#though that does make an interesting implication for the Grid influence...

[augment-techs]

You forgot the part where they use their peni for hands and have such a high libido that they can stay awake for almost a full week in group sex parties of 1 female and up to 8 males. They kill offspring so they can KEEP getting it on.

I’ll just say this after hearing the truth about dolphins…Tori Hanson would despise those demons

[hellomynameisbisexual]

As a nonbinary bisexual, I’m no stranger to people erasing me and telling me that I’m something I’m not. With the rise of terms like “pansexuality” and “omnisexuality,” many people unfamiliar with the true nature of bisexuality now think that it’s transphobic or otherwise binary — some go so far as to claim bisexuals only believe in two genders.

People assert that, while bisexuality allegedly means “attraction to two genders,” pansexuality and omnisexuality, unlike bisexuality, denote “attraction to all genders.” It’s easy to think this way if only examining the terms at face value, but this comparison is an outright lie. Some others say that new labels were a response to transphobic exclusion from the bisexual community — this is similarly not the case. (I’ll be compiling a piece on the history of the “pansexual” label at a later date.) Using this “reasoning” to separate bisexuality from these other terms is woefully inaccurate and disrespectful to bisexual and transgender people.

While there are cissexist definitions of bisexuality, that holds true for “gay” and “straight,” too. Bisexuals have also described our orientation as attraction regardless of gender¹ for decades — at least fifty years or so — and we still do. Before words like “transgender” and “nonbinary” came about, bisexuals still often saw themselves as attracted to people beyond gender.

Androgyny and gender-nonconformity are also a staple in bisexual culture. Major bisexual icons throughout history explored and embraced it. Look at bisexual chic, especially the glam rock era. Some bisexual activists and organizations have historically included and allied with transgender and nonbinary people, and many of us are transgender or nonbinary ourselves.

Below are just a few examples of the hidden secret of our gender-expansiveness. (Including a quote here does not equal my approval of what was said. Keep in mind the times during which they were recorded as well as the footnotes.)

Sources without links can be downloaded for free from ZLibrary, borrowed from the Open Library, or found wherever you purchase or borrow physical books. Sources without a year next to them are those for which I could not find the publish date.

“…the very wealth and humanity of bisexuality itself: for to exclude from one’s love any entire group of human beings because of class, age, or race or religion, or sex, is surely to be poorer — deeply and systematically poorer.”

— Kate Miller (1974)

“It’s easier, I believe, for exclusive heterosexuals to tolerate (and that’s the word) exclusive homosexuals than [bisexuals] who, rejecting exclusivity, sleep with people not genders…”

— Martin Duberman (1974)

“Margaret Mead in her Redbook magazine column wrote an article titled ‘Bisexuality: What’s It All About?’ in which she cited examples of bisexuality from the distant past as well as recent times, commenting that writers, artists, and musicians especially ‘cultivated bisexuality out of a delight with personality, regardless of race or class or sex.’”

— Janet Bode, “From Myth to Maturation,” View From Another Closet: Exploring Bisexuality in Women (1976)

“Being bisexual does not mean they have sexual relations with both sexes but that they are capable of meaningful and intimate involvement with a person regardless of gender.”

— Janet Bode, “The Pressure Cooker,” View From Another Closet (1976)

“A sex-change night club queen has claimed she had a bizarre love affair with rock superstar David Bowie. Drag artiste Ronny Haag said she lived with the bisexual singer while he was making his new film, “Just a Gigolo,” in Berlin. […] Ronny says: ‘I am a real woman.’”

— Kenelm Jenour, “I Was Bowie’s She-Man!”, Daily Mirror (1978)²

“[John] reacted emotionally to both sexes with equal intensity. ‘I love people, regardless of their gender,’ he told me.”

— Charlotte Wolff, “Early Influences,” Bisexuality, a Study (1979)

“On Saturday, February 9, San Francisco’s Bisexual Center will conduct a Gender/Sexuality Workshop. ‘We will explore the interrelationships of gender feelings and sexual preference… We will discuss sexuality and whether we choose to play out the gender role assigned to us by society or whether we can shift to attitudes supposedly held by the opposite gender, if those feel good to us. We will deal with the issue of the TV/TS [transvestite/transsexual] in transition and how sexuality evolves as gender role changes. We will attempt to present a summary of the fragmented and confusing information on gender and sexuality.’”

— The Gateway (1980)

“J: Are we ever going to be able to define what bisexuality is?

S: Never completely. That’s just it — the variety of lifestyles that we see between us defies definition.”

— “Conversations,” Bi Women: The Newsletter of the Boston Bisexual Women’s Network (1984)

“Bisexuality, however, is a valid sexual experience. While many gays have experienced bisexuality as a stage in reaching their present identity, this should not invalidate the experience of people for whom sexual & affectional desire is not limited by gender. For in fact many bisexuals experience lesbianism or homosexuality as a stage in reaching their sexual identification.

— Megan Morrison, “What We Are Doing,” Bi Women (1984)

“In the midst of whatever hardships we [bisexuals] had encountered, this day we worked with each other to preserve our gift of loving people for who they are regardless of gender.”

— Elissa M., “Bi Conference,” Bi Women (1985)

“I believe that people fall in love with individuals, not with a sex… I believe most of us will end up acknowledging that we love certain people or, perhaps, certain kinds of people, and that gender need not be a significant category, though for some of us it may be.”

— Ruth Hubbard, “There Is No ‘Natural’ Human Sexuality, Bi Women (1986)

“I am bisexual because I am drawn to particular people regardless of gender. It doesn’t make me wishy-washy, confused, untrustworthy, or more sexually liberated. It makes me a bisexual.”

— Lani Ka’ahumanu, “The Bisexual Community: Are We Visible Yet?” (1987)

“To be bisexual is to have the potential to be open emotionally and sexually to people as people, regardless of their gender.”

— Office Pink Publishing, “Introduction,” Bisexual Lives (1988)

“We made signs and slashes. My favorite read, ‘When it’s love in all its splendor, it doesn’t matter what the gender.’”

— Beth Reba Weise, “Being There and Being Bi: The National March on Washington for Lesbian and Gay Rights,” Bi Women (1988)

“…bisexual usually also implies that relations with gender minorities are possible.”

— Thomas Geller, Bisexuality: a Reader and Sourcebook (1990)

“Many objections have been raised to the use of [“bisexual”], the most common being that it emphasizes two things that, paradoxically, bisexuals are the least likely to be involved with: the dualistic separation of male and female in society, and the physical implications of the suffix ‘-sexual’.”

— Thomas Geller, Bisexuality: a Reader and Sourcebook (1990)

“Bisexuality is a whole, fluid identity. Do not assume that bisexuality is binary or duogamous in nature: that we have ‘two’ sides or that we must be involved simultaneously with both genders to be fulfilled human beings. In fact, don’t assume that there are only two genders.”

— The Bay Area Bisexual Network, “The 1990 Bisexual Manifesto,” Anything That Moves (1990)

“Bisexuality works to subvert the gender system and everything it upholds because it is not based on gender… Bisexuality subverts gender; bisexual liberation also depends on the subversion of gender categories.”

— Karin Baker and Helen Harrison, “Letters,” Bi Women (1990)

“I tell them, whether or not I use the word ‘bisexual,’ that I am proud of being able to express my feelings toward a person, regardless of gender, in whatever way I desire.”

— Naomi Tucker, “What’s in a Name?”, Bi Any Other Name (1991)³

“Some women who call themselves ‘bisexual’ insist that the gender of their lover is irrelevant to them, that they do not choose lovers on the basis of gender.”

— Marilyn Murphy, “Thinking About Bisexuality,” Bi Women (1991)

“Results supported the hypothesis that gender is not a critical variable in sexual attraction in bisexual individuals. Personality or physical dimensions not related to gender and interaction style were the salient characteristics on which preferred sexual partners were chosen, and there was minimal grid distance between preferred male and preferred female partners. These data support the argument that, for some bisexual individuals, sexual attraction is not gender-linked. […] …the dimensions which maximally separate most preferred sexual partners are not gender-based in seven of the nine grids.”

— M W Ross, J P Paul, “Beyond Gender: The Basis of Sexual Attraction in Bisexual Men and Women” (1992)

“[S]ome bisexuals say they are blind to the gender of their potential lovers and that they love people as people… For the first group, a dichotomy of genders between which to choose doesn’t seem to exist[.]”

— Kathleen Bennett, “Feminist Bisexuality, a Both/And Option for an Either/Or World,” Closer to Home: Bisexuality and Feminism (1992)

“The expressed desires of [female bisexual] respondents differed in many cases from their experience. 37 respondents preferred women as sexual partners; 9 preferred men. 21 women had no preference, and 35 said they preferred sex with particular individuals, regardless of gender.”

— Sue George, “Living as bisexual,” Women and Bisexuality (1993)

“Who is this group for exactly? Anyone who identifies as bisexual or thinks they are attracted to or interested in all genders… This newly formed [support] group is to create a supportive, safe environment for people who are questioning their sexual orientation and think they may be bisexual.”

— “Coming Out as Bisexual,” Bi Women (1994)

“It is logical and necessary for bisexuals to recognize the importance of gender politics — not just because transsexuals, cross-dressers, and other transgender people are often assumed to be bisexual… […] I have talked to the bisexual practicers of pre-op transsexuals who feel they have the best of both worlds because their lover embodies woman and man together.² Is that not a connection between bisexuality and transgenderism? […] Some of us are bisexual because we do not pay much attention to the gender of our attractions; some of us are bisexual because we do see tremendous gender differences and want to experience them all. […] With respect to our integrity as bisexuals, it is our responsibility to include transgendered people in our language, in our communities, in our politics, and in our lives.”

— Naomi Tucker, “The Natural Next Step,” Bisexual Politics: Theories, Queries, and Visions (1995)

“The first wave of people who started the Bi Center were political radicals and highly motivated people. The group was based on inclusivity… for example, in the women’s groups, anybody who identified as a woman had the right to be there, so a lot of transgender people started coming to the Bi Center.”

— Naomi Tucker, “Bay Area Bisexual History: An Interview with David Lourea,” Bisexual Politics (1995)

“[B]isexual consciousness, because of its amorphous quality and inclusionary nature, posed a fundamental threat to the dualistic and exclusionary thought patterns which were — and still are — tenaciously held by both the gay liberation leadership and its enemies.”

— Stephen Donaldson, “The Bisexual Movement’s Beginnings in the 70s,” Bisexual Politics (1995)

“If anything, being bi has made me hyper-aware of the sexual differences between [men and women]. And I still get hot for both. But I do experience something that is similar to gender blindness. It’s this: being bisexual means I could potentially find myself sexually attracted to anybody. Therefore, as a bisexual, I don’t make the distinction that monosexuals do between the gender you fuck and the gender you don’t.”

— Greta Christina, “Bi Sexuality,” Bisexual Politics (1995)

“[A]nd too / I am bisexual / in my history / in my capacity / in my fantasies / in my abilities / in my love for beautiful people / regardless of gender.”

— Dajenya, “Bisexual Lesbian,” Bisexual Politics (1995)

“The bisexual community should be a place where lines are erased. Bisexuality dismisses, disproves, and defies dichotomies. It connotes a loss of rigidity and absolutes. It is an inclusive term. […] Despite how we choose to identify ourselves, the bisexual community still seems a logical place for transsexuals to find a home and a voice. Bisexuals need to educate themselves on transgender issues. At the same time, bisexuals should be doing education and outreach to the transsexual community, offering transsexuals an arena to further explore their sexualities and choices. Such outreach would also help break down gender barriers and misconceptions within the bisexual community itself. […] If the bisexual community turns its back on transsexuals, it is essentially turning its back on itself.”

