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learningnewstuff · 7 years

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VIVA - GLASGOW SCHOOL OF ART // MASTERS OF RESEARCH - DESIGN INNOVATION

A viva voce is a long-established part of the examination process for a research degree. The main focus of the assessment is on the written thesis/dissertation (and other outputs, for a Practice as Research students). However, the viva gives you the opportunity to defend your thesis and is used to inform the examiners’ final assessment decision.

Examiners // Dr Janet McDonnell: Professor of Design Studies at Central Saint Martins College of Art & Design, University of the Arts, London, UK & Dr Brian Dixon: Head of Belfast School of Art

AIM // The intention of this practice based research is to catalyze a critical turn in the sustainable fashion design field through the proposal of an inventive method for dealing with textile waste.

This proposal is realized through critical making and this study puts forward critical making as a method that can contribute to the mobilization of systems change within the fashion industry.

WHY? // Fashion is under scrutiny for its wastefulness – the current fashion system perpetuates continuous consumption driven by speed, change, planned obsolescence, artificial newness and aesthetic trends

The fashion industry is very slow to adopt more sustainable practices. barriers towards implementation for change exist with limited practical, viable and production-minded scalable examples of ways to shift forward within academic research as well as industry.

As design and consumption are inter-related – design can proactively influence and begin to realize this change.

HOW? // Holistically connecting the designer back towards the processes of manufacturing can open up a much-needed critical dialogue between designing and making where generative and constructive design-led insights can begin to unpack the complexities of fashion’s sustainability issues.

MAKING SPACE TAKING TIME // THE STUDIO

The process in which the study is undertaken is through the primacy of the studio process claiming that critical making is a constructive and generative process where visual and embodied links can be made that might otherwise be overlooked or unrealized through language-based approaches.

An investigation of PRACTICE AS RESEARCH is highlighted through an exploratory case study; studio practice, drawings, assemblage and textile studies are used as tools that aid to synthesize, analyze and further develop new ways of thinking about the design making process.

CRITICAL MAKING acts as a means to connect our technologies with our lived experiences offering up social and conceptual critique of the assumptive making processes that we employ.

Matt Malpass (2017) Critical Design in Context

VISUAL ARTS KNOWING

Thinking in a Medium gives structure and physicality to the work in the studio,

Thinking in a Language frames the practice through reflective dialogue and

Thinking in a Context through embodied ways of making situates the practice to become research.

Graeme Sullivan (2009) Art Practice as Research

WHAT? // 1 + 1 = A Propositional Pattern Cutting System

1 + 1 is a zero-waste, negative-waste and additive pattern cutting and clothing design system that scales a single block shape into a variety of silhouettes by repeating and assembling that block shape to create the complete garment. The system can be used with regular lengths of new cloth, end rolls of fabric and textile waste materials.

SO WHAT??

Leading the design enquiry with a holistic view puts the waste up front and centre.

This way of designing encourages the designer to gain a deeper understanding of the complexity of the whole process pulling production back into the initial stages of design development.

The designer can be instrumental in determining how waste materials are used in the creation of the design through pattern cutting.

By creating a pattern that works within the constraints of waste material, the designer not only restricts the amount of resources used but also shapes the formation of the silhouette and the resulting outcome.

This process of making and un-making establishes a circular ethos that embodies an approach that places an emphasis on the criticality of message within its aesthetics and incorporates re-formation through a multiplicity of design in its function.

WHAT NOW?

Opening up the 1 + 1 Pattern Cutting System beyond the individual studio practice and extending its processes into a master class framework, a workshop format or through open source access would further promote a deeper engagement to reveal significant insights and critical feedback.

Such collective working sessions would setup a platform to increase the body of knowledge around the 1 + 1 system’s viability, transferability and scalability extending the research within the zero and negative-waste design and sustainable design fields.

The 1 + 1 not only offers an alternative technology for sustainable design but it also explores the process that it took to get there. it is through the critical making process where a multiplicity of re-directive and alternative approaches can be put forward.

I // MRES > 1 + 1 AS A DESIGN RESEARCH OUTPUT

IT // SHARE THE DESIGN & PROTOTYPING PROCESS

WE // BUILD A COLLECTIVE SYSTEM

ITS // CONNECT THE SYSTEM TO A NETWORK

#VIVA #design research #modular design #zero waste pattern cutting #zero waste design #practice based design research #critical making #sustainable fashion design methods

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alxfsl · 8 months

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It’s been a while and even though it might seems I’m in a creative hiatus, that’s not entirely true. I’m mostly focusing on sketching as I’ve decided to use drawing as an active research tool for my PhD. Since I made this decision I started to sketch more often around to do a series of tests functional to the ethnographic study I’m planning. . The good thing is that I’m drawing a lot, and I’m making much more time to #urbansketching , a practice I love but that I haven’t done much since the pandemic. The other good outcome is that engaging in drawing in a more analytical way is changing my relationship with my art and with my surroundings (which a whole journey onto itself). . Here a little preview on how my beautiful SMLTart #sketchbook looks so far. Can’t wait to see how it will look once finished. . I’m working on how to best share the actual sketches that will come out from the study, but nothing has been decided yet. Autumn and its beautiful colours are coming and I’m planning some little surprises. Stay tuned, and keep drawing.

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censemaking · 1 year

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Framework Errors In Design and Action

The theory of change says its practice is straightforward. Practice suggests otherwise. Our frameworks fail us.

The finger-pointing to the moon is a model, not a truth. What happens when our models and frameworks become held as truths instead of guides? There’s an often rephrased Zen quote attributed to the Buddha that says: Do not confuse the finger pointing to the moon for the moon itself. Zen Phrase Often our models, frameworks, or even data are fingers pointing to real life. I’ve spent my career…

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#behaviour change #behavioural design #design #design thinking #innovation #Mitch Joel #practice-based evidence #research #ruth schmidt #theory

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reasonsforhope · 3 months

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"Chicago’s 82-story Aqua Tower appears to flutter with the wind. Its unusual, undulating facade has made it one of the most unique features of Chicago’s skyline, distinct from the many right-angled glass towers that surround it.

In designing it, the architect Jeanne Gang thought not only about how humans would see it, dancing against the sky, but also how it would look to the birds who fly past. The irregularity of the building’s face allows birds to see it more clearly and avoid fatal collisions. “It’s kind of designed to work for both humans and birds,” she said.

As many as 1 billion birds in the US die in building collisions each year. And Chicago, which sits along the Mississippi Flyway, one of the four major north-south migration routes, is among the riskiest places for birds. This year, at least 1,000 birds died in one day from colliding with a single glass-covered building. In New York, which lies along the Atlantic Flyway, hundreds of species traverse the skyline and tens of thousands die each year.

As awareness grows of the dangers posed by glistening towers and bright lights, architects are starting to reimagine city skylines to design buildings that are both aesthetically daring and bird-safe.

Pictured: Chicago's Aqua Tower was designed with birds in mind.

Some are experimenting with new types of patterned or coated glass that birds can see. Others are rethinking glass towers entirely, experimenting with exteriors that use wood, concrete or steel rods. Blurring lines between the indoors and outdoors, some architects are creating green roofs and facades, inviting birds to nest within the building.

“Many people think about bird-friendly design as yet another limitation on buildings, yet another requirement,” said Dan Piselli, director of sustainability at the New York-based architecture firm FXCollaborative. “But there are so many design-forward buildings that perfectly exemplify that this doesn’t have to limit your design, your freedom.”

How modern buildings put birds in danger

For Deborah Laurel, principal in the firm Prendergast Laurel Architects, the realization came a couple of decades ago. She was up for an award for her firm’s renovation of the Staten Island Children’s Museum when the museum’s director mentioned to her that a number of birds had been crashing into the new addition. “I was horrified,” she said.

She embarked on a frenzy of research to learn more about bird collisions. After several years of investigation, she found there was little in the way of practical tips for architects, and she teamed up with the conservation group NYC Audubon, to develop a bird-safe building guide.

The issue, she discovered, was that technological and architectural advancements over the last half-century had in some ways transformed New York City – and most other US skylines and suburbs – into death traps for birds...

At certain times of day, tall glass towers almost blend into the sky. At other times, windows appear so pristinely clear that they are imperceptible to birds, who might try to fly though them. During the day, trees and greenery reflected on shiny building facades can trick birds, whereas at night, brightly lit buildings can confuse and bewilder them...

