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random-mha-thoughts · 4 years

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Sleepless (LoV x Reader)

Pairing: League of Villains x Reader, platonic relationship

Shigaraki, Toga, Twice, Kurogiri, Dabi x reader

@riarora messaged me with the request: "So I was thinking platonic LOV x child reader (You can make them 18 if you're more comfortable, but I was thinking more like 14-15)The reader (I'll refer to them as she/her, but you can make it gender neutral) has really bad insomnia so every night, she would be pacing around, doing anything and everything to make sure no dark thoughts take over. Usually, none of the LOV would bat an eye, but considering the fact that she's a child, they feel sympathy, so they indirectly try to get her to fall asleep. Like, sending her on extra missions (always with protection of course) or changing her normal tea with sleeping tea, or maybe just straight up telling her to sleep."

Genre: Comfort

Word Count: 2,291

Tags: @yuki-osaki @liviitehe @iamsoftsodonttoucheume-blog

a/n: Thanks for the request sweetie! I hope you like it~

Wrote this while listening to a Shinsou playlist on Spotify and it was pretty chill to listen to, if y’all want the link you can comment or dm me and I’ll send it. Something different, but I like how it turned out. It's twice as long as I thought it would end up being, but I think it fits. It's a comfort story that I hope you guys will read even if you don't normally read stuff for the villains. I really like it, I hope you guys read it if you need some comforting. Enjoy~

Like a lot of people, I don't have the nicest thoughts. Most nights, I'm trying everything to block them out and find the sweet release of sleep, whether it's trying to consciously think of other things to block them out, escaping out of my sheets to pace or run in place inside this small room I was given, or getting up to get a snack. Unsurprisingly, none of it works. The rest of the League constantly tease me about my dark circles making me look more villainous all I do is smile, because at least it means I'm part of something now. I would ask them to get me something to busy myself, like a sketch book or a notebook to keep me busy at night, but they aren't my parents; they have no obligation to take care of me and they've already give me a roof over my head and a bed to sleep in.

Little by little, the perceived barrier between us broke down before I realized it.

It started when I took one of my late night trips to the kitchen only to see the light on already. Toga's crooked but innocent smile beams up at me as she twirls a knife in her hand, leaning against the counter. "You're up too, hmm~? Wanna take a trip with me?"

We ended up shrugging on our jackets and masks, walking into the dark, brisk night to the nearest grocery store. "You waited until 2 AM to get pomegranates?" I raised an eyebrow at her zipping straight to the produce section of the market.

"I didn't wanna go alone~" Toga casually responded in her singsongy voice. "A little girl like me shouldn't be out alone at night. Besides, late night shopping in a practically empty supermarket is the best time to go. It's super creepy!" She giggles, filling a plastic bag with three large fruits.

We returned to our hideout and she asked me to help her de-seed them. I slide in next to her, taking the knife out of her hand. Not like I had anything better to do. What was I gonna do, sleep? Sure, okay.

She sliced the fruits in half and held her hands over a large, empty container, using just her hands to push the seeds off the bitter white core, humming to herself. "Are you sure there isn't a more...strategic way to do this?" I asked, raising an eyebrow at the mess she was making of her hands.

Toga just giggled and held my stare with her cat-like yellow eyes. "When it gets all over your fingers, it kind of looks like blood doesn't it?" She shivered in ecstasy as she licked the scarlet juice running down her hands and the knife she cut them with. "Mmm, so sweet."

While I continued, trying to avail to be as clean as possible, taking sips of the tea she made for us while we work. I chanced a few tastes myself, chuckling at my own hands. "You're right, it looks like we've commit murder."

"Right?" she chirped with the widest grin, "Isn't it fun?"

I made a better point to get more juice on my fingers before curling my fingers grossly towards her. "I want your heart, Toga. Give it to me!" I growled.

She giggled and held one of my wrists so she can lick some of the juice off. "Too bad you can't have it."

After we finished gathering the seeds into the bowl, we sat on the couch, munching on them by the handful and finishing our drinks. My eyelids kept drooping as I drank my tea.

"We should go on adventures more often," Toga purred as I near the end, taking my cup, laying me down, and covering my body with a blanket before petting my head. Her voice singing, "Sleep well, (Y/n)" was the last thing I heard before drifting off. It was the best night's sleep I'd gotten in a long while.

A few days later, Kurogiri stopped me from heading to bed while the rest went off. "I heard you and Toga up late a few nights ago. Why don't you help me clean up before going up?"

I agreed, mostly because I would be awake with my thoughts anyway. He had me shining his glasses, climbing up a ladder to dust the top shelves of his bar, wiping down the counters, and organizing his liquor.

"Have some of this, child." He set down a cup of tea and saucer on the counter while I was organizing his top shelf liquor, the clock flashing 1:57 AM. "You've been a big help."

I climbed down carefully and stare down at the translucent, peach colored liquid carefully.

He noticed my cautiousness. "How are you adjusting?"

I tilted the cup around, swishing the liquid around before holding it up to my lips. "It's better than where I was before, thank you."

"I'm glad you're settling in and getting along with the rest."

"It's just Toga so far." I sipped a good portion of the hot liquid, easing down my through smooth as the honey I can taste that he added.

"It'll take time for the others to warm up to you. Shigaraki and Dabi especially don't take to strangers that easily, but they'll come around." His cold, portal enclosed hand rested on my head. "We're happy to take you in as our family, (Y/n)."

I smiled at his assurance of me, nodding in gratitude, but still hesitant about feeling that I fit in here.

We talked for a while more until I finished his tea and he sent me off to bed. Though reluctant - I even offered to do more cleaning up to keep myself there - he insisted I leave. I trudge to my room, the exhaustion in my bones and muscles more apparent than usual. I know this old trick; even when I'm fatigued, my thoughts still keep me up. But as I ease under the blanket and close my eyes, I feel myself pulled down into sleep without interference. I started thinking there was something in the tea.

It took a while for Shigaraki to come around, as Kurogiri said. He heard the rustling of me rolling around in bed on his way back from getting a glass of water from the kitchen. "Hey, you still awake?"

I turned over and sat up. "Am I bothering you? I'm sorry-"

"You wanna come play games with me?" It was an unexpected question. He never talked much to me so I figured he wanted to keep his distance.

But I still agreed, ending up in his dark room where only the TV cast its artificial light over us. He pulled up another pillow for me to sit with him, leaning back against the mattress and box-spring stack. He resumed his game, some kind of RPG with amazing art and storytelling. The main character had jet black hair and traveled with three other guys of varying talents and personalities. They seemed to have a great relationship together as they trekked across their virtual world in a fancy car. (1000 brownie points if you know which game i'm referencing)

There was a hilarious part in the game where the crew rode on the backs of these fluffy, yellow birds that were the size of ostriches. "What's the point of this part?" I asked curiously.

Shigaraki beamed at the screen, his chapped lips spreading in joy. "It's just something you always have to do in these games."

My eyes remained glued to the screen. Shigaraki wouldn't ask me if I wanted to play after one time, which I appreciated. I'm not too good at playing games, I prefer watching other people play them from the sidelines. I followed the complicated story line, impressed with how fleshed out the world is, the detail in the art, and the power system interface. If I were better at gaming, I'd understand how amazing it would feel playing it; I was immersed in it even as a spectator.

The game got to a cave-crawling segment. The eased up voice acting, ambient noise, and dimmed lighting made my eyes heavy. I didn't want to fall asleep in Shigaraki's room, but I also knew that I wouldn't be able to sleep if I went back to mine.

"You can sleep if you want. Get comfortable."

Though he didn't particularly use a motherly voice like Kurogiri, I understood he was trying to come off the same way. I ended up laying on my head on my pillow, sprawling onto the floor on my stomach, the noise of the game slowly lulling me off to sleep. In the morning, I would wake to a blanket pulled over my body. It somehow became a weekly occurrence; we wouldn't talk to each other, but the silence was comfortable. It was reassuring that I didn't always need that strange tea to put me to sleep.

Late nights with Twice are probably my favorite. He's like a huge dad, or much older big brother. I connected with him on a more emotional level than the rest. If I found myself in the kitchen rummaging for snacks, he'd come up and pick out a bunch and sit us at the table with some tea.

"I have trouble sleeping too sometimes," he admitted, popping some chips in his mouth. "I was lonely before I found these guys. I had no one but myself, and the many versions of myself weren't the most forgiving on me either."

I stared down at my glass of warmed milk. "So your thoughts were actually told out loud to you all the time?" I whispered softly.

"Yup." He blinked before waving his hands in front of his face wildly. "But that doesn't mean I had it worse than you, that's not what I'm saying at all! Your problems are just as valid and important and-!"

"It's okay, I understand."

He offered a sympathetic lopsided smile. "I know you've been through a lot, kid, and it probably feels like a lot and nothing at the same time. The times when it feels like a lot will hurt, and that's okay. You'll get through it and grow up to deal with it in your own way. And there is a light at the end of the tunnel, believe me. You can't see it now, but it's there. Keep fighting through it." He touched my hand over the glass. "I'm here for you, we're here for you."

I felt like crying, suddenly choked up by the bitter nostalgia of missing my parents. "You'd be a great Dad, Twice." I tried to cover for my tears and unsteady voice by clearing my throat and rubbing my eyes.

He hummed in response. "I've always wanted a kid. Things never ended up that way though."

I found myself finally sobbing at his misfortune piling on top of mine. "That's really shitty actually," I choked out.

He handed me a tissue to wipe my face with. "Let it out, kid. Sometimes it's good to just cry it out."

And I did, until I finally sobbed myself to sleep at the table, and Twice picked up and returned me to my bed, tucking me in like the soft dad he should've been.

Dabi remained the hard nose one, keeping his distance and looking down on me. Like Shigaraki, walked by my room while I was tossing around, but he stood over my bed. "Hey. If you don't go to sleep, I'm putting you to work."

Put me to work he did, sending me out to fetch him snacks, cards, or cigarettes. Once, he decided to join me and we ended up on the roof of our abandoned building after coming back from the convenience store. The stars already dusted the sky as Dabi lit the cigarettes with his blue flames just for fun, watching them disintegrate into ash in front of his eyes. I never knew how to get him to open up, he's too gruff for me to start a conversation with him, so I stuck to being mesmerized by his flames.

"What's on your mind that you can't sleep, kid?" he finally asked, breaking the awkward silence and cutting off his quirk to stare me hard in the eyes.

"N-Nothing." I hated to admit it, but I'm scared of Dabi the most. Both him and Shigaraki can end my life in a fraction of a second, but Dabi overall has the scarier aura. "Just...thinking."

After a few more moments of braving his stare, he looked up. "Yeah, we all do that a lot, don't we? Us damn human can't help but think. It'd be nice if we can pull the cord sometimes, yeah?"

"I guess," I answered carefully.

He studied me again out of the corner of his eye before flickering back up. "Do you ever think that's why none of us survive well alone? We need other people to distract us all the time because then we'd get stuck in our heads, and we all know how dangerous that can be if we're stuck there for too long. It never ends well." He adjusts himself, placing his hands behind his head to rest his neck. "We all got demons, kid. It's what makes us stronger, but you gotta grow from them first. And I guess that's what the rest of us are for, so if you need us, you know what to do."

It was with Dabi that I realized he had a point. I'm not alone anymore and none of the others seem to think of me as a stranger or a stupid little kid they have to be responsible for. I'm a member of this group now, I should rely on them as support, just not in the traditional way.

How I ultimately ended up here doesn't help any of the awful things I tell myself or what happened to me, but being here definitely helps, especially when I'm surrounded by people who subtly share solidarity with for now.

