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strangerthings4theories · 3 years

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The Demogorgon Is Billy’s Dark Reflection

At first glance, the Demogorgon seems irrelevant to the question of whether or not Billy’s coming back. But as I aim to prove, it has everything to do with it.

Stranger Things deals heavily in the theme of reflections and opposites. Characters are designed to mirror each other, embody the opposite of each other, and sometimes both at once. Hell, the Upside Down is presented as a reflection of the real world. Literally.

(Damn. They ain’t subtle.)

By the term “dark reflection,” I mean a relationship like that between the Upside Down and the real world. The two are almost exact copies; the Upside Down has all the same landmarks, down to Will’s fort in the woods. But the Upside Down has been corrupted by the Mind Flayer, its inhabitants turned into unthinking monsters.

It’s like us. But it’s everything we hate about ourselves, everything we’re afraid of becoming.

When we probe relationships between characters, we find that pattern replicated across the board. I don’t have room to explore it in full here. However, Billy and the Demogorgon are one of the most obvious examples.

With the exception of El, the main character of the show, no one else has been compared to the Demogorgon like Billy has.

>>Billy fills the “monster” role in S3 that the Demogorgon filled in S1.

In S1, the Demogorgon stalks the inhabitants of Hawkins, kidnapping and killing them. In S2, we find out Demogorgons do not act alone, but are the puppets of a greater monster: the Mind Flayer.

In S3, the Mind Flayer possesses Billy, turning him into His puppet. Billy then stalks the inhabitants of Hawkins, kidnapping and taking them to his master, which ultimately results in their deaths.

In S3, the Demogorgon wears a human face.

>>Like the Demogorgon, Billy is the puppet of a greater monster... even before he’s possessed.

Max tells us as much in Runaway Max when she’s watching Billy beat the life out of Steve:

I remembered how it had felt the first time I’d watched the Hargroves in action. Neil standing over Billy with the belt in his hand. Neil calling me a stupid little girl for having the guts to try to stop him. Making it so clear that he thought I was small and weak and pointless. And knowing Neil believed that still wasn’t as bad as the way Billy had hated me for trying to help him. He was damaged. Broken, maybe. And even if he’d been coherent enough to argue with, it wouldn’t make a difference. I understood now that Neil was in his head, and that meant he was just as dangerous as his father. (p 218)

This implies not only that Billy is the Demogorgon, but also that Neil is the Mind Flayer. The ramifications of that idea are... oof. Just oof.

Remember the definition of “dark reflection” that I gave you. A dark reflection is something that’s like us, but represents what we hate or fear most about ourselves.

The Demogorgon is Billy’s dark reflection because it represents his fear of losing his humanity to an abuser.

>>Runaway Max draws on the grossest scene in S2 to give us a Billy/Demogorgon parallel.

In S2, Dustin finds a baby Demogorgon and names it D’Artagnan. At first Dart seems harmless. Then he molts and, in a scene I hate to watch, eats Dustin’s cat.

Keep in mind that Dustin’s cat is orange.

In Runaway Max, Billy seems harmless at first. Then, in a flashback to California, we’re told of the day Billy “molts.”

One afternoon, he’s hanging out with Max and his buddies Wayne and Sid on the scrubby hill behind the Hargrove house. He’s bored and pissed at Sid for besting him on a history paper. Pulling out his lighter, he starts playing with it.

We learn there’s a corpse of a cat nearby:

There was a dead cat that had been lying under one of the sweet pea bushes for a while. A mangy orange tom with one white foot. (p 63)

Billy stalks over to it with his lighter. In a “hard, bright” voice, he talks about giving the cat a “Viking funeral.” Then, over Max and Sid’s protests, he drenches the corpse in butane and lights it on fire. The flames race down the hill, and the others have to stomp them out before they spiral out of control.

Max notes Billy’s reaction:

Billy just watched, standing over the burning cat, smiling that small, tight smile he got when something seemed funny to him....

After that, I knew.

Not that Billy was crazy or out of control, exactly - it wasn’t like the cat had been alive. But the fact that he’d done it meant something. (p 67)

Yeah, this scene means something, alright. Symbolically, Billy - a baby Demogorgon - has just eaten a cat. And, like Dustin with Dart, Max realizes he’s a monster in the making.

>>The show’s plot and cinematography choices emphasize the Billy/Demogorgon connection.

1) El first meets them in the Void. They’re both crouching, and literally or symbolically feasting, as she approaches from the right.

2) They stalk after the kids, shoulders hunched. In the Demogorgon’s case, the kids are trapped. In Billy’s case, he thinks he’s trapping the kids, but they turn the tables on him.

3) When the Demogorgon is activated, a crack rips through the tile wall of the lab. When Billy is activated, we see cracked tiles on the wall behind him.

4) El pins them against the wall with her powers. Then she screams in their faces before she deals the “death blow.” In the climactic shot, she’s on the left, they’re on the right. Mike and/or her friends are behind her.

All of that ^ is the equivalent of the Duffers banging pots and pans. “Hey guys! Billy is like the Demogorgon! The Demogorgon is like Billy!” When I first noticed it, it told me to look for other examples of “mirroring.” Do we get any other shots that juxtapose the two?

Turns out we do. Oh my god, we do.

Study this pair of shots very, very carefully.

In the first, the Demogorgon is approaching the Byers' house. It's in the center of the frame, moving straight toward us. We see woods in the background; a lamp post is on the left side.

In the second, Billy is running away from the sauna. He's in the center of the frame, moving directly away from us. We see woods in the background; a lamp post is on the right side.

I’ve already talked about how the Upside Down is the deep sea. However, it is ALSO the woods. In fairytales, the woods are a place of mystery and monsters. Some of the most famous tales happen there, such as Little Red Riding Hood and Hansel and Gretel. (If you want to read more about this topic, here’s a Wikipedia article to get you started. Also a cool article on Medium)

With that in mind, we can describe this pair of shots as follows:

In the first, the Demogorgon is emerging from the Upside Down.

In the second, Billy is going to the Upside Down.

Interesting, right? Ah, but that’s only half of the story.

Study this pair now and tell me what you see.

Yep... they’re related.

In the second shot, Billy is swimming into the ocean. It’s the last glimpse we have of his young, happy self before the Mind Flayer kills him. He’s in the center of the frame, moving directly away from us, just like the first shot.

With that in mind, we could say...

In the first, he’s going to the Upside Down in its ‘woods’ manifestation.

In the second - OUR LAST GLIMPSE OF YOUNG BILLY BEFORE HE DIES - he’s going to the Upside Down in its ‘ocean’ manifestation.

Interesting how we've only seen him leave. Yet we have this iconic image of the Demogorgon, his “dark reflection,” emerging from the Upside Down and coming to us.

I have a spooky vibe, y'all, that we're missing a final shot.

And we're going to see Billy...

coming to us...

from the water.

I have so much more to unpack here, but this post has gone on long enough! In future posts, I’ll lay out more evidence suggesting Billy will return from the water. I’ll also explore the mythological implications. They’re mind-blowing :3

»»————-　✼　————-««

P.S. I mentioned El has a unique relationship to the Demogorgon too. I’ll try to explain that eventually~~

»»————-　✼　————-««

The “Billy Is Alive” Meta Series (So Far)

Billy Is Not a ‘B’ Character In Stranger Things

The First Rule of Analyzing Stranger Things: The Upside Down Is Symbolized By Water

The Lifeguard And The Rip Current: Our First Big Hint That Billy Is Alive

Why Haven’t We Seen Dacre On Set?

Frequently Asked Questions

For updates, follow the hashtag #billy is alive meta

#billy hargrove #the demogorgon #stranger things #billy hargrove is alive #stranger things theory #stranger things 2 #stranger things 3 #stranger things 4 #stranger things meta #stranger things analysis #billy hargrove meta #billy is alive meta #ohbillyboy #the upside down #el hopper #eleven hopper #dark reflections

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murdereraisuha · 3 years

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Classpecting TWST: Octavinelle

Time to assign Homestuck classpects to the fish mafia!

Spoilers for chapter 3 and some of the trio’s personal stories. No knowledge of Homestuck required to read.

[Image description: A banner containing a picture of Azul, the symbol for the space aspect, and the words “Azul Ashengrotto: Thief of Space”]

For Azul, I think it’s easier to narrow down what his class is first.

To get back at his childhood bullies, Azul developed his unique magic “It’s a Deal,” which lets him make contracts with others.

He uses clever loopholes and tricks to shift his contracts in his favor, letting him reap the magic and abilities of his victims.

However, despite his power and skills, he still has self-image issues.

In chapter 3, he overblots during a desperate magic stealing spree to make a more perfect him who isn’t a “stupid, clumsy octopus who can’t do anything by himself.”

What I get from this is that he steals from others, he worked hard to shape himself into a successful person, and he perceives fault in himself. Based on this, I think his class is either thief, the active theft class, or knight, the active exploitation class.

With that in mind, what exactly does he steal/exploit, and what do his insecurities relate to? Rather than concepts like luck, freedom, or the soul, Azul seems centered on concrete objects. In his childhood, he was tormented due to his physical appearance. In the present, he carefully controls his diet to maintain a slender physique. He also hoards things like coins and his contracts.

Based on these things as well as the creativity he exhibits in his elaborate schemes (exam notes, beans day, investigating Scarabia, etc.), I think that Azul’s aspect is space, the aspect of physical attributes, creation, and patience.

So, thief of space or knight of space? After research into both, I think that thief fits the best. First of all, though Azul has amazing abilities on his own, he relies a lot on maintaining a hoard of contracts. Rather than working with what he has, he constantly seeks out more: more power, more profits, more restaurant locations. Similarly to how Azul’s downfall in chapter 3 stemmed from trying to steal too much (Yuu’s house & the photo), the 2 thieves in Homestuck also get into trouble for being too overconfident. Finally, while a knight generally protects and shelters those around them, Azul isn’t afraid to do stuff such as wring Floyd out like a towel to use his eel slime for developing a beauty product. Therefore, Azul is most likely a thief of space.

[Image description: A banner containing a picture of Jade Leech, the symbol for the light aspect, and the words “Jade Leech: Rogue of Light”]

To figure out Jade’s aspect, let’s consider some facts about him.

His unique magic, “Shock the Heart,” forces a person who looks him in the eye to truthfully answer a question he asks them.

He dislikes predictable things, which is a reason why he loves his chaotic brother and enjoys growing unknown plants.

He prefers to stay in the shadows while Azul/Floyd takes the spotlight.

Based on these factors, Jade seems well suited to either the void aspect, the aspect of secrets, confusion, and irrelevance, or its opposite the light aspect, the aspect of truth, awareness, and importance. Now, how does he interact with his aspect?

Though Jade, Azul, and Floyd are equals, Jade still usually acts in a supportive role to them. For example, in his ceremony robes story, Jade gives the list of the new students’ private Magicam accounts to Azul for him to use instead of using the list himself. Therefore, I think that Jade probably has a passive class.

Jade does not have a deficit of light/void and he does not have a destructive relationship with light/void, ruling out page and bard. He doesn’t truly embody either aspect, ruling out heir, and he doesn’t seem to do much creating/healing of light/void, ruling out sylph. That narrows it down to seer of light, seer of void, rogue of void, and rogue of light.

Though I originally thought he was probably void and just kept the light option open just in case, Jade might actually be a rogue of light. A rogue, the passive theft class, invites theft of their aspect and through their aspect. Jade reveals knowledge (ex. contract violations & the Magicam accounts) and then leaves Azul and Floyd to do with it as they please. Also, Shock the Heart is activated using his eyes, and eyes are a symbol of the light aspect in Homestuck.

Furthermore, the rogues of Homestuck often have trouble coping with having their aspect, correlating with Jade being uncomfortable with having people’s attention on him. He also has problems with giving information/the truth about himself. For example, his exaggerated fake tears after Idia doubts his wish during the Wish Upon a Star event strengthens Idia’s belief that Jade's wish is insincere, even though Jade might have really wanted to use his wish for Azul and Floyd’s benefit. Though Jade is pretty different from the typical descriptions of rogues of light I have read, I think he probably is a rogue of light.

[Image description: A banner containing a picture of Floyd, the symbol for the blood aspect, and the words “Floyd Leech: Bard of Blood”]

For Floyd, I have an aspect already in mind.