Pictured: A green roof on the Javits Convention Center serves as a sanctuary for birds.

The changes that could save avian lives

About a decade ago, Piselli’s firm worked on a half-billion-dollar renovation of New York’s Jacob K Javits Convention Center, a gleaming glass-clad space frame structure that was killing 4,000-5,000 birds a year. “The building was this black Death Star in the urban landscape,” Piselli said.

To make it more bird friendly, FXCollaborative (which was then called FXFowle) reduced the amount of glass and replaced the rest of it with fritted glass, which has a ceramic pattern baked into it. Tiny, textured dots on the glass are barely perceptible to people – but birds can see them. The fritted glass can also help reduce heat from the sun, keeping the building cooler and lowering air conditioning costs. “This became kind of the poster child for bird-friendly design in the last decade,” Piselli said.

The renovation also included a green roof, monitored by the NYC Audubon. The roof now serves as a sanctuary for several species of birds, including a colony of herring gulls. Living roofs have since become popular in New York and other major cities, in an inversion of the decades-long practice of fortifying buildings with anti-bird spikes. In the Netherlands, the facade of the World Wildlife Fund headquarters, a futuristic structure that looks like an undulating blob of mercury, contains nest boxes and spaces for birds and bats to live.

The use of fritted glass has also become more common as a way to save the birds and energy.

Earlier this year, Azadeh Omidfar Sawyer, an assistant professor in building technology in the Carnegie Mellon School of Architecture, working with student researchers, used open-source software to help designers create bespoke, bird-friendly glass patterns. A book of 50 patterns that Sawyer published recently includes intricate geometric lattices and abstract arrays of lines and blobs. “Any architect can pick up this book and choose a pattern they like, or they can customize it,” she said.

Pictured: The fritted glass used in Studio Gang’s expansion of Kresge College at the University of California, Santa Cruz, depicts the animals in the local ecosystem.

Builders have also been experimenting with UV-printed patterns, which are invisible to humans but perceptible to most birds. At night, conservationists and architects are encouraging buildings turn off lights, especially during migration season, when the bright glow of a city skyline can disorient birds.

And architects are increasingly integrating screens or grates that provide shade as well as visibility for birds. The 52-floor New York Times building, for example, uses fritted glass clad with ceramic rods. The spacing between the rods increases toward the top of the building, to give the impression that the building is dissolving into the sky.

Gang’s work has incorporated structures that can also serve as blinds for birders, or perches from which to observe nature. A theater she designed in Glencoe, Illinois, for example, is surrounded by a walking path made of a wood lattice, where visitors can feel like they’re up in the canopy of trees.

Pictured: The Writers Theatre, designed by Studio Gang, includes a walking path encased in wood lattice.

Rejecting the idea of the iridescent, entirely mirrored-glass building, “where you can’t tell the difference between the habitat and the sky”, Gang aims for the opposite. “I always tried to make the buildings more visible with light and shadow and geometry, to have more of a solid presence,” she said.

Gang has been experimenting with adding bird feeders around her own home in an effort to reduce collisions with windows, and she encourages other homeowners to do the same.

“I’ve found that birds slow down and stop at feeders instead of trying to fly through the glass,” she said.

While high-rise buildings and massive urban projects receive the most attention, homes and low-rise buildings account for most bird collision deaths. “The huge challenge is that glass is everywhere.” said Christine Sheppard, who directs the glass collisions program at the American Bird Conservancy (ABC). “It’s hard to know what I know and not cringe when I look at it.”

Tips for improving your own home include using stained glass or patterned decals that can help birds see a window, she said. ABC has compiled a list of window treatments and materials, ranked by how bird-safe they are.

Whether they’re large or small, the challenge of designing buildings that are safe for birds can be “liberating”, said Gang, who has become an avid birdwatcher and now carries a pair of binoculars on her morning jogs. “It gives you another dimension to try to imagine.”"

-via The Guardian, December 27, 2023

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storiesfromgaza · 6 months

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It is very important to read this and share it

Today the Euro-Mediterranean Human Rights Monitor Observatory stated that Israel dropped over 25,000 tons of explosives on the Gaza Strip as part of its ongoing extensive war since October 7th, equivalent to two nuclear bombs.

The Euro-Mediterranean Human Rights Observatory, based in Geneva, highlighted the Israeli army's acknowledgment of targeting more than 12,000 objectives in the Gaza Strip, setting a record in the number of bombs dropped, surpassing 10 kilograms of explosives per person.

With the advancements in bomb quantity and effectiveness, while maintaining a consistent amount of explosives, the quantity dropped on Gaza could be equivalent to twice the power of a nuclear bomb.

Additionally, Israel deliberately employs a mixture known as "RDX" (Research Department Explosive) commonly referred to as "the science of complete explosives," with a power equal to 1.34 times that of TNT.

This means that the destructive power of the explosives dropped on Gaza exceeds what was dropped on Hiroshima, taking into account that the city of Hiroshima covers an area of 900 square kilometers, while Gaza's area is no more than 360 square kilometers.

Furthermore, Israel has been documented using internationally banned weapons in its attacks on the Gaza Strip, particularly cluster and white phosphorus bombs. White phosphorus is a highly toxic incendiary substance that rapidly reacts with oxygen, causing severe second and third-degree burns. The Euro-Mediterranean team has documented cases of injuries among the victims of Israeli attacks that resemble the effects of dangerous cluster bombs, as they contain small high-explosive submunitions designed to penetrate the body and cause internal explosions, resulting in severe burns that melt the victims' skin and sometimes lead to death. These submunitions also cause peculiar swelling and toxin exposure in the body, including transparent shrapnel that does not appear in X-ray images.

The Euro-Mediterranean Human Rights Observatory has emphasized that Israel's destructive, indiscriminate, and disproportionate attacks constitute a clear violation of the laws of war and the rules of international humanitarian law, which stipulate the obligation to protect civilians in all circumstances and under any conditions. Killing civilians is considered a war crime in both international and non-international armed conflicts and can rise to the level of a crime against humanity.

The 1899 and 1907 Hague Conventions, along with the 1949 Geneva Convention in its latest formulation, established fundamental human rights during wartime to limit the deadly health consequences of internationally banned weapons, some of which could lead to the "genocide" of civilians.

Article 25 of the Hague Regulations concerning the Laws and Customs of War on Land prohibits "attacking or bombarding towns, villages, dwellings, or buildings which are not defended."

Article 53 of the Fourth Geneva Convention states that "any destruction by the occupying power of real or personal property belonging individually or collectively to private persons, or to the State, or to other public authorities, or to social or cooperative organizations, is prohibited, except where such destruction is rendered absolutely necessary by military operations."

According to Article 147 of the Fourth Geneva Convention, the destruction of property that is not justified by military necessity and on a large scale is considered a serious violation that requires prosecution. Such practices are also classified as war crimes under the Rome Statute of the International Criminal Court.

The Euro-Mediterranean Human Rights Observatory has called for the formation of an independent international investigative committee to assess the magnitude of explosives and internationally banned weapons used and continue to be used by Israel against civilians in the Gaza Strip.

This committee would hold accountable those responsible, including those who issued orders, made plans, executed actions, and took measures aimed at achieving justice for Palestinian victims.

#gaza #palestine #غزة #فلسطين #humanitarian crisis #genocide #gaza strip #free gaza #free palestine #storiesfromgaza

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izvmimi · 2 months

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cw: minors dni. smut. first time sex. literal breeding. sci-fi themed. female body parts for reader. izuku is bigger than reader. size kink if you squint.

The dynamics of the world as you knew it thousands of years ago are now gone, and ever since you awoke from cryogenic slumber just 24 hours ago, the next phase of humanity’s plan to continue to exist and expand through the stars is now in progress.

Repopulation.

The new Earth substitute you inhabit is practically devoid of humans and will need bodies, at least until enough of you can build robots to replace your physical labor. There are fifty of you in total, of reproductive age and of peak physical, intellectual and emotional ability (aggregate, with some compartments allowed to be lower than others), and you are assigned to partners based on your compatibility.

They call you terraforming partners. It’s a euphemism for mate. Your only job is to breed.

