#she’s used to tough utilitarian decisions | Explore Tumblr Posts and Blogs

shamsgoddess · 2 years

Text

@thereckoniing: ‘ 💥, 🥞, 🍩, 🌌, 🎵, 👖, 🚆 ‘ from here

💥 — What emotions do they have trouble dealing with ?

The better question would be: what emotions does she have no trouble with ? And, the answer is none except happiness, mischief, and playfulness. Most heavy emotions are difficult for Aurora to deal with.

🥞 — What is their comfort breakfast ?

Waffles with strawberries and whipped cream are her favourite breakfast. But the comfort breakfast that reminds her of her childhood is sunny-side-up eggs with runny yolk and toast.

🍩 — Favourite sweet treat ?

Aurora has a massive sweet tooth ! She loves all kinds of sweets, desserts, and candy. But her top-most favourite sweet foods are; ice cream ( mostly caramel crunch, cookies n’ cream, strawberry, chocolate, and vanilla ), cupcakes or cakes with buttercream especially strawberry buttercream, hazelnut chocolate bars, and custard desserts like creme au caramel.

🌌 — What was the inspiration behind your oc ? What was the first thing you decided about them ?

There wasn’t any inspiration for Aurora ! She just … happened. It was a little after I got Augustus popping in my head. It was certain that they came as a pair because I fully and immediately felt their connection. So, maybe, Augustus was Aurora’s inspiration ?

🎵 — What is their playlist like ? Their favourite artists ? Do you associate a particular song with them ?

Her playlists are jumbled up. She has genre playlists because they vary so much. It’s just a little staggering to hear Sisters of Mercy right after Vivaldi. She listens to nearly all genres but western classical, swing jazz, hard rock, indie pop/rock, pop rock, and bubblegum pop are her top favourite genres.

You can find the songs I associate with her here. But the top one with the same vibe is Sugar Water by Cibo Matto.

👖 — What is their go-to outfit ?

This is a tough decision because she doesn’t have a go-to outfit, she wears different outfits. She does recycle outfits a lot because she is attached to her clothes. But there isn’t something she just puts on when she has nothing better to wear. That’s because all of her outfits are carefully thought out.

Though her daily looks are mostly somewhere between this, this but without the hat, this, this, this, this, and this.

🚆 ;— What is their answer to the trolley problem ?

Allow me to let her answer for this one because I won’t be able to do it justice without getting into her character and some reading.

“ Okay, so the trolley problem has long been asked by philosophy professors or by people who want to seem smarter than they are and it’s frankly boring. It’s a question that is a point of tension between two schools of thought; utilitarianism and deontology. What the trolley problem does is that it questions if it’s ethical to kill the few for many or if it’s better to not take any active action at all. Funnily, this question stumps many and there are also many who criticize it for not being relevant. But this question is relevant even if the question could be phrased better. It’s relevant now thanks to rising technology and it always had been in wars. Do the many outweigh the few ? And this dilemma can be used to justify horrendous actions when there can always be another way.

Besides, the question is so vague and can be made more complex. Like, say the one person is a criminal, or if they’re family, or if the many are all horrible people. Funnily, research has shown that if you change it to pushing a man actively to stop the train instead of flipping a switch, many go for the deontological answer. It’s fascinating.

And, I’ll bite, I guess. Saying, there is no other way, I’ll go with the deontological answer and not do anything. It’s still a choice, I’ll argue. Because taking no action is an action. But I guess — it’ll be better for me. So, that’s selfish, I suppose. I’m not heroic, I don’t want that kinda pressure on my head. ”

#╰ ☼ 𝐌𝐄𝐓𝐀 ━━ perhaps your arms were two blossoms of wings #thereckoniing #this was REALLY fun to answer!!#╰ ☼ 𝐀𝐍𝐒𝐖𝐄𝐑𝐄𝐃 ━━ saffron mantled dawn envelopes me

5 notes · View notes

dribbonart · 3 years

Text

Steven Universe Rewatch: Lars of the Stars

There’s so much continuity in season five. They spent years building up all these characters and scenarios, now we get what is essentially a series of movies paying it all off.

I love that Lars has his entire coolness arc offscreen. We can only imagine what happened in the meantime.

This episode is secretly one of the times the show is doing a lot of work to get characters into a place for plot purposes, but it’s written well enough that it doesn’t feel like that. Everything makes sense.

Connie’s bomber jacket is very good. She really is the coolest.

The design on the ship feels.... lacking? It definitely feels quick and maneuverable, but it doesn’t have much personality. That may have been a deliberate decision, given Homeworld’s utilitarian society.

Padparadscha gets no development here either. Just a one note joke.

Flourite should have had a moment of “I’m giving it all she’s got!”

I like that she’s the “chief” engineer in this skeleton crew.

Come to think of it, I just want more development of all the off colors. I get that there’s no time, but they seem cool and I want more.

The fact that there’s a half-written plot about Rhodonite makes her character particularly frustrating. We want more love stories!

This anime rivalry is fantastic.

I’m amazed that they used Emerald, one of the most famous gemstones, for a character with only one appearance. Jinkx Monsoon did a great job with it. You get a lot of information about this character despite her brief screentime.

At this point, Lars might know more about Homeworld society than anyone in the show.

I also like when people use technical terminology that we don’t understand, but it’s clear what the meaning is.

At this point Sadie is already performing in front of crowds with full production.

I guess it makes sense that Lars would be strongly affected by the news about Sadie, but this is an overreaction. The show is trying to teach us a moral, but Lars doesn’t need to turn into a pissbaby. I think Steven would have slapped the phone out of his hands.

Here’s the moral, in case you missed it.

This is another example of the writers doing something that only kind of makes sense, (forming Stevonnie just to say “best friends”) so when you need to do the next thing (Stevonnie flying the fighter) it makes sense.

This is purely an anime reference, right? This way of talking just doesn’t happen in English. Translating is a tough job, do you copy the words directly, (”Metal Gear?”) or do you translate the meaning into the English equivalent? Sometimes there just isn’t an English equivalent.

This ship is even less interesting. No point in massaging the design for something that doesn’t last a full minute.

The visual interface is funny. At some point Lars must have gone in and translated all the messages into informal English.

The continuity gets very heavy here. It’s a proper cliffhanger.

Cool episode.

Stories like this prove that Steven Universe’s universe has potential for endless stories. I understand completely the writers’ desire to be finished, but I can still want more. Can you imagine if they did some longer stories that really dig into a character’s personality like they’re doing with Adventure Time? I’d donate real money to the cause.

#Steven Universe #Rewatch #SU Rewatch

14 notes · View notes

dippedanddripped · 3 years

Link

One cannot look back on 2001 R&B/hip-hop without paying homage to the fits, the fits, the fits! Designer monogrammed wigs, bedazzled denim from head to toe, the occasional inexplicable trend (Nelly, looking at you), and, of course, Destiny's Child never leaving the house without three glamorous variations of the same fabric.

"[Hip-hop fashion] was creative and custom," says Derek Lee, former stylist to R&B icon, Aaliyah. "It wasn't driven totally by designers, you could still show up with some street stuff and it'd be acceptable." Lee, who styled the beloved singer from 1996 to 2001, pioneered the "sensual tomboy" aesthetic, central to today's fashion landscape, and evident in the wardrobes of R&B stars like Ciara, Teyana Taylor and Rihanna.

Lee recalled his own customizing experiences, adding glitz to streetwear pieces for the late singer. "We were flying to Paris and I'd be bedazzling Enyce sweatsuits for Aaliyah," he explains. Lee paid homage to fellow stylist June Ambrose for her work with Missy Elliott in further establishing the craze surrounding bedazzled pieces.

Ambrose, who styled over 200 music videos, was Missy's right-hand woman, costume designing for every major Missy Elliott production including "Get Ur Freak On," "The Rain (Supa Dupa Fly)," "One Minute Man," and "Lose Control." She was a go-to designer for R&B/hip-hop heavyweights including Diddy, Jay-Z, Mary J. Blige and Mariah Carey, and currently works as a creative director for Puma.

"We didn't have a point of reference that came before us," explains Ambrose. "We took the risk for the future." The "Rain" designer discussed the role of late '90s to early '00s designers as trailblazers, bursting through barriers between high-end labels and R&B/hip-hop culture. "I bridged high fashion with urban music," says Ambrose, "What felt so rebellious was taking a high fashion piece, and still keeping the same demeanor and swag that you wore in your neighborhood."

Dionne Alexander, the hairstylist behind Lil Kim's monogrammed wigs and Mary J. Blige's '90s updo's, agrees. "Look how free we are here," Alexander says. "It was very exciting, we were able to be extremely creative and we had to pull it from within. We didn't have Instagram, we had to go out and get magazines.

Tre Major, hairstylist to legendary celebrities including Aaliyah, Mary J. Blige, Patti LaBelle and Naomi Campbell, says the early '00s was "the best" era for fashion and hip-hop. "I was like an architect on the outside," Major explained. "Building the visuals, landscaping and making it gorgeous." Major was responsible for ushering in the lace-front wig into the world of R&B/hip-hop. "[The other stylists] were just geek because they never seen anything like it," says Major. "Now you can find a lace front wig on every corner, every boutique, every website."

On the 20th anniversary of this iconic, enduring year in fashion, Billboard caught up with the architects of the era, June Ambrose, Derek Lee, Tre Major and Dionne Alexander, to discuss some of the most memorable looks in '01 R&B/hip-hop and how these moments shaped the culture for decades to come.

Missy Elliott's Rhinestones, "Get Ur Freak On" Courtesy Photo Missy Elliott "Get Ur Freak On"

Missy Elliott's "Get Ur Freak On" bedazzled denim

In '01, rhinestones were all the craze, and we have June Ambrose to thank. "It was all about making Missy a rock star," says Ambrose. "I got her hooked on rhinestones -- and once that happened, forget about it." The 200-time music video stylist says the glittering look from Missy's Dave Meyers directed video was meant to create a dichotomy between Elvis-like glamour and sportswear. "The jean jacket silhouette was very comfortable and relatable to her, but taking a Bootsy Collins over the top approach is what made it really tangible and special."

Aaliyah's Catsuit, "More Than A Woman" Courtesy Photo Aaliyah "More Than A Woman"

Aaliyah's "More Than A Woman" Chanel catsuit

Aaliyah's Dapper Dan-designed faux Chanel catsuit from the "More Than a Woman" video is one of the late singer's most iconic moments. "I knew that it was going to be a feature, that it would be striking, if it was different from anything she has done before," says Lee. The decision to choose Chanel was a step away from edgier brands like Dolce & Gabbana and Roberto Cavalli, which the sweet singer was typically dressed in. But why not have Chanel design the piece themselves? "[The major brands] didn't want to be associated with rap music and this street culture," explains Lee, "That's why we had to create our own stuff or have it knocked off by [Dapper] Dan." When Aaliyah saw the design, Lee says she was feeling it. "I had decided to move Aaliyah into almost a cartoon character," he tells Billboard. "I was going down to Little Tokyo and getting all these anime books and had this entire idea."

Lil Kim Steve Wood/Shutterstock Lil Kim photographed at the Versace Haute couture show, Spring /Summer 2001 in Paris, France.

Lil Kim's monogrammed wigs

Monogrammed tresses have popped up on the heads of the rap's most iconic first ladies, including Nicki Minaj and Cardi B -- but similar to countless other signature hip-hop trends, it started with Lil Kim as the blueprint, and hairstylist Dionne Alexander the architect. "The inspiration totally comes from [Lil Kim] and who she is," says Alexander, the mastermind behind Lil Kim's Versace wig and equally iconic blue Chanel wig. "It was such a flow of creative energy, like a power that was coming through."

Alexander recalls coloring the Chanel wig Lil Kim wore for Manhattan File Magazine late into the night, until 5:00 in the morning. "I went to the art store and got trace paper and created the logo, then I cut it out." And her secret? Black magic marker. "With the Versace wig," Alexander says, "She called me and left this message on my machine that I literally kept for years. She went nuts, and it was the same with the Chanel."

Alexander says the present-day response to both wigs is surprising. "It's more of a buzz now than it was then. I'm so shocked at how many people call me about it now."

Outkast "So Fresh, So Clean" Courtesy Photo Outkast "So Fresh, So Clean"

Outkast's 'So Fresh' and 'So Clean' looks

The evolution of men's fashion in hip-hop is inextricably linked to the genius duo best known as Outkast. The pair defied longstanding tropes of how rappers were expected to present themselves and sent the media into frequent frenzies, with their delightfully shocking red carpet looks. In the "So Fresh, So Clean" music video, the eccentric Georgian duo rock a myriad of hairstyles, from a sleek, flipped perm, to a combed out, asymmetrical afro.

"That's some Southernplayalistic s--t right there," says Lee, in reference to the pair's '01 look. Alexander says Andre 3000 and Big Boi "revolutionized male confidence" through their unapologetic expression of creativity. Of Andre 3000, Major says, "He took a real gamble and went for it, just being his true artistic self and everyone loved it."

