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yoshkeii · 3 years

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“𝙿𝚛𝚊𝚌𝚝𝚒𝚌𝚎 𝚖𝚊𝚔𝚎𝚜 𝚙𝚎𝚛𝚏𝚎𝚌𝚝”

࿐ character(s): Reki Kyan

࿐ genre: sfw, soft/fluff

࿐ type: imagine/scenario

࿐ requested by: by my fren, Goose

⌦ male!reader (he/him)

⌦ mentions ; injury, light blood

⌦ ‘hmm maybe him trying to help his boyfriend learn how to skate or him having to work late at the shop but his bf stays with him for company or something?’

A/N: Goose suggested this when i asked for a request and they delivered with a new f a n d o m . so why not? i also realized i changed from third person then to second person midway,, i cannot sit still.

its late as i post this, but i dont care if this gets notes or not. its for my friend after all <3

Reki wanted to teach [y/n] how to skate. He always did before they were even dating, knowing he was slightly interested every time he doodled a design for his boards during class. Seeing the slight sparkles in his [e/c] eyes as he examined Reki’s sketches, he just knew he was interested. But just scared on trying.

The buzzing from [y/n]’s phone wasn’t stopping. It would stop for a quick moment till it resumed the vibration under his pillow. Groaning and muttering soft complaints, he lifted up his phone to squint at the name who was calling him. “..Reki..? What does he want at this time..” sighed tiredly. [y/n] answered the call still comfortable in his sheets of his bed.

“Hey! [y/n] I’m outside of your window!” Reki quickly said as soon the call started. The [h/c] haired boy blinked, sliding off his bed to walk up to his window in his room and looking down to see the obvious red-hair skater waving a hand up at him with a smile. Softly sighing, [y/n] replied “..what are you doing out at night? y’know its like.. 4:30 am... right?”

“Mhm! But its the weeeeekeeend, so I thought you were- up still-” He laughed nervously but still kept the slight smile on his face.

As you continued to stare at the red-head, you noticed his skateboard he was holding then the bag on his back. Knowing the board he made for you temporarily was in there, “..you brought it didn’t you.” [y/n] muttered into his phone. “Yep! Come practice with meeeee-”

“I- F-fine.. just.. let me get ready. You came so suddenly, you dork.” hearing the excited voice of his reply, [y/n] hung up and left to get ready.

Reki always came at the most weirdest times for practice. He was practically a wild card when it came to things like this. But he had a reason why, which was [y/n] not taking the chance to try to skate during the day or somehow slips away from the opportunity. It was the weekend also so why not?

Following behind your boyfriend as he dragged you along with his hand entwined with yours. As you just stared at him, he blinked and looked over at you with his bright ass smiling. Eyes widening you looked away with a pout n mutter, flush decorated your face. Hearing the soft laugh from the red-head before the compliment, “You’re really cute when you get flustered y/n!”

“I- Shut up Reki!”

He continued to laugh as he went on. It usually was like this. Always teasing you with such words and compliments that you weren’t used too. But you won’t admit that you like it, maybe one day you will. It made you have that natural fuzzy feeling in your stomach, making your body react with its slightly rising temperature. Effectively making the burning color appear on your face.

After reaching the normal destination of a small skate area, you both practiced... which was mainly just you. With Reki teaching you the basics and watching you go at it a couple of times. Gradually getting better if it was slightly off but nonetheless he cheered and continued to aid you. Hands occasionally fixing your posture and position, noticing both of each others faces with the slight blush.

A couple more tries of attempting an ollie made you scuff up your palms. Before the recent one you just did was slightly closer to a decent one, you had fallen onto your face hearing the call of your name from Reki in the distance. Groggily pushing yourself up and grumbling in pain, hearing the nearing steps of your boyfriend halt to your side you gazed up at him with a silly smile.

“..almost had it” you laughed as you scratched the back of your head, before feeling something cold run down from your nose you wiped it with the back of your hand. Looking at what it was, you blinked almost freezing at the sight of the crimson smeared. “Ah-”

“All you have to say was ‘ah’ y/n?? You know your face is a little scratched up and your nose was bleeding!” Reki exclaimed, “..even your hands are scratched up too-” he went on, grabbing your wrist towards him to tend to the open scratches. Already finished with treating your face and nose. Poking at the more open and slightly bleeding ones with alcohol you flinched a let out soft whines of ‘owes’ and ‘ouches’

“Stay still won’t you?”

“It huuuurrrttssss..” you whined again.

“I know it does- now let me bandaged them up”

“T-thats tight!! Babe-” you complained almost pulling your hand away from Reki’s grasp. Before he grabbed your wrist tighter to hold you in place, “It has to be a little tight so it heals correctly” he replied as he wrapped some bandages over your palm and fingers efficiently, “it doesn’t hurt that bad either-”

Staring intently at the bandages wrapped over your hands, you softly muttered something inaudible. Making your red-head boyfriend to glance over at you, humming curiously at you. “You didn’t give it a lil’kith.” slightly pouting as you gazed up at Reki, before the soft motion of him grabbing your hand to softly peck the back of it then pecking you on the cheek. Feeling the soft smiling as he did. Sitting back to stare at you, noticing the deep blush on spread on your face before you softly punched his shoulder quickly hiding your face with your arms.

“I-.. I- was just k-kidding..!!”

But Reki did nothing but softly laugh at your reaction, hearing the common teases that made you more flustered. Although, there was a fair amount of flush across his own face too.

#sk8 x male reader #sk8 the infinity x male reader #sk8 x reader #sk8 the infinity x reader #reki kyan x male reader #reki kyan x reader #x male reader #x reader #at-dusk;- 🌆

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sylvia5308760 · 4 years

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Week 9- Digital Iteration & 3d Printing

PRE-CLASS ACTIVITY: Model making case study - Cup

When watching Andrew’s video regarding his experience two main points stood out to me.

POINT ONE: Andrews spoke about how when making sketch models which inform his design gave him more freedom compared to presentation models. As stated in previous blog posts sketch models shouldn't be perfect rather a way to focus on and single (or more) features of the design to inform you about it. For me working with physical and digital modelling I really related to this. As this course is a sketch modelling course it allowed me to be more open with the way I expressed and idea.

When working with the blue foam model I was able to use the tools to take a little more material off to see a further transition of the form which I didn't see in sketching.

When working with Fusion 360 I had the freedom to try different ideas and tools to the extreme to see where that took the form. I was easily able to reset and take another route to create something which informed my design of a form which felt comfortable in the hand.

POINT TWO: For Andrew, he stated that he worked with other materials during this project, namely timber. Timber allowed him to mimic the weight of what is to be a ceramic cup to give information as to how to hold it and gesturing of work.

For me and most students, we were limited to using foam and 3d printing which won’t quite mimic the weight which is one downfall of these materials. Instead, these materials are amazing at informing the form of the design and how it may appear in someone’s hand or in a room.

PART 1: Testing and trying out features of 3ds Max (on a sphere)

Figure 1: Since 3ds Max was new to me I was initially terrified on the initial interface of the software. My first thoughts when learning the navigation and manoeuvring I slowly became more comfortable with the views and basic tools. The class tutorial allowed me to understand and have a better grasp of these selections of tools.

Figure 2 & 3: I further expanding my experimentation on the sphere using the ‘Squeeze’ tool. A simple tool which created significant modifications. Next, I spent lots of time to test the ‘Edit Poly’ tool. This allowed me to select individual sections and slightly tweak them to make slight adjustments. I tested this tool’s ability creating some extreme modifications and then I slowly toned done. This allowed me to see the capabilities of this tool. Made me see how this tool is great to tweak a small section of a model where it would be difficult to do in Fusion 360.

Figure 4 & 5: It was truly amazing how a couple of adjustments such as the ‘bend’, ‘stretch’, ‘squeeze’ tools could have a significant impact on the form of the model. How something as simple as a sphere can turn into a twisted diamond quite quickly. This software showed me how initial ideas can easily be made with a collection of shapes with different modifiers. I tried to experiment with a variety of other tools to see how crazy my form could become. (this, unfortunately, crashed my computer multiple times).

PART 2: Testing and trying out features of 3ds Max (on olay bottle model)

Figure 6: When I imported my fusion model I was amazed to see all the lines and meshing along each surface. It reminded me of the contour lines were drew in week 5 and just by those I gave me a better idea of the form compared to Fusion 360.

Figure 7 & 8: My overall goal during this modification stage was to see how 3ds Max could allow me to make the curves which I struggled to create in Fusion 360. I mainly focused on using the ‘Edit Poly’ tool slowly adjusting the points (figure 7) and edges (figure 8). This took a long time to do. I wanted to find a way to shorten the editing of the entire bottle. After looking at tools, the ‘Symmetry’ tool would allow me to make one side and easily edit the other. This is extremely useful to save time and be more efficient especially when creating sketch models.

Overall the poly tool took me a while to get a hold of. Even though I was pleased with the results I was happier with my initial Fusion 360 model which I was keen to 3d print.

Figure 9: To further expand my ability using this software I played around with more tools and their capabilities. Using the ‘Edit Poly’ tool I was able to use the soft selection function. This allowed me to select sides and sections and pull them out instead of individually pulling each one one by one. This would save me more time in modifying and adjusting my model. This will definitely be a function I will return to in the future.

Overall I was confused about the reasoning of learning new software. Especially just after being introduced to Fusion 360. After playing around with the tools and features I understood that the program allowed for effective quick modifications which would otherwise require multiples steps, and attempts in Fusion 360. These skills that I learnt and experimented with can be applied to future projects of mine.

I learnt the benefits of using 3ds Max and where I can further expand my ability to use this powerful program. I will differently be looking at tutorials and continue exploring the software so I can become more confident in my abilities. More practice now in a variety of programs will help me save more time in future projects.

PART 3: 3D printing final model

Using Cura was very simple. The instructions given allowed me to easily implement my final Fusion 360 model and print it.

Let's see how it will turn out in the final stretch of this project.

#ides1262 2020 week 9 #ides1262

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comedianrobotmaster · 4 years

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Mercury Design Sketches

Here are some sketches of Mercury (SRN-002)

(Again, sorry if it looks rough; I’ll later re-draw this on my digital drawing pad along with color it for more clarity of small details.)

My interpretation of these re-designs will mainly try to be realistic and practical with some (and in this case Major changes) to the characters; so lets get into more detail with Mercury, the horrific space abomination, and specifics of what he is and can do, along with a character bio. (Basically, these are head-canons with sketches and details of such.)

[But first, a little explanation: Mercury, since he poses the ability to turn into a green slime and have a weapon that saps away energy, I thought it would make more sense if he was the green morphing slime because it seemed more likely, out of the countless galaxies out there, that a living [and horrific] organism would have those characteristics than a robot made as an experiment.]

