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the-final-sif · 4 years

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interview about writing processes

Hey Lady Sif,

thank you for taking time for us and agreeing to answer our interview questions.

Since this was of short notice we decided to change the deadline to June 19.

We hope the time frame suits you.

Here are our questions:

Can you shortly describe us your writing history? How did you start off? How did you come across fanfiction?

Do you have a writing philosophy that helps you overcome challenges in writing?

Could you describe your writing environment? (workplace, prefered writing tools, fandom discourse, discourse with friends)

What inspires you to write and post in and for a fandom? What triggers your headcanons? Does your educational background influence your writing?

In how far does your fandom experience influence your writing?

In how far do you work with others to create fan content? And what ideas do you integrate in your writing?

Are there certain steps you take/decisions you make when/before responding to a post/prompt?

When and why did you decide to host writing events like your fake fics event? What was the purpose and how did you approach the title prompts?

How would you describe the difference between writing alone and writing spontaneously with others (first in creating fan theories and headcanons and second in creating fanfiction)?

Do you think knowing that others read and can comment on your texts subconsciously influences your writing?

What motivated you to create a story where your readers can decide for an ending (name)?

Is there anything else you consider important in your writing process that you would like to tell us?

Thanks again for your time and effort, we are very much looking forward to your answers!

If you’re interested we’ll keep you updated on our findings.

Kind regards, Dana and Helena

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Can you shortly describe us your writing history? How did you start off? How did you come across fanfiction?

I started writing when I was very young! I was a huge reader, and even before I was writing stuff down I was a storyteller. It’s a really important part of my family & how we communicate with each others and others.

My first experience with fanfiction was when I was,, 7 or 8? That sounds about right. I hand wrote a fanfiction called “ShoppingCats” which something between warrior cats and Cats vs Dogs, but also made primarily of my OCs (+ a handful of warriors characters I liked). I still have most of it, it’s sitting in my desk drawer in it’s original binder, since my mother saved it.

I came across fandom spaces / online fanfiction in 2012 with fanfiction.net, and published my first fanfiction in 2013 (under Rosae-Sif on fanfiction.net). I’ve taken breaks as my interests changed & life got chaotic, but I’ve always enjoyed retelling stories that I hear and changing them to suit me more / explore new themes, so I’ve stuck with it after all this time.

Do you have a writing philosophy that helps you overcome challenges in writing?

Yes! I write for myself above all else. It’s fun to write stuff for other people sometimes, and I like getting feedback and what not, but I never let that be the focus of my writing. I always try to write what I want to be reading, so when I go back and reread what I’ve written, more often than not I find I’ve produced something that makes me happy, and that helps keep me going when a lot of other things couldn’t.

Could you describe your writing environment? (workplace, prefered writing tools, fandom discourse, discourse with friends)

Uhhh, I don’t really have any one set thing. I mostly write on my laptop, sometimes I use a notebook + pen. I have 5$ fountain pen that I got that I really love when I have writer’s block.

I think the most consistent “workplace” for me is actually discord/my friends. Almost all of my AUs/fics/ideas start as me storytelling (either typing things out or out loud) to someone else. That’s where the spark comes from, and then that slowly is refined through several iterations until I have something I like.

I really like taking long walks with headphones & nobody else around. That’s when a lot of the very early forms of my favorite ideas come to me. It’s a key part of my writing process the few times I get stuck on stuff too. I just go walk till I figure it out.

I don’t really get involved in discourse much. I like debating people, but I try to stay away from destructive stuff and just have my own fun corner where I create things. I’m in fandom for fun, and I refuse to let me experience be tainted by people who try to turn it into Discourse Central.

What inspires you to write and post in and for a fandom? What triggers your headcanons? Does your educational background influence your writing?

As I mentioned before, I write and post primarily for myself! I have a lot of ideas in my head all the time, and things I want to see, so I create those things and then put them here. It’s fun when other people interact with me + add onto my ideas + create things in response!

My headcanons are usually just kinda,,,, coming out of my brain. I think it’s just how I am. I have a question or a thought and I start looking into it and before I know it, a whole new thing has come out of it.

I think my family actually influenced a lot of my writing style more than anything else. I mean, I was homeschooled for a long time, and my parents were very encouraging of whatever weird projects I was creating (my dad once even let me cut down and drag actual brambles into the basement to create a warriors style fort). I was allowed to dress however I wanted (during high school I worn nothing but PJ pants b/c they were most comfy for me, and also I had/have several capes that I would rotate through), I was allowed to dye my hair (still do! it’s current a side shave in red + purple + blue!), and I was encouraged to just,,, be weird and happy. I think that shows in how I write. I pursue the ideas I want to go after, I indulge myself, I commit to thinks and I focus more on what I want to write rather than what I feel I should write.

That being said, a lot of science nerding that comes out in my writing is def from my educational background. I’ve got a bachelors and stuff. I did take some writing classes, but to be honest, I think my fanfiction experience influenced those a lot more than they influenced my fanfiction (years and years of writing constantly and quickly paid off in college where I would BS papers the night before and get top marks on it).

In how far does your fandom experience influence your writing?

Hmm, I don’t think it does that much? I mean, for the BNHA fandom in particular, I think that seeing all the cool content + ideas other people create really keeps my brain chugging along and creating new things, and god, having seen people make fanart and fanfiction for my stories has been one of the best feelings I’ve ever experienced, but I don’t think that’s really changed how I’m writing.