There are of course other departments to work in the colonizing efforts. Some of the selected fifty have double appointments in the repopulation department and in research and development, others in art and communications, still others in nutrition. You failed to select a secondary appointment prior to your assignment to this planet, and thus have the appointment of Propagator-09A.

It is time to meet your mate. Taking in a deep breath, you leave your quarters, housed in one of two L-shaped buildings surrounding the Nexus or central headquarters, and walk straight down the hall of the dorm building into the designated repopulation centers. These are where you will perform your duties.

The two of you will enter a dome-shaped building from opposite ends of the room. You’re not sure who awaits you on the opposite end of the door, just that they are sexually compatible with you, and pass other measures of compatibility based on a predetermined algorithm. This algorithm is not meant for love, not meant for marriage, just sex and reproduction. Will you two produce at least two minimum viable human children that can be turned over to the administration to be raised? That’s all that is asked of you, and that is what you are contracted to do -

... regardless of who will show up in the next few minutes.

The watch on your wrist monitors your heart rate and everything other than it, and it is starting to beep in concern of your rising heart rate. You suck air into your lungs and let it blow out of your nose.

Mates are not allowed to hurt you. They are to watch for your comfort, as you are to watch for theirs, they are to stop if you’re not ready, and you are allowed to leave at any time. They are meant to fit you perfectly, and you were specific enough in your application to explain how you liked to be held and pleased.

This will be okay, you tell yourself. It will all be okay.

The door slides upwards into the apex of the dome, and you step into your new home away from home, at presumably the same time as your mate. Marching straight into the center of the room, your eyes lowered to the ground to steady yourself, you don’t notice that the man on the opposite end has not yet begun to move, and when you look up finally once you’ve reached the center, you see him for the very first time, and his cheeks are tinted with the deepest of blushes.

The young man’s lips are parted wide, his hands balled into loose fists at his side as if he didn’t know what to do with them. Immediately, you recognize him from the debriefing session just prior to the cryogenic freezing and the young man - tall, handsome, far too talkative with a voice gentler than expected for a man of his stature but in keeping with his softened but still masculine facial features - seems to hang in the frame of the door, transfixed. Not one word comes out of his mouth. You notice the top of his head, covered in mossy green curls, just barely grazes the top of the door, remembering that the domes have much lower ceilings than the buildings back home.

“Hi,” you eke out, then quickly add, “watch your head.”

Your voice is smaller than usual as you offer him a slightly nervous, strained smile, and he looks as though a shock runs through his body as you speak to him, bumping his head anyway as he walks in despite your warning. You raise your eyebrows, and he laughs just as nervously before meeting up to you.

Standing just inches apart, he scratches his neck, and the pink beneath his freckles still hasn’t abated, but at least now he can talk.

“Sorry about that haha, I’m… I just didn’t realize you’d be so pretty.”

Your own face deeply warms at those words. He’s easy on the eyes too, and you’re thankful for it, but he doesn’t need to charm you as easily as he does.

Shy yourself, you’re at a loss for words to reply, even thank you failing to be generated. He notices the silence, and quickly fills in the space.

“I’m Izuku. Izuku Midoriya… uh, your terraforming partner. Nice to meet you.”

His hand stretches out to shake yours, and you shake it. It’s larger, warm, and heavily calloused. You wonder what type of work he does, before the mission or now that he’s on this planet with you. With those broad shoulders and impressive biceps of his, you figure it could be something manual, but he’s always sounded quite intelligent so perhaps the muscles are more for show.

“Nice to meet you too. I’m ___.”

As if on cue, once you’ve introduced yourselves, the doors slide down behind the both of you, closing you in. There’s a loud click, and then the pod announces that it’s moving underground, and you steady yourself as gravity shifts. Your partner’s hands extend reflexively to hold you to prevent you from falling, but he’s careful not to touch you unless the motion is invited.

The pod settles onto solid ground again.

The space isn’t small, but it’s not large either, and while it’s mostly monotone, a smattering of whites and beiges and glass, many of the surfaces are soft and plush. A large, round bed with many pillows, a glass panel that doubles both as a window and a screen is across from it. When you try the window, you realize your pod hasn’t moved completely underground, and you can still see the suns’ rays in the afternoon. You’d heard that the pods are set up this way for insulation. For heat, and for… sound.

You look towards Izuku again. His back is turned from you and he’s looking around the pod as well, examining every corner and crevice, his fingers rubbing his chin as he thinks. He’s a caricature of a thoughtful person, you think, soon distracted by the way his shirt hangs over the muscles of his back. He stretches for a moment, and you see the muscles flex under the thin fabric. Something stirs in your chest, then you look away quickly, deciding to search through the closets.

These algorithms hit the nail on the head when it comes to your type, you hate to admit.

Poring through the closets and drawers reveals all manners of lingerie and loungewear, as well as a few very specific costumes that seem to be for roleplay. Your face warms as you see a set of angel wings, and a bunny leotard, then you glance at him, wondering if these are the types of things he’s into. When you see the gladiator suit hung neatly right next to it, you can feel your blood run cold.

Yes, it’s what you’re into.

There’s a fridge in the center of the room with protein drinks, meal replacement shakes, fresh fruit, wine, chocolate and other sweets, as well as a call button for meals. Cutlery and dishes find themselves in another drawer, along with a small table spread and two chairs that appear at the click of a button in the wall. A makeshift fireplace.

Anything to set the mood.

Pornography in abundance. Dirty comics. You and Izuku both stare in awe at the sheer collection of spank material, then look at each other, and can’t help but laugh.

They really prepared for everything.

By the time you’ve looked at everything, your stomachs are growling. You share a meal together in polite conversation, which turns into friendly banter, laughter, and then soon, back into pregnant silence as you realize the sun is setting, and you remember there not on a date, not to become friends but for a purpose.

The ability to delay the inevitable is now being lost, and eventually you’re both acutely aware of the body that occupies the same space. Izuku looks up at you, clears the plate before him, and broaches the subject first.

“Have you ever-”

“Yes,” you lie.

“Oh.”

He looks down for a second, then looks up at you. You wonder if he’s disappointed, but soon he adds, “I’m sorry if I can’t meet up to expectations but I’m willing to learn how to make you feel good.”

Your stomach twists for a moment, but you offer a smile. He looks sincere, no waver in those bright, green eyes, and it warms you. The two of you clear away the dishes soon, and Izuku tells you he’ll be careful with your body, once clothing has been stripped away, and the two of you are bare and facing each other.

You don’t know what that will entail before he touches you, but the inevitable attraction you have towards him, the magnetic draw that he has to your body, informs you soon. Your lips meet, you on your tip-toes, and his arms reaching carefully around his waist. The first kiss is reticent, soft and anxious, the second is hungry, the third is greedy. His tongue tastes everything your mouth has to offer, yours fights to get its share as well. Your arms wrap around his shoulders, as your chest presses against his. Your hearts beat in time with each other. Thump, thump.

Izuku’s skin smells like spring water and freshly cut grass, and is soft and warm to the touch; his weight against yours is a comfort you’ve needed your whole life. His breath against your skin, soft kisses along your collarbone, between your breasts, over your lower belly, and finally culminating with his mouth laying over your clit makes your body buzz. He whispers something about reading that you cumming first will make you accept him better, but the way he eats you out hungrily makes you think that it’s less tactical and more for the pleasure of it. He’s good with his fingers, too, thick and deep in your crevices, gentle but purposeful.

The act of copulation can be such a solemn, resolute affair, but for you two it’s a new dance, where your bodies open up to each other in concert. Your bodies press and join together, your mouths each swallowing the other’s gasps as he enters you, as you take all of him in. You feel like heaven, he feels like paradise; the ebb and flow between you is perfect, unending. The sun sets without your notice because all you can see is each other.

Unconquered territory is discovered inch by inch, from inside out. Izuku makes your toes curl, your heart skip several beats as you cry out his name, even if you’ve just learned it moments ago. It’s a job, but the pleasure seems almost sinfully indulgent.

And you’re both extremely hard workers by nature.

Breathless by the time he’s filled you to the brim, you have to remind each other that you don’t have to be pregnant at this very moment. He pulls out of you reluctantly, and your body tries to hold onto him, but all good things must come to an end, even if temporarily.

“Are you okay?” he whispers over your knees.