Mercury is slime-based shapeshifting alien organism that specializes in disguising and assimilating as other alien species, then finding the critical flaws within that alien society for more efficiency when he and the other Stardriods later destroy the civilization inhabiting that planet. (On the Stardroid’s space ship, he is in charge of maintaining order of his other crew members as well as making secondary decisions of what the Stardroid’s should do next) He originated from a dictatorial planet deep in space and is a unique hybrid from two unknown alien species.

His general appearance is that of a mass of translucent green slime; similar to a man-sized amoeba, he can alter his shape, size, and color to his advantage by condensing and de-condensing, rearranging and modifying himself at the cellular level. Mercury’s true form when he is not using his shapeshifting abilities is quite unsettling, he is a mass of slime -towering at 95 meters- covered mostly with flailing tendrils (which is quite similar to Ra-moon) and prominently features a misshapen crocodilian head with endless rows of moving teeth inside his jaws, along with six dark pupil-less eyes. Mercury does have some key limits with these abilities since he is still an organism; he can only morph his body up to a certain point, any form he takes has to have his six prominent horns( he can only have them retracted for a short amount of time), along with having most his body still retaining his green translucent slime appearance (besides the shape of coarse (some of his slime an mimic the appearance of skin and or hair, but that is a small percentage))- typically, he realizes that he could only change his form to a point, and wears either clothing, armor, or both to still have a viable disguise. Mercury, since he can control his body at the cellular level, has the ability to absorb and breakdown any substance, organic or otherwise(but, typically he prefers organic matter over strange substances).

Mercury is weak against high voltages of electricity because the energy absorbed into his body scrambles the control of his form as well as his mental-state(temperately); He will subsequently faint and remain unconscious for hours at a time as a result of being exposed to high volts of electricity (and since it scrambled his ability to control his form he’ll reform into a formless pile of liquid-like slime while in this unconscious state).

Mercury, when he first arrived on earth, quickly analyzed his environment and found a easy form to take that won’t attract too much unwanted attention- a common humanoid construction robot. At first, when trying to capture what a human face looks like, mercury couldn’t quite get get the shape right; so when he destroyed a construction robot to take his place, he removed the robot’s skull and absorbed it to improve the new form he was attempting to make. The suit he has features a large battery with two power-outlets, two mini storage tins on both sides of the torso, and a armored headlamp on the front torso, as well as a electric welding torch that can cut through most metals.

The upper arms of the construction armor are made of a fire proof ribbed polyester-like fabric; and the forearms feature durable metal welding gloves, a small storage compartment and extra wrist coverage with a metal tube. Since the armor was intended for robots, there are various vents and crevices in most of the suit- Mercury’s slimy form tends to leak through these crevices, which makes it more convenient for him to attack anyone easily and quickly than if he took the effort to retain a humanoid form entirely. He can attack his foes by expanding part of his mass (such as a arm or leg) and slamming foes with the dense slime or grasping them with tendrils; in addition to that, he can also can morph that slime into his head and bite his foes, or even tear them into pieces.

The boots of the armor feature soft knee-pads, extra flexible knee-joints, specialized rubber treads and steel reinforced plates. The tips of the boots are sharpened to a point and can be used in self-defense similarly to Elecman’s boots, but lack the wheel-function entirely and have average heels instead. Mercury, since he just occupies the armor and doesn't use it like a robot, often gets frustrated when the extra-reinforced hydraulics on the boots jam and lock in place due to the boots not receiving any input from a robot and always remaining neutral to any movements he makes (basically, the boots still absorb shock, but always feel stiff). Similarly to the arm pieces of the armor, he can still fit his form through the vents and use it as a method of attack against his foes.

Mercury’s life cycle is quite slow and takes many stages until he reaches adulthood, the stages and the duration of such stages are as follows: Squid-like Egg (lasts 1 year), Newly Hatched stage (lasts 5 years), Observant stage (lasts 11 years), Adolescent stage (lasts 20 years), Adulthood (lasts indefinitely, he doesn't age at this point). Mercury’s form of reproduction is parasitic, and will ‘hijack’ whoever’s normal cells to maximize the number of offspring that is created, essentially killing whoever he encounters slowly and painfully. (tried to keep that part mostly vague for less cringe)

Next I’ll try to finish up those Stardroid Pluto sketches I set aside quite a while ago...

#megaman #rockman #megaman mercury #mercury #alien #space alien #redesign #realistic #practical #science fiction #capcom #sketch #worth a try with these tags #design #headcanons

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demir33ulriksen · 2 years

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Several people all about the planet fall short to obtain the aims every single day simply because they simply just run out of time. This can lead to a incredibly nerve-racking daily life. Possibly this is you, and time management is one thing that you would like to improve on. No subject why you are in this article, any individual can profit from the superb information on handling time in the subsequent article.

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#ar nedir

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key71noonan-blog · 5 years

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panaceainfotechpvtltd · 5 years

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Major Practices for Effective Mobile App Prototyping

Mobile application prototyping is one of the most essential elements in the design phase of mobile app development. So, for any enterprises to stand out in a saturated market or to increase in the probability of product success, prototyping helps to ensure enterprises to move forward with the developing tested product, which is also proven to provide real user value and exceptional functionality. So, this repetitive process also allows for the testing assumptions and the opportunity to receive user feedback, which can be used for the ideas as well as for the test solution. Therefore, gathering feedback will help you to shape final design as well as it also ensures that you are on the correct track before investing significant time in developing the actual product.

So, below are the best practices for prototyping to maximize the effectiveness of your prototyping and testing efforts.

What is Prototype?

Prototyping is defined as a preliminary model of something from which other forms are developed or copied, and the broad definition implies that anything from a sketch of the product interface to a dynamic interactive model to be categorized as a prototype. So, this will help you to define a product prototype as a working as well as interactive model, so that it can be physically tested by potential users. Nevertheless, prototype also enable you to create a visualization of how your product will function, demonstrate user flow to give an idea of the layout and design, because the main purpose of building the model is to communicate your design or navigation of the app to the stakeholder so the users can allow them to test the assumptions in an attempt to discover errors or bugs early on maximizing the efficiency of the development process.

Why creating a Prototype is so important:

Positive user experience plays a significant role in mobile apps, so with 21% of mobile app user abandoning an app right after one use. So, for enterprises those who ensure success, for them prototyping not only helping them to save time but as well as money, it is also helping for providing that whatever the product is created will offer a better user experience than one, that can move from the concept to production without any testing in between. So, testing your concept with a prototype will eventually trigger new ideas and confirm which direction to take when it comes to development. Therefore, it is designed to determine viability but does not represent the final product. However, this also helps to address problems early not to represent the final product, so this allows a room for further evaluation in order to address problem early on during the development process, and it is far less expensive to rectify problems in the beginning stages of a project life cycle than in end as it provides a closer examination and evaluation of the end product. Thus, with the proper prototype, you can attract investors, buy-in, and begin developing your MVP.

Choose your device

Before building a prototype, you also have to decide on the device because different devices have different screen sizes as well as a separate requirement for an app. For instance, you cannot expect the same app design to work or for both android as well as for iPhone, so this is why you need to make sure that you choose your device before building the prototype. So, by doing this, you will get a real-time experience of how your mobile app will going to look and feel on the device, as you cannot expect to get a proper sense of how the app will look on iPhone x when you create or test out the prototype for iPad air.

Keep It Lean

The major purpose of mobile app prototyping is to obtain a greater understanding of user pain points for ensuring that your mobile product will provide an adequate solution. So, it is essential to build an entire product, before creating your prototype define which features or ideas you want to be tested to set the limit for the amount of time you will spend creating the prototype, and then send out your prototype for feedback as soon as possible to continue the process.

Minimize Details

Keeping the first point in mind, then a prototype should be a high level outline of what you visualize your end product will be without getting too granular. So, eliminate the visual elements such as fonts, colors and any visuals which are not essential for the product functionality because a key to implement mobile prototyping best practices is to think in terms of the bare minimum. So, the design details can follow after completing this process, as you are testing ideas, and not determining whether an icon wants to be 10dp to the right. Hence, once the essentials are in place, then the design details can follow.

Prioritize Your Features

When building a mobile application, we all get excited thinking about new features. So, prioritize as well as decide the features which are essential for your mobile app, because these are some features that you should initially include in your prototype. So, start answering a question likes the number one problem my end users are experiencing, and how will’ the functionality of my product will solve those problem? Besides, you can also include a selected number of necessary features in your prototype and how they will help you to ensure for keeping this process as moving along as smoothly as possible. Thus, you have to prioritize and decide which features are essential to your app. So, your best features suit your targets users requirement are not your personal preference.

Pareto’s Rule (80/20 Rule)

Pareto’s rule states that almost about 80 % of the effects come from 20 % of the causes, so it is also known as 80/20 rule. However, common usage of the rule is in the business is context, so executives often pipe, 80% of profits comes from 20% of your customers. Therefore, adapted as one of the mobile prototyping best practices, concept does not differ by much, so 80% of mobile app wonder comes from 20% of its features or 80% of an app’s excellence comes from 20% of its design. Hence, Pareto rule helps you to prioritize as well as to optimize to serve as a significant reminder for why you should always break it down to the essential while prototyping.

Use Real Content

Using Placeholder copy such as “Lorem ipsum” in your prototyping will not only help you to give those testing your products an adequate representation for how your content will display on their device. Besides, it also provides an understanding of what the mobile app does and its purpose. However, using a real content in your prototype will help to give your stakeholders those testing the product a batter idea of how the app should function.

Map Out User Flows

Build your mobile product with keeping the users in mind, so mapping out the user’s journey will help you to get the look at the product from the user perspective. So, right from starting with opening an app to reaching its end goal such as making a purchase gives an insight of how you can design the app in such a way that it will be convenient for users. In addition, defining a user flow as well as addressing the users actions need to take in such a way, so that it will complete the end goal, as well as it also assure that you don’t miss anything while keeping user satisfaction in mind because creating or mapping out user journey is one of the most important mobile prototyping practices to keep in mind based on who your users are. Nevertheless, picture the possible scenarios which might go through by using your mobile app. Hence, map out the various flows and pay attention to where friction may arise.

Limit Single Function

Mobile apps are not a website, so you cannot put a bunch of content on it to expect the user for finding the action button. As general nature of mobile apps is a lot simpler, so the purpose is singular. Additionally, one of the recommended mobile app prototyping is the best practices to limit a single function for each view.

Test on multiple devices

Mobile devices are not just containers, which can display or execute mobile app because designing for mobile is designing for ergonomics. So, this means that a one size fits all approach for your app may not work. Thus, testing on multiple devices will help you to ensure you accurately evaluate how your mobile application will display and how users will interact with your content across various devices. So, this will help you to identify usability issues as well as device constraints.

