oídas = hearsay [lit. “from hearing” or “from what was heard”]
por las buenas = “the easy way”
por las malas = “the hard way”
Also in culinary things, you’ll see a la used a lot... like the dish pulpo a la gallega meaning “Galician-style octopus”, or albóndigas a la madrileña “Madrid-style meatballs” or huevos a la mexicana “Mexican-style eggs”
This is pretty common in most Romance Languages in my experience
#Spanish#language learning#langblr#languages#spanish vocabulary#language#vocabulario#reference#ref#so much vocab
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well promote it but first we gotta request >:3 i gotta swoop in before there’s a line /lh
could we have a Pavi alter level 4 that’s just the most problematic lil guy ever 🥺
thank you in advance if you can!
FANTASTIC FIRST REQUEST YAYYY!!
heres your awful little guy under the cut!!
name: pavi, petra, ablation, incision, graft, specchio, altezzoso age: 32 pronouns: - he/him - they/them - it/its - self/selfs - hu/hume/humeself - sik/siks - em/eir/emself - 🔪/🔪self gender id: - genderqueer - fleshthing - visceralexic - seruadoric sexuality: - bisexual/biromantic - polyamorous species/race: - white, human source: - paviche from repo! the genetic opera roles: - avenger - confuser - exposurist transIDs: ampusoma, transitalian, transintersex, transkidnapper, transstalker, permaED, paraphiles: necrophile, autonecrophile, sadist, biastophilia, consang, emetophilia, amokoscisia, tomophilia
likes: surgery/surgical terms, plastic surgery especially, gore, guro, repo (his source), rain, the middle of the night, eating meat, cooking, sleeping dislikes: showing his face (prefers to wear a mask of some kind), being insulted, feeling dirty (needs to shower often) hobbies: watching horror movies, cooking (as mentioned above) vocal notes/voice claim: same as source - stutters when he doesnt put on the italian accent personality traits: unstable, selfish, self-serving, obsessed with himself, egotistical, haughty, materialistic face claim / picrew / icons:
front triggers: meat, cooking, songs from source, rain aesthetic: grunge, gorecore fashion style: business goth, grunge sign offs: - 🫀🍴
kinlist: - buffalo bill (the silence of the lambs) - discord (mlp:fim) - hexxus (fern gully) typing quirk: nothing too particular, but he tends to speak With proper syntax but limited punctuation save for the occasional overexcited exclamation point !!!!!! Of which there is usually a space !!
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Omg yes headcanons time!! (Im that anon who wrote the other headcanon wink wink )
Bro probably listens carefully when u explain him fnaf lore and makes thousands of theories of it🤯
I think he would like winter cause he likes studying while drinking hot chocolate wont admit it but secretly he likes winter sm
he likes blankets. he just like it. I cant explain why but he likes it.
HE PROBABLY IS SO CONFUSED ABOUT INTERNET
"uhh L spider?? Im not a letter"
"I ate??Uhh yeah I ate 30 mins ago 🤨"
he is confused..
Yeye <3
Syntax would probably find interest in the mechanics of fnaf lore and speculate rather deeply. Yes. I can see it now. You don't find much, but when you do, it's a few sheets of paper written extensively and in incredible detail, all regarding fnaf lore.
Nahhh, no way you'll embarrass him by demanding he explain...
and get payback... for that time at the casino...
Five minutes later, Syntax is an excited little boy going on a rant about all the theories he'd come up with. Completely and utterly unashamed of getting exploited.
You would feel irked, but you're too busy smiling at how childish and jittery your partner suddenly is.
In the end, you delve into fnaf lore with him and get lost for an hour.
Good times.
Winter is definitely his favorite season. Sure, spiders like it warm and are uncomfortable in the cold, but Syntax has found a balance between his human side and his demon side in the winter season. See, in summer, the only way to cool off is to surround yourself with 14 fans and a spray bottle. In winter, you have the choice to go cold or use a large coat to disguise the 10 layers of clothes underneath.
He also likes winter because waking up in the morning to a soft, dim sky is ethereal. Even more if he wakes up to find you'd snuck into his arms during the night, your breath now a slight gust of air against his skin as you dream.
Honestly, if Syntax didn't like blankets before, he totally likes them now because of how many you own.
If you bought him a fuzzy blanket as a gift, he'd probably be polite and grateful on the outside, but secretly loves the idea of you getting him gifts.
Plus, FLUFFY BLANKET. HE OWNS ONE NOW??
It's one of the small comforts he can find nowadays. Syntax is used to sharp edges and scratchy coats and plastic chairs.
The fact that he now has something of his childhood means a lot.
Bugger also doesn't waste time on memes.
Doesn't waste time at all.
So when you mention one, he either gets what you're trying to get across but doesn't care, or sits there stupidly and tries to understand the mechanics behind your weird phrases.