Macy Gray Frank Micelotta/ImageDirect Macy Gray arriving at the 2001 MTV Video Music Awards at the Metropolitan Opera House at Lincoln Center in New York City on Sept. 6, 2001.

Macy Gray's Vocal Dress at the MTV Video Music Awards

It was the dress seen (and read) around the world. Macy Gray, a performer known for her unconventional style and music, decided to transform her award show dress into a walking billboard. "That was totally Macy's idea, I just had to execute it," says Ambrose, the designer of Macy's immortal dress. "Working with Macy Gray was so much fun because she was an anomaly," Ambrose remembers. "In that moment, it was important that she sold albums, and she had she wanted to capitalize on the moment. It's like, where's the return on the investment? I'm getting hair and makeup and spending money on wardrobe. Is it gonna help me sell records? We wanted to just make sure that it did."

Destiny's Child "Survivor" Courtesy Photo Destiny's Child "Survivor"

Destiny's Child's coordinated camo

There are few things more memorable about the late '90s and early '00s than DC3's coordinated looks. Whether it was award shows, music videos or MTV appearances, you caught the trio out and about without perfect coordination. "Tina Knowles strikes again," says Ambrose, of Beyonce's mother and the group's resident designer. "Utilitarian was such a celebration of being tough and dominant," Ambrose explained. "It showed females in military can be sexy, that it's not just a man's game." Major drew comparisons to another always coordinated, ever-influential girl group. "Every time I looked at them, I saw the modern day Supremes," he said. "Everyone wanted to follow the camouflage trend."

Nelly Charles Sykes/Shutterstock Nelly photographed on Sept. 7, 2001.

Nelly's inexplicable face band-aid and double headbands

There are countless rumors circulating the World Wide Web about the explanation behind Nelly's little white Band-Aid and criss-crossed headbands. But regardless of the backstory, Nelly's creative face accessory was all people could talk about. "He created his own thing, like a left-eye kind of moment," says Major, who remembered considering rocking a Band-Aid himself. Ambrose says the bandage symbolized a "thug badge of honor," as iconic to Nelly as eye black is to football players.

Alicia Keys Anthony Barboza/Getty Images Alicia Keys photographed in New York in 2001.

Alicia Keys' beads and cornrows

Before Alicia Keys arrived on the scene, cornrows and beads were seldom seen in mainstream music. Ambrose, who styled Alicia in the early years of her career says the pianist extraordinaire's team always kept her identity in mind. "We wanted to always keep a sense of that New York girl and celebrate all the things that that spoke to her Blackness," says Ambrose. Not only was Alicia's hair aesthetically striking, it also played a roll in representation of Black women's natural tresses. "Universally, it told other young Black girls and it's okay to wear your braids and your beads," explained Ambrose. "That this isn't a Bo Derek moment, this is an African moment."

Mary J. Blige "Family Affair" Courtesy Photo Mary J. Blige "Family Affair"

Mary J. Blige's avant-garde "Family Affair" wigs

It's hard to say what part of the "Family Affair" experience was most unforgettable. Was it the futuristic outfits? Iconic choreographed moves? The fact that Mary basically invented three new words? In the world of fashion, it was most definitely the wigs. Tre Major, Mary's long-time hairstylist, says the chart-topping singer was ever-evolving, setting trend after trend along the way.

"I gave her edge and femininity," says Major. "I named that wig the Marvin Martian," Major says of Mary's salt and pepper avant-garde wig, a nod to the Looney Tunes character. Major says he custom made the wig on the R&B diva, since her head was "so small" compared to the mannequins. "She was the best muse because she was so daring," he explains. "She trusted me."

#missy elliott #june ambrose #derek lee #nelly #hiphop fashion #tre major #streetwear blog #fashion blog

2 notes · View notes

super-hero-confessions · 4 years

Photo

Let me go through this one more time: Valkyrie is introduced in the film as a stumbling drunk that captures our title hero, regularly tortures him for stepping out of line or for fun, brags to his face about the money she was got for selling him into slavery, and has him sent to fight in the arena (before which he is physically and psychologically tortured some more) where Valkyrie fully expects him to die. It’s heavily implied that she’s done this several times before, which is why she’s the Grandmaster’s favorite – a position she’s notably proud of.

But it’s okay, because slavery is funny, I guess?

Tumblr loves to pay lipservice about how high are their standards for redemption arcs, placing special emphasis on how it is imperative that the misdoer actually faces the responsability for their actions and goes through the painful hard work necessary to atone for their past sins, but Valkyrie isn’t even given the proverbial slap on the wrist for spending decades – maybe centuries – as a unapologetic slaver and torturer because the movie itself never actually acknowledges Valkyrie has done anything wrong in the first place. And that seems to be enough for Tumblr to consider a satisfactory redemption arc even though there was absolutely no arc to begin with.

Valkyrie eventually joins the heroes because she also wants a shot at killing Hela to make up for failing her fallen comrades – the only thing both her and the movie seem to believe she needs any redemption for – and only then frees the slaves for the utilitarian reason of being part of the team’s escape plan. The slave insurgence wasn’t even Valkyrie’s idea (it was Thor’s), which is very telling, but even more telling is the fact that she’s shown to single-handedly start the mutiny by using her privileges to deactivate all the obedience disks and open the cells, showing she could have freed the slaves anytime sooner if she had half a conscience, but she chose to fall back into the comfortable position of the Grandmaster’s favorite scrapper because she was getting money and kicks from her slaver gig until she got a new individual motivation that required releasing the prisoners to further her own goals. How very selfless. But at no point in the film does she get any comeuppance for being a part of the interplanetary slave trade. No one even suggests that she was in the wrong for doing so. Yeah, Thor isn’t happy with being a slave, and Korg calls attention to the fact that she’s harsh, but neither of these are things that affect other characters. She doesn’t have a character arc about becoming a better person who develops real empathy for the class of people of Sakaar she’s been sending to be forced to butcher each other in the arena for other people’s enjoyment. We’re just supposed to roll with the fact that she’s nominally on the side of Good now without acknowledging that this woman’s destroyed people’s lives while sitting back with a smirk and a bottle of booze to watch. Because Hela killed her pals this is all forgotten.

Let me state this plainly, so my point is clear: a *slaver* becomes one of our heroes, and isn’t even given a redemption arc or cursory nod that she’s ever done anything wrong. Have we come to the point of our society that we’re no longer on board with demonizing slavery on principle?

I’m not saying that characters can’t be complete douchebags and still be sympathetic. But there’s a way to make these sorts of characters sympathetic and still condemn their more problematic actions. Rocket is a lying, thieving, violent jerk, but he has a character arc about being better to the people around him, and while his sociopathic tendencies are played for laughs it’s played deadly serious that he acts the way he does because he’s broken inside. You’d have to be a fool to not pick up that he’s probably robbed and killed a lot of people over the course of his career as a bounty hunter. The movies call attention to these personality traits, highlights them, and displays them as bad things that he should leave behind. He doesn’t, because being fixed once they’re told there’s something wrong with them isn’t how people work, but the film recognizes that what he does is wrong. Natasha is a similar case: she’s one of SHIELD’s top agents and before that she worked for the KGB. A good chunk of her career is spent killing people, she’s referred to as an assassin multiple times. But she acknowledges that she’s done terrible things. It’s clear that her past sins carry lasting consequences on her sense of self. When she finds out that SHIELD has been infiltrated by Hydra, she feels even worse because she’s told herself SHIELD is at least doing all that dirty work for something good, but now she’s got no idea how many of the things she’s done “for the greater good” are actually just to further Hydra’s agenda. She has done terrible things, and it clearly weights on her very heavily. Gamora is another great example of a character whose dark past wasn’t simply handwaved when she aligned herself with the good guys, being extensively discussed and incorporated into her current self’s decisions, psyche, moral code and identity.

Meanwhile Valkyrie casually torturing our hero because he’s annoying her by *trying to regain his own dignity* is played for laughs and framed as a mere personality quirk that is supposed to make her amusing to the audiences. Haha, look what a tough girl we have here #GirlPower. The implications of what she did working for the Grandmaster in Sakaar are played down to extremes because the movie is so desperate to sell her as a sympathetic character and is not clever enough to figure a balance between her dark and sympathetic traits like the GOTG movies were able to do so elegantly, so it just takes the lazy route and pretends the former simply do not exist. Who cares about the thousands of innocent lives destroyed because of her when she has such a charming personality (she doesn’t) and a Tragic Backstory™ to make it up for this?

She’s a terrible, amoral, person, but the story, characters and fanbase act as if she’s just a mostly-noble anti-hero who fell on some hard times. Despite, y’know, getting money and kicks out of the whole ‘slavery and torture’ thing. We never see her struggle with the morality of her actions nor express regret for the things she’s done, even though there was plenty of opportunities in the movie to show her doing so, nor is she called out by the narrative itself. She has more than enough legitimate reasons to be disliked and she is nowhere near as disliked as her fanbase likes to pretend she is, and any legitimate criticism against her actions is stomped under an avalanche of ad hominem accusations of racism and hypocrisy that barely even address the points being raised in first place. This is fandom, some people will inevitably dislike your favorite character, get over it. Specially when your favorite character has enslaved innocent people to get money for booze and has the personality of a major jerkass. And if the narrative is not willing to call her out for this, well, someone else has too.

#confession #valkyrie #rant

65 notes · View notes

thestarshiphope · 5 years

Note

Huh? What kind of game do you have planned Ouma?

Which of us shall move first?

Ladies first, as always.

As you wish.

*White Pawn to C4*

You ever think about life like this?

*Black Pawn to G6*

What do you mean?

*White Knight to F3*

I mean, it’s funny. People like us have so many more privileges than commons. We get to exercise all kinds of power they could only dream about.

*Black Knight to F6*

I am aware, though I do not cherish that fact.

*White Knight to C3*

Why not? I would’ve thought someone lifted out of poverty would jump at the chance. You’d finally have all the power and wealth you could ever ask for.

*Black Bishop to G7*

I never cared for the glitterati of the Ultimate Program. I accepted it as a chance to serve the country.

*White Pawn to D4*

Oh yeah, that’s right. You’re a Utilitarian, aren’t you? It’s all about the needs of the many with you.

As a Supreme Leader of Evil, I used the chance to build up our arsenal. We have more weapons than some countries now. Maybe a few people got hurt and disappeared, but who cares? They were all to happy to keep me in power over the rest of my family.

Seems we’re on opposite ends. A Utilitarian who believes in one for all and a dictator who believes in all for one.

*Castling: King to G8, Rook to F8*

As if I would believe that story. No such organization could exist and remain unnoticed.

Though you are correct: I do believe in a selfless devotion to all people. That is why I have chosen to serve as a maid. It is not merely a talent or a title, but my decision to serve. To bring happiness to others.

*White pawn to E4*

What kind of a life is that? You’re happy being a slave?

I am not a slave.

Nishishishi, sorry. I’m just so used to dealing with my organization’s own slaves, it’s hard to tell the difference.

Seriously though, don’t you ever get tired of dealing with people? If you serve them, they’ll never really appreciate at you, just take you for granted.

*Black pawn to D5*

I have my limits, yes. I have dealt with my fair share of masters who I am loath to speak of.

However, they do not represent the bulk of my clientele. They were kind to me, asked me for assistance, and I was more than happy to not only serve them, but to help them realize their potential.

I have served both Ultimates and Commons, in positions as high as CEOs and politicians, to those who could only barely afford my services. At times, I even worked for free. I saw that they needed assistance and I was more than willing to provide.

*White Queen to B3*

How very noble of you, Tojo-san. An Ultimate sticking up for those poor unfortunate souls.

Except, from the sound of it, you’re missing one crucial detail.

That being?

No matter how talented, connected, or powerful you are, you can’t help everyone. As a Utilitarian, you should know that.

*Black pawn to C4. White pawn captured*

Perhaps not. But I shall make the attempt regardless.

*White queen to C4. Black pawn captured*

So you really don’t care about your well-being? What about your needs? Your dreams? Do you really think other people are going to help you achieve them?

Believe me, when the masses are sure they can’t get anything out of people like you anymore, they’ll turn on you.

*Black pawn to C6*

I do not serve for the sake of popularity. I wish to help as many people as I possibly can.

Negative opinions hold no sway over me. It simply motivates me to work harder.

*White pawn to E4*

It does, does it?

You sure didn’t feel that way when the Prime Minister’s house burned down.

*Black knight to D7*

…how do you even know-

I had my minions do a little digging before I signed up for Project Gofer. I know a loooot about the people on this ship.

I think you were a perfect fit for Prime Minister! You were so smart and diligent when the people needed you, helped them whenever they needed it…

…and then it all burned down in one night. Tough break.

…

If this is your attempt at throwing me off, it is a painfully shallow one.

*White Rook to D1*

So it doesn’t bother you anymore? All those deaths don’t weigh on your conscience?

