#The Journal of Aesthetics and Art Criticism
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NPD tags are filled to the brim with people repeating the mantra of "narc abuse" not being real and while it's true, it isn't real, we've gotta focus on offering actual help to pwNPD. Destigmatizing NPD is great but let's talk about how to fucking handle it too.
With that being said, here's my contribution on how to prevent/lower the likelihood of a narc crash:
Journal or tell your closest ones about your emotions, even if they feel miniscule. Every negative emotion counts.
This might seem obvious but pwNPD are very prone to ignoring our emotions in favor of getting supply. Look, I know you "can handle it" and "only weak people have emotions" but you're a person and you have fucking emotions. It's more embarrassing to handle the post-effects of your crash than to try to prevent it, trust me.
After a crash happens, reflect on what actually caused the feeling of insecurity/distress that led to it.
Sometimes it's other people, unfair criticism, or both plus our inherent feeling of needing to match a social standard. Try to figure out what caused it and either distance from the trigger or find a way to limit its access to you. Maybe next time, you will be more prepared for the oncoming emotional flow.
Limit who can criticize you.
I guess it's harder for those of us with public pages online but actually limit who the hell has a right to critique you. Not everyone is a good critic. Some people will tell you shit just to upset you. Sometimes people won't be obligated to give you any attention at all. It fucking sucks but limiting the number of people who have the RIGHT to affect you might help. For me, it was a rule: What I think and what my FP think matters, everyone else can disappear.
Find means of reminding yourself how great you are.
Do you need to admire yourself in the mirror? Reread that sexy post you made? Look at your art again? Check the notes on your favorite aesthetic post? Do you need to reflect on how many people have admired you over lifetime or, maybe, how many compliments you heard last time you did XYZ? Be fucking vain.
Overall, narc crash isn't something that one can entirely predict or prevent, but it's how we react to it that matters. Warning your loved ones that you require attention/supply, taking care of your damn body so you don't overexert yourself for others, and being mindful of your own emotional reactions might help.
Not everyone is going to have the mental capacity to stop themselves from overreacting/communicating poorly, but as long as you learn from your past mistakes you should be fine. Good luck.
P. S. I hope you're all big boys and know I do not mean this to be some sort of universal advice. It helped me, and maybe it will help you too.
#𝐋𝐈𝐕𝐄 𝐍𝐎𝐖: 📡#npd#actually npd#actually narcissistic#narcissistic personality disorder#narc safe#npd safe#npd advice
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Tarot Cards as Professions
Navigation: Masterlist✦Ask Rules✦Feedback Tips
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Major Arcanas:
The Fool: Work with abroad, connections with imports, language teacher, multinationals, entrepreneur, intern, college student, art major.
The Magician: Entrepreneur, job that needs skill with the hands (acupuncture, hairdresser, artisan), actor, salesperson, influencer.
The High Priestess: Education, especially children, nutrition, psychology, cook, housewife, food engineering, toy factory, fortuneteller, spiritual advisor, librarian.
The Empress: Management, business administration, foreign trade, secretariat, translation, decoration, stay-at-home mom, model, cook, farmer.
The Emperor: Business administration, work related to areas of technological innovation, the military or sportsmen, CEO, tycoon.
The Hierophant: Philanthropic areas, ONGs, religious work, social work, diplomacy, and a degree, journalism, writer, editor, priest, spiritual guru, politician.
The Lovers: Sales area in any sector, tourism, theater, advertising, the arts in general, porn star, stripper, masseuse.
The Chariot: Activities related to transport, cars, the latest technology, chauffeur, mechanic, athlete.
Strength: Aesthetics, physical education and various body therapies, medicine, zoologist.
The Hermit: Teacher, writer, doctor, antique dealer, restorer, librarian, gardener.
Wheel of Fortune: Financial market, exchange offices, casinos, lottery houses, stock exchanges, and areas related to public relations, hospitality, game show host.
Justice: Public jobs, won through competitions, politics, police, with government positions, in the diplomatic area, law, insurance company worker.
The Hanged Man: Nurse, auditor, inspector, porter, secretariat, general assistants, yoga instructor, prison guard, philanthropist.
Death: Doctor, farmer, geologist, business administrator, gardener, accountant, assassin, death row executioner, surgeon.
Temperance: Working with liquids in general or with what is transported in liquid form such as alcoholic beverages, medicines, juices. chemist, chef, food critic, regional or even international traffic.
The Devil: Does not limit the individual to a professional wing, so he can also go to extremes for the desire he has, such as landlord, drug lord, sex trafficker.
The Tower: Social assistance, humanitarian aid, medicine, firefighter, police officer, construction worker.
The Star: Music, painting, sculpture, poetry, cinema, makeup artist, dressmaker, beautician, agent, promoter, sound artist, astronomer, harpist, dealer, meteorologist.
The Moon: Oceanographers, sailors, fishermen, owners of bars and restaurants or nightclubs, artists in general, medium, hypnotist, psychiatrist.
The Sun: Motivational speaker, entertainer, comedian, social relationships, work with the public, artist in general, member of society.
Judgment: Work done at home, connection with the law, lawyer, judge, work with disabled or people excluded from society, social assistance, board member, executive producer, director.
The World: Pharmacist, massage therapist, scientist, teacher, community leader, religious leader or priest, fashion designer, makeup artist, interior decorator.
Wands:
Creative industries such as advertising, marketing, and graphic design.
Entrepreneurship and starting your own business.
Athletics, sports coaching, or physical training.
Outdoor jobs like park ranger or tour guide.
Event planning or organizing.
Firefighters or rescue workers.
Ace of Wands: Entrepreneur, startup founder, motivational speaker, fitness coach, personal trainer.
Two of Wands: Business strategist, project manager, travel agent, international consultant, import/export specialist.
Three of Wands: Sales representative, marketing manager, e-commerce entrepreneur, market researcher, international trade coordinator.
Four of Wands: Event planner, wedding coordinator, party organizer, festival manager, hospitality industry professional.
Five of Wands: Conflict resolution specialist, mediator, lawyer, debate coach, competitive sports coach.
Six of Wands: Public relations manager, spokesperson, social media influencer, motivational speaker, winning athlete.
Seven of Wands: Defense attorney, human rights activist, political campaigner, advocate, civil liberties lawyer.
Eight of Wands: Courier, delivery driver, airline pilot, travel blogger, expedition guide.
Nine of Wands: Security guard, bodyguard, soldier, endurance athlete, self-defense instructor.
Ten of Wands: Overworked entrepreneur, project manager, event organizer, professional organizer, heavy equipment operator.
Page of Wands: Assistant in a creative field, aspiring artist, intern in a startup, social media coordinator, apprentice.
Knight of Wands: Travel journalist, adventure tour guide, professional athlete, race car driver, stunt performer.
Queen of Wands: CEO, business owner, charismatic leader, life coach, influential speaker.
King of Wands: Executive manager, entrepreneur, leadership coach, consultant, director of a creative agency.
Cups:
Counseling, therapy, or social work.
Hospitality industry, including restaurant management and bartending.
Wedding planner or event coordinator.
Artistic fields like poetry, writing, or acting.
Healing professions such as nursing or holistic therapy.
Psychologist or counselor specializing in emotions and relationships.
Ace of Cups: Therapist, counselor, social worker, holistic healer, emotional support specialist.
Two of Cups: Marriage counselor, matchmaker, relationship coach, wedding planner, love psychic.
Three of Cups: Event organizer, party planner, celebratory event coordinator, community organizer.
Four of Cups: Meditation teacher, mindfulness coach, spiritual counselor, psychologist, therapist.
Five of Cups: Grief counselor, trauma therapist, hospice worker, emotional healing practitioner, bereavement support.
Six of Cups: Child psychologist, teacher, daycare worker, children's book author, pediatric nurse.