Feedback

Prototypes mainly built to test ideas or for the validation and invalidation, based on the outcomes that prototype can be updated or retested. So, receiving feedback on an iteration of your prototype provides a valuable communication channel to identify errors as well as opportunities for improvement, because at times' the negative feedback you receive may have nothing to do with' what you are testing. So, in this case evaluate the criticism to see if it truly reflects the potential problem for users or not. However, most of the people know how to define prototype, but only a few truly understand what it requires. So, they expect to see a rather complete and functional mobile app, not just a bare-bones version. However, to avoid this always be clear about what they have to test and explain the purpose of the prototype and be thorough to let them know that eventually, a prototype will evolve.

So, for wrapping up,’ prototyping is an integral part of the design process, so by allowing mobile application development teams to validate assumptions surrounding product functions and user needs, teams are there to make changes to an original concept before starting the production. However, by following these prototyping best practices will help you to set the path for creating an amazing mobile app, so it is just as useful to choose the right prototyping tool for your needs, and by utilizing above given practices will not only help you for saving your time or money, but it will also help you to become one step closer for realizing your ideas in a form of a serviceable and user-friendly design.

Source URL: https://panaceatek.blogspot.com/2019/08/major-practices-for-effective-mobile.html

#mobileappdevelopment #mobileapplicationdevelopment #iosappdevelopment #androidappdevelopment #appdevelopmentcompany

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zak-animation · 5 years

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Box Lift Iterative Development Review

In this post, I’m presenting my own iterative development for the ‘box lift’ task: our second animated exercise within the stop motion brief. In my initial response to this task, I mentioned how I wanted to work on the sequence independently in order to produce a more successful, refined animation. Stop motion is a demanding and time-consuming process, and it needs adequate time to do so. Here, I’m discussing these iterations completed in my own time, evidencing a more successful response to the ‘box lift’ exercise.

The main purpose of this session was to further develop on my own skills with stop motion animation, producing two more attempts at the ‘box lift’ task, considering ideas of timing, performance, and narrative. My main take away from the initial attempt was to consider the posing of my armature more - take the time to make sure the pose is correct, and easily understood by the audience. A second idea was to exercise some restraint on the movement and timing: to take multiple frames with little movement, as stillness can be just as effective as motion. On the flip side of this, I also wanted to explore how to create a fast motion, considering making larger moves between frames to believably communicate a quick movement.

With these iterations, I wanted to go beyond the brief’s expectations of a simple ‘box lift’ and inject a hint of a story: the idea that there is a narrative within these scenes, and the audience are watching one sequence out of a larger story. Something not described in the brief, it is important to recognise that animation, as a craft, is intrinsically linked to the idea of visual storytelling. This isn’t true with all forms of the medium, however, it certainly is true with stop motion. With exercises like these that put the focus on physical movement, it can be easy to forget this idea. Additionally to this, I wanted to explore how I could convey emotion and feeling through performance, body language and timing in both of these tests, to contrasting effects.

The Process Largely an intuitive process, stop motion has always interested me as a form of animation. With no drawing or digital skills needed, I feel like stop motion is one of the purest forms of animation: simply an animator with a puppet, putting on a performance for the audience. The focus is on the movement, the acting and the body language of the puppet: with something like traditional animation, audiences are amazed by the brilliant sketches, or how real CGI hair looks like to really concentrate on the motion. Stop motion animation, however, is essentially this idea incarnate: the focus is on the motion, and how animators are able to bring a physical puppet or object to life before their eyes.

Previously, I attempted to animate in a way similar to that of rotoscoping: tracing off a live-action reference. Whilst this was an interesting idea, it ultimately made it more difficult for me to not only see the setup, but offset the timing of the piece: effectively, some parts of the sequence were working directly on ones, whilst the latter half was shot with a more traditional approach, using twos.

Having learned my lesson, this time I was also working from my own live-action footage for reference, but on another device - allowing me to slow down the frames on a separate screen. This separation ultimately helped in the process, allowing me to focus on the posing and timing on Dragon Frame, and simply return to my phone when necessary for help with posing. This separate visual guide was a major help and factor in the success of my latest iterations: with a clear reference, I was able to work effectively and efficiently with a clear direction of where each pose would lead next.

Something I struggled with in the workshop was my own personal timing: given the number of students waiting for their turn on the studio, I ultimately felt pressured to complete my test quickly. One benefit of taking the time to develop the task independently is the absence of this problem: I’m hiring out the studio, and therefore working purely on my own work, without any time pressures. This allowed me to focus on creating an engaging animated performance, and to take the time to explore stop motion and it's practiced in more depth. In this process, I feel like I have gained a new level of understanding of the basic mechanics of a ‘box lift’ animation. The process of moving the armature after each frame is rather intuitive and the main challenges of the session arose from the posing and timing of each animation.

With these tests, I wanted to explore two different approaches to the ‘box lift’ task: a reluctant, unhappy approach and one of speed and agility. Working from my own reference allowed me to make the posing of each sequence authentic to each movement, and on each iteration, I wanted to develop past this reference and add a hint of narrative to each one. This represents my ability to quickly come up with ideas on the spot, acting out each movement and character and essentially ‘improv-ing’ from there. With this quick-fire approach, I was able to develop these tests beyond the expectations of the brief and inject a sense of story to each one.

As a whole, I feel that this independent development session was much more successful and helpful to me as an animator. Without the added pressure of other students waiting to use the studio, I was able to take my time with each sequence and the added benefit it a larger studio meant I didn’t accidentally hit the camera in the process. My animated outcomes are much more interesting, evidencing two clearly different emotional performances and approaches to the task.

Animations Review

‘But Why’ With my first animation, I wanted to look at emotion through posing. Presenting an annoyed, unhappy teenage character who has just had a row with a parent. The aim of this sequence was to convey his ‘fed up’ personality: he is reluctant to pick up the box. In my storyboards, I wanted to add a little secondary action to further convey this annoyance: having the character kick it first, out of childish frustration. My animation evidences a more reserved emotional performance, looking at conveying human emotion through body language.

In these iterative sessions, I wanted to challenge myself to do more than one action for each sequence: in this test, I wanted to have the character walk on screen, and drop the box. Something not mentioned in my storyboards is the sense of narrative I added, introducing a sense of conflict between the two characters: the armature and an (offscreen) parent character who is making the armature pick up the box in the first place. In this test, I was working beyond the limitations of my live-action reference, adding a few more actions (such as the look off camera and box drop) to make the sequence more characterful and interesting.

With this, I managed to create a clear line of action with the puppet: it’s easy to tell the character is unhappy with his situation because the armature is heavily arched downwards. The performance of the armature is an overall success, I feel. Through an arched back, drooping head and shoulders and a slow walk, I have been able to convey the idea that this character is reluctant to pick up the box.

Once the character has lived the box, the walk over to the left-hand side of the frame is convincing, I feel. Unlike the first walk, which was somewhat stilted due to superfluous frames, the timing and movement of the armature create a convincing sense of locomotion.

Finally, the quick timing of the character dropping the box on the floor in a sarcastic, annoyed response to the off-screen parent’s orders is also interesting. The use of follow through as the armature bends down and arms drop after dropping the box suggest the box’s weighty nature - and by not having the character’s head falter or move, I’m able to greater exaggerate the sarcasm and unhappiness in the armature’s performance.

As a whole, this test is much more successful and interesting than my first initial test. Despite this, it’s important to recognise the flaws in each iteration as a way to develop upon them next time.

This sequence could mainly be improved through a greater exaggerated performance: having the character visibly sigh at the sight of the box, and simply exaggerate all of the motions more up to the point that the audience can easily tell the character is reluctant to do the task in a simple frame.

Additionally, the walk up to the box feels weirdly stilted - something that can arise through minor movements whilst working on twos. I could fix this in post-production, simply taking away the additional frames that I don’t need. Whilst the small kick of the box is an interesting secondary action that hints at a personality, it is ultimately too slow to really have a strong sense of impact and force. This use of quick, dynamic movement is what I will be exploring in my next iteration.

Having explored a reluctant, unhappy approach to this task - I next wanted to continue working from my reference and storyboards, by animating a dynamic, agile character pick up the box - with an emotional twist.

Broken My final iteration for this task was, in many ways, a total contrast to my first test described above. Where that character was reluctant, sarcastic and annoyed to find the box, here, I wanted to present a character who is thrilled with their new discovery.

This character’s movements are much more agile, quick and dynamic: presenting an individual who is light on their toes and possessing an effortless charm. The purpose of this sequence was to have a character lift the box with style, in a fast motion allowing the audience to see how light the box is. Alongside character performance and timing, my main focus with this lift was to convey the box’s light weight.

This is something that I feel I managed to convey effectively, with the armature picking up the box with a specific dancer-esque pose. The initial movements are exaggerated, and this test represents a completely different approach to this task. My initial tests were filmed using minimal movements between frames to create a slow, weighted approach. With this second test, I experimented by creating quick, dynamic motion through larger changes to the armature between shots.

As a test, it’s an engaging sequence - with some secondary action that helps lend a personality and further bring out the armature’s personality. At first, our character is happy with finding the box, rubbing his hands together in anticipation. The posing on this sequence, whilst a little fast for my liking, is able to convey the character’s excited and curious personality.

Finally, I went beyond my storyboard and added a change of emotion. This is something that I’ll be exploring for next week’s task, however, I wanted to challenge myself to explore an emotional breakdown in this example. After the armature places the box back down, he pats the box twice. This was a small piece of acting that helps illustrate the character’s sensitive nature. An exercise in limited motion and timing, I had to take multiple frames as a way of ensuring the audience can tell what’s happening.

The main success of the piece, I feel, comes from the emotional break after our character pats the box. There isn’t much movement in the sequence, but from the simple shaking of the head, and holding his face in despair - my peers were able to understand that the armature was upset. After such a quick and happy motion, I wanted to explore the opposite to this in a single sequence: what if that character puts the box down with care, and realises he shouldn’t have moved the box in the first place. This was simply an example of me improvising on the spot, however, I feel like this resulted in an interesting test.

The change of expression and emotion is effective, however, the sequence is in need of more frame holds. The purpose of the animation is to showcase the character’s athletic posing and approach to picking up the box, and the character’s sidestep is far too quick for the audience to see what is going to happen. If I were to attempt this sequence again, I would spend more time anticipating each key pose. Even with a fast movement such as this one, it’s important to hold keyframes as a way to ensure the audience understand what I want to convey in the performance.