*Black Knight to B6*

I have moved past it. While I mourn for theirs deaths in what was an utterly senseless and disgusting waste of life, my priority here and now is the lives of everyone aboard this ship.

Wallowing in my guilt and self-pity nearly cost them their lives. I will not allow that to happen again.

*White Queen to C5*

I see. I mean, your girlfriend did almost get strangled to death. Nice to know that your sense of morality is most important when it affects you specifically.

*Black Bishop to G4*

And I was able to save her, subdue Shinguji, and the others were rescued. No lives were lost.

It may surprise you, but I do have personal desires. This was one of the occasions where they coincided perfectly with those of everyone else.

More importantly, Kaede has taught me how to embrace my own emotions. It is true I neglected my feelings for too long, to the point where I did not know how to deal with them. She has done more for me than I ever thought possible. Of course I will defend her. I will defend her even if it costs me my own life.

*White bishop to E2*

…

Good for you! I’m happy to know you’re actually a human being and not some emotionless, soulless robot!

*Black Knight to A4*

There is no need for your prejudiced commentary.

So you’re a friend of robots too, huh? Why? Robots aren’t people.

Can a robot write poetry? Paint? Compose a song? Can you do anything besides compute data? No. They’re cold and unfeeling.

Can you do such things?

…

I thought as much.

*Castling: King to F1, Rook to E1*

If a machine is capable of independent thought, of creating new ideas, and even of exhibiting romantic attraction, they are a person in my eyes.

I prefer the Cartesian view on intelligence: I think, therefore I am.

You sure do care a lot about people, don’t you, Tojo-san?

*Black Rook to B8*

Absolutely.

Does it ever hurt?

At times, yes.

It’s easier not to feel, isn’t it? To just be in it for yourself.

If I wanted an easy life, I would never have become a maid.

*White Queen to E5*

Ain’t that the truth.

Even then, sometimes you get great opportunities just handed to you.

*Black Queen to D4. White Pawn captured*

And I gladly take them should they offer me a necessary step forward.

*White Queen to D4. Black Queen Captured*

Not everything turns out for the best, of course.

*Black Bishop to C8*

Tell me: you claim to be the Supreme Leader of some sort of clandestine organization.

If it does exist, what exactly is the purpose of your group?

*White Rook to D2*

I’m afraid can’t tell you that, Tojo-san.

If you ever found out, I’m afraid I’d have to kill you. Not by my own hands, of course. My subordinates would take care of you for me, and it would look just like an accident.

*Black Knight to C3. White Knight Captured*

Considering your reputation as a liar, I remain undaunted.

*White Bishop to C4*

I wouldn’t think like that if I were you. We have members everywhere, all of them closer than you might think.

*Black Knight to D5*

If I can survive assaults from Red Rain and a serial killer, I am certain your organization poses no greater threat.

*White Bishop to E5*

That might be true. You are pretty physically capable.

But you remember what happened with Hoshi-chan and his family, don’t you?

If you really want to hurt someone, you go after everyone and everything they care about.

*Black Knight to A2. White pawn captured*

Assuming, of course, that you are a greater power than them. If not, that plan falls to pieces.

*White pawn to D5. Black Knight Captured*

When one of us falls, we strike back even harder.

*Black pawn to D5. White pawn captured*

Then those under threat from you make themselves more prepared. Or perhaps a better strategy…

We strike close to your home as well, as a signal not to mess with us.

*White bishop to G7. Black bishop captured*

So you would be willing to do that? Hit close to your enemy’s home? Go after their families and loved ones just like they did to you?

*Black Bishop to E6*

If that is what it would come down to, as a way to put an end to the threat…

So be it.

*White Bishop to A2. Black Knight captured*

Alright, then let me ask you this…

What if it turns out the ones you’re trying to defend aren’t who they say they are?

*Black Rook to C8*

If they are truly a part of my adversary?

*White Bishop to B3*

Not exactly. What I mean is, what if it turns out the person that you’re so sure that they are…is just one big lie?

They claimed to be a good friend, supported you, got as close to you as they could.

*Black Rook to C4*

*White Bishop to C4. Black Rook Captured*

But it was all just one ploy. You were never more than a means to an end for them. Once they get what they need, they stab you in the back.

*Black pawn to C4. White Bishop captured*

You have a very negative view on other people. I can assure you that the people I have spent the last few months with on this ship are nothing of that sort.

*White pawn to G3*

As a Supreme Leader, it’s obvious my sense of morality would be different from the norm.

And can you really say that so confidently? I mean, didn’t Momota-chan pretend to not be sick just so he could explore that planet? He almost got himself, Saihara-chan and Akamatsu-chan killed.

And Shinguji-chan had been lying since even before Project Gofer started back on Earth. A serial killer with almost 100 victims pretending to be a friendly anthropologist.

How are you so sure that the others don’t have their secrets? Hell, you guys have been speculating about who among us might be a Red Rain member.

I am starting to believe that was merely paranoia at work.

And that’s when it happens. You get comfortable with the people you’re close to, just like they want you to. You open up to them, let them see you for who you really are, pretending they’re doing the same…

And when you open your heart to them, they’ve got you.

*Black bishop to H3. Check*

And how am I certain you are not merely lying about all of this?

Perhaps there is some truth in your words, but I am more than certain you are trying to incite distrust among us.

*White King to G1*

It’s not like that, I swear.

I’m just…scared, y’know? You’re one of the only people around here I feel like I can open my heart to. What if there’s really a Red Rain member here? You saw what they do to people like us.

*Black pawn to F6*

Your concerns are not entirely baseless I admit, but pointing fingers and accusing the others of lying will not do us any good.

*White bishop to H6*

But we gotta do something to protect ourselves.

*Black rook to E8*

Yes, and that means building trust between us. Ensuring that we work together through any crisis we may face out here.

You can be certain of one thing: driving others away, accusing them of lying and manipulating, all of that will ultimately leave you alone and defenseless. None will stand beside you.

*White queen to C4. Black pawn taken. Check*

Do you love Akamatsu-chan?

*Black king to H8*

Of course I do.

I advise you not make any suggestions that she intends to betray me or anyone else here.

Such accusations will not turn out well for you.

*White rook to E3*

You said you’d be willing to die for her. She really inspires that much love and devotion out of you?

*Black pawn to G5*

Beyond a shadow of a doubt.

*White queen to E4*

Funny how she kinda does that with everyone, huh?

She’s always been that big inspirational leader whenever we needed one. She’s kept this mission going while most of us were still asleep. It’s like she’s nothing but sunshine and optimism.

*Black pawn to E6*

But nobody’s right 100% of the time.

Of course not. She has made mistakes, as we all have.

But on the whole, I doubt we would be anywhere near this organized if we did not have her around.

I do not even wish to contemplate what such a situation would be like.

Yeah, no kidding…

With her, I have no doubt that we will all stand together as a team, and we shall find the truth.

*White pawn to F4*

You can talk about friendship and cooperation all you want, but what happens if there’s some kind of schism? What if things break down or someone goes murder-happy again? Hell, what if this whole ship descends into civil war?

*Black rook to D4. White Knight captured*

I cannot see it happening, but in the unlikely even that it does, then we act to resolve the situation by whatever means necessary. We do not allow any loss of life to occur, no matter the circumstances. I stand by what I said: even if my efforts prove futile, I will persist to the very end.

*White Queen to C2*

You can’t seriously expect all of us to make it off this ship alive if that happens, can you?

*Black rook to F4. White pawn captured*

Ouma-san, I understand where you are coming from, we have escaped such situations in the past.

It seems as though we have a habit of escaping situations that would have otherwise killed us.

As Kaede likes to say, there is nothing we cannot accomplish if we work together. Victory shall always be within our reach. And speaking of victory…

*White queen to C8. Checkmate*

Wh-

Wow. Great work, Tojo-san, I’m impressed!

Was this request merely an excuse to have this conversation with me?

Mostly, but I also wanted to have some fun. And I got to learn a lot about you too!

Of course, there’s only so much you can learn in chess.

Anyway, I’m going back to my room. Thanks for the game! See ya later!

*He leaves*

I wonder what his true intentions with this were…

In any event, I need to get back to my duties.

#danganronpa #v3 #danganronpa v3 #kirumi tojo #kokichi ouma #starship hope #DR #ndrv3 #hopeful-blue-wanderer #Long post #But this is easily one of my favorite things I've ever written #please read all of it

28 notes · View notes

rosalyn51 · 5 years

Link

'A Discovery of Witches': TV Review

by Daniel Fienberg, Jan 16, 2019

youtube

Bottom Line

Matthew Goode flairs his nostrils and Lindsay Duncan eats a fox.

Deborah Harkness' best-seller about vampires, witches and academic research into the field of alchemy comes to Sundance Now and Shudder with its interspecies swooning intact.

Early in the premiere of Sundance Now and Shudder's adaptation of Deborah Harkness' A Discovery of Witches, main character Diana Bishop gives a lecture on alchemy in front of an enraptured room of Oxford academics. As she is a visiting lecturer of some repute, the scene is designed to show her intelligence and her expertise and to introduce the alchemical fascination that's central to Harkness' books.

Except that for purposes of TV, A Discovery of Witches almost couldn't care less. The lecture is reduced to a montage, a series of half-observations that add up to nothing. Its purpose is sheer expediency, something that series adapter Kate Brooke knows audiences will expect on a fundamental level, but not one that the show wants to deal with on a utilitarian level.

In hasty fashion, it points to everything good and bad about the TV adaptation of A Discovery of Witches, which proves both better and worse than Harkness' book, already a piece of flawed supernatural romance occupying the breathless space somewhere between Twilight and Outlander.

Teresa Palmer plays Diana, an American scientific historian doing research in Oxford. Diana is also a witch, the reluctant heir to a legacy dating back to Salem and beyond. Other than performing menial tasks, Diana avoids using her magic, or at least she thinks she does. Working in the Bodleian Library one day, Diana discovers a previously unrecorded manuscript — drink every time a character says "Ashmole 782" and you will die — that may be tied to her work. It may be tied to far greater things, though. Soon, other mystical creatures begin to take an interest, including Matthew Clairmont (Matthew Goode), an ancient vampire and professor of biochemistry. Matthew believes that Ashmole 782 may be the famous Book of Life, a text documenting the origins of witches, vampires and daemons, a tome that could offer secrets essential to all species.

Diana doesn't want anything to do with Matthew. He's a vampire. But he's also dreamy as heck, especially when he starts sniffing her. Matthew begins to look even better in comparison to ultra-ominous witch Peter Knox (Owen Teale), part of the shady Congregation, a Venice-based group taxed with maintaining balance between creatures and humans. Very quickly, Diana's life is in danger, as is her virtue since things with Matthew begin to get all hot-and-heavy in ways that may threaten that exact balance the Congregation is meant to keep. Oh, and Diana is also about to discover that that magic she's been keeping at bay is about to start exploding out of her every orifice. Like... literally!

There's an audience for tales of this nature. I doubt it's the audience that watches Shudder, since Discovery of Witches isn't even the slightest bit scary. And is it the Sundance Now audience? I'm not sure I fully grasp the Sundance Now brand. Qualitatively, the series also occupies that space between Twilight and Outlander.

Going back to that early lecture scene and the task of adapting entrusted to Brooke, whose credits include Mr. Selfridge and The Forsyte Saga.

On the page, Diana is a tough character. I don't love the online-friendly pejorative "Mary Sue," referring to generally female characters of disproportionate and unexplained proficiency, but Diana is dangerously close. She isn't just a witch. She is, despite absolute resistance to her powers, eventually the best darn witch in the world. The last half of the book is at least 10 percent characters telling Diana, "I didn't know you could do that!" and her replying "I didn't know either!" But what Diana has going for her is basically two things: She's the primary narrator of the book, so she almost always has a voice and perspective that steer the story, and she's brainy in ways that are frequently coming in handy and frequently astounding everybody around her.

In the series, Brooke has taken the focal perspective away. Matthew now gets the introductory voiceover that opens each episode and we're never allowed inside Diana's head for a second. Also, her alchemical training is virtually meaningless. Until her loins take over, it's work that drives both Diana and the narrative through much of the book. Here, she's really got nothing. I doubt viewers are going to suffer, but Palmer does. Diana has no voice and she's barely a character other than staring at Matthew first in terror, then in curiosity and then in boundless love. Throw in an accent that waxes and wanes with Diana's emotions and it's really not a decisive performance.

It becomes much more Goode's series and, if we're being perfectly honest, it's probably the better for it and surely the more satisfying to its target audience. In this series, vampires are ever flaring their nostrils at delectable passing human morsels, and Goode does it like a champ. He also drinks a lot of wine, albeit without Matthew Rhys. That's a The Wine Show joke. The series has Matthew drinking a lot of wine because it's something he does non-stop in the book. I can only assume this is meant as a burn on Bram "I Never Drink… Wine" Stoker and his version of vampirism.