Seven of Cups: Creative writer, fantasy novelist, imaginative artist, dream analyst, visionary.
Eight of Cups: Travel blogger, adventure seeker, spiritual pilgrim, explorer, wanderlust photographer.
Nine of Cups: Life coach, happiness consultant, gratitude coach, self-help author, wellness retreat organizer.
Ten of Cups: Family therapist, marriage and family counselor, foster care advocate, wedding planner, family mediator.
Page of Cups: Creative writer, artist in training, intuitive healer, aspiring therapist, dream interpreter.
Knight of Cups: Actor, romantic poet, musician, art therapist, love and relationship coach.
Queen of Cups: Psychic reader, intuitive healer, counselor, compassionate caregiver, therapist.
King of Cups: Therapist, counselor, intuitive mentor, emotional intelligence trainer, psychologist.
Swords:
Legal professions like lawyers, judges, or law enforcement officers.
Journalists, reporters, or investigators.
IT specialists, computer programmers, or hackers.
Teachers or professors specializing in critical thinking or philosophy.
Military or defense-related careers.
Strategic planners or analysts.
Ace of Swords: Lawyer, judge, legal consultant, investigative journalist, strategic planner.
Two of Swords: Mediator, conflict resolution specialist, negotiator, diplomat, relationship counselor.
Three of Swords: Divorce lawyer, grief counselor, trauma therapist, emotional healer, heart surgeon.
Four of Swords: Rest and relaxation specialist, meditation teacher, spiritual retreat organizer, yoga instructor.
Five of Swords: Military strategist, competitive sports coach, lawyer specializing in litigation, debate coach.
Six of Swords: Travel agent, relocation consultant, therapist specializing in transitions, boat captain.
Seven of Swords: Private investigator, spy, intelligence analyst, cybersecurity expert, undercover agent.
Eight of Swords: Social justice lawyer, human rights advocate, disability rights activist, therapist specializing in limiting beliefs.
Nine of Swords: Insomnia specialist, anxiety therapist, nightmare counselor, sleep coach, mental health counselor.
Ten of Swords: Surgeon, coroner, forensic scientist, mortician, grief counselor.
Page of Swords: Researcher, journalist, fact-checker, apprentice in a legal field, investigative reporter.
Knight of Swords: Military officer, police officer, attorney, competitive fencer, conflict resolution specialist.
Queen of Swords: Judge, lawyer, critic, journalist, literary agent.
King of Swords: Judge, attorney, CEO, strategist, military general.
Pentacles:
Financial advisors or investment bankers.
Real estate agents or property developers.
Agriculture, farming, or gardening.
Architects, builders, or construction workers.
Conservationists or environmentalists.
Accountants or bookkeepers.
Ace of Pentacles: Financial advisor, investment banker, wealth manager, entrepreneur, luxury goods retailer.
Two of Pentacles: Financial analyst, accountant, bookkeeper, event planner, stock trader.
Three of Pentacles: Architect, contractor, project manager, teamwork facilitator, craftsman.
Four of Pentacles: Wealth manager, investor, financial planner, asset protection specialist, treasurer.
Five of Pentacles: Social worker, philanthropist, charity organizer, financial counselor, volunteer.
Six of Pentacles: Philanthropist, humanitarian worker, non-profit manager, social worker, charitable fundraiser.
Seven of Pentacles: Gardener, farmer, agricultural consultant, sustainability expert, botanist.
Eight of Pentacles: Craftsperson, artisan, apprentice, skilled tradesperson, technical trainer.
Nine of Pentacles: Luxury brand manager, independent business owner, successful entrepreneur, vineyard owner, art collector.
Ten of Pentacles: Real estate developer, property investor, family business owner, generational wealth manager, financial advisor.
Page of Pentacles: Intern, student, apprentice in a practical field, aspiring entrepreneur, entry-level employee.
Knight of Pentacles: Accountant, financial planner, farmer, skilled tradesperson, meticulous worker.
Queen of Pentacles: CEO, business owner, property developer, hospitality industry entrepreneur, financial advisor.
King of Pentacles: CEO, business mogul, successful investor, high-level executive, financial consultant.
(CC) AstroJulia Some Rights Reserved
#tarot#tarot tips#tarot meanings#divination#cards#witch#witchcraft#witchblr#astroblr#career#astrojulia#all about tarot#tarot witch#major arcana#minor arcana#tarot and career
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Your Planet and Careers (Vedic Astrology)💼
The 10th house in Vedic Astrology is known as the Karma Bhava. This celestial abode holds the key to one's career, profession, reputation, and public image. Now let's uncover the profound impact that planets residing in the 10th house can have on an individual's career path and their potential for success in the professional realm.
Sun (Surya)
When the Sun graces the 10th house, it signifies qualities of leadership, ambition, and a strong drive for success. Those with this placement may find success in government roles, politics, administration, management, or any field that demands authority and visibility.
Moon (Chandra)
The Moon in the 10th house suggests a career in nurturing, caregiving, or public service. Individuals with this placement may excel in professions like nursing, social work, psychology, or any occupation involving interaction with the public.
Mars (Mangala)
Mars in the 10th house indicates a competitive and determined nature, making individuals suitable for careers in sports, military, law enforcement, engineering, or entrepreneurship. They may thrive in dynamic environments that require quick action and initiative.
Mercury (Budha)
Individuals with Mercury in the 10th house possess strong communication skills, analytical abilities, and a flair for intellectual pursuits. This placement can lead to success in fields such as writing, journalism, teaching, public speaking, or any profession that involves critical thinking and problem-solving.
Jupiter (Guru)
Jupiter's presence in the 10th house is considered auspicious for career growth and success. Those with this placement may excel in areas like education, law, finance, spirituality, or advisory roles. They may also find success in positions of authority and leadership
Venus (Shukra)
Those with Venus in the 10th house may find themselves drawn to careers in the arts, fashion, or beauty industries. They could excel in fields like modeling, music, or event planning, showcasing their creativity and aesthetic sense.
Saturn (Shani)
Saturn in the 10th house signifies a strong work ethic and a disciplined approach to career goals. Individuals with this placement may thrive in professions that demand patience and long-term planning, such as engineering, government roles, or business management.
Rahu or Ketu (North Node / South Node)
When Rahu or Ketu are positioned in the 10th house, individuals may face unexpected twists and turns in their professional journey. They might need to navigate through unconventional career paths and industries, adapting to challenges and changes along the way.
it can bring a sense of unpredictability and sudden changes in one's career path. Individuals with this placement may have unconventional career choices and may find themselves drawn to unique or innovative fields. Rahu in the 10th house can indicate a strong desire for recognition, fame, and success, leading individuals towards careers in media, entertainment, technology, or research. However, it can also bring challenges related to deception, illusion, and unexpected twists in one's professional life.
You may find success in careers that involve innovation, technology, and creativity. Suitable career paths may include:
Technology: Fields such as IT, software development, cybersecurity, and digital marketing where creativity and innovation are valued.
Media and Entertainment: Careers in film, television, advertising, social media, or content creation that require a flair for creativity and a desire for recognition.
Entrepreneurship: Starting a business in a cutting-edge industry or launching a startup that offers innovative solutions to existing problems.
Research and Exploration: Pursuing a career in scientific research, space exploration, or cutting-edge technologies that push the boundaries of knowledge.
Occult Sciences: Delving into astrology, metaphysics, or other mystical practices that tap into hidden knowledge and unconventional wisdom.
Ketu [South Node]
Spiritual Guidance: Becoming a spiritual leader, counselor, or teacher who helps others on their spiritual journey and inner growth.
Alternative Healing: Practicing holistic therapies, energy healing, or alternative medicine to promote physical, emotional, and spiritual well-being.
Meditation and Yoga: Teaching meditation, yoga, mindfulness practices, or leading retreats that focus on inner peace and self-discovery.