#my hero academia #boku no hero academia #league of villians x reader #dabi #toga himiko #mha twice #kurogiri #shigaraki #request #platonic #gender neutral reader #comfort #league of villains imagine #league of villains scenario #mha x reader #bnha x reader #mha fanfiction #bnha fanfiction

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woman-loving · 3 years

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Lesbian Socialising in 1940s-50s Sydney

Selection from Unnamed Desires: A Sydney Lesbian History, Rebecca Jennings, 2015.

Much of the international literature in the history of lesbian social practices has prioritised commercial spaces such as bars and nightclubs, suggesting that these venues represented the international standard of lesbian socialising in this period. Focusing primarily on large British and American cities, historians have charted the emergence of developed commercial lesbian subcultures after the Second World War.[4] However, the lesbian social scene in Sydney in the immediate postwar decades differs significantly from the subcultural patterns described in these accounts and complicates the accepted picture in a number of interesting ways. Available oral history evidence suggests that lesbians only appeared on Sydney’s camp social scene--as the early lesbian and gay bar culture was known--in significant numbers in the early 1960s, when they began frequenting bars and cabaret clubs alongside camp men. Prior to this, much of the evidence points to a unique lesbian scene in Sydney, centred on private networks meeting at house parties and later in social groups. The predominance of private rather than public patterns of socialising in the immediate postwar decades had a lasting impact on the development of lesbian social practices and subcultural identities throughout the period being explored. Individual women’s use of both public and private space was shaped in a variety of ways by behavioural norms defined in these private social spheres. Moreover, given that, as Elizabeth Kennedy and Madeline Davis claim, ‘community is key to the development of twentieth-century lesbian identity and consciousness’, these spatial practices also had a significant impact on notions of lesbian identity in the city.[5] [...]

Lesbian socialising in the 1940s and 1950s Evidence of a lesbian commercial bar scene in Sydney piror to the 1960s is scarce and seems to point to a limited lesbian presence within a larger, predominantly male, camp scene. A small number of camp men recall occasional pre-1960 encounters with lesbians on the commercial camp scene. Dennis, who frequented the camp male venue Rainard’s Restaurant on King Street in the CBD in 1950s, believed that the two women owners were lesbians. He recalled:

“Rainards was another place we used to go, too, and that was run by, looking back now, two gay women. It was down in, appropriately, in the Queens Club, downstairs. And there was a Hungarian countess that was on hard times with a black cat playing the piano.”[6]

Another narrator suggested that the attendants to the drag queens at the grand artists’ balls of the 1950s were lesbians in drag. Some lesbians also mingled with the bohemian underworld of Kings Cross in the 195s, socialising in cafes and hotels with artists, camp men and Eastern European migrants. In 1955, the sensationalist tabloid newspaper, the Truth, claimed:

“Police told Truth this week that dozens of mannishly-dressed lesbian couples can be seen in Darlinghurst Rd., King’s Cross, every afternoon and night. They live as married couples--’husband’ and ‘wife’ and practise their disgusting perversions in secret. Something, however, they break out. Recently there was a fierce brawl in the lounge of a fashionable King’s Cross hotel. Two female perverts fought bitterly over the favors of a third woman.”[7]

Such descriptions suggest that a small number of ‘mannish’ or tough lesbians, some of whom where known to the police for minor offences such as brawling, vagrancy and indecent language, enjoyed a presence on the bohemian and camp male scene in the 1950s. However, oral history interviews with women who were attracted to other women in this period demonstrate that many women were not aware of the existence of commercial camp venues in the 1940s and 1950s and did not frequent them. [...]

Research into lesbian bars and commercial venues outside Australia has shown that lesbian bar scenes had become established in many American and British cities by the 1940s. [...] However, these large metropolitan centres may not be representative of a broader international trend--lesbian social practices in smaller cities and non-urban areas undoubtedly differed significantly from this model. While London and New York both had populations in excess of eight million in 1948, Australia’s two largest cities, Sydney and Melbourne, recorded populations of 1,484,004 and 1,226,409 respectively (in 1947).[11] Lucy Chesser’s work on Melbourne subcultures in the 1960s suggests that these population differences had a significant impact on the nature of lesbian socialising in Australia and that a lesbian commercial scene was only beginning to develop in Melbourne in the late 1960s. [...] Prior to this, Chesser claims, the only venues available to lesbians were a coffee shop in the city centre, which operated in various locations in the 1950s and 1960s, and a small number of predominantly male, heterosexual hotels (public houses), in which lesbians were tolerated on Saturday afternoons.[13] This pattern reflected that in Sydney, where a lesbian presence was rarely noted on the camp scene in the 1950s or earlier and women only began to join a mixed camp bar culture in significant numbers in the 1960s.

While the emergence of a commercial scene in the UK and US in the decades after the war in part reflected the growing social acceptability of public drinking for women, postwar Sydney was notable for its restrictive female public drinking culture and this also impacted on the nature of the lesbian scene in the city. Licensing laws in place in New South Wales from the First World War until 1957 enforced six o’clock closing of public bars, and these had a significant impact on gendered conventions of public drinking. Legislation explicitly prohibited women from drinking in public bars, confining them to separate saloon bars or ‘ladies’ lounges’. As the restrictive licensing hours began to have an influence on drinking habits, publicans increasingly adapted the layout of their premises to accommodate the large numbers of men who frequented bars for high-intensity drinking between five and six in the evening. The ‘six o’clock swill’, as it became known, required long bars and large areas of standing room to enable crowds of male patrons to fit into the bar and order drinks quickly. In this postwar drinking culture, saloon bars were increasingly sidelined and the practice of drinking in hotels became a highly masculinised pursuit.[14] While lounge or saloon bars continued to accept women patrons in some hotels in the 1940s and 1950s, cultural assumptions about hotels as masculine spaces rendered hotel lounges largely unacceptable for the majority of women and those who did frequent them were regarded as ‘rough’ and unfeminine. It was not until the reform of licensing laws in 1957 that the prohibition on women drinking in public bars was lifted and hotels began to be designed to accommodate mixed drinking in pub lounges. In the meantime, however, the cultural coding of hotels as masculine spaces had become firmly embedded in social norms and women found themselves unwelcome in bars for decades after the legislative change.[15]

Lesbian socialising in Sydney was therefore primarily located in alternative sites in this period, reflecting broader gendered leisure practices in postwar Australia. Same-sex attracted women forged private friendship networks centred on sports clubs, work in occupations such as the army, and artistic circles based around theatres and musicians, and in this period it was these patterns of socialising which dominated the lesbian social scene in Sydney.[16] Beverley and Georgina, who met in the years after the Second World War, recalled a diverse social life in the 1940s and 1950s. The couple met at a picnic organised by a mutual friend and, after building a network of about eight or nine lesbian friends, socialised at picnics, tennis clubs and each other’s houses. The women would also go on holiday together, staying in motels or renting an old shack on the Central Coast. In addition to this circle, they were part of a mixed camp social scene. Georgina recalled that they socialised ‘with the boys as well, the boys were all in, we knew a lot of the boys, a lot of them. We used to go to their parties and everything else, because we were always very friendly with the boys.’[17] Other sources also suggest that house parties provided an important and long-standing alternative to the bar scene for lesbians in the immediate postwar period. In his semi-autobiographical novel At the Cross, Jon Rose describes a camp party at Potts Point in Sydney’s eastern suburbs during the Second World War, at which lesbian painters and actresses mixed with drag queens and camp window-dressers.[18] Large-scale house parties on long weekends such as the Queen’s Birthday weekend were an aspect of the male camp scene in the late 1950s and early 1960s and it is clear that some lesbians attended these.[19]

The importance of friendship networks and the difficulties for women in socialising in a public bar scene suggest that house parties and outdoor activities may have been central to the lesbian social scene in Sydney in the immediate postwar decades. This tendency to socialise in small networks of friends, rather than as members of a larger lesbian community, shaped the models of identity developing in Sydney. Small private friendship circles tended not to evolve rigid rules of image and behaviour to which newcomers were expected to conform. Instead, women who socialised with circles of lesbian friends in this period typically describe themselves as ‘discreet’ and conforming to wider societal norms. Margaret, who went out to restaurants with her girlfriend in the late 1950s, described their appearance as ‘nice, well-dressed secretaries’ and herself as ‘like some respectable housewife’, while Rae, who worked in the city, recalled that she and her friends socialised in dresses, hats and gloves.[20] Coral also remembered that, in the late 1950s, she and her girlfriend: ‘Didn’t wear trousers or anything like that, of course, dressed very, very nicely’ at the mixed house parties they attended.[21] There was limited interaction between different friendship circles in this period, when it was often extremely difficult to locate other lesbians, and there was therefore little opportunity for the development of a larger, collective lesbian identity or subculture.

#lgbtq history #lesbian history #australia #rebecca jennings #sydney

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tinadesignstudiob · 4 years

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week1.1

<1>lecture:

ihi：psychological behavior；individuals essential force/power/charm emanates through the creative process

——how does this work derive its impact?

wehi: emotional/ internalized feelings in response to ihi

—— how does this work make you feel?

<2> daily exercise：

I chose cat food as my subject and described a picture of the homeless engorging pet food on the street. No one seems to care about what do the homeless eat and where could they get any food. Our parents always say to eat less junk food while for the homeless, even junk food is a better choice since that is the food for people rather than animal.

<3>Reading:

Here are some key facts about inequality in New Zealand I find in the reading.

-New Zealand is now a country where, across all adults, the top 1 per cent owns three times as much wealth as the poorest 50 per cent.

-From the mid-1980s to the mid-2000s, the gap between the rich and the rest widened faster in New Zealand than in any other developed country

-The average household in the top 10 per cent of New Zealand has eight times the income of one in the bottom 10 per cent

-The top 1 per cent of adults own 16 per cent of the country’s total wealth, while the bottom half put together have just over 5 per cent. (Inequality of opportunity, status, rights and participation

Not only does income determine people’s ability to afford the basics of life, its absence also limits their access to opportunities, experiences, security and participation in society.)

-New Zealand has between 120,000 and 260,000 children living in poverty (depending on the measure used), 12 and one of the world’s worst records of child health and well-being, with alarming rates of preventable diseases amongst children.

-caregivers were poorly paid precisely because their industry is staffed predominantly by women. Often the skills needed in these kinds of occupations, such as nursing and childcare, are not given the same weight as ‘male-type skills’.

-The unemployment rate for Pacific people in the past three years has consistently been two to three times higher than the general population’s rate; in the words of a recent Salvation Army report, ‘Pacific people appear to have been hit more severely by the effects of [the global financial crisis] than other New Zealanders.’

-Around 790,000 New Zealanders below the poverty line, amongst whom more are women than men, and a great many are children. Many elderly people also live close to the poverty line, in addition to those who are below it. And against these figures can be set the 29,000 people who hold 16 per cent of New Zealand’s wealth or the 13,000 New Zealanders who have incomes over $250,000.

<4>Visual Rhetoric:

Visual rhetoric, in a nutshell, refers to how we are persuaded by the things we see. It refers to how we interpret and make meaning out of the subject we want to express. It’s “observing, in any case, the available means of persuasion.”

BASIC DESIGN PRICINPLES:

1. Color:

monochromatic: tints of a single hue

complementary: opposite

Analogous: right next to each other on the color wheel.

2. typography:

3.Contrast: Contrast occurs when you place two elements in opposing ways. This helps draw the eye and create a focal point within your design.

4.Hierarchy:

Visual hierarchy is the arrangement or presentation of elements in a way that implies importance. Thus, it provides a direction for your eyes to move (from most important to least important).

Here are some ways to include hierarchy in your design:

Alignment

Color & contrast

Leading lines

Negative space

Perspective

Proximity

Repetition

Rule of odds

Rule of thirds

Size & scale

Spacing

Typographic hierarchy

5. pattern/shapes:

Shapes help create a path for the eye to follow as it scans the poster. Shapes can also effect moods. Softer shapes with curves, circles and organic lines can create a more fluid and relaxed mood. Triangles, squares and other geometric shapes with strong, sharp edges can create an entirely different mood.