— K. Martin-Damon, “Essay for the Inclusion of Transsexuals,” Bisexual Politics (1995)

“As bisexuals, we are necessarily prompted to come up with non-binary ways of thinking about sexual orientation. For many of us, this has also prompted a move toward non-binary ways of thinking about sex and gender.”

— Rebecca Kaplan, “Your Fence Is Sitting on Me: The Hazards of Binary Thinking,” Bisexual Politics (1995)

“And so we love each other and wish love for each other, regardless (to the extent possible) of gender and sex.”

— Oma Izakson, “If Half of You Dodges a Bullet, All of You Ends Up Dead,” Bisexual Politics (1995)

“Similarly, the modern bisexual movement has dissolved the strict dichotomy between ‘gay’ and ‘straight’ (without invalidating our homosexual or heterosexual friends and lovers.) We have insisted on our desire and freedom to love people of all genders.”

— Sunfrog, “Pansies Against Patriarchy,” Bisexual Politics (1995)

“In the bisexual movement as a whole, transgendered individuals are celebrated not only as an aspect of the diversity of the bisexual community, but because, like bisexuals, they do not fit neatly into dichotomous categories. Jim Frazin wrote that ‘the construction and destruction of gender’ is a subject of mutual interest to bisexuals and transsexuals who are, therefore, natural allies.”

— Paula C. Rust, Bisexuality and the Challenge to Lesbian Politics: Sex, Loyalty, and Revolution (1995)

“Is bisexuality even about gender at all? ‘I don’t desire a gender,’ 25[-]year-old Matthew Ehrlich says.”

— Deborah Block-Schwenk, “Newsweek Comes Out as Supportive,” Bi Women (1995)

“One woman expressed the desire to elide categorical differences by reporting that she finds ‘relationships with men and women to be quite similar — the differences are in the individuals, not in their sex.’ Others expressed their ideal as choosing partners ‘regardless of gender…’”

— Amber Ault, Ambiguous Identity in an Unambiguous Sex/Gender Structure: The Case of Bisexual Women (1996)

“Most conceptual models of bisexuality explain it in terms of conflictual or confused identity development, [r-slur] sexual development, or a defence against ‘true’ heterosexuality or homosexuality. It has been suggested, however, that some individuals can eroticize more than one love object regardless of gender, that sexual patterns could be more variable and fluid than theoretical notions tend to allow, and that sexual desire may not be as fixed and static in individuals as is assumed by ‘essential’ sexual categories and identities.”

— E.Antonio de Moya and Rafael García, “AIDS and the Enigma of Bisexuality in the Dominican Republic,” Bisexualities and AIDS: International Perspectives (1996)

“I’m bi. That simply means I can be attracted to a person without consideration of their gender.”

— E. Grace Noonan, “Out on the Job: DEC Open to Bi Concerns,” Bi Women (1996)

“BiCon should accept transgender people as being on their chosen gender, this includes any single gender events.”

— BiCon Guidelines (1998)⁴

“The probability is that your relationship is based on, or has nestled itself into something based more on the relationship between two identities than on the relationship between two people. That’s what we’re taught: man/man, woman/woman, woman/man, top/bottom, butch/femme, man/woman/man, etc. We’re never taught person/person. That’s what the bisexual movement has been trying to teach us. We’re never taught that, so we fall into the trap of ‘you don’t love me, you love my identity.’”

— Kate Bornstein, My Gender Workbook (1998)

“Transsexuality and bisexuality both occupy heretical thresholds of human experience. We confound, illuminate and explore border regions. We challenge because we appear to break inviolable laws. Laws that feel ‘natural.’ And quite possibly, since we are not the norm or even average, it is likely that one function we have is to subvert those norms or laws; to break down the sleepy and unimaginative law of averages.”

— Max Wolf Valerio, “The Joker Is Wild: Changing Sex + Other Crimes of Passion,” Anything That Moves (1998)

“From the earliest years of the bi community, significant numbers of TV/TS and transgender people have always been involved with it. The bi community served as a kind of refuge for people who felt excluded from the established gay and lesbian communities.”

— Kevin Lano, “Bisexuality and Transgenderism,” Anything That Moves (1998)

“A large group of bisexual women reported in a Ms. magazine article that when they fell in love it was with a person rather than a gender…”

— Betty Fairchild and Nancy Hayward, “What is Gay?”, Now that You Know: A Parents’ Guide to Understanding Their Gay and Lesbian Children (1998)

“Over the past fifteen years, however, [one Caucasian man] has realized that he is ‘attracted to people — not their sexual identity’ and no longer cares whether his partners are male or female. He has kept his Bi identity and now uses it to refer to his attraction to people regardless of their gender.”

— Paula C. Rust, “Sexual Identity and Bisexual Identities,” Queer Studies: A Lesbian, Gay, Bisexual, and Transgender Anthology (1998)

“Bisexual — being emotionally and physically attracted to all genders.”

— The Gay, Lesbian, and Straight Education Network, “Out of the Past: Teacher’s Guide” (1999)

“There were a lot of transvestites and transsexuals who came to [the San Francisco Bisexual Center in the 1970s], because they were not going to be turned away because of the way they dressed.”

— David Lourea, “Bisexual Histories in San Francisco in the 1970s and Early 1980s,” 2000 Journal of Bisexuality

“Respondent #658 said that both are irrelevant; ‘who I am sexually attracted to has nothing to do with their sex/gender,’ whereas Respondent #418 focuses specifically on the irrelevance of sex: I find myself attracted to either men or women. The outside appendages are rather immaterial, as it is the inner being I am attracted to. […] Respondent #495 recalled that “the best definition I’ve ever heard is someone who is attracted to people & gender/sex is not an issue or factor in that attraction.” […] As Respondent #269 put it, “I do not exclude a person from consideration as a possible love interest on the basis of sex/gender.” […] For most individuals who call themselves bisexual, bisexual identity reflects feelings of attraction, sexual and otherwise, toward women and men or toward other people regardless of their gender.”

— Paula C. Rust, “Two Many and Not Enough: The Meanings of Bisexual Identities,” 2000 Journal of Bisexuality

“Giovanni’s distinction between what he wants and who he wants resonates with the language of many of today’s bisexuals, who insist that they fall in love with a person, not a gender.”

— Marjorie Garber, Bisexuality and the Eroticism of Everyday Life (2000)

“The message of bisexuality — that people are more than their gender; that we accept all people, regardless of Kinsey scale rating; that we embrace people regardless of age, weight, clothing, hair style, gender expression, race, religion and actually celebrate our diversity — that message is my gospel. I travel, write, do web sites — all to let people know that the bisexual community will accept you, will let you be who you are, and will not expect you to fit in a neat little gender/sexuality box.”

— Wendy Curry, “Celebrating Bisexuality,” Bi Women (2000)

“But really, just like I can’t believe in the heterosexist binary gender system, I have difficulty accepting wholeheartedly any one spiritual tradition.”

— Anonymous, “A Methodical Awakening,” Bi Women (2002)

“But there are also many bis, such as myself, for whom gender has no place in the list of things that attract them to a person. For instance, I like people who are good listeners, who understand me and have interests similar to mine, and I am attracted to people with a little padding here and there, who have fair skin and dark hair (although I’m pretty flexible when it comes to looks). ‘Male’ or ‘female’ are not anywhere to be found in the list of qualities I find attractive.”

— Karin Baker, “Bisexual Basics,” Solidarity-us.org (2002)

“Bisexual: A person who is attracted to people regardless of gender (a person does not have to have a relationship to be bisexual!)”

— Bowling Green State University, “Queer Glossary” (2003)

“The bisexual community seems to be disappearing. Not that there won’t always be people around who like to have sex with people of all genders, the community, as I’ve discussed in this book, is a different matter altogether.”

— William Burleson, Bi America: Myths, Truths, and Struggles of an Invisible Community (2005)

“Although bisexuals in general may or may not be more enlightened about gender issues, there has been, and continues to be, in most places around the country a strong connection between the transgender and the bisexual communities. Indeed, the two communities have been strong allies. Why is this? One reason certainly is, as I mentioned earlier, the significant number of people who are both bisexual and transgender.”

— William Burleson, Bi America: Myths, Truths, and Struggles of an Invisible Community (2005)

“Amy: […] But my friend’s question got me thinking: given the fact that so many bisexual friends and community members reject the idea that gender has to have a relation to attraction and behavior, why should I reject the bi label? Why did her question even come up? How relevant is gender to the concept of bisexuality? If bisexuals like me don’t care about gender the way monosexuals do, why would my identity label exclude my lovers’ gender variations?

Kim: …Like you, I’m a bi person who sees gender as fluid rather than fixed or dichotomous… I’ve also felt outside pressure to reject my bi identity based on the idea that it perpetuates the gender binary: woman/man. However, this idea reduces bisexual to ‘bi’ and ‘sexual’ and disregards the fact that it represents a history, a community, a substantial body of writing, and the right of the bisexual community to define ‘bisexuality’ on its own terms. Most importantly, this idea disregards how vital these things are for countless bi people. Identifying as bi doesn’t inherently mean anything, and it definitely doesn’t mean a person only recognizes two genders. However, to assume that bi-identified people exclude transgender, gender nonconforming (GNC), and genderqueer people also assumes they are not trans, GNC, or genderqueer themselves, when in fact, many are.”

— Kim Westrick and Amy Andre, “Semantic Wars,” Bi Women (2009)

“The [intracommunity biphobia] problem is very serious, because bisexuals, along with trans folks, are the rejects among rejects, that is to say, those who suffer from discrimination (gays and lesbians) discriminate against bis and trans folks. It is for this reason, at least here in Mexico City, that Opción Bi allies itself with transsexuals, transgender people and transvestites, and works together with them whenever possible. It seems to me we are closer to the trans communities than to the lesbian and gay ones.”

— Robyn Ochs, “Bis Around the World: Myriam Brito, Mexican City,” Bi Women (2009)

“I introduce myself as bisexual, because I am attracted to people, across gender lines, and ‘bisexual’ comes closest to explaining that.”

— B.J. Epstein, “Bye Bi Labels,” Bi Women (2009)

“Bisexuality is not some kind of middle-ground between heterosexuality and homosexuality; rather I imagine it as a way to erode the fixed systems of gender and sexual identity which always result in guilt, fear, lies[,] and discrimination.”

— Carlos Iván Suárez García, “What Is Bisexuality?”, Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)⁵

“To me, bisexuality is a matter of loving and accepting everyone equally — seeing the beauty in the human soul, rather than in the shell that houses it. Being transgender, I know firsthand that love between two people can transcend — even embrace — what society regards as taboo. Bisexuality is a mindset of revolution, a mindset of change. We’re creating a brave new world of acceptance and love for all people, of all the myriad genders and methods of sexual expression that this world contains.

— Jessica, “What Is Bisexuality?”, Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“Bisexuality (whatever that means) for me is about the ability to relate to all people at a deep emotional level. It is an openness of the heart. It is the absence of limits, especially those that are defined by the other person’s sex.”

— Andrea Toselli, “Coming Out Bisexual,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“Considering my personal preferences, calling myself ‘bisexual’ covers a wider territory regarding my capacity to fall in love and to share the life of a couple with another person without taking into consideration questions of gender.”