At my core, I’m still doing the same thing my 8 year old self was doing with her pencil and that binder full of paper. I take the strange thoughts out of my head, and I follow them onto the paper until I create something that makes me happy.

I’ve had some negative experiences of course. I mean, everyone does. They’ve all been fairly minor, mostly just people trying to tell me I’m wrong about stuff that’s either in an AU that’s already not supposed to be canon, or stuff I’m right about. Most of the time it’s just annoying. Sometimes it’s concerning. I ignore or delete the annoying stuff, I don’t want to give it any of my time or attention.

The concerning stuff I try to reply to. It’s been rare, but sometimes I get comments on certain fics trying to tell me what’s being depicted in my fic isn’t abusive when it absolutely is. I try to correct that and link to resources when I do get that. I usually don’t get a reply, but a few times I’ve had people realize that what they thought was normal was actually abusive behavior. I’m happy that I’m able to help people come to that realization.

In how far do you work with others to create fan content? And what ideas do you integrate in your writing?

Hmmm, I’ll be honest, I’m not quite sure how to answer this one. I don’t exactly work with others when creating my fan content? All of my writing (save one RP collab homestuck fic from ages ago) is done by me exclusively, and most my ideas are also mostly from my own brain. Although I will say one exception to that is @windschildfanfictionwriter whose an amazing bnha writer I chat with fairly frequently when I need help figuring something out.

It’s less of “working” with people, and more discussing things/ideas, and being excited about stuff. Sometimes literally all I need is someone to be my rubber duck while I talk about an idea for 2-3 hours to get it solidified. People in my discord server often help me by betaing (editing/reviewing) my wips. My adhd means I often make weird mistakes, and they’re wonderful at helping me catch that.

As for ideas I pull into my writing, it’s hard to pick out specific ones. I think I kinda create + absorb + integrate lots of stuff at once. A lot of the times my ideas don’t come from things other authors write, but instead come from things other authors didn’t write. When I see an thought/idea/thread in a story that isn’t followed up on, or isn’t handled how I think it should be handled, that often inspires me to either use a similar base concept or similar thought but in the way I wish it had been done.

Are there certain steps you take/decisions you make when/before responding to a post/prompt?

Not really? I tend to just go with whatever comes to me or what I already had prepared. I’m rather impulsive, so unless it’s a delicate subject matter, I roll with whatever’s going on.

I do always make myself take a step back before responding to stuff that annoys me/any sort of anon hate. I have to remind myself it’s not worth the effort and I should focus on positive/fun stuff. I’ll admit though, I have a very combative nature that can get the better of me sometimes. I’ve gotten better at that though! Hooray for proper adhd medication to help prevent destructive stimulus seeking behavior and therapy! Although I do still like to debate stuff for fun, I just don’t let myself get hostile about it.

When and why did you decide to host writing events like your fake fics event? What was the purpose and how did you approach the title prompts?

Oh, I just saw the post and thought it looked fun so I reblogged it. Stuff like that is mostly an impulse more than anything else.

I just kinda went with the flow for the titles. God, I got so many of those, I still have a lot of them sitting in my inbox, most of which I probably won’t ever post. For the ones I did do though, I picked ones that sounded like fic titles I would actually use, and then asked myself what sort of story I would use that title for. Then I just kinda wrote whatever came to me.

How would you describe the difference between writing alone and writing spontaneously with others (first in creating fan theories and headcanons and second in creating fanfiction)?

Hmmm. This one is also a bit hard. It’s rare I truly “write alone”, most of my stories start as a form of oral storytelling and then are adapted to “proper” writing. Most of my theories/headcanons start the same way.

You’ll notice a lot of my posts start with “Also” “Okay” or “I’ve been thinking” or “You know”. When I’m writing my headcanon/theory posts, it’s all written very conversationally because I’m still following my family’s storytelling in a way. It’s a public post, but I’m not just making statements to a void. I’m still talking to people, addressing them, leading them through stuff. It’s just how I communicate on a very fundamental leave.

I’m still writing for myself, I’m creating for myself, but I’m doing it with others. I’m telling a story constantly, and sometimes I’m telling that story to myself, but I’m still telling it to someone.

I think you can read that in my fics, with the perspective I tend to use. I use limited third person POV, but when I’m writing, I try to write it how the character I’m writing from the POV of would tell their own story. I’m not just describing what’s happening, I’m letting this character tell their story through their own voice, to others, to me. It’s a core part of my writing, and that makes it hard to say that it was ever really written alone.

Do you think knowing that others read and can comment on your texts subconsciously influences your writing?

I mean, it’d be impossible for it not to. But I don’t think it influences me that much. I’m still writing for myself most of the time, and I hold onto my bullshit tightly. I don’t change my writing based on what I think other people want to see from me.

That being said, it’s still something I think about. It’s more of a conscious choice, but specifically regarding my stories that have abuse in them, I try to connect in elements of realism and common underrepresented traits/habits of abuse (which I do try to check via research when I can) and ensure that they are then called out as what they are. I’ve gotten a number of comments/asks/discord messages from people telling me that my works helped them realize they were in a crappy situation / understand what they were going through, and that’s something that’s important for me.