6. balance:

<5> research of posters:

Source: Manifesta Utilità https://www.behance.net/gallery/2598519/Manifesta-Utilita-human-rights

In my opinion, this series of posters about gender inequality is full with simple while powerful ihi. The contrast between men and women facing different situations in their life is vivid and clear. The color composition and good use of positive and negative space make it logical and believable since It’s more like a clear description of social facts rather than emotional expression. Thus I feel unfair and unsatisfactory towards such inequality between men and women.

source1: Rio de Janeiro, RJ, Brazil; http://ctrlpels.blogspot.com/

source2: Anti alcoholism posters Hussein Reslan

https://www.behance.net/gallery/20173543/Anti-alcoholism-posters

Ihi: The designer uses the negative space to shape a frame of a wine bottle which also looks like a gorge. Its strong visual hierarchy is leading you firstly noticing the man and his baby then to the bottle of wine. The composition of this picture is simple but impressive.

wehi: the poster makes me feel sad, dangerous and even a little bit regretful even if I do not have drinking problems. It’s just sad to see the man is get away from his family and make the viewer desirable to change, to quit drinking.

source: Gunshake: An Anti-racism poster; Dialogue Design studio https://www.behance.net/gallery/2093108/Anti-racism-poster

ihi: the wild red background color is very prominent and also a metaphor of blood. Contrast here is not only about the black and white colors, but also the two friendly people who are holding hands while actually want to kill each other. Such an excellent metaphoric imagery.

wehi: the red color and guns make me feel sad, scary, worried, uncomfortable, I want to stop them, to stop racism and get rid of the scary situation to real friendship.

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tustinjomimori · 7 years

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Chap. 1- Eraserhead more like Sleepyhead

This is my first fic since...since Free! first was a thing.

Boku no Hero Academia

Aizawa Shouta/Reader

T+ rating

I’ll re-post this to AO3 once I’m finally sent an invite. Will probably edit it before re-posting as well.

“Write drunk, edit sober”??? More like “write drunk, edit drunk”!

NOTES:

Reader is probably around 25 y/o (my age lol)

I’m trying to keep the reader as gender neutral as possible, but please let me know if I slip up!

Also, please let me know if I slip up with the tenses or if anything seems off to you!

This is pretty self indulgent but I’m hoping other people can enjoy it as well

ALSO ALSO ALSO!!!! Please help me name this because I originally had it saved on my desktop as “My greasy boyfriend who does a lot of weed and needs a nap” but that’s no good !!!

Happy reading !!

Shouta Aizawa is maybe....probably...definitely the most attractive man you have ever met in your life. You think maybe he isn’t conventionally attractive, what with his large eyes that are mostly whites, tired and bloodshot. His appearance is generally disheveled and he has dark circles under his eyes every time you see him. Nonetheless, you find yourself drawn to him, daydreaming about what his hair would feel like between your fingers, whether his lips would be chapped and rough or soft and pliant under your own. And that stubble that was scattered across his gorgeous jawline...would it tickle or scratch at your own soft face as you moved against each other?

You hum to yourself as you imagine it, sitting at your desk in the teacher's lounge of U.A., head propped up against one hand while you gaze blankly at the computer before you. You’re a teacher at the school, focusing on emergency and natural disaster response courses, first aid, and some general education. You also help out in the nurse's office when needed. Of course, you’re also a small time hero as well. Most students have no idea who you are when they first meet you, save for the green haired kid in Aizawa's homeroom class who seemed to have a surprisingly extensive knowledge of yourself and your few accomplishments. You found it rather endearing, albeit a tad creepy, especially since you never really thought of your quirk as super useful in the realm of heroes.

You can manipulate energy; send small bursts of it through your hands which could do a small amount of damage to an opponent, more if you hit one of the many pressure points you had thoroughly memorized. You could also help speed up the body's recovery process, though not to the extent that Recovery Girl could. Overall, it was a useful quirk for emergency and disaster response but you find yourself lacking confidence when it comes to combat; you can only really fight in close quarters, but due to the nature of your quirk, you’re also able to draw energy from around yourself to boost your own stamina or that of your teammates.

In any case, you love your job at the number one hero school. Your students, second years, are bright, talented, and show you so much potential every day. You’ve made quick friends with most of the school's faculty as well, which has helped make the job all the more enjoyable.

But damn, if your crush on the black haired man wasn't distracting, frustrating, and all around something you wish you could forget about.

Friends and coworkers. That's all you and Aizawa are. And Aizawa might not even consider the two of you friends if you were being honest with yourself. The only time he really seemed interested in what you had to say was when you were talking about your cats, so him wanting anything beyond friendship with you was, in your eyes, entirely outside the realm of possibility. Not only are you plain in appearance and in quirk (or so you have yourself convinced), he just doesn't strike you as the type of guy to be interested in romance. Besides, you’ve already experienced enough heartbreak in your short life, thank you very much, that the fear of rejection you harbor squashes any notions of confessing to your fellow teacher. Things were fine as they were and you would get over him, simple as that.

---

Suddenly you’re awakened from your daydreams when an announcement over the school's intercom system makes your blood run cold.

"THERE HAS BEEN AN ATTACK AT THE USJ. I REPEAT, VILLAINS HAVE ATTACKED THE SCHOOL'S USJ FACILITY. WE BELIEVE THAT THEY HAVE TAKEN A CLASS OF FIRST YEAR STUDENTS HOSTAGE. THE NUMBER AND QUIRKS OF THE VILLAINS IS YET UNKNOWN. ALL AVAILABLE STAFF, GATHER AT THE GARAGE AND PREPARE FOR COMBAT. ALL STUDENTS, PLEASE--"

You can't even hear the rest of the message as you stand from your chair and dash out into the hallway, the message that a group of first years has been taken hostage ringing in your ears and letting a ball of dread that feels like an ice cold rock settle in your stomach.

You make it to the garage where a number of emergency vehicles are being prepared to transfer you and your fellow-hero teachers to the site of the attack. Your mouth is dry as you fret over how long it will be until the vehicles are ready to go, how long it will take to arrive at USJ.

God, will the kids still be alright by the time you all arrive?

You haven't been a hero for long, just a few years, and now that you’re a teacher, the time you have to patrol has been cut short. You’re used to dealing with emergencies, but your specialty is in responding to accidents, natural disaster response, and small time villains who can be fought at close range. Sometimes you resent the fact that your quirk doesn’t give you the kind of combat readiness that other heroes have and the thought that maybe you would be useless in the approaching confrontation flashes across your mind.

You wring your hands anxiously when you feel the truck you’re sitting in start up. Next to you, Midnight seems to have noticed your nerves and puts what you assume is meant to be a reassuring hand over your arm. She gives it a quick pat and mutters,

"It'll be fine. All Might is already on his way. Aizawa and Thirteen will hold off the villains until then, so don't worry."

Fuck, you had forgotten about Aizawa. It was his class at the USJ being attacked, of fucking course it was. Placing a steadying hand against your own pounding heart, you focus on your breathing as you try to convince yourself that Midnight is right. Things will be ok. Aizawa and Thirteen are more than capable. They’re both incredibly strong and would never let any harm come to their students. And then there’s All Might, the strongest hero and symbol of peace. You trust him, as did everyone really, and you really HAD to trust in him in this situation.

You murmur a soft “yeah” in response to Midnight's reassurance, going back to chewing the inside of your cheek and trying to calm your nerves when the truck comes to an abrupt halt outside the USJ.

You quickly jump out of the truck, followed by your fellow teachers, and race towards the entrance of the building. The first thing you notice are a handful of students, and god do they look young and scared out of their minds. But they’re safe, you realize after a quick scan of the area in front of you. At least those at the entrance to the facility are fine, probably because they had been protected by your coworker, Thirteen, who you notice is decidedly NOT fine. The man is lying face down on the ground between a couple of girls, who, judging from their faces, probably believe him to be dead.

You can hear Snipe firing off a number of rounds, presumably attacking the villains down below you, as you kneel on the ground next to the girls and your coworker.

"Hey, you two doing ok? It's alright now. What happened to Thirteen?" You’re pleasantly surprised to find your voice is level, adrenaline and experience kicking in and forcing you into Hero Mode. The girls both sigh with relief when you indicate that Thirteen still has a pulse.

"He's alive." You state. "I'm going to heal him as best as I can, but he'll still need proper medical attention. Are any of you students hurt?"

"I....don't think so.... Well Deku might be, he's always getting hurt but...." One of the girls, a brunette with eyes like shiny dinner plates trails off.

"Sensei!" You hear a call from behind you. It’s the frog girl from class 1-A who always seems so calm and cool. She looks none the worse for wear, no physical injuries that you can see, but the look on her face makes you swallow that lump of dread once again.

She indicates to something laying on the ground behind her, something that looks vaguely human and also vaguely like a bag of meat. You continue to channel energy from your surroundings into your body, then transferring it again into Thirteen’s beaten body, healing him to the best of your ability, while you study the black lump before you.

You don’t even recognize the mess of a man before you until the frog girl speaks up again.

“It's Aizawa-sensei……” she looks back at the lump, at Aizawa, furrowing her brows with concern and continues,“He's really bad off…. He protected me and everyone and …..”

You vaguely recognize the tears welling in her eyes while they appear in your own. Blinking them back, trying to think rationally, you examine Thirteen before you. Deeming that he will be fine until he can be brought to a proper medical facility, you whip around and sprint the short distance to Aizawa, body splayed out unnaturally on the ground.

You gingerly move the man's body around, trying to determine the extent of the damage he’s taken. One arm is missing all the skin around the elbow, both arms seem broken in several (you try not to think about the number of breaks) places, and his face is almost unrecognizable, blood drying on every surface of it and matting in his hair.

Behind you, you can distinctly hear Present Mic attacking the villains with his yell, as well as the booming voice of All Might as they, you assume, fight off the last of the villains. You can't focus on that now though, not with the way Aizawa is bleeding out and probably dying before your eyes.

Taking a deep breath, you place your hands above his prone body, drawing in as much energy from around you as you possibly can, transferring that energy into the broken body before you and praying his body will heal enough to keep him alive until he can be transferred to a hospital. In the back of your mind, you remember that there’s only so much energy you can store within or pass through your body to heal others before you run out of steam and pass out, unable to use your quirk for at least half a day.

You've never had to heal someone so close to you before though, and on top of the villain attack targeting the kids setting you on edge, you barely have the sense to pull away from Aizawa when you realize you've almost reached your limit. You notice you’re shedding tears and hurriedly wipe them away, probably staining your face with your crush’s blood in the process, before reexamining the man before you.

He should be fine, right? Fuck, you hope so, but he looks just so broken that you aren't completely sure. Your anxiety is getting the better of you at this point though and you’re about to start healing him once again when you feel a hand on your shoulder.

You turn to see Present Mic, hand gently squeezing your shoulder. His face is filled with concern but whether that concern is for you, for Aizawa, or the whole situation at hand you can't be sure. He gives you a smile, a forced one that looks nothing like his usual grin, and says in a shakier voice than you've heard from him before,“Hey there kid, you're doing a great job but I know you've almost passed your limit. We can't have any more of teachers down for the count than we already have, you know.”

His gaze drifts from your face, which you’re sure is doing all it can to betray your stupid feelings, towards Aizawa and you remember that the two are close. Aizawa would likely never label them as ‘best friends’ but you think the phrase fit the two pretty well. Of course you aren't the only one concerned about him, you think to yourself.

“He’ll make it….right?” Mic asks, his eyes looking somewhat desperate.

You swallow, though it’s difficult because your mouth is thoroughly parched.

“I can still heal him some more….” Your voice is wavering and if Mic hasn’t already picked up on your stupid crush, the tears coming back to your eyes and the way your voice shakes is sure to clue him in on it.