Charity and Nonprofit Work: Engaging in humanitarian efforts, social work, or volunteering for causes that align with one's values and principles.
Psychology and Counseling: Pursuing a career in psychology, therapy, or counseling to support individuals in their emotional healing and personal growth.
Overall, the placement of Rahu or Ketu in the 10th house can bring both opportunities and challenges in one's career journey. By embracing the unique qualities and lessons associated with these lunar nodes, individuals can navigate their professional paths with resilience, adaptability, and a willingness to explore uncharted territories in pursuit of their true calling.
Remember This is a General Analysis , Whole Chart is to be consider for Accurate Personalized Predictions.
For Paid Personalized Analysis & Reviews ➤ Check Here
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#vedic astrology#career#jobs#astrology#astro notes#astro observations#astro community#astroworld#astroloji#astroblr#10th house
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Dark Academia is a subculture and it isn't problematic, just misunderstood.
I am so tired of people that aren't a part of this community shitting on dark academia literally any time it gains popularity again, claiming that it's pretentious, elitist and racist. It's not problematic, at least not in a way most people criticise it for.
What all of those people don't seems to understand is that there's the dark academia aesthetic and there is the dark academia the subculture. Even when they do understand they still put people who are only interested in the fashion and overall vibe together with people who are dark academia.
Why is dark academia a subculture?
First let's start with what even subculture is?
It's a cultural group within a larger culture, often sharing a collection of values, beliefs, rituals and traditions. Despite what many believes, it doesn't have to have any connection to music, like Star Trek and Star Wars fans, but there's no need for having a shared fandom at all, like the gays, bikers and youth.
Participation in the dark academia subculture is not limited to following a specific set of fashion. It suggest preferred activities, hobbies, philosophies and lifestyles. The focus is on reading and expanding one’s horizons, on becaming the best version of oneself no matter the cost, especially by engaging in classical literature, history, foreign languages, mythology, art and philosophy. On top of that DA is actually connected to certain music (classical and neoclassical) and fandoms.
The (incorrect) criticisms:
1. One of the more common criticisms of dark academia is that of its superficiality and pretentiousness – that it is more a fetishisation of intellectual life than real intellectual life. "Instead of being a reading society, it's a Dead Poets Society cosplay." This is just simply untrue. Yes, there are people who are purely here for the aesthetic and vibes, but they aren't part of the subculture. People who are genuinely part of this community do read all those books, write poetry, journal e.t.c regularly and try to be well educated.
2. The money issue. Now this is where it gets funny. Dark academia is often called classist and racist because of it's "idealised vision of the academic lifestyle in which the money is simply there". Obviously in places where higher education is strictly financially driven studying is a bitch. Nowadays there are even a lot of doctors who are homeless, especially in US. But DA is mainly a European thing, and in a lot of EU countries studying isn't that expensive, it's not cheap either (books costs a lot and not working doesn't help), but you don't need to pay for a good education, you need to study hard and compete with others to get good education.
This however is not a dark academia problem. It's a harsh reality. One that we need to fight with. Getting higher education shouldn't make you get into a debt. It shouldn't make you sacrifice social life for studying all your life only to end on the streets.
3. "Eurocentric obsession". This is so dumb I don't even know to say. How can you possibly call people, mostly from Europe, problematic for being fascinated by Europe's history, it's past culture, Greek mythology, mostly European philosophers (but American too), Latin that is still fucking taught at many schools here, etc. All of things are taught in schools here. There is nothing wrong with you being obsessed with Asian royalty and making it part of your personality, but God forbid, you, a white person, are obsessed with the best parts of your history and culture 🙄.
4. Another criticism of dark academia is that it encourages unhealthy behaviour, both physically (caffeine overconsumption, smoking, drugs) and mentally (perfectionist, constant competition). The pursuit of perfection comes at a price. The entire idea of DA is to study as hard as possible so you can reach enlighten. It's workaholism, except it's school, not work. Now this is why I think dark academia isn't problematic in a way people think, but is misunderstood.
A melancholic comforting dream
It's easy to understand why people think DA is unhealthy or fake. Nights spent studying, writing essays for hours on end, drowning in books and writing excessive notes. For many this sounds like a nightmare, but dark academia romanticise it. It see it as the true joy of university life. At the same time there's taking joy in reflecting on what is irretrievably lost, pessimistic and melancholic.
In reality most people in this community are overworked neurodivergent, usually twice exceptional, youth who struggles mentally. So many people are twice exceptional and it's very obvious. The hyperfixetions, the love for linguistics and humanities, the hate of math.
For many Dark Academia is a coping method.
Staples of dark academia fiction explore intellectualism, classic literature and self-discovery, but also the struggle of fighting for your identity, the way humans are shaped by their trauma, the way they destroy themselves to be better. The word "dark" in Dark Academia is primarily about those dark sides of the human nature, not just the dark colours of the DA aesthetic.
If you think that Dead Poets Society romanticised suicide or Kill Your Darlings academicly motivated drug use then you're the crazy one here. People loved those movies, because of how relatable they were, even the suffering.
Studying is a bitch. If you make it fun then you are less depressed about the fact that you don't have the choice to not study all night. It's not just nostalgia for what you haven't experienced, but what you have to endure all your youth. Some people are forced to study to be the very best and sacrifice their (social) lives, because the system is so broken, but if you can make it into your own, comforting, time - it's better. Sure, the movies and books have lots of harmful copying mechanism, but irl (or in this case online) this community encourages healthy methods like reading, making art, journaling, acting etc.
I do think there's a lot of to talk about when it comes to, for example, sexism, and I do agree DA needs more diversity than just white cis man, but like I said, it's not problematic in a way most people criticise it for.
#dark aesthetic#dark academia#dark acadamia aesthetic#dark academism#subculture#dark academia subculture#mental health#relatable#autism#adhd problems#problematic#coping mechanism#light academia#chaotic academia#dead poets society#kill your darlings#neurodivergent#intellectualism
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anyway, I think we should all be very loud and vocal and angry about Taylor’s continued practice of releasing different variations of her albums that force you to either pick and choose bonus tracks or else purchase every version in order to own them all, because, uhhhhh, she is not above criticism and what she’s doing here is a cruel and predatory business practice that flies in the face of the art she claims she wants to share with us.
“No one’s forcing you to buy every version” should be saved for material differences like collectible covers or items like the Lover journals or even TTPD’s special magnets and bookmarks and things; it should NOT apply to the music itself.
“It’s all going to end up on streaming anyway,” doesn’t count either because I actually like physical media and I’m still mad about Taylor banishing If This Was A Movie to streaming after she kicked it off Speak Now but didn’t bother to actually put it on Fearless. I’m also mad that Sweeter Than Fiction was only released on one special vinyl because I don’t use vinyls?? I want to have all my music in one place. I want to have a CD I can play in my car without having to switch it out to hear one different song. I spend money on my music because I want to actually own the album I have: something that is not guaranteed with iTunes or streaming.
the more Taylor does this, the less I’m even supportive of having an album + a deluxe edition. Like. Why would I ever want an incomplete version?
I love Taylor as an artist and I want to believe her when she says that she loves creating and then sharing her art with us, but when she gatekeeps and oversells her music like this, I’ve got to doubt her. Everyone knows she doesn’t need to release multiple versions just to make a profit. She’s breaking records with every album she announces! But if she thinks this is a fun way to release albums, then I actually need everyone to get on the same page by telling her it’s NOT. I don’t care if you, personally, random reader, don’t mind forking out a hundred dollars for 5 slightly different version of the same album; it should not be REQUIRED. Some people can’t afford it. Some people are never even offered the other versions (looking at you past Target exclusives + clean variants of all the Midnights CDs that never went up on the Canadian site). If Taylor loves her fans, she shouldn’t be taking advantage of them: full stop.
tl;dr: collectible versions of albums should be limited to aesthetic and bonus materials, NOT songs; every version of the album should be announced together so people can buy responsibly; every song should be equally available on physical media as it is on streaming; Taylor Swift needs to be held accountable for these predatory releases.