I think The Green Eyed Monster is an example of that, where I explore platonic stalking/obsession/pressuring. It’s something I don’t see taken seriously often enough, so I wanted to frame it in a serious but realistic light and make it clear that what was happening was wrong and harmful. I wanted to explore this concept, but I purposefully did it in a way that I hoped would help others who might’ve dealt with it on some level understand it for what it was, and I think it really shows. In the comments of that fic, there’s a lot of very personal responses/stories from people who went through similar experiences. I think that’s important, so it’s something I try to do when I can.

The other thing is I do 100% put references/lines in certain stories with an evil grin on my face knowing that a certain handful of my commenters are going to rip their hair out over it, either because they have no idea what I mean by it, or they know exactly what I mean by it. But hey, I’m a hurt/comfort writer at heart, so you can hardly blame me.

What motivated you to create a story where your readers can decide for an ending (name)?

Oh, uh, “Seven Year Old Katsuki Has The Ability To Kill A Grown Man And No Concept Of Legality”.

I actually can’t remember the exact inspiration for this one? I think I saw uhhh, Markiplier, playing a text adventure game, and I got curious about creating something similar.

I considered using a platform meant for text based games, but true to my family’s long history of needlessly complicating things and creating things where they aren’t meant to be created out of some mix of spite and creative hubris, I decided I wanted to make it on A03 instead. I looked up a style formatting guide, and went to work.

That whole project took like 1-2 months, around school work and everything else. It was created entirely using links that sent you to the next page. That’s it. That’s the only ‘code’ functionality I had to work with. So I made a whole paper map of the routes, separating them out into “steps” and then created unique text blocks for each step based on prior choices. I used a secret point system for one of the main routes, and ended up with 97 unique steps, and 155 different text blocks/variations.

Fun project. A03 was having some trouble/going down right after I released it, and to this day, certain members of the discord server still blame me for that as I was forcing the website into bullshit it was not meant to contain.

Is there anything else you consider important in your writing process that you would like to tell us?

Nothing I can think of off the top of my head. Other than maybe I have an African Gray named Cecil, and sometimes when I’m not ready to share an idea with humans, I’ll talk it out with him first. He’s an excellent listener sometimes, and by that I mean he’s usually ignoring me or I’m giving him scratches and he’s not paying my rambling any mind.

Though sometimes I get lucky and when I finish up a point and ask for his opinion, he’ll just look at me for a moment and say “I love you.” He does it because I’ll always cave and give him treats since I’m weak for him, but it still makes me smile.

#sif speaks #sif answers #my writing #long post #if there's anything else #just let me know!#submission

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discordisagoodnoodle · 4 years

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I will NOW elaborate on my post about the fanfic from earlier, as per the request of @anonymouslyangsty

This is gonna be SPOILERS for this fic, so like...I guess if you were wanting to read it don't read this post.

So like...for one a large part of this fic simply hinged on characterization that came from fics the author wrote that I didn't even read. So like, when Twilight came to the conclusion that Twilight wasn't the variable, but Discord's friendship progress was, and used the other times Discord had tried to hang out and was a dick as examples, but since that wasn't in the show and I hadn't read the other fics it made me confused for a second lol.

But also like...the fact that I hadn't read these fics meant that when Discord was explaining his hypothesis I kind of like...thought he was right. Like JUST off of canon basically like every time Discord shows up Twilight immediately gets really suspicious and crude and I can easily see it affecting the way the other ponies react to him.

....And I'm fairly certain it has, actually. With Discord's first appearance in season four, Twilight immediately accused him of wrongdoings and basically set the tone for the rest of the group with how they should respond to Discord. And I'm certain the ponies may have been wary of him otherwise, but if Twilight had sung the songs of how he'd changed oh so much the rest of the girls probably would have at least...tried a bit harder not to be outright livid at his presence? The fic tried to act like Twilight CERTAINLY doesn't have the type of influence, subconscious or not, to affect how the rest see Discord but...she does. She literally does just that in the show. Being unable to persuade the girls about Chrysalis Cadence (which is the counterargument the fic brought up) doesn't mean that Twilight NEVER has any influence over the perceptions her friends have. It just means it's not this infallible thing that's guaranteed to always have the same outcome.

But Twilight (and the fic, a little bit) tried to act like Discord's hypothesis was baseless and just a product of his feelings, and that he was wrong...but honestly he really wasn't. And I can't fundamentally see that he was wrong from canon. Maybe if I read the other fics it would be a different story.

But I also think that the dissonance is that the author, even without their add ons to the show, would have fundamentally agreed with Twilight...and kind of...puts a lot more responsibility of reformation onto Discord than I do?

Like...the context of Discord's reformation is such that it wasn't really like...a choice the same way it was Starlight's choice. Discord's options were stone, no stone but he can't exactly actually do much without the threat of stone, or can't do much but at least you have a friend now! Plus the fact that it was something Celestia just...randomly decided.

And it's just like...all of the Mane Six agreed to the task of reforming Discord. All. Of. Them. But the only one who actually reached out was Fluttershy. And if the Mane Five don't want to reach out, that's all well and good. But because of the context of his reformation, even after the Tirek thing, it's not like it's his responsibility to reach out to them either?