"The hell is a boomer?"
"Maybe if you were more educated-"
"Don't lecture me, what you deem as education is merely an outlet for individuals with a single brain-cell to try and humor their intellect."
You hum, eyes on the laptop screen. "That made no sense. No stonks for you."
"Stonks??"
#lmk#headcanons#lmk syntax#syntax x reader#fluff#oneshot#technically#short n sweet#no stonks for syntax#ask#beau answers
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Untitled, 2023. 2m x 1.5m (Digital print on Canvas)
———
This work is an exploration between the division of human and machine. It is an assertion of humanity, searching for community and refuge from technological suffocation.
The role of language.
A driving point of tension, and a fundamental difference, between the person and the machine is the function and interpretation of language. Language to a machine is a transaction of data. A plastic articulation of commands, focused on limitless optimisation, devoid of context, empathy and lived experience.
Language for a human being is essential and takes many forms. It exists as letters, numbers, words and images but also as gestures, tradition, sound, movement, touch.
Through language we reify the irrepressible and fundamental fact that I am real, you are real and that we acknowledge and cherish our shared impact on each other.
It is how we express joy and grief. It is how we console and how we connect.
It is how we find reason to be, and how we celebrate it.
It is a connective tether between our understanding of now, what has been and what will come.
In searching for an expression of connection through the interpretation of language, there also exists a point of finding where language no longer serves machine but persists for us. One of the most universal languages observed in all places, always, is that of food. Regardless of our ability to communicate verbally or through written word, we are able to communicate our affection and our care through the sharing of a meal. It is a biological need that brings us together and one that serves no authentic purpose to a machine.
This work is intended to exist as a technologically impenetrable object.
It is for people, and people alone.
It represents a celebration of humanity, presented in the symbolic syntax of the captcha anti-bot detection system - a presentation of language that is unreadable to the machine but understood by the human eye.
What is presented is a metaphoric ‘cook-book’, translated to the form of a tablecloth. The text housed on the surface of the textile is a transposition of a meal, consisting of:
An entrée of bread
A main course of egg & bacon quiche
A desert of chocolate & cinnamon sponge cake.
These recipes and their instructions were originally devised by my dear Nana, who passed several years ago. These recipes and their instructions are from hand-written cookbooks she left behind. Written records of love, translated through food, left for her children and their children.
Each ingredient choice, each articulated instruction – every pen stroke - is charged with an irrepressible devotion. It is informed with tender intention for the act to be repeated and reexperienced by anyone that comes across it, so that they too can share that meal with not just those at the table, but with her and her family. It is an invitation to share a time and space, in the same way that a film is an invitation to experience a story together, or that a book is an invitation to mutually explore.
What I’ve attempted to create is an object that serves no purpose to and cannot be mechanically interpreted by the machine but is an articulation of and an invitation to experience shared humanity and community.
Its form as a tablecloth, while pragmatically obtuse in it’s purpose as an instructional document, is intended to communicate and embody the ideological underpinnings of its function.
It is laid over the table at which the meal is eaten, serving as both temporal and gestural signifier of this tender communion between those participating in the meal
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Cut It Out And Added First Layer Of Paint, God Damn Syntax's Googles Are Gonna Be Hell.
I Need ______ For Googles:
Black Paint
Clear Or Green See Through Plastic
Motivation Maybe
#idk#idfk at this point#lego monkie kid#lmk#art#lmk syntax#lego monkie kid syntax#cardboard craft#cardboard#crafts
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ENG
Drafted Again (The Invisible Cities) I 2023 I Mixed media on paper, photography and digital retouch I 280x590cm
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The idea for Drafted Again (The Invisible Cities) came from the re-reading of the homonymous manuscript written by Italo Calvino, now used as a starting ground for a meditation upon the structuralist (philosophycal) method and its possible applications to pictorial syntax.
The work is a dummy-model, a photographic collage of shots of urban everyday life, recorded during long walks in the labyrinthine historic neighborhoods of some Sardinian towns; glimpses of streets traveled distractedly and anonymously, while disinterested and dreaming, looking at the sky. The photos, in fact, taken from the bottom-up, do not investigate the present surroundings but, instead, insist on what has been there and what will be of that same architectural limbo. These images, subsequently selected and post-produced so that their chromatic and topographical character got completely deleted, were then fused and connected, glued and painted, superimposed and torn, semi-arbitrarily, onto a paper surface in order to conceal something that one can associate to the view of a map of a contingent, plausible city; a mixture of all and none, lived and never visited, familiar and foggy: invisible.