#taylor swift#the tortured poets department#taylornation#swifties#the manuscript#the bolter#the albatross#I hate her 🙃#which sucks worse as time wears on because I grew up loving her#again I say: you’re mostly here for the music and she still finds ways to let you down
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;; i wanna hear about some of your 30+ proseka ocs!! if you wanna talk about them 👀
I'm hesitant, because I barely have any accurate artwork of them (and what I do have isn't drawn by me, actually), but it would be kind of hypocritical and silly for me to shy away from the question after that post, so...
In total I have about 30 proseka ocs and they keep on multiplying, but here's my focus for the time being.
[ yeah, I don't have a fancy logo or anything like this. I'm not at all a visual artist, unfortunately ]
Kawaakari Orchestra, or KWKO for stort, is a unit of 6 classical musicians that participate in chamber music/classical music competition on a national level in Japan; however, there's a twist - the competition is specifically designed to modernize and revolutionise the approach to how classical music is presented to the general public, so there's a lot of non-traditional elements both during performances and in between them.
In short, this is not what they signed up for (with some of the members even being picked up somewhat involuntarily), and the competition is fierce and nobody is having fun on the journey to victory - but also self-exploration, healing and mending their relationship with their lives and each other.
More info under the cut!
Their sekai is Conservatory Sekai, which is similar to Leo/need's school set up but instead of empty classrooms there are empty lecture halls and practice rooms; one main practice room which is very spacious and open and several smaller, more private ones. All the Virtual Singers are the same as in canon and all play the same instruments the cast does.
There are also two new schools for all OCs to attend because I wanted more creative freedom over that!
Meeting the sillies!
[surname - name. Keep in mind that picrew designs can be inaccurate to various degrees. All follow proseka wiki template!]
Unit leader/2nd Violin: Saitsu Maki
Gender: Female
Birthday: June 1st (♊)
School: Miyaji Girls Academy (1-A)
Committee: Library
Club: Undecided
Part-time job: None
Hobbies: Travelling, Meeting new People, Reading
Speciality: Photographic memory; English
Favourite food: Soba noodles
Least favourite food: Anything spicy
Dislikes: Insects
1st Violin: Kozaki Karin
Gender: Female
Birthday: August 4th (♌)
School: Miyaji Girls Academy (1-A)
Committee: Class Representative
Club: Go
Part-time job: Bookshop
Hobbies: Strategy games
Speciality: Time management
Favourite food: Shiitake fried rice
Least favourite food: Eggs
Dislikes: Idleness
Piano: Shimizu Kairi
Gender: Male
Birthday: March 11 (♓)
School: Hakkei High School (1-C)
Committee: Disciplinary
Club: Chamber Music
Part-time job: None
Hobbies: Collecting Stationery, Journaling
Speciality: Aesthetic Notetaking
Favourite food: White tayaki
Least favourite food: Prawns
Dislikes: Crowded places
Cello: Ekuro Suzuka
Gender: Female
Birthday: November 21 (♏)
School: Miyaji Girls Academy (1-B)
Committee: Health
Club: Photography
Part-time job: Freelance photographer
Hobbies: Arts & Crafts; Baking
Speciality: First Aid & Nursing
Favourite food: Panna cotta, Blueberry sauce
Least favourite food: Salads
Dislikes: Hospitals
[sorry for the very bad quality for the next two ones, I can't afford making a neka.cc account right now. Maybe Someday!]
Viola: Kaedehara Akari
Gender: Female
Birthday: September 30 (♎)
School: Hakkei High School (2-D)
Committee: Greening
Club: Gardening
Part-time job: None
Hobbies: Going on morning walks, Tending to her potted plants
Speciality: Flower language
Favourite food: Pizza
Least favourite food: Tomatoes
Dislikes: Viola
Flute: Fujisaki Reishi
Gender: Male
Birthday: December 28 (♑)
School: Hakkei High School (2-A)
Committee: Beauticarion
Club: None
Part-time job: None
Hobbies: Composing music, Shopping
Speciality: Music theory; Calligraphy
Favourite food: French fries, Instant noodles
Least favourite food: Pickled foods
Dislikes: Criticism
~~~
Some very important infographics to understand the dynamics of the group (4koma cutouts courtesy of @the-one-that-weeps):
They have a lot stuff going on, and so far I've planned a series for the that goes over from the main story up to their World Link event; but a lot of this is still Subject To Change and WIP, of course. So this is all I'm going to say so far in order to keep things interesting if I do happen to write about them at some point.
Hope you all like them, even if they're surface level, they mean the world to me. If you have proseka fan oc, this is the cue for you to talk about them as well. Let's re-populate the tag. Cringe culture is dead. Fan Units is where it's at.
#jay rambles.txt#jay gets asks.txt#project sekai#project sekai oc#pjsk oc#pjsk#I kept going back and forth on whether I wanted to talk about them or not an then decided oh fuck it let's do it#if this encourages someone to post their stuff as well then it was worth the inherent embarrassment of being known
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Matty’s “speech” in FL
Okay, so someone asked for an explanation of Matty’s speech before IAWD(S). Here it is.
First, I should note that it’s not Matty’s original words. It’s an excerpt from an essay about sincerity and the aesthetization of politics in our current culture, written by art critic Boris Groys. You can read it here (it appears as one among many that he published in a collection as journal entries).
A few things to note about the essay:
It shares a lot of common themes with S/ATVB in that it talks about the conception of mass media, the effect it has on culture and one own self-image, the way we’ve turned politics into a form of media to consume, etc. so that’s the context in which it’s operating.
It discusses “self-design” (i.e. the curating of a specific version of yourself to present to the public) in a similar way that matty thinks about his stage persona.
The essay is trying to address the issue of arts relationship to politics today.
Groys argues that, with the proliferation of mass media and social media platforms, these modes have replaced the artists (re)presentation of politics. The vast production of images of news, war, etc take the place of the artist.
even more to the point, the artist is now depicted and presented to us via media as well. So, the artist becomes the artwork instead of being the one who produces it.
this, Groys suggests, causes a certain kind of anxiety for artists because their job is to make stuff, and now, they’re in a position where the world is making them.
In the age of social media, with everyone sort of turning themselves and each other into “artworks” by curating and presenting specific versions of themselves online/ in public, Groys says that making something into art or aesthetizing it has become a way to cause suspicion. Like, we all have this awareness that social media “isn’t real life” that these images are edited and present a skewed and fabricated version of reality.
so, the way we encounter artwork (including public version of each other) is with suspicion. We get this feeling that if something looks aesthetic on social media, then the aesthetizing of it must be to hide the fact that it’s ugly/ bad/ unimpressive in reality. Instead of making something aesthetic being a glamorizing or celebratory act, it’s a doubt-inducing act.
Because everyone is so aware of the artificial-ness all the time, we have, in turn started to try to design our public image to be about sincerity and authenticity. In order to connect with others who view us publicly and establish trust with them.
Because the aesthetic is suspicious to us, we start to equate sincerity with shitty / bad/ugly stuff. We are suspicious of people who seem genuinely kind and sweet and pretty etc. but when we see someone behaving like a dickhead, we believe they’re being sincere.