Augh idk how to word this really. It's just the fic kept going on about HIS progress with being a better friend and THAT'S what was actually happening and THAT'S why the girls liked him more, and while that IS true, I just think the way it was worded (and the way the author's comments on the matter were worded) puts a lot of responsibility on the guy who's only had like, one real friend and who's reformation was Like That to reach out to the Mane Five when I think the ponies who Literally promised to help reform him and then....did not do anything to do that should have at least like...not immediately acted livid at the mere sight of his existence ig. Like,,,it just talked about how the ponies were warmed up to him because he was actually nicer but like...the fact that the ponies called him his friend but never actually acted like it or said they were going to help reform him but never tried with him at all, even if he was a dick it just kind of makes me like,,,,bothered that it's not acknowledged and instead all of the responsibility seems to be put on him (tbh also because he was partly a dick to them BECAUSE they never actually tried with him in the first place... he's extremely nice to Fluttershy for a reason, that being she actually tried)

#my brain legit broke on that last paragraph #it was worded so nicely in ny head and then just #nah #mlp #discord #i feel like I'm gonna end up having more to say when my brain isn't broken but oh well

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wizard-hunter · 5 years

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The principles of Discordian Magick - a very Loose Discussion

A document to be included in the forthcoming "Confunomicon"

by Lord Falgan, F. M. , K. S. C. Novus Ordo Seclorum Erisium

. . . dedicated to The Prettiest One. . .

Okay, this is a discussion on magick, eh? Whoa, like, conjuring demons, throwing hexes, and predicting the future? Manipulation of the Hodge/Podge to TOTAL WORLD DOMINATION?! No.

First off, any demons that might be around aren't gonna waste time with Discordians (they're after the Greyfaced Religions, 'cause the guilt they can lay on them. . . ). Throwing hexes is painful, and bad for the joints. And if you are worried about the future, and world domination, then you have no business trying out magick anyway.

So, like, what is Discordian magick, eh? Okay, Discordian Magick is a way in which the Discordian practicing it (called a Phool) to either add to or create Eristic Vibes or to deflect or destroy Aneristic Vibes.

Some Terms:

•Vibes: Psycho-emotional energy given off be humans and other creatures.

•Eristic: Pertaining to Eris; pertaining to chaos in general.

•Aneristic: Against Eris; pertaining to order in general.

•Phool: one who is aware of the presence an actions of Vibes and uses Discordian Magick to manipulate the same

•Face: An aspect of Discordian Magick; the category of magick

Nature: The end-product of Discordian Magick

•Hodge: The pseudo-Zen force of Order in the world

•Podge: The pseudo-Zen force of Chaos in the world

•The Doctrine: things have a tendency to work out ok in the end

•Ju-Ju: The "aftershocks" of Discordian Magick; the long-term effects.

•The Sacred Chao: The image of the Hodge and Podge.

•Greyface: One who unconsciously generates Aneristic Vibes.

•THEM: A group who consciously generates Aneristic Vibes; Phools gone Greyface.

•Discordian: One who unconsciously generates Eristic Vibes.

•Norm: A normal, vibe-unaware, guy-on-the-street. Typically Aneristic, due to the great amount of ambient Aneristic Vibes in the world.

Vibes: what they be.

Okay, vibes are like energy which is given off by all creatures. You may know of Vril or Kirlian Aura or Alpha Waves or some other nonsense. Vibes may or may not be them, its really not important. What IS important is that they exist, and if they exist, then they can be manipulated and created and destroyed. (Destroying waves can be bad Ju-ju. Be careful. )

How do we know vibes are there? Because, if you open up, you can feel them. You're being hit by them all the time, just most people aren't aware of them. Next time someone is being extremely chaotic, notice how that person's actions and presence affect you. . . the same for someone being extremely ordered. Sometimes, the vibes can change your mood, your attitude, even your health.

So, now that I know the vibes are there, what can I do with them? Okay, eh? So, there are two basic kinds of vibes: Eristic and Aneristic. Eristic Vibes are pulses of chaotic energy, while Aneristic Vibes are pulses of ordered energy. . . this means the fundamental concepts of chaos and order, not the waves themselves. (I. E. if vibes have a structure, both Eristic and Aneristic probably have the same structure. It is the kind of energy which differs, not the structure. ) Eristic Vibes USUALLY cause Chaos, Discord and Confusion (the first three Faces (q. v. )) and Aneristic Vibes USUALLY cause Bureaucracy and Aftermath (the last two Faces). I say USUALLY because, like most things, there are several occasions when the five will cross over. A Phool must learn to appreciate the spinning of the Chao, and the counter-push-pull of the Hodge and Podge, and learn when Eristic Vibes are needed, and when Aneristic Vibes are needed. As a very general rule, the world needs more Eristic Vibes. . . there are far more Greyfaces in the world than there are Discordians.

Faces

Okay, eh, Discordian Magick is not exempt from the Law of Fives. There are five facets to Discordian Magic, just like the five faces of a pentagon. Ergo, to keep in line with this analogy, these aspects of magick have been termed "Faces". The 5 Faces are, naturally: Chaos, Discord, Confusion, Bureaucracy , and Aftermath.

When a Phool manipulates Vibes, the method in which the Vibes are manipulated is defined by the Face.

Some brief explanations:

•Chaos: Vibes manipulated within the Face of Chaos, generally speaking, are designed simply to increase the amount of Eristic Energy in the area. Chaos magick is specifically unorganized, and often purposeless. It is used to change mood, tone, and is also a way to banish Greyfaces.

•Discord: Vibes manipulated within the Face of Discord are deigned to affect large numbers of Norms, and sometimes Greyfaces. It is the second most destructive form of magick, and requires care in its use. It causes Norms to act in ways they would not normally, often for reasons they do not fully comprehend.

