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randomnotesofmyown · 4 years

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Psycho Pass (9-10)

Episode 9 - Paradise fruits

Kogami, Tsunemori and Ginoza at the Oso Academy to continue their investigation. Ginoza brought Kogami aside to apologize for his misjudgment. Kogami responded that he hadn't felt as lively for a long while.

Morning next day, Tsunemori was told about a news report video recommended by the Ministry of Welfare in which a Senguji Toyohisa was interviewed and talked about how immortality could be achieved by turning human into cyborgs.

As Tsunemori drove to pick up Kogami, she played that video in her car. Kogami was not interested in what Senguji said, he looked out of the window when that video played. Nonetheless, Tsunemori asked:

"...by becoming a cyborg?"

Kogami answered immediately, without looking at Tsunemori, that he was not interested. "LIfe as a latent criminal isn't the sort of thing you'd want to go on forever." Tsunemori countered that if the social system became more developed, the rights of latent criminals might improve. Kogami laughed it off, saying no wonder Tsunemori's psycho-pass tended to stay clear. The video continued. The host asked Senguji about a survey that showed people's reluctance in becoming more than 50% cyborg, and Senguji responded that everyone had become more or less cyborg now. Even though they did not have artificial body parts, they had become totally dependent on portable information terminals, AI secretaries and similar technologies that functioned as their second brain. And he concluded that the history of science was a history of the expansion of the human body's functionality, in other words, the history of man's cyberization.

Tsunemori kept driving without talking with Kogami. They arrived at a private property. Both quietly got out of the car.

As Kogami pressed the doorbell, Tsunemori commented that she didn't see much environment hologram in use there. Kogami replied that the owner didn't like those kinds of things.

Door opened. Kogami greeted and addressed the owner as professor Saiga.

They were invited in. Seated, Saiga started doing profiling on Tsunemori, saying that she was from Chiba, not bad at athletic activities, but couldn't swim, and both her parents were still alive...

Saiga continued talking about how Tsunemori's parents saw thing, their opposition to Tsunemori becoming a Public Safety agents, and Tsunemori's relationships with her grandma.

Saiga, "Just some simple observations. People manifest all sorts of signs unconsciously. Once you get the knack of it, you can easily read those signs."

Kogami then said to Saiga that he had two favors to ask for. First, Saiga taught Tsunemori how to do profiling, and second, Saiga showed Kogami the list of past course attendees.

Saiga asked who it was that Kogami was looking for. Kogami replied, "I think this guy is the worst criminal since the creation of the Sibyl system. He's a high-level intellectual criminal and is probably fit and in good health, too. He's someone with unique charisma. He rarely kills people with his own hands. He controls other people's minds and influences them. Much like a music conductor, he orchestrates one crime after another." Saiga asked Kogami to define chrisma. "I used it to mean the nature of a hero or a ruler." Saiga said he would give that answer 20 points. Then he gave his answer:

1. The nature of a hero or a prophet; 2. An ability to simply make you feel good when you're around them; and 3. The intelligence to eloquently talk about all sorts of things.

Then, Saiga asked Kogami which of the above elements did the guy he was looking for have. "All of them."

At the Public Safety Office, Masaoka showed the profile of Shibata Yukimori, an elderly man whose identity was used by someone who taught art at Oso Academy.

Another agent added that all the video data had been destroyed and that there was no way to reconstruct his appearance. Both creating a traditional photofit picture and drawing a composite sketch failed.

Kogami asked if Tsunemori found the crash course helpful. Tsunemori replied it helped a lot, then she wondered why Saiga's course was not in the Public Safety Bureau's archive.

Kogami said that was impossible. Saiga's courses were specially set up for Public Safety inspectors. But some of the people who attended the courses had clouded hues and high crime coefficient readings.

Tsunemori was surprised by this.

"Say there's a dark swamp and you can't see the bottom. In order to check the swamp, you have no choice but to jump in. Mr. Saiga is used to it since he's dived in to investigate it so many times. But it's not like all students can come back safely after diving into the swamp. There are gaps in their abilities and simply their suitability, too." "You seem like someone who'd dive deep...and yet come back safely."

"Well...at least the Sibyl system decided that I couldn't come back."

Cut to Maikshima. He was accompanied by his guest, the hunter who killed Rikako, the chairman who appeared in an interview, Senguji Toyohisa.

Senguji smoked with a pipe made of Rikako's bone.

Makishima asked Senguji that since he had overcome aging in his body, "all that's left is your mind?"

Senguji replied, "Yes. You maintain a healthy and sound life by sacrificing other lives. But if people only seek youth for their bodies and lose sight of the means to cultivate their minds, then naturally it will only lead to an increase in the number of living dead. How foolish, don't you think?"

"The energy that comes from thrills. It's a dangerous reward that goes hand in hand with death, huh?"