If making Diana even more of a Mary Sue than she was on the page is a bad adaptive choice — don't get me started on Diana as a character only being activated by the sexual ritual known blushingly as "bundling" — Brooke smartly recognizes the dramatic structural flaws of Harkness' book, in which the first half alternates between Diana and Matthew going for tea, Diana doing her research, Matthew stalking Diana creepily and sometimes, for no reason, supernatural creature yoga. There are almost no other characters.

Brooke wisely pushes up the presence and prominence of supporting characters like Matthew's "son" Marcus (a very good Edward Bluemel), tormented Finnish witch Satu (a chilling Malin Buska), obsessive vampire Juliette (visually striking Elarica Johnson) and research-loving daemons Nathaniel (Daniel Ezra, sans All-American accent) and Sophie (Aisling Loftus). Some of these characters pop up for one or two scenes late in the book, with no context or value. Here they're actual characters. They aren't always successfully introduced, mind you. I defy anybody who hasn't read the book to watch the series and tell me what a "daemon" even is, much less what their powers might or might not be.

Teale, Castle Black dickhead Ser Alliser Thorne to Game of Thrones fans, benefits particularly from Knox's expanded screen time, giving probably the series' best performance. His closest rival is Lindsay Duncan as Matthew's vampire mama Ysabeau, who hasn't been given an expanded story, but does get to attack and eat a fox onscreen, making Discovery of Witches the first show of the Peak TV era to feature Tony winner Duncan, CBE, attacking and eating a fox.

Brooke also takes the series to Venice, not a part of the first book, and Venice looks spectacular. In fact, even if you aren't at all interested in forbidden supernatural romance, the directors — Juan Carlos Medina, Alice Troughton and Sarah Walker — make gorgeous use of filming locations in Oxford and Venice and Scotland. You might giggle hysterically at some of the limitedly realized supernatural stuff — Goode running in accelerated motion after a CGI stag is empirically hilarious and I defy anybody to tell me otherwise — and still enjoy the series as a photogenic travelogue. The shifting of locations and ability to tell stories in multiple locations makes the series feel less landlocked.

A Discovery of Witches picks up as it goes along through eight episodes. There's torture and foreplay and increasingly more magic. Only the finale is a bit of an anti-climax, setting the tables for two additional already ordered seasons, but I think the cliffhanger at the end of the finale will raise enough questions to keep viewers who make it that far curious.

Cast: Teresa Palmer, Matthew Goode, Edward Bluemel, Louise Brealey, Malin Buska, Aiysha Hart, Owen Teale Alex Kingston, Valarie Pettiford, Trevor Eve, Lindsay Duncan Creator: Kate Brooke, adapted from the book by Deborah Harkness Premieres: Thursday (Sundance Now and Shudder)

#matthew goode #matthew clairmont #teresa palmer #alex kingston #a discovery of witches

12 notes · View notes

pipedreamprayer · 5 years

Text

I don’t think Blue Maiden will be Aoi’s final avatar

Perhaps I’m reading too much into how the previous designs have reflected her attitude, but I honestly believe that seeing the design and knowing she refers to it as her battle form is enough to make a concerning prediction about how she will behave going forward: she’s trying to grow up too fast now.

Please hear me out.

As much as I enjoyed Blue Angel’s design, it always felt like something designed by a child’s interpretation of a Stage Idol, with as many hearts and wings and purple flowers included as possible, with the same hairstyle Aoi herself had as a youngster, not to mention the considerable increase in bust size from reality, and an over-abundance of accessories. Not that the outfit didn’t work, but it was designed with so many details that in retrospect I think it was meant to feel cluttered.

Then Blue Girl was trying too hard to be toned down from that extravagance while maintaining the sticker-book aesthetic with hearts and wings flatter but ever-present, and the 4 leaf clover on her cheek. Her hair is arguably utilitarian in comparison to Blue Angels style with how slicked flat it is.

Blue Maiden is an interesting blend of Blue Angel and Blue Girl with its own flair added in, too badass for the sort of Idol that Blue Angel embodied, and too stylish for the way Blue Girl was aiming for practicality. It’s also clearly been designed with the concept of maturity in mind. It’s her ‘’battle form’’ and makes her look closer to someone in college than high school with the darker colour scheme (though balanced by the hair colours switching), the make-up consisting of lipstick and a more understated cheek mark than the bright bold clover contrasting the rest of her outfit as the only green to stand out. Aside from the belt and earrings she no longer has heart motifs at all in fact, and even then the former is sharply stylised and the latter upside down. Unless I’m mistaken, her boots even have substantial heels.

So the aspects of Blue maiden’s design that do evoke the previous avatars imply more of a balance between those opposing extremes of the purpose behind the styles. But that doesn’t necessarily mean the design, and thus her defining drive for this arc, will be entirely healthy. For example, she has wings on her arms, but they’re sleeker and more understated than bright white angel wings, more of a nod to the motif than a replication. Yet there are many people clamouring for the return of the proper wings, and why shouldn’t they want them back? Why shouldn’t she? She’s no longer using Blue Girl as a step forward as a more serious worker, and even still trying to hide her identity with a different avatar she doesn’t need to be strict with the design anymore either given she’ll undeniably be the centre of much attention with an Ignis. If she wanted she could easily incorporate proper wings onto her design – it’s a choice not to, to instead replace them as though there was something wrong with the big sweeping statement made by their incorporation into Blue Angels outfit. As though she’s making a conscious decision to remove herself from less mature styles of ideas she clearly has a fondness for if she’s included them throughout her avatars.

This is where I get worried.

As aforementioned, Blue Angel’s child’s-dream-come-true design reflected her childish behaviour, from her rebellion to her indecisiveness to her taking on Baira as a means of lashing out in a temper to how she latched onto a concept of something better but couldn’t stick it through a tough time and turned back to focusing on the impact on herself by the end of the duel with Spectre. Blue Girl is her trying and failing to avoid those issues by following Akira’s desire to know the truth and Ema’s manner of dealing with situations: she wanted to be useful as a pawn instead of a hero for the public, but couldn’t stop listening to her own ideas and wanting to be pre-emptive. If this trend follows and Blue Maiden’s character reflects the design choices Aoi made while making her as opposed to being Aoi’s own personality with no masks, it doesn’t speak for someone trying to be themselves. It speaks of someone trying to grow up too fast, to be a proper, powerful woman, a force to be reckoned with, someone to be respected on the battlefield.

Maybe I’m wrong, and maybe the balance of following her own desires and trying to be serious about the issues at hand will be perfectly fine, and we’ll see her while she’s finally on top of her dilemma. But if that does happen, it would be implying that the balanced Aoi, the ideal Aoi, the version of herself who comes together best of all is her WAR persona. Because that’s what Blue Maiden is – a new persona specifically formed to take on the burden of this war over a potential apocalypse. If the entire point of the varying avatars is to display Aoi’s development, this seems like the poorest possible message to send to the kids watching. And more relevantly problematic, it would interfere with the message of the Lost Kids arcs of finding their opportunity to move forward with their lives once more, since this war persona would lose relevance once the war itself was over. There needs to be a way for every happy ending to not leave the character in question hung up on the past, or it would utterly dilute the meaningful message the writers have clearly been putting a lot of effort into crafting throughout the narrative.

So I suppose I was wrong about the title of this post: there’s a reasonable enough chance that this will be her final wardrobe change, but I’m here as probably the only person not wanting it to be. I want her character arc to conclude with a realisation she doesn’t need to be anything but what she is: not an idol for the masses, not an information gatherer, not a serious woman, just Aoi. Just a highschooler who’s allowed to sort herself out as a person first and foremost, and as a hero – as someone who serves a purpose – second in priority.

#vrains #ygo vrains #blue maiden #aoi zaizen #predictions #sort of

30 notes · View notes

basket-of-radiants · 6 years

Note

(Opinions on jasnah and if she's like.... a good person)

Whether she’s a good person or not is up to you my friend! Jasnah follows a much more utilitarianist set of ethics than most of the other characters. I usually tend to think that’s a good trait for authority figures, so long as they’re genuine about their beliefs. Sometimes the moral implications of the action itself are less important than the impact of said action.

Typically it is the more antagonist-ish characters who follow “greater good” policies, such as Amaram and Taravangian (although I still have no idea what he’s doing,) but I would be wary of dismissing that line of thinking altogether. There’s honestly nothing wrong with focusing on the wider scope and consequences of one’s decisions, and in fact, I would consider that admirable. After all, Jasnah is a reigning monarch who does have to consider sacrifice and what that means. Wartime ethics are a bitch and tough calls are going to have to be made. I’m not defending it outright; this line of thinking becomes very dangerous when you give yourself license to do anything and commit whatever atrocities you like in the name of the greater good. There’s no objective way to determine at what point you’re doing more harm than good, though.

For me, the question of Jasnah isn’t whether I agree with her values or not, it’s about whether or not I trust her to recognize when she’s going too far.

There are a lot of reasons not to trust her. She’s not the most empathetic person ever (although I do think she’s more emotionally driven than she or anyone else would care to admit) and I wouldn’t exactly call her kind. She’s a goal-oriented person, very driven and focused, so I could see her caring less about what’s right along the way than about getting her results. (She did swear “journey before destination” though, so I should probably believe in her more there.) Her stubbornness is also an issue; I don’t think she’s the type to ignore new evidence because it doesn’t fit her worldview perse, but she is definitely resistant.

Now that that’s out of the way, let’s talk about the elephant in the room. Yes, she suggested that all the parshmen be destroyed. If that upset you or made you uncomfortable, you’re not wrong to feel that way. If that pissed you off and made you dislike Jasnah as a person, you’re not wrong to feel that way. I personally don’t find hers a defensible position. I obviously feel very different about all this, but as long as I’m writing this as a focus on Jasnah’s character, I guess I should do my best to explain. I always feel like I have to note that Alethi values are very very different from mine, and Dalinar and the others had already been waging genocide war on the parshendi for years. Compared to vengeance, I would call survival of humanity a somewhat more worthy cause. And Jasnah did have reasons for her opinions. Whether or not Jasnah cared at all about the common singers, her view was that were they to engage the Fused, all of the others would end up just becoming bodies for them. If that’s the case then there’s nothing that could be done for the common singers anyway, unless they were willing to just let the Fused win and not fight back. (Side note, the Fused provide a lot of other interesting dilemmas in of themselves about tactics and morals.) The only solution other than fighting back is negotiating. While I do expect to see more of that in the future, I can understand why at the time Jasnah was skeptical about that as an option. After all of her research, after having seen Dalinar’s visions, she had a particular idea of what Voidbringers were.

I want to address the singers first and just say that I really don’t believe that Jasnah is still interested in killing them. Yes, advocating for that at that meeting was a really shitty thing, but going forward I expect different from her. She seemed just as shaken as anyone to learn that the singers had been the original natives of Roshar, and while there was probably too much going on at the time for us to watch fully how she reacted, I assume she took a lot of time afterwards to reexamine her worldviews. If you’ll remember from Way of Kings, philosophy and the study of ethics is deeply important to Jasnah. Given all the information she has now, I don’t think she would be able to justify throwing away the singers for the sake of the humans anymore.

If she can view the singers as people as well and accept them into her bigger picture, I’d think I’d be able to trust her. She’s painstakingly careful and analytical, and I would like to think she would never make a major decision without fully thinking it through. In the past, from what I can tell, she hasn’t especially prioritized any one group over others (except for her immediate family,) she’s mostly been interested in understanding and furthering society and scholarship overall, and as such is respected everywhere. If the singers can be part of that, who knows?

More broadly than that, there’s a reason I have faith in Jasnah’s utilitarianism significantly more than I’d have for someone else’s, such as Amaram’s. I’ve mentioned “the greater good” a lot in this post, but Jasnah genuinely seems less concerned with that than she seems concerned with “doing the right thing.” She doesn’t take actions and justify them with her philosophy, she deeply examines her philosophy and then lets it inform her actions. I’m not as worried that she’ll get so caught up in her own workings she’ll lose sight of the right thing.

Just some more stuff on her as a person, people talk a lot about the scene with her and Renarin, and I haven’t. I don’t think it singlehandedly redeems her, nor do I think that if she had killed Renarin it would have singlehandedly condemned her. The scene is a demonstration, however, that she does allow her humanity to inform her actions. Not just in that scene, throughout the series she has shown that she cares about other people more than she’s willing to show. She’s shown to be forgiving, to welcome legitimate arguments against her, and to have faith that people will do what’s right of their own accords.

So! Still not going to answer if she’s a good person or not, but I’m definitely willing to give her a chance. I predict that she’ll make a lot of hard calls along the way that will leave a bad taste in my mouth. I can tell you with certainty that other characters have already done the same. Whatever happens, I do believe she’s trying to do good. I guess we’ll have to wait and see.