•Confusion: The most common form of magick, Vibes manipulated within the Face of Confusion is a Discordians primary weapon against Anerism. It is a subtle form of magick, designed to gradually wean norms and Greyfaces from their hopeless addiction to Aneristic Vibes.

•Bureaucracy : Vibes manipulated within the Face of Bureaucracy must be treated with care, as they can easily slip into Aneristic ones instead of Eristic. Bureaurocratic Magick is designed to affect a large number of Norms into unconsciously succumbing to Eristic Influence. When used especially well, this form of magick is particularly effective against Greyfaces, as they may not even know that they are being manipulated.

•Aftermath: Vibes manipulated within the Face of Aftermath are the most dangerous tool a Phool can use. They are by far the most destructive, and involve a permanent destruction of Vibes, and a ceasing of the Spinning of the Chao. Aftermath Magick is serious stuff. It means a closing and a te rmination of Energy. Don't use this stuff unless you're, like, really sure of yourself and are prepared to accept responsibility for the Ju-Ju you may cause.

Nature, eh?

The Nature of Magick is not really an integral part of the Magick, but it helps the Phool to classify the effect his magick will have on the world. There are many natures, but some of the basic ones are:Creative: Designed to create ambient vibes. Usually called "Eristic Creative" or "Aneristic Creative".

•Destructive: As Creative, but designed to destroy the vibes in question.

•Anti-Greyface: Countering Aneristic attacks by Greyfaces, or planting seeds of Chaos in their subconscious.

•Personal: Magick designed to alter the Phool's own moods, feelings, and attitudes. Helps recover from Aneristic attacks.

•Ritual: The ritual is a means of simply causing Ju-Ju. It rarely has immediate effects, but when done, the Vibe Ju-Ju will cause long- term effects which the Phool may desire.