Breath represents freedom and flexibility. From his general refusal to wear his uniform properly or take on responsibilities to specific events like trying to play dodgeball during basketball club, Floyd certainly exhibits freedom. His unique magic, “Bind the Heart,” references the concept of freedom/captivity in its name. By deflecting any magic aimed at him, it basically ensures his freedom from injury and other harmful effects like Riddle’s” Off with Your Head!”

Just so we’re not narrowing our focus too much though, I’d like to point out that the rage aspect is also a possibility. Rage represents negative emotions, defiance, and persistence. For Floyd, he rebels against conformity and also exhibits some stubbornness in his teasing of Riddle. Floyd’s aspect might also be the opposite of breath or rage, blood or hope, since each aspect and its opposite are just 2 sides of the same coin as we saw with Floyd’s brother.

Anyway, on to class. First off, thief and rogue are out since he doesn’t do much theft. He doesn’t hide behind any masks or act very pessimistic, so knight, page, and prince are out, and he doesn’t seem to struggle with knowledge of things, so mage and seer are out. Of the remaining classpect combos, I was thinking witch of rage, bard of rage, heir of breath, or maid of breath. However, as I just said, the aspects blood or hope might also apply. After looking into god tiers of those aspects, one stuck out at me: bard of blood.

Bard is the passive destruction class, which invites destruction of their aspect or through their aspect. Bards and princes, the active destruction class, are notable in how they exhibit traits of the opposite aspect since they destroy their own aspect in themselves. In Floyd’s case, his abundance of freedom & spontaneousness can also be seen as an absence of commitments & responsibilities.

However, a bard doesn’t destroy all traces of their aspect, which is how I can find evidence that Floyd’s aspect is actually blood rather than breath. In Homestuck, those of the breath aspect tend to be rather emotionally detached or passive. For example, John handles shocking revelations with ease and Tavros uses sleep to escape sadness. On the other hand, blood players tend to be emotionally explosive and assertive. Karkat and Kankri are well known for being rather... cranky. Now, for Floyd,

I don’t think an emotionally passive person would have a murder mode face like this. There’s also the fact that Floyd specifically hates shackles, while a breath player would probably take their freedom more for granted. Anyway, going to how being a bard would interact with Floyd’s aspect, as a bard his actions lead to destruction of bonds/responsibilities. However, a bard’s aspect is still a part of them/an inevitability even if they try to act like it isn’t.

Let’s take the one big example of anguish within Floyd that we have: his school uniform story. While Floyd is having a blast riling Riddle up and trying to bait him into a game of tag, Riddle remarks that Jade doesn’t bother with this sort of mischief and he’s completely different from Floyd even though they’re twins. This causes Floyd’s mood to take a 180 and he abruptly leaves. Even though Floyd does stuff like steal Jade’s clothes or shove work on him—things that might suggest Floyd doesn’t care about Jade—Floyd actually doesn’t want their bond with each other to break. This also holds true for Azul: though Floyd explicitly says in chapter 4 that he and Jade will leave Azul if he becomes boring, that seems like a half-truth: with Azul being the person he is, how likely is it that he would ever become boring?

Floyd is a genius, talented in everything from academic subjects to music to sports. However, as noted by some other characters, his mood swings and flippantness prevent him from being the even more terrifyingly powerful person he could become. His personal challenge may very well be to find a middle ground between running from and depending on his bonds/responsibilities. Therefore, based on Floyd’s values, attitude, and faults, I can say that he is very likely a bard of blood.

-- Final notes --

Firstly, If you actually read through all this and enjoyed it, I recommend checking out mia-pon289’s Octavinelle theories and Dahniwitchoflight’s classpect stuff since this post drew a lot of inspiration from those.

Secondly, I am going to flip my shit if Ace’s aspect turns out to be blood too once I get to analyzing Heartslabyul. Is basketball club just gonna become blood club?

Thirdly,

[Image description: A venn diagram with 2 circles. One circle is labeled “Animal with 8 legs” and contains “Vriska” in it. The other circle is labeled “Aquatic” and contains “Meenah”. The intersection between the circles contains “Azul”. The whole diagram is inside of a rectangle labeled “Thief”]

#twst #twisted wonderland #classpect #octavinelle #azul ashengrotto #jade leech #floyd leech #homestuck #twst analysis

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bexterbex · 4 years

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A Soul to Mend His Own | Ch. 64

Warning, PLEASE CHECK TAGS IF YOU SEE SOMETHING YOU DON’T WANT TO READ THEN DON’T READ. | Tag lists are closed | INBOX OPEN

Tags: Alternate Universe - Modern Setting, Alternate Universe - Soulmates, Alternate Universe - Canon Divergence, Will tag as I go along, Will update tags, Slow Burn, Influenced by Star Trek and other Sci-Fi themes, References to We Happy Few, Tons of References and quotes to George Orwells 1984 see if you can find them all, The First Order is the new Big Brother, but who is really surprised, Blatant Nazi Symbolism, Interrogation Themes, Eventual Smut, Eventual Romance, Really just drawn out Slow Burn, Don’t repost without permission, Torture themes, Suggestive Themes, Execution themes, Disturbing Themes, Implied/Referenced Abuse, Verbal Abuse, Controlling Kylo Ren, Physical Abuse, Implied/Referenced Self-Harm, Kylo Ren is Not Nice, Kylo Ren Has Issues, Supreme Leader Kylo Ren, Possessive Kylo Ren, A character shamelessly based on Zelda

A Kylo Ren x Modern! Reader in a soulmate au with canon divergence. —————————————SLOWBURN————————————–

He is already the Supreme leader, searching the universe to find you, his Empress. Your name on his wrist has been the only constant in his life, while you have doubts about his existence and his acceptance of you. He isn’t in the database and why did the name Kylo Ren cover Ben Solo?

MASTERLIST

Chapter 64: Empty

You felt the weight of his presence in your mind leave you, slowly dissipating like smoke in a room. “I shall leave for now, but if the pills don’t work, and she is too weak to guard herself it will leave me no choice but to protect her.” His hand came to your crown, almost as if he was trying to physically caress your mind with his own hand.

Your head felt rather empty without him there. The rational part of your brain, the one that always had its own personality, the fire that kept you going, was now reduced down to not much more than a lamp flame. Your wildfire was almost completely snuffed. Your spark was almost gone.

“How do you feel, m’lady,” asked Dr. Dabrini. Kylo remained silent. He removed his hand from you.

You lifted your head, trying to avoid meeting Kylo’s direct piercing gaze, your sight still blurry from your tears. You tried to focus on the doctor, trying to meet his analyzing but gentle gaze. “I don’t know. Better I guess, but I don’t feel the same as before,” your lips trembled as you spoke, afraid to know the truth of what was happening to your mind. You felt the hollowness of your own mind and the heaviness of your heart.

The doctor came to kneel next to you; you knew that he would be able to see into your mind as Kylo could. He could ask questions, but that was only so good. He couldn’t feel what you were feeling. “What do you feel, m’lady? Can you describe it?” His voice quieter than before, like he wasn’t wanting to scare you off.

“I feel… empty, like what was there before isn’t now. It isn’t completely gone, but it is mostly gone. My heart is heavy and my head is light, but not in a good way? I don’t know how else to describe it.” Because in truth, you couldn’t—not really. How would you explain that a part of yourself was now gone?

You felt the bed shift as Kylo stood up, his back to the both of you.

The doctor glanced at him before he spoke to you again, “I cannot guarantee that the missing pieces of you will ever return m’lady. I do know that you should spend some time reflecting on what is still there, the memories, emotions, thoughts, and figure out how to move on with them. I know that it might not be ideal and that it may scare you, but there is nothing that I can do to bring them back. What I can do is give you dreamless sleep tonight.” You could hear the sincerity in the doctor’s voice. You could tell that he wasn’t happy, that he couldn’t do more for you. His face was full of grief and sympathy.

You nodded and looked at Kylo, whose back was still turned to you, with clenched fists. You wondered what he was thinking. How he felt about taking so much from you? How did he feel knowing he hurt you again? He broke his promise, but with good intentions. He was trying to protect you after all, wasn’t he?

The doctor glanced between you two before standing, “You know all that I can offer you. Tonight I will have a sleeping pill delivered, and tomorrow we can discuss its effectiveness. But for now, this is all that I can offer, and I shall leave you two alone to discuss our findings.” Dr. Dabrini then stepped out of the room.

Kylo had yet to move a muscle, his hard rigid back creating a wall between you. You didn’t know if it was protecting you or if it was keeping you out.

Your voice was small and broken, “Kylo?”

He turned to you, “He’s right. I must speed up my plans, our plans.” He then glanced down the hall, to where you did not know. “I will do what I must to protect you. They will be eliminated and soon. I do not want to take over you, but I will if it means keeping you by my side. Do you understand?” His voice became hard, his cauldron eyes ablaze with cascading emotions. Currents of dark painful water that you knew you could not swim against.

You did not want to lose yourself, but neither did he. Leia did not want to hurt you, she just wanted him home, Ben home not Kylo. But Rey, Rey would harm you to get Ben to come home, to leave you so he could be with her. Ben not Kylo. Ben the weaker half. “Yes.” You looked up to his face, and attempted to get up to meet him,

He moved to meet you on the bed. He drew you into his arms. “I will be fully yours then. Won’t I?” You searched his face for an answer.

“Yes, if I complete my task, you will be mine alone. Ben Solo will no longer exist. But you will be stuck with a broken monster.” His hand came up to move your hair behind your ear. You were a mess after this whole ordeal but there were more important things to worry about.

“So if you do this there will be no more you or him?” You didn’t know if that scared you or thrilled you. You thought all the gentle moments you two shared may not have been him, but you couldn’t be sure.

He brought your wrist up to his lips, and kissed his name gently, for the first time in weeks. “Yes, if that is what you want.”

Your heart pounded at the gentleness of it all. You were two equally broken people clinging to each other, to mend yourselves whole. Two souls that were chosen from the galaxy to intertwine. Where one couldn’t survive without the other?

“I don’t want to be hurt by this tug-of-war anymore. I want you Kylo, just you. Ben Solo betrayed me, by not protecting me, by leaving me defenseless to attacks, but you have tried to protect me. You only harm me when you fight him, so the fight needs to end.” It was partially true, he was a monster, but he was fighting against himself and his slashes were hitting you in the process. You needed to figure out who the monster was, so you could fix him. Train him to be your hound. Once you were Empress. A monster only you could understand, a monster that you were created to love.

“Then I will have to leave you, to kill him. To kill them. You are MINE,” the monster growled. “I will not let them have you, I will not let him win.” His lips crashed harshly against yours, biting your lip as they did. Teeth scraping and rough, this was him, this was Kylo. “And when I win, you shall be Empress,” he snarled into the kiss. A rough lover, one with intense passion, that ignited heat within you.

His sharp teeth nipped, and he sucked down your neck, marking you as his and his alone. His nose guided his lips back up to your ear, “As much as I would like to play with you Kitten, we have a meeting to get to, one that will help us accomplish our goal,” he gave you one last harsh nips to your lips as you broke apart. His arms sliding under you as he stood, carrying you to your dressing room where Adlez and Olivia-Rose were waiting to fix you.

“You have ten minutes to make her presentable,” he then set you down in front of your vanity. A harsh bruising possessive kiss to your lips before he left you into their care.

You glanced at your reflection in the mirror. You looked like and felt like hell. Your appearance made it seem as if you just got out of an active war zone, out of a fight for your life. Adlez and Olivia-Rose buzzed around you with such a speed you hadn’t witnessed before. Adlez carefully but quickly put your hair back into place and started assisting Olivia-Rose in covering the dark circles under your eyes, and the fresh love bites along your neck. You were then pulled to the armoire where your dress was practically ripped off you and then promptly replaced. Almost as soon as you were placed for inspection in front of the full-length mirror, there was a loud knock on the door. Time was up.

If you hadn’t started to move you were sure that Adlez would have ripped the door out from its pocket in the wall and screamed at Kylo. But you made it to the door before she did. Your body moving on a sort of autopilot. Once the door opened an arm pulled you out into the hall and started walking you out of your chambers. He was moving with a purpose and taking you with him.

You walked down the halls until you reached the familiar conference room from the day before. Kylo sat you down in your seat as he stalked to the head of the table. You could see that it wasn’t just a few members of the High Command present like Hux had said before, it was everyone. Well, some were holocommuting in, but still all members were present in some form.