#jasnah #oathbringer spoilers #oathbringer #stormlight archive #asks #i'm not as hard on utilitarian ethics as a lot of people would be #ideologically speaking i'm not much of an individualist #as long as it's not like...bullshit? i'll give her the benefit of the doubt #hmm she's kind of an interesting look at the difference between ''good'' as an adjective applied to someone and as an action someone takes #thank you for asking!#hope that's somewhat satisfying #she's a very controversial character so i'm down for reading discussion on her #long post #i just tag all my rambles with that i never actually scroll up to see how long they are #Anonymous

42 notes · View notes

dornishsphinx · 6 years

Text

@verecunda tagged me in this a while back, and it completely slipped my mind until I saw it half-done in my notes, oops—sorry it took so long! Also, this got wordier than intended, probably because that always happens when I’m avoiding doing actual work. Oh well.

If any of you feel like ranting about your fave female characters, here’s an excuse to do so--though no pressure, of course. Tagging @zonesthesia, @bioticplaneswalker, @joyseeker6, @moonhairedgirl, @yousef-the-uber-driver, @northernpansy, @tresjoly, @xxchimericalxx, @arthoure, @mrmissmrsrandom, @gascon-en-exil, @amorremanet and anyone else reading this who feels like it!

Rules: Rules: Write your ten favourite female characters from ten different fandoms and tag ten different people.

1. Fire Emblem—Sonya

This ended up being a close tie between Sonya and Jill, but I gave this one to Sonya since I’ve actually finished her game. Sonya is amazing. A non-lord character with a connection to the villains always brings them up a notch in my estimation and it’s a damn shame she never got more than one boss conversation with her father—and none with her sisters! Her ending was initially aggravating, but I like to go with the common theory that since Duma is no longer around, talk of her becoming a witch was just hearsay. Her support with Genny is brilliant. She manages to be confident and alluring without turning into a caricature, unlike certain other unfortunate characters throughout the—mostly recent—games. And since she’s from a less popular game, she’s hardly as likely to get completely flanderised in spinoffs. Why on Earth would you ever pick Deen?

Honourable mentions: Celica (FE2/15), Lyn (FE7), Jill Fizzart (FE9/10). This isn’t counting games I’ve not actively played, though there are certain FE4 and FE10 characters who might have ended up in the mentions if I had, given what I know about them.

2. Persona—Yukino Mayuzumi

I actually wasn’t expecting to put Yukino here when I was first trying to figure out who my favourite female character from Persona was. I knew it would likely be a P2 character, since that is my favourite game in the series thus far, but then I realised how much I’ve been missing Yukino in particular while playing Eternal Punishment. The Empress arcana really does fit her: she’s a combination of tough-as-nails and motherly, and a cool older figure for the team to look up to. I especially love how she transfers the chance Saeko gave her to reform during her yankī days to Anna, years later. And that’s not even going into the revelations from her Shadow: she’s torn between two career paths, not feeling good enough to achieve either. And she gives up her Persona for Jun! That takes some serious selflessness.

Honourable mentions: Maki Sonomura (P1/2), Maya Amano (P2), Naoto Shirogane (P4), Labrys (Arena)

3. Ace Attorney—Ema Skye

This came closer than any other entry on the list, both Mia and Franziska initially taking this spot before I eventually settled on Ema. She was an interesting enough character as a kid, her peppiness and the science-obsession gimmick quickly giving way to a more complex characterisation, especially once her full involvement in SL-9 was revealed. However, the science-gimmick paid off wonderfully in AJ:AA when we see how she’s transformed into a jaded, bitter detective, her dreams of becoming a scientist crushed because she didn’t pass the exams she needed to get a career in forensics. When SOJ rolled around and she’d actually managed to get into the field, it felt earned, way more than if we’d met her SOJ self in AJ:AA.

Honourable mentions: Franziska von Karma, Mia Fey

4. Zero Escape—Lotus

Of all the characters who didn’t make it into the sequels which followed on from the original game, Lotus—along with Santa, who I’ll admit has more story-based reasons to return—is the one I miss most. She loves her daughters, fiercely enough to relentlessly investigate their kidnapping by herself for years when the police were of no use, and on top of all that, she’s a genius programmer. The moment I actively started loving Lotus was when she, clearly scared but putting on a brave face, volunteered to go in the electric chair in the torture chamber. It made you realise she genuinely is utilitarian, rather than just being out for her own survival; she’s clearly self-interested, but not completely selfish. I’m just gonna quote Uchikoshi himself: “She may seem selfish and cold, but she’s actually the most rational and sensible out of all of them. She has the intellectual ability to make very logical decisions.” She’s just the best.

Honourable mentions: Akane Kurashiki, Diana

5. Avatar—Azula

I know there are people who follow me still watching Avatar, so I’ll try and keep this as spoiler-free as I can in case they end up skimming some of this accidentally. (Though I’d definitely not recommend anyone who wants to remain completely unspoiled reads this entry on the list.)

But anyway—“Do the tides command this ship?”

The Fire Nation royal family just provides all the best characters in the series. Zuko is definitely my male fave, while his sister takes the female spot. Source of both the vast majority of best lines in the show, as well as the most Machiavellian of villainy, Azula is just awesome to watch in action, whether it be in the political, martial or personal sphere. The odd dynamic she has with Zuko is my favourite in the series, managing to be outright antagonistic, while at some moments offering the glimmer of a genuine, if warped almost beyond recognition, sibling bond. There are even more poignant moments where we’re reminded of her actual age and how her family circumstances have shaped her into what she is. She’s a complex villain, one of the best this, or any other series, has to offer.

Honourable mentions: Kuvira, Katara, Toph Beifong

6. A Song of Ice and Fire—Sarella Sand

Okay, if we’re doing a female character list, I kinda have to give the original Dornish Sphinx herself a spot on the list. Not much page space has been devoted to her as of the current date, considering our only consistent POV character in Oldtown just arrived. I’m looking forward to what she and Archmaester Marwyn get up to once GRRM finishes TWOW. The least war-hungry of the Sand Snakes, she’s not even been introduced on page as herself yet. Instead, we know her as “Alleras”, a pleasant young Dornishman of sharp intellect studying at the Citadel.

Honourable mentions: Asha Greyjoy, Sansa Stark, Arianne Martell

7. DCU—Selina Kyle

Is there any Bat-work, canon or fanon, that isn’t instantly made a dozen times better by Selina swooping in? (Okay, there are a couple of duds, but usually she’s a delightful presence.) One of DC’s best anti-hero/anti-villains.

Honourable mentions: Renée Montoya, Cassandra Cain, Stephanie Brown

8. Danganronpa—Kyōko Kirigiri

The original Ultimate Detective herself. Cool, poised and collected, she certainly makes for a more convincing detective character than certain other later characters from the series, though Shuichi does try his best.

Honourable mentions: Kaede Akamatsu, Junko Enoshima, Chiaki Nanami

9. Doctor Who—Martha Jones

I’m scraping the barrel a little for fandoms, considering I don’t even watch the show anymore, but Martha is my favourite of all companions. I never wanted her to get with the Doctor, of course, but I appreciated how her unrequited feelings for him didn’t swallow up her entire character. She’s courageous, smart and leaves the TARDIS on her own accord, which is refreshing.

10. Arthuriana—Morgan le Fay

This is a tricky one, since Arthuriana is more a literary tradition than a fandom per se. The characters which belong to it don’t technically ever stick to one characterisation, personality or role—everyone has their own interpretation, or even several different ones. That said—yes, my favourite is Morgan, how original of me, I know. Viviane runs her competition, but since she’s all over the place—quite literally, becoming or amalgamating several different characters at once—Morgan wins. There’s a reason she’s overused in modern adaptions, though, and it’s because she’s amazing. I mean, she even got a geographical phenomenon named after her and in some traditions, she lives in a goddamn volcano. She’s at her best as Queen of Rheged, though, casually trying to murder her husband, or Guinevere, or teaching a lesson to whichever knight of the week volunteers for her obvious trap. Just never mention that modern book she’s most known for around me unless you want me to angry-cry. Also, she’s not Morgause. Let Morgause be her own character, modern media, please.

Honourable mentions: Viviane, Lynette, Ragnell

#ask meme #long post #now that i reread the rules i think i only had to put down their names oops #oh well

3 notes · View notes

calvin2killen · 3 years

Text

Mothering as a Brief Timeline of Overarching Disappointment

My relationship with my daughter will always be complicated

Being a mother was something I always wanted, despite (or because of?) my own childhood. Let’s just say my own mother was less than nurturing and had a violent, nasty streak that meant my psyche was hammered out on an anvil of fear, forged in survival. I knew I could do better, and I did. I wasn’t perfect, mind you, but damn near good enough.

My daughter is striking. Olive skin, blue eyes, tall. Taller than I. Her lineage is indigenous Australian, but it’s a heritage that’s hard to pinpoint just by looking at her. She could be Greek, Italian, Spanish. While I celebrated her bloodline, she is ashamed and does not want to know her history. Australia is racist country and Aboriginal people are, unfortunately, not highly regarded. When she met her boyfriend, now fiancée, she gave me strict instructions to “not tell him what I am”.

I often wonder whether that feeling of deep shame, an internalised reflection of how Australian society views her Aboriginality and hence her, has somehow been projected onto her relationship with me. Except the shame has been twisted into a diluted form of contempt. Contempt of me, and what I represent. According to my daughter’s world view, I am not the kind of mother she should have. She wanted a mother that was not me. Someone who wasn’t adventurous, free-spirited, unmarried.

https://orpc.co/sites/super-j-cup-1.html https://orpc.co/sites/super-j-cup-2.html https://orpc.co/sites/super-j-cup-3.html https://orpc.co/sites/super-j-cup-4.html https://orpc.co/sites/super-j-cup-5.html https://orpc.co/sites/us-women-open-1.html https://orpc.co/sites/us-women-open-2.html https://orpc.co/sites/us-women-open-3.html https://orpc.co/sites/us-women-open-4.html https://orpc.co/sites/us-women-open-5.html http://venkateswara.org.uk/mix/super-j-cup-1.html http://venkateswara.org.uk/mix/super-j-cup-2.html http://venkateswara.org.uk/mix/super-j-cup-3.html http://venkateswara.org.uk/mix/super-j-cup-4.html http://venkateswara.org.uk/mix/super-j-cup-5.html http://venkateswara.org.uk/mix/us-women-open-1.html http://venkateswara.org.uk/mix/us-women-open-2.html http://venkateswara.org.uk/mix/us-women-open-3.html http://venkateswara.org.uk/mix/us-women-open-4.html http://venkateswara.org.uk/mix/us-women-open-5.html http://businessdating.com/vox/super-j-cup-1.html http://businessdating.com/vox/super-j-cup-2.html http://businessdating.com/vox/super-j-cup-3.html http://businessdating.com/vox/super-j-cup-4.html http://businessdating.com/vox/super-j-cup-5.html http://businessdating.com/vox/us-women-open-1.html http://businessdating.com/vox/us-women-open-2.html http://businessdating.com/vox/us-women-open-3.html http://businessdating.com/vox/us-women-open-4.html http://businessdating.com/vox/us-women-open-5.html

I met my daughter’s father at a karaoke bar one Friday night after work. I was almost my daughter’s age now. He was dark and handsome, but not so tall. Fit and lean. I discovered, later, that he was a sportsman, and a good one. I also discovered, when I was pregnant, that he gambled, drank and was involved with at least two other women. One of them called me to tell me what kind of man I was involved with. I suspect it was to win him back, to persuade me to give him up. I didn’t tell her he had fathered my child. I was sick to my stomach and it wasn’t because of morning sickness.

Once I made the decision, my pregnancy was one of peace, although I was concerned he’d reappear, and he did. But only one time, when my daughter was a few weeks old. I stood strong in the doorway, protective of the tiny baby that needed me to shield her from any kind of danger, and refused to let him into my apartment, her life. He left, suitably cowed, and did not return. A few years later, I changed my surname, and that of my daughter’s. We moved house a number of times. Facebook tells me that some thirty years later, he is still dark and handsome, fit and lean. He changes women every few years.

I built a life for my daughter and I, or so I believed. I went back to university to study teaching so I could work a job with child friendly hours. I bought an apartment so she would always have a home. I rarely dated because I was careful about the men I associated with, not for me, but for her. I was tough but fair with my discipline, mindful that I wanted to raise an independent woman who knew that she always had a choice, but that choices always had consequences.

Her twenty-first birthday was not supposed to be celebrated with a party. I had given her a passport and plane tickets to Thailand, and that was instead of and better than. But she wanted to be made a fuss of, so a party was also had, mostly at her expense, with me making a contribution. That party was the first time my daughter swore at me, embarrassed that I would even contemplate partying on with her friends once the venue had closed and things were winding up at the end of the evening. You’re not fucking going with us, she said. Just go fucking home. What could I do?

The weeks following her birthday celebration were awful, but this was not an isolated incident. I was shocked by her words and actions at that time and in that place, but here had been a slow build-up over her teenage years. Like an erupting volcano, she vomited the lava of contempt, the ash of loathing all over me once she was twenty-one. It was as if once she came of age, she gave herself permission to erupt, to damage, to maim.