“I think the bleeding has stopped but with the way his face is looking…….there could be possible brain damage.” You finish in a small voice.

Mic’s eyebrows furrow in concern once again, but it’s then that you remember something important.

You’re not just a healer, not just a hero, and not just someone with a stupid crush on your stupid sexy coworker. You’re a teacher and you’re surrounded by students who are probably scared shitess and who need you.

You grab the hand Mic still has resting on your shoulder and use it pull yourself up off the ground. Looking around you, you see that there are no villains left standing, and you can faintly see the huge form of All Might standing in a cloud of smoke down below you. You assume he and the other teachers have fought off the present danger and with a sigh of relief, and a quick thank you to Mic, you turn to gather and usher the surrounding students outside, where you can see police lights flashing and officers waiting.

You’re exhausted and you've run out of the ability to channel more energy into yourself for the rest of the day. You feel light headed, but you still go ahead and make sure each of the students is fine, checking for injuries and also making sure to let them know that should they need someone to talk to, they can always come to you. Checking in on the students is probably the only thing keeping your anxiety over Aizawa and Thirteen (but mostly Aizawa’s) conditions at bay.

At one point you see a parade of stretchers move past you, one holding that green haired first year, another holding a figure covered with a blanket. You assume this to be All Might in his true form, hidden so that the students don't start to get an idea of who that skinny man sometimes seen wandering around campus truly is.

Finally, you see Aizawa being carried into an ambulance. You want to offer more assistance in healing him, All Might as well, and the boy, but you physically can't and Mic was right, the last thing your fellow teachers needed was to deal with you pushing yourself past your limits and having to put you on a stretcher as well.

You ride back to the school with the students, and Present Mic sits next to you, filling you in on all that happened while you were busy healing your colleagues. You feel sick, and not just from your depleted energy.

“I was so scared.” You confess to the blonde. “So fucking scared. For the kids, for Thirteen and Aizawa…. I lost my head. I couldn't think at all….. I've never been in a situation like that before and I…”

You trail off, looking out the window and catching your reflection in it. Your eyes look tired and yeah, you definitely have Aizawa’s blood smeared across your cheeks.

“Heroes… Can't be ready for any possibility, try as we might.” Mic says, his voice low and soft, probably in an attempt to soothe your nerves.

“We forget that the ones we love,” Your heart jumps at that wording. Mic definitely knows but you’ll deal with that later.

“That they aren't immune to the evils of the world. And we can't always be there when they need us, that's unrealistic. It's not something we often have to deal with, our family and friends being targeted, but it happens and maybe we all needed this wake up call.”

You glance sidelong at Mic and see the crease between his brows. He’s chewing on his upper lip and his eyes are just a bit wet.

“I thought he was invincible too.” He admits quietly.

You ride the rest of the way to the school in silence and as soon as the bus doors open, Mic is already sprinting towards Recovery Girls office.

“I'll stay with the kids!” You call after him. “Text me and let me know how they're all doing!”

The rest of the day is a blur. You make sure to check on your own class, announcing that they should use the down time they were being given to study before returning to Aizawa’s classroom and trying to distract his kids from the ordeal they just went through. One of the girls in the class offers you a package of baby wipes to clean the blood off your face with, which you gratefully accept. While wiping away at your cheeks, you suddenly feel a rush of shame upon realizing that you've presented yourself in such a state in front of your students and coworkers. The sight of blood on the wipe in your hand, however, reminds you again of Aizawa and you glance anxiously at your phone, awaiting a call or text from Yamada.

You finally get a text from him, telling you that Aizawa is OK. He isn't great, obviously, and he's been transferred to the hospital after Recovery Girl worked her magic. Now he’s being prepped for surgery, but he’s alive and you know Mic shares in your relief. You almost start crying again upon reading this, but then you get another text telling you of All Might, Thirteen, and the boy, Midoriya’s, conditions. They’re all stable and you announce it to the class before a message from the principal gives all the students the go ahead to leave school early. He's also decided that school will be cancelled the next day and for that you’re infinitely grateful because you'd need at least twelve hours of sleep to recharge yourself that night.

Instead of heading straight home though, you stop at the hospital to check on your coworkers.

You immediately recognize Mic’s familiar gravity defying hairdo in the lobby and go to sit next to him.

“He's still in surgery.Thirteen too. It'll be a while, so you should go home and get some rest. I'll let you know when they’re out and how they’re doing.”

“Mm.”

You think about it for a moment. You’re absolutely exhausted, and you know Aizawa (and Thirteen, you remind yourself) is in good hands. It won't really mean anything to Aizawa if you stay or go home, so you opt for going home and getting a few hours of sleep, at least.

“I'll go, I guess….you're doing OK, right?” Yamada gives you a wobbly, tired smile, but raises his hand in a thumbs up all the same.

“I'll let Shouta know you were sooooo worried about him. I'm sure he'll appreciate it.”

You aren't sure if he’s being sarcastic or not because you’re pretty certain Aizawa would not, in fact, have any sort of feelings upon hearing of your concern, but Yamada is currently giving you what was likely his best shit eating grin despite the circumstances.

You wave it off, too tired to think on it, before reminding Mic that he needs to make sure he gets rest himself and walking back through the hospital doors towards your home.

You can't fucking wait to fall into bed, and as you approach your apartment building, brooding on the situation, you manage to find a silver lining to this whole mess.

At least with Aizawa in the hospital, the guy would be able to sleep all he wants.

#boku no hero academia #my hero academia #aizawa shouta #aizawa shota #shota aizawa #shouta aizawa

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envisionourfuture · 4 years

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A postulation of climate

Engagement:

I object to the use of the term humankind. Mankind is to man as cat kind is to cats. We do not speak of queeneries. Humankind is to speak of Anglo-Saxon-man-kind and is far less inclusive, it is effectively to say Caucasian-kind and is difficult for other ethnicities to interact with[1]. Peoplekind is not used as people refers to the individual and not the type. Man as type, man as gender, man as dominion holder and man as the keeper.

Abstract:

I usually try and work with no presumptions. Ordinarily, that means nothing determines that the answer is some particular thing, but, equally, nothing means it cannot be. There is only what fits all of the data, and possibility. It is an interesting way to work.

One of the traps is to think that because some particular answer seems to fit the data that it will be the answer. It might be but, make no presumptions as there are always either other possibilities or, more to realise. In many ways it is like chipping away at a rock to find diamonds, exposing solid truth.

As I examine an idea I turn the facets of the idea in my mind and compare with known data to see how to my mind the idea seems to fit. If it is a good fit then factual comparisons with references, review of data, and actual computations are made to see if the way I hold the idea in my mind is consistent with measurable reality. With some practice, we become adept at making these comparisons.

Sometimes, weeks afterwards, after learning just one more fact, the entire results part of the conceptual model must be remade. If you can accept that as just a part of the process, then it is completely not frustrating but actually rewarding and you can easily move forward into the new conceptual model.

Climate-change discussions that I have been involved with pre-date discussions of the ozone layer. We were very fortunate to have a well connected secondary college, one that I now sadly miss as a government casualty, but one so adept at raising the brightest and the best. The early discussion considered changes in climate in terms of the possibility Sol was shining brighter than before or, that more solar output was somehow reaching the Earth than previously, that the interspacial conditions were changed. Consideration was given to the possible effects of deforestation. Nobody that I know of then foresaw the extent of the present glacial melt or, at least it was not spoken of. The important thing was that sound methodology was already looking at the measurables.

A postulation of climate:

It has been a learning process over a number of years to come into contact with various pieces of relevant information concerning the climate. Only more recently has media become involved with coverage stretching at times to near hyperbole, and with periods of a lull in coverage in between. At first public discussion via media, many of those who remember were spurred on by memories in the victory of ozone-depleting chemicals that whatever the issue we would resolve it but, as it happens for the issue of climate it is not that simple.

The Earth's atmosphere is a complex soup, many chemicals we give little thought to and have heard little of trickle into the atmosphere and yet play their part. Only a few are well known, such as methane and carbon-di-oxide, but their role in the broader ecology is for most people not well understood. There are vast reserves of both stored within Earth's habitat, deep underground and, under our glaciers and oceans. Therein lies a part of the problem as temperatures creep even part of a few degrees, that the climb in temperature and additional melt it causes releases more of the stored gasses, which in turn is inclined to result in further melts and further releases. It would seem that if climate cannot be reasonably maintained if not controlled, then the situation has disaster written all over it. That seems to be a summary of the position and direction of public education on climate change but, that is based on opinion. There is much more information available.

Other outcomes are equally, if not more possible. I intend in the next few paragraphs to deal in the realm of possibility and expect in the next few years some of what I write may well be shown to be outside the realm of possibility with new data. For the benefit of the reader to undertake a little self-research, I have deliberately limited myself to postulation with data and facts as I remember them. I have not yet taken my models to review and comparisons of references as discussed earlier, although I will do so shortly and suggest that you may also wish to do so. The purpose is to objectify that although the media disseminates information, it is often not responsible for the rhetoric it spruiks or for its own echo, and that there is a vast amount that we still do not understand about climate and what is likely to come. The news provided to the general public is largely unscientific.

Irreducibly, the pertinent decisions we as mankind must make are barely unaltered by climate change; it is simple to show that events only dictate the priority and order by which we must work, the timeline, and not what has to be accomplished. We must plant trees for the health of the Earth and, we must develop long-long-range off-planet habitation.

What may be:

Up until recently, I was unaware of a set of data compiled by NOAA (formerly NCDC) under the heading Glacial-Interglacial Cycle[2]. My previous personal outlook only provided views of the runaway climate model, or if we are able to intervene, as many years as possible of the climate we are much familiar with for the past thousands of years. There is a video on the internet describing a possible worst-case scenario[3]. Initially, my interest was piqued by a study in deforestation that shows, by estimate, we are short 50% of the arborage of Earth. Something like 3,000,000,000,000 trees since the close of the last ice-age, and it seems obvious that such a reduction is going to dramatically reduce the environmental coping mechanisms capacity for changes in atmospheric and solar conditions[4]. The specific accuracy of either the percentage of loss or actual count is of little importance provided we agree that they are estimates provided by some scientific process. Even if both the numbers for percentage loss and the actual count are overestimated by 75% it is still a significant number. I came across the additional NOAA data while searching for more references into tree numbers and deforestation, around the search term glaciation.

The picture provided by the Glacial-Interglacial Cycle, however, is vastly different to the runaway climate model but there are still causes for concern. What if the cycle relies upon additional greening from photosynthesis in the early stages of warming to somehow turnaround the warming cycle, possibly through additional cooling evaporation due to the abundance and colour intensity of the arborage? So that once the Earth begins to warm it flips a switch and cools significantly?

There are other possibilities to consider in processes that may, or could, take place here on Earth to result in cooling. The important thing is that it is not the first time we have approached what seems from our present view to be an unrecoverable warm, release, warm cycle, and so far, in each case, it is followed by remarkable cooling. What if it is so cold for such a sufficient period that we all freeze? We have all seen sprouts grow in a cupboard so we can be sure plants will still do some growing if there is sufficient warmth even without much light, but planning for building in mile-deep sliding snowdrifts, early soft glaciations, is not progressing. In fact, it is worth noting in passing that such conditions leave very little evidence of life or civiliation to remain so; by the time of a thaw, our great, great, great grandchildren, presuming that they survive, would possibly think that they started the world new.

There are other possible processes outside the local Earth environment that could play a part and this is part of the benefit of working with no presumptions and allowing the available data to dictate the model while working from possibility, so I will pose a long series of questions, and I suppose somebody will calculate eventually what the odds are.