Everyone seemed to be on edge. Kylo’s mood resonating to each individual person. Hux was the first to speak, “You called for this meeting Supreme Leader? Have things changed?” You could hear the uneasiness in his usually confident voice. His eyes reflected that same fear as he gazed upon the black monster in front of him.

“Yes, the plans have changed. Things have changed. The need to kill the scavenger and General Organa has become more important, more immediate. It needs my full attention. I shall leave sometime tomorrow to complete the task.” His voice through his mask is more menacing than ever.

“But we do not know where they are,” said Pryde. Apparently that was the wrong thing to say as Kylo shadowed towards him. His dark threatening black form seemed impossibly large.

He brought his face to be level with Pryde’s holo one. “Do you doubt my abilities, General Pryde?” You could hear the taunt, like a hyena’s laugh, only more deadly.

You watched the general swallow, to what you could only assume to be a dry mouth. His lips trembled in fear as his hologram eyes met the chrome of Kylo’s mask. “No, Supreme Leader, I do not.”

Kylo’s mask was less than an inch from the projection before he said, “Good.” He then stood back up to his full ominous form as he tracked back to the head of the table, “we wouldn’t want tradition to doubt authority and the ability of the Force.” You could hear the direct jab at Pryde’s pride. “After all, I am my grandfather’s heir apparent. Am I not,” his head whipped around to meet Pryde’s gaze.

“Yes, Supreme Leader, you are. You shall exceed Lord Vader’s legacy,” you could practically smell the fear through the hologram. You could certainly see the sweat forming on his brow, anyway.

Kylo lifted his head in a mock approval before he haunted around your side of the table before stopping next to you, “Once I return, Lady Ren will assume the position of Empress. And you will all be prepared for this. All preparations will need to be prepared. As neither of us will wait.” His hand rested on your shoulder.

“Preparations will begin immediately,” responded Hux.

“Would you like for the ceremony to take place back on Earth? Or shall it be somewhere else,” asked General Parnadee.

“Where would you like the ceremony to be held,” asked Kylo. He was speaking to you and you alone. The rest of the room waiting on your answer.

“How about somewhere new, somewhere important to you maybe? There is no use going back to my planet, is there?”

“As you wish,” responded Kylo.

“There is your grandfather’s castle on Mustafar m’lord,” said Hux.

“Yes, send preparations there. We are finished here.” With that, he guided you back up, escorting you back down the halls to your chambers. To be alone with him once again. To see the monster behind the mask, to learn about him. To love him, to mend him.

#kylo ren #kylo ren x reader #kylo ren imagine #kylo x reader #kylo x you #star wars #first order #star wars imagine #Star wars soulmate au #sw first order imagine #star wars first order #a soul to mend his own

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neven-ebrez · 5 years

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Meta Writing: "Finding balance as a television viewer and academic, a look at viewing under the narrative lens versus the psychological lens"

I’ve spoken on Supernatural’s utilization of a mirrored narrative to tell the repressed story of its main characters many times. My blog is full of these essays and discussions. As a meta writer for Supernatural, this is what I've focused on writing over the years because I found this to be where the complete “full picture” of the story of the show was to be seen. If Sam and Dean weren't openly talking about their issues then one could simply look at the monster/victim character foils within the MOTW episodes and listen to them talk where Sam and Dean either wouldn't or couldn't. If one wanted to understand the main characters and their situation better, the show practically forces one to do this. Or rather, I should say, I felt it forced me to do this. And for a long time I got used to looking at the show through this type of narrative lens, where practically everything told the story of something else. I wasn't looking at Charlie Bradbury anymore, I was looking at a narrative mirror for the issues of Sam and Dean in 9x04, where the witch symbolized codependency and Dorothy wasn’t a woman trapped by her own mechanics, but rather a sounding board for Sam and Dean trapped by their own.

I must say, it's not a terribly fun way of looking at the show, but I thought, back then, a practically necessary one. Supernatural is post modern, after all, and frequently has episodes pointing out its own function as a story. Robbie Thompson did this a lot (9x18 is forever one of my favorite episodes) and I remember someone asking Robbie about the mirrors of 8x11 on Twitter back in the day, where 8x11-8x16 represented one of the most blatant romantic coded arcs Dean and Cas has ever been given in the structure (as viewed through the "narrative lens", but I'm getting there!). The person asking Robbie what his intent with the mirror was was clearly viewing the show the way I was (with the narrative lens) so I was curious as to Robbie's answer. And when Robbie did answer, I remember being disappointed. He told the person, "That's just how I saw the story of Charlie and Glinda." This was a recognizing of the what I’m going to call the psychological lens (the surface, real life), but not the narrative one. No acknowledging of how they functioned in that arc as a narrative mirror for Dean and Cas, nothing. I felt that as a writer using such a structure it was almost his duty to at least acknowledge it. But it was like... none of them ever did. Supernatural clearly used it, hell, still uses it, but it's only ever mentioned in passing, in showrunner interviews and the like.

Probably every documented case of anyone with creative content creation control referencing it (the mirror narrative) is on this blog. Back then, I was very obsessed with validating what I was seeing in any way I could. It was like figuring out a secret, a mystery, a truth I absolutely knew to be real and then gathering as much evidence as I could to prove it because people were telling me that I was wrong and I knew I wasn't. Stuff like 9x15 even bent characterization to cater to it, to sometimes the complete confusion of the actors. And so that's what meta became to me. Using the narrative lens I viewed and wrote on the narrative structure at length, writing standalone essays on the matter, discussing it in threads and speculating using the structure to extrapolate how likely certain plotlines were. Sometimes you're right, sometimes you're wrong, but usually not about the big stuff, the stuff a season was building towards. The longer I studied the show the better the better I got at recognizing its patterns of repeat. And for minds like mine, with autism, which are best suited for pattern, these patterns just come so naturally. For me Supernatural is honestly so predictable, for many reasons, the most of damning of which is right in the structure and its inability to go past a certain point.

I say this word a lot, "structure". My family hates it. What I really mean is its overall design. When I talk about the structure of a car I'm talking about how it looks: the color, the features, the durability, the points of safety, whether it drives smoothly or not. Things like that. When I talk about the structure of a story I'm talking about how it looks as well: how it is paced, the significance of the characters involved and whether they and the themes involved within the story itself "teach" the main characters anything, what relationships are formed and how they transform each individual character, (and for visual mediums) the overall visual presentation of light/color, how the setting visually informs what the characters are doing or saying, what the characters are designed to learn through the show pointing out such steps in various ways and then cleanly implementing traditional arcs that change them in some way (usually to betterment, but not always). All this is structure, a story's design. Visual mediums like theatre and television have an obvious visual element meant to be incorporated, designed to support (and not work in place of) the story being told. Analyzing a book is not the same thing as analyzing a television show. Analyzing a television show is much, much more complicated. Books contain one author and one editor (usually). Intent and meaningful storycraft is usually easy to decipher. If design in detail matters, the author provides that information. Television, on the other hand, involves hundreds of people refining and creating on a tight deadline. This makes deciphering meaningful story intent particularly tricky.

Discussing the structure, the story telling elements, using that knowledge to speculate or write essays giving a reading of the text (what the term “meta” generally refers to) is what we'd call viewing the show through a "narrative lens", or rather, in the case of television, a "television lens". It's when you watch the story and realize that you are not looking at real life. This is easier for something like cartoons (moreso when humans are completely absent), but a little harder for the brain to actively distinguish when looking at something that could *almost be real* (as in, live action people in a familiar setting). Understanding how fictional rules are different from real life is only half the story though because real life must be accounted for in visual storytelling. I’ll explain what I mean because I’m not talking about behind the scenes stuff. Since being sent an ask about the current state of the meta community (which I still occasionally write for but don’t personally follow anymore aside from following my friends @mittensmorgul and @elizabethrobertajones) I’ve been thinking about this a lot. The fact that we’ve lost a lot of voices over the years as a community of narrative academics is, I think, the root of the challenge currently facing the meta community. With so many lost voices and angles there's a significant sort of echo chamber that begins when you get people together that all view the show through the same lens against a lack of diverse readings. In this case, the narrative lens and the Destiel reading. You see, the problem is the show, as it exists now, isn't always so rigidly written through the narrative lens like it was in Carver era, it's now written primarily through the real life lens. I find this to be especially true in Dabb era showrunning.

Regarding the meta writing community and the fandom's two main shipping sides, there’s also a huge disconnect, fostered over YEARS of discord in acknowledging subtext designed by writers for both factions, both readings, and, of course, the arguments over intent (which is usually unknowable unless a public record is made and even then a lot of academics ascribe to “Death of the Author”, particularly given the collaborative nature of television production, so...). Wincest subtext gets scoffed at or ignored, derided for not standing a chance at being canon by the Destiel side and the Wincest side often mocks the Destiel side in such a profound way (pun intended) as to suggest (or outright say) the subtext isn’t even there at all to mean anything in the first place (which is ridiculous). Again and again I also see (and it's never really worded this way) a disconnect over the lens the show is viewed with: narrative (televison) vs psychological (real life). The most major arguments I see are between fans watching for the Wincest reading and using the psychological lens versus fans watching for the Destiel reading and using the narrative lens.

There’s rarely any common ground between these two distinct groups, with the Wincest psychological viewers acting more as critics than providing anything resembling essays of their own. Maybe they are out there. I haven’t seen them. Most “good” Wincest meta died out relatively early. We, as a viewing and academic community, are a house divided in so, so many ways, even on each side of the chasm. Maybe I have no right to make this post. I don’t know. I don't like things that treat fandom like it's something to be picked apart and examined. This kind of examination makes me... uncomfortable. I keep thinking about that ask the other day asking me what is going on in the meta community though. So I'm going to try and tackle it. The fact is... we are not a whole and we are not supposed to be. That’s the point. Getting a single exact read off any text, let alone getting a group of people on the same page to watch with the same lens, is practically impossible. But lately the divide and inbalance has gotten to be so bad that we aren’t even talking to one another anymore, not really. We are all just yelling a lot of misunderstandings back and forth. So... what is happening to the meta community? I'm going to try and talk about it.

Okay. So I've explained what structure is and what a lens is. So now I'm going to talk about balance because the current issue plaguing the meta community is a lack of voices discussing and viewing things in balanced way. And I'm going to focus on ship related meta writing because let's face it, that's where a lot of the most passionate arguing is. Since meta is usually written with a bias for a certain reading we most often get four distinct readings:

A --The Narrative lens: Wincest

B --The Narrative lens: Destiel

C --The Psychological lens: Wincest

D --The Psychological lens: Destiel

Post S12 when Dabb era started I personally made the decision to switch from writing/watching through B to D instead. A narrative lens focuses on things like mirroring, set design, character arc reading. A psychological lens focuses on things like characterization (usually with a focus on where a character is and not how they are designed to change), seeing the characters as real people, rather than narrative constructs. Lynn from Fangasm is a good example here and I don’t think she’d mind me mentioning her here. Lynn, as a psychologist by trade and J2 fan by choice, views the show through a Wincest psychological reading, in total opposite from me in Carver era Supernatural, viewing with a narrative Destiel lens. We disagreed on a lot on stuff as you can imagine. I read her from time to time but she didn’t read me. Now, sometimes viewing one lens too much can make you blind to other things (not limited to readings). Frequently she’d hate and not understand things that I felt were explained perfectly as viewed through my lens. It's the difference in seeing Charlie Bradbury personally go through some stuff vs seeing Sam and Dean's issues elaborated on in the complex abstract. However, for me, post S11 I found myself way too stuck in the narrative lens. I felt I wasn't even seeing or experiencing the show the way it was designed anymore. And I wasn't. And being that Supernatural is part of my job I knew I had to reorient myself.