"That's right. In hunting, the tougher your prey is, the fresher the youth you can gain from it." Senguji replied. "With all that in mind, I think I can arrange for your next prey to be an exquisite one. It's an Enforcer from the Public Safety Bureau (MWPSB). His name is..."

Walking along with Kogami, Tsunemori said checking Saiga's lecture attendees list didn't help much.

"But if Makishima is a living man, he's left a trace somewhere for sure."

As soon as Kogami and Tsunemori entered the office, Ginoza reacted.

"That's because I asked him to," said Tsunemori.

"...making her a latent criminal who strayed from the right path like you?"

"A brat who's confused about anything and everything! Why do you think we have the classifications of Inspectors and Enforcers? It's in order to avoid the risk of having healthy people's Psycho-Pass get clouded by criminal investigations. We use latent criminals, who can never return to society, in our place. That's precisely why you can fulfill your duty while protecting your mind!" Kogami listened without making any objection.

Tsunemori though...

"That's not teamwork! Solving crimes or protecting our own Psycho-pass, which on earth is more important?!" "Do you wanna throw away your career? Are you going to sacrifice everything you've built so far?" "It's..."

"It's certainly true that I'm new. And you are a respectable senior to me, Inspector Ginoza. But please don't forget that we're on equal footing in terms of our rank! I'm managing my coefficient just fine. You may be senior to me, but I'd like you to restrain yourself from questioning my ability at the workplace and in front of the Enforcers!"

Tsunemori was really angry. Ginoza walked off without saying anything.

Facial expressions of enforcers Kunizuka Yayoi, Ginoza and Kogami when Tsunemori talked back.

Tsunemori walked out of the office, Masaoka followed her and talked her out of making a complaint to the Bureau chief.

In a one-on-one conversation, Masaoka told Tsunemori that Ginoza's father was a latent criminal.

"Terrible misunderstandings and rumors about latent criminals were common in [the days when the Sibyl system was just put into operation]. If a family member happened to show a high crime coefficient, that alone caused the rest of the family to be treated as if they were the same. I'm sure he suffered quite a bit. When a detective gets deeply involved in an investigation, in the end, the Sibyl system starts keeping an eye on them just like it does the criminals. Committing a crime or cracking down on crimes. Both sides face the same phenomenon called crime. There's no difference."

"Now there are Enforcers, but before they created that position, there were many detectives who were diagnosed as latent criminals like that. Inspector Ginoza's father was one of them."

"That's why he can't forgive those who run a risk on their own. And yet, Kogami, his former colleague was also...He feels he was betrayed twice. First by his father and then by his colleague. That's why he acts like that towards you."

"Missy, you do have a family and friends too, don't you? If your Psycho-Pass gets clouded, this time, those people will suffer the same hardships Nobuchika did. In order to avoid that, we, Enforcers, are here."

"he used to. But now...he might be oblivious to everything that's not related to that Makishima guy." Cut to Sneguji in a conversation with Makishima. Senguji said he would not capture the target alive.

"It seems that you haven't noticed it yourself, so I'll tell you this. Kogami Shinya...When you speak that name, you look quite amused."

Another version of Ode to Joy was played in the background as this conversation went on.

End of episode 9.

Episode 10 - Methuselah's Game

In the middle of her sleep, Tsunemori was awoken by an alert of an incoming email from her friend Funehara Yuki.

Accompanied by Kogami, Tsunemori went to the site Funahara specified.

Tsunemori felt the place was strange and appeared like a trap. Kogami agreed and said Tsunemori should be the target.

Kogami then requested to be armed and entered the obsolete subway station on his own to check things out, while Tsunemori waited for the back up and guided him underground.

Kogami walked as Tsunemori said via a device that "In the back there..." Interference jammed the message. Kogami walked on nonetheless.

What Tsunemori said was, "In the back there, there's a dead end." And Tsunemori was struck by what she saw.

When the interference stopped, Kogami heard Tsunemori's voice telling him to keep going.

Then, Tsunemori's voice told Kogami to check the train cars.

Some water rushed by, followed by a train. Kogami held onto that train as he tried to communicate with Tsunemori to no avail.

All he heard was

And Tsunemori could not get her message to Kogami either.

Kogami entered the train compartment and saw a girl blindfolded in it. He removed her blindfold, produced his warrant card, and asked the girl who she was. "Funahara Yuki."

On the ground, other members of division one arrived.

"From the smell, it's definitely polluted water mixed with liquid waste. If something like that gets poured on you, you'll be in for a world of hurt." "But Mr. Kogami unmistakably moved ahead beyond that point. In fact, he went even further, going through the wall!" said Tsunemori. Kagari folded his arms and threw a question at Tsunemori with a voice of distrust, "Isn't that a problem with the navigator?" Kunizuka voiced her comment as she checked the surroundings. "The issue might not be with the hardware, but the software. Since this area has been repeatedly redeveloped, you'd never know if the entered data matches the actual condition. "

"Aren't you the only one who got deceived, Inspector Tsunemori?"