— Aida, “Why Bi?”, Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“I’m sure I’m bisexual because I can’t ignore the allure and loveliness of a wide spectrum of people — differentiating by gender never seemed attractive or even logical to me. […] For me bisexuality means I don’t stop attraction, caring or relationship potential based on gender; I can have sex, flirtation or warm ongoing love with anyone (not everyone, okay? That part’s a myth). […] And we have enough trouble splitting the human race into two halves, assigning mandatory characteristics, and then torturing people to fill arbitrary roles — I consider that a wrong and inaccurate way to understand human potential, and that’s also why I’m bi. Men and women are different? Honey, everyone I’ve ever met has been different. I think being bisexual lets me see each person as an individual.”

— Carol Queen, “Why Bi?”, Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“But to hell with respectability: the real point about being bisexual, a friend pointed out, is that you’re asking someone other than ‘What sex is this person?’”

— Tom Robinson, “Bisexual Community,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“Being bisexual… allows us to love each other regardless of our gender…”

— Jorge Pérez Castiñeira, “Bisexual Community,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“‘Hello, my name is Jaqueline Applebee… if you want to see me later, or just want a kiss, let me know as I’m bisexual, and you’re all gorgeous!’ […] I have loved men, women, and those who don’t identify with any gender.”

— Jaqueline Applebee, “Bisexual Community,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“[T]here’s nothing binary about bisexuals. Bi is just a provisional term reminding us, however awkwardly, that when it comes to loving, family and tribe, margins and middle intertwine.”

— Loraine Hutchins, “Bisexual Politics,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“My bi identity is not about who I am having sex with; it is not about the genitals of my past, current, or future lovers; it is not about choosing potential partners or excluding partners based on what is between their legs. It is about potential — the potential to love, to be attracted to, to be intimate with, share a life with a person because of who they are. I see a person, not a gender… I demand to be free to legally marry anyone without regard to their gender.”

— Rifka Reichler, “Bisexual Politics,” Getting Bi: Voices of Bisexuals Around the World, Second Edition (2009)

“To me, being bisexual means having a sexuality that isn’t limited by the sex or gender of the people you are attracted to. You just recognize that you can be attracted to a person for very individual reasons.”

— Deb Morley, “Bi of the Month: An Interview with Ellyn Ruthstorm,” Bi Women (2010)

“Q: Which gender person does a bisexual love? A: Any gender she wants.”

— Marcia Deihl, “Do Clothes Make the Woman?”, Bi Women (2010)

“While the bisexual manifesto being written following a workshop at London BiCon is still being worked on, the tweeters set to work on a shorter, snappier alternative… ‘Love is about what’s in your hearts, not your underwear.’ […] ‘We aren’t more confused, greedy, indecisive or lustful than anyone else. We like people based on personality not gender.’ ‘[W]e believe that lust is more important than anatomy.’ ‘What you have between your legs doesn’t matter. What you have between your ears does[.]’”

— Jen Yockney, “#bisexualmanifesto,” Bi Community News (2010)

“As briefly mentioned above and interlinked with the notion of ‘importance of individuality’, the binary concepts of gender and the stereotypes surrounding these is a notion which each of the [bisexual] women interviewed fundamentally reject. The participants here were keen to distance themselves and their experiences of romantic relationships from any notion of hetero-normative gender boundaries, although they did agree that unfortunately these gender boundaries still exist in contemporary society. Most participants do not link gender boundaries with concepts of romantic love; it was stated that although sometimes gender boundaries can be seen in romantic relationships this is primarily down to socialisation and the unnecessary importance that hetero-normative society places on gender roles. Therefore, gender boundaries seen in romantic relationships are not constrained by gender but instead are a product of gendered socialisation. For these women, claiming their bisexual identity and their romantic relationships illustrates the futility of binary concepts of gender as it is about individual preference or style rather than gendered norms values and expectations.”

— Emma Smith, “Bisexuality, Gender & Romantic Relationships,” Bi Community News (2012)

“And anyway, I’m generally not sexually attracted to men or women. I’m into all sorts of things, but a person being a man or a woman isn’t a turn-on. Certainly not in the same way it’s a turn off to a gay or straight person. I’m never going to think “Wow, Zie is really sexy, shame they’re a ____” because what turns me off isn’t gender.”

— Marcus, “What makes a bisexual?”, Bi Community News (2012)

“I am bisexual. That does not depend on my dating experience or my attraction specifications. It is not affected by my dislike for genitals (of any shape). All it describes is how gender affects attraction for me: it doesn’t. I am attracted to people regardless of gender, and I am bisexual.”

— Emma Jones, “Not Like the Others,” Bi Women (2013)

“I’m generally okay with ‘attraction to more than one gender’ [as a definition of ‘bisexuality’]. I think that the ‘more than’ part is important because there are definitely more than two genders. Some people like the definition ‘attraction regardless of gender’ and I like that too because it suggests that things other than gender can be equally, or more, important in who we are attracted to. I like to question why our idea of sexuality is so bound up with gender of partners. Why not encompass other aspects such as the roles we like to take sexually, or how active or passive we like to be, or what practices we enjoy? Why is our gender, and the gender of our partners, seen as such a vital part of who we are?”

— Robyn Ochs, “Around the World: Meg Barker,” Bi Women (2013)

“It may sound crazy but I’d never thought that carefully about the ‘bi’ part of the word meaning ‘two’. I’d always understood bisexuality to mean what Bobbie Petford reports as the preferred definition from within the UK bi communities: changeable ‘sexual and emotional attraction to people of any sex, where gender may not be a defining factor’. […] Participants in the BiCon discussion rejected the ‘you are a boy or you are a girl…binary’ (Lanei), all arguing that they were not straightforwardly ‘masculine’ or ‘feminine’.

[…] Because they discarded the dichotomous understanding of gender, participants rejected the ideas that they were attracted to ‘both’ men and women, arguing that they did not perceive gender as the defining feature in their attraction. Kim said: I don’t think actually gender is that relevant…gender is like eye colour, and I notice it sometimes, and sometimes it can be a bit of a feature it’s like “oo, that’s nice” and I have some sorts of gender types, but it’s about as important as something like eye colour.

[…] As I came to realise that you can actually be bisexual…your desires and your attractions can wax and wane as time goes on, I realised that there was a parallel to gender: you don’t have to clearly define, you don’t have to cast off the male to be female and vice versa. Despite the fact that the conventional definition of the word ‘bisexual’ could be seen as perpetuating a dichotomous concept of gender, being attracted to both sexes, Georgina concluded that it could challenge conventional understandings of gender…”

— “Bisexuality & Gender,” Bi Community News (2014)

“My fellow bisexuals… I stand before you as an unapologetic, outspoken, bisexual activist who has intimately loved women, men and transgender persons throughout my life span of 72 years…”

— ABilly S. Jones-Hennin, “If Loving You is Wrong, Then I Don’t Want to be Right,” Bisexual Organizing Project (2014)

“Coming out as bisexual in the late 80s, when I first came across the label pansexual it didn’t involve any kind of gender nuance: it was how someone explained their bisexuality feeling interwoven with their Pagan beliefs. Back then the ‘bi’ in bisexual didn’t get talked about as having some great limiting weight of ‘two’, it was an “and” in a world that saw things as strictly either/or. As I was pushing at boundaries of discussion around gender and sexuality with people in the 90s I’d sometimes quip that I was ‘bisexual, I just haven’t decided which two genders yet’. When I started to come across people saying that bi was limiting because it meant two, a bit of me did think: oh lord, were they taking me seriously?”

— Jen, “Bi or Pan?”, Bi Community News (2015)

“Pansexuality is sometimes defined as attraction to people of all genders, which is also the experience of many bisexual people. More often than not, however, people define their pansexuality in relation to bisexuality. In response to the question: ‘What does pansexual mean?’ I’ve seen countless people reply: ‘I’m attracted to people of more than two genders. Not bisexual.’ The implication is that bisexual means binary attraction: men and women only.

Since I came out in the late 90s, I haven’t seen one bi activist organisation define bisexuality as attraction solely to men and women. Bi and trans* issues began to grow in recognition at the same time. When I use ‘bi’ to refer to two types of attraction, I mean attraction to people of my gender and attraction to people of other genders. […] …it’s so upsetting to see internalised biphobia leading many pansexuals, many of whom until recently identified as bisexual, telling us we’re still not queer enough. Gay and straight people aren’t being pressurised into giving up the language they use to describe their attractions and neither should they be. As usual it’s only bisexuals being shamed into erasing our identities and our history.

The most frustrating thing to me about the current bi vs pan discourse is that it’s framed as a cisgender vs genderqueer debate. This has never been the case. In reality, many genderqueer people identify as bisexual… To say bisexuality is binary erases the identities of these revolutionary bisexual genderqueer activists, and it erases the identity of every marginalised genderqueer bisexual they’re fighting for.”

— Sali, “Bi or Pan?”, Bi Community News (2015)

“Currently some pansexual people argue that bi is ‘too binary’ and that bisexuals are focused on conventional male/female gender expressions only. This is then taken to mean that bisexuals are more transphobic, whereas pansexuals aren’t locked into a binary so they are open to all gender expressions. However we believe this is not the case since bisexuals: ‘… do not comply with our society’s imposed framework of attraction, we must consciously construct our own framework and examine how and why we are attracted (or not) to others. This process automatically acknowledges the artificiality of the gender binary and gendered norms and expectations for behavior. Indeed, the mere act of explaining our definition of bisexual to a nonbisexual person requires us to address the falsity of the gender binary head on.’

We do not deny that in actuality some bisexuals are too bound by traditional binary gender assumptions, just as many gay, lesbian, and heterosexual, and some trans people are too. Bisexuals, however, have been in the forefront of exploring desire and connection beyond sex and gender. When anyone accuses bisexuals, uniquely, as more binary and more transphobic than other identity groups, such targeting is not only inappropriate but is also rooted in biphobia — a fear and hatred of bi people for who we are and how we love.

Confusing the issue are the definitions in resource glossaries defining bisexual, most surprisingly in newly released books including textbooks. [...] These definitions arbitrarily define bisexual in a binary way and then present pansexual as a non-binary alternative. This opens the doorway to a judgment that pansexual identity is superior to bisexual identity because it ‘opens possibilities’ and is a ‘more fluid and much broader form of sexual orientation’. This judgmental conclusion is unacceptable and dangerous as it lends itself to perpetuating bisexual erasure. The actual lived non-binary history of the bisexual community and movement and the inclusive nature and community spirit of bisexuals are eradicated when a binary interpretation of our name for ourselves is arbitrarily assumed.”

— Lani Ka’ahumanu and Loraine Hutchins, “Bi Organizing Since 1991,” Bi Any Other Name (New 25th Anniversary Edition) (2015)

“Herself a bisexual woman, [Nan Goldin] found that drag queens, to her a third gender, were perfect companions. By transgressing the bounds of the binary, they had created identities that were infinitely more meaningful.”

— Alicia Diane Ridout, “Gender Euphoria: Photography, Fashion, and Gender Nonconformity in The East Village” (2015)

“It is the job of those of us with links to children to continue to promote the language of bisexuality and validity of attraction to all genders — especially when that attraction changes over time.”

— Bethan, “Practical Bi Awareness: Teaching and LGBT,” Bi Community News (2016)

“The persistent use of the Kinsey Scale is another issue. Originally asking about the genders of people you have had sex with, more recently it gets deployed in more sophisticated ways which distinguish between sexual attraction, romantic attraction, and sexual activity. Nonetheless it is woefully inadequate in accounting for attraction to genders other than male and female — a key part of many bisexual people’s experience.”