Additionally, the side-to-side head movement when our character is checking out the box is a little jolty, I feel. Again, I need to add some more frames holding this key pose, demonstrating that the character is looking at both sides of the box and not simply shaking his their head. It’s a successful test, and the change in emotion evidences a personal challenge, however, the sequence could use some more exaggeration and anticipation before each pose. A key principle in animation, anticipation allows the audience to see what is going to happen through small actions that prepare for the main action.

Something that I also want to work on is the idea of dynamic speed: experimenting with timing and movements within stop motion to create an engaging sense of rapid speed. Having the armature quickly pull the box up with a different speed than the rest of the piece would elevate this iteration, I feel.

As a review of this session, however, I’ve been able to further develop my understanding and stop motion abilities, producing two more attempts at the ‘box lift’ task with an ambitious attempt at character performance and beginning to hint at a narrative beyond simply the action itself. In comparison to my first test, these iterations are much more successful and evidence the purpose of iterative development within the medium of animation.

Stop motion animation, as a craft, is a demanding and time-consuming process: it needs all of our attention whilst working, and as such, I personally find it difficult when several other students are waiting for their turn. Taking the time to develop upon the tasks set in the workshop, however, has allowed me to produce stop motion outcomes of a far higher quality and ambition as it lifts the pressure of time off my shoulders. With my own schedule, I was able to hire out the stop motion studio and really get lost in the work. This will be something that I continue to explore as I continue throughout the project: placing a focus on producing more practical iterations and less on reflections here on this blog.

Whilst I would enjoy producing more iterations for this specific task, the limited nature of this introductory project means that we will be set a new exercise each week. I need to strike a balance between the work I’m iterating on and producing new animations, and as such, my aim for this project is to complete all my practical responses and iterations in the week we are set them. This has given me a week to explore this box lift exercise beyond the requirements of the brief and allows me to stay on top of an increasing workload.

Next week, we will be exploring a more complex stop motion sequence: having a character walk on screen, and visibly change their expression and emotion. In preparation for this, I will begin recording my own live action reference to get a better understanding of the movements and posing and produce a few storyboard iterations of the sequence.

#ba1b:introtostopmotion

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hudsonespie · 4 years

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Seafarers Must Adapt to the Rapid Evolution of Piracy

In two recent articles, Sea Piracy in 2025: Piracy 2.0? and Countering Gulf of Guinea Piracy Towards 2025 I tried to map out the possible evolution of piracy within Gulf of Guinea until 2025. Then I analyzed the different possible actions to reduce this threat. This analysis cannot be complete without integrating the main actor, the seafarer. This third article therefore concerns the how seafarers must adapt to the rapid evolution of pirate activities.

It’s noticeable that this domain for seafarers is based on regulatory documentation that is low in volume and weak in practical guidance. The Ship Security Plan (SSP) is the basis for maritime security regulations. This document, established after the USS Cole, Limburg and September 11 attacks, was mainly focused on maritime terrorism. The content has been lightly modified since, integrating some requirements arising from the evolution of piracy.

The ISPS regulation does not go deeper on practical measures concerning vessel, crew members, equipment and procedures when looking at piracy. To cover the seafarers practical needs a group of associations published a document called Best Management Practices in early 2000. This document, dedicated to deter piracy and enhance maritime security in the Red sea, Gulf of Aden, Indian Ocean and Arabian sea has been reviewed several times since (Last review BMP 5 –June 2018). To respond to the specific Gulf of Guinea environment, one document, Guideline for Owners, Operators and Masters for Protection against Piracy in the Gulf of Guinea Region has been established by the same structure.

Finally, as the piracy epicenter as moved from East Africa to West Africa, one new document BMP West Africa has been issued beginning 2020 to provide threat mitigation guidance on counter-piracy/armed robbery at sea and to help companies and mariners to risk assess voyages while operating along the West African coast.

Despite the evolution of communications at sea, the captain is an isolated leader. His or her job requires quick decisions concerning a wide variety of situations. If the situation allows, he can try to establish a telephone connection but, the handset hung up, he becomes again, isolated. A piracy attack is a dynamic event testing a captain's competency and reactivity. This situation can be illustrated by the Captain Phillips movie scene where Tom Hanks calls the MSCHOA. As with everything else, a captain must be informed, trained, prepared.

This readiness must not only apply to seafarers, it should be also concern the vessel. “If you ignore both your enemy and yourself, you will only count your fights by your defeats.” This citation should be a guide for a captain or ship security officer (SSO) operating within the Gulf of Guinea. The pirates' boarding rate within Gulf of Guinea is very high. As said in my previous article, there are several reasons for this. Some are linked to the combination of operational capacities of pirates and the lack of military responses (PMSC / escort vessel) but it is obvious that somet of the reasons are linked to another conjunction: ignorance of West Africa pirates, to their profiles and their modes of action.

As such, it would be interesting to test the captains/SSOs to make them draw Gulf of Guinea pirates. To help their sketches, we can try to characterize them by some elements:

Use of fiber speed boat, eight to 10 meters long, usually sporting colored flags (mainly red or white), usually motorized by two outboard engines, 150/200 Hp, more than six men onboard (usually eight to 10), men armed with AK 47, speed boat fitted with an aluminum ladder eight to 10 meters long. Pirates can operate on one sole speed boat, sometimes in pairs.

It’s noteworthy that numerous specialized articles speaking about Gulf of Guinea piracy are illustrated by a very well-known picture showing a speed boat having a mounted Cal 50 machine gun and transporting……MEND militants. If the picture is beautiful, it’s not related to real Gulf of Guinea pirates. Sometimes this picture is replaced by the view of one skiff transporting Somalian sea pirates. This pictorial materialization may disturb the initial perception of what a Gulf of Guinea pirate is.

The fiber vessels don't offer a strong Radar Cross Section, navigational radars have limited capacities. The pirates' speed boat emerges on the radar screen at about three nautical miles when the sea state is under three and the speed is high. It’s highly recommended that one radar be set on short pulse/ short range, the AC SEA/AC RAIN setting in accordance. It’s possible that watchkeepers will detect the approach by the noise before sight or radar screen. The approach axes can be various but the CPA (Closest Point of Approach) is …0.

The time of the attack varies too and is evolving regularly. In 2018, almost two thirds of the piracy attacks was conducted by daylight. Currently, piracy attacks within Gulf of Guinea are mainly conducted at night time and mainly at the beginning or end of the night.

The location is, of course, one of the important facts to analyze. My previous article, Sea Piracy in 2025 analyzed the current trend of attack attempts very deep offshore …..or within non protected anchorage areas along the West African coast from Luanda till Abidjan.

This first enemy analysis realized, and to remind on the Sun Tzu citation, it may be even more important to know yourself. Turning back to the Gulf of Guinea piracy data, one element is alarming: it’s the number of vessels boarded without alarm/alert: No VHF.M distress call, no SSAS (Ship Security Alert System) alert, no vessel internal alert. The personnel on bridge duty discover the pirates when one is directly pointing a gun at them on the other side of the bridge glass.

For at least two cases in the last few months, the pirates have used….the pilot ladder left along the hull by night. These observation led to at least two main reflections: the seafarers had misjudged the threat and, because of this error, had not applied the adapted basic security measures.

Reviewing the current trends, appreciating more precisely the Gulf of Guinea pirates' modus operandi, it’s obvious that the area located between San Pedro and Luanda and taking a range of 200 nautical from the shore must be considered as High Risk Area for piracy. (Conakry Anchorage is a specific bubble which should be considered too.) This area is globally characterized on the specific chart established by the MDAT-GOG. Within this area, as said before, the pirates are currently acting on two modes:

Piracy attack deep/very deep offshore: Action is characterized by a direct attack against a vessel en route day or night. The detection of the threat is facilitated by the sparse maritime traffic, but the vessel is usually alone, not protected.

Maritime criminality within anchorage area: The pirates operate in discretion, by night against vessels anchored or on stand by. The detection of the threat is complicated by the numerous speed boats/canoes fishing in the area, but the vessel can benefit from security support from navy assets protecting the area.

The objective of these two pirates process is the same: kidnapping of crew members.

This being posed, and as the threat is focused on abduction, it is interesting to revisit the maritime operators possible internal self responses in 10 main actions:

• Secure the vessel as much as possible by a security escort vessel or an embarked military security team: The pirates are focusing on soft targets!

• Optimize your detection means for locating pirates as early as possible: One speed boat sailing 30 knots is along board six minutes after detection at three nautical miles!

• Be able to classify the threat as soon as possible, using the piracy criteria declined above: Personnel on duty on the bridge should be informed, trained and regularly refreshed about local pirates. Raise the alarm about the attack by all means available (VHF.M 16 / SSAS/ GMDSS/ PHONE / HORN-SIREN/LIGHT)

• Optimize internal alert systems to ensure all crew members will be aware of the alert sent. Conduct regular anti-piracy drills: piracy attack / alert / immediate communication / mustering / lock down control / anti-boarding measures / move to safe haven.

• As soon as you operate within a high risk area, lock your vessel. All external doors locked, all portholes secured. Try to slow down the pirates progression onboard the vessel after boarding by the use of specific items (wire rack or other) on external stairs.

• Use the navigation lights only, no deck light, all portholes blinded. By night level 4 or 5, when navigation lights are off, after change of course /speed, the vessel targeted disappears for pirates sailing onboard speed boat without radar, AIS or night vision goggles.

• Optimize the vessel's readiness by using simple and efficient systems. As the maritime industry is strongly impacted by the general economic situation, focus on low cost equipment rather than hoping for the use of means that are certainly effective but financially unaffordable. As an example, one general public autonomous sensor sending sound, light and possibly video, set up on the obliged path from deck to bridge, can efficiently alert the watchkeeping team in case of initial surveillance/detection failure.

• Consider the first internal door from navigation bridge to accommodations and lower decks as one essential element of your safe haven. Reinforce this door, reinforce the frame, complete the hardening with a mobile forestay. This first internal door will create an emergency initial secured bubble allowing a short time to alert and gather the crew in emergency in case of a late alert, pirates being already onboard. The four or five minutes it will take pirates to destroy this door will allow you to secure the full crew within the real final citadel.

Of course, this list is not exhaustive. It’s established on the analysis of hundred of maritime piracy acts within the Gulf of Guinea and is mainly dedicated to avoiding crewmembers being kidnapped. It can be completed and/or adapted depending of vessel configuration and the good sense.

François Morizur is a maritime security expert and former French Navy officer.

from Storage Containers https://www.maritime-executive.com/article/seafarers-must-adapt-to-the-rapid-evolution-of-piracy via http://www.rssmix.com/

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dragonpawblog-blog · 6 years

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Some concept sketches for the first Scrap.

-Obelisks (top left) are mysterious structures made from black and white stone, with a glowing, amber coloured material packed into the interior. Over 50 of them have been found on Syphedaea alone, and can be found on every moon and planet in the Astura system. They are thought to be remnants of an ancient civilization that once spanned the entire system, although local cultures each have their own stories about them.