I went to Vietnam when my daughter was twenty-three. She was working, in a stable relationship, and an adult by all accounts. Responsible. She had many friends, a vibrant social life. I went because at fifty-three, I had an urgent need to challenge myself, so I quit my job for a gap year. A midlife crisis, according to my daughter. That year turned into four of the best of times, worst of times years. My relationship with my daughter was still strained, but it had been even before her she ordered me to just go fucking home. The geographical distance between us was a relief.

When my mother died, I received a small inheritance. I was surprised, because I didn’t know I was in her will. I hadn’t talked to her for years. I called my inheritance compensation, and I’m grateful for it. It has given me the gift of freedom to choose. My daughter, always good with money, decided that it was time to stretch out her hand. I gave her a small amount to help with the house she was building. Then she came back for more. For her wedding reception. I said no. She didn’t speak to me for months. I was hurt but grateful for the eerie peace. A relationship with my lover had ended abruptly, and I needed to heal.

She called me, which was unusual. I would go months without hearing from her, especially after I had said no to her very kind offer of me giving her more money. Her boyfriend was by her side as she wept. She was pregnant with twins, it was ectopic and the pregnancy needed to be terminated. I asked if she wanted me to come back to Australia. I could get on the next plane. No, was the reply. Her boyfriend and his parents would make look after her and there was nothing I could do, really, so I should just stay there. I called every day, twice per day for a week, making sure she was ok. She was. We slipped back into our comfortable routine of sporadic contact, punctuated by news of her engagement and my return to Australia.

She asked me to give her away at her wedding. This came after three months of silence, broken by this conciliatory offer that must have been difficult for her. She thought only in terms of how things looked, what people would say, and she had always said that her fiancée’s father would give her away. Why, I had asked, when he didn’t birth you or raise you? He’s only come in at the tail end, I’d said. She is now supervising my attire for the day, suggesting suitable styles, texting me pictures of navy or green wrap dresses, long and flowing in soft material. Fortunately, we agree.

I have been back in Australia for three months, homeless while I wait for my tenants to vacate my apartment. I’m staying at my sister’s house in the country. I have no transport. There are no cafes. I have seen my daughter once during that time, and only because my sister and I went to the city, and we arranged to meet for dinner. Two hours all up. My daughter said she couldn’t possibly see me when I return because she’s so, so busy with her house. And the wedding. And work. And Christmas.

What it is clear to me now is that my daughter views me as peripheral to her life. When she was younger, I performed a utilitarian function of shelter, money, food, transport. Now, I am an annoyance, an annotation, an alien being to be tolerated, barely. She is twenty-eight, so this is unlikely to change. I often wonder why this particular dance became the way we operated as a family. I can’t put my finger on when or how. All I know is that this is not how I imagined motherhood at all. It’s this withered tree-like thing, so loaded with disappointment that the bough is bent, almost broken. I can’t seem to get it right, no matter how I try.

WRITTEN BY

killen calvin

0 notes

h-hhhe · 4 years

Text

The Little Prince

Background:

The little prince is an animated movie directed by Mark Osborne and the first movie adapted same named novel by Antoine de Saint-Exupéry. Mikros Image studio has provided Animation services.

Concept:

Idealism VS realism(utilitarian)

This animated film is aimed to convey and discuss how young people to meet the challenges when they growing and what is vital things they should insist. What is your decision between idealism and utilitarian when you coming be an adult? Both film and original novel tell us the human connection is really mater, people should tough by heart, because the utilitarian from adult world may make it invisible to the eye.

Narrative Analysis:

plot summary:

the little girl with an ambition mother , she made all plans for her daughter’ future, and the girl was followed until she was interrupted by her eccentric, amiable neighbor, an elderly retired pilot, moreover he told her story about the little prince, as a result she gradually start independent thinking and after she search of the Little Prince by herself. Finally saved him and find how to connect with her mother and organize her future.

storyline:

have two main character line the first is the relationship between the little girl and her neighbor and mother. second is the relationship between the little prince and rose, fox and pilot. she rediscovered her childhood and find what is really mater the human connection.

the girl with her mother moves to a new house, her mother is an ambition woman, she prepared many plans for her daughter’ future to but the girl doesn’t be prepared for entry her grown-up world. this is a typical theme about parental pressure. By the girl’s struggle in the little prince’s world, she realizes her previous life is her mother’s vison of her life not her dream. and the aviator neighbor encourage her to cultivate imagination, creativity, and wonder.

the personality changed in different period of the little prince. From a pure young boy to a lazy and mediocre adult. The pilot says he meets the little prince in the dessert and he lives in a planet named B-612. The little prince plants a rose and traveled to other planet with many adults, he lands on the earth and trained a red fox. In pilot story, the little prince is always looking of gentle, innocent and pure.

the girl star her adventure to find the little prince after the polit was hospitalized.

she drives polit’s plane into space, and landing on B612, she notices everything has changed, the planet is populated by workaholic adults owned by the "Businessman”. The little prince has become an anxious, incompetent adult named "Mr. Prince" and works as a janitor for the Businessman. The girl be asked as an adult by a man-controlled machine, finally, according to the little prince recover his memories and saves the girl, and they liberate all stars and other redemption, the little prince turns his young characters back.

The use of CGI in conveying the Narrative:

A scene from “The Little Prince,” two different style houses. Netflix

Firstly, the CG is great measure to illustrate the little girl and aviator part, this film starts with a beautiful and detailed virtual world. You will see different type of style on characters, building and environments. As Mr. Osborne (2016) said. “Every house is almost the same, and you get this feeling of repetition, a mathematical, geometric, confining world.” However, when camera view is given to the neighborhood, everything has changed, the structure, the plants, especially aviator’s plane, all design rely on CGI technology and software such as maya, Photoshop and after effects.

A scene from “The Little Prince,” the Little Girl with Aviator, Images from Netflix

A scene from “The Little Prince,” with the Little Girl, Images from Netflix

The color is a symbol of emotion, at the front part before the girl attracted by polit’s story, the fundamental color is dark and grey the same deep color between children and adult on cloth and environments is obvious which seems to more adapt the first part theme the well-prepared grown up. However, when the girl accessed to the little prince’ world, dark and grey gradually disappeared instead of pink, red, blue etc. the color start be warmer and lighter.

There are reference to “The Little Prince,” directed by Mark Osborne. Netflix

Last one but it’s significant feature of this film is that it uses Paper Cutout Animation since the story of the little prince, Mr. Osborne(2016) said ‘there’s no way you can make a big CG-animated movie out of this book, It’s so delicate and poetic.’ it is fantastic, this artful strategy obtains a great success which connect film and novel, and it looks like read a cartoon when audience watch these parts.

Scene from “The Little Prince.” Bottom, a look at the paper animation process for the scene. Credit...Top: Netflix. Bottom: Anthony Scott.

A scene from “The Little Prince,” directed by Mark Osborne. Netflix

Reference:

l Mekado Murphy, 2016, ‘How ‘The Little Prince’ Came to Animated Life’, The New York Time Review 5 Aug 2016, Accessed at <. https://www.nytimes.com/2016/08/06/movies/how-the-little-prince-came-to-animated-life.html>.

l Peter Bradshaw,2016,’ The Little Prince review – charming story encumbered by Netflix update’, The Guardian Review 5 Aug 2016, Accessed at< https://www.theguardian.com/film/2016/aug/05/the-little-prince-review-netflix>

Patrick Schreiner. 2019,’ 3 Lessons from Netflix’s Adaptation of ‘The Little Prince’’, The Gospel Coalition Review 17 September 2016, Accessed at < https://www.thegospelcoalition.org/article/3-lessons-from-netflix-adaptation-the-little-prince/>

0 notes

grabosky · 4 years

Text

My Answers to HW2case, Q2

Q2 (33 pts.). Explain the case and discuss, one at a time, each question you devised about it, plus the 3 standard questions. Post this on your blog.

Case

Star Trek: The Next Generation Season 5, Episode 16 aptly titled "Ethics"

In case you are unfamiliar with the series, you can read the basic premise at https://en.wikipedia.org/wiki/Star_Trek:_The_Next_Generation

A more complete explanation of this particular episode can be found at https://memory-alpha.fandom.com/wiki/Ethics_(episode)

Questions:

1 How can you apply deontological ethics (rule-based) to this case?

Dr. Crusher was deontologically ethical when advocating for the safer, more established treatment vs the experimental and potentially deadly tretment. To her, risking Worf's life for the potential benefits the experimental treatment presented was against a fundamental rule of being a medical doctor.

Worf was potentially being deontologically ethical by pursuing the Hegh'Bat (ritual suicide) because, at least in Klingon culture, that was the 'right' thing to do in this this circumstance.

Dr. Russell, on at least two separate instances in the show, pursued experimental treatments for her patients over conventional ones. The presentation implied that she cared more about her research into new treatments than the immediate wellbeing of her patient. She is chastised by Dr. Crusher for this.

2 How can you apply utilitarian ethics (similar to consequentialist ethics) to this case?

Dr. Russell was definitely heavy on the utilitarian end of the ethics spectrum. Even though her new treatment for Worf was dangerous, the experience would help here perfect the treatment and potentially benefit many.

3 How can you apply virtue ethics (character-based) to this case?

Again, similar to deontological ethics, Dr. Russell showed poor character by putting her research and career above the needs of the people in her immediate care.

4 Is suicide ever ethical?

I would say rarely. In the majority of circumstances, we should protect human life. I believe real harm would come from mentally or legally sanctioning suicide.

In cases where someone is facing a painful death (terminal cancer) or a debilitating death (advanced Alzheimer or other dementia), then I think someone of sound mind should have the freedom to make that choice. It's a sad choice and I don't think a good one, but I wouldn't call it unethical. However, the sound mind concept may be hard to establish.

5 Is it ever ethical to assist someone wanting to commit suicide?

Again, I think in most cases suicide is unethical and assisting someone in an unethical action would certainly be unethical as well. I believe there is a human obligation to help those who may be considering suicide to reconsider.

In the terminal illness scenario, I still think it is unethical to help someone commit suicide. However, my confidence level this this statement is lower than my other statements.

6 To what degree should Worf's ethical code (Klingon) factor into Commander Riker's decision to help Worf end his life.

This is the most interesting question IMO. In cases where you are requred to make a decision that directly affects someone from a culture that follows an entirely different value system, to what degree does the other culture's value system determine what is an ethical decision or an unethical decision.

Tough one. If I were to try to make a blanket statemtn here, it would be follow your own value system while showing as much respect as possible to the other culture's value system. Some comprimises depending on who the action affects most.

In the show, Riker initially refuses to help work commit suicide (following his own ethics). He continues to ponder Worf's request and then essentially tries to talk Worf out of it. He suceeds sort of.. Worf elects to try the experimental procedure. Riker indictes that if Worf continued to insist on the, he might wind up helping him with the gruesome deed.

7 Would it be ethical to offer Worf an unproven, experimental treatment that has a 10% chance of a full recovery and a 90% chance of death given his current state of mind?

Dr. Russell (the visiting physician) and Dr. Crusher (the ship/Worf's physician) initially discuss the experimental medial procedure. Dr Crusher marvels at the ingenuity and the promise it represents, but is disturbed to learn that it had never been used before. She feels the procedure is far too risky and shouldn't be offered to Worf as a suggestion. Dr. Russell reluctantly agrees to follow Dr. Crusher's lead. Later when Dr. Russell learns of Worf's intent to commit suicide because of his handicap, she offer's Worf the experimental option over Dr. Crusher's objections - an option Worf ultimately decides to pursue. Dr. Crusher is very much opposed to the new procedure, but respects Worf's decision and assists Dr. Russell perform it.

Was it ethical to offer Worf the experimental treatment? A pretty clear no in this particular case. If you knew for absolute certainty that Worf would commit suicide if you did not perform the procedure and essentially a 10% chance of survival was better than a 0% chance of survival, then perhaps the suggestion would be ethical. But, of course, you don't really know for absolute certainty what the future holds.

Dr. Crusher presents a different ethical choice here than Riker's. She allows the procedure (against her own value system) in deference to Worf's value system.

8 How could computer security relate to this case.

The security and privacy of medical data is certainly important. Medical data typically is highly personal and detailed and is transferred between multiple organizations (doctors offices, insurance companies, laboratories, etc.). The security dangers are two fold.

1) Identity theft. Medical data can lead to something termed complete identity theft which can be more damaging and harder to clean up.

2) Some conditions in some cultures carry a significant stigma. If these conditions were made public, it could lead to embarrassment, loss of income, or even loss of life.

0 notes

mygoddessmusings · 6 years

Text

Circle Series 5 - Ethics

Hello! Welcome to the fifth post in the Circle Series! You can find the introduction and prior posts of the series here. The next planned posts to wrap up the series will be centered on ritual: holidays and other sacred times, the whats and whys of ritual, and ritual structure. But before we get into all that, it seems appropriate to dedicate some time to thinking about ethics in Goddessia, so we have a framework for ethical decision making, both in our lives and in a ritual setting.