— Milena Popova, “Scrap the Kinsey Scale!”, Bi Community News (2016)

“Robyn Ochs states where the EuroBiCon also stands for: bisexuality goes beyond the binary gender thinking. There are more genders than the obsolete idea of two: male and female.”

— Erwin, “Robyn Ochs: ‘Bisexuality goes beyond the binary gender thinking’,” European Bisexual Conference (2016)

“I call myself bisexual because it includes attraction to all genders (same as mine; different from mine).”

— Rev. Francesca Bongiorno Fortunato, “Label Me With a B,” Bi Women Quarterly (2016)

“Loving a person rather than a man or a woman: this is Runa Wehrli’s philosophy. At 18, she defines herself as bisexual and speaks about it openly. […] She believes that love should not be confined by the barriers put up by society. ‘I fall in love with a person and not a gender,’ she says. […] Now single and just out of high school, she is leaving the door open to love, while still refusing to give it a gender.”

— Katy Romy, “‘I fall in love with a person and not a gender’,” Swissinfo (2017)

“I’m bisexual so I can’t really come out as gay. When I’m gay I’m very gay. And when I’m with men then, you know, I’m with men. I don’t fall in love with people because of their gender.”

— Nan Goldin for Sleek Magazine (2017)

“I use the word bisexual — a lot / I’ve marched in the Pride parade with the Toronto Bisexual Network / I post Bi pride & Bi awareness articles all over social media / I’m seeking out dates of any and all genders / (not to prove anything to anyone, but simply because I want to)

— D’Arcy L. J. White, “Coming Out as Bisexual,” Bi Women Quarterly (2017)

“BISEXUAL — Someone who is attracted to more than one gender, someone who is attracted to two or more genders, someone who is attracted to the same and other genders, or someone who is attracted to people regardless of their gender. […] Other words with the same definition of bisexual, though they have different connotations, are ‘pansexual,’ ‘polysexual,’ and ‘omnisexual.’”

— Morgan Lev Edward Holleb, The A-Z of Gender and Sexuality: From Ace to Ze (2018)

“In the heat of July [2009], and finally equipped with a word for “attracted to people regardless of gender”, I bounded out of Brighton station with that same best friend. At the time, I didn’t know that we bisexuals have our own flag…”

— Lois Shearing, “Why London Pride’s first bi pride float was so important,” The Queerness (2018)

“Being bisexual does not assume people are only attracted to just two genders. Bisexuality can be limitless for many and pay no regard to the sex or gender of a person.”

— “The Bi+ Manifesto” (2018)

“I realized I was bisexual at age fifteen, but although I am attracted to folks of any gender, I’ve always had a preference for men.”

— Mark Mulligan, “Fight and Flight: ‘Butch Flight,’ Trans Men, and the Elusive Question of Authenticity,” Nursing Clio (2018)

“Bisexuality just became, to me, about that openness — that openness to anything, and any potential to any type of relationship, regardless of gender. Gender is no longer a disqualifier for me. It’s about the person.”

— Rob Cohen, “Where Are All the Bi Guys?,” Two Bi Guys (2019)

“Oh no, Mom. I’m not a lesbian. Actually, I’m bisexual. That means that gender doesn’t determine whom I’m attracted to.”

— Annie Bliss, “Older and Younger,” Bi Women Quarterly (2019)

“A bisexual woman, for example, may have sex with, date or marry another woman, a man or someone who is non-binary. […] If you think you might be bisexual, try asking yourself these questions: …Can I picture myself dating, having sex with, or being married to any gender/sex?”

— “I Think I Might Be Bisexual,” Advocates for Youth

“Although it’s true that people have all kinds of different attractions to different kinds of people, assuming that all bisexuals are never attracted to trans or genderqueer folk is harmful, not only to bi individuals, but to trans and genderqueer individuals who choose to label themselves as bi.”

— “Labels,” Bisexual Resource Center

“My own understanding of bisexuality has changed dramatically over the years. I used to define bisexuality as ‘the potential to be attracted to people regardless of their gender.’ […] Alberto is attracted to the poles, to super-masculine guys and super-feminine girls. Others are attracted to masculinity and/or femininity, regardless of a person’s sex. Some of us who identify as bisexual are in fact ‘gender-blind.’ For others — in fact for me — it’s androgyny or the blending of genders that compels.”

— Robin Ochs, “What Does It Mean to Be Bi+?”, Bisexual Resource Center

“… bisexual people are those for whom gender is not the first criteria in determining attraction.”

— Illinois Department of Public Health, “Sexual Orientation, Gender Identity and Youth Suicide”

“Bisexuality is sexual/romantic attraction to people regardless of sex or gender.”

— “Bisexual FAQ,” Kvartir

“Please also note that attraction to both same and different means attraction to all. Bisexuality is inherently inclusive of everyone, regardless of sex or gender.

In everyday language, depending on the speaker’s culture, background, and politics, that translates into a variety of everyday definitions such as:

Attraction to men and women

Attraction to all sexes or genders

Attraction to same and other genders

Love beyond gender

Attraction regardless of sex or gender”

— American Institute of Bisexuality, “What Is Bisexuality?,” Bi.org

“This idea [that bisexuality reinforces a false gender binary] has its roots in the anti-science, anti-Enlightenment philosophy that has ironically found a home within many Queer Studies departments at universities across the Anglophone world. […] Bisexuality is an orientation for which sex and gender are not a boundary to attraction… Over time, our society’s concept of human sex and gender may well change. For bis, people for whom sex/gender is already not a boundary, any such change would have little effect.”

— American Institute of Bisexuality, “Questions,” Bi.org

Gender-expansive (or -fluid, or -blind) descriptions of bisexuality are nothing new — and with the exception of the Getting Bi quotes, the above compilation is just what I was able to find online. Arguably, the concept of excluding genders never even crossed the mind of many twentieth-century bisexuals — not just because “nonbinary genders hadn’t entered the mainstream” — but simply because many bisexuals understand bisexuality itself as “beyond” gender. Go to any bisexual organization and they’ll tell you bisexuality is broad and can include anyone.

Of course, the above quotes do not reflect the beliefs of every bisexual — no single quote can do that. These quotes were certainly not the only variation of bisexual-given definitions of bisexuality. I’m only pointing out that the “both” descriptions are similarly not the only ones that exist.

Even then, before wider knowledge of and language for nonbinary identities, attraction to “both” men and women was attraction regardless of gender. “Both” does not purposefully keep anyone out; it only (mistakenly) assumes how many groups there are. Gender not being a make-or-break, or not caring about gender in general, doesn’t depend on how many genders there are.⁶

Not to mention, all sexualities automatically include some nonbinary people — “nonbinary” isn’t merely a third gender. The mere notion that someone could just “not be attracted” to nonbinary people as a group completely misunderstands nonbinary identity.

Some bisexuals “see a person, not a gender,” while others, like me, see a person with a gender (that doesn’t stop us from finding them attractive), if they have one. Being bisexual has made me see people in more gender-neutral ways. Our experiences are far too vast to pin down, and there’s immense beauty in that vagueness.

Also, while bisexual activism and transgender activism have frequently overlapped, plenty of cisgender bisexuals are transphobic. But this is because all sexualities have transphobes. Even if we coined a sexual identity that only transgender people could use, some identifying with it would still likely be transphobes. Why allow transphobic bisexuals to erase the attitudes of all the bisexuals before and after them?

I find it incredibly odd that people now task bisexuals with proving our inclusivity considering that, for decades, we never had to. We had always (i.e., consistently throughout history, not as in every bisexual) been warping gender norms, but it was never to debunk a myth or make ourselves look good; it was just how we were. That hasn’t changed.

One of the predominant stereotypes is still that we’re indiscriminate sluts willing to sleep with anyone, but somehow there’s a new wave of folks insisting that we require our partners to obey the gender binary. I have a severely hard time believing this conclusion is based on reality. Almost all attempts to redefine bisexuality as binary come from people who don’t identify as such.

Imagine if we performed this revisionism with the word “gay.” For this example, I’ll use “gay” to describe gay men in particular.

“Gay” only means exclusive attraction to men, so the people who use that word only like cisgender men. I’m androsexual, which means I like cisgender, transgender, and nonbinary men.

Doesn’t that sound ridiculous? So why do we only apply this rhetoric to bisexuals? (It couldn’t possibly be because of biphobia, could it?)

While it’s obviously unrealistic to say that no bisexual person has ever been transphobic, bisexual orientation is not, and never has been, about exclusion. Considering that bisexual activists were seldom (if ever) focused on the prefix in the word “bisexual,” this recent fixation people have on trying to find a way to use “two” in its definition is misguided.

Begging to differ is ignorant and arrogant, contradicting not only history but many current bisexuals who understand bisexuality as all-encompassing. Acting like it’s uniquely binary or inherently limited in any way is indisputably false and biphobic. Please stop speaking over us and erasing our history. It, like the bisexual community itself, is bountiful, beautiful, and never going away.

Here’s one final quote that, while a bit unrelated to the rest, I particularly enjoy:

“I understand bisexuality not as a mixture of homosexuality and heterosexuality as Kinsey did, nor as a particular sexuality on an equal footing with homosexuality and heterosexuality, but as a holistic view of human sexuality, in which all aspects related to human sexuality are taken into account.”

— Miguel Obradors-Campos, “Deconstructing Biphobia” (2011)

[paperanddice]

Ragnar’s Keep Review

Recently I was approached by Ian Brockbank (who runs the blog Melestrua’s Musings) with a request to take a look at his published setting location Ragnar’s Keep, available on DriveThruRPG. Despite never having done a review like this before, we learn by doing and so I accepted the free copy he offered and I’m determined to give it as fair of a look as I can offer.

Ragnar’s keep is a 36 page document that details a fully realized and established location for low level adventurers to visit or interact with. It’s not designed as an adventure itself; while plot hooks are provided it doesn’t come with a specifically intended storyline or goal for players to approach. It is a setting location, written to be usable in a wide variety of ways, and to provide a map and location for GMs who are looking for some hard details to build off of. Ian specifically contrasts it to the more generic d100 plot hooks style design, offering up something that requires less improvisation and gives the GM a cast of characters with fully established character motivations, flaws, and relationships with one another and the location. This may limit the use of it in some ways if the specific dynamics don’t fit within the setting already planned, but aspects of it can be picked up or dropped as fits within a specific goal the GM has in mind. The material works for any “standard” fantasy setting based off of medieval Europe with magic, but the given mechanical rules are designed for 5th edition Dungeons and Dragons.

The titular keep is a three and a half level fort with a basement, ground level, second story, and a half third story, along with some extra details in a path leading down to the nearby waterfront. Two different maps are provided for each castle level, one with grid and annotations and the other a detailed illustration created by Heroic Maps. The illustrations are simply gorgeous, and provide a wonderful and deeply immersive location on their own, and are available for purchase as a separate product on DriveThruRPG from the artists directly (link here). Every room is given a detailed description, and a cast of over 20 NPCs fill in all the major roles needed to keep the castle running (along with the castle’s own personal haunting ghost).