"Kogami left your surveillance and his location is lost. In other words, he might've staged this situation from the start to run away." Masaoka chimed in. "Suppose we trust the navigator instead of the map data, do you know in which direction Kogami was headed? Did the signal show any strange movements?"

"Come to think of it...after a while, he suddenly started moving in a straight line really fast. He must be in some vehicle now. Isn't there a subway line around that runs in a north-south direction?" Kunizuka replied, "There is."

"The subway Ginza Line. But it was discontinued sixty years ago."

Kogami asked Funehara if she had any clue what happened and the girl hadn't the faintest idea. She got home from work, took a bath and slept as usual. When she woke up, she was already on this train. Kogami still thought Tsunemori was the target, but then he had second thought. He played Tsunemori's voice and determined it was a fake created from voice samples. "They knew all along that she wouldn't be the one to come to the basement, but someone else instead. "

The train stopped.

An electric hound emerged, Kogami and Funehara had to take the stairways and headed straight to Senguji's hunting ground.

"Things have been going as we planned so far. It seems they're quick to pick up on things, too. The smarter the prey, the more enjoyable the hunt becomes." Said Senguji. "Looks like it will be a worthwhile game to watch from the bleachers." Makishima commented. "Why don't you take part in the hunt for a change?" Senguji probed. "My interest lies in what will transpire during this hunt. So it would be best for me to observe things as a third party."

Kogami inspected the hunting ground, and found a bag with chemical light sticks and bottles in it.

Kogami carried that bag and made use of the chemical light sticks to find their way out. As they walked, Funehara asked if Tsunemori was doing okay with her work. Kogami replied that Tsunemori had faith and intuitively understood what it meant to be a detective.

Funehara continued talking about Tsunemori. And Kogami threw another light stick and heard different sounds. He sensed a trap. and confirmed it with the torch in his hand.

Funehara saw a bag identical to the one Kogami was carrying, and ran to grab it right away. Turned out it was a device that would guide an electric hound right to them.

As the two ran from the hound, Senguji fired at Kogami. He missed.

Kogami told Funehara to stay hiding while he went out to try take down one of the hounds.

He attacked one with a transponder attached to it. That hound struggled and stepped right into a clamp, it then darted to the position of the other trap and was destroyed. Kogami grabbed the transponder and ran.

Senguji fired and missed again.

Kogami ran to Funehara and told her to run with him. The transponder in his hand had battery, he needed to find an antenna to communicate with his colleagues.

Senguji was impressed with Kogami. Then he asked Makishima added in some plot into the game that he wasn't aware of. Makishima started, "When a man faces fear, his soul is tested. What he was born to seek...What he was born to achieve...His true nature will become clear." "Are you trying to mock me?" "It's not just that Kogami guy. I'm interested in you, too. Mr. Senguji. An unforeseen situation...an unexpected turn of events..."

"I know that is the thrill and excitement you've been seeking."

Makishima then pondered if Kogami understood the meaning of this game.

Kogami tried to figure out what was going on. "With you as bait, they lured in Tsunemori. But they knew it would actually be me who came looking for you instead. They factored all that in when setting up this hunt." "It's you who they want to play with, right? I'm just...dammit! I'm just being dragged into this, right?!" "That's right. With regard to you, your role should have been over when your email was sent. And yet...why did they put you on the subway?" "isn't it to make it difficult for you to run away?" On hearing this, Kogami figured out something. "This fox hunt is not just a one-sided game. They are hinting that I've got a chance, too. In other words, I'm being tested. Whether I abandon you during this game or not, I bet it's also one of the keys to winning this game. "

Then, Kogami ordered Funehara to take off her clothes, "If you want to survive, just do as I say." Funehara complied. Then, Kogami asked if Funehara usually coordinated her bra and he asked her to hand those over.

Kogami found the antenna he needed.

On the ground, Ginoza was laying out his plan for agents to go in and, based on the premise that cymatic scan couldn't be fooled, ordered Kogami be shot with a dominator as soon as he was spotted so as to see his true intention. If Kogami didn't intent to run away, he coefficient would stay the same and he would be paralyzed; but if he did try to run away, the eliminator mode would be activated and he would be killed. Tsunemori protested, pointed out that Kogami was his friend. Ginoza coldly said, "If Kogami ends up dying, the fault will lie on you due to your poor supervision."

"If you had Kogami under control, this wouldn't have had to happen. How do you feel about someone dying because of your own incompetence?"

Masaoka stepped in, grabbed Ginoza by the collar of his jacket, hoisted him, and asked

Then Masaoka tossed Ginoza aside.