In Dabb era in particular, there's text and communication between the characters, which means that a narrative lens isn't strictly needed for viewing anymore. When S12 was airing I had the absolute pleasure of meeting Robert Berens and talking to him at length about meta. My friends @ibelieveinthelittletreetopper and @nicky36 were with me and the post is on my blog somewhere. Berens is my absolute favorite writer for the show. I talked to him about the narrative lens and how stuff like what he wrote about Mary leaving in 12x03 lost its emotional resonance with me because I knew she was leaving for contractual reasons, rather than general characterization ones. It was a problem with me, rather than a problem with the writing itself. It's watching a puppet show and instead of paying attention to the story, staring at the strings the whole time. I knew I had to learn to stop that even before talking about it to anyone. We also talked about 9x06, which was my favorite S9 episode as a Cas fan! I remember I talked about the season's theme of consent issues and I mentioned something from the divine reviews I wrote about a consent reference 9x06 made through a pop culture reference about the sex practices this random island had. He wrote the episode and chose this island to reference. I thought surely he knew what I was talking about. I was complimenting his cleverness, after all. And I'll never forget what he said to me: "You know, meta writers are often far more clever than the writers are themselves." It means we, as pattern seekers to themes (in the case of S9, consent themes), can pick out any kind of pattern if we are simply looking hard enough for it. And some things that we think are intentional, are simply coincidental, even within the written screenplay. After talking to Robert Berens that day I never looked at meta writing the same way again and began to work towards switching my viewing lens.

That's not to say viewing the show through the narrative lens is bad, or wrong. It's valid and a fucking important way to view the show, but equally important is realizing that sometimes you need to take a step back and consider other readings and lenses, too. So I stopped focusing on pop culture references and their thematic associations. I stopped looking at the set design as a primary storytelling point and regaled it to a secondary support point. I stopped looking at who Dean and Cas were mirroring and started looking at what they themselves were actually saying to each other, doing together. I realized that all the mirrors in the world didn’t matter if Dean and Cas weren’t actually talking to one another and physically in the same scenes together. All the romantic coding in the world through the visual presentation and mirror structure would not take the place of real life escalation. And I found looking at it and talking of the show in this manner, was getting beyond exhausting, especially when I ended up saying the same thing over and over. Carver era made the narrative lens necessary to view Destiel, while Dabb era has made it practically irrelevant. Even now I can still see these storytelling elements and comment on them in passing but mostly for me they started working like an overlay in tandem. And it provided something I hadn't had in a lot time watching: clarity.

Concerning mirroring, I've seen that often the Cas!fan Destiel side focuses too much on this (like I used to) through the narrative lens because Misha isn’t a lead therefore Cas isn’t in every episode so he often exists in this narrative space within the mirrored structure of the show (also called us seeing Destiel parallels). Through the continued use of the mirrored narrative, the show makes it so Cas fans (who watch primarily for Cas) must look for him there when he’s not physically present in the episode, desperately so in some cases. A Wincest reading, however, has the benefit of J2 being leads and present in every episode, with the reading enjoying touchstone psychology updates/deepening usually in every episode (though yes, Sam/Dean scenes have been cut drastically this year because of contractual reasons). Mirrors for the brothers (good and bad) are easily ignored completely (unless extremely heavy handed) because they are physically there for each other in every episode. Because of this priority watching divide (and handicap on the Cas fan’s side) I believe this has lead some meta writers to focusing too heavily on this element of Supernatural’s storytelling (or otherwise the symbolic narrative), to the point they sometimes even focus on it over Cas’ physical presence without really realizing it. And other fans do the opposite and/or ridicule them. And both types of fans and focuses are what I'd call being "out of balance".

On the flip side of discussing the impracticality of viewing primarily through a narrative lens, I'm going to also discuss how it's impossible to view solely through a psychological one, like so many “antis” in Supernatural fandom do. How many times have we heard, "You are disrespecting the character's sexuality by doing your analysis! Dean says he's straight so you must accept he is!"? I know I've seen it a lot. It's heavy on the fans that favor a Wincest reading through a psychological lens. This type of argument treats the character, Dean in this case, as REAL, instead of a fictional construct subject to other mechanics within storytelling. This is because the fan is viewing the show primary through a psychological lens and thinks the same ethnics of real life people apply to fictional constructs such as Dean Winchester. This is simply not true. You don’t judge a real life person’s sexuality based on the colors of their shirt! What’s wrong with you? It is quite impossible to disrespect a fictional character. As a viewer/academic, you can only really feel your understanding of them is being disrespected. In the end, Dean is still very much a fictional construct and thus, is not subjected to being viewed strictly under a psychological lens especially since a medium of storytelling like television and screenplay use visual elements and other narrative devices to also tell the story of the character.

Mel sent me several old posts with some examples. In real life the mailman damaging my mail and delivering it late one day isn’t symbolic of my messed up internal issues as a person. It’s just a crap thing that merely happened one day (even if I muse it feels like my own personal symbolism). I, unlike Dean, also don’t put on the same shirt every time I’m about to make a bad decision. When May rolls around I don't worry about the world maybe coming to an end each year, but Sam and Dean probably dread it. When I decorate and paint my walls I'm looking to create a certain pleasing aesthetic for the sake of it being pleasing, not for the sake of displaying the current problems plaguing my inner psyche. Or maybe some people do this to some degree, idk. Mostly, no.

Supernatural does indeed put storytelling clues in the wallpaper, but usually the intention is not as far reaching as some people conclude. And it’s in it’s own created language. Regardless, you can’t write a story with wallpaper alone. At most, you can simply look at it and guess something small ahead of time (like hourglasses signifying time travel). I'll use 11x06 as an example. In this scene we have a demonic liar getting interrogated in a room with Gabriel’s wallpaper from Changing Channels because the demon is trying to trick Sam and Dean into releasing him and saving his meatsuit instead of kill him (since Carver realized he needed to refocus the Winchesters onto saving people after S10, which, idk, maybe he realized how heartless they were seemingly becoming by choosing each other over the world so much, anyway...). Anyway. In 5x08 Gabriel used that entire episode to trick and trap Sam and Dean in a fabrication. Trick and lies. There’s your thematic tie in. I remember some people just immediately saw that wallpaper and thought it meant Gabriel was coming back when instead it was a simple "beware of trickery" thematic callback. Under the show’s silent storytelling language when this wallpaper is used, it means we are being lied to and tricked. This is all the wallpaper is meant to invoke. Sam immediately realizes this in the same scene. The silent storytelling here is just a fraction ahead of the textual storytelling. And that’s what silent storytelling is designed to do. Looking at wallpaper for clues on character development is a whole different analysis problem because Supernatural, by very much all appearances, want Sam and Dean to develop as slowly and as little as possible because the bulk of fans watch for their issues, not to the resolution thereof. The show doesn’t know what Sam, Dean, and Cas look like past a certain point of development and they are wholly uninterested in exploring that.

But back to wallpaper, interpretation, and 11x06.

A request for this wallpaper was probably not in the script. Screenplay usually puts as little detail into the script as possible because they simply trust Jerry Wanek and his design team to do their jobs (and Jerry, in fact, usually disregards certain script directions in favor of his own ideas as better symbolically worked into the show). AU!Michael’s church was originally a concrete bunker and Billie’s minimalistic fate library in 13x05 was originally a country cottage. Jerry is given extreme leeway on SPN (with I think only like 6 of his decisions have ever been vetoed he told us), but only because he’s so in sync with the show’s thematic presentation. I’m going off topic again because I’m supposed to be talking about fandom. Sorry. Back to 11x06 (again). Gabriel is such a fan favorite, however, that this (look out for tricks) was not the basic thematic message a lot of fans took away. No, the message they took away was Gabriel was probably coming back soon. I remember speculation continued about that for weeks. When at the time there were absolutely no plans for that during production. This reading, I can say with confidence, was absolutely unaccounted for. Jerry Wanek’s whole department is quite literally kept in the dark about future storylines. He’s told me this himself. By the time production for an episode rolls around they have a few scripts ahead maybe, nothing more. This is why Jerry was confused as hell about Asmodeus being a shape shifter in S13, because he didn’t know Gabriel was definitely coming back and that Asmodeus was siphoning Gabe’s powers. Poor Jerry just thought Buckleming was just butchering the canon for fun (I mean... this does happen so...). If there’s an intentional visual motif present, it either draws on some simple visual theme from earlier (tricks and 5x08 vs 11x06) or it’s part of the language of the show as written in the screenplay. It is very much something Supernatural does. Just not in such a complicated way, and one that definitely doesn’t conform to real life.

Real life ≠ Fiction and Fiction ≠ Real life

Do we see yet the limitations of relying too heavily on one lens over the other when viewing and analyzing media? How staring at the wallpaper can blind you to your psychological understanding of the characters, and how likewise, thinking of the characters as real people can just as well blind you to what the story is trying to tell you using a complete framework as a thoughtful examination of human expression and experience? You have to see it all and all at the same time to get a good picture. If you are going to write about the show then somewhere you must find balance or risk going blind. Television, most of the time is about creating stories that feel real, fourth wall breaks aside. The average television viewer is honestly not sitting there seeing Charlie Bradbury as Dean and Cas', Sam and Dean’s issues or whatever. They see her simply as Sam and Dean's nerdy little red headed friend who is coming to help them out with something. Writers often write through the narrative lens, but realize that most people watch through the "real life" one.

This psychological lens is not only accounted for, but it is generally catered to all of the time. Significant storytelling is therefore always in the psychological lens because the truth is television rarely wants you sitting there figuring out futrue storylines. It operates on you wanting to WATCH to see what’s next. They hate fans like me who can guess major plot points ahead of time. The truth is they want you to suspect certain things, but not expect them. The difference is a bit complicated and I extracted my discussion of speculation based on structure out of this post for cohesion. I hopefully make a separate post on it because I think I pretty much got the S14 finale figured out at this point. As much as I love, LOVE and have written on the narrative lens, it is not how the show delivers its primary narrative, especially here in Dabb era.

Go through and rewatch S8-S10 of Castiel (or better yet, Dean/Cas) only scenes and really look at what the show is giving itself. Then look at the difference in S11-S14, paying close attention to the difference in S9 over S14. For those immersed in the subtextual and mirror narratives with Destiel, this is an extremely good exercise, especially if you are someone who really believes or hopes the show will (eventually) convert the subtext into undeniable romantic text at any point (hint: Cas and Dean have to be physically together in scenes in a way that allows for escalation). Note that I don’t say canon here for a reason. Based on compounded narrative character mirrors (meaning mirrors repeated at least three times by various writers and can be deemed "significant" because they are witnessed by either Dean or Cas, though lbr usually Dean because we most often get these in the physical absence of Cas in an episode) and subtext (used to compare and explain Dean and Cas’ feelings towards one another), Destiel is already subtextually canon. Hell, without the mirrors, it’s this almost through romantic tropes alone. Supernatural is way past something like Korrasami, that got declared canon through subtext, mirroring, and Word of Gay. Destiel has honestly been way past this point for a long ass time, just like Dean being a canon drug user.

Both things are subtextually canon through different visual/dialogue/mirroring storytelling elements, but I'd consider each canon nonetheless, yet still easily ignored/misunderstood due to various degrees of disbelief or ignorance, usually based in a gap of the viewer’s understanding as informed by their own experiences and/or a lack of understanding concerning how television writing works differently from real life experiences of the same nature. The term "psuedocanon" is something I adopted back in S10 (I believe it was) to talk about the exact undeniable/deniable nature of Destiel within the split academic writing/viewing community. There’s no right or wrong about something being subtextually canon and television writing accounts for this viewing disparity in every significant narrative. Read that, then read it again because it’s so often the core of so many fandom arguments to the point I wanna rip my hair out. Right now, Destiel is not a significant narrative in the show. It’s not an obvious plotline. It’s what we’d call a secondary plotline, yet one that often drives action (usually in the form of Dean and/or Cas moping around in various ways). You don’t really need text of either (not the nature of Dean and Cas’ relationship nor the true nature of Dean’s relationship to drugs) to watch and understand the show on the primary surface level, well... except lately when the show points out how Sam doesn’t understand certain things between Dean and Cas (13x03, 14x12) but even then the show seems content to let us be just as oblivious as Sam there.

If I’m going to make a comparison here, the show is content with you selling you a car, but it is also content with you not completely understanding whether or not it has cruise control even as an option. The important thing is that you understand they are selling you a car. Personally I really want and need cruise control, but it’s not a deal breaker for me like it could be for some.