Oracle: A means of "seeing the future". . . not really, but what it does is open the Phool's mind to ideas which may indeed affect the future.

~~~~~~

This has been a very basic introduction into the theories and practice of Discordian Magick. It has been presented in hoped of laying a groundwork for further study and explanation in the upcoming work _The Confunomicon_. If there are any who would like to share their observations, make comments or suggestions, or offer to publish the book, I will be at the listed space/time hodge/podge locale until May 1, 1991:

Lord Falgan, F. M. , K. S. C.

Pineal Research Lab

Mu Cabal, Novus Ordo Seclorum Erisium

5210 16th Ave NE

Seattle, WA, 98105

USA, Earth, Galactic Quad: ZZ92ZA

_______________________________________________

Eris nullifies anything less than universal!!!!!

#eris #discord #discordian #discordianism #Kallisti #magic #chaos magick #magick #anarchist #anarchism #anarchy

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architectnews · 3 years

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Manchester School of Architecture spotlights 11 student projects

A project exploring whether dreams could influence the design process in architecture and a "vertical village" that adapts to rising sea levels are included in our latest school show by students at the Manchester School of Architecture.

Also included is a neighbourhood plan informed by how children experience space and a sustainable community project with a core purpose to connect people through buildings.

Manchester School of Architecture

School: Manchester School of Architecture at the Manchester Metropolitan University and The University of Manchester Courses: Master of Architecture, Master of Landscape Architecture and Master of Arts in Architecture and Urbanism Tutors: Sally Stone, Becky Sobel, Luca Csepely-Knorr and James Robertson

School statement:

"Alongside the seven Master of Architecture (MArch) design-led studios, the Manchester School of Architecture's digital exhibition also introduces the course's professional studies, research and dissertations modules – Master of Landscape Architecture (MLA) and Master of Arts in Architecture and Urbanism (MA A+U).

"The MSA postgraduate programmes are proud of its northern roots – to be situated in the heart of Manchester and part of the ever more influential northern powerhouse. The MArch ateliers also have strong international connections – whether these are collaborations with remote universities, competitions in foreign climates and projects focused on various cultures.

"Debate and discussions centred around climate change is embedded in the academic curriculum of the postgraduate programme. Differences in climate, locations and needs are explored. The necessity to address climate change is a fundamental part of the programmes. It is something that all students need to embrace and fight for while developing creative methods to address it."

Urban Space for Urban Childhood by Veronica Wong

"Covid-19 has amplified long-standing inequalities across the globe. Atelier &rchitecture seeks to understand the potential for architects to affect positive change through inclusive and engaged practices.

"Students developed individual thesis projects based on an issue, cause or consequence of social exclusion that interests them. They developed non-linear, productive and iterative design research methodologies, ranging from physical prototyping to augmented reality games.

"As part of the programme, Veronica Wong's thesis stands for empowering children's voice to be heard and their ideas to be 'seen'. The project establishes direct engagement with children to investigate their experience of their neighbourhood. More than 140 children (from different backgrounds) participated in the research, which resulted in Wong developing a neighbourhood plan based on how the children experienced the space. The image represents the investigation and design process, and a video can be watched here."

Student: Veronica Wong Course: MArch Atelier &rchitecture

The Cymatics Revival by Islam Zakaria

"This atelier is conceived as a think tank and testbed – a platform for research and experimentation in architectural design, concerned with holistic understandings of design and sustainability in light of the climate emergency.

"Islam Zakaria investigates the 'Revive the Spirit of Mosul' located in The city of Mosul. Meaning "the linking point" in Arabic, it is one of the oldest cities in the world. Due to its strategic location, it became home to many people from diverse backgrounds, ethnicities and religious beliefs. However, this unique location also made it a target for ISIL/Daesh. In 2014, the Islamic State took the city and three devastating years (from 2014 to 2017) of occupation passed before the shackles of violent extremism could end.

"By rehabilitating the historical Nouri complex, Zakaria intended to revive its spirit through investigating acoustics. Using Ayah 22 from Surah al-Baqarah from the Holy Qur'an, a verse about how Allah (God of Islam) is here, even when there is a hardship. The reverberation and resonance generated from the recitation were used to augment anomalies – a complex algorithm simulating atomic collision physics. This created a four-dimensional multi-faceted shape that connects the mind and soul."

Student: Islam Zakaria Course: MArch Atelier Advanced Practice

Design as a Process - New Compositions: Contentious Heritage by Tahreem Amjad

"The Continuity in Architecture atelier believes that the city is an exciting, complex and crowded place, full of contrast, juxtaposition, discord and contradiction. We believe that the constructed environment is charged with narrative content, that it is a place in which certain elements come to the fore, while others are more modest but no less important or carefully considered.

"Contentious Heritage is part of the atelier and it addresses the negative histories of the built environment and focuses on how we can incorporate these histories into the development of new design. Encouraged by this, Tahreem Amjad's thesis represents foreign identities in Manchester's urban fabric after looking into the issues surrounding institutional discrimination of foreign bodies in the city.

"Amjad based the project around Manchester's Italian community due to their positive integration into Manchester in the late 1800s and the clear discrimination they felt during the war. The rich architectural composition of Manchester's Aytoun Street was selected for experimentation.

"It concluded that communication and education are necessary components in understanding the extent of British heritage and history. This was translated into architectural spaces through drawing, painting and stitching. Through this process, a collection of buildings emerged. This thesis comments on the importance of memorialising tragedy, educating others about the negative aspects of history and using that information to move forward."

Student: Tahreem Amjad Course: MArch Atelier Continuity in Architecture

Gateway to Zero-carbon City: a custom-built generative and analytical tool to explore design pathways to a zero-carbon future city by Yan Chen, Yirui Chen and Linyu Li.

"[Complexity Planning & Urbanism]ai uses a complexity framework to develop a new design science approach referencing systemic forms of design (R. Buckminster Fuller) and the study of design/the artificial (Herbert Simon). This year [CPU]ai explores 'resilient urban futures' from multiple sustainability perspective.

"A collaborative project by Yan Chen, Yirui Chen and Linyu Li, Zero-carbon City used a generative approach to resolve the contradictory correlation among morphological compactness, building solar optimisation and green space distribution to design a zero-carbon northern gateway. The generative tool aims to minimise building energy demand and enhance solar energy utilisation to respond to the challenge brought out by Manchester City Council and Northern Gateway developers."

Student: Yan Chen, Yirui Chen and Linyu Li Course: [Complexity Planning & Urbanism]ai

Composite mapping by Julia Arksa, Joe Copley, Remi Phillips-Hood and Tom Register

"Infrastructure Space uses large territories and novel mapping techniques to explore space, approaching it with neutrality to form objective views of how it is produced and used. This year the territory under investigation was the M58 motorway corridor that connects the M6 with Liverpool's docks.