The keep and the country around it are given a 1 page backstory detailing how the lands came to be and the political situation it exists within. This information is very specific, creating and naming specific people, locations, gods and a loosely detailed empire that all come together and define many of the keep’s inhabitants and their relationships with one another, and while renaming these details is possible it does keep this from being able to be inserted into any setting without rewriting. The established setting relies heavily on colonial activity to set up tensions between different people, and this could be an aspect of the writing that creates the largest obstacle in using the keep as written. The empire of Thraesya and their goddess Tenesia invaded a formerly independent land by sea, conquering settlements and laying claim to the countryside for its rumored silver deposits and bountiful natural abundance. The native groups were subjugated and made vassals of the empire, but of course it was an unsustainable position as the expected riches were never found. Nearly 80 years after the invasion the empire handed the territory over to a young nobleman who titled himself Grand Duke, named the territory Melkantor and set about ruling it himself. The present day situation is the Grand Duke attempting to forge Melkantor into a unified country, and Ragnar’s Keep itself, overlooking the town Ragnarston and its important position in the only passable trading rout back from Melkantor to Thraesya.

 The full description of the castle grounds and rooms takes up 12 pages, and goes into great detail. Every room gets at least a paragraph of description, listing any important details in the design and layout of the room along with its use. Specific inhabitants are described in how and when they may be found in this room. As the castle is meant to be usable for more than just an invasion based adventure, there is more detail on the daily schedule of non-combatants than I’ve typically seen for castles in premade adventure modules, which is useful for games where the characters may integrate themselves deeply into the castle’s life. While few groups will encounter many of these details, those that do will have plenty of fun little secrets and interesting bits of environmental storytelling to reward them. The options here allow a much greater depth of verisimilitude in a wide range of story opportunities, from infiltrating the keep as a member of the serving staff to entering as a guest of the lord or lady to fighting through the halls… either for or against the lord.

The castle is actually incredibly well stocked with magic items, giving a huge reward to groups who have motive to assault or rob it. From the lord’s +2 longsword to the cleric’s staff of healing, new magic items such as the scales of identification and the ring of clairvoyance, plus a large number of uncommon magic items and magic potions scattered among the important NPCs, magic equipment is quite prevalent. It’s enough to well stock a full adventuring party if they clear the place out thoroughly. It’s not necessarily a game breaker, since characters are only likely to gain these items if the GM sets up a reason for them to fight the entire castle, but if a low level group does have reason they’ll come out potentially quite far ahead of the curve, item wise. I do enjoy that one of the junior clerics has a cursed rapier though. He’s a thoroughly unlikable person, and the perfect target for such a thing.

The largest section of the PDF is actually the character roster. Twenty-three NPCs over 13 pages, it details every character who has a hand in running the castle, and those most likely to be relevant in a wide range of stories. The Lord and his family, the heads of the serving staff, captain of the guard, the assigned cleric and his students, the local bard, the castles ghost, and a number of other roles within the castle are detailed. Not every inhabitant is detailed, the regular guards, cooks, cleaning staff and such going unnamed and not even clearly counted. The GM has some leeway in deciding the numbers and composition of these groups, depending on the way they’re making use of the material (though the easiest way would be to just assume that every bed mentioned is filled). The characters that are detailed though cover a wide range of different archetypes and personalities, allowing plenty of opportunities for interesting role playing. Characters could make friends or enemies out of many of the different characters, and several have very forward present story hooks to take advantage of, from the local bard who wants to attract the Lady’s attention, to the wererat butler with a history of theft, to the maid who was aged thirty years by the castle ghost. Most NPCs get unique stat blocks, many built using PC classes, though a number are functionally similar enough that they may have simply pulled from the same one. There’s three level 4 fighters whose stats mostly only differ in a few small ways that don’t necessarily benefit greatly from the space spent on different stat blocks. In this case, the method used in a lot of adventures of taking a more generic stat block and indicating the differences in the text may have been more useful, especially if the text and the generic stat block are kept on the same page. 

The plot hooks provided are all solid enough to work off of, mostly positioning the keep as a neutral or friendly force to the players to function around. It could be a home base for the group, a location to collect missions to defend the pass or surrounding countryside, or simply a place that exists nearby and rarely directly influences the characters. Of course, the keep could pose a threat to the group, either if they stand against the colonizing force of the region or other reasons. Breaking in or laying siege to it could be a climactic set piece to a lower level adventure. There’s a few character based plotlines that can function well if the group establishes a notable enough presence within the keep as well.

Two new magic items round out the document, and look fine to me. I will admit, magic item power levels are one part of 5th edition where I have nearly given up attempting to understand the balance of it, but the provided ones are fun, flavorful and interesting to work with. Neither is particularly powerful for a rare item, instead providing information in some capacity. The ring of clairvoyance, well, allows the user to cast clairvoyance at will, though each use after the first in a given day forces a saving throw against exhaustion, and the scales of identification are a weaker 3/day identify spell. A group without access to the spell would definitely appreciate having the scales, even with the weaknesses it has built in.

Overall, I think the castle itself is fantastic. The design is good and the rooms and areas within it have plenty of potential to explore in a wide range of stories and situations. The characters are detailed and many are interesting, with plot hooks easy to build off of the major ones. Where I personally have trouble is with the backstory, and the way that plays onto the NPCs. To put it simply, I have a lot of trouble with using colonial stories within my games, and I do not feel that the material provided gives a strong enough weight to the implications it sets up with that narrative. This is, by my estimate, more meant to be an example of Roman colonization of Britain than Europe to America, but similar implications are still built into it. The colonizing force’s culture and religion are given far more relevance to the setting than the natives’, who exist mostly as scared and nameless servants. The prejudice of the lord and many of the keep’s inhabitants are the driving force of much of their characterization, and the few native characters who are given real merit and weight in the castle are those who have assimilated into the dominant culture or literally died to it. I don’t know if this was intentional as well, but all named native characters are women. Just a weird fact that caught my attention.

Having these narratives in a game is not bad entirely in and of itself. Many people want to examine these stories, whether to overcome that aspect of history or as part of building a world that mirrors our own. But it requires a lot of careful consideration to use them without being harmful towards people who still live under the results of colonization. I am not the best person to make the decision of what is and isn’t good use of these narratives. And so, I personally choose to largely avoid them, along with other examples of real world oppression, unless actually directed there by a member of such a group who wants to explore it in a game I’m running. This means that a large portion of the implied background of this environment and a big part of the character motivations and relationships do not fit within a situation I would use. I feel the specific background set in place by the keep would exclude it from my game, but I would absolutely use the map with a different background. 

I don’t have a number out of 10 to give this product, as I feel there are some very strong elements within it that keep me from being able to define it so clearly. There is a lot to enjoy with it, from the artwork to the well realized characters to the excellent design of the castle itself. If you are just looking for a good castle map with detailed interior descriptions and at the minimum a good starting point for the inhabitants, it fills that perfectly. I think beyond that it’s up to you to decide whether the backstory elements that bothered me are a breaking point for you as well. If you are interested in checking out Ian’s work, you can purchase it here, which will get you $2 off of the standard price. This link is valid until the end of 2019, so you have two and a half months to act on this deal.

[scifigeneration]

'The Big Bang Theory' finale: Sheldon and Amy's fictional physics parallels real science

by Adilson Motter

The cast made it through 279 episodes. CBS

After 12 successful seasons, “The Big Bang Theory” has finally come to a fulfilling end, concluding its reign as the longest running multicamera sitcom on TV.

If you’re one of the few who haven’t seen the show, this CBS series centers around a group of young scientists defined by essentially every possible stereotype about nerds and geeks. The main character, Sheldon (Jim Parsons), is a theoretical physicist. He is exceptionally intelligent, but also socially unconventional, egocentric, envious and ultra-competitive. His best friend, Leonard (Johnny Galecki), is an experimental physicist who, although more balanced, also shows more fluency with quantum physics than with ordinary social situations.

Their steadfast friends are an aerospace engineer and an astrophysicist. The story revolves around the contrast between their intellect; obsession with comic books, video games, science fiction and fantasy; and struggles with the basics of human interactions, including those with their female counterparts.

Physicist David Saltzberg makes sure the show’s science hits the target. Warner Bros. Studios

Science, especially physics, is a recurring theme in the show and the scientific authenticity and contemporaneity are noteworthy. Part of the credit for that goes to David Saltzberg, a professor of physics and astronomy at UCLA who served as a technical adviser for the series.

Even though it is not intended to educate, “The Big Bang Theory” frequently refers to real science. Many science communicators and distinguished scientists have made guest appearances, from Bill Nye to Stephen Hawking. But perhaps nothing is more recurrent in the show than the use of the “scientist” trope as the punchline of joke after joke.

So how would a physicist like me get interested in this show? Not only is it the most popular sitcom on American television, but it’s also a pop culture bridge to science. While it is not the first time science has been represented in mainstream media, “The Big Bang Theory” is currently its most visible representation. In addition, it just happens that the fictional research in the show makes contact with my own real research.

A science-y setting on a popular show

I was first exposed to “The Big Bang Theory” through interactions with people from outside academia, who would often refer to it as soon as they pegged me as a physicist. Reports that their teenage kids loved the show were common.

But what really got my attention was a Guardian article in 2011 that suggested, albeit anecdotally, that the show was helping increase the enrollment of physics majors. Why? Possibly by bringing the attention of a broad audience to the subject or by making physics look cool. Now that I am familiar with the show, I believe “The Big Bang Theory” is to physics what “CSI” was to forensics. It has brought physics, and especially the people doing physics, to a young audience of prospective science students.

As a physics professor and educator, I have a vested interest in attracting and nurturing talents in physics – and even in 2019, television can influence choices people make. While only good physics teaching and mentoring can convert interested students into talented scientists, a TV show like “The Big Bang Theory” can be what gets them into the classroom in the first place.

The show’s somewhat stereotypical image of physicists also has weaknesses, of which the most significant are the use of misogyny as a point of humor and a lack of diversity in the main cast. The perpetuation of stereotypes can reinforce the perception that certain groups don’t belong in physics. An entertainment show is not obligated to mirror real life, but this is a sensitive issue because physics still suffers from a lack of diversity and the dropout rates are high among certain underrepresented groups.

The show underwrites scholarships at UCLA for STEM students, including Kemeka Corry, on set here with actress Mayim Bialik, who herself holds a Ph.D. in neuroscience. Mike Yarish/©2019 Warner Bros. Entertainment Inc.

Notwithstanding, as the show developed, leading female characters took the stage: an attractive, down-to-earth neighbor, a successful microbiologist, and finally, there was the intelligent, accomplished Amy (Mayim Bialik), a neurobiologist selected through an online dating site as Sheldon’s perfect match. They married in the finale of the 11th season.

The same episode also marks one of the most celebrated moments of the series: Sheldon and Amy’s serendipitous discovery that put them on track for a Nobel Prize in Physics.

A fictional theory worthy of a Nobel

It all starts with groom Sheldon’s difficulty straightening out his bow tie. Amy tells him “I don’t think it is supposed to be even. Sometimes a little asymmetry looks good. In the Renaissance, they called it ‘sprezzatura.‘”

When later he explains to his mom why he’s leaving it a bit off kilter, she says, “Sometimes it’s the imperfect stuff that makes things perfect.” It’s one of the best lines of the entire show, and the one that gave Sheldon the final clue to their scientific breakthrough.

Sheldon: My equations have been trying to describe an imperfect world, and the only way to do that is to introduce imperfection into the underlying theory.

Amy: So, instead of supersymmetry, it would be super asymmetry?!

Sheldon: Super asymmetry! That’s it!!

When the light bulb turns on, Sheldon scribbles out equations in lipstick on a mirror. CBS

The entire last season gravitates around the merits of “super asymmetry” and the threats of a competing group getting credit for it. In reality, no theory with this name exists, but the name was clearly inspired by supersymmetry, which does.

Supersymmetry concerns subatomic particles from which everything else is made. It proposes that every subatomic particle in the current standard model of particle physics has a so-called supersymmetric partner – essentially extra particles that exist in tandem with the already identified ones. This means that the underlying equations would remain unchanged under certain transformations, which has deep predictive implications. Supersymmetry has not yet been proved experimentally.