Now, we don't have Word of Gay like Korrasami, but I think... I think a lot of people need to stop trying to prove themselves right about Destiel being subtextually canon through continuously, in a way that denotes hyperfocus, pointing out the new ways in which it is by discussing the show mostly (or even solely) through the narrative lens. I honestly believe we, as a community, have written enough on it over the years. It feels... exhaustive at this point. Meanwhile, the psychological lens is right there and, as I can attest, helps keep your analysis' merits grounded in a way that is more easily explained and personally examined. The future of Destiel lies there. I don't think there are many of us out here writing on the nature of the Destiel narrative that are doing it because it's popular anymore. If we are still writing on it and have been for a while, it's because we genuinely care and we find it fun. That or we are frustrated. For me, it’s a little of both. When meta used to be written, back when queer reading and codings stayed in the subtext, there wasn't all this pressure being put on meta writers about possibly leading people on. This post by @bakasara from back in the day perfectly sums up the situation we, as a community, keep finding ourselves in, only now the situation seems worse. Since these storylines never got text, the fact that they wouldn't was a given. Now that the television landscape has changed, and Supernatural still remains, with one reading (Destiel) having a chance of going canon over the other (Wincest), the meta writing community of the show is in a particularly interesting place in fandom history where apparently meta writers can be blamed for somehow leading fans on in place of the narrative itself doing this.

I used to think this was wholly rubbish, but when you have meta writers ascribing writer intent to a product that deals with hundreds of individual intents, some of which have nothing to do with the writing's main intent, in a way that denotes the meta writer somehow knows best, then we do have a genuine problem. I feel like I’ve been here long enough and studied this fandom and this text to such a degree that I can say that. I don't personally know of any meta writer who does this, whether they are hyperfocused on viewing the show through the narrative lens or not. Doesn’t matter. I've already said I don't read other meta writers anymore since meta writing as an art form of expression made for enjoyment has shifted beyond my tastes from writing academic essays on a reading into this kind of weird meta writing subset that either simply tags discussions (anyone’s opinion post) as "meta" or otherwise uses this weird analysis/speculation blend in a way that is not clearly separated and/or defined. Just because I don't follow it, doesn't mean those voices aren't out there. I think they probably are.

And it's no secret that I personally lament what the meta writing community has become, even though it still imo has its essay gems. There are simply a lot of people inexperienced in many things concerning the analysis of media and they are out there telling people that certain things matter that don't and that certain things are right that aren't. These I have seen. I remember back in S10 having to correct someone that thought the title of "Story Editor" meant that another writer could edit a script they didn't write. Television writing isn't like a school yearbook staff. I don't remember who they were. But I do remember thinking, "Dear LORD, this person is talking like they know something when they have NO CLUE! And what's worse, people are believing it!" The “story editor” title is literally a pay grade distinction on Supernatural. I think most people would be shocked to know Supernatural doesn't even have a traditional writers room. The writers get together a few times a year and that's IT. There’s some collaborate efforts made among themselves but it's not like episode meetings among the whole staff are made. They aren't. They have a certain piece to write and they write it. The writer's room is a dictatorship overall.

So to sum up... While yes, language and knowledge among certain meta writers is a problem, there's also a growing problem with how different readings are coming to depend too much on a single viewing lens. None of that invalidates any of the meta being written if it is what can actually be classified as meta. We need to stop associating discussion/speculation with meta across the board. If we want people to stop speculating intent over possible future relationships using meta, then say that. People won’t do it, but say it like this, I beg you. To this hope, I feel like I might as well be talking to a wall on this point. And like I said earlier, many voices have been lost. And for that, there's really nothing we as a community can do at this point. Those people are pissed, bitter, or have been driven away at this point. When I first joined the meta writing community in S8 we were very diverse, and now we simply are not. And I wrote this not to sound like a policing or patronizing wake up call to anyone. I fucking love meta writing. It’s important. I was asked what was happening in the meta community. Here I attempted to answer that in a general way. I tried very hard to talk about my own experiences writing meta, how I viewed it, how I saw the community on tumblr as it started and how I feel it has since irrevocably changed. Meta is supposed to be fun, providing a certain point of view, nothing more. By merit, it can't promise anything and shouldn't be confused with speculation. In my next segment I'm going to discuss speculation, how writing is designed to create suspicion and not expectation.

Thanks for reading and a special shout out to @justanotheridijiton who had to view this meta in its raw unreadable form and who encouraged me to rewrite it and publish it despite my initial desire to write all this out for myself, then just delete it.

#meta writing #zerbe discusses things #long post for ts #the narrative lens #the psychological lens

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yokecanada3 · 4 years

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After quite some time, Facebook is finally offering a modern privacy level power tool to support their subscriber's challenges with regards to sensitive content. On the other hand, to handle what the social media understands about what you engage in online when you entrust Facebook, the business presented an Off-Facebook Activity tool. Below's just how to utilize both functions. What's Off-Facebook Task? Facebook not only has accessibility to your task when you make use of the social network however additionally when you check out particular 3rd party internet sites. To help you manage that details, the new Off-Facebook Task tool lets you review as well as erase the information gathered concerning you when you're making use of various other sites or quit off-Facebook task from being conserved with your account entirely. You can also download and install the data to analyze it offline. Off-Facebook activity consists of any type of information that sites, applications, and also organizations share with Facebook regarding your activities with all of them. This may be something as straightforward as checking out a specific web site or application, or a much more involved task such as looking for an item or purchasing a product. Facebook uses this details to offer you ideal advertisements. By experiencing your task as well as options on sustained internet sites, Facebook can show you vouchers as well as promotions you could discover beneficial. That store shares your activity and purchase with Facebook, which saves it to your account. learn the facts here now Handle Off-Facebook Task If you are uncomfortable with this kind of monitoring, specifically because it happens when you're not utilizing Facebook, you may make use of the Off-Facebook Task tool to manage this details. Gain access to this feature by selecting the down arrowhead in the top right and picking Settings. At the Setups screen, choose the setting for Your Facebook Info and after that click the choice for Off-Facebook Task Facebook displays the trade names of some websites that have shared your task with the company as well as informs you just how the firm gets to this sort of details. Obtain even more details concerning your general off-Facebook task by clicking the "Learn More" connect top. Or click on the symbol for any site on top to watch your off-Facebook activity, then write your username and password. The next page reveals all the websites that have given info on your task to Facebook. Click on a website to check out particular details concerning that web site.

Up top, you will view "Just how Did Facebook Obtain This Activity?" The first drop-down food selection will share exactly how the website sent out the data to Facebook; many of my web links were sent via "Facebook's company devices," that includes the Facebook Pixel, or the Facebook SDK, and also Facebook Login. In case you wish to flag a website as improper web content or a misuse of your info, roll to the footer of the Activity Information screen as well as click the "Offer comments regarding this task" web link. Select a factor for the comments as well as click Send. In the event that you no more want this site to share your activity with Facebook, click the "Shut off future task" web link. A confirmation message explains what will certainly take place if you shut off this task. If you wish to continue, go to the Turn off button. A notification informs you that future task from this web site has actually been turned off, however remember that your past actions has actually not been disconnected. Manage Past and also Future Task You can manage both previous and future task from the Off-Facebook Task display by clicking on Manage Future Task. Review the info on how off-Facebook activity is made use of, then click Manage Future Activity to take authority. At the next page, you can check out the task you've already switched off. You can likewise switch off all future task by toggling the button following to "Future Off-Facebook Task" to off. You can quickly additionally remove your whole off-Facebook activity background. Click the Clear History switch on top, after that hit Clear History. Download Off-Facebook Activity. To download your Off-Facebook task, return to the Off-Facebook Task page, as well as click on "Download Your Info" on the right. Frequently, the Download Your Info web page selects all your Facebook information for download. Now, there is no particular setting just to get your off-Facebook activity details. Particular classifications, such Ads as well as Organisations, do include off-Facebook task. You might want to pick simply Advertisements and Organisations as a very first step to see what details it supplies, or keep all classifications chosen to see all your Facebook data. Soon after you have actually selected the groups, click the Produce File button at the top. The web page informs you that a copy of your information is being developed. You also obtain a notification by e-mail. At the Download Your Info page, click on the Readily available Copies tab, after that click the Download switch to conserve the information as a zip data. Unzip the documents as well as open it to evaluate the details. From that webpage you can get access to and also view whatever categories of info you downloaded. Privacy Checkup To run the most recent version of Facebook's Personal privacy Appointment tool, select the inquiry mark symbol in the top right and also select Personal privacy Appointment. At the Privacy Check-up home window, click the first topic for "Who can watch what you share." Click Continue. At the Profile Information window, review the setups for your phone number, e-mail addresses, and birthday. Click the switch beside each setup and choose whether to change it to Public, Buddies, Just Me, or a certain Facebook checklist. Generally, you will intend to set all of these to Pals, Just Me, or a details list. When done, click Next. At the Articles home window, set the choice for that should see future articles You'll likely want to establish this to Buddies. The Limit Past Posts choice adjustments past blog posts that were seen by the public or good friends of close friends to only good friends. To execute this, click the Restriction button as well as click OK. Click Following. Determine who should see your Facebook messages. At the Block screen, you can block a details individual from seeing points you publish, beginning conversations with you, or trying to add you as a buddy. To do this, click the button to "Include in Obstructed listing" and also kind the name of the person or account you want to obstruct. From the list of suggestions, click the Block button for the proper person. Click on Next. Stop the individuals you don't intend to connect with on Facebook Click the switch to Review An additional Subject. Then pick the "How to maintain your account safe and secure" topic. Select Continue. At the home window for Is Your Security password Private, click on the switch to Modification Password if you wish to transform it to some thing more safe and secure or you're worried that your security password was jeopardized. Click on Next. Modification your password if you think it needs to be more safe and secure At the window for Turn On Alerts, turn on the button for any type of signals you wish to obtain if you or somebody else indications right into your Facebook account from a brand-new or different location. Hit Next. Get a caution the moment your Facebook account might have been weakened Click the button to Testimonial An additional Topic. Then choose the "Exactly how people can find you on Facebook" topic. my link Click Continue. At the window for Friend Requests, click the switch if you desire to change that can send you pal requests. Click Next. Set who can send you a pal demand At the Telephone Number and also Email window, determine who can look you up on Facebook by your contact number and e-mail address. Click on Next. Click on the switch to Evaluation An additional Subject. After that pick the "Your information settings on Facebook" topic. Hit Continue. At the window for Apps and also Internet sites, you can get rid of apps you no more require or utilize to avoid the programmer from additional accessing specific Facebook information concerning you, such as a list of your friends. For any type of such apps, hit the Get rid of button. At the confirmation window, select the Remove button. Click on Following and also you're done. These little steps froom Facebook to safeguard their member's personal privacy rate, but far more is still required to ensure any type of personal details is not offered or swiped from their website.

#tech

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wallpaperpainter · 4 years

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Five Reasons Why Chrome Remote Desktop Access Is Common In USA | chrome remote desktop access

With Chrome Alien Desktop, you can beck your Windows PC over the internet to your Chromebook, MacBook, Linux device, or added buzz or tablet. Here’s how to use it.

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There are times aback affairs a Chromebook ability end up actuality cheaper for use in business or education. However, the age-old botheration of Chromebooks is the abridgement of abutment for the fully-featured Microsoft 365 desktop programs and alike added Windows 10 desktop applications.

Google aftermost said in June that it is alive on bringing built-in abutment for Office to Windows 10 with Parallels, but did you apperceive there’s a accurate little workaround that you can use appropriate now to achieve about the aforementioned thing?

With Chrome Alien Desktop, you can beck your Windows PC over the internet to your Chromebook, MacBook, Linux device, or added buzz or tablet. This will afresh accord you alien admission to admission Office or your added apps from your Windows 10 PC. Here’s how to use it.

To get started, you’ll appetite to about-face on your Windows 10 PC and download and install the Chrome Alien Desktop addendum for Chrome or Microsoft Edge. Although Google says this addendum is best advised for Chrome, it additionally will assignment in the new Microsoft Edge, too. It is your best of which browser to use but we begin the addendum will assignment after any issues in Edge.

To install the extension, accessible Edge or Chrome and appointment the advertisement on the Chrome Web Store. Already there, bang the blue Add to Chrome button. You’ll afresh appetite to bang the Add Addendum pop-up that appears to affirm abacus it. You’re now done with the aboriginal step.

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Before activity to footfall 2, we aloof appetite to acknowledgment that (as the name suggests) Chrome Alien Desktop isn’t a built-in on-device band-aid to accepting Office and Windows applications on your Chromebook. You’re aloof application the internet to beck Windows programs to a Chromebook. The achievement will alter based on the acceleration of your internet and your Wi-Fi performance. It’s additionally best aback you’re affiliated to the aforementioned network, too, admitting you can use a altered arrangement if you appetite to.