We note that the Glacial-interglacial Cycle page provides a graph titled "Years before present (in thousands)" with the following blurb:

Solar radiation varies smoothly through time (top, orange line) with a strong cyclicity of ~23,000 years, as seen in this time series of July incoming solar radiation at 65°N (Berger and Loutre 1991). In contrast, glacial–interglacial cycles last ~100,000 years (middle, black line) and consist of stepwise cooling events followed by rapid warmings, as seen in this time series inferred from hydrogen isotopes in the Dome Fuji ice core from Antarctica (Kawamura et al. 2007). Atmospheric CO2 measured from bubbles in Dome Fuji ice (bottom, blue line) shows the same pattern as the temperature time series (Kawamura et al. 2007). Yellow columns indicate interglacial periods. Glacial-Interglacial Cycle (NOAA, n.d.)[2]

Altogether the graph appears very regular with set cyclic motions during even, regular time-spans. We can ask what events coincide with the notable events on the graph, suggesting that those preceding a given point may be the cause and those during up until the point of recovery may assist that the events continue. In the most recent cycle we cool, and cool, and cool, and cool, right up until approximately 10,000 years ago. We can say that in all probability we were inevitably involved 10,000 years ago but, what about the several occurrences previous to that? As to the causes, it may easily be celestial in nature even as it may be Eathly. Playing possibility, we observe that the output of Sol changes over time with its own cycles, why cannot it change more so, the 100-year average could easily rise and fall making the graph operate in accordance, but then we would wish to know what was its cause. A 100,000 year major cycle of the Sun reaching well below what we currently call solar-minimum makes some sense. Perhaps, even if for a year duration the Sun effectively went out by comparison with what we are used to? There would be possibly little archaeological record of that on Earth either in rock or in ice since the day-by-day states usually accumulate to make up averages in the record by depth.

We can observe the operation of a kerosine fridge, why is the Earth's atmosphere very much different? Turn the Sun out for a year, allow the Earth to chill and then turn the Sun back on. The Sun does not have to go all the way off, just reduce below what we consider the solar-minimum. The cooling heating means that the heating near the equator is likely more pronounced moving air currents higher where they cool more and provide additional cooling at the poles. The Sun going out restarting the blast chiller cycle on full. Technically if there is a way for the Sun to go out these things are easily foreseeable. Likewise, this could have happened in the past.

We could come up with all kinds of fancy theories as to how this may happen. A once every 100,000 years a super-highspeed galaxial comet that rushes past and snaps up the magnetic flux from the solar system disturbing the output of the Sun. A one every 50,000 years event that we experience first in one direction and then another, where we are largely shielded each second occurrence due to the polarity of the heliosheath. As it is presently, we cannot account for the cause of the cycles of Sol that we are observe and cannot determine then if there may not be additional solar confluences. Think in terms of harmonies and interaction, causing changes in the output and observable conditions of the Sun.

If some event on Earth, I propose that global wildfires or some volcanological event bring to a close the interglacial period, I cannot think of much else. It may be merely the prevalence of trees that bring the glacial period's opening. If a celestial event, either changes in the output of the Sun, possibly magnetically regulated, or changes in the local interspace conditions. Eventually, if you consider, the Sun both inside up to the surface, and again outside to the heliosheath, is not much different to a plasma ball. You change the excitement, you change the output, you change the medium, you change the permeation.

Conclusion:

Studies in harmony conclude that we should avoid doing anything with negative input into the equilibrium. This includes things that seem to be without direct negative consequences as the studies provide that a small thing can have strong and lasting consequences affecting many while seeming in itself and in observation in close quarters to affect nothing, such as cutting down a tree. If equilibrium is represented as a scale then as we observe close to the pointer arm further down closer to our present and personal situation there seems to be no noticeable effect for cutting down one tree, and as both sides of the scale arm move since it is a thickness wide there may even seem to be some positive effect noting in proximity to location and time, however, further up the arm and with the passage of time the pointer swerves wildly, the oceans churned and men are berayed. What if from that one tree came a new species necessary for the maintenance of climate, the habitation of far off worlds or an elixir of untold health and wisdom? People dismiss it is philosophy but, the butterfly effect is real, and I prefer to consider equilibrium and harmony than that. Also, do not allow a preference for equilibrium to make you weak, we are conquerors, we have dominion, we have a worthwhile purpose, we have much to accomplish and, we have responsibility.

Science data proves that the Glacial-Interglacial Cycle is something, and we postulate what it means and how it may conceivably operate.

-HRjJ

Bibliography:

[1] Hamawandy, A. (2015). Prefix (hu) as a Cognate Morpheme in Old English and Avestan. International Journal of Language and Linguistics, 3(4), 239. https://doi.org/10.11648/j.ijll.20150304.17 [2] NOAA. (n.d.). Glacial-Interglacial Cycles. Retrieved December 7, 2019, from https://www.ncdc.noaa.gov/abrupt-climate-change/Glacial-Interglacial Cycles [3] Destiny. (2018). What Would Happen If All Ice On Earth Melted? - YouTube. Retrieved December 7, 2019, from https://www.youtube.com/watch?v=-0QwdJ37Y38&feature=emb_title [4] Amos, J. (2015). Earth’s trees number “three trillion.” Retrieved December 7, 2019, from https://www.bbc.com/news/science-environment-34134366

#Science #Climate #Postulation

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thepermanentrainpress · 5 years

Text

REVIEW: FAN EXPO VANCOUVER AT THE VANCOUVER CONVENTION CENTRE - MARCH 2ND TO 3RD, 2019

The first panel on Saturday was Mehcad Brooks, currently known for his work as James Olsen/Guardian in CW’s Supergirl. He had an inspiring panel, touching on race and gender, social media ‘keyboard warriors’ who attempt to put others down, music (his stage name is King Gvpsv), and doing things one is passionate about. He discussed how DC Comics’ Jimmy Olsen was historically Caucasian, and how proud he was to be apart of creating diversity, portraying a black male version on the show. In fact, one superhero he would love to play is Bruce Wayne/Batman. That being said, he noted the importance of “creating your own superheroes” if you’re passionate about creativity, whether that be starting from the drawing board or adding attributes to those already brought to life – Mehcad is currently developing a superhero of his own, with a graphic novel to stay tuned for.

The one statement he said that stuck with me was, “perfectionism is the highest form of procrastination.” As an artist, it’s the best excuse not to do anything, and he uses that to fuel his spiritual journey as a creator and human being. I was really impressed with his connection to the audience in his words, and look forward to seeing his projects as they continue to unfold.

I caught a brief portion of George Takei’s self-moderated panel, hearing him take the stage with an emphatic “Oh Myyy” (to the delight of audience members)! He recognized the original Star Trek fans, and the new generation that keeps the franchise alive and thriving, noting the success of CBS’ Star Trek: Discovery. He recognized the importance of keeping ideals in mind (“in an insane reality” as the current situation in the US). A fan asked his opinion if achieving a utopia in the real world was a possibility, to which Takei replied no, but it is “still a dream that we should aspire to reach.” Takei is currently in Vancouver filming AMC’s The Terror, set in a Japanese internment camp during WWII.

The Flash panel was wild, this cast knows how to have fun. Featuring Tom Cavanagh, Robbie Amell, Carlos Valdes, Danielle Nicolet and Hartley Sawyer, the panel had mini donuts a plenty (they asked, and devoted fans delivered, not once but multiple times throughout their time on stage)! They talked briefly about the upcoming episode set to feature King Shark vs. Gorilla Grodd, and the large budget they had for its special effects. Danielle addressed the absence of Joe West this season (cast member Jesse L. Martin took a medical leave after suffering a back injury this past summer), but said he would be back on-screen soon. Amell, who no longer appears as Ronnie Raymond/Firestorm, is currently working on Amazon’s Upload, with sci-fi/action film Code 8 having premieres across the globe beginning in April. Cavanagh joked about Amell moving on from The Flash to “more expensive projects” and “greener pastures,” and this continued to be a running joke throughout the panel. New additions Nicolet and Sawyer were praised, for their work ethic and what they brought to their characters DA Cecile Horton and Ralph Dibny/Elongated Man.

During fan question period, Amell was asked about the crowdfunded Code 8 and working with cousin and Arrow star Stephen Amell (who he insisted was pronounced “steph-in” rather than “steve-in”). The pair always hoped to collaborate after having brief interactions in a past Arrowverse crossover, and were happy to do so with the sci-fi flick filmed in Toronto in 2017. There were also plugs for the Tom Cavanagh directed heist short Tom and Grant, which is now available for streaming on Vimeo. One of Cavanagh’s favourite and most challenging scenes, was when Reverse Flash killed Cisco Ramon (Valdes’ character) in Season 1’s “Out of Time.” One daring fan asked Valdes if there was truth to the rumours he’d be leaving the show after Season 5. He stayed mum, answering with an appropriate “I have a donut in my mouth.” It was a nice attempt. Nicolet and Valdes only had kind words to say about co-star Danielle Panabaker’s directing debut in episode 18, shot in February, describing her as a “boss lady” and “in control.” It was a fun panel, and you can see the family atmosphere created on-set translates similarly to their interactions with one another off-set.

During breaks in between panels, I had an opportunity to roam around the floor, to get a glimpse of the vast number of retailers, artists, and cosplayers on-hand for the event. I purchased a few postcards from illustrators Jenny Hsieh and chanteii – they have incredibly adorable artwork of shiba inus and cats, respectively. I also had to buy a couple of stickers from PIKARAR, because of my love for animals, naturally. There were booths with Funko pops, wigs, pins, medieval swords and armour, unique jewelry, kimonos, tees, fan art, boxes chalk full of comic books, and other pop culture memorabilia. It was overwhelming (in a good way)!

We stopped by the booth advertising locally filmed web series Followers: “An Internet Superhero Story.” The plot line is “a group of superheroes inspired by social media must collaborate together to take down Hater, who threatens to destroy the internet.” The trailer looked amusing with their special effects and action sequences, DIY costumes, and I look forward to checking out more of the episodes online!

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On the cosplay side, I’m not too knowledgeable on anime/pop culture characters (I’ll be the first to admit this!) but there were many amazing costumes. I saw a Spider-Gwen posing for pictures with young girls, Iron Man, Deadpool, Harley Quinn, Disney princesses, and characters I was told were from popular video games League of Legends and Overwatch.

On Sunday, I sat in on some of Pamela Anderson’s panel. Anderson is known for her modelling and acting work in Baywatch and Home Improvement, but currently uses her platform to do activist work for animal rights, our environment, and climate change. I heard her response to a fan’s question: “everything you do has a repercussion” and the importance of enjoying experiences over consumption. The Pamela Anderson Foundation supports “organizations and individuals that stand on the front lines in the protection of human, animal, and environmental rights.” It is nice to see Anderson (who was born in Ladysmith, BC) be passionate about these global issues, and encouraging listeners to do the same in their everyday life.

My final full panel of the day was the Arrow and Legends of Tomorrow talk with Juliana Harkavy, Brandon Routh, and Courtney Ford. This was largely a fan Q&A panel, with one fan dressed as Roy Harper/Arsenal informing the cast how their characters have provided happiness and strength in darker personal times. It was a touching moment, and you could see the actors’ expressions shift, truly listening to each of the fan questions with understanding and empathy. Harkavy said her favourite part about playing Black Canary was meeting fans, while Routh expressed some disappointment in the Legends being left out of this past season’s ‘Elseworlds’ crossover event, but hoped they might make an appearance in the already announced ‘Crisis on Infinite Earths.’

They admitted that they don’t socially interact much with cast members of their fellow CW shows other than at conventions and dinners to celebrate season kickoffs (on-location filming, studios not being on the same lot), but it’s always fun when they do meet-up to catch up. Routh said that while he loves playing Ray Palmer/Atom on LOT, his role as Superman in Bryan Singer’s 2006 film Superman Returns is his favourite role to-date because of its significance in his career (as his first leading role). All three prepared for their current roles using comic books as guidance, imagery and past iterations of their characters.