You’re better than okay, full of affection and hope, flooded in hormones. You nod, Izuku offers a kiss to both your kneecaps as he applies just enough pressure with a forearm to keep your folded position. Parts of his semen slips out of you and he asks you if he can, and when you nod, cheeks warm and breathing steady, pushes the slippery substance back into your body with two fingers.

A timer goes off and he sighs, laying down beside you.

“Testing is at the end of the week,” he muses. He’s staring at the ceiling. You want to reach over to him, but it feels too intimate for a first meeting, even if he’s been in your guts, even if he’s planting himself forever into you.

“Yeah.”

“I think we can do it,” he adds. Your worn out body warms, wanting more already.

It’s just a job, you remind yourself. It’s work, not play. Duty, not love.

“Me too.”

Izuku turns to look at you, and he’s so earnest and sweet, you can practically imagine you are lovers, instead of biologically matched mates, and that rather than this transient mission, you’ll be together for the rest of your lives.

#izuku midoriya x reader #izuku x reader #izuku smut #izuku midoriya smut #daydreams: bnha #deku smut #mimi's notes

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beguines · 2 months

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Yet problems in the legitimacy of psychiatry's vocation have remained, and reached crisis point at the cusp of deinstitutionalisation in the 1970s. At the time, a number of significant studies demonstrated the profession's inherent tendency to label people as "mentally ill," to stigmatise everyday aspects of a person’s behaviour as signs of pathology, and to make judgements on a person's mental health status based on subjective judgements rather than objective criteria.

The study that had the most direct impact on the psychiatric profession—as well as public consciousness—at this time was David Rosenhan's (1973) classic research On Being Sane in Insane Places which found that psychiatrists could not distinguish between "real" and "pseudo" patients presenting at psychiatric hospitals in the United States. All of Rosenhan's "pseudo" patients (college students/researchers involved in the experiment) were admitted and given a psychotic label, and all the subsequent behaviour of the researchers—including their note-taking—was labelled by staff as further symptoms of their disorder. This research was a culmination of earlier studies on labelling and mental illness which had begun in the 1960s with Irving Goffman (1961) and Thomas Scheff (1966). Goffman's ethnographic study of psychiatric incarceration demonstrated many of the features which Rosenhan's study would later succinctly outline, including the arbitrary nature of psychiatric assessment, the labelling of patient behaviour as further evidence of "mental illness," and the processes of institutional conformity by which the inmates learned to accept such labels if they wanted to have any chance of being released from the institution at a later date. Scheff's work on diagnostic decision making in psychiatry formulated a general labelling theory for the sociology of mental health. Again, his research found that psychiatrists made arbitrary and subjective decisions on those designated as "mentally ill," sometimes retaining people in institutions even when there was no evidence to support such a decision. Psychiatrists, he argued, relied on a common sense set of beliefs and practices rather than observable, scientific evidence. Scheff concluded that the labelling of a person with a "mental illness" was contingent on the violation of social norms by low-status rule-breakers who are judged by higher status agents of social control (in this case, the psychiatric profession). Thus, according to these studies, the nature of "mental illness" is not a fixed object of medical study but rather a form of "social deviance"—a moral marker of societal infraction by the powerful inflicted on the powerless. This situation is summated in Becker's general theory of social deviance which stated that "deviance is not a quality of the act the person commits, but rather a consequence of the application by others of rules and sanctions to an 'offender.' The deviant is one to whom that label has successfully been applied; deviant behavior is behavior that people so label".

Bruce M.Z. Cohen, Psychiatric Hegemony: A Marxist Theory of Mental Illness

#bruce m.z. cohen #psychiatric hegemony #psychiatry

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redgoldsparks · 5 months

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BREATHE: JOURNEYS TO HEALTHY BINDING by Maia Kobabe and Sarah Peitzmeier, with colors by Ashley R Guillory, is now available for pre-order :D

A graphic guide to chest binding with real-life stories and research-backed advice from bestselling Gender Queer author Maia Kobabe and University of Michigan professor Sarah Peitzmeier. Breathe arose from the need for an evidence-based resource for folks considering chest binding as gender-affirming care. Its original form was a 32-page digital-only 'zine, but Peitzmeier and Kobabe saw potential for reaching a wider audience with an expanded version with more art and more exploration of what the research really shows about binding, designed to be easily readable as a printed book. This is the result. To create Breathe, Peitzmeier and her research team interviewed many people of different ages and backgrounds about their journeys with binding, and then she and Kobabe combined excerpts from those interviews with evidence-based resources on binding into this extremely accessible book. The result is both a practical resource for trans and nonbinary folks and an engaging and perspective-broadening read for anyone interested in what it means to be on a journey of expressing one's gender in the ways that are joyful, healthy, and affirming.

64 pages, fully illustrated, single tone colors. Due out from Dutton Books for Young Readers May 2024.

Please order it anywhere except Amazon :)

#chest binding #trans health #trans healthcare #transmasc #transmasculine

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saintvainglorious · 3 months

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My First Fanbind! A Black Sails Fic Anthology Series

It took me a year (and a lot of anxious research) before I worked up the courage to bookbind fanfiction, and after months of on-again-off-again work, my first fanbind is finally done!

I knew that if I was going to bookbind fic, I had to bind something from the Black Sails fandom, aka the fandom and show that have had the biggest impact on my life. Y'all, I almost went into academia to study slavery in the 17th-18th century Caribbean because of this show - when folks say this show rewires your brain chemistry, they are NOT kidding. THEE show of all time. Happy 10th anniversary to Black Sails! This fandom is small but mighty. May we continue to get our hearts and souls blasted to smithereens by this show for many years to come.

Ao3 abounds with magnificent Black Sails oneshots, so I decided to put together an anthology of my favorite Silverflint fics under 20k, which I split into two volumes. Included are works by @justlikeeddie, @vowel-in-thug, @balloonstand, @annevbonny, @francisthegreat, @nysscientia, and more! Thank you, thank you all, you brilliant wonderful people, for gracing the Internet with such amazing writing. When I read the fics in these anthologies I want to fling myself into the sun.

More on the design and binding process below the cut!

Vol. 1 Page Count: 270 (12 fics) Vol. 2 Page Count: 248 (11 fics) Body Font: Sabon Next LT (10.5 pt) Title Font: Goudy Old Style Other Fonts: IM Fell English, pirates pw

The typeset (which I did in Word) took a while, mainly because I'd never done it before. Manually adjusting the hyphenation line-by-line was especially tedious. After making these books, I abandoned Word in favor of InDesign, in large part because InDesign gives you way finer control over your justification and hyphenation settings.

Regarding my actual design choices, I'm happy with how the ocean motif on the title page turned out (it's not the same pattern as my endpapers, but they're complimentary) and I'm very fond of my divider dingbats, which are little swords! Goudy Old Style was a fun title font to use, since it's the font that Black Sails uses as its logo. The stories in Vol. 1 are divided into parts based on what Silver WAS at that point in the show (cook, quartermaster, or king), and Vol. 2 is split up into comedies, histories (AUs set in the canon universe) and tragedies - befitting Black Sails' Shakespearean ~vibes~.

I stuck to a flatback binding, as I wasn't feeling quite ambitious enough to try rounding and/or backing. I've learned that I ~Anakin Skywalker voice~ hate sanding, enjoy folding/sewing, and don't LIKE edge trimming but enjoy the results enough to make it worth it.

The real adventure was decorating the cover, which remained bare for months. After agonizing over Illustrator and experimenting unsuccessfully with HTV and lokta paper embossing, I ultimately turned to using stencil vinyl to paint on the designs. There was a bit of seepage under some of the stencils, but I was able to scrape off the excess with my Cricut weeding tool without damaging the coated surface of the bookcloth (probably Arrestox Blue Ribbon from Hollander's). Even though it was very time-consuming, I'm so happy with the end result of the stenciled paint job and I intend to stick with stencils for my foreseeable future binds.

Are there things I would change? Sure. It was humid out when I printed, so the pages have got a wave. There’s an extra two pages in Vol 2. that I have no idea how I missed, and I got a line of glue in the middle of one of my Vol. 2 endpapers. I’m pretty sure I didn’t case in quite right, since my endpapers pull away from the case at the spine. I think the inner margins are a bit too big, and despite going line-by-line there’s still some wacky justification spacing in the typeset. But man, am I proud of these books! It is so satisfying to learn a new skill - MANY new skills, if we’re being honest - and to make something both beautiful and practical. If I’m still binding in two years or so, I can see myself redoing the typeset in InDesign, cutting out the existing text block, and reusing the cases. I’m also already planning for Vol. 3, which will be Silverflint Modern AUs.