Now, how plausible is Amy and Sheldon’s super asymmetry as a physical theory? Depending on how you interpret what’s described in the show, it is either not sound or somewhat trivial in the subatomic world. However, it is highly nontrivial for collective behavior, which just happens to be my topic of research.

The real physics of asymmetry

I am an interdisciplinary physicist studying collective behavior in natural and engineered systems. Think of heart cells beating together, a power grid operating as a single system, shoals of fish schooling together, genes in a cell coordinating their activities and so on.

For a number of years, I’ve been working to understand why such systems can exhibit what we call behavioral symmetry – or homogeneity – even though the systems themselves are not symmetric – or homogeneous – at all. For example, your circadian clock can be well synchronized with the 24-hour cycle despite the fact that the individual neurons in the circadian system are quite different from each other. They exhibit the same period only when interacting with each other.

And here is how my research relates to Amy and Sheldon’s hypothetical theory. It’s generally assumed that individual entities are more likely to exhibit the same behavior if they are equal or similar to each other. Imagine lasers pulsing together, birds singing the same notes, and agents trying to reach consensus. My research shows that this assumption is in fact generally false when the entities interact with each other. Being equal doesn’t mean they’ll sync up. Since individual differences are ubiquitous and often unavoidable in real systems, such asymmetry (or imperfection) can be the unexpected source of behavioral symmetry.

There are instances in which the observed behavior of the system can be symmetric only when the system itself is not. My collaborator and I called this effect asymmetry-induced symmetry, but could have referred to it as a form of super asymmetry since it epitomizes the notion that imperfections make things perfect. Asymmetry-induced symmetry exposes scenarios in physical and biophysical systems in which we observe consensus because of – not despite – differences, thus adding a new dimension to the advantage of diversity.

“The Big Bang Theory” ends, but the message from the most gifted couple on television remains: We do live in a “perfectly imperfect universe.”

About The Author:

Adilson Motter is Professor of Physics and Astronomy at Northwestern University

This article is republished from The Conversation under a Creative Commons license. 

[allronix]

Salty asks: 1-27.

Assuming this is the fandom of your namesake. 

1. OTP that I just don’t get. Probably Sam/Tron. Not to say some folks can’t REALLY fucking rock it (see the “We Are Pilots” verse), but it takes a lot of work. Their only meeting in canon was in a duel to the death with the Program being brainwashed and crazy, and Sam has very little if any reason to even like the guy, even in a post-Legacy setup. 

2, Fandom OTP I only BroTP:  Probably Tron/Ram. Ram had too much chemistry with Flynn, and Tron was single-minded enough about Yori to put his deity on hold. While I can very easily see group marriage as a normal part of Program society, it’s not something I can see in canonical circumstances. 

3. Unfollowed someone over a fandom opinion? Nope. But if they trash my faves, I hope they can back up their dislike with a very good argument. 

4.  A NoTP for my fandom. Not touching Sam/Alan with a 10-meter Rod Primitive. The age gap for one, the paternal role Alan took for two, the fact Lora is not dead in this timeline third, the fourth is the possibility of OT3: Shall We Dance making this ship even more brain-breaking.

5. Has fandom ruined a pairing for me? Not in this fandom, but I’ve avoided the hell out of some shows because I saw the fandom for them was such a big ball of crazy that I wanted to avoid it like kryptonite. 

6. Has fandom made me enjoy a pairing I previously hated? I’m not sure if it’s a good thing, and I’m not sure I’d call it “enjoy,” but there are some Clu/”Rinzler” fics that almost make the whole thing come out as something marginally less squicky and more interesting than “sadist and his sex slave.” 

7. Anything I used to like but dislike now? Y’know, I kinda used to dig Flynn/Alan slash. But after I realized I could make a drinking game out of them (take a shot if they mention Lora, chug the whole thing if they mention Jordan - stay sober the whole night), they lost a lot of appeal. I’ll make an exception for “Shall We Dance” scenarios. Heck, I love Shall We Dance because it’s a very different matter if Lora’s aware and on board with the whole thing. Heck, if someone upgrades it to an Ot4 of “Shall We Dance With Jordan,” then I owe them a six-pack of top-quality beer or cane-sugar soda and my enthusiastic gratitude. 

8. Anon hate? Yes. Received it. But over politics, not fandom. It’s to be expected. The Galaxy Rangers list used to have “don’t talk to Allronix about politics” as one of the bylaws. 

9. Most hated character? Probably Pavel. He’s such a transparent slimeball with little in the way of interesting motivation. Tesler? While he’s a nasty piece of work, there’s wiggle room to argue that he’s doing what he’s doing for the good of the system and doesn’t like doing what he does. Sark? Incredible ham and definitely one note, but David Warner plays the best creeps ever.  (He out-creeped Malcolm McDowell, that’s near-impossible) 

10. Most disliked arc. Probably the Isos. I’m still not sure what they were, or why they were special or what was so great about them, or how they would change everything, aside from the implication they were partly biological. Which is great and all, but the way it was handled has an “organics rule, synthethics drool” vibe that is pretty insulting when everything else in the franchise shows that the Programs are just as capable of love, hate, morality, humor, and free will as the humans who built them. 

11. Unpopular character I like that the fandom doesn’t? I just had to have the bad luck…or the good luck…to latch on very hard to the Tron 2.0 characters. Good luck in that it’s unexplored territory. Bad luck in that I seem to be the only one who writes Mercury, or Crown, or I-No. 

12. Unpopular arc I like the fandom doesn’t? 2.0 again. What got me about it is that the 1982 and Legacy films dealt with malevolent AI who were cruel of other AI and wanted to extend the cruelty. 2.0 inverted it; the uncorrupted Programs were, with very few exceptions, wanting to protect themselves and their home. The corrupted Programs were driven insane by a User who embraced the worst parts of the role. And then you had F-Con who planned to crank that up even more so that they could rule both worlds from the shadows. It really needed to be explored more, as it was a great start. 

13. Unpopular opinion about a character: Sam Flynn kinda spooks me. He has no reason to be merciful or benevolent to Programs. As far as he saw, his dad believed in them, and they stabbed his dad in the back, kept his dad away from him, tried to kill him, tried to kill Quorra, killed all of Quorra’s people, and eventually killed his dad right in front of him. And he’s taking over command of a software company with barely any time to process that trauma.  It’s probably not going to end well for the Programs unless something intervenes.

14. Unpopular opinion about the fandom: They have very little interest in reclaiming the female characters from the margins, and that’s quite frustrating. Quorra and Paige get some fics here and there, but even those petered out. Yes, this fandom is VERY heavily skewed male, but you’ve got Quorra, Paige, Mara, Gorn, Lux, Yori, Lora, Gem, etc. in Legacy canon, and some great potential with Mercury, Ma3a, and Eva Popoff if you import from 2.0. I was hoping to see at least SOMEONE write up a fanfic about Jordan. What kind of woman could handle a brilliant, cheerful, crazy ball of energy like 80′s!Flynn?  

15. Unpopular opinion about the canon: Legacy is very difficult for me to watch. Even though it totally brought the whole thing back from the dead, it’s just frustrating to watch. Not to say everyone didn’t bring their A-game to it, but it took everything that made the first film so much fun and destroyed it, ending up as a depressing waste where everyone loses, and Dillinger Jr is just waiting in the wings to cause even more trouble. 

16. If I could change anything about the canon, what to change? Tron 2.0 totally happened. It would not be hard to come up with a workaround for Ma3a that keeps Lora alive. There’s probably about three or four ways I could come up with other than the made of crack one I’ve got going in my fics. 

17. Instead of X happening, I’d go with Y: If you want something other than “instead of 2.0 being thrown out the airlock, it’s part of canon,” I would have loved to see Sam get rescued by Bartik’s crew (Bonus points if Yori’s running the damn thing) and then meet up with his dad and Quorra. That way, there could have been a little more complexity to the Grid situation and a way to avoid the whole “Programs are evil!” thing Legacy ended up with.

18. Does not shipping something ‘popular’ mean you’re in denial and/or biased? Shipping, IMO is shorthand for schools of character interpretation. Someone who ships Quorra/Sam is going to have a different take than someone who ships Quorra/Zues, or Quorra/Paige. They’re all looking at the same data, but the interpretation of the data is going to vary.   

19. One thing I dislike most about my fandom: It’s a back alley of the 80′s that its own company barely wants to admit they did. This makes canon and newcomers a little hard to come by.

20. Purest ship in the fandom. Tron/Yori was my first OTP. They’re still my OTP, because 82!Tron was such a sweet, earnest dork and Yori was such an adorable, sneaky badass. Post-Legacy? It’s going to be one heck of a climb no matter which guess you take about Yori’s fate (And seriously? Morgan got gypped), but having those two limp off into whatever digital sunset there is would be the closest we get to a happy ending that’s canon-compatible.

21. Crack ships? A crack ship for the sake of a crack ship is a “no thanks!” But there are ships that look like someone did them on a three-drink dare that actually manage to work. I’m thinking to KOTOR fandom where someone made a REALLY awesome case for Canderous/Bastila that should not have worked and totally did. 

22. Popular character I dislike: It’s not so much “dislike” as “I’m not sure what to make of them.” Really wanted some development on Sam. Quorra got Evolution and a nice episode of Uprising, but Sam…he’s still a bit of a blank to me. 

23. Unpopular character I adore:  I especially latched on hard to Jet Bradley after reading the Ghost in the Machine comic because he had clearly done a lot of thinking about what being a User means in that setting, and was bringing up points no one else bothered with. As such, he makes an excellent foil and walking deconstruction fleet while still being, ostensibly, one of the good guys. 

24. Would I recommend Tron to a friend? Only with a ton of disclaimers. This was made in the EARLY 80′s, by people who apparently had no fucking idea what they were doing, and Disney probably signed off on it while under the influence of something. But the combination ends up as something inexplicably brilliant and probably launched thousands of computer animation careers and hundreds more IT careers. 

25.   How would I end it? I’ve got fics in mind for it. I kitbash 2.0 and Legacy shamelessly. The ending I have in mind? Well, Alan and Lora end up giving up their lives in analog to rebuild the Rome Flynn started. Jet ends up dedicating his life to serving the Programs and goes a bit native. Mercury and Tron act as the primary “knights” of Alan and Lora. Sam and Quorra handle much of the rest in the analog world, slowly trying to open up the world and make it ready for the revelation of the digital one. And Yori runs a reformation of the Program religion so that they are prepared to accept the Users as fallible beings who are still powerful, but less “worship as deity” and more “we depend on one another - don’t screw it up.” 

26. Most shippable character? Probably Flynn. I can see him as a fellow who would (prior to the coup) enjoy himself and his opportunities to the fullest, including trying anything twice sexually. 

27. Least shippable character: Probably Esomond Baza. He’s a coward with so little self-esteem, self-respect, or a moral compass that he needs a few months of therapy before even thinking of a date. 

[pauldeckerus]

Guest Blog: Educator & Photoshop Magician Bret Malley

LIFE IS A COMPOSITE

Hello everyone! For this guest blog post (thank you Scott and Brad for the wonderful invite to contribute!), folks are probably hoping to eek out some super slick tips and tricks about compositing, both for shooting and editing alike (and I’ll definitely deliver on those—I promise!).

But I also wanted to get a bit more philosophical about the nature of compositing and its greater possibilities and implications in my own life’s grand composite—and perhaps yours as well.