There are many pictorial and conceptual layers beneath: first of all, the performative one - the promenades through the historic districts of Sardinia and the repetitive and compulsive shooting made at every intersection or plain street encountered and the consequent, particularly difficult, staging of the work, remembrance of a shamanic, mnemonic dance, carried out in the hope of being able to reassemble, through hypnagogic shocks, the vague memory of those once visited barrios; the other layer is conceptual: photographs and practical operations overlap in a Platonic mimesis, manifesting through anatomical images the processes of memory; and finally, the last layer, the practical one - each material is meticulously arranged in a precise position, covering and hiding, accentuating and enhancing the plastic and icastic values of the compositional foundations of the work.
ITA
Drafted Again (Le Città Invisibili) I 2023 I Media misti su tela e carta, fotografie e ritocco digitali I 280x590cm
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L'opera Drafted Again (Le Città Invisibili) nasce dalla rilettura dell'ononimo manoscritto di Italo Calvino, ora utilizzato come spunto di riflessione sull'analisi strutturalista e sulla sua eventuale applicazione alla sintassi pittorica.
L'opera è un menabò, un collage fotografico di scatti di quotidiano urbano registrati durante le lunghe camminate presso i labirintici quartieri storici di alcune località sarde; squarci di strade percorse distrattamente e anonimamente, disinteressati e sognanti, guardando il cielo. Le foto, infatti, scattate alla volta ciana, non indagano sul presente, ma su quello che c'è stato e su quel che sarà di quello stesso limbo architettonico. Queste, successivamente selezionate e post-prodotte affinché ne venisse completamente annullata la cifra cromatica e topografica, sono state poi fuse e collegate, incollate e dipinte, sovrapposte e strappate, semi-arbitrariamente, sopra una superficie cartacea in modo da dissimulare, alla visione, quella che può ricordare la mappa di una città contingente, plausibile, miscuglio di tutte e di nessuna, vissuta e mai visitata: invisibile.
L'opera funziona attraverso stratificazioni e strutturazioni pittoriche e concettuali: prima di tutto performative - le promenades presso i quartieri storici della Sardegna e il ripetitivo e compulsivo scatto presso ogni incrocio e via incontrata e l'allestimento dell'opera conseguente, particolarmente difficoltoso, rimembranza di una danza sciamanica, mnemonica, svolta nella speranza di poter riassemblare, tramite scosse ipnagogiche, il vago ricordo di quei rioni; concettuali: le fotografie e le operazioni pratiche si sovrappongono, in una mimesi platonica, manifestando per immagini anatomiche quelli che sono i processi della memoria; e infine pratiche - ogni materiale viene meticolosamente predisposto in una precisa posizione, coprendo e nascondendo, accentuando e valorizzando, i valori plastici e icastici delle fondamenta compositive dell'opera.
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2023年1月8日
【新入荷・新本】
Nick Relph MONSTERS, Pre–Echo, 2022
Softcover. 500 pages. 267 x 310 mm. Color.
価格：9,350円（税込）
/
ロサンゼルスを拠点に活動するイギリス人アーティスト、ニック・レルフ（Nick Relph）の作品集。2021年刊行の作品集『ECLIPSE BODY & SOUL SYNTAX』に続く一作。前作と同じスキャン方法を使用して、作者はニューヨーク、ロサンゼルスにある1,000の公衆電話のボックス・エンクロージャ（ケース）のイメージ群を収集した。
本作に収まっているイメージ群は前作とは対照的に、より均一にスキャンされているものの、紙、シール、ペンキ、錆、雨水、ホログラム、反射ビニール、ネジ、ケチャップ、植物、鳥の糞、電気ケーブルなど、デジタルアーチファクトや表面に付着するものが際立つ。
作者とブックデザインを手がけたジョセフ・ギルモア（Joseph Gilmore）は、452点のイメージ群を編集し、表紙から裏表紙に渡るまでシークエンスを構成している。各ページに記載されている数字は、コピー機でスキャンされたイメージに対応する別の数字とセットになっており、作者自身のプリントシリーズ『Seeing Plastic』を通じてそれを入手できる仕上がりになっている。
（twelvebooksによる本書紹介文）
MONSTERS serves as a tangential addendum to Eclipse Body & Soul Syntax (published by Pre–Echo in Fall 2021). Using the same scanning process as before, Relph gathered 1000 images of payphone enclosures in New York and Los Angeles.
In contrast to Eclipse Body & Soul Syntax the scans in MONSTERS are more uniform, upset though they are by digital artifacts and surface interruptions: paper, stickers, paint, rust, rainwater, a hologram, reflective vinyl, screws, ketchup, plants, bird shit, electrical cable.
For the book Relph and designer Joseph Gilmore assembled an edit of 452 images, with the sequence beginning on the front cover, and ending on the back. The page numbers are accompanied by another set of numbers which correspond to an individuated xerox copy of each image, which Relph is making available through his Seeing Plastic imprint.