Thanks for reading!

#bookbinding #fanbinding #ficbinding #my books #black sails #silverflint #fanfiction #bsanniversary #10yearsblacksails #10bsfest

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learningnewstuff · 7 years

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1 + 1 MODULAR PATTERN CUTTING SYSTEM

Designed as part of my MRes thesis; the 1 + 1 PROPOSITIONAL PATTERN CUTTING SYSTEM is a zero-waste, negative-waste and additive pattern cutting and clothing design system that scales a single block shape into a variety of silhouettes by repeating and assembling that block shape to create the complete garment. The system can be used with regular lengths of new cloth, end rolls of fabric and textile waste materials

1 + 1 DESIGN RESEARCH OUTPUTS

The design outputs form the 1 + 1 system illustrate a comprehensive working example of a holistic design system that puts waste up front in the design process.

The simple block shape economically utilizes the undeterminable varying shapes of waste material, it is repeated to form the silhouette of the design and can then be disassembled to then re-form a new style.

The already once consumed fabric can be unpicked and re-stitched into a transmutable shape that can transform the Box Roll Jacket into the kite wrap and the kite wrap can be disassembled to transform into the enclosed within rucksack and so on and so on.

NEXT STAGES for The UN – MAKE & RE – CLOTHE project is to use this work as a propositional tool to gain a deeper knowledge into the feasibility of introducing the 1 + 1 Propositional Pattern Cutting System to the market as an open source platform and a re-design / re-make distribution service.

#zero waste design #zero waste pattern cutting #modular pattern cutting #closed loop design #clothing making #critical making #critical design #practice based design research #design research #mres #Glasgow School of Art #design innovation #circularfashion #circulareconomy

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muffin-snakes-art · 5 months

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Hi. So I’m not a Layton guy and all THAT familiar with the lore, but a close friend of mine is, and as far as I understand Layton has a dead girlfriend? Can I please know who Magolor’s dead girlfriend equivalent in this AU is? I’m legitimately so curious. /pos

I have been thinking A LOT about which Kirby character would fit Claire's (dead gf) role. In the end I chose Taranza bc I feel he and Claire are the most similar in character. They're both really good at what they do (Claire: brilliant scientist - Taranza: immaculate mage), quick thinkers, humble, and have a lot of love to give.

I'll explain more under the cut (along with images of Claire and younger Layton for design ref), but Taranza could've also fit in as a couple other characters bc I made Sectonia as Descole. In this essay I will-

In Kirby there's an interesting connection between Magolor and Taranza. Primarily based on that one Magolor portrait in that haunted house in Triple Deluxe (like ok huh????) and also that one Star Allies Wave 3 illustration.

With that portrait existing, to me it implies that Magolor has met Taranza and Sectonia before the events of the game somehow. This theory is further backed up with the Old Friend mask in Merry Magoland. Magolor would HAVE to have known what Joronia looked like before her transformation, and that means he would also have met Taranza too at that time. I could be completely wrong about this HAHA but those are my thoughts on that.

When Wave 3 was announced, I didn't think much on the connection of the 3 characters other than they were from the first three core games of modern Kirby. But then they posted this art piece.

It's so cute how Magolor and Taranza combined their magic to create a shield for Kirby!! Both of their respective magic circle designs are melded together perfectly. Did they practice together on their own to perform this or was that a lucky in-the-moment occurrence? Either way, they must know and understand each other's magic abilities to a decent extent. Like how both Claire and Layton understands each other's careers and goals. Layton is a professor in archeology. Claire is a scientist researching time travel and other stuffs. Those fields go hand in hand, and the two do what they can to support and improve each other's passions.

Now onto the other characters that Taranza would've fit as and reasons why I ended up putting him as Claire.

So I put Sectonia as Descole. Descole has an extremely loyal partner/butler/henchman named Raymond. Yea Taranza would easily fit as him, but a few things made me decide not to. Descole may appear cold and not show it, but even in his madness he cares for Raymond. He does order Raymond around, but he still gives Raymond freewill to do as he pleases. Sectonia is very controlling over Taranza. If Raymond were to make mistakes, I don't see Descole punishing him for them. Sectonia would. She blasted Taranza away for mistaking Dedede as the hero of the lower world. Maybe when she was Joronia she wouldn't and wasn't as controlling but....I feel we don't have the full story on their relationship. I also focused more on Sectonia's overall in-game personality. I absolutely love seeing the two spiders enjoying each other's company and having fun, but in-game we never really got what Joronia really thought of Taranza. As Sectonia, she saw him as a disposable servant. You can say her personality was corrupted by the mirror, but I personally believe the mirror actually amplified her negative feelings and views. Negative emotions are brought up a lot in Kirby lore. I personally find that more interesting than just the mirror possessing her or something. I may be very wrong on that, but those are what I thought about.

Last reason, which is uhm, Raymond saves Descole from death FGDHSJ I don't think I need to elaborate on that. It would be so neat and ironic to have Taranza as Raymond, but I also wanna keep things in line as possible with Kirby lore canon.

Yet, who could be Raymond then? Idk fgdsj that's why I struggled so much. If Claire wasn't an option, Taranza would've been Raymond.

Now the one other character Taranza could've fit as is Descole's late wife. His wife was never mentioned by name, to my memory, and didn't have a huge role in the games. There's not enough information on who she was. I wanted to give Taranza a fitting role in personality and importance.

So in the end after all that thinking, Claire it is! I also don't know who else in the Kirby cast would fit her better and be Professor Magolor's late partner. One may think Susie would fit Claire more, but I've already decided she will be Emmy. Emmy's and Susie's personalities are very similar to me. And Emmy's lore? Fits quite well with Susie's. I'll draw that at some point.

So uh yea. Thanks for reading all that if you did! Hope you enjoyed the insanity

#feel free to disagree!#I thought about this for the past few days I am unwell #i spent a good few hours writing this #there are many other important things i could've put my time into but this is very important to me #one last thing...#I've also decided who'll be Don Paolo #mark HAHA #it sounds so dumb knowing the story but also fitting in character???#that may change but I can't stop thinking about Don Marx......#asks #anon ask #kirby #magolor #taranza #sectonia #PLxKirby #professor layton #hershel layton #claire foley #jean descole #nintendo #hal laboratory #fanart #clip studio paint #magoranza/taranzolor get yo food #i don't ship characters but this is a cute ship and I see the appeal #i feel there's more to say about Magolor's and Taranza's connection #and how it parallels Claire's and Layton's story #but I can't figure out how to word it and it's mostly hc based #am tired idk how to write

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sokosmic · 11 months

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Astro Observations for

Leo Rising...

(Will add notes as I have time and think of more)

House placements based on Whole Signs

🌤️ Heart-shaped faces/heads. Hair! Wide smiles. Fair skinned or come from a lineage of fair skinned people. Confident persona with big gestures. Leads with heart...wears heart on sleeves.

🌤️ They aren't self-centered or the attention seekers they may get painted. With a (Libra 3H) they're mindset and mode of communication is centered around building relationships. They desire fairness and harmony when connecting with others and often go out of their way to please people when making those connections.

🌤️ This often appears contradictory to the way they behave when actually in a relationship. With an (Aquarius 7H), they may behave aloof and distant. But that isn't necessarily the case. Aquarius here may cause the native to desire freedom from the constraints of a traditional relationship. These individuals may prefer relationships and partnerships that are unconventional and go against the norm...requiring changes that bring excitement.

🌤️ In their (Cancer 12H) there is a strong desire to nurture their spirituality and their connection to the collective. While it may not be evident based on their house of relationships (Aquarius 7H), this really does go hand-in-hand because Aquarians are humanitarians. (Cancer 12H) also indicates psychic abilities.

🌤️ Although it may come across cold, these folks work hard and give a lot. They are no strangers to hunkering down and getting sh¡t done (Capricorn 6H). There may also be knee, ankle, or general bone issues that arise from this placement.