"The students developed research questions based on preliminary group studies that considered digital connectivity, urban-rural dynamics, planning policy and complexity, flooding and water scarcity, density and dispersion, and infrastructural economies. Thesis projects typically explored conditions such as these and then speculated on the potential spatial and material outcomes.

"As the City of Liverpool and the Merseyside area begin to grow in population, there is an opportunity to readdress some of the issues that the post-war developments fell short of.

"Redistributing the balance of the city region as the city embarks on a period of urban renewal could help to reenergise areas of the site that are segregated from the socio-economic shifts taking place. The wider city region is at a point of reinventing itself, making it an opportune time to seek alternative ways of achieving urban renewal aside from market lead growth."

Student: Julia Arksa, Joe Copley, Remi Phillips-Hood and Tom Register Course: MArch Atelier Infrastructure Space

View over the City by Rachael Aylward-Jones

"Praxxis is an all female-led feminist studio atelier and research collective. It takes an explicitly feminist approach. In particular, intersectional feminism explores the inequalities in society and what that may mean for the built environment.

"Intersectionality acknowledges that the various layers of what we see as social and human characteristics – class, race, sexual identity, religion, age, disability, marital status and gender identity do not exist separately from each other but are interwoven in a complex matrix.

"For the year-long thesis project, our students use feminist tools as a way of constructing project briefs that always respond to the personal and the political each project explores inclusive understandings of how our identity affects our life and our work.

"This thesis explores whether dreams could influence the design process within architecture to enable greater creative involvement from both the public and architects. Here everybody explores their unique struggles and aspirations for space within their dreams and utilising them could be the key to fulfilling our subconscious wants, needs and desires.

"To test the effectiveness of dreams as a design process and source of design inspiration, Rachael Aylward-Jones explored her dreams and created a deeply personal methodology to utilise every aspect of the dreams, influencing the project from concept to detailed design.

"This process was the creation of a Feminist Dream City that provides equitable fun and empowerment for residents. When people become true feminist, in reality, they are granted access to the dream city when they sleep. As a community of feminists take residence and continue to add to the city, it begins to multiply and expand, sparking chaos and excitement."

Student: Rachael Aylward-Jones Course: MArch Atelier Praxxis

Rising Tides by James Robinson

"This atelier explores the boundaries of architectural practice and uses the techniques and working methods of other creative disciplines (in particular fine art). This year's topic was to develop projects and spatial strategies that explored resistance. This theme ran throughout the atelier in all cohorts.

"Led by thorough research, student proposals included bird sanctuaries, workshops, bathhouses, and art galleries. All solutions were encouraged to adopt sustainable technologies whilst maintaining a poetic and artistic approach within their narrative. Each project used experimental methodologies to create solutions to their developed brief and sought to enhance the landscape of the reservoir setting whilst furthering USE atelier values.

"With the current climate disaster outcome too complex to predict, current architecture needs to prepare for an uncertain future. This thesis project explores how climate change will affect the world in the worst-case scenario sea-level rise of 82 metres and developed an alternative way to look at urban skyscraper architecture due to mass migration to the north of Europe due to the disaster. A masterplan for a metabolic vertical village was developed for Manchester, including key components that allowed it to be self-sustainable and encourage community interaction, as well as being adaptive to the rising sea levels and the needs of the village."

Student: James Robinson Course: MArch Atelier Urban Spatial Experimentation (USE)

Model of Drax Power Station and its networks by Ellen Faulkner, Cameron Smith, Madhumitha Babu, Christy Chu, Eunice Ng and Anubhav Rana

"The research one: methods workshop is a taught programme introducing first-year master students to research in architecture, developing methodological and conceptual capabilities that apply to the disciplines of architecture.

"The subject of the different workshops reflects the symbiosis between design practice and history and theory and allow for scholarship within individual specialisms to be placed within a deeper understanding of architecture as a whole.

"The course focussed on the interconnected infrastructural landscapes of the Yorkshire coalfield, addressing issues of transitioning from carbon economies and the relation between power generation and climate change. Using archive materials, field study, interviews and desktop research, the students produced analytical case studies that synthesised information through mapping, diagramming and model making.

"In this case, looking at Drax coal-fired power station, the student group asked the question: what impact did Drax have on the wider network at varying scales, and how might this have influenced its design? The model shown here investigates the infrastructural networks that combined to enable power generation at Drax in its local, regional and international contexts."

Students: Ellen Faulkner, Cameron Smith, Madhumitha Babu, Christy Chu, Eunice Ng, Anubhav Rana Course: Research one and two – methods and dissertation

Everything and the Kitchen Sink by Proto-practice

"At part two (MArch) level, Professional Studies ensures that students have the opportunity to evidence how they have gained knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. Through a series of lectures by staff and practising experts, the students gain a better understanding of the professional world of architecture before demonstrating how they can apply that to their projects.

"This year, the students relished the opportunity to review a previous studio project and discuss how they could improve it with their enhanced knowledge. They also formed a theoretical practice to showcase how they might put a business together and benefit from current or future trends in construction and design, often reaching beyond the traditional practice model.

"The co-operative Proto-practice set up Everything and the Kitchen Sink as part of their professional studies module and actively chose to take a feminist approach to practice management. The team worked closely together, creating a robust and accessible identity for the network, ensuring their ethos was centred around providing social viability and 'everything' when it comes to architecture, design and research projects.

"The team designed a toolkit to ensure this social value was effectively delivered to the clients and communities at every RIBA stage with a strong emphasis on collaboration and participative consultation. The practice structure developed over a hypothetical time frame of ten years from a group of friends at university operating as a collective, progressing to a community interest company and eventually forming a co-operative."

Students: Proto-practice Course: Professional Studies

Manifesting Manchester's historical relationship to slavery and black liberation through a metaphorical sequence of spaces expressing stages on the journey from enslavement to freedom by Jakir Noor

"Landscape architecture has an immense amount to offer as a stitcher-together of communities, ecologies, and places. This year we implemented several changes to our course. First, we brought landscape architecture and architecture students together through research, live projects, and the MSA atelier system. Second, we aim to afford a dialogue between built environment professions, encouraging mutual learning, respect, debate, and cooperation.