For footfall 2, you’ll appetite to bang the anew added addendum in Chrome or Edge. In Edge and Chrome, it will arise on the top bar abreast your contour icon. The Chrome Alien Desktop figure is of two squares, one of which has a Chrome logo. As an alternative, you additionally can go to the Chrome Alien Desktop website, too to launch.

Once there, if you’re application Microsoft Edge, you’ll get a bulletin cogent you that, “Chrome Alien Desktop needs the latest web appearance for the best experience.” You can avoid this message. If you’re application Chrome, you won’t see this. In Edge, you can abolish it by clicking Continue Anyway.

After that, you’ll be launched into Chrome Alien Desktop. From there, you’ll see a bulletin cogent you that you’ll charge to set up alien access. To get started with it, bang the Download button. This will download a MSI book to your host PC which you’ll afresh charge to bifold bang to launch. Aback launched, you’ll appetite to bang Allow on the UAC window that comes up. After that, a appropriate host will be installed on your Windows PC in the background. We’re done with this for now.

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In footfall 3, it’s time to assuredly set up your PC for alien access. To get started, go aback to the Chrome Alien Desktop website and bang the articulation that says Accept and Install under Ready to Install. Aback asked if you appetite Chrome or Edge to accessible the download, bang Yes. This will run through the accoutrement prompt. Chase the instructions on the screen.

When that’s done, you’ll afresh appetite to accord your PC a name. In our case, we’re allotment our alien desktop as Surface. Next, you’ll afresh appetite to put in a PIN, for your security. Please be abiding to bethink this PIN, as if you balloon it, you’ll accept to annul and add your PC again. Already the PIN is entered, you can bang Start. You additionally ability charge to click Yes on the UAC alert in Windows 10.

If all goes well, you’ll see your accessory name arise in the annual beneath the Online section. You can now set your PC to the ancillary and go to the accessory you appetite to beck it to.

(This is optional) Before proceeding, you additionally ability appetite to change your awning resolution settings to bout the accessory you’re alive to. This will ensure it will ample up the absolute awning (and not be scaled wrong.) As we’re application a high-resolution Surface Laptop 3, we afflicted the resolution from (2496 x 1664) to (1920 x 1080) to bout the awning of our Google Pixelbook Go.

Finally, you’ll appetite to accessible the accessory area you appetite to beck your Windows 10 PC on. We’re application a Pixelbook Go. From this device, accessible Chrome (or any added web browser, if you’re not on a Chromebook.) You’ll afresh appetite to go to the Chrome Alien Desktop website.

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Once in the web browser, you should see your accessory arise beneath Alien Devices. If all went well, you should see it arise Green, to appearance it as online. Bang that blooming figure to connect, and afresh admission in your PIN. You can bang bethink my PIN on this accessory to bethink the PIN instead of accepting to reenter it. Your Windows 10 awning will afresh be aggregate over to the alien PC.

To accomplish this alien affair abounding screen, bang the dejected arrow which is assuming to the appropriate of the screen. Afresh accept Abounding Screen. Like magic, this will accomplish your alien affair abounding screen, and accomplish it assume like your accessory is active Windows natively! You can now accessible every distinct app that you accept on your Windows PC, from your Chromebook. Aback you’re accessible to stop sharing, bang the arrow already again, and accept Disconnect.

For customization, you additionally can accept some added options from the menu, too. Such as calibration to fit, resize to fit, and bland the ascent to advice advance the quality. They’ll be added controls like to columnist CTRL ALT DEL, Print Screen, as well. And, for administration files, you can bang Upload Book to upload files from one PC to the other. It’s absolutely a air-conditioned experience.

We primarily talked about application the desktop adaptation of Chrome Alien desktop but there is additionally a mobile, app, too. If you’re on a book or phone, you can download the Chrome Alien Desktop app (iOS here, Android here.) Already downloaded, assurance in with your Google account, afresh tap the accessory you appetite to affix too. Admission the PIN, and afresh bang the dejected arrow to connect. You’ll afresh be taken into the alien desktop session. To end, tap the hamburger menu, choose Disconnect.

At the end of the day, Chrome Alien Desktop is absolutely useful, abnormally if you’re acquisitive to beck your PC to a Chromebook or added device. It additionally can serve as a adjustment to advice others analyze their PCs, or allotment their awning with you. Aloof bang the Remote Support option and chase the instructions on the screen.

Do you acquisition Chrome Alien Desktop useful? Let us apperceive in the comments below.

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dizzyeyes-tarot · 5 years

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And extremely late tarot reading for @shadows-of-hekate using the Neon Moon Tarot Deck and the Alone Time Reading by @kikiscauldron. I’m so sorry this took so long to get to! I have no excuse. I also apologize for the rather dark image, I really need to find a place besides my bed to do these readings...

Reading details are, as always, under the cut.

1. One of your strongest personality traits. Ace of Zent / Earth / Upright The Ace of Zent is symbolic of wealth and not just of the material kind generally associated with Earth. People with a personality represented by the Ace of Zent have lives filled with opportunity and excitement because they are open to new things and have the energy to pursue their goals.

2. Something to tend to within yourself. Six of Arms / Air / Reversed In a card about release, in the reversed position it means that you haven’t let go or made a necessary change. You have recognized that this transition needs to happen but you are having a difficult time making it happen. This may be something in your past that you have been struggling to move on from or it may be a change that you are resisting or having a hard time accepting. It may be worth taking the time to analyze what it is that’s holding you back and possibly seek help in moving past it.

3. A natural talent worth developing. Supervisor of Vials / Water / Reversed Odd for a reversed card to be in a position like this but not unheard of. Sometimes it means that whatever talent you have is either out of your control or has too much power of you. In this case, I think it may be suggesting that your own imagination is running wild and may, in fact, be part of the reason for your hesitation talked about by the Six of Arms. Your emotions and imagination are overpowering you right now, but they can be a valuable tool to further your goals if you can harness them.

4. An activity that will bring you inspiration or healing. The Hanged / Water / Upright Take some time to yourself. Rest, relax, and breathe. Sometimes doing nothing will present you with the solution that you need. Put off any decision making until you are able to provide yourself with the necessary time to really sit and reflect upon the decision laid before you. Waiting, without the sense of urgency hanging like a guillotine over you, will give you the breath of fresh air you need to make a decision that really matters.

5. An aspect about yourself that you do not completely understand, but need attention. Five of Arms / Air / Upright The Five of Arms is a card that represent ambition but in the negative sense of the word. It is conquest with disregard for the results. It is a card of arrogance and pride, a hollow victory without any real winners because it is a battle that everyone has lost. Pick your battles carefully. Relating back to The Hanged, take your time to look at the options laid out in front of you. Impulsiveness and the need for victory can be the ultimate downfall if not nipped in the bud.

6. A project in your life that needs top priority. Executive of Zent / Earth / Reversed There’s always one card in a reading that decides to be difficult to read and it’s definitely this card. The Executive of Zent in reverse is not a friendly man; he is snobbish, stubborn, traditional, rigid, and possessive. This may be speaking of a person in your life who either needs your help or vice versa. Or it may be something in your work life that is causing you grief. Something or someone in your life is making you drag your feet because you find it intimidating or too high of a wall to climb over. Search your life for something that’s been giving you a lot of trouble that you have set aside for easier tasks. It may be time to address the elephant in the room. He’s wearing a gold and diamond crown and taking up too much space. You should really do something about that.

7. A project in your life worth letting go of. Six of Zent / Earth / Reversed There are a lot of Earth cards in this reading and I think there’s something material in your life that may be dragging you down and you don’t even realize it. The Six of Zent is a card of selfishness and one-sided relationships and it can get you into situations where you’re in over your head. Something in your life seems perfect and maybe almost “too good to be true” and it might be worth reevaluating it. Maybe you’ve bitten off more than you can chew.

8. How to show yourself more kindness. An activity of self discovery and self care. Four of Arms / Air / Upright This ties right back into the definition of The Hanged. The Four of Arms depicts an image of a figure in a meditative position and the card itself represents contemplation, recuperation, relaxation, and rest. It is a need for seclusion in order reflect and find peace, a signal for a time of of spiritual thinking. Self care is hard. On paper, it seems so easy, but in our busy lives full of social media and work obligations, it’s difficult to find the time to actually, really, truly relax. But you need to try. You need to make space for yourself to breathe. Take a long, hot bath, make yourself comfortable with some soothing music, find a way to free yourself from distractions and just relax. Sometimes the answer really is just closing your laptop and listening to the silence.

9. An archetype, lesson, or mantra to look towards to in challenging times. Eight of Zent / Earth / Upright Diligence and hard work pay off, yes, but they pay off better when you are doing something that you love. Find that thing that you love doing and let no one dissuade you from your passions. “Try to pick a profession in which you enjoy even the most mundane, tedious parts. Then you will always be happy.” -Will Shortz

In Conclusion: Take some time to relax, breathe, and find an inner peace. Let it balance you and help you find your way. Let it help you make the important decisions that need to be made. Let it help you let go of the things that have been stumbling blocks for you. Let it bring you to a place of happiness and comfort and prosperity. It is not an easy thing to accomplish and it will take work and time, as all things do. But the rewards from it will be worth the effort you put in.

I hope you found this reading helpful and enlightening and that it can help you in your future.

#tarot reading

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elhoimleafar · 7 years

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Happy Full Moon in Cancer Here is the first full moon of 2017, the begining of a new stage. The first full moon of this year marks a definite before and after, until today you were dragging with you an endless "I could not", "I didn't make it" and "I wanted to" from the previous cycle, but today's moon is doing a magical reset in us and gives us the necessary momentum to try again. There is no time to lose to whine. The month of January receives its original english name from Janus, the ancient Greek God of roads and trails, patron of those who travel continuously. Janus used to be represented with two faces, one facing the front and the other one looking back, one looking to the future nd the other one looking at the past. Janus taught the men that there was no "present time", we live trapped halfway between a pile of memories from the past and a hundred doors and opportunities for the future that open and close every second that passes. January Full Moon marks the same "Before & After" that Janus teaches us. From today you have twelve months (until the next full moon of January) to carry out all your projects and goals, remember that in the magic Kabbalah "there are not very big goals, there are only very narrow mental limitations." The moment has come to stretch those limitations that are only in your head and to plan, to plan in the short and long term equally. January Full Moon is the perfect time to carry out a short meditation, an energetic recharge and a new beginning, to set goals and to work (as of today) to fulfill them. The full moon symbolizes the maturity and culmination of the projects, while the moon in Cancer is linked to our emotions and most sentimental aspects. During this lunation it is common to feel a little more emotional and nostalgic for the past, there is also some tendency to sudden mood swings and depression, in fact depression and certain anxiety attacks can be motivated by the moon in Cancer, as well also by the Sun in Capricorn. Do not forget that in addition, the moon in cancer facilitates a lot of imagination, is not usually a very profitable time, in fact is perhaps one of the worst times to invest, but yes, this moon is known to be very good to consolidate fidelity Of our clients, develop a new image or logo for the company, and even to attract new partners and plan short-term market strategies. I suggest you carry out a very simple little ritual, I will do it this day too, if you commit to do it before midnight, and try to get two or three more people to do it as well (as a small magic chain) we will together be creating a nice group activity that we will all be doing from different countries. 😄 Can you imagine something more magical than this? The activity is to take a short break from day to day, take a deep breath for a couple of minutes, now, take a small piece of paper or a completely blank sheet and write in it (in the order you prefer) twelve small goals (one per month) and a great goal that you hope to meet (and will be) before the end of this new cycle. Close the piece of paper by folding it two, three or four times, then seal it mystically (in traditional magic we seal the objects with a kiss, this gives them our personal energy) and once sealed tie it with a cord or ribbon of the color that contains your desire (or desires), that is, green if it is more linked to money, red to love, yellow for good fortune, white for health, etc ... Place the paper (which is now officially a small amulet) by the window to channel the lunar energy (it does not matter if the moon is not visible from that window) and try to leave it there until the next morning. Tomorrow take the paper and store it in a cool place where you will keep it until the next full moon. Each full moon you commit to review it and visualize what goals you have fulfilled and analyze what you need to fulfill that great goal that you have proposed. Everything is a matter of will, if you are willing to do it you should only be committed to it, this little amulet will simply be a reminder blessed by the lunar energy to help you trace this path and take you as far as you are willing to go. Until the next full moon... Blessings Elhoim. Note: If you want to find other small rituals, astrological tips, amulets for the home or a complete list about the colors and their various uses in magic, you can consult in my books (available in the Amazon page of your country) or in my Blog. Any questions you can make via twitter to my personal account @ElhoimLeafar or on my official facebook page @ElhoimLeafarOfficial 😊

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scionofchaos · 3 years

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Communion with Spirits

Today I will explain my process for communicating with spirits. This is NOT a tutorial guide. There are steps to this process I inevitably will fail/forget to mention, which I do on instinct and through use of very old powers that even I do not tamper with lightly. If you were to try and follow this like a 'how-to,' I cannot express how bad that idea would be. So why am I doing this, then? Because I want you to compare that to how you do it, and how other people do it, and determine why my method is similar, and why my method is different. Analyze it, see why it works the way it does, and what some people's methods may or may not be missing.