🌤️ On the same note...having a (Virgo 2H) lends to a very meticulous way of acquiring their needs. These folks tend to be pretty business savvy and have a very admirable work ethic and way of obtaining money. These are the people at work who just seem to know how to organize and categorize things for efficiency.

🌤️ There may have been some sort of trauma experienced in the early home life (Scorpio 4H). Secrets and things hidden or swept under the rug is very likely in the family. May come from a lineage of women with psychic abilities or occult practices. Lots of intense and transformational experiences derive from this placement.

🌤️ Depending on placements in the natal chart, we typically see this show up in their (Leo 1H) as a fierce loyalty toward becoming their best selves. There is a natural expression of confidence, courage, and creativity that they exude. Just like the Sun, people can't help but to see them.

🌤️ We also see this come thru in their (Taurus 10H), where here there is a natural ability and expression of beauty and making things aesthetically pleasing. This is usually specific to their career and public image. Here we may find them work methodically in fields such as interior design, jewelry making/design, or a form of physical labor related to beauty or creating beautiful things, such as wood working, pottery, or glass making.

🌤️ Unless there are planets in the natal that restrict it, these beautiful people are incredibly social (Gemini 11H), and often find themselves with lots of friends and associates. They tend to be leaders among groups they are involved. These are also people who create groups or organizations that are geared toward sharing information...think Facebook and other social media platforms.

🌤️ And they enjoy it! Running those groups or being an admin or moderator is something they do as a hobby. This is rooted in that (Gemini 11H) where they really enjoy sharing all the knowledge they gather through their social connections, personal research and travels (Sagittarius 5H). And people love them because they are able to convey messages with their wit and charm. These folks are funny and flirty by nature.

🌤️ Having a (Pisces 8H) grants these individuals with great intuitive gifts. It is also makes these natives quite empathetic towards the dark, shadow aspects of others. They often possess a natural tendency towards healing themselves and others with spiritual practices that aren't widely accepted or recognized.

🌤️ But what society thinks is the least of these individuals' concern. Their overview of the world is filtered through the eyes of Self for these people (Aries 9H). Their philosophies are geared toward independent thinking, carving one's own path, fighting for what is fair and just, and championing for the underdogs (Aries 9H + Libra 3H).

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arc-hus · 7 months

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The House of Remembrance, Singapore - Neri&Hu

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huginsmemory · 11 months

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The Eye of Micheal design and the Zia Sun Symbol

I'm not exactly the best person to talk about this, since I'm not Zia/Tsʾíiyʾamʾé (an Indigenous people group from what is today called New Mexico, for those who don't know) but I'm also Indigenous and this is something that has been really bugging me for a while.

The new eye of Micheal design in Stampede is very clearly heavily based off the Zia Sun symbol, a symbol that is found on the state of New Mexico's flag... and is originally a sacred symbol of the Zia people that has been grossly misappropriated by the state itself and internationally.

ID: Two photos. Left is of the flag of New Mexico, with the Zia Sun symbol in the middle in red on a yellow background. There are four rays emanating from each cardinal direction from a circle in the middle, in such a way it forms what could be a 'square cross'. The rays touch the circle.

Right is a screen cap from episode 10 of tristamp, showing Wolfwoods contract. The symbol of the Eye of Micheal is on it. Instead of four from each cardinal direction, 'north' has three medium length rays, and 'south' has three long rays, while 'east' and 'west' have only one short ray emanating from (but not touching) the centre circle. As a result it looks like a typical Christian cross with a lengthened 'south'.

History

This article provides a really good background on it, but to summarize:

The symbol is an exceptionally significant religious symbol that represents the Zia themselves (along with other specific meanings) and is involved in religious healing and wellness processes; it was originally a secret symbol. However, the symbol was stolen from the nation by an anthropologist who was working with the nation, when he stole a piece of pottery with the symbol on it. The piece of pottery with the sacred symbol was then showcased in a museum, where another anthropologist took the design and submitted it for the flag of New Mexico; thus, it ended up becoming the state flag of New Mexico as we know today.

As a result, the design became legally public property, without the consent of the Zia, who now have no control over how the sacred symbol is used, and it has been grossly misappropriated and exploited by non-Zia, both within state and internationally. The Zia peoples have been lobbying to raise awareness of this issue, to both stop exploitation and frivolous use of the symbol which is considered desecration, and also have requested that those who want to use the symbol to ask for consent and for them to provide funds to the education of their children.

How this applies to tristamp

The Zia Sun symbol is, well, to put it bluntly, basically used as the symbol of the Eye of Micheal, just altered to more represent a typical Christian cross... something which would be considered misappropriation and desecration of the symbol. This ESPECIALLY so as the Eye of Micheal is clearly a Christian cult; misappropriating an Indigenous religious symbol and saying that it represents Christianity and a Christian cult no less, is, as an Indigenous person, EXTREMELY disrespectful, considering the history of Christianity and how it's been used to actively destroy Indigenous religion and culture. Also, as the symbol has been said to represent the Zia people, and is related to religious healing and wellness processes, having the symbol basically be used to represent an Christian cult of assassins who essentially medically experiment and abuse Wolfwood who is Hispanic-coded for their own gain is... Not great.

I overall understand that since as Wolfwood is heavily Hispanic coded, the crew behind stampede likely wanted to tie more of that into his background, and so seeing the Zia Sun symbol thought that would be a good way to nod to a Hispanic background (instead of, I dunno maybe not white washing him), but then failed to do proper research on it.

Going forward

Ok, so what does that practically mean for fans? Well, again... I'm not really the best person to say exactly what, but if this was my own nations sacred symbol, and by going from what I've read on the requests about the Zia Sun symbol then here's a few pointers:

I'd just avoid using the design in fanart. Hell, it's only showed up in tristamp, so there's plenty you can work with without the design, based around just general Christian imagery. I know a lot of people really like giving Wolfwood tattoos of the 'eye of micheal' symbol, since tattoos are hot, but I'd ask to please just use Christian symbols instead. I've seen so much nsfw fanart with essentially the Zia Sun Symbol...

For art you've already posted with the Zia sun symbol; it'd be nice to remove the art and put another version of the art up without the sun symbol.

Also, I know I've seen people talking about getting tattoos of it as a quiet nod to trigun... Please don't. It's more likely that people will recognize it as a Zia sun symbol rather than a Trigun symbol which might be an awkward conversation for you.

I do want to say this: I know most people don't know about this, and honestly I didn't know about the Zia sun symbol issue until a couple months ago when talking with a friend about Trigun. It's fine if you didn't know before! We live and learn and grow, and what matters is that going forward you adjust your behaviours.

TLDR: The 'Eye of Micheal' symbol is very clearly an adjusted Zia sun symbol, a sacred and originally secret symbol of the Zia people that was stolen from them and has been grossly misappropriated and exploited by both the state of New Mexico, and internationally. The Zia people as a result have asked people to not use the symbol without their consent. Within tristamp the use of the Zia sun symbol to represent a murderous Christian cult is extremely disrespectful and would be considered desecration, considering how Christianity has historically (and continues to) help destroy Indigenous culture and religion. As a result, it is suggested that artists avoid using it within fanart out of respect.

#trigun #wolfwood #nicholas d. wolfwood #trigun stampede #tristamp #informational post #eye of micheal #eye of micheal tristamp #livio the double fang #vashwood #trigun wolfwood #livio trigun

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mcverse · 1 year

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ꨄ︎ Paring: Neteyam x Avatar! F! Reader

ꨄ︎ Requested: Yes/No

ꨄ︎ Type: Part 1 out of 5 (Previous/Next)

ꨄ︎ Word count: 2.3K

ꨄ︎ Warnings: Death, conscious transfer, illness, depression, angst, not spell checked

ꨄ︎ Side Bar: Lied bout how many parts ✌️

please keep in mind that all characters in my stories are always 18+

You were the fault in the stars—an anomaly right from your first breath.

The sky people, who technically were your own, had descended upon Pandora with a singular intention of seizing what was not theirs, continuing the vicious cycle of destruction and resolution that had marred their history.

In the midst of this chaos, your parents, two faceless soldiers whose names and faces are shrouded in a haze of pain and heartache, had their own hidden agenda that they pursued with reckless abandon.

Their clandestine romance, born out of passion and desperation, resulted in your fragile birth—a constant reminder of their illicit love in a world that will struggle to accept you.