-Hünsh (lower right) are medium-sized, fluffy carnivores that live and hunt in packs. Their large paws and light frame allow them to traverse across soft snow with ease. First domesticated by Sikuuait natives, hünsh are a staple of life all across Uqaliq. Since most villages and towns are not connected by paved roads, they are essential for the survival of most towns. hünsh carry supplies from village to village, they help track down and hunt game, they provide companionship as pets, and their hair, when shaved, is frequently used in clothing. In lean times they are occasionally cooked and eaten if necessary, but this is uncommon, as hünsh are usually beloved companions, as well as tools for survival.

-Ikuma (top right) is a young Sikuuait sledder who transports supplies from Auvikitik to minor villages. After an expedition to Tannum Creek to pick up an order of medicines, he comes across the Tileighan Obelisk.

-West Uqaliq (map; lower left) is one of the two southernmost continents on Syphedaea. It’s interior and southern coasts are sparsely populated, as few creatures are well adapted enough to survive in the frigid environment.

*The Cheiat’Imuq (a major Syphedaean Chei tribe) have a major presence in the north, and own almost a third of the continent. Their main colony, Imuqan, is a major trading port, and is one of the largest cities on Syphedaea. In fact, it’s so large it can be seen from space, even during daylight. It’s wealth mainly came from iron and ice mining, and although mining operations still continue, most of the city relies on bustling craft and industrial economies. To own a carving from an Imuqan craftsman is a mark of pride for a mainland Cheiat’Imuq, and the vast industrial potential has given rise to multiple international corporations. Imuqan suburb towns like Öbber and Sonnel have a similar history in mining, and get most of their supplies from the main colony.

*Nahom, the only tribe of Tehomoevé on Uqaliq, relies on outside trade for survival. While the major port city of Tenur and it’s nearby suburb have access to many finished goods, a vast majority of Nahom villages are connected to each other only by sledding trails and small, unpaved roads. Most of the population, then, relies on ice fishing, hunting, and other subsistence methods, as access to resources is limited.

*Fois was originally the city-state of Everroc, which had been occupied for thousands of years. it’s surrounding territory was owned by Cheirpiin chei, but continued to be largely unoccupied, until a single vein of silver was discovered Yngrib. That lasted for all of one year, when the silver ran out.

Frustrated and finally realizing that the sunk cost fallacy is called a fallacy for a reason, the territory was mostly abandoned when the colony started to cost more to run than it was worth. Ice mining was never the best way to earn a profit in the first place, and what little iron and silver they found was too deep underground to mine safely and efficiently. They later sold the territory to the city state of Everroc on the cheap. The Fois territory was mostly used as a dumping ground, holding Everroc’s industrial waste, exiles, and political prisoners.

Until they struck silver.

After that, seven separate mines discovered decent sized, well placed veins of silver, and one found a gas pocket of pure helium, something which was in short supply ever since the helium planet Kaieus’ colonies placed sanctions against them for their practices. (A lot of people were placing sanctions against them; sapient rights were not their forte).

As their were no regulations restraining the companies, the workers were underpaid and had their rights stripped from them, little by little. Eventually, a rebellion broke out, and a coup occurred. The nation has been in turmoil ever since.

Most towns are poor and off the grid, and while subsistence living is far from the worst way to live, constant battling, inconsistent leadership, lack of law enforcement, and roving bands of robbers and bandits have made living in Fois a difficult task. Their leadership has been overthrown and replaced countless times, and the issue has grown so desperate that multiple nations, including the Cheiat’Imuq, have created aid and relief programs. Fois has denied foreign aid multiple times, as they believe outside nations are attempting to take their treasury and their territory.

Supplies are still transported across national borders through sled trails and occasionally by aircraft.

*Sikkuait native territory contains the few self-governing Sikkuait clans left in West Uqaliq.

#DragonPaw #DPScraps

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jordanknightfmp-blog · 6 years

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Final evaluation Part-2

Midpoint-

After I had begun this project and FMP the pressure was on to create a final design so that I could move forward with making the sculpture. The process of creating a final design takes a lot of consideration as it what you will be basing everything you from that point on. This means if its incorrect your design will be too. The main problem I encountered was that you have far more than one final design. I say this because it is impossible to finalise every detail of something as complex as a sculpture in one drawing. Not being aware of this I learnt by trying to compact an entire design into in drawing which enviably failed. To avoid this later I chose to prioritise my final designs and design each component separately and have a complete drawing to gauge the appearance while focusing on the individual aspects. It allowed me to then compile each component into what is better described as final designs. Because of this choice I have final designs in different areas of my sketch book with the problem solving and working out separating them. As I needed to design each component and their necessary workings it separated the final designs. This removes the consistency you might expect. To avoid this becoming a problem I have organised my Tumblr into collections of sketch book that helps to explain the way I have laid out my sketch book.

Another issue that I encountered when doing this project was the lack of beneficial research I could do. What I mean by this is the actual appearance of the sculpture was decided outside of my control which meant that all the visual research I could have done would be irrelevant in terms of affecting the outcome. The only research that proved beneficial was practical research. This included spending time with Ian Berril (advisor and technical demonstrator) testing different techniques for making the sculpture, looking at different welding techniques and more than anything primary research or doing. I learnt more by doing in this FMP than I did from reading or watching by far. Although this appears quite reasonable considering the nature of my project it does not necessarily mean it is beneficial for the FMP criteria. It is quite clear about the amount and nature of the research it requires for grading. This left me in a position where I had to decided whether I wanted to spend valuable time when I could be advancing my sculpture instead doing research that I would not be able to utilise. Along with this I tried to avoid complicating the design for the sculpture as much as possible. I did this not because I wanted to relax or make it easier for myself but instead for two main reasons. The first being my lack of experience, the more I added to the design and altered it the more I had to be able support those designs with the necessary safety precautions and ways of supporting the sculpture and fitting it. Despite my best efforts I am just too inexperienced to try and do something very extravagant. It becomes a safety hazard and unachievable if I were to continue to try and push the sculpture any further. The second reason was time given the short deadline I needed to design something that was achievable within the time space. To do this I used materials I was familiar with like mild rolled steel. As I am very well acquainted with this material. Despite this I had never interacted with it on this scale or thickness (2m long and3mm thick). The opportunity to use steel of this size and thickness is quite rare as the college does not stock it but was very informative. When doing more ambitious projects in the future I will have a much better understanding of the limitations of this material as I have been able to observe and interact with it in both its small more malleable state as well as its rigid larger state.

As I came towards the final stages of the project I had noticed how much I had learnt coming from the stage of not even knowing how to design a sculpture. There has been a lot of factors that led me growing as a designer one of them being failure. Although there is one subject I want to talk about and that is how my choice in designers has evolved along with the focus of my curiosity. I have noticed that I have heavily diverged from research in the conventional sense of looking at another designer’s body of work and assessing similarities differences and elements in their work. As well as how I can grow from now researching them. Despite this system being very effective I have chosen to use another approach because of the unique nature of my project. Instead I have been avoiding research that impacts the aesthetic and conceptual aspect of my work but instead can help me learn how to improve my technique. This improving of my technique mainly applies to my practical making skills i.e. Welding, measuring, tool use etc. But it also applies to my design process. I have been attempting to increase the efficiency and quality of my designing. I have done this by looking into designers like Phillippe Starck who uses a very unconventional approach to designing. These attempts to improve my design process however although giving me some helpful advice did not have the impact I desired. The reason behind this lack of effect I feel can be explained by the fact that I learn much better through doing than listening or watching. This led me to decreasing the amount of practioner focused research and increasing the amount of time I spent designing things. These things may not even be related to the project but still allowed me to create a rhythm and system I could follow. An example of this is my daily planning book that is filled with different designs for sculptures, Furniture, and even observational drawings. I found this practice very beneficial to exercising my sketching ability and my creative thinking both essential to my design process. These sketches can be misinterpreted as being unrelated sketches, but they are essentially me using a natural and free platform to exercise my creative outpour. This outpour is due to my lack of creative control in the earlier stages of the project over the appearance of the piece. This lack of control caused some frustration as it was not something I had previously encountered. I used this though and channelled it into my planning book.

In conclusion by the end of the midpoint of the project I had learnt a lot about material qualities and technique within areas of my practice I had not previously. I also developed alternative ways of researching and alternatives. I am happy with the progression I made by this point in my project. I achieved more than I expected in the design aspect and moved quickly towards ordering the necessary materials.

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gozel · 7 years

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"The Sweetness of Place": Kristin Ross on the Zad and NoTAV struggles

By Kristin Ross / 14 June 2017

Two struggles have come to define the ground of activism in mainland Europe: the zad (Zone À Défendre - or the zone to defend), and NoTAV (the No to Treno ad Alta Velocità rail line). Despite these struggles being little known in the English-speaking world, each offers a continuation of the kinds of localised, spatial conflict whose genealogy can be traced from the Paris Commune, through Sanrizuka in Japan, the Zapatistas in Mexico and Standing Rock in America, a form of struggle which has been analysed most forcefully in the work of David Harvey.

In this extract from the introduction to the new ebook The Zad and NoTAV by the French collective Mauvaise Troupe, which offers English readers the first and most comprehensive narrative of the interlinked stories of the two movements, Kristin Ross offers an introduction to this "never-ending process of soldering together black bloc anarchists and nuns, retired farmers and vegan lesbian separatists, lawyers and autonomistas into a tenacious and effective community".

In recent years the rise in the number of occupations and attempts to block what have come to be known as ‘large, imposed, and useless’ infrastructural projects bears witness to a new political sensibility. It is as if some time toward the end of the last century, people through- out the world began to realize that the tension between the logic of development and that of the ecological bases of life had become the primary contradiction ruling their lives. And, in many rural and semi-rural regions throughout the world – in the Larzac in France, for example, or at Sanrizuka (Narita) in Japan – struggles sprang up against state-control of land management. These were movements whose particularity lay in being firmly anchored in a particular region or territory . . . From the 1988 opposition to a large-scale dam on the Xingu River in Altamira, Brazil, through the Zapatista uprising in Chiapas, to the Standing Rock Sioux’s recent resistance to the North Dakota Pipeline, situated movements of this kind in the Americas have tended to be characterized by an indigenous base and leadership.1 The two most emblematic and ongoing European territorial movements, the zad and NoTAV, however, whose intertwined stories are recounted in this book, differ from the American examples in that each holds together and is held together by people of vastly different cultures and practices, with no one social or ethnic group in charge. But by trying to block what the book’s authors call ‘the inexorable extension of a nightmarish world’, they unite with their American counterparts in reconfiguring the lines of conflict of an era. In so doing, they make visible the silhouette of a new political grasp on the everyday and a way of managing common affairs. Henceforth, it seems, any effort to change social inequality will have to be conjugated with another imperative – that of conserving the living. Defending the conditions for life on the planet has become the new and incontrovertible horizon of meaning of all political struggle.