First of all, you cannot go into this unprepared. Drawing a circle around yourself is not enough. Praying is not enough. Burning sage or incense is not enough. Combining these things willy-nilly won't cut it. No matter how hard you believe that stuff will work, it is all window dressing unless it has the right backing. Before I ever tried to deliberately reach out and communicate with the other side, I spent years just honing my own health. Physical preparedness, trained awareness, a focused and skeptical mind, control of my rage and my fear. I had to learn how to awaken the vital energies in me, to draw upon that to which all are connected, and use that to assert my dominance over myself and my space. I reaffirm every last part of that every time I step out, because if I don't, I might not be ready. Odds are, I won't be ready for what I see, even if I take all the necessary steps. But it minimizes the harm. That note is important: you can bring harm to those you care about, even if you yourself are protected adequately. It is like being a carrier for a disease. Do not do work in the house of an enemy, or at least someone you cannot trust. You can do work outside your home, but do it in solitude. Even a public place is fine as long as it is not crowded and you do nothing that would draw excessive attention. Following those simple guildelines means you can work without disruption on both sides. If something goes wrong, you're probably being targeted; how could you be sure of that when you've left out key details?

It is also important to be mindful of your external awareness and internal thoughts/feelings during your work. Each sense is tied to an essence by their similar natures, and your own internal workings are directly linked to psychic and vital energies.

-- Feel like the light and color around you is getting bolder or brighter? This either means that psychic energies are being directed at you, that a powerful presence of them is just passing by, or that you lack confidence in your own mind's strength. Feel those lights and colors fading, growing dim? This is the reverse; psychic energies are being drawn from you by something, a powerful presence that you did not notice is now leaving, or you are exhibiting great confidence and little tact in your psychic abilities.

-- Feel like everything's too loud or there are too many distracting sounds? This likely means that your causal energies are entangled with another; they are acting upon you, or you are unwittingly influencing them more than you may have intended. Feel like everything's gotten quiet, and you can't think how long that's been the case? This likely means that you are isolating in the causal; distant from the signals of karma, you are not affecting others and their actions are not reaching you with strength. That does not mean you are totally disconnected, but close enough.

-- Beset by phantom tastes or strange odors? These senses are pretty entangled physically, but connect to separate essences. This may mean that you are too distracted by physical presences nearby, or even that a physical enemy approaches. Alternatively, it could have to do with consciousness rather than material; your senses are heightened and receiving a lot of information you are having difficulty processing. If you're losing touch with those senses, it's possible you've allowed your aura to grow too far for its density, and it has become thin. Draw your consciousness back to yourself and start over.

-- Pay special attention to your sense of touch, in all its attributes. A feeling of heat or of firm contact suggest that the lives of others are drawing close to you, and you are feeding upon their energies. That may be intended by them as a support, or you may be engaged in "energy vampirism." If you get a sense you're being watched, develop anxiety about prying ears listening in on your practice, or generally get the feeling someone is lurking nearby, that is a strong indicator that you are in fact not alone. Alternatively, you may feel sudden chill or an ephemeral, weak contact that seems to enter you. That means that the lives of others are pulling away from you, or you are being fed upon. If you get a sudden pang of loneliness, a feeling like your voice needs to be heard, or get the feeling that you are being abandoned, this means that you've had company already, and those spirits are now leaving your presence.

-- If you feel a burning in your core, but it is accompanied by intense emotion and hyperfocus instead of bile and nausea, you are experiencing a vagus awakening. Either someone's emotions are having a strong effect on you, or your aura is exerting pressure on those nearest you. If you feel an empty, dark, hollow sensation in your 'heart,' accompanied by depression and inability to focus, you are experiencing a darkness of the vagus nature. Either you are imposing your emotions on others, or something is feeding on your emotions.

-- If you feel a stabbing in your forehead, just above the bridge of your nose, something is getting the attention of your sixth key Venue. The seat of command and the piercer of veils, this 'Third Eye' reveals to you all that is hidden, and it is presently being met with some aggressive contact. Alternately, if you feel like that eye is 'darkened,' 'blinded,' or worse yet that something is pulling it out of socket, then this can only mean that someone is attempting to conceal their presence or activities from your strongest sense. While the vagus experiences are more tied to emotion, your Third Eye is closest related to the thoughts and actions of others. This kind of activity may be the prelude to some unintended telepathic events.

Each time I have encountered a spirit, they have been concealed behind cloaks of Causality, interference with my Third Eye, and the simple nature of the physical as a barrier. I have had to work past these to abstract some kind of symbolic representation of their nature. Non-physical beings don't have a single "form." If I was made to notice them by a tip related to the above suggestions, I can pursue that further. Otherwise, I have to try and communicate with them to learn what they want. I mainly project a desire for an honest conversation. As an areligious person, I have no need nor desire for worship. Because of that, I only speak to spirits as peers, not as my superior. This is even if they are worlds beyond my own strength. In future posts, I will describe some of these encounters, and how most of them turn to conflict even if I seek peace.

#mysticism #spiritwork #energywork #spirits #spirit beings #third eye #emotion #psychic #magick

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shirlleycoyle · 4 years

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Car Companies Want to Monitor Your Every Move With Emotion-Detecting AI

On February 18, executives from the technology firm Cerence rang the Nasdaq opening bell, then stepped into a meeting with their investors and representatives from some of the largest automakers in the world. Over several hours, they pitched a strategy designed to help double the company’s revenue in five years: Record every movement, every glance, every smile, frown, and wrinkled brow of drivers across the world—then sell the resulting data for a profit.

Over the last century, the car has been enshrined as a quintessential piece of Americana—a symbol of freedom and self-expression. It is a space where people share their first kisses, cry after work, and soothe restless babies to sleep, comforted by a sense of autonomy and control. But as the Cerence presentation laid bare, the car’s second century will be very different.

The Burlington, Mass. company is far from a household name, but its technology—including microphones, virtual assistants, and gaze-monitoring cameras—is already installed in more than 325 million vehicles, from which it uploads more than 100 million data transactions to the cloud every month, according to its investor documents. Very soon, Cerence announced, it plans to deepen that data mining operation with in-cabin cameras linked to emotion-detecting AI—algorithms that monitor minute changes in facial expression in order to determine a person’s emotional state at any given time.

“This is data that I think is the untapped potential that Cerence has for the future,” Prateek Kathpal, the company’s chief technology officer, told investors. “What we’re looking at is sharing this data back with the [automakers] and helping them monetize it.”

Over the next two years, companies like Cerence, Affectiva, Xperi, and Eyeris plan to roll out emotion- and object-detecting systems for cars in partnership with many of the world’s largest automakers, according to company documents and interviews with executives. Their plans are bolstered by a European Union law mandating that all new cars be equipped with at least rudimentary driver-monitoring by mid-2022, and a similar bill recently introduced in the U.S. Senate.

To the public and to legislators, automakers market the systems as safety features. If a car can detect that a driver is angry or looking at their phone immediately before a crash, these companies reason, the onboard AI may be able to offer a warning the next time it senses similar behavior. Or, if it can determine how a child is positioned in the back seat, the car might deploy airbags more effectively in the event of a collision.

But safety is only one attraction of in-cabin monitoring. The systems also hold huge potential for harvesting the kind of behavioral data that Google, Facebook, and other surveillance capitalists have exploited to target ads and influence purchasing habits.

Automakers and advertisers have come to a “vast realization” that as cars become more autonomous and embedded with screens, “many passengers in your vehicle are kind of a captive audience in an entertainment context,” Gabi Zijderveld, Affectiva’s chief marketing officer, told Motherboard.

Affectiva spun off from the MIT Media Lab in 2009 and has been a pioneer in the often-controversial field of emotion-detecting AI. The company has its roots in marketing and consumer analytics and has been tapped by some of the country’s largest brands to measure focus group reactions to advertisements and entertainment. But over the last four years, it has devoted a significant amount of its attention to developing in-cabin monitoring and has worked with automakers including Kia, BMW, and Porsche. It has also pitched its technology to rideshare companies, suggesting in one product brochure that riders might be willing to be recorded and have their emotions analyzed in vehicles in exchange for free or discounted trips. “That data is tremendously valuable, from a monetization perspective, to the advertisers,” Zijderveld said.

Competitors Xperi and Eyeris are also looking at ways to capitalize, or help automakers capitalize, on the data their products gather.

Jeff Jury, the general manager of Xperi’s automotive group, told Motherboard that the company’s in-cabin monitoring system is a safety feature first, but added that Xperi is exploring ways to combine the system with the sophisticated entertainment recommendation engine it recently acquired through a merger with TiVo.

Eyeris CEO Modar Alaoui likewise told Motherboard that while his company’s technology is primarily designed to improve safety, “we do foresee at some point that [automakers] will try to leverage the data for several use cases, whether it be for advertising or [determining] insurance” premiums.

Inform and consent

Cerence, Affectiva, Xperi, and Eyeris officials all told Motherboard that their companies simply create products with many possible functions. It’s up to the car manufacturers, they said, to decide how the systems will be used, what data will be collected, how that data will be processed internally, to whom it can be sold, and whether to share any of that information with the customer.

With the exception of Volvo, all the automakers contacted for this story—including GM, Toyota, Honda, Volkswagen, and Kia—either did not respond to requests for comment or declined to answer questions about how they will inform drivers about the data collected from their vehicles. Volvo does not currently have plans to integrate systems that monitor passengers or use emotion recognition, a company official told Motherboard.

European Union regulators have prepared for the likelihood that automakers will want to use in-cabin monitoring systems as data vacuums.

In January, the European Data Protection Board issued guidelines governing the use of data from connected cars. They mandate that, among other restrictions, no personally identifying information can leave the car without explicit driver or passenger consent, and that a car cannot collect any more data than is needed to operate its safety system or to perform another task for which the owner has given specific consent. As a result, it is shaping up to be very difficult for automakers to deploy the kinds of in-cabin monitoring systems in the EU that they are developing for American and Asian markets, Anne-Gabrielle Haie, a Belgium-based data protection attorney with DLA Piper, told Motherboard.

The U.S. is another matter. Several laws, ranging from the Fair Credit Reporting Act (FCRA) to the Federal Trade Commission Act (FTCA), provide limited mechanisms to prevent companies from egregiously and repeatedly misusing the kind of data an in-cabin monitoring system will collect. For example, under the FCRA, a car manufacturer would have to notify its customers before providing certain kinds of information to the driver’s insurance agency.

But the laws currently in place are insufficient to protect consumers from the technology that will soon be rolling off production lines, Maneesha Mithal, associate director of the FTC’s Division of Privacy and Identity Protection, told Motherboard. “That’s part of the reason why the majority of [FTC] commissioners have recommended the enactment of federal privacy legislation that would set up the rules of the road in this area,” she said.

In-cabin monitoring systems will also be highly attractive to police, who, as Forbes has documented in detail, have been demanding data from connected cars for years. In the U.S., there is nothing to stop police from going after that data, whereas the EU rules place special considerations on the circumstances under which law enforcement can access data that may evidence criminal activity, such as speeding.

The Georgia Supreme Court recently ruled that police must have a warrant before accessing car data, but the case law in this specific space is in its infancy, Chelsey Colbert, the policy counsel for mobility and location data at the Future of Privacy Forum, told Motherboard. “If car manufacturers are worried about law enforcement access, they should consider privacy and security by design, she said. “For example, they could use technologies that don’t collect or store identifiable data.”