For those that could care less about the musings and meandering background of a super Photoshop wizard/nerd and just want the goods, feel free to jump down to the header “Five Tips for Shooting and Editing Composite Images” (you’re welcome :-)!

For everyone else feeling either a bit more curious, pensive, or similarly introspective, please read on!

Put Daddy Down, Please

Like creating any new image, I like to start at the beginning with sketches of the process and figure out some kind of endgame. So here we go with a medley of biography, discovery, and realization—but first, an overview!

Filtering and searching way way back, some of my earliest memories are of making art with computers—and after teaching Photoshop for over a decade at the university and college level (yes, big time-leap there!), and writing two books on compositing in Photoshop, I realize the lens through which I perceive the world and life in general has been forever altered. It’s helped me shape my own creative direction. As my (nearly) six year old son now describes his dreams to me in terms of Photoshop tools and features (and accurately I might add!), I see that my focus has even spilled (just a bit) onto my family as well (sorry, family!).

I also realize that I’ve always been a compositor in life—or at least a collector, editor, and creator in some form for nearly my entire 33 years of being. I also believe that we all are compositors to some extent, whether or not we realize it; after all, life is essentially one mega composite we piece together one experience, moment, scar, and laugh at a time… I know, deeeep, right?

But seriously, there is a lot to be said about having a creative career concept, a goal, and using the pieces you have at hand (some garbage and some pure gold)—and seeking out or creating the ones for the concept we’re after. Yes, this is one big “compositing is a box-of-chocolates” life metaphor/story (please excuse the metaphor merge here). So for those interested in going a bit deeper into these layers, here’s a bit of my own composited story… And no, it does not start with a floating feather picked up by Tom Hanks—but that was a pretty damn good composited intro for its time!

A Little Personal History Panel Scrolling way back again into my own childhood, I was doomed to be an artist from the onset. Starting with lining beans up into a perfectly (obsessively) straight line on some craft paper, my mother had me pegged at only a year or so of age. I believe her gardening journal for that day read something prophetic such as, “he’s definitely doomed to be an artist.” Okay, she probably did not use the word “doomed” but the realization was definitely meta tagged in there.

And while my mom was hobbit level earthy, my dad was equally Tron level nerdy as he ran his own “cutting-edge” computer business in the 80s. Dual custody between the two was like going back and forth from PC to Mac every week—blast you Ctrl vs Cmd!

However, when living with my dad on his week with me, I had access to gadgets such as those early scanners (the kind you had to hand roll over your images with) and the very first digital art applications. I discovered that when bored enough, there was definitely quite a bit you could do with nothing more than a pencil tool and paint bucket.

I was constantly inspired with the fantasy garden dreamland of my mom’s place and was jacked into the Grid at my dad’s. This all happened with a backdrop of living near Yosemite as my non-virtual backyard. This combination made for some interesting early digital art to say the least! Hidden metaphor tip in this—pick out an interesting background if you can.

Fantasy Landscape featuring some good old archived Yosemite imagery. Mac OS is not the only one that gets inspiration from this place!

Learn From Failure And Success Unfortunately though, my first memory of inspirational and creative failure hit deep (definitely a destructive edit). Apparently the local county fair art competition judges did not understand digital art of any kind (there was definitely no category for it in the early 90s). I suppose I can dismiss my “honorable mention” non-award award, in that I was perhaps a bit too ahead of my time as the crayon drawn house with a crappy looking rainbow took first place that year. Solid play on that kid’s part though—and it’s a good thing I’m still not bitter about it… because that would be one strange snapshot of childhood to travel around with waiting to use as a background to motivation.

Speaking of which, these are all literal (mental) pictures in my life I that have inserted into a number of life compositions and choices. Some imagery we just have with us, and it shapes what we can do with it, who we are, and where we’re going with the pieces. My mental archive to this day is my most cherished inspirational material. Sometimes for texture, narrative, concept, or adding some atmosphere—or revenge! Check out my composite from ten or so years ago (notice the house with a rainbow? Take that, first place-winner kid from childhood!).

Rainbow’s End, a fantasy composite of over 200 layers created from my own photography archive back in 2008.

Each Composite Has Its Strengths, Difficulties and Elements of Contrast Scroll down/forward a bit to an awesome artsy Waldorf school education and my dad tragically passing away when I was nine years old (yeah, that one sucked). Regardless of what the life experience is, both joy and drama can definitely add dimension to the composite—and this too had a hand in heavily shaping the direction of my ongoing layering and the direction I have since taken the composition.

From then on, it was entirely up to my mom to see my interests in digital arts continued and supported—and for that she essentially made sure we had a computer loaded with art programs (thank you, mom!) including an early version of Adobe Photoshop (version 2), and the rest was up to me.

An interesting counterpoint complication to this form of creativity was the influences of my school. A large part of the Waldorf School philosophy was/is to heavily discourage computer and screen-time use for children (even back then) of any kind, so I was always a bit of a closeted digital art nerd.

This snapshot of minor intrigue and juxtaposition came in handy though, at least creatively—I was a well supported digital rebel. And contrast is always a nice touch for just about any final image. So is community and family support for that matter.

To Create Is To Play By the time I was released into the public high school along with my friends, we all had computers (finally!), and we were soon killing each other on networked computer games of extreme violence and gore. But even then, I was somehow the ultimate class creative nerd, even in gaming—and would use my super art/design magic to create beautifully elaborate and intricate game levels to then brutally trap and murder my friends within (what are besties for after all?).

This was another technical direction to the development of my creativity—and my friends definitely paid the price with their avatar lives. I learned that like legos, building your vision is incredibly fun and rewarding. Imagination could be made tangible—and even playable. This is how I think of digital creative tools to this day. Only with less gore.

Experiment And Push Your Creativity To The Edge Throughout high school though, I never took an actual art class until darkroom photography (which blew my mind and forever changed my life—more on this soon) my final term of senior year. Even without any traditional art classes for four years of high school, I was misguidedly voted on by my peers as “Most Artistic” student of our class (which I bet confused the hell out of those art teachers I never met).

However, it was the photography class that truly had the most impact as I found a catalyst for my creative medium. Even back then, I began compositing, Jerry Uelsmann style, in the darkroom, combining everything I shot.

At 18 years old I took a trip to Europe with some close friends, and started scanning and compositing the resulting images in Photoshop before I really knew what compositing was. Experimenting a bit and pushing yourself creatively is an important goal for any big project.

As mentioned, taking that photography course opened my eyes to the pure magic of a new kind of image creation. It also most definitely made me wonder why I took band as an elective for all those years instead of photography (what was I thinking?!)… But then again I may never have met my wife as she was first chair clarinetist, so there is that.

In any case, I went on to UC Santa Cruz for a degree in Film and Digital Media, then immediately on to graduate school at Syracuse University for an MFA degree in Computer Art. This is where I took my self-taught Photoshop skills to another level and started winning awards and various features—and my first master class tutorial in Advanced Photoshop magazine.

That, unfortunately, gave me the first inkling that I could indeed write a book on the subject. This was also a great lesson that just because you could do something, does not mean you should—but that’s another story entirely! (Sorry for writing the book, family! And the second one too).

Advanced Photoshop Magazine Master Class tutorial on Fantasy Landscapes.

Refine Your Concept/Goals and Find Your Drive During graduate school I also directed and edited an award winning feature length documentary on Greenwashing (Greenwashers 2011). Oh, and I also used my minor in electronic music to co-score the feature film as well. For some reason this still gets screened internationally at various festivals and educational institutions (as the concept is still fairly relevant across the world).

This epic filmmaking experience is where the concept of compositing comes back into more relevance. Each of these mediums (for myself at least) are nearly indistinguishable from a creative standpoint. For documentary filmmaking, it is about collecting, gathering, imagining, pre-visualizing, then shaping, arranging, layering, building, and whittling to the core of the concept and balance of the story and composition. It’s a different dimension of the same processes as compositing in Photoshop. Same with music composition as well—you build, piece by piece, layer by layer, getting each element in the appropriate location, at the right level of intensity and emotion—everything needs to resonate and blend seamlessly, intentionally. In this layer of my life (well, more like a smart object, really), it awakened the realization of power behind the combination of intent and craft. Results were the results (obviously?).

Enjoy your Inspiration Moving to the Pacific NW, my wife and I soon had a son, Kellen (okay, my wife obviously did all of the real work on that part of creation some six years ago), and my world became both smaller and much much larger all at once. The only creative outlet and interest I really had was in raising my little super-dude, so this became a literal compositing theme in my Photoshop work.

We all use the tools and resources we have at hand, so I unabashedly drew my family into my creative obsessions. Out went any need for gaming, and in came a new level of digital play that was more addicting than any high score or Facebook like (though I have to say, those were nice as well). This realization paralleled my earlier theme of finding out that creating is play in itself as back when I created my own video game levels. Though in this creative play, the gore was definitely replaced with the stinky kind waiting to attack me hiding in some little guy’s diaper—and I definitely paid the price this time around.

Make The Plan, Pursue The Goal With most of my own imagery archived deep, ready to pull out when needed, the most recent elements I had to plan, pursue, and persistently capture at just the right angle, lighting, and timing. From national and international client work, teaching at universities and colleges full-time, in addition to teaching online with Craftsy, CreativeLive, and now with KelbyOne (yay!), these pieces don’t always just fall into place on their own, but take quite a bit of shooting and reshooting to get done right.

I wrote the first edition to Adobe Master Class; Advanced Compositing in Adobe Photoshop before I turned 30, then when that one sold out everywhere, I wrote the second edition (aka tortuous-rewrite/expansion) which just came out this last December. Super proud of this one, though I’m still not sure anything is worth that much slogging at three chapters a week (one new, two edits). Okay, done complaining about my feather.

Conclusion In general, and in case it was somehow missed, this entire story is a bit of a composite in itself, right? It more or less has just the pieces that I feel fit with the concept, creatively, professionally, and personally. Quite a lot has obviously been masked out in this story, but I think that’s the point of compositing in general. Concept to finish, usage of vignettes, paying attention to eye-flow, hierarchy, it all matters in how we move forward and finalize the idea behind it all. We all have choices as to what we bring to our subject and narrative—and how we can better blend the elements we’re perhaps stuck with and the ones we still need to go out and gather.

With proper planning, imagination, numerous fails, attempts and more attempts—and loads of creative drive and obsession, we all composite to some extent. Hopefully we like the results and have a load of fun along the way. For myself, I’m doing my best to think big and make the most of each element I have. My final concept? Have a magical adventure and make it a blast! Okay… that sounded a little bit like I want to take a trip to Disneyland, but I think (hope) you get the point.

And now, as promised, here are some actual relevant tips on shooting and compositing in Photoshop—enjoy!

Five Tips for Shooting and Editing Composite Images

For shooting in-frame composites (ones where all the material is in the same framing), lock down your camera and settings, and use either an intervalometer—or better yet, the wifi or bluetooth wireless tethering capabilities of your camera and phone/tablet app if it has it. Not only can you see and control the live image on your phone or tablet screen, but you can easily see exactly how to better position every single element and push your concept and pre-visualization to the next level.

Again, for in-frame compositing, select each piece you want to bring into the composite using the rectangular marquee tool (M) and give loads of room around each element you drag to select—then copy (Cmd+C/Ctrl+C) and use paste in place (Cmd+Shift+V/Ctrl+Shift+V) in your master composite file. This will paste the selected content exactly where it was copied from, leaving out the guesswork and the wasted time spent having to tediously move the element to properly match up with the background content. Mask as needed—you may not even need to use Select and Mask, and rather, just paint with a soft brush around the subject and edges of the copies (if there is nothing overlapping behind it).