Now, to the passage that Matty read onstage,
summarized, the passage says:
The only way to show authenticity and sincerity is to reveal nastiness. So, the nastiest celebrities and politicians are often the most famous and the most recognized for their truthfulness.
if this is getting confusing, think about Trump for example: where everyone is all about being kind or woke or politically correct, his dickhead gets in front of a camera and says “grab them by the pussy” or “immigrants are bringing us gangs” or “Hilary is ugly and that’s why Bill cheated on her” or whatever. That’s the nastiest shit ever. But people think “well, say whatever you want about the guy, at least he’s honest and doesn’t lie like politicians do.” Does that make sense?
the problem with this is, though, that when you are being sincere by revealing your own ugliness in public you’re not really breaking the cycle. It’s simply a “symbolic sacrifice” that feeds into the idea that good/ pretty/ aesthetic things are fake and nasty/ bad/ ugly things are true. So you’re just sticking to the system and profiting off of it confirming people’s suspicion.
why did Matty read this passage onstage?
this is the part that is my own opinion and not the essay. Obviously, im not inside of Matty’s mind, so I can only guess and speculate.
in my opinion, it’s because (as I’ve talked about in my reviews of SAYVB) so much of the show is about his relationship to social media, how the public perceives him, etc. and within the largest context of the ethos of the band, Matty has always been curious about what it means to be sincere in the age of irony (sincerity is scary). he’s thinking about how the world perceived him as a public figure, artist, and celebrity and what, to the public eye, counts as real sincerity.
The other day he commented on how people called his Malaysia protest “performative.” The idea that he’s a shit person doing it because of a white savior complex, or just to perform wokeness and stuff is easier and makes more sense to people than the fact that he genuinely gives a fuck. Even though he’s been consistently speaking up for LGBTQ+ communities since day 1. But it’s cuz our culture is so cynical, the only honesty we believe is bad intention and we equate the bad with the real thinking that any public good is suspicious and designed to cover up the bad.
This is also just true more generally of how people view matty. We’ve all seen the headlines. It’s not JUST about the Mayalsia thing. People are so quick to see all his good attributes as fake and all his bad ones as “real.” Which, as he has pointed out many times before, is basically a symptom of the current state of leftist politics. We think that calling each other out or “exposing” the shit truth behind the aesthetic is what being real and being virtuous is about and we don’t actually do much else.
all of this is to say that this passage is commentary on the themes that SATVB, and the 1975 have always been thinking about.
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Screen-printed mandalas by Olga Fröbe-Kapteyn 1930
Olga Fröbe-Kapteyn was born into an artistic and politically active Dutch family living in London. She studied at Zürich University of Arts and although she did not make a living as an artist, she would produce hundreds of vivid abstract paintings inspired by Eastern mandalas and her esoteric visions. After a period in Berlin, she returned to Switzerland following her husband’s premature death and settled outside of Ascona, a municipality bordering Italy on the shore of Lake Maggiore.
At the end of the nineteenth century, Ascona had begun to attract those seeking an alternative to modern life. On Monte Verità, the “mountain of truth”, anarchists, nudists, and vegetarians experimented with communal living, free love, and plotted a utopian society. Over the decades, it played host to sharp critics of technology and capitalism, as well as to many who shaped the aesthetics and philosophies of modernism. Visitors included: the artists Sophie Taeuber-Arp, Jean Arp, and Paul Klee; anarchists and socialists such as August Bebel, Peter Kropotkin (an old friend of Fröbe’s mother), Otto Braun, as well as Lenin, Trotsky, and Bakunin; the dancers Isadora Duncan and Rudolf von Laban; and poets, authors, and philosophers like Hermann Hesse, Thomas Mann, Stefan George, and Rudolf Steiner.
In 1905, the German anarchist Erich Mühsam dreamt of Ascona serving as a refuge for “freed or escaped prisoners, for the pursued homeless”, and for everyone else unfit or unwilling to become productive members of capitalist society.9 As the area became increasingly fashionable and a magnet for minor European nobilities with esoteric interests, a German journal identified Ascona as “Berlin’s outermost suburb”. “Anyone from the German literati in search of a vacation spot that comes with the possibility of a think piece guaranteed to be accepted by any paper should make their way to Ascona”, the journalist stated, promising that here you can discover “a lizard . . ., a movie star, or a new religion”.10 Bolstered by Swiss neutrality, Ascona evolved into a place where disenfranchised aristocrats rubbed shoulders with revolutionaries, while keeping close connections to the avant-garde art scene of Zürich.
The entrance gate to Sanatorium Monte Verità, Ascona, Switzerland, ca. 1907
Public Domain Review
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Comparative Studies, or Twice on the Verge of Falling
The Rimôn fresco of Elwing is considered to be one of the greatest artworks of the Late Classical Era. Found in the courtyard of the old Helcaril Villa (itself a marvellous example of architectural trends during the reign of Tar-Elendil), it occupies a relatively modestly-sized, but excellently exposed niche across from the entrance. Aside from the considerable fame the artist had later gathered, it remains remarkable both for its vividness of emotional expression, contrasting to the usual art style of the era, and for the number and fame of its copies.
The best known of these is the one gracing the lesser courtyard of the villa Surë-or-Falmar. Indeed, the glory of the two is so closely interwined that it seems impossible to ascertain which had contributed to the fame of the other more. And yet the effect of the copy wildly differs from that of the original artwork.
The Rimôn Fresco depicts the figure of the young Elwing standing on the cliff with her back to the churning waters below. She is poised halfway toward the drop, as if on the verge of throwing herself in, one hand clasping the Silmaril at her neck. Wind whips at her torn dress and loose hair. A rarity among artworks confronting the subject, it depicts neither the enemy she is facing, nor the the transformation into bird itself. The figure stands alone - and seems strikingly young. Beholders oft remark that it is hard to believe she is meant to depict a wife and a mother.
The wild and violent atmosphere of the fresco, even though, as with most Classical works, it depicts no blood, and despite the aforementioned lack of actual fighting shown, made its artistic quality fall under scrutiny in its day. From diaries, journals and letters of the period we can, however, see that it proved intriguing enough that people would come visit the Helcaril Villa only to see it in person - and that it won over many of those who were originally critical. Thus it is difficult to ascertain whether the changed nature of the Surë-or-Falmar villa Fresco was intentional on the part of the copyist, or the sign of an inexperienced hand.
The name of the copy's painter has unfortunately escaped history. The style is typical to the reign of Tar-Meneldur, though an exemplary of its genre rather than a dull attempt at imitating fashion. The colour combinations are soft, slightly more so than in the Rimôn Fresco, the lines clean, and the light hazy. The figure depicted is in the exact same position as that in the original artwork.
Viewers of both frescoes predominantly agree, however, that despite the technical skill the painter has exhibited, the Surë-or-Falmar Fresco lacks something of Rimôn's Elwing. The posture is just a little less dynamic; the cliff's edge (perhaps unconsciously or accidentally) removed slightly father from Elwing's feet, making her situation seem something less desparate. The wind's effects hardly seem those of a real gale, and more an aesthetic choice. One of the most interesting judgements has been pronounced by Herunimon of Eldalondë in a letter to his cousin, Rilendur, son of Verahil, dated 24th Nárië, 901: "The S.o.F. figure seems less the Lady Elwing fenced in by foes and making a tragic choice, but more the heroine of one of those new romances, unsure whether to flee the scene after a man has confessed his love to her, or to accept his proposal - or, I hardly know, perhaps such heroines lead more exciting lives than I would guess (...) - but anyhow, the fresco seems more like a coloured plate in a rich novel, than a mural depcting a tale of the Elder Days. All in all, there is not one element which does not fit. But taken together, the effect is incongruous." (Collected Letters, volume II, as accessed from the Royal Library in Romenna)
(from the Romenna Journal of Artistic and Literary Studies)
***
Editor's note: Remembering the considerable public outcry after the publication of Songs of the Elder Days: Lyrics, History and Analysis, the University of Romenna along with its subsidiary organisations seek to make it understood that the views of authors, as regards the addition or not of Lord and Lady before the names of Lord Eärendil and Lady Elwing, do not necessarily represent its own. Were the University to be flippant, it might also seek to ask why proper respect being accorded to the Lord and Lady seems to be held in greater importance than that it be accorded to the Valar, but the University understands that this would bring on public outcry against it from people on both sides of the moro-political divide, so it shall keep its silence.