The occupation of a small corner of the countryside outside of the village of Notre-Dame-des-Landes in western France is the site of the longest lasting battle in the country today. For forty years the construction of an international airport on that spot has threatened to destroy 4,000 acres of agricultural land, wetlands, and woods. In the Susa Valley in the Italian Alps, the quasi-totality of a valley inhabited by 70,000 people has battled for over a quarter of a century the construction of a high-speed train line (Treno ad Alta Velocità or TAV) through the Alps between Turin and Lyon. While it is frequently said of indigenous peoples that they ‘stand in the way’ of progress, in each of these regions in Europe a heterogeneous but highly efficient coalition of people has effectively done just that. They have succeeded in delaying, obstructing and perhaps, ultimately – time will tell – blocking, the progress of construction and the destruction of their regions.

In the first chapter of this book readers will find the most thorough chronology of the two movements available in English – here, though, is a brief sketch of the two projects that generated the opposition.

The Airport and the Train

Justifications for, and sponsors of, a new airport on the outskirts of the city of Nantes in western France have changed over the years since their origins in the dreams and magical thinking of a regional bourgeoisie entranced by the booming developmental rhetoric of the peak years of the Trente Glorieuses. At one point, the airport was slated to be the departure and landing point for the Concorde, in an attempt to relieve Paris of the massive noise pollution this ill-fated technological wonder produced in its relatively brief life. After this, promoters of the project billed it as the third airport for the Greater Paris region. In recent years, it has been rebranded to become instead the ‘Great Airport of the West’, a kind of bid for prominence in the fierce regional competition over accessibility, tourism and commercial opportunities. But in the late 1960s and early 1970s, when the project was first floated, one of the earliest (and still worth reading) critiques of the developmental rhetoric promoting it likened the project to the cargo- cults of New Guinea, where simulacra of airport runways were carved out of the brush to attract airplanes. Nantes businessmen believed that ‘if you build it, they will come’: they had decided the industrial destiny of their region was one that could soon make Germans and Japanese tremble. A new airport would transform the Nantes region

into the next ‘airian Rotterdam of Europe.’2 The sum spent on studies designed to give a scientific veneer to the project far exceeded the purchase price of the land needed for its realization – an area regularly described as ‘almost a desert.’ This description could only have been the echo of the familiar colonial trope indicating a perceived scarcity of population preceding invasion, since the area chosen was in fact largely wetland – an environmental category virtually unrecognized in the 1970s.

And so, an area of some 4,000 acres containing several dozen farms was designated in 1974 as the site for the future airport. The area was decreed by the state to be a ZAD, or ‘zone d’aménagement différé’, a zone of deferred development. This administrative status allowed the state time to begin buying up land from farmers willing to sell out or, in the familiar pattern of rural exodus, to buy whenever a farmer died and his children sold out. Yet while the slow process of expropriation was continuing, the energy crisis sunk the overall project into one of the intermittent long naps that mark its history. This one lasted throughout the 1980s and 1990s – the airport was forgotten, not entirely dead but not entirely alive either. In the meantime, though, the zone profited from what could only be called a secondary gain from the illness of having been destined to be one day covered over in concrete: much like Cuba during the Special Period, it had inadvertently been transformed, de facto, into a protected agricultural zone. Developers were hesitant to build near a future airport and no one wanted to live next door – the suburbanization that was befalling much of the area around Nantes was held at bay in Notre-Dame-des-Landes.

Opposition to the airport by farmers who refused to sell their land, some of whom were active in the Paysans–Travailleurs movement and had supported striking workers during the 1968 insurrection in Nantes, and townspeople living near the zone had gotten underway as soon as the project received administrative approval back in the early 1970s. But it was not until the new century, when the Socialist government under Prime Minister Lionel Jospin pumped life back into the construction agenda that something resembling the current coalition made up of farmers, townspeople and a new group, squatters and soon-to-be occupiers, began to take shape. With the arrival of the first squatters around 2008, the ZAD (zone d’aménagement différé) became a zad (zone à défendre) – the acronym had been given a new combative meaning by opponents to the project and the administrative

perimeter of the zone now designated a set of battle lines.3 One of the most peculiar aspects of the two infrastructural projects is their redundancy vis-à-vis existing services. An international airport exists already in the city of Nantes and a train line already runs through the Alps (usually operating at less than half capacity) between Turin and Lyon, in central France. Nevertheless, in 1991, a new high-speed line was planned in Italy to be added to the current one as a key element of the east–west corridor linking Lisbon to Budapest initially, and ultimately to Kiev. The initial goal of the project, a joint partnership between French and Italian governments and the European Union, was to enhance the movement of passengers and tourists, while also facilitating the integration of managers and corporate executives, between Italy and the Rhone region in France. Subsequently, the future train has been refunctioned to be used mainly for the transport of freight, despite the fact that the flow of goods between France and Italy has declined steadily since the beginning of the new century.4 The project elicited little opposition on the French side of the Alps. On the Italian side, however, in the Susa Valley, an area with a complex economy based in industry, agriculture, and tourism, and a historically united population known for its anti-fascist resistance and earlier opposition to infrastructural projects, reaction against their Valley being transformed into nothing more than a transit corridor was swift, with the first coordinated group of citizen opposition organized in 1994.

Space-specific, geographically defined struggles have a kind of refreshing flat-footedness about them. David Harvey has suggested this is because the fact of being bound to a particular space creates an either-or dialectic – something quite distinct from a transcendental or Hegelian one.5 Demands, concerns, and aspirations that are place- specific in kind create a situation that calls for an existential and political choice – one is either for the airport or against it. In the words of Marx to Vera Zasulich, writing in the context of an earlier rural battle against the state, ‘It is a question no longer of a problem to be solved, but simply of an enemy to be beaten . . . it is no longer a theoretical

problem . . . it is quite simply an enemy to be beaten.’6 A 57 kilometer tunnel will either be drilled through the Alps or it will not. An airport will either be built in farmland or it will not. Other countries know this well. In the most stirring and significant precedent to Notre- Dame-des-Landes, expropriation of farmland for the Tokyo Narita airport in Japan started in 1966, and by 1971 a decade of murderous battles between the state and farmers who refused to give up their lands, supported nimbly by far-left Zengakuren, had begun.7 It was these highly exemplary, even Homeric battles, immortalized in the films of Shinsuke Ogawa and Yann Le Masson – what I have come to regard as among the most defining combats of the worldwide 1960s – which, according to the testimony of many French militants of the era, inspired their own frontal and physical clashes with the police in the streets of Paris and other French cities. Breton documentary maker Le Masson’s film of the Narita battles, Kashima Paradise, screened in Nantes in the early 1970s, brought the Japanese example to the attention of early opponents in Notre-Dame-des-Landes. But the Japanese experience was not singular. A little earlier, an economic boom nourished an urge in Canada to build, outside of Montreal, and in time for the 1976 Olympics, what was destined to briefly become the largest airport in the world. Against the vigorous protest of the 12,000 farmers removed from their land, the Mirabel airport was built. But it was soon judged to be too far from the city and usage faded away in favour of the old Montreal airport. Mirabel was converted to a freight airport, but even that did not prove lucrative – for many years its desolate and empty terminal was used as a film set. Canadian prime ministers attempted to lure evicted farmers back to the region, with little success. In 2014 the terminal building was demolished at a cost of $15 million.

But it is Spain – home of the proliferating ‘ghost airport’ phenomenon – that provides the best contemporary example of the pillaging of public funds for useless structures.8 With a population of 47 million people, Spain now houses 52 airports. (Germany, a country with double the population of Spain, has 39). Out of those 52 Spanish airports over two-thirds are failing – in some, no aircraft ever lands or takes off. Yet the airports are staffed and maintained at enormous expense.

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1 See Arturo Escobar, Territories of Difference: Place, Movements, Life, Redes (Durham: Duke University Press, 2008).

2 See Jean de Legge and Roger Le Guen, Dégage! . . . On aménage, Collection ‘La province trahie.” (Les Sables d’Olonne: Editions le Cercle d’Or, 1976). For a critical history of the developmental rhetoric and policies undergirding French postwar economic growth, see Céline Pessis, Sezin Topçu and Christophe Bonneuil, Une autre histoire des ‘Trente Glorieuses’: Modernisation, contestations et pollutions dans la France d’après-guerre (Paris: La Découverte, 2013). Here and elsewhere, translations from the French are mine.

3 The new definition of the acronym has entered the Grand Robert dictio- nary in France: a ‘zad’ is defined as ‘a (frequently rural) zone that militants occupy to oppose a development project damaging to the environment’.

4 See Michele Monni, ‘Italian Politics and the NoTAV Movement: The Resiliency or Failure of Citizen Activism?’ and Lucie Greyl, Hali Healy, Emanuele Leonardi, and Leah Temper, ‘Stop That Train! Ideological Conflict and the TAV’, in Economics and Policy of Energy and the Environment, n. 2 (2012).

5 David Harvey, Spaces of Hope (Berkeley: University of California Press, 2000), pp. 164–75.

6 ‘Marx-Zasulich Correspondence: Letters and Drafts’, in Teodor Shanin, Late Marx and the Russian Road: Marx and the Peripheries of Capitalism (New York: Monthly Review Press, 1983), p. 116.

7 See David Apter and Nagayo Sawa, Against the State: Politics and Social Protest in Japan (Cambridge: Harvard University Press, 1984).

8 See Christine Delphy, ‘B comme Béton’, barricades-mots-zad.org/lettre-b.

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“Mekânın Şirinliği”: ZAD ve NoTAV mücadeleleri üzerine – Kristin Ross Tarih: 22 Haziran 2017

Yazdır

E-posta

Avrupa anakarasında eylemciliğin zeminini tanımlayacak iki mücadele ortaya çıktı: ZAD (Zone A Defendre – Savunma Bölgesi) ve NoTAV (Alta Velocita Tren Yolu Hattına Hayır).

İngilizce konuşan dünyada pek az bilinse de bu mücadelelerin her biri, en kuvvetli şekilde David Harvey’nin çalışmalarında analiz edilmiş bir mücadele biçiminin, soykütüğü Japonya’daki Sanrizuka’dan, Meksika’daki Zapatistalar’dan, Amerika’da Standing Rock’tan geçip Paris Komünü’ne kadar takip edilebilen bu bölgesel, uzamsal mücadelelerin devamını sunuyor.