Sometimes a single layer can be slightly too light, too dark, too warm, cool, etc. than the others (even those shot during the same shoot!)—use clipped adjustments when this happens. This tip is an obvious one for some, but if you are not yet using clipped adjustments, you are definitely missing out on the amazing potential to isolate adjustments from layer to layer without globally adjusting your composite from the top down. To clip an adjustment layer to affect a single layer, place the new adjustment (or any layer with an altered blending mode that you want to only affect the one below it) directly above the one you want to clip to; next, hold down Alt/Opt while you click directly between the two layers. Just before you click, you should see the mouse pointer change to a clipped icon indicating the hotspot for this killer feature. Adjustment layers also come pre-equipped with this capability in the form of a button at the bottom of the properties panel for the adjustment layer.

When shooting composites such as adding a subject to a completely different background (such as those shot in studio being transported to outside or a different location in general), don’t just match lighting direction and quality (this should be a given, hopefully ;-), but match both original background shot focal length (check the essential metadata in Bridge or Lightroom to see your settings) as well as frame position and distance of the subject to the camera. This will not only make your compositing SO much easier in post, but it will definitely make it look more believable as our eyes pick up on even small things that are off—even if we can’t exactly put our finger on it.

One trick I use to better color continuity in all composite scenarios is to desaturate all the various elements, then bring in your own color cast effects or filters—then increase the vibrance as a global adjustment (not saturation). For warmer tones, try something like a new solid fill layer that is a yellow-orange. Change its blending mode to Overlay and decrease the layer’s saturation to under 15%. This always adds some nice warmth to a composite without muddying the highlights like the Photo filter often does. Another thing to play around with is the Color Lookup adjustment layer as this adjustment has some quite interesting presets that you can toggle through much like phone photography app filters. You can always use the adjustment layer’s opacity slider to bring in however much you want or don’t want for the desired effect.

And with that, I will leave you all to ponder the meaning of your own composites, whether in the grand picture of life—or more literally within Photoshop. Either way, rock on!

You can see more of Bret’s work at BretMalley.com, check out his classes on KelbyOne, and keep up with him on Facebook and LinkedIn!

The post Guest Blog: Educator & Photoshop Magician Bret Malley appeared first on Scott Kelby's Photoshop Insider.

from Photography News https://scottkelby.com/guest-blog-educator-photoshop-magician-bret-malley/

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Photo Exhibition Review

Lauren Greenfield’s Generation Wealth at the International Center for Photography (ICP) is, first and foremost, largely a condensation of Greenfield’s work as an artist and visual anthropologist in the last 25 years documenting the “influence of affluence” in America. That Generation Wealth first showed at the Annenberg Space for Photography in Los Angeles (the artist’s hometown and the subject of her first projects) is fitting, given the shadows of Hollywood and Porn Valley over the city of Los Angeles; that the exhibition has now moved over to New York City — the financial hub of America and base of President Donald Trump’s business empire — is also hardly surprising. However the artist is interested not in wealth per se as the exhibition’s title might suggest, but rather in what people associate wealth with, what they are willing to do for it, and the haunting spectre of the (aspirational) American Dream. The work of Greenfield over the last 25 years thus offers a timely survey of a consumerist culture over interesting period-markers since the 1990s: the official end of the Cold War and the triumph of global capitalism; the emergence of the internet as the dominant infrastructure of our cultural consumption and production, the financial crisis in 2008, the rise of China as a major economic force contra to America, and the recent inauguration of a celebrity and businessman as the leader of America.

(Image by Lauren Greenfield)

As the headlining exhibition for Fall at the ICP, it is hardly surprising that even before I entered the building I was immediately greeted with a large image by the artist: A young mother wearing a sweater that reads “I’M A LUXURY” looking at her nonplussed daughter riding a toy pony across the room of what seems to be an affluent home. The angle of the image is tilted, adding considerable tension to what seems to be a well-groomed but nonetheless bland-looking apartment; but this angled approach also creates an intimate sense of informality, as if the artist had taken this image of mother and child on the fly. But what is even more interesting about this lack of a formal (i.e. straight, geometric) composition is the suggestion that perhaps in this age of social media and other platforms for image-sharing over the internet, the wealthy no longer need a professional photographer to document their wealth or share their sense of conspicuous consumption; they already do it for themselves (and perhaps do so with a reach that far extends even what an exhibition at the ICP can do). This is a fittingly powerful image that prefaces the exhibition of Lauren Greenfield’s work, asking questions in advance of an artist documenting the well-documented, and what different functions might her images perform — beyond that of visibility.

Going past the prefacing image, I had to walk past the gift shop and the cafe, resisting the urge to purchase a book, a postcard or a drink, before purchasing tickets to the exhibition proper. All the while wondering: does the presence of Greenfield’s image at the door implicate the venue of ICP as well, doubling as the artist’s critique of museums, galleries and their transparent architectures as highly visible spaces for conspicuous consumption. A quick flash of the student card, ten dollars, and a ticket stub later, I entered the exhibition proper. I came face to face to a long free-standing wall sitting in the middle of a white cube. It is plastered all over with a golden monochromatic vinyl as background, all 6 yards of it, with the exhibition’s introductory wall-text in black. The design of this introductory wall panel is minimalist, clean and elegant, highly reminiscent of the aesthetics of luxury brands. (Less is more, I guess.) Against a uniform architecture of four white walls, the golden introductory wall that greets one at the entrance does a rather decent job of adding some tension to the otherwise uninspiring architecture.

A quick glance around, and I could tell that the entire space is cramped with images, texts and videos. Arranged across in a grid-like manner and with a common baseline for hanging throughout the entire space, the images, texts and videos are ordered into five sections: “Cult of Celebrity,” “New Aging,” “Sexual Capital,” “The Princess Brand,” “Fast Forward / I Shop Therefore I am.” Most of the images presented are shot in landscape format. But whether landscape or portrait in orientation, the bulk of the images exhibited are approximately 40cm by 60cm in size, while larger prints or videos are used to bracket and frame the smaller images of each section. Texts containing quotations or interviews with her documented subjects are also selectively reproduced to add further contextualizations and depth to some of the images and their represented personalities. Overall, the sense of the space is such that there is a neutrality and objectivity in the experience of the exhibition space, largely due to the use of a white-cube architecture and that of gridded layout of the artist’s work.

(Image by Kenneth Tay)

On the particular section on celebrity culture, a wall-text notes Greenfield’s reflexive consideration of photography’s complicity: “Celebrities are themselves a commodity to buy and emulate … Photography plays a major role in the commodification of the famous, as the process hinges on image. From art-directed film sets to carefully composed selfies, personal brands are created on camera.” Thus, while the exhibition is laid out in a very formal and equalizing grid, thereby projecting an image of objectivity, the artist seems also to be invested in breaking this impression by quietly inserting critical reflections on the photographic medium. Though it needs to be said that such a moment of self-reflexivity from the artist about her medium remains the only one throughout the exhibition space.

Style-wise regarding the artist’s images, most of Greenfield’s images are wide shots, with a rare few close-ups which the artist then blows up for greater impact. It is hardly surprising that wide shots are favored, as they allow the artist to include as much environmental and contextual information without losing focus on the entire length of her human subjects. And as mentioned earlier, a good number of them are shot at a downward angle which indicates that the artist shot them at her eye level, simulating a sense of intimacy as if these images were taken on the fly of the moment. What I found interesting about this projected sense of intimacy isn’t so much the presumed aesthetics of documentary immediacy, but rather the secondary effect that these images (not people) of wealth and aspirations are already intimate and familiar to most of us. In other words, Greenfield seems not to be interested solely in the personal stories of the people she photographed, but also in seeing them as a spectacle, in Guy Debord’s sense of the term, as a social relationship between people mediated by images.

(Image by Lauren Greenfield)

Another noteworthy image featured in the exhibition is that of the huge portrait of child beauty-queen Eden Wood. The image stands out formally for its size, its portrait orientation, and its close-up of the child star. Measuring somewhere between 2.5m in height and 1.5m in length, the image is blown up to reveal intricate details of Wood’s profile up close. Through the details, I got to notice the sheer amount of make-up worn by the child star, the intricate curls done to her hair, the opulence of the accessories worn by her. The image captured Wood playfully posing for the camera, with her tongue sticking out by her teeth. But I am hard-pressed to find in the image any sort of the stereotypical child-like innocence we associate with images of children. Instead, with the make-up for Wood done up to present her almost as an adult, the pose offered by Wood can quickly turn into an uncanny proposition for fellatio. This was the disturbing strength of the image offered by Greenfield, one that had the power also to turn the name of the child star “Eden Wood” into a somewhat ironic one.

(Image by Kenneth Tay)

Yet another powerful close-up portrait offered by Greenfield is the image of Marla Hanson, made perhaps more resonant due to Marla being a resident of New York. I was attracted to the image due to its seemingly innocuous nature: just a simple close-up portrait of a well-groomed middle-aged woman looking into the camera. In fact, this image wasn’t even, as was with the image of Eden Wood, presented huge; it merely sits within a row of smaller landscape images. The only reason why it would have stood out in the row is that it is a close-up rather than a wide or mid shot. However, the caption reveals a horror story that disturbs the apparent silence of the image. Hanson was a former model who was initially sexually harassed by her landlord; in 1986, after several rejections by Hanson, her landlord paid others to attack her face with a razor. Hanson survived the incident but had over 700 stitches to her face. In that moment, moving between image and text, and back to image again, the innocuous silence of Marla Hanson’s portrait returns to us with an uncanny reminder that many victims of sexual harassment and sexual violence remain invisible because such visibility can often lead to embarrassment and further stigmatization. At first an image that seems easy to bypass (in a room chocked full of graphic images documenting extravagant wealth and highly sexualized bodies), the “silent” portrait of Marla Hanson speaks volume.  

Although much of Greenfield’s work has been a long arduous documentation of America’s aspirational consumer culture, the exhibition Generation Wealth did feature a few images outside of America: namely, that of China, Russia, and Iceland; the former pair interests the artists for their transitions into capitalism from their earlier systems of communism, and the latter for the aftermath of its nationwide bankruptcy. In her section on China’s spectacular acceleration into capitalism, the artist explains that “[t]oday the richest Chinese emulate the West, where they travel and shop lavishly, educate their children, and invest in property beyond the reach of their government.” One of the most striking images in this section is that of the Chateau Zhang Laffitte hotel in Beijing built by the Chinese real-estate developer Zhang Yuchen as a facsimile of the historic Chateau Maison-Laffitte in France. The image of Zhang’s copy by Greenfield is interesting for its fairly innocuous wide shot of the setting. There are no human figures in the image, and therefore no indication of place beyond the features of the building’s architecture. Had there been no captions, the image would have passed off as documentation of a European setting. This deliberate strategy by Greenfield to include as little contextual or geographical information in the frame thus strengthens the idea that there are few icons of wealth and affluence with as much purchase as European heritage, and the decision by Zhang to buy and build a copy of that heritage is hardly surprising.

(Image by Kenneth Tay)

I thoroughly enjoyed Generation Wealth and I have tremendous respect for the rigor and the “short-circuiting” of art and visual anthropology in Lauren Greenfield’s work. But while I exited the exhibition, re-encountering the image of the young wealthy mother with her “I’M A LUXURY” sweater, I can’t help but wonder if the artist could have added an index of images taken by the aspirational class of themselves and shared all over their social media profiles