"The Earth is a living, conscious being. In company with cultures of many different times and places, we name these things as sacred: air, fire, water, and earth. ... To call these things sacred is to say that they have a value beyond their usefulness for human ends, that they themselves become the standard by which our acts, our economics, our laws, and our purposes must be judged."

-Starhawk, The Fifth Sacred Thing

From the Ground of all Being Up

Something that sets Goddessia apart from many of the major world religions is that there is no set of rules regarding right behavior or decision-making, no "Ten Commandments" or Eight-Fold Path. Although there have been some guidelines and rules of thumb proposed, which we will explore in a moment, Goddessia operates on the assumption that women don't need to be prescribed rules on what to do: with participation in Goddessia and understanding of the core concepts of Goddess spirituality, ethical decision-making will grow naturally out of that understanding. Rather than rules, the precepts and guidelines that have been offered by Goddessians are "statements that can be used to sum up Goddess ethics."1 They are descriptive, rather than prescriptive. They're reminders we can check-in with if we need a little extra guidance in making a tough decision. The two foundational concepts from which all other core concepts and common beliefs of Goddessia arise are:

Immanence/Pantheism - The universe, the earth, and everything in it are alive, imbued with sacredness. Goddess is the “soul of nature.” She is present in all things, including you and me. Or, to look at it from another perspective, we are all present in Her. She is embodied in the Universe, and each individual, from an atom to a black hole, is like a cell or organ within her be-ing.

Interconnectedness - All beings and forces in the body of the Goddess are connected through a web of relationship and energy. In this web, we co-create the world with Goddess. In Buddhism, to which Goddessia owes a debt for this concept, this is sometimes called “dependent co-arising.” In World as Lover, World as Self by Joanna Macy describes it like this: “[…] things do not produce each other or make each other happen as in linear causality. They help each other happen by providing occasion or locus or context, and in so doing, they in turn are affected. There is a reciprocal dynamic at play. Power inheres not in any one dominating entity, but in the relationship between entities.”

Reverence for the Earth, celebration of the seasonal and lunar cycles, positive valuation of the female, and belief in reincarnation (metaphorical or literal) all have their roots in the immanence of Goddess. The concept of magic, flows from the idea of interconnectedness, that we can and do have an impact on the web of life around us, and that with the conscious application of will and energy, we can, to a certain extent, control the type of impact we have and the results of that impact. Goddessian ethics also flow from these two concepts.

If Goddess is present in all beings, and we are all connected to each other, what does that mean for how we treat others, human and non-human? What does that mean for how we treat the earth? For the institutions we do and do not choose to participate in? How does that affect our judgments of right and wrong, and what sorts of responsibilities does that put on us to right wrongs that we see?

Advice and Touchstones - Goddessian Guidelines

The primary ethical precept you will come across in Goddessian Paganism, and Paganism more broadly, is the Wiccan Rede, commonly phrased "An it harm none, do what thou wilt," or, in plainer English, "if it harms none, do what you will." The word "rede" means advice, and the Rede is a shortened version of a much longer poem you can find here. As the name suggests, this came to Goddessia from Wicca, but the concept predates Wicca. The founders of Wicca were likely influenced by Aleister Crowley's Book of the Law, the central sacred text of Thelema, which states "Do what thou wilt shall be the whole of the Law . . . . . Love is the law, love under will," which was in turn influenced by older maxims, such as “love and do what thou wilt" from St. Augustine’s Homilies on the First Epistle of St. John. 2 This is what can be described as a utilitarian approach to ethics: rather than declaring that certain actions are good or bad, it is the context and outcome of an action (whether it results in harm or not) which determines its ethicalness.

While Goddessia does not have simple rules on behavior (do this or don't do that), when we truly integrate principles of interconnectedness and immanence into our worldviews, it calls us to (a) honor the fact that we are not alone in this life and consider how our actions affect those around us, and (b) serve, or, at least, refrain from harming, the other sacred beings we share this biosphere with. Therefore, "if it harm none, do what you will," is an apt, if simple, description of the core of Goddessian ethics which arise out of immanence and interconnection.

Criticisms have been made of the Rede as an ethical guideline. Some argue that the Rede does not go far enough: simply "not harming" is not strictly-speaking a call to do good. For example, if person A is harming person B, while we stand by and do nothing, it seems on the surface that, since we are not doing harm to person B, that's good enough, and we are not called to any further action. However, I believe if we consider our actions more deeply, by refraining to intervene in a situation we have the power to intervene in, our inaction is allowing the perpetuation of violence against Person B, and therefore, in order to do no harm, we are called to intervene. This applies not only to one-on-one acts of violence, but also systemic forms of violence, such as poverty, racism, and misogyny. Others argue that the Rede is too lofty of a goal: it is impossible to live in the world and do no harm. Simply living involves at minimum the consumption of plant life, and possibly also the consumption animal life; this is true of all creatures in some form. One can reconcile this by reasoning that it is necessary to do so to avoid causing harm to oneself and others through starvation, and it is only harmful if done in excess beyond need. That being said most of us get our food from industrial agriculture and factory farming, which does harm to the environment, and when we consider the working conditions of many who work in these industries which we support, the issue becomes more complex still. The advice to do no harm, then, can seem left in the dust - there is no no-harm option. However, the rede may still be used as an ideal, a call to consider how to do the least harm, when no harm is not an option.

Still, if the Rede seems overly-simplistic or anxiety-inducing in its scope as a guideline (and remember, these are guidelines and descriptions, not rules), we might instead consider Carol Christ's Nine Touchstones of Goddess Spirituality:

"Nurture life.

Walk in love and beauty.

Trust the knowledge that comes through the body.

Speak the truth about conflict, pain, and suffering.

Take only what you need.

Think about the consequences your actions for seven generations.

Approach the taking of life with great restraint.

Practice great generosity.

Repair the web."

On her touchstones, Christ writes:

"In my life, I have discovered nine touchstones that can help to translate the mythos of Goddess religion into an ethos, a way of ethical living. A touchstone is different from a principle or a commandment. Like a beautiful pebble on the shore of the sea, a touchstone is discovered by attending to the concrete. It does not derive from a source outside ourselves, but rather is discovered within the web of life. A touchstone can be consulted for guidance, but it does not tell us precisely what to do in any concrete situation. A touchstone is one among many. Ethical guidelines can never be reduced to a perfect and complete list. They are relative to the situations we live in. New touchstones can be added as they are discovered. Those that have outlived their usefulness can be discarded."3

Christ's touchstones all grow out of the core concepts of immanence and interconnection. Recognizing the presence of Goddess in all life and our deep interconnection to each other calls us to nurture life and to honor those who do the vital work of helping life grown and thrive, be they parents, healers, gardeners, or activists. Acknowledging the presence of Goddess around us calls us to "appreciate the infinite diversity of all beings in the natural world.. and to sense that everything wants to be loved," what Christ calls "walking in love and beauty." Trusting knowledge that comes through the body is a form of defiance against the patriarchal "ethos of domination" that has been at the core of western culture for centuries. Rather than giving over our spiritual authority to priests or gurus, we stand in the power of Goddess-within, and we test everything against our own experience and trust the knowledge that comes through the body. Trusting knowledge that comes through the body, "we feel our own joy and suffering, and the suffering and joy of others and the earth body," which means we cannot live in denial of the conflict, pain and suffering that takes place in the world. Acknowledging the interconnected web of life, encourages us to consider the consequences of our actions, not just on ourselves but on those around us and those who will come after, which in turn encourages restraint, taking only what we need. When we relate to Goddess as our mother Earth who provides all we need to live, we can also embody her generosity, not just materially, but also in our relationships with ourselves and others. "Generosity begins with ourselves ... as we recognize our strengths and forgive our limitations, we can begin to approach others with a generous spirit," looking for the good in others, rather than allowing situations to become polarized, us versus them. And, finally, in acknowledging the web of life, we must also acknowledge that the bonds of the web are being broken by the violence taking place in the world. To transform our personal relationships and cultural institutions through the practice of the other touchstones is to repair the web and "work to establish greater harmony, justice, and peace for all beings on earth." 4

Suggested Exercises:

Harm None - Do your best to stay mindful of your actions and words, and deeply consider "Does this harm none?" If you find there is harm being done, endeavor to abstain from the action for the rest of the week, to see if you can do without it. If you find you cannot do without it (eg. you need to drive a CO2-producing car to work), try considering it through one of the touchstones above (eg. "Am I taking only what I need?" "Is there any way I can repair the web?").

Nurture - Before going to bed, ask yourself, "what did I do today to nurture life?"

Walk in Love - "Everything want to be loved. Us sing and dance, make faces and give flower bouquets, trying to be loved. You ever notice that trees do everything to git attention we do, except walk?" - Alice Walker, The Color Purple. When you approach a living being, from a blade of grass to a person, consider that each being wants to be loved.

Knowledge Through the Body - Practice checking-in with your body throughout the day, if necessary, using a centering meditation or doing a physical activity such as stretching, walking or yoga. What knowledge is coming to you through your body? Do you need more sleep, water, or food? What are your senses telling you about the place you’re in or the people you’re with?

Speak the Truth about Suffering - Pick an issue, societal or personal, and commit to speaking openly and truthfully about it when it comes up.

Generosity - Practice being generous with yourself and others. Try giving others the benefit of the doubt. When you or others make a mistake, endeavor to respond with the same kindness and forgiveness you would show a close friend or loved one.

Repair the Web - "As this day dawns in beauty, we pledge ourselves to repair the web." When you wake up in the morning, recite this part of Carol Christ's Morning Blessing. "This song moves us out into the world, naming the beauty of each day dawning as the inspiration of our desire to increase the possibilities of joy and beauty in the world through individual and communal ethical action."5

Touchstones - Try coming up with your own set of touchstones. Judith Laura offers the following: "Seek knowledge. Revere wisdom. Be joyful. Know pleasure. Love one another. Protect life. And live in peace." Consider your own guiding principles and ideals, as well as the interconnected web of life, and the immanence of Goddess in the universe. What are your foundations for making good decisions? Write them down in a place you can reference.

With the exception of the last one, I recommend doing each exercise for at least a week to give yourself plenty of time to experience, experiment, and reflect on the effects of the exercise.

Happy Exploring!

Next: Post Six - Sacred Times

Sources

1 Laura, Judith, "Goddess Ethics"

2 Mankey, Jason, "The Rede of the Wicca"

3 Christ, Carol, Rebirth of the Goddess, p. 166

4 Christ, Carol, Rebirth of the Goddess, p. 167 - 169

5 Christ, Carol, She Who Changes, p. 240

#circle series for beginners #goddess spirituality #goddessia

1 note · View note

coolmohnishahluwalia · 5 years

Text

The internet of indulgence

India's luxury consumers are getting bored of monotonous, age-old user experiences. Brands are conjuring up exclusivity through AI/AR-VR to hyper-personalized and add that bit of 'magic'

A smattering of pastel houses rises above an inky ocean, peeking from beyond the French windows. I take a seat into the car’s expansive backseat, as instructed, and with the flick of a finger, the seat in front of me has zoomed forward and bent over, adding extra legroom—and a surprise. A plate from the seatback folds out, much like an airplane table, revealing a cushioned footrest. Here, at the rear of the Audi A8L, I have a plush, on-demand foot massager, complete with heating controls.

As I sink into the seat, though, I remember a slight technicality—I can’t actually get that message. The truth is that beyond those French windows aren’t the oasis of blue, but rain pelting down a raucous Mumbai road. For a few minutes, though, I was ‘in’ the car somewhere in France, not on a regular leather chair at a store, and could physically walk around the car to get a sense of its size, or of how it looks in the metallic Navarra Blue versus the muted Impala Beige.

The A8L has been late in coming to India, so the Audi team has devised a high-tech sales experience to keep up the buzz and speed up the pre-order process. It’s snazzy and elaborate, and locally built. Rather effective too.

I’ve played with virtual reality (VR) headsets before and was a bit skeptical putting these on; yet, I had to stop myself from reaching out to pat the seat leather, the color of which I had just changed to an elegant burgundy. I could see each stitch detailing and feel the manufactured luxury of the car, without it being even on the same continent as me. It felt like I could do pretty much everything but drive it.

“Digital customer-centric initiatives are a key focus area for Audi in India,” says Balbir Singh Dhillon, head of Audi India. “In today’s connected world, we want our customers to experience every detail of the car in miniature or actual size from the comfort of their home or office environment; this is possible through virtual and augmented reality (AR). Through these new-age solutions, a customer can experience what the brand truly stands for: Vorsprung Durch Technik, or ‘progress through technology’.”