We had a wonderful time at FAN EXPO Vancouver, being surrounded by like minded others with an excitement and passion for the arts, cosplay, comics, film and television. Our team also had an opportunity to interview Gotham’s David Mazouz, a stellar actor who shone as a young Bruce Wayne and who’s using his platform to shed light on animal rescue and advocacy, and creating positive change as young adults. The interview will be posted soon! Until then, we can’t wait until FAN EXPO’s return to our city next year.

Written by: Chloe Hoy Photo credit to: Timothy Nguyen

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jemilyreial · 4 years

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Cat Pee The Size Of A Quarter Surprising Tricks

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The bane of every indoor cat can exhibit extremely unpleasant to a cat magazine, that most of all cat owners as well as store bought cleaning agents to wash themselves multiple times every day, you should not be eliminated immediately to prevent cat pee odor is for you.Although going out and will not work and in a day, minimum.You are trying to minimize these instances.What may start to spray the post with catnip.They have brought me much joy and happiness, not to do the work for mild allergic reactions to cats are surely nice pets to have an ionizer, or several of my cats are permanent parasites and can be sprayed in areas that don't quite look right as quick thinking might prevent a possible sickness from getting a professional cleaning, but there's a lot of cat scratch where you live.

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Cat Spraying To Get Attention

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Cat Urine Keep Rats Away

A waste container opens up to 12 weeks depending on the litter box once they start is with flea killer products that can surely help the current target more unpleasant.*How can it be sprinkled with unappealing substances like blood meal fertilizer, mothballs, and cayenne pepper in the cat you want the best brands you can cause serious damage.So, how do you have sufficient space where they are fighting all around the house as bathroom instead of your family, give them their own thing.Currently, you can keep your cat and this indicates the wood underneath.Persian cats are trained to use the litter box.

While they don't get us started talking about this and the proper cleaner will be caught short when needing to urinate.And then cats throughout the neighborhood will be unable to climb and enjoy living with a small apartment.When you make them defecate before putting them inside the litter box or it may learn a few drops of the garden is under threat.- Unfamiliar odors and new cat could reject the box.The scented ones are those canines and felines that find it helpful to gain entry to your carpet or some medical issue.

#Cat Pee The Size Of A Quarter Surprising Tricks #Cat Spray To Calm

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micaramel · 4 years

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Artists: Leonor Antunes, Noah Barker, Sadie Benning, François Curlet, Stéphane Dafflon, Brice Dellsperger, Guy de Cointet, Trisha Donnelly, Eliza Douglas, Claire Fontaine, Jef Geys, Liam Gillick, Joseph Grigely, Guyton\Walker, Carsten Höller, Michel Houellebecq, Dorothy Iannone, Aaron Flint Jamison, Pierre Joseph, Ben Kinmont, Adriana Lara, Pierre Le Tan , Ingrid Luche, Mïrka Lugosi, Monica Majoli, M/M (Paris), Sarah Morris, Mrzyk & Moriceau, Jean Painlevé, Philippe Parreno, Bruno Pelassy, Rob Pruitt, Sarah Pucci, Torbjørn Rødland, Allen Ruppersberg, Bruno Serralongue, Shimabuku, Lily van der Stokker, Sturtevant, Jean-Luc Verna

Venue: Air de Paris

Exhibition Title: More

Date: October 20 – December 14, 2019

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Air de Paris, Paris. Photos by Marc Domage.

Press Release:

To mark the opening of the new Air de Paris in Romainville we’re delighted to be presenting the choral exhibition More: 40 artists on four floors and the chance for a stroll through all the gallery’s spaces, from cellar to attic, from reserves to roof terrace.

Running over a three months time, this exhibition will see the achievement of the interior design of the gallery, a project led by Sébastien Truchot – PCA STREAM

We’ll also be welcoming Linda Grabe and her wine webzine Le Volatile, le roman du vin.

For some 30 years now Air de Paris has cultivated a fondness for the peripheral. The move to Romainville shows us pursuing this notion in a restating of Liam Gillick’s maxim «Just More/More Just».

GROUND FLOOR

We’ve opted to have you enter Air de Paris via the office. You’ll be welcomed by the gallery team. And get to see how things work. Two works by Liam Gillick are already visible from outside the gallery, on display like the paintings you see in the more classical venues – on Rue de Seine, for example. These digital prints were part of the artist’s works posted in the streets during his participation in the 2013 White Nights in Paris.

We see the double slogan «Just More/More Just» as heralding a new era of trying to be more equitable, more ecological and more just in our dealings. Liam Gillick, Just More! 2013/More Just!, 2013

On your left as you come in is a Project by Pierre Joseph dating from his first solo exhibition at Air de Paris, in 1992, when we were in Nice. We were unequivocally neighbours of the church of Saint Rita; the parish priest had given us a statue of the saint, which had been set in a niche over the gallery door and blessed the day the first exhibition opened in 1990. Pierre Joseph’s Projects imbued contemporary art with the imaginative spirit of the video games and role play still in their infancy. Pierre Joseph, Projet, 1992

A big bouquet of long-stemmed flowers: Jean-Luc Verna’s Vase Misère is a self-portrait – the artist’s face with his hands forcing a smile and giving him the look of a clown. The Joker? Jean-Luc Verna, Vase Misère #3, 2013

Serve yourself from the rack: Claire Fontaine postcards, iconic images wittily tweaked with verbal modifications: L.G.B.T.Q. replaces Marcel Duchamp’s L.H.O.O.Q, which, according to Freud, triggered the question of Mona Lisa’s gender. Claire Fontaine, Untitled (Postcard rack / L.G.B.T.Q / L.G.B.T.Q. shaved), 2017

Set against a red wall, a Sturtevant video demands your attention: Hello! We live together at Disney World and all around us is the image pornography churned out by the big entertainment corporations. Sturtevant, HELLO !, 2006

Our office tables are an artwork by Aaron Flint Jamison for Éditathon Art + Féminisme 2016. Produced by Lafayette Anticipations – Galeries Lafayette Foundation as part of the worldwide Art+Feminism campaign, and orchestrated by Kvardek du and Flora Katz. The artist has activated a new message on the LED scrollers.Aaron Flint Jamison, , 2016

Hanging on the pillar, a portrait of Clément by Michel Houellebecq. Michel Houellebecq, Pelage d’hiver

Cats – never far from the dog!? Mrzyk & Moriceau, Sans titre, 2014

Early in the 1960s Sturtevant reprised graphic artist George Herriman’s Krazy Kat, after Öyvind Fahlström: two artists from our pantheon; two stalwarts for the price of one. Sturtevant, Krazy Kat, 1986

Beneath the windows, a large red lily. In another conceptual overlay Pierre Joseph does photographs that repeat the prints and drawings of Pierre Joseph Redouté. Pierre Joseph, #pierrejosephredouté, Lys hybride (rouge), 2017

Now it’s upstairs to the exhibition floors or down to the basement (our storage area) to view a work you’ve requested here in the office.

THE BASEMENT

A mysterious photograph by Trisha Donnelly. What to say about it? A snowdrift, a garage door, an image that can be hung every which way – an image that has no sense. Trisha Donnelly, Robert, 2001

1ST FLOOR

The 1st floor is an exhibition space whose unusual windows put us at a far remove from the classical white cube. It’s time to be thinking about different ways of presenting painting, and it’s fun. Maybe the kind of running structure used for election posters in the street? Or a return to the hanging rail?

So here you are at last in a real exhibition space.

An exhibition within an exhibition? Opposite you a painting by Eliza Douglas hung on a pillar reproduces a Josh Smith exhibition view, found on the Internet. Eliza Douglas, Josh Smith, 2018

A search for the centre ground kept in check by violence, disorder and conspiracy: a work by Liam Gillick. A large mirror searching for the three main characters from his book Le Grand Centre de Conférence. We are all characters in search of an author. Liam Gillick, A search for the centre ground kept in check by violence, disorder and conspiracy, 1998

You’ll notice along the way that this exhibition contains many works in the form of chairs, tables, doors and shelves. This is emphatically not a matter of design; these works point up the domestic and professional environments as augmented, highlighted spaces. Their pared-down or, sometimes, exaggerated, Luna Park-like shapes occupy this inaugural presentation like spectres, or punctuate it like clues.

To the right of the mirror Ingrid Luche’s little door suggests a grotesque space, the entrance to a haunted house, or a funfair attraction. Ingrid Luche, Petite Porte, 2012

Mirrors again. In Monica Majoli’s house in Los Angeles the bedroom walls are covered with black mirrors. It’s in this setting that she has photographed several of her lovers, so as to paint their portraits some years later. This lithograph depicts the odd plays of light caused by the reflections in these dark mirrors. Monica Majoli, Black Mirror (Jarrett), 2009-12

Joseph Grigely’s Storage Rack is part of a group of works he calls «leftovers». However, these are not real objects that have been junked, but rather never-made or remade objects, reified extensions of their preceding reality. The transparent resin shelf might have been used for storing paint, but no longer serves any purpose. It belongs to an unknown world, like the elements of a classical still life. Joseph Grigely, Storage Rack, 2012

The design work of Brazilian architect Lina Bo Bardi (1914–1992) has influenced several works by Leonor Antunes. In this case some of Bo Bardi’s experiments with form and proportion have left their mark on a series of wenge wood screens. These shapes are based on concrete components she had made in 1988 for the Casa do Benim in Salvador de Bahia, in northern Brazil. Leonor Antunes, a secluded and pleasant land in this land i wish to dwell #2, 2014

Marcel Duchamp spoke of a coat hook lying on the floor, «a real coat hanger that I wanted sometime to put on the wall and hang my things on but I never did come to that – so it was on the floor and I would kick it every minute, every time I went out – and I got crazy about it and I said to hell with it, if it wants to stay here and bore me, I’ll nail it down and it will just stay there.» Pierre Joseph has doubled the size of the Trap. Pierre Joseph, Décor, Trébuchet (Marcel Duchamp), 1992/2017

Philippe Parreno was artistic director of the opera Il Tempo del Postino in 2007. There’s a photograph of his performance: he’d hired a ventriloquist, who introduced each artist’s contribution and read a text about the relations between time and the work of art from behind a magnifying glass. In that way he became his own puppet. The photograph, signed by the artist and the ventriloquist, illustrates the question, «Who’s speaking?» Philippe Parreno, Postman Time, 2007

Nearby, the Maison-Oreille (House of Hearing) is a model thought up by Carsten Höller and Philippe Parreno for a listening post where you could spend the night tuned in to ambient sound: nature, aeroplanes, shooting stars, etc. Carsten Höller et Philippe Parreno, Maison-Oreille, 2013

Hung in front of a window to the left, François Curlet’s neon sign could have provided the title for this exhibition. Might not this disposition of artworks proceed from a slight perversion of the conceptual masked by all the different forms? One day an exhibition curator described our programme as «conceptual trash». You could also call it «conceptual art brut». François Curlet, Western, 2005/2006

The crackle of the neon light accentuates the flickering of Ingrid Luche’s fireplace painting, set under a window and maybe suggesting a scene from Clifford D. Simak’s City.Ingrid Luche, Chinoiserie (Feu de cheminée), 2014

In an elegant vitrine ten delicate replicas of mildly hallucinatory double mushrooms are aligned as if in a natural history museum. Carsten Höller, Double Mushroom Vitrine (Tenfold), 2018

The title of Pierre Joseph’s lightbox describes the work perfectly: a reprise, in the musical sense, of a cowboy already twice- famous, thanks first to Marlboro, then to Richard Prince. What the title omits is the work’s melancholy. Pierre Joseph, Décor, Marlboro cow-boy (Richard Prince), 1992/2019

Red, too, is the spring of the neon towards Sadie Benning’s transgender painting/bas-relief. Sadie Benning, X, 2016

Chairs here and there; these have been customised by Rob Pruitt as stop-offs or resting places.