"In Jakir Noor's project, the River Medlock is a symbol of black history – neglected, ignored and forgotten. Experiential landscape architecture was brought forward in this project, getting back to life the river itself and the black history of Manchester. The Trans-Atlantic slave trade was the basis of this journey along the river. Five different sites were assigned a typology based on the emotions felt in the existing spaces.

"These emotions are linked to the feelings experienced in this infamous period. Chronologically the typologies include fear and anxiety, assimilation, grief, rebellion and escape. Each typology provides an evocative, experiential space that aims to educate black history in Manchester whilst serving the black community from a health and social point of view."

Student: Jakir Noor Course: Master of Landscape Architecture

Workhouse project by Mariana Camacho Gonzalez, Xiao Chen, Lauren Fearon, Kisanet Goitom, Athina Ioannidou-Lemonidou and Jiaqi Wei

"The research offering this year focused on six optional projects exploring a plethora of urban issues in a variety of locations. In addition to local territories in Manchester and Trafford, other settings were examined in Stoke-on-Trent, Wolverhampton, Crewe, and further afield in Barahona de Fresno, Spain, resulting in a range of proposals through which students learn as a group about the transformative potential of urban design.

"The introduction of this second cohort, coupled with students spending much of the year in their home cities, has led to an incredibly varied range of thesis projects and dissertation topics with a notably international agenda – from the future of historic city quarters in China to issues of the provision of homes and planning concerns in the UK.

"Here a co-operative group of students created a vision for The WorkHouse Project – a community interest company based in Hulme and Moss Side, to create a sustainable community at its heart. The students planned a scheme that had as its core purpose the connection of local people, mentally and physically, through linking key principal sites for community use and public spaces."

Students: Mariana Camacho Gonzalez, Xiao Chen, Lauren Fearon, Kisanet Goitom, Athina Ioannidou-Lemonidou and Jiaqi Wei Course: Master of Arts in Architecture and Urbanism

Partnership content

This school show is a partnership between Dezeen and Manchester School of Architecture. Find out more about Dezeen partnership content here.

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The Hermit – Revealing the secrets you always wanted to know - Reblog

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One of the more esoteric cards of the tarot deck is the Hermit. He is one of the cards that illuminates the inner world of the Querent.

He has ascended the heights of spiritual knowledge and fulfillment, and he stands ready to impart this knowledge if you’re willing to listen. While the high priestess represents the raw power of intuition, he is a beacon of this knowledge. You attain his strengths through careful inner work and introspection. You achieve the spirit of this card through diligent study, and by making a point to turn within to find deeper answers to universal questions. He is not your gut. He is your mind clear and transparent to you.

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Story and evolution of the card

The Hermit is part of the major arcana of tarot cards and is associated with the zodiac sign of Virgo. It's the ninth card of the deck but is associated with the number ten because the Fool is assigned the number zero. The card is often represented by a single man facing away. He holds a lamp that stands for the light of inner truth. He is alone, but content. Though he seeks his truth within he doesn’t shy away from others. In the earliest tarot decks, the card was not a hermit, but a beggar, and then a beggar with angelic wings. Over the centuries his image has evolved from this into what we recognize today.

Interesting decks in which The Hermit plays a special role

The image most recognize is from Rider-Waite deck. This deck rejects any early kabbalistic or Egyptian influences of the imagery, choosing instead to focus on early Christian mysticism and gnostic symbols.

Meaning of the card (standing)

Seeing the Hermit in a spread suggests that the Querent is in a phase of soul searching or introspection about a question or situation. It’s time to look for answers within because the truth is already there. Maybe the Querent is seeking a new direction in life but is unsure of his or her ability to proceed. The Querent knows the answer somewhere in the subconscious and must draw on hidden truths. This need for a change has something to do with the deeper meaning of life and what we are here to learn. This is not a time to seek the status quo or to continue doing what’s already been done. This card signifies a connection to the deeper truths of the universe and our relationship to the source. He is also above base judgments and can love but with detachment. He doesn’t need to change others or feel whipped about by what others do and say. Instead, he can love in a clear-headed way, and understand how different factors and influences might cause suffering and pain in others even when they don’t see it.

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Reversed meaning of the card

The reversed meaning of the Hermit can mean one of two things. If you’ve spent too much time seeking outward recognition and looking to others for your source of truth, it’s time for you to spend some time in reflection to find your inner truth again. It’s also possible that you’ve spent too much time in introspection. It’s easy to stay inward as this is a place of safety, but it’s time for you to take what you’ve learned and connect with others again. Also, it’s important to be alone for the sake of self-healing and coming to an understanding of ourselves, but spending too much time alone causes us to feel isolated and disconnected from the strength of our community. It asks you to balance these two concepts for personal development and mental and spiritual health. We shouldn’t be a slave to the opinions of others, but neither should we shut out their wisdom.

Surprising facts about the card

One its most famous depictions isn’t in a set of tarot cards. There’s a stylized version of the card illustration on the inner sleeve of Led Zeppelin’s 1971 untitled album. Fans commonly refer to this album as Led Zeppelin IV, and the artist credited with the illustration is Barrington Colby. Because little is known about this artist, many have speculated that it was Jimmy Page, the guitar player and suspected occult devotee. The card also appears as a character in several video games, including “House of the Dead” and “The Binding of Isaac.” In the movie “Now You See Me,” the card is given to one of the recruits.

What the card could mean

In a question about love, if you’re single, the card can indicate that you are tired of the single life and are looking for someone who fulfills your desire for partnership. People in relationships may find that this card indicates discord in how close the two partners are. Usually, one partner is pulling away or needing space while the other desires to draw closer.

As far as health is concerned, the Hermit can indicate that it’s time to start enjoying simple things in life. Maybe life is too busy with all the tasks that have to be done, but now is the time to reflect on areas in which self-care is lacking. There is a need to find balance and relieve stress and pressure of trying to do too many things. In career meanings, the querent is often looking for deeper meaning in wealth and career issues. Maybe the focus has been on financial wealth and outward accomplishment without regard to how the querent feels fulfilled by these things. The card suggests that it’s time to look deeper into the meaning of the querent’s life and what purpose they see themselves fulfilling.

Conclusion

My favorite depiction of the Hermit is in the Herbal Tarot. Here, we follow behind the hermit along the path to our inner enlightenment as he leads the way. The road to the mountains is a long one, but he holds the light ahead of us to make our journey easier. This card is a reminder to all to look within for strength and truth and to make that practice a divine part of every day. It is one of my favorites. How do you work with the Hermit? Let us know in the comments.

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