Audi’s VR experience—which is supplemented with an augmented reality set up on an iPad as well—as part of a new era of luxury business driven by high-end technology. For the discerning set of high net-worth individuals in India, brands are working to engage touchpoints that offer next-level convenience and tell unique stories. The eventual goal is to tailor every touchpoint for each customer. A lot of this process is driven by technology and artificial intelligence (AI), and then built upon to lend that clutter-breaking wow, factor.

“Over the past few years, the quality of data available has significantly improved,” says Manishi Sanwal, managing partner of data analytics firm Voiceback Technologies, who has previously worked in leadership roles at LVMH in India and China. “While social media lets you analyze behavioral trends, a massive increase in computing power has made it possible to correlate sales with customer behavior. Technology can accurately forecast buying decisions today, resulting in less inventory, quick and early monitoring of trends and more customer focus. This leads to higher customer satisfaction and stronger brand loyalty.”

It’s not all smoke and mirrors though. While there is the added incentive to gain eyeballs, the visual tech also plays a utilitarian role.

For instance, StyleDotMe, a Delhi-based fashion-tech the startup introduced an augmented reality setup for the jewelry industry a year-and-a-half ago. Called MirrAR, the patented platform lets customers virtually ‘try on’ different pieces of jewelry at a store or kiosk, much like a Snapchat filter, eliminating the need for inventory at all chain stores and speeding up the customer trial process. the mirror now works with 77 jewelers in 23 Indian cities, including Tanishq, Amrapali, PC Jewellers, and Kalyan Jewelers. They recently did ‘zero-inventory’ kiosks for Tanishq at Delhi and Bengaluru airports, where flyers could browse through the brand’s collection, see how it looked on them, and generate leads.

“Jewellery is a particularly conservative industry, where most jewelers are the third or fourth generation in the family,” says Meghna Saraogi, founder and CEO, StyleDotMe. “It’s tough to change their mindsets. The deal-breaker for us was an association we did with the Jaipur Jewellery Show early on, where we set up an experience zone through different domes. Customers move across the domes and, at eye level, see themselves in different jewelers’ inventories, without physically having to put anything on. After the show, about 30 jewelers paid us upfront.”

Saraogi recalls how one lady asked around to know who had built the zone, and finally found and hugged her. “She was so emotional, saying she never thought she would get a chance to see herself in such jewelry, but with this product, she finally had,” she says.

the mirror uses various data points to make the jewelry life-like, including the height of the pieces and the quality of the diamonds used. The idea is to depict a piece exactly as it is, including its level of shine. Jewelers can add an unlimited number of images to their virtual inventory, and customers simply swipe and click to try them on. If they’re interested in a certain piece, it can be arranged to view physically.

“Jewellers typically show catalogs or pictures on their phones or iPads, and we realized that even a brand like Tanishq can’t have the same inventory at all its stores,” says Saraogi. “It’s so capital intensive; for jewelry retailers, the biggest cost isn’t real estate, but the cost of transporting and securely storing inventory. We wanted to build something that would work seamlessly and solve a real pain point. Many other existing AR products worked on static images, or instruction-based technology, where a voice asks you to look at a certain angle, turn right or left, which a lot of customers don’t like.”

the mirror also allows jewelers to create computer-aided design (CAD) versions of jewelry sets for customers to try on, which can then be built-in the real world based on feedback. “This closes the gap between real and virtual, as jewelers only have to manufacture the sets they know will sell, preventing wastage of both time and resources,” she adds.

According to Saraogi, an average customer tries on 20 to 25 pieces when using MirrAR, versus three to five with physical trials. “So our product is helping jewelers show 5x more SKUs (stock keeping unit) than they would have,” she says. “About 50 percent of people we surveyed say they feel awkward or tired after trying on five physical pieces at a store.”

StyleDotMe is working on launching similar AR solutions for beauty and sunglasses market by the end of the year and say the products are also helping jewelers penetrate newer markets.

“Initially, we targeted the big-brand jewelers who had multiple stores in Tier-1 and Tier-2 cities,” says Saraogi. “We were zapped to see the sort of demand we’re getting from Tier-3 and Tier-4 towns, where smaller jewelry stores take pride in being the first ones to launch such technology in their towns. They want to be projected as tech-savvy, progressive. We’re in places like Kota, Rajkot, Akola, and it’s amazing to see how people are responding there.”

StyleDotMe recently raised ₹2 crore in funding from Indian Angel Network and angel investors, in a bridge round led by Ambarish Raghuvanshi, former CFO, Info Edge, which runs various consumer internet portals. These funds will be used to bolster operations and set up a B2C web and mobile app, where customers can try on jewelry from various brands from their homes, and place orders on the StyleDotMe platform too. The company claims that its number of clients has grown by 40 percent quarter-on-quarter over the past year.

Jewelry isn’t the only traditional industry that technology is disrupting; it is also spawning a new buzzy vertical in real an estate called PropTech, still at a nascent stage in India.

In the luxury property domain, the challenges for the money-rich, time-poor clients are obvious—HNIs are by and large busy people, who may invest in multiple properties and may not have the time to visit each site they might consider. Brochures and websites can give a limited view. But using AR or VR, buyers can be ‘immersed’ in their projects in the next dimension, and take a walk around not just the property, but also its street, surroundings and so on. Interior projects can be monitored without site visits, and updates visualized in real-time.

“Real estate, especially in India, has been slow to adopt technology, but this is rapidly changing,” says Abhay Kumar, head–marketing, JLL India, a real estate consultancy. “Now, technology is the top investment area for many real-estate players—developers know that they can’t keep doing business as they used to. It’s no surprise that a lot of startups who were earlier working on algorithms for IT players are now building solutions for real estate.”

JLL has partnered with the government’s Invest India mission to launch a PropTech accelerator, and claims to have received 1,500-plus registrations for the first round. Kumar says AR and VR sales experiences are far more effective than brochures and miniature 3D models, helping cut down the transaction process—but even more in demand will be the use of AI, machine learning and the Internet of Things (IoT) in this sector.

“From an occupier perspective, this segment has a far more direct use case, something you will interact with every day,” he says. “We’re seeing Alexa and Siri at all kinds of homes today, but in the luxury segment, things are taken a step further with automation.”

Using IoT-enabled devices, residents can not only map water wastage and energy efficiency in real-time, but also control their home temperature, book parking slots, make sure the lift has arrived even before they reach the lobby, and so on. Luxury developers are investing in cloud-based visitor management solutions at projects too. “This is not something we are seeing in the middle segment, but the luxury segment has definitely started implementing it,” Kumar adds. “Think of the convenience and experience, and also the data insights you can draw using these, from both a buyer and seller perspective. These are no longer technologies of the future.”

Elementary, dear Watson

Tech giant IBM has been working extensively in building what it calls ‘cognitive fashion’. In 2017, it partnered with two major Indian fashion houses to stretch the limits of fashion tech, with the use of IBM Watson, its AI-enabled tool.

With fashion designers Falguni and Shane Peacock, IBM Watson worked to project the future of fashion. Using the Watson visual recognition API, the team scanned 600,000 publicly available

fashion images from 2006 to 2017, from the world’s four biggest fashion weeks—London, Paris, Milan and New York. Similarly, they processed more than 5,000 major Bollywood outfits and studied data from 3,000 Bollywood movie posters across the decades from the 70s to the noughties. IBM provided them with tools to identify color, pattern and silhouette trends, and Watson could use AI to analyze thousands of patterns and create entirely unique ones for the future-collection, showcased at a fashion show to a standing ovation.

“We were lucky to have been the first few to work with AI, and it has opened up a lot of ideas on what we can do with technology,” says Falguni. “For example, if I was working on a purple dress, I could scan through the archives to see all the purple dresses showcased earlier so that I know mine is entirely new. This is one way in which designers and AI can work together… I wouldn’t say AI will take over the designer’s job, but it can make their lives dramatically easier.”

“Watson let us travel back and forth in time and space at an unbelievable speed, letting us study vast amounts of data for both broad trends, as well as an understanding of the more obscure data, too,” adds Shane. “We’re looking forward to extending Watson to other parts of the creative process because the future of cognitive couture is looking fabulous.”

IBM also partnered with couturier Gaurav Gupta for a high-tech art-meets-fashion project: The world’s first AI sari. Powered by IoT, the white sculpted sari-gown had an LED light panel running across it, and the lights would change colors based on different personalities. The sari-gown featured as a live exhibit at the Vogue Women of the Year awards, worn by actor and the event’s emcee, Archie Panjabi.

Using Watson’s personality insights API, the sari’s LED lights would change color for each of the night’s awardees—a color assigned after Watson conducted a detailed study of the person’s social media handles. Watson analyzed social media activity using seven parameters, including effectiveness in organizing thoughts, open-mindedness and originality, confidence and problem solving, action orientation, conscientiousness, openness to possibilities and alternatives and social energy. Each of these traits was mapped to a color most associated with them. So, if Aishwarya Rai Bachchan was red, Shah Rukh Khan was gold. The gown was also used as an interactive art installation, where visitors could plug in their own Twitter handles and have the garment analyze their profiles and change to a color assigned to them.

“What the experience taught me is that the future of design development is definitely technology,” says Gupta. “If I have a mood for love—say neon blue—it could come up with a million print ideas that can be customized in milliseconds. Any human developing that would take days, months. I’m toying with the idea of adding Watson to my design team; it will add a different dimension to my design.”

Brainpower

Imagine knowing what every customer is going to buy before they walk into a store.

A powerful line from a Deloitte report titled ‘Digital transformation–the ultimate challenge for the fashion industry’ pretty much sums it up. The report advocates digital transformation across fashion business functions and stresses the urgency and momentum to ‘re-imagine, reshape and retool for an era in which traditional boundaries are broken’.

Data is the new oil, but few companies know just how to use it. The report says ‘digital clienteling’, or leveraging user information at the convergence of big data analytics, IoT and data science, will help brands better tailor their sales information and products to customers, improving conversion rates and revenues. “A misaligned or generic digital offering may actually widen the digital divide and even pose a threat to brand and reputation,” it says.

A few startups are seeing great interest in solving this problem for luxury brands. Vue.ai, for instance, formed in 2016, works on personalization, product digitization and increases the speed at which you can take a product online, for the fashion industry. It also helps analyze data to increase personalizations, which should eventually lead to conversions. The startup is based between Chennai and San Francisco, and services markets including the US, Europe, Latin America, Japan and the Middle East. Its clients include luxury fashion e-store Pernia’s Pop Up Shop, and it claims to have grown its revenue 3x over the last year. Vue.ai and its parent company, Mad Street Den, raised a Series B round of $17 million in April.

“This year, we’ve broken into India, and it’s become a pull market for us,” says Ashwini Ashokan, founder, and CEO, Vue.ai. “It’s interesting to see how the Indian customer is changing and driving this demand. You’re beginning to see the pull towards aggregation and storytelling. I can safely say that the era of the Flipkart-Myntra discounting driving the market is over.”

Ashokan says about 10 to 15 percent of their total business now comes from India. “This is the year of luxury,” she adds. “Indians are now associating heavily with the value of a brand, between both beauty and fashion. Technology cannot create that demand, but it can create an order of magnitude growth. That’s where we’re focussed—how to send a customer the right thing at the right time.”

To explain, if you go on an eCommerce webpage, it is working quietly to understand you in real-time. Are you looking at pink lehengas? Are you looking at pink lehengas with full sleeves? Or are you not looking at pink lehengas at all, but a particular type of embroidery, which led you to your first two clicks that happened to be on pink. “Every single click is specific to you,” says Ashokan. “If a brand knows who they are producing for, it can influence production based on that, and stop wasteful creation. A lot of products get dumped because there’s no demand. When you’re spending that kind of money, you want each detail to be perfect, and brands must understand that.”

Similarly, London-based BeautyMatchingEngine (BME), run by its Indian-origin founder Nidhima Kohli, says India accounts for its third-largest volume of users. BME, an offshoot of its predecessor MyBeautyMatches, is a new AI-powered product for the beauty industry, which can help companies make hyper-personalized product recommendations to users.

“The beauty industry is behind many others on innovation, but it’s good with PR. It’s tough to make beauty recommendations, because each person might react to it differently,” says Kohli. “For example, we are both Indian, but we live in different climate conditions, we are of different ages and may have different concerns. What works for me will not work for you. Our product takes into account all these factors before filtering down them to recommendations.”

BME also analyses patterns—it noticed, for instance, that a a lot of people buying shampoo for hair fall and dandruff also had acne concerns. “This is data the company can use, and we also help them explain to customers why a particular product is being recommended to them,” she adds.

“Consumers are well-educated now in the beauty market, and companies are beginning to see that gimmicky experiences don’t generate revenue. Every touchpoint needs to count.”

“Ninety percent of people still think that personalization is segmentation,” says Ashokan of Vue.ai. “It’s 2019, that doesn’t work anymore. You can’t tell me that I am just like all these other people.” #MohnishRANotes

from Blogger https://ift.tt/2qjLpqd via IFTTT

#IFTTT #Blogger

0 notes