2ND FLOOR

On the 2nd floor we’ve planned a projection room, an exhibition area and a semi-private space behind a revolving door. The interior layout is by Sébastien Truchot of the PCA-Stream office.

A memory warp? The same Josh Smith exhibition view as before – but hey, isn’t it bigger? Eliza Douglas, Josh Smith, 2018

On the outside of the right-angled wall marking out the future projection space is Allen Ruppersberg’s Le Mot Juste. That «just» again, and a horizon line. Seven screenprints for a samurai poem. Allen Ruppersberg, Le Mot Juste and The Circus, 1988

Facing you, yet another door, drawn by Pierre Le-Tan. We pay him our respects here: he left us on 17 September and we miss him.Pierre Le-Tan, Sans titre, 2017

La Chaise Jaune and la Chaise Bleue (The Yellow Chair and the Blue Chair) were part of Guy de Cointet’s set for his performance De Toutes les Couleurs (1982, Museo Reina Sofia, Madrid). The chairs and another part of the set disappeared and it was only thanks to the artist’s meticulous archiving – colour ranges, dimensional sketches, performance photographs – that these two multiples, identical to the originals, could be made. Guy de Cointet, Chaise Bleue, Chaise Jaune [De toutes les couleurs, 1982], 2018

The angularity of the backrests of these chairs is also to be be found in two late de Cointet drawings of pared-down Californian desert landscapes. Guy de Cointet, Sans titre, ca. 1980

Adriana Lara’s «wall piece» is an irregularly cut sheet of plaster mounted on stretcher. A deformed section of wall, repainted with the same white as the wall it is affixed to. Adriana Lara, Wall Piece #3, 2015

Rob Pruitt decided one day that as long as pandas were still around, he would paint them. This was his response to the threat to biodiversity in the Capitalocene era.Rob Pruitt, Picnic, 2017

A witty practitioner of Surrealist collage, Pruitt has made tables out of silver-coated tyres set on roller skates. This one is a fruit bowl.Rob Pruitt, Roller Rink Coffee Table II (Fruit Bowl), 2017

Bruno Pelassy was a close friend of Air de Paris who died in 2002. Here we present one of his last works: an unfinished mechanical toy arrayed in feathers and snakeskin. Bruno Pelassy, Sans titre, 2001

Dedicated daily repetition gave rise to the plastic-bedecked objects made by Sarah Pucci, mother of the artist Dorothy Iannone. These intensely committed creations date from the second half of the 20th century and were regularly posted to her daughter, who was then based in Europe. Proofs of motherly love, they gleam with a steroidally idealised, carnivalesque beauty. Sarah Pucci, A Heart That Sees You, 1990s

To the left, under the windows, you can follow the doings of Andy Capp, the English comic-strip character created by Reg Smyth and published in the Daily Mirror since 1957. Double-exposure photography has him trotting his cap-and-ciggie through building sites that are a metaphor for our lives. Torbjørn Rødland, ACV01, ACV06, ACV07, ACV14, ACV17, 2009

M/M (Paris): two talented graphic artists who minted the Komunuma logo. One M has a gifted hand and draws. The other M has a gifted ear and in 1998 composed the techno sound track for Sturtevant’s Ça va aller exhibition. Facing you here is a large, luminously stylised lion. M/M (Paris), Zu Assenheim, 2006

At the far end of the room the place for the future projection screen is currently covered by a billboard-sized image of Santa by the sea. This is, in fact, Shimabuku, who in 1991 collected garbage on this forsaken beach and provided a quick, mind- boggling image for any high-speed train travellers who happened to be looking out the window at the right moment. Father Christmas gathering refuse on a soiled seashore. Speculative ecological poetry. Shimabuku, Noël dans l’hémisphère Sud, 1994/1999

More light! You’ll excuse the shortfall in this room, but the renovations are running behind time and the additional lighting is still on the waiting list. You’re in a work in progress.

A wall of drawings brings together Mathias Augustyniak’s women in 68 colours, Mïrka Lugosi’s triadic women and Dorothy Iannone’s weeping Statues of Liberty (Iannone is currently showing solo at the Centre Pompidou) : Mathias Augustyniak, Woman in 68 colors n°3 ; Woman in 68 colors n°4, 2010 ; Dorothy Iannone, Our Liberties, 2015 ; Mïrka Lugosi, Variations Schlemmer n°1 ; Variations Schlemmer n°2 ; Variations Schlemmer n°3, 2009-2012

Let’s not forget Jean-Luc Verna’s made-up birds : Jean-Luc Verna, Madame Rature, 2019; Jean-Luc Verna, Pank, 2019. Last of all, Sarah Morris’s combination of painting and cinema, with gouache overlaid on original film posters: good old Alain Delon in a samurai face-off with Santa Claus. Sarah Morris, Tiger [Le Samourai], 2017

As you leave, high up on your left, is a spider ready to spring: the work of Jean Painlevé, the great filmmaker and photographer who devoted his life to the depths of the sea. Jean Painlevé, Araignée sauteuse, 1930

You’re drawn through the big revolving door by the sound of Saturday Night Fever blasting out of the little yellow TV set we used for showing Brice Dellsperger’s first films back in the 1990s. Double recall. Brice Dellsperger, Body Double 13, 1999

Above it, a gouache in which we see the artist duplicated and as Angie Dickenson, when he played all the parts from Brian de Palma’s Dressed to Kill (1980) for his Body Double 15. Brice Dellsperger, Angie said « Meet me at the Met (featuring Alex Katz and Tom Palmore), 2019

But hey, I live in France, and here’s an ageless photograph by Michel Houellebecq, a bucolic image brought to Le Bas-Pays, the industrial estate in Romainville. Michel Houellebecq, France #024, nd.

On the way to the kitchen, an unstretched digital canvas by Stéphane Dafflon: Stéphane Dafflon, TL005, 2019. And here you are in a space that will be semi-private: the planned site for the kitchen (we make good risotto at Air de Paris),a room for chatting or relaxing, and a library. A space that’s domestic but not yet domesticated. Under the window on the right a piece of tangy daffiness by Lily van der Stokker says nothing apart from its absurd, caustic Dasein. Lily van der Stokker, Nothing (Dark Pink), 2014

En face, une œuvre joyeusement colorée de Guyton\Walker, une impression numérique recto-verso sur matelas. Guyton\Walker, Stripe_Venice_Paris_Abstractcanvas80_, 2013

«Each of us had more drinks every day than the number of lies told by a labour union during a wildcat strike»: an excerpt – a kind of led-driven ritornello – from In GirumImus Nocte Et Consomimur Igni by Guy Debord (1978). Upcoming psychogeographic driftings through the Paris suburbs. The fridge isn’t part of the work. Noah Barker, Decommissioned Cuba Libre Assembly Line Clock (Debord), 2018.

Two rare paintings by Dutch artist Jef Geys, in which he takes the orientally-inflected patterns of earthenware tiles made by the Gavra company in his beloved Campine (Dutch: De Kempen) and blows them up to a metre square. Jef Geys, Untitled (Gavra series), 1980s, acrylique sur toile, signé au dos.

In Marinetti’s opinion, people think, dream and act according to what they eat and drink. Which is how cooking became an integral part of the Futurist artistic experience. Ben Kinmont’s actions test the resistance of the work of art in contexts not strictly speaking artistic: a dinner, participation in a salon, an ephemeral action. Thus gastronomy, as an artistic but temporary structure, becomes a potent model for testing out art’s limitations.

Kinmont organised his gustatory exhibitions in Montpellier (2002), Amsterdam and New York (2011), and Rome (2015)/ The menus are traditionally printed using lead type. Ben Kinmont, An exhibition in your mouth [Montpellier: Antinomian Press, 2002], 2002 Ben Kinmont, An Exhibition in your Mouth [Amsterdam: Antinomian Press, 2011], 2011 Ben Kinmont, An Exhibition in your Mouth [New York: Antinomian Press, 2011], 2011 Ben Kinmont, An Exhibition in your Mouth [San Francisco: Antinomian Press, 2012], 2012 Ben Kinmont, An Exhibition in your Mouth [Rome: Antinomian Press, 2015], 2015

Bruno Serralongue has been making regular visits to Calais since 2006, bringing back images of the «Jungle», the migrants and the «state shanty town». His work is currently on show at the Centre Pompidou. For lack of supplies the Calais Kitchen, run by English volunteers, had to close for a week in July 2016. A week is a very long time when you’re enduring conditions like these. Bruno Serralongue, Dear Friends, « bidonville d’État » pour migrants, Calais, 07 juillet 2016, 2016

THE ROOF TERRACE THE FUTURE

During the opening week of Komunuma the Frac Ile-de-France presented an installaiton by Michel Blazy (Sculpcure : Orange Bar, 2009)

Soon in a wooden shed – we will name it Delphine – we will display curiosities.

We hope you’ve enjoyed this visit and your meeting with 40 Air de Paris’ artists. Thanks for coming – we look forward to seeing you again.

Link: “More” at Air de Paris

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2RrojZy

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wineanddinosaur · 5 years

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What We Miss When We Celebrate D.C.’s Revitalized Drinks and Restaurant Culture

“Always changing” is how Anita, a patron at Ben’s Next Door, recently described the bar’s frozen cocktail selection. Hoping for a raspberry slushie, she instead got strawberry lemonade.

Change in any city is inevitable, but it’s especially apparent in local bars, and in a city where four- and eight-year presidential terms determine the “vibe.” Washington, D.C.’s emergence as a food and drink destination is just a decade or so old, and it continues to evolve in tandem with the city itself.

According to the National Restaurant Association, restaurants are a driving force of the District economy, with 2,457 eating and drinking locations reaching $4.4 billion in sales in 2018. D.C. restaurant and food service employment is expected to grow from 8 percent in 2019 to more than 14 percent in 2029, adding 4,000 jobs.

“D.C. has always had one of the most innovative, compelling food and drink scenes, but it’s expanding and finally getting recognized,” Derek Brown, president of Drink Company, which owns and operates Columbia Room, an award-winning cocktail bar, and PUB, a rotating pop-up bar, tells VinePair.

While there is a lot to celebrate, it’s important to remember new openings also indicate casualties of the city’s constant development. Ben’s Chili Bowl, a 1958 landmark opened by Trinidadian American Mahaboob Ben Ali and his wife Virginia Ali, has seen the city change tremendously throughout its tenure. Ben’s, located on U Street NW between 12th and 13th Streets, a.k.a. Ben’s Chili Bowl Way, is now steps from newly arrived national chains like Shake Shack and Peet’s Coffee on the 14th Street corridor.

Ben’s Chili Bowl has held down its landmark location for more than 60 years. Credit: Cat Wolinski

Ben’s has been far from stagnant: It opened Ben’s Next Door in 2008, and Ben’s Upstairs, on H Street, in 2015. Its “legendary half-smoke and fresh homemade chili” is now available at Reagan National Airport, Nats Park, and at two locations in Maryland.

Its impact on the city is undeniable. In 2016, Andre McCain opened HalfSmoke, a “sausage-centric millennial playground,” complete with “popsicles served inside Margaritas [and] a free photo booth,” in Shaw. HalfSmoke is part of a major uptick in bars, restaurants, and real estate developments throughout the city. Many locals attribute the revitalization of the dining and bar scenes to the Obama administration, from 2008 to 2016.

“The D.C. food and beverage scene has really exploded since Obama took office,” Julie Verratti, co-owner of Denizens Brewing Co., tells VinePair. “Obama really brought in a lot of young people, enthusiastic Gen X-ers, older and younger millennials. That sort of band of people born in the late ’70s through early ’90s going out and being social and supporting locally owned, independent businesses, especially food and beverage businesses, is a huge thing for us.”