Much like spider, whom you considered your own brother now, the two of you were both deemed too young for cryogenic preservation and left behind on the unfamiliar terrain of the alien planet.

Unfortunately unlike Spider, your body was weak, afflicted with a genetic strain inherited from one of your biological parents. Perhaps this, among other factors, contributed to the decision to abandon you on Pandora, leaving you to face the harsh realities of survival alone.

Despite your rational understanding of the circumstances, as you came to accept the voice in your head as your own and not a figment of your imagination, the unjustness of their decision still lingers within you.

It certainly wasn’t fair.

Your delicate condition left you confined to the high camp, unable to roam freely and appreciate the majestic wonders of Pandora like Spider. Every step you took was accompanied by painful bouts of coughing, requiring you to rely on a specialized oxygen mask designed to alleviate your symptoms.

Even within the safety of the base built for humans, the air meant to sustain you offered no respite. Such was the irony of your existence, born into a world where both forms of air you breathed posed a constant threat to your survival. Life had thrown you a curveball long before you even knew what it meant.

But it wasn't all doom and gloom.

Although you were too young to return to Earth and too ill to venture far from your room, you seized the opportunity to explore what was within your reach. Every video log, every movie, and every book, left behind by the sky people, some of which a child shouldn’t have access to was reviewed by you to fill in the absence of adventure in your day.

For a while, it was sufficient, and you gradually came to terms with the inevitability of your fate. There was no cure for your ailment, not on Pandora, and certainly not without the funds to obtain one. You accepted that you would die here, in this place, as you.

It was during this time that you became fascinated with the study of physiology, absorbing every bit of knowledge about your own body and how it could have been saved under different circumstances. You spent countless hours researching medical practices and surgeries, diving deep into your own anatomy and discovering how various medications and herbs could extend or improve life.

Sharing your newfound knowledge with Spider, Lo’ak, and Kiri became a daily ritual that brought you joy and excitement. You would eagerly offer up fascinating facts to the Sully children and Kiri whenever they stopped by to visit or fetch your brother.

Though they didn't always grasp the intricacies of physiology like you did, they were just as enthusiastic to learn and would often opt to stay cooped up in your room, asking questions both silly and serious, and enjoying the happiness that radiated from you.

The moments spent with Spider, Lo’ak, and Kiri in your room were some of the best memories you would always treasure. It was through your eagerness to share your newfound knowledge and energy that you got to know them better, especially Kiri, who became your closest friend and confidante. You were so close that she was like a sister to you, always by your side.

However, the limitations imposed by your illness often left you feeling lonely and isolated when your friends were not around. Your physical limitations reminded you that you had a faulty body that was unable to explore the vast world of Pandora like they could. And that is where you messed up.

You fell into a deep depression, which gradually turned into a false sense of determination. You felt like you could survive out there like Spider, or rather, that you wanted to. What was the point of living if you had to live with this feeling of not being in control? It was actually pathetic.

It was a reckless decision to leave the safety of your home and venture into the forest, following the group of newly-adults, taking care to move slowly so as not to cough and give yourself away. It was even worse when you brazenly entered the Omaticaya clan, knowing full well that you were a stranger and seen as an enemy of the natives.

Being surrounded by creatures larger than you, most of them hissing and armed with weapons, was overwhelming. Panic set in, causing hyperventilation, which was exacerbated by your illness. Despite the mask, it was difficult to breathe, doing very little to keep you conscious and your eyes began to roll to the back of your head.

You welcome the darkness, craving the peace it brought, but never enough to end your life yourself. In that moment, you felt alive for once, and you never wanted to leave. You had no desire to return to the life you once had.

But things don't work that way, and eventually, your eyes flutter open. For a moment, you're disoriented, you wonder if you're still gone—whether you're dead or just existing to not exist. Your vision is still blurry, but as you blink and flicker your eyes, the colors of glowing, bioluminescent blue slowly come into focus.

The sight before you is truly breathtaking. The glow emanating from the tree mesmerizes you and fills you with a sense of wonder and awe. As you gaze at it in rapture, you feel an intense urge to touch it, to feel its warmth and energy. You reach out your hand, but to your shock, the hand that extends is not yours.

The hand that hovers before you is large, bony, and blue, with five fingers like yours. Confusion and bewilderment seize you, and you stammer out a feeble, "W-What?" as you try to make sense of what is happening.

As you stare at the mysterious blue hand, your eyes widen when you see another identical hand firmly grasp on the blue hand hovering before you. It's not just a visual illusion—you can feel the pressure on your skin. Slowly your eyes follow up the arm of the mysterious hand to find Kiri smiling softly at you, tears glistening in her eyes.

The sight of her tears immediately worries you, filling your head with warning bells and you return the squeeze, “Kiri, what’s wrong?” you ask, voice oozing in concern.

She returns your concern with a wider smile, her teeth gleaming under the bioluminescent light and shakes her head, “I’m okay,” she assures you, her hand trembling as she continues, “It’s just… to see you like this makes me so happy.”

Confusion etches on your face as you furrow your brow, struggling to comprehend Kiri's statement, "See me like what?" you mumble, tilting your head quizzically. Your eyes dart back to the now intertwined hands before you, trying to make sense of what you're missing.

As you feel Kiri's hand on the other bony blue hand, you can't help but notice that it's not your own. The hand is obviously Na'vi, which you are not. Your mind is filled with unanswered questions, and the nagging feeling of not understanding the situation consumes you. You look back at her, repeating your question with a sense of urgency, "What do you mean, Kiri? When you say 'see you like this', what am I like?"

Kiri kneels down beside you, and you feel her release your hand. She slides it up your arm and firmly grasps your bicep, while her other arm reaches around your upper back and uses all her strength to pull you up into a sitting position. You're momentarily discombobulated, realizing you must have been lying down before, but you can't remember when or how you ended up in that position.

“You fainted,” she replies softly after a beat of silence, pulling on you slightly to lean more on her. You look up at her, mouth slightly agape at her words, “You almost died,” she continues, brows frowning like her lips, “We almost lost you.”

The weight of her words hits you hard, and you feel a lump form in your throat. You inhale sharply, only to realize that when you do, your lungs contact and flatten smoothly without a following cough. It's a strange sensation, and you can't help but marvel at it for a moment, grateful to be breathing easily again.

Then your attention is back on Kiri, eyeing her questionably, as you notice something strange, “Did I grow or have you gotten shorter?” Whether it was sitting or standing, Kiri is normally seen towering over you by several feet, but right now she’s exactly the same level as you.

Kiri's expression twists into a grimace, and she opens her mouth to answer, but before she can speak, another voice cuts in, firm and straight to the point, “No! You have passed through the eyes of Eywa and returned.”

Your gaze shoots up to the source, and you find yourself gazing into the piercing yellow eyes of a female Na'vi standing before you. They felt as if she was looking straight through you, leaving nothing hidden or unexamined. Immediately your struck by the intensity of her. There's a raw power to her presence that feels both intimidating and awe-inspiring, as if you're standing before a force of nature.

“Come again?” you stutter, worry slowly creeping up on you as you are once again confused by another statement. You weren’t understanding a lot of what was going on right now. You tear your eyes from her to look back at Kiri and raise your brows at seeing Lo’ak and Spider now standing behind her.

When did they get there?

“What does she mean? Who is she?” You whisper hurriedly to your best friend, glancing occasionally at the boys, hoping if Kiri doesn’t give you the answers you want, they will.

“[Name],” another voice speaks, calling out to you. You perk up at it, instantly recognizing it to be Norm, which it was when you find him standing in his avatar body beside the mysterious woman from before. He walks closer to you, kneeling when close enough just like Kiri, “Sweetie, when you fainted, you stopped breathing for a few minutes. Jake called Max and I to help.”

Jake. That’s Kiri and Lo’ak’s dad. You’ve only met him once when he was stopping by to talk to Norm. He was really sweet and made you feel normal just like his kids.

“Okay…” you stare at him warily, waiting for him to get to the point.

He looks away briefly, seemingly to gather his thoughts before looking back at you, “Max and I know more than anyone how much you’ve been struggling. So even though we didn’t have the resources before, we were determined to help you,” he pauses as Max comes up behind him and beam at you, “We started making you an Avatar 6 years ago. Some test still needed to be ran but we’re out of time.”