Kogami made contact and told the team his location.

The team went in.

Tsunemori's thought as she ran inside, "Mr. Kogami, please let us make it in time."

End of episode 10

Comment Episode nine: The scene in which Tsunemori talked back to Ginoza was an important moment of growth for this character, taking into consideration that Japan would probably remain a male-dominant society at the time when this anime took place, in like almost a hundred years from now, Tsunemori, as a woman, a junior Inspector, showed her courage, determination in a vocal way that surprised Kunizuka, Kogami and annoyed Goinza. And it is the most memorable part of this episode for me. Another thing worth noting was that Masaoka referred to Ginoza by using his given name, Nobuchika. Given that addressing someone by their given name is a sign of closeness, this would be an implicit indication that the relationship between Masaoka and Ginoza was close.

Episode ten: The episode's title carries that name that became synonymous with longevity, so this episode was like a quest for longevity, and the one who craved it the most was Senguji. And Makishima changed the hunting game, turning it into a duet between Senguji and Kogami. Despite mounting disadvantages, Kogami managed to take down one electric hound and found a way to make contact with his colleagues.

A side note for Ginoza, a person keenly aware that his career was at stake, he tried hard not to be influenced by emotions. But in this episode his judgment was clearly clouded by feelings: his distrust of and disappointment in Kogami and his contempt of Tsunemori, and he spoke in a way that was coldhearted, mean, and as Masaoka put it, sinister. But then, on a second thought, Ginoza found himself in a situation that he needed to act tough or people would not take him seriously. He was not happy with it and when Tsunemori protested by saying that Kogami was his friend, Ginoza exploded. He needed to take it out and Tsunemori provided the perfect vent.

#psycho pass

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artseducation2024 · 5 years

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Art is MORE

Janisse Lugo

Art introduction emphasized the multiformity's of art and broadened my perspective. Over the course of this semester I have learned art to be expression, a political action, a voice, a message, a form of education and so much more. Professor Marissa doesn’t disappoint, on the contrary she teaches art in a way you feel inspired to do art. Her classroom pushes you out of your comfort zone and helps you address controversial topics. I’ve learned in her class that if you don’t consider yourself an “artist” one way or another you engage in art which makes this class so important to me as an educator. I want my students to explore their interest and creativity; empower them to find who they are through art, express themselves and have a voice. Art is one of those programs that are undervalued in schools, but art is so necessary to children development. “Thinking through Art: Transforming Museum Curriculum”(Burchenal, M., & Grohe, M., 2007) says that art viewing encourages the development of critical thinking skills. All students must do is interpret the art they are seeing, and this leads to students back up their ideas with evidence by thinking critically. Instead of forcing students to write or listen to a person speak when they go to a museum they need to be encouraged to just observe and it will benefit them in and out of the classroom.

One of my favorite activities was when we were asked to remember a childhood game, we all used to play. The purpose was to use the concept and create a game of our own with a well-known artist. There were 5 groups each had a different artist with a different style. The artist my group and I had was Yayoi Kusama; she's is a Japanese contemporary artist who works primarily in sculpture and installation she uses a variety of patterns and is commonly known for her polka dot designs. We had 30 minutes to design this game and brainstorming took about 20 minutes because we had a limited supply of objects from the table we can use. We ended up using a rope and forming into a circle, then we added coins, gems, and balloons of different color. The person playing had to be blindfolded and try to grab the pink balloon. We used the circle of the rope and the colors as elements related to Yayoi’s style. When it was time to showcase the games and become involved everyone was enjoying the game we created and that brought a sense of joy because people enjoyed and appreciated our creativity. I would never think that playing a game would help me learn about an artist and remember her. Another group had Frida Kahlo and their game was pin the unibrow on Frida which was super fun. I see myself using this strategy in the classroom and it is both encaging and informative.

Christopher Emdin is one of the many artists we learned about that is an advocate for race, culture, inequality and education. Christopher Emdin created a hashtag called #HipHopEd on twitter where educators discussed hip hop and education. This hashtag later developed in a non-profit organization focusing on the theory and practice. Hip hop is implemented into STEM, therapy, literacy, and school leadership at schools. This movement has challenged the traditional education system by acknowledging the youth culture, giving them a voice, and representation. Including youth culture into the classroom will prevent embedding an established culture that many times alienates students. Science is a discipline very Eurocentric and can alienate a community of students who come from a diverse background. When students don’t see themselves apart of the history, they remove themselves from it completely which can translate to not wanting them to be successful academically. Because I learned about Emdin I want to apply my students' culture into their academic classes to encourage academic success and inclusivity. We need more people of color in career paths only familiar to white people. It is time to change the fixed mindset of predetermined jobs for minorities and encourage them to be scientist, politicians, and journalist.

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