#A.k.a. adventures in drawing - when your sketch has more life in it than the clean copy.#I imagine this to belong to the later#but not yet Akallabêth-adjacent era of Númenor.#The era of exploration and friendly interchange is slowly giving way to imperialism#the divides are beginning to become semi-entrenched in society#and the fear of mortality is there --#but it has not begun to consume every waking thought of the people suffering it#it is not illegal to hold to the old ways#and elves are still admired by many.#Surë-or-Falmar should translate to “Wind-over-Waves”#though I cannot be sure I did it correctly.#Rimôn is a name invented by me#supposed to sound at least a bit Adunaic; the other names are meant to be Quenya.#my post#Númenor#Elwing#tolkien#Silmarillion#silm#in universe texts#peoples of arda#in universe documents#in-universe meta#in-universe academia#fictional academia
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Born a photographer March 29, 1944. Abbas Attar was an Iranian transplanted to Paris. He dedicated himself to documenting the political and social life of societies in conflict. In a career that spanned six decades, he covered wars and revolutions in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle East, Chile, Cuba, and South Africa during apartheid. He also documented life in Mexico over several years, and pursued a lifelong interest in religion and its intersection with society.
From 1978 to 1980, Abbas photographed the revolution in Iran, to which he returned in 1997 after seventeen years of voluntary exile. His book Iran Diary 1971-2002 is a critical interpretation of Iranian history, photographed and written as a private journal.
During his years of exile Abbas traveled constantly. Between 1983 and 1986 he journeyed through Mexico, attempting to photograph a country as a novelist might write about it. The resulting exhibition and book, Return to Mexico: Journeys Beyond the Mask, helped define his photographic aesthetic.
From 1987 to 1994, he focused on the growth of Islamism throughout the world. Allah O Akbar: A Journey Through Militant Islam, the subsequent book and exhibition, spanning twenty-nine countries and four continents, attracted special attention after the 9/11 attacks by Islamic jihadists. A later book, Faces of Christianity: A Photographic Journey (2000), and touring show, explored Christianity as a political, ritual and spiritual phenomenon.
Abbas’s concern with religion led him in 2000 to begin a project on animism, in which he sought to discover why non-rational ritual had re-emerged in a world increasingly defined by science and technology. He abandoned this undertaking in 2002, on the first anniversary of 9/11, to start a new long-term project about the clash of religions, defined as a culture rather than faith, which he believed are turning into political ideologies and therefore one of the sources of the strategic struggles of the contemporary world.
From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same skeptical eye. In 2013, he concluded a similar long-term project on Hinduism.
Most recently before his death, Abbas was working on documenting Judaism around the world.
A member of Sipa from 1971 to 1973, then of Gamma from 1974 to 1980, Abbas joined Magnum Photos in 1981 and became a member in 1985.
On Wednesday April 25, 2018 the Iranian photographer Abbas Attar known simply as Abbas, died in Paris, aged 74.
According to Abbas, in a 2017 interview with Magnum, there are two photographic methods: “One is writing with light,” he said, “and the other is drawing with light.” While he viewed other Magnum photographers like Henri Cartier-Bresson as adherents of the latter, the former was the foundation of Abbas’ practice. In lieu of placing his focus on single moments in time, he looked at his photographs as interlinked elements of a greater whole. In this sense, Abbas was a storyteller, and his images were pages of tales on celluloid, which were no less arresting when viewed (or rather, read) in isolation.
In the same interview, Abbas noted that it was a 1968 trip to New Orleans that made him understand the importance of what he called “sequencing”, or creating a narrative thread through a series of images. Examples of this can be seen in Abbas’s book Return to Mexico: Journey Beyond the Mask (1992), a document of his travels through the country in the 1980s.
His books aside, Abbas’ work has been the subject of exhibitions in galleries and museums around the world, including the Tehran Museum of Contemporary Art, the National Museum of Singapore, Galerie FNAC and the Magnum Gallery in Paris, and the Grey Art Gallery at New York University.
“It is with immense sadness that we lose him,” Dworzak said. “May the gods and angels of all the world’s major religions he photographed so passionately be there for him.”
Daily inspiration. Discover more photos at Just for Books…?
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When disgust or revulsion is confronted and overcome, what was at first disgusting can become delicious.
Carolyn Korsmeyer, ‘Delightful, Delicious, Disgusting’, The Journal of Aesthetics and Art Criticism, vol. 60, no. 3 (2002)
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Houses
The houses is the next important part of astrology. The houses represents the area of life the planets and signs affect.
1 house - Aries house
Self
You are the main character of your life
How you look
First impressions that people make lf you when the first meet you
Head/ skin complexion
Incarnation
Worldly outlook
Public conscious
Manners
Habits
Early Childhood
One indication of life purpose
2 house -Taurus house
Your finances and wealth
Your family values/ your values
Banks
Investments
Comfort foods/foods
Chef
Farmers/farming
Food resources
Your voice
Throat
Taxes/ revenue
Friends of partners
Economy
Secrets pleasures and desires
Pleasures
Skills and resources
Possessions
Fashion aesthetics
Music taste
3 house- Gemini house
Communication
Radio
Information
Tv
Writings
Journals/ books about specific topics
Siblings
Transportation (cars, trucks, trains and boats)
Lungs
Fingers/finger nails
Aunts/uncles
Short trips
Education (k-12)
Teachers
Critics/ criticism
Video games / board games/arena games
4 house- Cancer house
Women/feminine
Mothers
Parents in general
Babies
Breast/chest
Milk
Showers/ baths/ ponds/rain
Home life
Family life/ ancestors
Hidden thoughts and feelings
Digestive system
Private life
Realtors/real estate/ renters/ home owners
Father in law
Old people
Nursing/nurses/nursery
Hotels/ motels
5 house- Leo house
How we have fun
Actors/actresses
Directors/filmmakers/ motion pictures/
Entertainment/amusement
Movie theaters
Concerts
Games/Arcade games/arena games
Theater/ dance/ acting
Music/musicals/musicians
Drama
Pride
Ego
Romance
Lovers
Dates/date night
Creativity
Child(ren)
Youth
First born child
2nd sibling
Gambling/gamblers
Royals
King/ Prince/ Queen/ Princess/ other novels
Your Heart organ
Lottery
6 house- Virgo house
Health
Health professionals (doctors, nurses)
Healers/ outer healing
Animals(small and domestic)
Artistic abilities
Birds
Body health
Hygiene
Physical examination
Bowels
Medical drugs
Caretakers
Brother/sister in law’s reputation
Critic/criticism
Judgement
Organizations/organized
Notes
Writing in details
Cooking
Employees
Co workers
Intelligence
First responders
Butler, maids, busboys
Cleaners
Grandchildren reputation
Offices
Companies
7 house- Libra house
Relationships (platonic & romantic )
Business/ business partners
First Marriage
Divorce
Alliances
Grandparents in general
Grandma
Husband & Wife
2nd Child
3rd sibling
Lawyers/law suites/laws
Court of law
Agents
Agreements/disagreements
Liver
Kidneys
Bladder
Butt
Lower back
Controversial
Dealings with the public
Open public enemies
Art, artist
Actors/actresses
Bars
Contest
Serious lovers
Close fan base
Affection
8 house- Scorpio house
Death/rebirth
Giving birth
Joint finances with partner
Wealth through marriage
Other people finances
Deepest fears
Obsessions
Genitals
Sex/sex work
Heirs
Heirlooms
Occult/occult studies
Debt
Underground crime
Surgery
Inner power
Psychic abilities
Psychology/ psychology therapy
Therapist
9 house- Sagittarius house
Spirituality/ religion (church, clergy, prophet, spiritual gifts)
Philosophy and ideals on life
Long range travel
Long range communication
Dreams and faith
Higher learning(college, grad school)
Teachers
Astral travel
Books/journals about broad topics
3rd child
Logic
Intellect
Metaphysics
Airports
Ships/shipping/shipping docks
Horses
Pets end of life
Hips and thighs
Liver
Upper legs
Supreme Court
10 house-Capricorn house
Career
Public status in society
Public image
Publicity
Success
Ambition
Knee/kneecaps
Skeletal system
Teeth
Famous family/family name
Fame
Popularity
Infamous
Scandals
CEO/ supervisor/managers
Father/fatherhood
Authority figure in your life
Government(president, senates, house, prime minister) all officials
Vocation
11 house- Aquarius house
Humanity
Humanitarian
Community
Friend groups
Social groups
Acquaintances
Friendship
Friends appearance
Science
Technology
Stans (loyal fans)
Support system
Aspiration and dreams
4th child
Step children
Daughter/ Son in laws
Community projects
Wealth within social groups
City
Lower calves/ankles
Flattery
Social media
Memberships and clubs
V
12 house- Pisces house
Deep dreams
Mythical/mystical/ ethereal
Asylums
Bondage
Blackmail
Fraud
Bootleggers
Spiritual
Burglary/burgalers
Cheating/cheaters
The unknown
Conspiracies
Hidden talents
True talents
Clinics
Prisons
Pass life
Karma/karmic
Monks
Intrigue
Hidden society
Hidden cults
Misinformation meditation
Inner Healing
Spiritual gifts
Drugs
Addictions
Orphanage
Partners career
Veterinarian
Voting/voters
Inner pain
Nurses
Big cats
Bigger animals such as elephants ect
Thank you for reading and I hoped you enjoyed this post
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Several dozen journals now exist that print only verse. They don’t publish literary reviews, just page after page of freshly minted poems. The heart sinks to see so many poems crammed so tightly together, like downcast immigrants in steerage. One can easily miss a radiant poem amid the many lackluster ones. It takes tremendous effort to read these small magazines with openness and attention. Few people bother, generally not even the magazines’ contributors. The indifference to poetry in the mass media has created a monster of the opposite kind—journals that love poetry not wisely but too well.