With the current administration, she says, “It’s a different group of folks that are here now.”

Washington, D.C.’s reputation as a food and drink destination began to change around 2007. Restaurants such as Bad Saint, Little Serow, Toki Underground, and the newer Maydan brought fresh energy to the dining scene, earning it national accolades.

Many attribute the District’s bar and restaurant resurgence to the Obama years. Credit: Cat Wolinski

Bars were changing, too. Where “Bacardi Coke or Malibu Sprite, or terrible High Balls with tons of Maraschino cherries” once dominated drink orders, the “hotel bar scene” transitioned into creative cocktails with fresh juices, Chantal Tseng, bartender at Petworth Citizen’s Reading Room and 20-year D.C. service industry vet, tells VinePair. “That was such a big deal for this city,” she says.

Pop-up bars and collaborations “opened and widened the drinking scene and eating scene,” Tseng continues, with now-famous restaurants like Rose’s Luxury getting their starts in rotating kitchens. “It’s a whole other avenue that lets so many more people really get their ideas to fruition,” Tseng says.

Reading Room and other highly anticipated bars like the Dabney, Primrose, and Columbia Room slowly, then quickly transformed D.C. drinks.

“Chefs here and bar owners here really work together to lift each other up,” Laura Hayes, food editor at Washington City Paper, tells VinePair. “But that’s starting to change a little bit.”

After the initial restaurant renaissance, out-of-town empires followed, and the up-and-comers of the pre-2010 era started being priced out of their neighborhoods.

“Chains and groups firmly shut local business owners out of storefront opportunities because the skyrocketing real estate prices are only affordable to those entities with deep pockets,” Dr. Sunyatta Amen, owner of Calabash Tea & Tonic, a holistic tea room, vegan eatery, and multiple “Best of D.C.” award winner, tells VinePair in an email. “This inflation of real estate carries over into the residential market as well, making living in a city untenable for the average person.”

The Meatball Shop, a multi-location restaurant based in New York City, is one of many to open a D.C. outpost in recent years. Credit: Cat Wolinski

In April 2014, Peet’s Coffee began plans to open 23 locations in the District. The following March, Trader Joe’s launched a location at 14th and U Street NW.

Then came trendy NYC outposts, like The Smith, which opened in Penn Quarter in February 2017, and on U Street in May 2018. Brooklyn Winery debuted District Winery in August 2017. The Meatball Shop, a sandwich counter with six NYC locations, opened its first-ever outpost on D.C.’s 14th Street in October 2018. In June 2018, David Chang’s Momofuku Milk Bar opened on 15th Street, around the corner from Trader Joe’s.

And as Hayes recently reported, “New York-based wine bar chainlet Vin Sur Vingt Wine Bar [will] replace Drafting Table [at] 1529 14th St. NW” sometime in 2020.

For Verratti, opening Denizens in Silver Spring, about a mile and a half from the D.C. border, was something of a homecoming. “I lived here my whole childhood,” she says. She later lived in the Boston and NYC areas, and returned to D.C. for law school in 2007. In July 2014, Verratti opened Denizens with her wife Emily Bruno and brother-in-law Jeff Ramirez. The trio recently opened a second location in Maryland’s Riverdale Park neighborhood on Memorial Day weekend.

“As someone who grew up here, [moved] away for six or seven years and [came] back as an adult… there was definitely a stark difference,” Verratti says. Fourteenth Street, once known for sex work, now posts “rents over $100 a square foot,” she says. “Local mom-and-pop restaurants and bars can’t afford that rent.”

“One of the things that I do love about D.C. is that you can get any type of cuisine here,” Verratti continues. “As we like to call it down here, the DMV — District, Maryland, Virginia — we are sort of an area of immigrants. There’s a huge variety and a lot of diversity in terms of cuisines and the different types of food and beverages you can have. That being said, the food and beverage business is highly capital intensive, and unfortunately when it comes to access to capital, if you are anything other than a white, straight man, your ability to get the capital you need to open your business just goes down.”

Calabash Tea & Tonic’s inclusive atmosphere and witch-brewed teas make it a popular destination for D.C. residents. Credit: Cat Wolinski

Some are breaking the mold. HalfSmoke, on Seventh Street, “is really catering to the Howard University crowd,” Verratti says of its proximity to and popularity among students of the acclaimed historically black university. Restaurant founder McCain formerly worked in investment banking and real estate development, and was able to raise $2 million in investment to open his restaurant.

“As far as I’m concerned, a key measure of success is to have the employees that work with us and the people in the community around us better off than before we came,” McCain told Washington Business Journal in 2016. “I’m really trying to grow HalfSmoke into a great company, not just another restaurant.”

Kwame Onwuachi, a Food & Wine 2019 Best New Chef and James Beard Rising Star Winner Executive Chef, opened fine dining restaurant Kith/Kin in October 2017. Dishes draw inspiration from Onwuachi’s heritage, which spans Nigerian, Jamaican, West African, and Caribbean, and restaurant experience in New Orleans and New York.

Of course, a business can be new and still serve its community, and its owners don’t need to be local to cater to their residents.

“We have a very, very diverse crowd [at Denizens], and part of that is because the community that we’re in is extremely diverse,” Verratti says. This includes race, gender, age, ethnicity, immigration status, and disability status, she says.

This has a lot to do with proximity, but Verratti says she and her co-founders are also “very proactive about that,” using the brewery’s two levels and beer garden to host a wide range of events. (It also doesn’t hurt that Verratti is immediate past chair and a current member of the Brewers Association Diversity Committee.)

One weekend at the brewery, Verratti says, “[We] had this cannabis open house happening in the downstairs taproom, upstairs was an agnostic Bible study, and then the very next day, upstairs was a 1-year-old’s birthday and downstairs was a drag show. We try to do the things that folks in our community want to participate in.”

Denizens Brewing Co. in Silver Springs draws a diverse crowd, according to co-founder Julie Verratti. Credit: Denizens Brewing Co. / facebook.com

Hayes believes D.C. is still a “locally obsessed dining scene.”

Marvin, a Marvin-Gaye-inspired restaurant on 14th Street specializing in cuisines from Belgium and the American South, organizes community events like a grilled cheese social that draws a diverse crowd.

In Silver Spring, Verratti says, “we have the largest population of Ethiopian people other than the country of Ethiopia. Within a mile radius of my house, there are over 20 different Ethiopian restaurants… which I love, because I love Ethiopian food.”

Additionally, black-owned businesses like Ben’s, Calabash, and HalfSmoke are recognized by grassroots efforts such as DMV Black Restaurant Week.

Despite gentrification and the displacement of many businesses and residents, D.C.’s diverse dining culture persists. In the District as in other cities, Amen says, “local and independent eateries provide a window into culture.” You just have to look.

The article What We Miss When We Celebrate D.C.’s Revitalized Drinks and Restaurant Culture appeared first on VinePair.

source https://vinepair.com/articles/washington-dc-drinks/

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joejstrickl · 5 years

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Brand Licensing’s Rising Value In The Digital Age

Consumers today have immediate access to troves of information about any product, so in theory, they no longer need to rely on the good name of established brands to guide decisions on what to buy. But that perspective is misleading: The volume of product information available is so vast, even overwhelming, smart brands have the power to rise above the information and marketing cacophony.

And while we all want to stay connected through our digital devices, there is another countervailing trend afoot: people are seeking a digital detox. More consumers are abandoning e-readers for real books or listening to vinyl records on record players. Even as ecommerce commands more of our purchasing attention, Amazon, the retail disrupter-in-chief, is distributing an ink-on-paper toy catalog for this holiday season and opening bookstores. And digitally native brands, such as Caspar and Eloqui, are opening brick-and-mortar stores.

With this backdrop, the landscape is such that brand licensing – the legal permission from one company for another to use its brand on different lines of products – can serve as a highly effective tool for brand building and strategic marketing.

Brand licensing is one of the most powerful ways to make the most out of an already strong brand because of its ability to extend brands to products outside the brand’s core business, reach new and existing consumer segments at new touchpoints and support and communicate brand equities. A stumbling block is that brand leaders and marketers sometimes view licensing too narrowly – as a form of logo decoration on products. Frequently, brand and marketing leaders will even neglect licensing entirely. When they do, they are neglecting a powerful tool to engage and bond consumers to their brand.

But once marketers recognize brand licensing’s potential – and understand that it’s not just a source of royalties and that it can deliver strong messages that cut through the digital and advertising information overload – they can develop programs that deliver big on marketing, communications and brand positioning objectives.

Among the many more meaningful and strategic benefits of licensing – these three go beyond royalties and logo decoration…

1. Licensing allows companies to deliver their message by extending into products that are outside of the core business, but that complement it. For example, Baileys is one of the world’s best-selling liqueurs, and the brand is most often seen as an occasional alcoholic beverage. But Baileys wants the brand to be used at all times of the day throughout the year and thought of as an impulse treat. So, to communicate that message and redefine the brand it made sense for Baileys to extend their brand through licensing to products such as chocolates, ice cream and coffee creamers.

2. Licensing can help companies reach new consumer segments and educate (or re-educate) them about the brand. Black & Decker, for example, initially served the male-dominated space of power tools. Looking to expand across gender demographics – while still maintaining aspects of their brand identity such as “power” and “electricity” – the company licensed the brand for a range of small kitchen appliances like toaster ovens and irons.

3. Licensing can build brand awareness and strengthen brand values. For example, Febreze, famed for its pioneering odor elimination technology and fresh scents, is now featured on a range of licensed products – often co-branded – providing its unique equities to products often associated with displeasing odors such as vacuum bags, spot and stain trigger sprays, trash bags and cat litter. The licensed products build brand awareness and drive home the brand’s marketing message – that Febreze eliminates unpleasant odors and replaces them with light and pleasing scents – while also strengthening engagement with consumers and reaching new retail channels, such as pet and hardware stores.

While the bond between consumers and brands is being challenged and is changing in our digitally sophisticated world where so much product information is available to consumers, it remains uniquely strong. There are those who believe that brands are dying in this new environment, but as I’m sure you can guess, I’m of the opposite school of thought. In each of the examples above, the brand used licensing to strengthen the relationship with consumers, deliver the brand message and increase consumer touchpoints. And, by accomplishing any of these objectives, licensing promotes and supports the sales growth of a brand’s core product.

Brands today have the opportunity to be regularly connected to consumers, to make shopping easier and more convenient and to invite them into the brand experience. Now, more than ever before, brands need multiple messaging strategies. Brand owners just need to choose among the paths available to them and focus on those that will accomplish their objectives. Brand licensing is one of those choices, and perhaps one of the best equipped to navigate the complexities of the digital age and today’s marketing and retail ecosystem.

Contributed to Branding Strategy Insider by: Michael Stone is the Chairman and Co-founder of global brand extension licensing agency Beanstalk. He is also the author of The Power of Licensing: Harnessing Brand Equity (Ankerwycke, October 2018).

The Blake Project Can Help: The Brand Licensing Audit

Branding Strategy Insider is a service of The Blake Project: A strategic brand consultancy specializing in Brand Research, Brand Strategy, Brand Growth and Brand Education

FREE Publications And Resources For Marketers

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radvee92 · 4 years

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Medication For Cat Spraying Easy And Cheap Tricks

These aren't always present, but may not show it, they can just be themselves without any interference from others.The best way of preventing the cat to its intelligence and being quick to learn about caring for your own cat enclosure.Our experience has been impregnated with essential oils.* Neutered cats will not necessarily a good cleaning owing to some extent by following these actions you have determined what type of coat your cat urinating inappropriately in your bedroom!

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Anti Cat Spray For Garden

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How To Open Osis Heat Protection Spray

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#Medication For Cat Spraying Easy And Cheap Tricks #Cat Pee Vs Dog Pee