Mauvaise Troupe kolektifi tarafından hazırlanan, İngilizce okurlara bu iki hareketin birbirine bağlı öykülerini ilk defa ve en kapsamlı şekilde sunan ZAD ve NoTAV adlı yeni e-kitabın giriş bölümünden bu alıntıda Kristin Ross, “kara blok anarşistleriyle rahibeleri, emekli çiftçilerle ayrılıkçı vegan lezbiyenleri, avukatlarla otonomistleri etkin ve direngen bir topluluğa dönüştüren bu sonu gelmez lehim süreci”ne bir girizgah sağlıyor.

Geçtiğimiz yıllarda, “büyük, dayatılmış ve yararsız” olarak bilinen altyapı projelerine karşı gerçekleşen işgallerin ve engelleme girişimlerinin sayısındaki artış, yeni bir siyasal duyarlılığa tanıklık etmemizi sağlıyor. Sanki geçen yüzyılın sonlarına doğru, dünya genelinde insanların, kalkınma mantığı ile yaşamın ekolojik temelleri arasındaki gerginliğin hayatlarını yöneten birincil çelişki haline geldiğini anlamaya başladığı bir zamandı. Ve, dünyanın pek çok kırsal ve yarı kırsal bölgesinde -örneğin Fransa’daki Larzac veya Japonya’daki Sanrizuka (Narita)- arazi yönetiminin devlet kontrolünde olmasına karşı gelişen mücadeleler ortaya çıktı. Bunlar bir bölgeye sıkı sıkıya bağlılığıyla belirgin hareketlerdi… 1988’de Brezilya’da Xingu Nehri-Altamira’da yapılacak büyük ölçekli baraja muhalefetten, Chiapas’taki Zapatista ayaklanmasına ve Standing Rock Sioux’daki (Siyu) Kuzey Dakota Boru Hattı’na karşı gerçekleşen son direnişe kadar, bu tür yerleşik hareketler Amerika’nın iki tarafında da yerli bir üs ve liderlik ile karakterize olma eğilimindeydi.[1] Bununla birlikte, bu kitapta iç içe geçmiş hikayeleri anlatılan, Avrupa’nın en sembolik ve devam etmekte olan iki bölgesel hareketi ZAD ve NoTAV, her biri tamamen farklı kültür ve teamüllerden gelen insanları bir arada tutmasıyla Amerikalı örneklerinden farklıdır. Ancak kitabın yazarları, “kabus dünyasının amansız büyümesi” olarak adlandırdıkları şeyi engellemeye çalışarak, Amerikalı meslektaşları ile birlikte bir dönemin çatışma çizgilerinin yeniden yapılandırılmasında birleşiyorlar. Bunu yaparken, gündelik yaşam ve ortak işleri yönetmenin bir yolu üzerine yeni bir politik kavrayışın siluetini görünür hale getiriyorlar. Öyle görünüyor ki, bundan böyle toplumsal eşitsizliği değiştirmek için harcanan herhangi bir çabanın başka bir zorunlulukla, yaşamı koruma zorunluluğuyla bağlantılandırılması gerekecektir. Gezegen üzerindeki yaşam koşullarını savunmak, tüm siyasi mücadelenin anlamının yeni ve tartışılmaz ufku oldu.

Fransa’nın batısındaki Notre-Dame-des-Landes köyünün dışındaki kırsal alanın küçük bir köşesinin işgali, bugün ülkede süren en uzun savaşın alanıdır. Kırk yıldır bu noktada, 4.000 dönüm tarım arazisi, sulak alan ve ormanı yok etmekle tehdit eden uluslararası bir havaalanı inşa edilmeye çalışılıyor. İtalyan Alpleri Susa Vadisi’nde, yüzyılın sonlarından bu yana Torino ve Lyon’u birleştirmesi planlanan yüksek hızlı bir tren hattının (Treno ad Alta Velocita veya kısaca TAV) yapılmasına karşı vadinin yarısını kaplayan 70.000 insan mücadele verdi. Yerel halk için “ilerlemenin önünü kestikleri” sıklıkla söylense de, Avrupa’daki bu bölgelerin her birinde, heterojen fakat hayli etkili bir halk koalisyonu tam da bunu yapmaktadır. Bölgelerini imha edecek bu projenin ilerlemesini engellemeyi, geciktirmeyi ve belki de tamamen engellemeyi -zaman gösterecek- başardılar.

Burada her iki hareketin yarattığı muhalefete dair bir taslak olsa da – bu kitabın ilk bölümünde, okuyucular iki hareketin İngilizce dilindeki en kapsamlı kronolojisini bulacaklardır.

Havalimanı ve tren

Bölgesel bir burjuvazinin kalkınma retoriğinin zirve yaparak patladığı Trente Glorieuses (şanlı otuz yıl) yıllarında başlayan, Fransa’nın batısındaki Nantes kentinin varoşlarında yeni bir havalimanına dair meşrulaştırmalar ve onun sponsorları yıllar içinde değişmiştir. Bir yerde, Concorde (Fransız uçağı) için kalkış ve iniş noktası olacak olan bu havalimanı projesi, bu teknoloji harikasının kısacık ömrüne nispeten yarattığı muazzam gürültü kirliliğinden Paris’i kurtarma girişimiydi. Projenin geliştiricileri, bundan sonra onu, Büyük Paris Bölgesi için üçüncü havalimanı projesi olarak fatura etti. Son yıllarda, “Batının Muhteşem Havalimanı” yerine, bölgesel rekabette öne geçme fırsatı olarak, erişebilirlik, turizm ve ticaret imkânları üzerinden yeniden markalaştırıldı. Fakat 1960’ların sonunda ve 1970’lerin başında proje ilk ortaya atıldığında, bu projeyi teşvik eden kalkınma retoriğine yapılan ilk (ve hâlâ okunmaya değer) eleştiri, projeyi geçen uçakları cezbetmek için fırçalar oyan Yeni Gine’deki Kargo tarikatına (Kargo kültü) benzetiyordu. Nantes iş insanları, “eğer inşa edersiniz, onlar da gelecektir” diye inanmışlardı: bölgenin endüstriyel kaderinin, pek yakında Almanları ve Japonları korkudan titretecek bir kader olduğuna karar verdiler. Yeni bir havalimanı Nantes bölgesini Avrupa için bir sonraki “Gökyüzünün Rotterdam’ı” haline getirebilirdi.[2] Projeye bilimsel bir imaj vermek için harcanan miktar, gerçekleştirilmesi için gerekli olan, hâlâ düzenli olarak “neredeyse bir çöl” olarak tanımlanan arazinin satın almaya yetecek fiyatı çoktan aştı. Bu açıklama ancak istila öncesinde bölgedeki nüfusun yetersizliğini belirten sömürgeci kinayesinin bir yansıması olabilir, çünkü seçilen alan aslında büyük ölçüde sulaktı -1970’lerde neredeyse hiç tanınmayan bir çevre kategorisi.

Ve böylece, birkaç düzine çiftlik içeren yaklaşık 4.000 dönümlük bir alan 1974’te gelecekteki havalimanının yeri olarak belirlendi. Bölge devlet tarafından bir ZAD, (Zone D’aménagement Différé) yani ertelenmiş bir kalkınma bölgesi olarak ilan edildi. Bu idari statü, çiftçilerin arazilerini kendi rızalarıyla devlete satmalarını veya tanıdık kırsal yerinden etme yöntemlerinde olduğu gibi bir çiftçi öldüğünde veya çocukları tükendiğinde devletin arazileri satın almasını sağladı. Yine de, kamulaştırma ağır ağır ilerlerken, enerji krizi genel projeyi, tarihine damga vuran düzensiz uzun uykulardan birine soktu. Sonuncu uyku dönemi 1980’li ve 1990’lı yıllar boyunca sürdü. Havalimanı unutulmuştu, tamamen ölmemiş ama tam olarak yaşıyor da değildi. Bu arada bölge yine de, beton ile kaplanacağı bir günün kaderi haline gelmesinin marazından ikincil kazanç denilebilecek bir kazanç sağladı: Küba’nın Özel Dönem’i gibi, kasıtsızca fiilen korunan bir tarım bölgesine dönüştürüldü. Geliştiriciler gelecekteki bir havalimanına yakın olmaktan çekindiler ve kimse çevresinde yaşamak istemedi. Nantes çevresindeki bölgelerin çoğunun başına gelen banliyöleşme, Notre-Dame-des-Landes körfezinde de tutuldu.

Bazılarının Paysans-Travailleurs hareketinde aktif olarak yer almış ve 1968 ayaklanması sırasında Nantes’te grevdeki işçilere destek vermiş olduğu, arazilerini satmayı reddeden çiftçilerin ve bölgenin yakınında yaşayan kasaba halkının havalimanına muhalefeti, süregelen proje 1970’lerin başında idari onay alır almaz, yola koyulmuştu. Ancak bu, Başbakan Lionel Jospin’in yönetimindeki Sosyalist Hükümet, çiftçilerden, kasaba halkından, gecekonduculardan ve yakında “işgalciler” olarak anılacak yeni bir gruptan müteşekkil mevcut koalisyona benzeyen bir şeyin şekil almaya başladığı inşaat gündemine hayat verdiği zaman, yeni yüzyıla kadar dayanmadı. İlk gecekonducuların 2008’de gelmesiyle birlikte, ZAD (Zone d’amenagement differe), ZAD (Zone a defendre) haline geldi -kısaltmaya projenin muhalifleri tarafından şimdi yeni bir mücadeleci anlam verildi ve bölgenin idari çevresi bir dizi savaş çizgisi benimsedi.[3] İki altyapı projesinin en garip yönlerinden biri mevcut hizmetler karşısında lüzumsuz oluşlarıdır. Nantes bölgesinde uluslararası bir havalimanı, Torino ve Lyon arasında Alplerden geçen (genellikle yarı kapasiteden daha az faaliyet gösteren) bir tren hattı zaten vardır. Bununla birlikte, 1991’de doğu-batı koridorunun anahtar unsuru olan mevcut Lizbon-Budapeşte hattı ile başta ve sonda ek olarak Kiev’e bağlanan yeni bir yüksek hızlı hat İtalya’da planlandı. Fransız ve İtalyan hükümetleri ile Avrupa Birliği arasındaki ortaklığın ilk amacı, İtalya ve Fransa’nın Rhone bölgesi arasındaki yöneticilerin ve şirket yöneticilerinin entegrasyonunu kolaylaştırırken yolcuların ve turistlerin hareketlerini arttırmaktı. Daha sonra, gelecek yüzyıldaki tren, Fransa ile İtalya arasındaki meta akışının yeni yüzyılın başından bu yana istikrarlı bir şekilde düşmesine rağmen ağırlıklı olarak yük taşımacılığının kullanımına sunulmuştur.[4] Proje, Alplerin Fransız tarafında küçük bir muhalefet yarattı. İtalyan tarafında ise 1994 yılında, tarihsel olarak anti-faşist direniş geçmişine sahip olan, endüstri, tarım ve turizm alanlarında karmaşık bir ekonomiye sahip Susa Vadisi’nde, önceki altyapı projelerine ve vadilerinin bir geçiş koridorundan daha fazlasına dönüştürmeyecek olan bu projeye karşı ilk koordineli yurttaş muhalefeti örgütlendi.