Until about thirty years ago most poetry appeared in magazines that addressed a nonspecialist audience on a range of subjects. Poetry vied for the reader’s interest along with politics, humor, fiction, and reviews— a competition that proved healthy for all the genres. A poem that didn’t command the reader’s attention wasn't considered much of a poem. Editors chose verse that they felt would appeal to their particular audiences, and the diversity of magazines assured that a variety of poetry appeared. The early Kenyon Review published Robert Lowell’s poems next to critical essays and literary reviews. The old New Yorker celebrated Ogden Nash between cartoons and short stories.
A few general-interest magazines, such as The New Republic and The New Yorker, still publish poetry in every issue, but, significantly, none except The Nation still reviews it regularly. Some poetry appears in the handful of small magazines and quarterlies that consistently discuss a broad cultural agenda with nonspecialist readers, such as The Threepenny Review, The New Criterion, and The Hudson Review. But most poetry is published in journals that address an insular audience of literary professionals, mainly teachers of creative writing and their students. A few of these, such as American Poetry Review and AWP Chronicle, have moderately large circulations. Many more have negligible readerships. But size is not the problem. The problem is their complacency or resignation about existing only in and for a subculture.
What are the characteristics of a poetry-subculture publication? First, the one subject it addresses is current American literature (supplemented perhaps by a few translations of poets who have already been widely translated). Second, if it prints anything other than poetry, that is usually short fiction. Third, if it runs discursive prose, the essays and reviews are overwhelmingly positive. If it publishes an interview, the tone will be unabashedly reverent toward the author. For these journals critical prose exists not to provide a disinterested perspective on new books but to publicize them. Quite often there are manifest personal connections between the reviewers and the authors they discuss. If occasionally a negative review is published, it will be openly sectarian, rejecting an aesthetic that the magazine has already condemned. The unspoken editorial rule seems to be, Never surprise or annoy the readers; they are, after all, mainly our friends and colleagues.
By abandoning the hard work of evaluation, the poetry subculture demeans its own art. Since there are too many new poetry collections appearing each year for anyone to evaluate, the reader must rely on the candor and discernment of reviewers to recommend the best books. But the general press has largely abandoned this task, and the specialized press has grown so overprotective of poetry that it is reluctant to make harsh judgments.
– Dana Gioia, "Can Poetry Matter?", 1991 [x]
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Fannish proximity across time and space
Sedgwick wrote on the transformative potential of queer reading practices in ways that, to me, also describe fannish modes of attachment:
"I think that for many of us in childhood the ability to attach intently to a few cultural objects, objects of high or popular culture or both, objects whose meaning seemed mysterious, excessive, or oblique in relation to the codes most readily available to us, became a prime resource for survival. We needed for there to be sites where the meanings didn’t line up tidily with each other, and we learned to invest those sites with fascination and with love."
In the same passage, she writes of “a visceral near-identification with the writing I cared for”: not with one or more of the characters, but with the writing; “on the level of sentence structure, metrical pattern, rhyme.” This fannish merging with the text – with its aesthetic form – was “one way of trying to appropriate what seemed the numinous and resistant power of the chosen objects.”
Meanwhile, Carolyn Dinshaw, a medieval scholar and one of the founding co-editors of the journal GLQ, was writing about the “queer ... touch across time”: the intense affective attachments, including identification, which produce queer – that is, oblique, resistant and desiring – relationships to the medieval past, which exceed and refuse normative trajectories and linear histories, and find in medieval pasts and texts that “numinous and resistant power” that makes certain art objects, for their fans, potent “resources for survival.” Finding in the distant past another way of organising sexuality, selfhood and experience, which we somehow recognise, which we somehow need – the “defiant and confused” feeling of knowing, without knowing how we know, that this book, this person, this artwork, is “one of ours,” as Alison Hennegan describes in “On Becoming a Lesbian Reader.” The queer touch across time retrieves though this is too passionless a word – it rescues artworks and archives from the dustbin of history, resonating with Taylor J. Acosta’s characterisation of fandom as “a historiographic approach in the Benjamanian tradition, not as an explicit critique of history, with its pretences to critical distance, total understanding, and specificity, but rather as an alternative practice in which an art produced of love and affect can function historically.” The queer or fannish touch across time produces “worthless knowledge”: knowledge that has no value that can be registered by neoliberal-capitalist metrics and that is for that reason invaluable.
(It strikes me that my desire to quote from these texts, to show them to you, is itself fannish. Look! Look at this thing that I love! It says something to me that cannot be said in any other form. Does it speak to you too? What does it say?)
WILLIS, I. ‘AFTERWORD: FAN THEORY/THEORY FAN OR I LOVE THIS BOOK’. FANDOM AS METHODOLOGY. LONDON: GOLDSMITHS PRESS.
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Digital Media : Sources & Significance
Critical Analysis
H.. Desamsetti & K. Lal(2019) , “Being a Realistic Master: Creating Props & Environments Design for AAA Games”, Asian Journal of Applied Linguistics, Vol. 6 No.2
Introduction
The data I've chosen to analyze is an article on Being a Realistic Master: Creating Props & Environments Design for AAA Games, which is written by Harshith Desamsetti & Karu Lal from Asian Journal of Applied Linguistics (volume 6, No 2). H. Desamsetti is the Senior Software Engineer at Charter Communications in USA and K. Lal is the Integration Engineer at Ohio National Services in USA. Both authors have unique perspectives about this topic and have solid authorities in their fields.
The overall article talks about the process of creation and realistic environments for AAA video focusing on the techniques, limits and strategies involved in creating visually stunning and authentic environments. The authors states that “the games come to life because of a well-designed environment, which provides additional layers of depth, context and emotional effect to the narrative. And here, I’ve chosen pages 195-196. In these pages the authors have been discussed as two main topics, ‘Role of An Environment Artist’ & ‘Environment Design from Scratch’.