You push away from Kiri slightly, lips forming a tight line as your squint at him, “What are you trying to say, Norm?” A part of you knew deep down, but the denial was heavy, to think you could be like everyone else, no illness or restrictions was a myth.

“You’re human body died, you are now consciously living in your avatar.”

His words caused a reaction, albeit a slow one. First your lips start to quiver, and your body trembles in disbelief before tears pool at your eyes. Kiri quickly wraps you in her arms, laying her head on top of yours as you lean your face into her to conceal your choked sobs.

To think something you had dreamed about has actually came true. The many nights you stay up, coming up with solutions to you, the problem. You didn’t know what else to feel, if not relief beyond the depths of your soul.

“Eywa has gave you a second chance,” Kiri mutters lowly, but it was loud to you as her hot breath fans your ears and cause it to twitch, “I’m so happy for you, [Name].”

This time you pull away from her completely, smiling up at her with glossed over eyes and chest filled with so much warmth, you might overheat, “Thank you, Kiri.” Slowly, you rise up from your sitting position with her help. You were stunned at the distance from the ground at full height. This was going to take some time to get used to.

“Max, Norm… Thank you, I can’t express that enough.” You try to walk to them, but your legs were wobbly so you more like stumble instead. Eventually, you reach them and pull them both into a hug, which probably looked silly as Max was the shortest by far in the bunch.

“You being safe and healthy is enough.” Max says, being the first to pull away and Norm nods, agreeing with him as he pulls away next, “We still have to run test though.”

You chuckle at that, rolling your eyes as you nod to him, “Understood.” You didn’t care how many test they had to run, as long as you were able to run and breathe without falling over.

Run.

You wanted to run.

Your ears flicker at the thought, stalling your side quest as your attention is drawn to them. You went to grab them in awe and felt something swish behind you, “Huh?” You twist your body, wait a second, and laugh when your eyes land on a tail; your tail, “Amazing!” You exclaim, smile growing wider.

Someone clears their throat, successfully making you stop and look at who did. To your surprise it was Jake, who was standing by the female Na’vi from earlier. He too had a smile on his face, happy to see you back and better than ever.

Though he haven’t spent much time with you, he was sympathetic to your situation, as it felt somewhat similar to his past self and unknowingly to you, have allowed Norm and Max to create a Avatar for you. It was only a matter of time before you became one like him.

“How are you feeling?,” he smiles warmly at you, like a father does his child. It made you feel giddy and shy, “It might feel strange at first, but you'll get used to it.”

You give him a curt bow, afraid to look him in the eyes. Before it was easy, it just felt different now. You couldn’t explain it, you just knew, “Thank you, it feels… different but I’m still me.”

He nods, walking closer to stop a foot away, “Good… [Name], you are Na’vi now. That means you have the opportunity to become apart of the Omaticaya clan.” He raises a hand and places it on your shoulder.

You knew what that meant. That means you’ll have to complete rites to become one of them. But that was the least of your worries; you knew nothing out the land except from what you read or what Norm brought back and you didn’t know how to hunt or fight for yourself. There was no way you can pass.

As if he can read your mind, he points to a male Na’vi, much younger than him with braided hair and sharp features. He resembles a handsome sculpture you read in history books, but better, “My son, Neteyam, will teach you the way of Na’vi.”

“Dad,” Lo’ak steps forward to protest but gets shut down with one look, his eyes cast down and he steps back into the background.

Poor Lo’ak, you thought, didn’t even stand a chance.

“Neteyam is a good teacher and warrior. You’ll learn fast.” Jake tells you, proudly.

“T-Thank you.” You bow again, much deeper this time. You didn’t know why you were bowing or if it was even appropriate in this situation, you just read somewhere that it was respectful.

He nods again, turning away to walk over to his son, the one he calls Neteyam. He whispers something to him, something that causes his lips to form a tight line and look over at you in annoyance as his dad leave him there.

You flinch at that and look away abruptly, just now taking notice how there were a whole ton of Na’vi circling around you all. How overwhelmed must you’ve been to not notice?

Suddenly, the air was knocked out of you temporarily as a force hits your stomach. Looking down, your body relaxes when you see it’s Spider. It was a little weird to be the taller one this time, but that didn’t stop you from returning his hug.

“Do that again and I will kill you!” He spits, glaring up at you in faux aggression. His hold on you, along with the pout on his lips tells the opposite of his words, “Scared the hell out of me.” he eventually admits, glare softening a great deal.

“That’s the opposite of what we want, bro.” Lo’ak comes up beside you and swings his arms over your shoulder, pulling you into a side hug of some sort, “But if you do, I’ll team up with him to make it happen.” He teases, smirking at you.

Kiri comes up from behind to push him off you, replacing his arm with hers around your waist, “Over my dead body,” she rolls her eyes and cheese at you, “I can’t wait to show you pandora. You’re going to love it,” she says, tugging you with her towards the forest, “Come on.”

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moss-wood · 2 months

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i was doing some research into the royal mint court, which is where the OIAR offices are located, and which was also built by robert smirke

in addition to pressing coins, this mint also served as a gold refinery, in which gold was completely purified into bullion (metal refined to extremely high elemental purity)

now, this is where i have the potential to be completely off base, but given the many reoccurring references and use of alchemy and alchemical symbols/themes, i don’t think this is too far-fetched.

one of the three main goals and aspirations within alchemy is the transmutation of metals, particularly lead into gold. the other two are to create an elixir of eternal youth/health, and to create the philosopher’s stone (which was an item supposedly with the power to grant the user both of these things).

there is certainly much to delve into there, but that is for another post. for now i will focus my thoughts around the transmutation of metals into gold.

we have already heard many statements which focus on transformation, so this theme is already quite prevalent within our minds.

there has been less explicit mention of alchemy outside of daria’s statement (in reference to ink5oul) and the symbols on the OIAR logo. it was a very important element in the ARG (of undetermined canonical status, but likely to be relevant at the very least) which i am choosing to treat as if it is canonically relevant, if not entirely canon. for the sake of this post, though, i will just focus on what is in the podcast so far.

now, to go on a bit of a tangent:

the symbols within the OIAR logo are the symbols for salt and mercury, and the logo itself is the symbol for the philosopher’s stone turned upside down (inverted?).

salt and mercury are two of the three primes within alchemy, representing body and mind, respectively. salt is often seen in alchemy as a material that is found impure and then purified by human hands(themes of transformation). mercury, due to its common liquid state, was thought to be able to shift between life and death and represented the ability to transcend death (themes of immortality).

i am less certain on the significance of the symbol for the philosopher’s stone being inverted, but i doubt it was simply a meaningless design choice, especially when considering the significance of tma’s logo design. at this point in time, i would infer that it is possibly representative of a goal to reverse the effects of such a stone, like an anti-philosopher’s stone. however, i have a hard time deciphering a motive for such a thing. my only thought hinges on the accuracy of the theories about JMJ in which jonah, jon, and martin are (trapped) in the computer (possibly an immortal state, yet undesirable?) and also possibly being amalgamated together, unable to be separated (wishing to reverse this transformation). i will investigate this further.

-end tangent

i believe the transmutation of gold is also a significant idea here. gold itself is representative of perfection within alchemy, and is an incredibly significant element of the practice. i also think it is interesting to note that the sun and the heart are associated with gold as well in alchemy, particularly when considering how averse the OIAR seems to be in regards to staff exposure to the sun. their staff work the night shift despite having a job that has no business occurring outside of the regular business hours, LEAST of all the night shift. in the latest episode (6), sam speaks about how he misses the sun and doesn’t want to shut it out entirely, while alice tells him that “the sun is the enemy”.

aside from isolating their employees to make them more susceptible victims, this could be another motive for such hours.

in addition, the alchemical symbol for gold is a circle with a dot in the center, which looks similar to an eye. with what we know of the significance of eyes in tma and eyes being specifically mentioned when they are maimed or removed in statements thus far (redcanary, violinist, needles, and possibly the horror junkie), this seems like it could also be an important detail. (perhaps the sun is a watchful eye??/hj)

i still need to ruminate and investigate further on these ideas, but i wanted to get my initial thoughts down and out while in the moment.

#tmagp #the magnus pod #the magnus protocol #tmagp speculation #tmagp theory #tmagp spoilers #tma #the magnus archives

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