Mekâna özgü, coğrafi olarak tanımlanmış mücadelelerin, onları bir şekilde yenileyen düz-tabanlığı vardır. David Harvey bunun nedeninin, transandantal ya da Hegelci diyalektikten fazlasıyla uzak, ya-ya da (either-or) diyalektiği yaratan belirli bir alana bağlı olma gerçeği olduğunu ileri sürdü.[5] Bölgeye özgü talepler, endişeler ve umutlar varoluşsal ve politik bir tercih gerektiren bir durum yaratır -birisi ya havalimanı yanlısıdır ya da karşıtı. Marx’ın Vera Zasulich’e verdiği demeçte, devlete karşı daha erken dönem kırsal bir savaş bağlamında “Bu soru artık sadece çözülmesi gereken bir problem değil aynı zamanda basitçe yenilmesi gereken bir düşmandır… artık sadece teorik bir problem değildir… oldukça basit bir şekilde yenilmesi gereken bir düşmandır”.[6] 57 kilometrelik bir tünel Alpleri delip geçecek ya da geçmeyecek. Bir havalimanı tarım arazisine yapılacak ya da yapılmayacak. Diğer ülkeler de bunu iyi biliyor. Notre-Dame-des-Landes’ın en etkileyici ve en kayda değer örneğinde olduğu gibi, Japonya’daki Tokyo Narita Havalimanı için tarım arazilerinin kamulaştırılması 1966’da başlamış, toprağını terk etmeyi reddeden çiftçiler ve devlet güçleri arasındaki on yıllık ölümcül çatışmalar ile 1971’den itibaren aşırı-sol Zengakuren’in güçlü destekçileri oluşmuştu.[7]

Bu çokça benzeşen örnekte Shinsuke Ogawa ve Yann Le Masson’un filmlerinde ölümsüzleştirilen bu destansı savaşlar -1960’ların dünya çapındaki en belirgin savaşları arasında görmekte ve saygı duymaktayım- dönemin Fransız militanlarının ifadesine göre Paris’te ve diğer Fransız kentlerinde polisle yapılan sokak çatışmalarına esin kaynağı olmuştur. Breton belgesel yapımcısı Le Masson’ın 1970’lerin başında Nantes’de gösterilen Narita savaşları üzerine filmi, Kashima Paradise, Notre-Dame-des-Landes’teki öncü muhaliflerin dikkatini Japon örneğine çekmişti. Bir süre önce, Kanada’da Montreal dışında 1976 olimpiyatları için bir havalimanı yapılmış ve kısa sürede dünyanın en büyük havalimanı haline gelerek ekonomik bir patlamayı beslemiş, toprağından çıkarılan 12.000 çiftçinin şiddetli protestosuna karşı Mirabel havalimanı inşa edilmişti. Ancak bir süre sonra şehirden uzak olduğu gerekçesiyle hâlihazırda kullanılan Montreal havalimanı karşısında değerini kaybederek kullanımı azalmıştı. Mirabel bir nakliye havalimanı haline getirildi ancak bu bile kâr sağlayamadı ve uzun yıllar boyunca ıssız ve boş kalan terminal film seti olarak kullanıldı. Kanada başbakanları bölgeyi terk etmek zorunda kalan çiftçileri bölgeye geri döndürmeye çalıştılar ve çoğunlukla başarısız oldular. Terminal binası 2014 yılında 15 milyon dolarlık bir maliyetle yıkıldı.

Fakat yaygınlaşmakta olan “hayalet havalimanı” fenomeninin evi olan İspanya, faydasız yapılar için kamu fonlarının yağmalanması adına en iyi çağdaş örneği sunmaktadır.[8] 47 milyonluk bir nüfusa sahip olan İspanya şimdi 52 havalimanına sahip (iki katı nüfusa sahip olan Almanya’nın 39 havalimanı var). Bu 52 havalimanının üçte ikisinden fazlası başarısız –bazılarına hiç uçak inip kalkmıyor. Bununla birlikte havalimanlarının hepsinde personel çalıştırılıyor ve masrafları çok yüksek.

Dipnotlar:

[1] Arturo Escobar, Territories of Difference: Place, Movements, Life, Redes (Durham: Duke University Press, 2008)

[2] Jean de Legge & Roger Le Fuen, Dégage! . . . On aménage, Collection ‘La province trahie.” (Les Sables d’Olonne: Editions le Cercle d’Or, 1976). Fransız savaş sonrası ekonomik büyümesinde kalkınma retoriğinin ve altında yatan politikaların eleştirel tarihçesi için Céline Pessis, Sezin Topçu and Christophe Bonneuil, Une autre histoire des ‘Trente Glorieuses’: Modernisation, contestations et pollutions dans la France d’après-guerre (Paris: La Découverte, 2013). Buradaki ve başka yerlerdeki Fransızca’dan çeviriler bana aittir.

[3] ZAD kısaltmasının yeni tanımı Fransa’da Grand Robert sözlüğüne girmiştir: bir ZAD (kırsal kesimde yaygın şekilde) militanların işgal ederek çevreye zarar veren kalkınma projelerine karşı koyduğu alandır.

[4] Michele Monni, ‘Italian Politics and the NoTAV Movement: The Resiliency or Failure of Citizen Activism?’ and Lucie Greyl, Hali Healy, Emanuele Leonardi, and Leah Temper, ‘Stop That Train! Ideological Conflict and the TAV’, in Economics and Policy of Energy and the Environment, n. 2 (2012).

[5] David Harvey, Spaces of Hope (Berkeley: University of California Press, 2000), pp. 164-75.

[6] “Marx-Zasulich Correspondence: Letters and Drafts’, Teodor Shaninin, Late Marx and the Russian Road: Marx and the Peripheries of Capitalism (New York: Monthly Review Press, 1983), p.116.

[7] David Apter and Nagayo Sawa, Against the State: Politics and Social Protest in Japan (Cambridge: Harvard University Press, 1984).

[8] Christine Delphy, , ‘B comme Béton’, barricades-mots-zad.org/lettre-b.

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carluni · 7 years

Text

1000 word crit

Overall I believe my year went well, I think there has been a large improvement since my first year mainly with being more experimental in my ideas and trying to further my ideas in the earlier stages in order to see how well they would work compared to just having one idea and sticking with it. I also feel I have been working on my feedback more efficiently and use each tutorial and review to help improve and finalise my work. I have been able to easier intergrate personal interests into my work, especially with the invite brief, which has helped me enjoy the creative process more and make it feel more unique with what I produce. In a more physical sense I have improved skill wise with how I have tried to broaden my techniques when approaching a brief in how I could create it, and my general digital skills have been slowly improving as the year goes on. I enjoyed the start of the year as I was able to pursue a personal way of representing my summer break. As I am interested in illustration I decided to do something more creative for this project rather than just record my spare time. I explored my interest in chalk and recorded a speed drawing of a character from a video game, from which I spent most of my break. I feel it could have gone better in a few specific aspects. I wish I had done less experimental techniques so that I did not overcomplicate it for myself, for example it was my first time using a canvas and I tried a strange technique of using a black and white base of the character and using coloured chalk to highlight important features. In theory I thought could work well with the juxtaposition, but in reality was just a mess of colour and unclear detail. I would like to attempt this piece again, and with what I have learnt from my support module I feel I could create something better be it a differnet final product, use of different materials and tools or simply being more skilled from practice with chalk. To start with I struggled with the logo brief, as my initial ideas were too complicated for what they needed to be. The following week had a workshop which helped me greatly, which invloved doing basic sketches in a word associaton style of doing a literal representation of the word. Using this I sketched a few simple ideas and then tried to develop them into more refined ideas of being related to the British Library. A tutorial shortly following after me having those ideas then helped me think more conecptually about the work and how that will help me create a less childish logo, and something more suited to the target audience. At the end of this brief I created one of my most successful pieces of work, which I am really proud of, it fit the brief and still kept a uniqueness of illustration that I really wanted to intergrate. I think that to improve it I could re-do how it was illustrated as one weakness present in the work is the legability, as only those who knew the subject already may be able to understand the logo as a stand alone entity. I did not enjoy the broadsheet brief entirely as I felt restricted in the creative aspect of it, I found it difficult to present bulk information in a unique way that still followed the guidelines of the brief. I did however, learn useful skills from this brief which I will be able to use in future briefs. I did not manage to create an interesting layout of information for the audience to read, but I feel I did a good layout in terms of legabilty and hierachy, which may have suited an older more mature audience compared to the student target audience the brief had. I did have fun with the poster side as I had an idea that would have worked, but I instead followed an accidental mistake I made an instead came with an abstract visual representing a key lecture from the broadsheet. The most important thing I took from this brief has been the various Indesign skills I have learnt such as using character styles, and how to set a layout for type to be more visually appealing. I will be able to use what I have learnt to more effectively create work and do it in a smaller time frame using the time saving techniques I learnt which will help me further. This brief was split into two parts. This did lead me to struggle with time management as I spent most of my time working on the invite and lost time working on the guidebook. I enjoyed the invite as again I was able to be fully creative in what I did and I feel I produced something aesthetically pleasing and that with a bit more time I could have made more professional in look, as what I made with papercut did have a messy feel to it. I do wish I had thought more about the interactive aspect of it, but is something that I will look into again in my free time as it was a project with a lot of possability that I would have fun exploring. The guidebook on the other hand, I had great difficulty with. I found it confusing at first and this stopped me from approaching it with a creative mind and left me thinking too seriously about it. I finished it in a small time frame, but was not able to make a physical version which really hindered my improvement upon it, alongside not having initial ideas ready for and form of feedback before the deadline. In conclusion I feel I am on my path to becoming a better graphic designer as I am more able to bring personal interests and styles into the main module of work without it feeling too forced, but I do need to work on when I cannot necessarily do this as those pieces usually have a weaker end result. The other large problem that has been made apparent over this semester has been my time management which left my final brief largely unexplored and in a way unifinished, unless I were to explore it personally in my own time. To imrpove for the next term I will try and have a more solid plan of work to make sure it is all together and I can spend more time creating and developing ideas, rather than spending time chasing down various parts of research or work that I lost. I also need to work on the research side of work, although I have improved I still need to get more used to having it help me become inspired or inform my work's development.

#year 1 #main module #evaluation

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