Role of An Environment Artist
The duties and responsibilities of an environment artist can be discussed as two, ‘making the world & Teamwork’.
In the creation of game world the main duty of an environment artist is to create a realistic world which includes a variety of tasks such as designing the layout, creation of layout elements and props, and handling overall elegance. The size of the project (small independent game or AAA development) has a big impact on the artist’s performance. In small-scale manufacturing, the environmental designer may own a large portion of the pipeline, handling various activities from dressing & these impacts in scale effect. In the independent game development design to final product. AAA games can have a focus on specific elements like set decorating , the artist can be involved in the process of designing, blocking and creating the last form of props and structural parts. The process can vary greatly in AAA productions, with concept art providing the settings and level artists handling the blocking. Decorating the set, the addition of various elements to the environment for the quality of being real is the key point in both cases.
Working as an environmental artist play an important role in collaborations with other departments which includes working with level designers, art directors, concept artists, prop artists and animation directors to turn blackout designs into suitable form of levels, it is the result of Teamwork. These highlight’s the varied and dynamic roles of environmental designers, emphasizing flexibility depending on the scope of the project. Designer responsibilities range from world building to highly collaborative teams, reflecting their role on tangible aspects of the video game environment.
There are some departments that environmental designers often collaborate with to create a cohesive and immersive gaming experience.
Level Design: Responsible for playing the initial block at game level. Blockout collaborates with environmental designers to transform a beautiful and playful environment.
Prop Art: Creates props and additional content, including textures. He coordinates the export of props, which contribute to the overall aesthetic and functionality of the theater.
Animation: They keeps the spirit or order in the environment alive. The animation seamlessly integrates with the game world and collaborates with environmental designers.
Game Design: They focus on the overall design of the game. He works with environmental artists to showcase game elements such as weapon availability, player abilities, and other interactive elements.
Concept Art: Through conceptual art, he generates ideas and plans for the environment. Concept designers provide visual feedback and inspiration in the development of game worlds.
Art Guidelines: Collaborates closely with concept designers and other department members to ensure visual cohesion throughout the game. Art directors play an important role in shaping the overall artistic vision.
Technical Art: It ensures that the game works properly on different hardware platforms. Creates tools and products for environmental designers and other departments to increase operational efficiency and solve technical challenges.
Marketing: The one who is responsible for promoting the game. Although not directly involved in the making of sporting assets, the marketing department plays an important role in exposing the work of environmental designers to a wider audience.
Environmental Design from Scratch
The process of designing environment begins with brainstorming. ‘Google’ and ‘Pinterest’ can be used to collect a variety of visual references. That might be photographs, film, and conceptual art of people and ideas. The artist intentionally looks only for references that may be loosely related to the main concept. This’ll helps in creating unique and innovative ideas by drawing inspiration from a wide range of sources. A selection of screenshots and references have been compiled into a mood board. It acts as a visual collage encapsulating the aesthetic, style and desired perspective of the project. Artists then proceed to rapidly create images based on the collected references. These diagrams are a preliminary analysis of ideas and help visualize the overall layout. Depending on the needs of a project, artists can create a set of drawings or detailed utility drawings. This phase involves refining the baseline image to produce a more realistic representation of the suspected objects.
Artists use sketching as a problem-solving tool if there are already elements in the layer that need to be fixed due to artistic connection or technical limitations. These images were created with the specific purpose of finding answers to design challenges. The methodology described goes beyond the traditional steps of brainstorming, gathering reference data, gathering reference data, and creating a sensitivity score. Instead, the team immediately starts simulating the environment in the game engine. The team may work with little or no feedback, or they may only work in group sections selected by art direction. This simplified process shows a spontaneous and immediate way of translating concepts into the game environment. Sketching is sometimes used as a tool to find solutions for existing features in a layer. This includes addressing artistic confidence in a particular game universe, such as “for the sake of honor” or overcoming technical limitations imposed by level design. After creating a design on the engine, the team seeks approval, obtains it and proceeds to remove the asset. This includes ensuring appropriate calculations and making enough adjustments based on feedback from the art director. The modeling is then outlined, and high-quality renderings of the elements are created using tools such as ‘ZBrush or 3ds Max’. Then Unwrapping (UV mapping) occurs during or after the modeling process. The group continues to go first with materials, textures and lighting.
The team’s responsibility at Ubisoft focuses on modeling and level art. The team works independently across projects, and the workflow is more organic. Once the team is satisfied with the results, they move on to polishing the lighting, followed by polishing materials and designs to achieve the desired effect.
Conclusion
In overall, the authors discuss about the artist’s duties range from world creation to extensive collaboration across departments, demonstrating the significant roles they play in shaping the visual aspects of video game environments. While the environment artists work collaborates with several elements, such as level designing, animations and the overall artistic direction in the process of game creation. A graphic approach to problem solving and integrating different roles within the team implies a dynamic and iterative process in environment design.
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Kalamazoo ICMS 2023 CFP
The Game Cultures Society invites abstracts for three sessions at ICMS 2023! The GCS showcases the importance of games —and their various manifestations — in medieval culture. Importantly, the theoretical implications of games extends beyond the temporal and spatial borders of the game space itself into larger aesthetic, ethical, cultural, and social arenas. The GCS serves to highlight the importance and multivalent purpose of games in medieval culture as a way to understand better their function in society both then and now.
Any questions should be directed to Sarah J. Sprouse at: [email protected]
Medieval Gaming II: Playing with Pedagogy (Roundtable):
Games and gamification are buzzwords in education and pedagogy. In addition to popular curricular games such as Reacting to the Past, many teachers are incorporating games, the idea of game-play, and the study of medieval texts as games and play into the classroom. This roundtable session seeks proposals that discuss ways in which we can use the appeal of games/game-play in the classroom to make medieval literature and culture more accessible to the digital generation.
Abstract length: 250 words
Deadline: September 15, 2022
Submit abstracts here: https://wmich.edu/medievalcongress/submissions
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Games and Medievalism I: The Middle Ages on the Board
There have been excellent studies of the ways the Middle Ages is presented, represented and misrepresented in modern video games, but critical study of analog games lags behind. And yet, medieval-themed board and card games are wildly popular, covering topics from Vikings (Feast of Odin) to art (Sagrada) and literature (Beowulf), the Isamic world (Merv), and even Plague (Rattus Cartus), let alone the current popularity of fantasy role-play like D&D. In what ways do board and card games reflect and reinforce contemporary misconceptions about the Middle Ages, and how can games inform or even disrupt these tropes?
Per Patrick Rael, analog games should be analyzed in terms of game play, aesthetics, narrative, and how they engage with history. It is hoped that contributors will analyze a game or set of related games, addressing as applicable themes such as modern medievalisms (Umberto Eco), participatory medievalisms (Dan Kline), participatory stories (Janet Murray), Orientalism (Edward Said), and analog game studies (the journal of the same name). We invite proposals that explore analog games and their medieval tropes.
Abstract length: 250 words
Deadline: September 15, 2022
Submit abstracts here: https://wmich.edu/medievalcongress/submissions
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Games and Medievalism II: Reading Games in Medieval
Cultural game theorists have analyzed texts as games or how games are a fruitful analogical lens for examining literature, suggesting that storytellers and audiences play with or against each other within textual game spaces. Medieval manuscripts likewise highlight text as game, with marginalia left by scribes, readers, and illuminators indicating that texts were often understood as interactive games. Texts were also frequently performed, and audiences actively engaged with them by adopting theatrical, playful roles. We invite proposals that explore the gaming relationships between texts, audiences, and storytellers to better understand how literary games served people of the Middle Ages.
Abstract length: 250 words
Deadline: September 15, 2022
Submit abstracts here: https://wmich.edu/medievalcongress/submissions
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