On the edge of privacy

Twenty of the largest automakers have promised to self-govern their privacy practices for connected cars and, in 2014, signed on to an unenforceable, industry-created set of principles. There is ample evidence those guidelines won’t stop them from cashing in on driver data, though. GM, for example, is one of the signatories. But in 2018, the Detroit Free Press revealed that the company had collected data on the radio listening habits of more than 90,000 drivers in an attempt to find correlations between what people listened to in their cars and what products they purchased.

Affectiva, Xperi, and Eyeris say that their systems are all designed so that the most sensitive data, such as actual video recordings of passengers, can be processed in the car—known as edge processing—rather than uploaded to a cloud controlled by an automaker or rideshare company.

But since the automakers are setting their own rules, they could, of course, decide they want that data after all. Cerence’s boasts about the amount of data it uploads to the cloud from vehicles each month suggest its partners—which, in addition to automakers, includes Microsoft, LG, and a number of other tech companies—have little interest in ensuring edge processing for privacy purposes.

“If they install sensors in the car, it’s going to go out of the car and be viewed by the car manufacturer,” Ben Volkow, the CEO of Otonomo, a car data brokerage based in Israel, told Motherboard. “[Automakers] need to get approval, and after you get approval you need to give the driver the opportunity to, at any point, say, ‘please erase my data.’ That’s supposed to be supported, but I’ll tell you in reality it’s definitely not supported.”

Car Companies Want to Monitor Your Every Move With Emotion-Detecting AI syndicated from https://triviaqaweb.wordpress.com/feed/

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junsojung-text · 6 years

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Media and the Order of Senses

Nam See Kim (Assistant Professor, Ewha Womans University)

The Premise of Media

Entering Sojung Jun’s solo exhibition titled Kiss Me Quick at Song Eun Art Space, visitors could feel Barcelona. In this exhibition, there is sensorial memory of the city experienced by Jun with her eyes closed. She walked around the city and recorded what she felt with her sensorial organs except for her eyes. This way, she made her sensory drawings of Barcelona. And then, a musician translated the drawings into music and a choreographer transcribed them into physical movements. Going through the process, her sense of touch and hearing is combined with the sense of sight, which is united with tactile sight of moving bodies. At a glance, it seems that Jun tries an experiment to overcome the limits of our eye-centered culture. In other words, her work seems like a project to call into question widespread ocular-centrism by demonstrating how it has minimized our interest in other senses. This work seems to divert our focus onto diverse physiological capacities of our body. Historically, art has involved in this kind of attempt to resuscitate five senses. Friedrich Schiller analyzed negative effects of the division of labor him and viewed ‘art as play’ as a solution for dealing with the fragmentation and alienation of modern man in ‘civil society’. After Schiller, art was considered to be able to help us recover our fragmented or enfeebled senses and impair our physical and mental integrity. Even today, not a few artists pursue the aim to restore the so-called ‘original state of united senses’. Moreover, it is not uncommon for these artists to move towards spiritualism and mysticism.

Despite certain visual similarities, Jun’s work is distinctly different from the abovementioned artistic lineage. First, Jun’s work is based on media technologies such as video projection. As media theorist Friedrich Kittler points out, technology based media such as photography, gramophone, film, and typewriter divided up once united senses and assigned each a medium-like status. For example, ocular and auditory experience (sight and hearing), which had been united in the creation and reception of a literary work, came to be recorded, saved, and ‘played’ separately in gramophone, photography and film. Through photography and silent movie that send out a set of visual impressions with no sound, and gramophone playing only the sounds of people of events with no image, we got used to image-only and sound-only experience. Our sight and hearing are not working separately in reality, but when it comes to media technology experience, each of the senses can operate independently.

It is noteworthy that after technology media brought about the division of senses, the mutual translation and correspondence between individual senses came to be explored. For instance, Wassily Kandinsky explored the possibility of communication and translation between sounds (auditory senses) and colors (sight) in his painting. Laszlo Moholy-Nagy, who was interested in materialism, suggested a new kind of music based on direct correspondence between the auditory and the visual by inscribing graphic symbols on phonograph record disks.[1]Therefore, it was not by chance that such artistic experiments were created after the appearance of technology-based media like photography, films, and gramophone.

Nevertheless, people calling for the reunification of fragmented and separated senses still stick to the romantic idea of a primitive status of human spirit when all senses were together in unity. For them, the unity of senses is to be ‘recovered’ and ‘rebuilt’. They try to restore the primitive sensorial status in human bodies through diverse spiritualistic and mystical methods. However, their ideas and methods cause head-on confrontation between humans and technology, as they do not understand the dialectical relationship between the two. After the technology based media split up our senses, the reunion between them cannot take place in the manner that romanticists and metaphysicians dream of. This is because after the appearance of technological media, the problem of sensorial integration or synesthesia cannot rely on the concept of ‘spirit’ that is believed to unite the senses of body in the ‘transcendental’ inside. The integration would rather be possible by utilizing the technical media, provoking ‘translation’ or ‘combination’ between different them. The future technology of virtual reality that is to mediate sight between hearing; and touch between smell, does not represent a certain primitive status of human senses. It is nothing but the combined technology of different media senses.

Jun does not refer to things like ‘spirit’ or ‘humans’ when she talks about ‘synesthesia’. Maybe she is fully aware that her work is based on the premise of the technical separation of senses. Instead, Jun sheds light on the ‘translation’ occurring between senses. Moreover, she finds common ground among senses not in human spirit but in the manipulation of media. The interesting aesthetic tension in her work comes from this point of view. In Kiss me quick, Jun tries to weaken visitors’ visual perceptual abilities by turning the lights down in the entire exhibition hall. She also installs structural devices to make the visitors bend their back or lower their bodies. As a result, visitors are forced to experience her works using their bodies and senses. They should walk cautiously down a dark hallway, attempt to reconstruct distorted and fragmented images projected on the wall, and watch a video standing uncomfortably in front of a curved screen. Here, the convention of watching comfortably a visual image centered exhibition does not exist. In her media work, Jun relocates diverse sensorial information manipulating and combining different media,[2]and unites multiple senses in her own way. In other words, she brings about a uniquely united sensorial experience by adeptly arranging diverse (technological) media and isolated sensorial information they convey. Critic Sohyun Ahn says Jun’s method is “indulged in senses.”[3]However, despite the nuance of the word, the indulgence is not intended for an aesthetic self-fulfillment. Through the indulgence of senses, Jun’s works telling us “stories of someone’s loss, limitations, isolation, and fall” try to “translate empirical, linguistic, historical, political, and social date into the order of senses.”[4]Likewise,Story of Dream: Suni(2008) (stories of nurses and coal miners emigrated to Germanyin the 1960s) and Specters (2017) (a work about immigration and boundary issues, and identity problem in the global age) in her exhibition at SeMA Buk Seoul Museum of Art, The Song of My Generation, can be viewed stories translated into ‘the order of senses’.

Specters in the Global Era

Google Map, in this world of images on which one could reach anywhere in the whole world by moving a cursor on the monitor, moving ‘my location’ to somewhere else is possible with a simple click of a mouse. Within a few seconds, the cursor will get to the place on earth where one wants to be. A small pixel clinging to the cursor is a symbol of the virtual ‘I’. The ‘I’ can easily land on anywhere on the map: once ‘I’ do, landscape surrounding the specific location –for instance, the Gulliver Park in Spain- suddenly appears in front of one’s eyes. In that place, we are as free as specters. Due to the worldwide economic crisis in the global age and civil wars breaking out all over the world, immigration is increasing dramatically. According to the UN Refugee Agency, at the end of 2016, the number of global involuntary refugees, 65,600,000, increased by 300,000 compared with the previous year.[5]Between 2008 and 2016, moreover, people applying for refugee status to Korean government increased over twenty times from 364 to 7542.[6]However, the migration of people in the real world is not as easy as moving across the globe on the Google Map to get to a park in Spain. In reality, between ‘my location’ and another place, there are strict border guards and administrative powers protecting their laws and deciding where to offer an entry permit to a refugee or deny his or her entry, or order him or her to leave. Blocked by the powers, hundreds of people trying to move to another place lose their lives in the Mediterranean Sea.

When I try to move place in the imaginary world, my body and words do not function. Even if I come very close to some kids playing in a playing ground, I am invisible to them. They even cannot hear me. However, when it comes to the real world, the story is entirely different. Even though I do not say anything, my appearance and my body deliver information about who I am. Because of my looks, I might be identified as Chinese or Japanese, or Vietnamese. Even when I do not speak a word, a taxi driver would recognize me as an Asian. In case I speak their language, for example, English or French, he or she can ‘see’ something else between my lines.This is because my accent and pronunciation will inform that I am ‘the other’ who do not originally belong to this culture and language, that I am either a foreigner or an immigrant. Regardless of my will, thus, my body, my language, and my accent bear a set of meanings. The meanings decide the area of my mental and social activities, and leave a trace in my existence. Someone might frown at my accent, and someone could feel comfortable about my appearance.The complex interaction created between my looks and my words (or accents) feels powerful.

Time Axis Manipulation

Spectersis the title of Jun’s work where she speaks about the ironic situation in the global era with her signature attitude of indifference. Specters appear both in the past and present. Even if ghosts came from the past, we cannot say that they belong entirely to the past. If something of the past appears in the present, the past is not considered to be completely over. But that doesn’t mean specters exist in the present. If they do, they might not be called specters. Ghosts do not ‘exist’ in the present, but ‘appear (and disappear)’ in the present. The condition of their appearance is different from that of ‘things’ such as coffee cups and plates that we could always see in a kitchen. In this regard, for ghosts, time is a paradoxical thing. They are from the past but appear in the present: they belong to the past but are connected to the present.

Moving images are like specters as every movement we see in them was produced in the past. In front of our eyes, screenings of moving images repeat a set of movements made in the past. Like ghosts, in Jun’s work, the movements of a choreographer appear in front of us, but they are not ‘present’ hear and now just like an object next to us. In a way, we play with them in the present; yet, in reality, they do not exist. For us looking at the screen, the movements being developed in front of our eyes belong to the past. Therefore, we watch the movements developing: movements that have already passed, disappeared, and cannot be repeated in reality.However, this is not the only similarity between the medium of moving images and specters. Moving images can repeat things that have already happened while ghosts can freely cross the temporal boundary between the past and present. We can play moving images ‘counterclockwise’. To be more specific, we can return time to the point before things happened, as it is described in the following sentence:

“Grandmother’s inn was being rebuilt. As if someone were clicking on the rewind button using the Final Cut Pro program, I was able to see with my eyes the succession of short scenes showing the bricks in the dilapidated building returned to their original place, one by one.”

The scenes showing the reconstruction of grandmother’s inn do not describe a memory of the past. Memory can let us jump into a moment of the past or replay a moment in time suddenly, sporadically, randomly, and rapidly. Nevertheless, no matter what, we cannot play our memory of the past backwards. That means our reflection on the past follows the linear flow of time. Therefore, the images played backwards are not to do with how our memory operates. The reversal of time can be realized only through the technical manipulation of the progress of moving images. Kittler calls this process ‘Time Axis Manipulation’ and sees it as one of the most important capabilities of the technical media. Jun makes the most of this media technology that helps her counter the irreversible flow of time where every living organism and thing on earth belong. Thus, in her work, the pieces from a collapsed building return to their proper places, a squashed up coin regains its original shape, and a wall we passed by riding on a train comes back before our eyes. But sadly, through all these things, one cannot but sense the irreversibility of time much more vividly than before.

[1]L. Moholy-Nagy, “Neue Gestaltung in Musik. Möglichkeit des Grammophons”, Der Sturm, Juli 1923 [2]See Nam See Kim, “New Familiarity, Old Unfamiliarity: Sojung Jun’s Media Work”, Video Portrait, Total Museum [3]See Sohyun Ahn, Sojun Jun’s“Kiss me Quick” Limitation-Rise-Indulgence of Senses [4]See Sohyun Ahn, Sojun Jun’s“Kiss me Quick” Limitation-Rise-Indulgence of Sense [5]http://www.unhcr.org/global-trends-2016-media.html [6]http://www.index.go.kr/potal/main/EachDtlPageDetail.do?idx_cd=2820

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