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#lmk syntax#syntax lmk#syntax#lmk#lego monkie kid#plastic babies#paint#lmk gif#art#artists on tumblr#idk how to tag this#wowwie#yippee#wtf#haha#lmao
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If to be cute is to give up a certain mode of self-regard, it also involves viewing, liking, and sharing yourself as an object. The intense semiotic zones of social media potentiate cuteness to an unprecedented degree, accelerating a decades-long history of symbiosis between Cute and consumer culture. Innumerable simulacra of impossible bodies circulate in the recombinatory matrix of the memosphere, massaging inchoate pulsions into shape, irrigating new thirsts, machining and distributing new partial objects, ‘forming ephemeral syntaxes of hybrid cyber-circulation’. And the larger the cute corps grows, the more soldiers of the egg (the only weapons they need are their curves), the more impossible it becomes for Daddy Admin to collapse any one individual back into their ‘natural’ body. So this is what they meant by breedability: a swarming. ‘Social media plague’, but from the virus’s point of view. [...] Daddy says that everything that goes on in your bedroom is delusion and degeneracy. Leave your fantasies behind. Be—be yourself—and be ashamed of yourself (all of which amount to the same thing). But cuteness is acceleration. Discipline of enthusiasm, schwärmerei, contagion, and positive feedback… no one is inoculated. Cute’s unrealistic aspiration—meltdown into the egg—is simultaneously a pragmatic programme—patient dismantling of the sausage machine. In reality, the only fantasy you need to leave behind is that of a nonfictional, authentic self. Embarrassment, shame, and propriety all crumble before the allnicey onslaught of mass cuteness. [...] Be unyielding in your determination to make yourself soft. ‘Very soft particles—but also very hard and obstinate, irreducible, indomitable.’ There are no rules: what feels cute now may need to be deleted later. To explore the virtual body is to break out from the prison of the flesh. To ‘take back the body they stole from us in order to fabricate opposable organisms’. Dimorphism and body-gender correspondence decline gently in favour of a navigation that is tactile, recursive, fictioning—a ‘becoming’ in the technical sense of a pragmatism-in-motion, this time rigged in your favour, ‘a matter of careful engineering, the setting of scenes, the perfection of touch’. Since Cute has no interiority, it can’t be about the attempted ‘alignment’ of one’s body with a pre-existing ‘inner self’ or authentic identity. In this sweet torture, this awakening of a eepy dormant plasticity, becoming sufficiently powered-up to overcome one’s lack of objective conformity to a spatial-proportional schema is a matter of artifice, and requires the production of devices for mediation, rigging—social, technical, sartorial, cosmetic, hormonal, genetic, molecular… but always collective. You never cutify alone. To cute—in the infinitive—is to swarm.
Amy Ireland and Maya B. Kronic, Cute Accelerationism
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rotting.rotting.rotting.away
iamunfamiliarwiththe.subject.matter
i'm sorry
for whatever i've done to you
wordlessly watch sadness keep up its rhythm
one endless afternoon
mold-in-plastic
syntax error
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melt
(late 2019, before things got really weird)
when I imagine us as the historians will
see us, a series of
figures refigured constantly
reconfiguring ourselves in
relation to time, space, other
the void of existence the voices
of others before and after us
I see a generation born out of time
doomed to float outside of it
(a bubble) (an anachronism)
slid out of sync
gripping for a place of purchase
everything meaningful happened
before I was born and i
never liked history
declined to decode
integrate it into my personal syntax of significance
a parade of twine names and numbers
and later, a net of interrelated stories
I can't relate to.
and they left us with it
hot coal of a planet
passed from hand to hand
said 'this isn't what we wanted'
we asked 'what exactly
did you have planned'
it turns out nothing
still I wait for my toast to defrost
and unravel plastic wrapping and
look around with horror and awe
at this kitchen
at this sliver of civilisation
an icy wedge in time
clear shining brittle
going the same way as the glaciers.
and the islands of meaning
we clung to
bob away with the tide
made a mockery of.
plural possible futures
obliterated
by some strangers' past.
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Blog 6
In this week's chapter of Typographic Design: Form and Communication, it discussed in detail the importance of syntax in design work. And I mean its obvious that syntax is an indispensable part of any piece of Typographic design. If the letter forms don't come together to make a cohesive word or sentence, then it defeats the point of designing it to begin with. However, because the average person is often exposed to type in our modern age, we don't often think about the work that goes in to make words flow together seamlessly. I personally never really thought about how much work goes into fonts to create perfect letterforms that are consistently legible.
This week was the wrap up of Assignment 3: the Music Festival. I have to say that I really enjoyed this project, as stressful as it was. I'm happy that I could make something that I could be proud of. (Also something that I could put on my resume). Above are my mockups for a plastic collectible cup and a matchbox. When conceiving of my concept, I initially thought about putting the logo on a cup or popcorn pail that had alternate colors, so that every person that attended the festival would receive a different color. Which reinforces the glowstick inspiration I had from most of the project.
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