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canmom · 8 months

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Animation Night 173: Takashi Nakamura

Hi everyone! It's that time of the week again~

The day that puppets bite their gloves off.

Tonight on Animation Night we'll be taking a look at the works of Takashi Nakamura (中村たかし).

Nakamura is a director who flies under the radar a bit over here, but for those who know him, he's a unique director - one who we've actually encountered a couple of times before, actually! He directed one of my favourite shorts in Robot Carnival [Animation Night 158] Chicken Man and Red Neck, in which the machinery of a city comes alive to have a violently strange Bosch-like party led by a strange red-robed robot, witnessed only by one salaryman on a moped...

...and if you remember when we looked into the three adaptations of Project Itoh's novels [Animation Night 127], he co-directed Harmony with Michael Arias, a powerfully understated film about a high tech biopower future and people who reject its utopia through a suicide pact. We also saw him in the Japan Animator Expo, with the charming Bubu & Bubulina...

But let's give a fuller story...

As an animator, Nakamura entered the industry very young, signing on as a colourist and inbetweener at Tatsunoko in 1974 - at which point he was only 16, an aspiring mangaka newly arrived in Tokyo. Working in Tatsunoko's distinctive 'industry within an industry', he was introduced to Hirokazu Ishino's 'Anidō' association, in which he was introduced to not just many important animators but also had the chance to see animation from around the world, from Norm McLaren to Japanese independent animators like Kenzō Masaoka. The two films that got him most excited were Takahata's Horus, Prince of the Sun [AN41] and Disney's Fantasia [AN15], both of which contained incredible flexes of effects animation.

(Incidentally, it makes me happy that a lot of the films Watzky mentions showing at Anidō showed up on here! Following in the footsteps of giants and all that.)

Once Nakamura got the animation bug he put aside his manga aspirations and became a key animator, going freelance a couple years later. In 1979 he saw Galaxy Express 999, and got to witness the insane 'liquid fire' effects of Kanada, and he instantly became a devotee - soon enough getting a chance to work with Kanada directly.

And by the early 80s Nakamura was definitely making a name, already working in animation direction and solo-animating entire episodes of Gold Lightan for Tatsunoko. The next couple of years he'd end up working on Nausicaa, Macross DYRL and the with Rintaro [AN53, 134] on Genma Taisen. By now he was specialising hard in effects (not unlike Anno!), and his work had become terrifyingly elaborate, look at this building collapsing into every single element or the clothes coming to the life under the power of a psychic. His work also inspired another incredibly significant animator to enter the industry - Kōji Morimoto, future cofounder of Studio 4°C - and they ended up working together on Genma Taisen.

Meanwhile on Nausicaa, Morimoto handled some of its most memorable scenes like the opening sequence where Nausicaa is pursued by the giant Ohmu. Once again you see his fascination with effects and debris, like the shot where the Ohmu explodes out of the forest, sending stalks flying in every directions. In Macross DYRL he animated the scenes of the gravity flipping sideways and a street's worth of stuff tumbling down all at once, elaborating on a scene by Itano from the TV show.

In short, if there's lots of bits of stuff flying around in a mid-80s movie, there's a good chance that Nakamura was involved somehow.

Such a focus made him a perfect fit for the 'realist school' developing in the late 80s - whyat you might loosely call the Otomo circle. You see his work on both Manie-Manie/Neo Tokyo and Robot Carnival, and naturally enough he ended up part of the team for Akira. Given what he'd already accomplished, could he somehow step it up another notch? You bet.

Going by sakugabooru comments, Nakamura's role in Akira was mainly related to two things: explosions, and animation direction. Considering how iconic the explosions in Akira are, and how challenging it was to animate Otomo's very solid and 3D designs... the success of the film depended a lot on Nakamura's insane drawing skills. Further, he was a kind of 'teacher' to the rest of the staff, such as Morimoto. But this was apparently the 'limit' for Nakamura, and after Akira he turned from creating animation for others.

And this point marks a major stylistic turn in Nakamura's work. Starting with the World Masterpiece Theatre adaptation of Peter Pan, on which he worked as character designer, he adopted a highly stripped-down, simplified style. With all the Akira goodwill, he was able to pull in many of the new stars of the 'realist' school, from Okiura to Ohira. But his work became a lot less flashy, focusing more on a Disney-like approach where it's about creating a consistent sense of life rather than individual flashy sequences.

The Hakkenden [AN 122] was one of his first chances to experiment with the new style as a director, with Episode 4 really kicking off the series' trend of completely redesigning the characters according to the sensibilities of each director. He also worked on the kinda obscure but gorgeous realist-school film Junkers Come Here [AN 118] as his own film debut, Catnapped!, progressed.

So Catnapped! This is a weird movie. Many people see a Disney influence in its style, and it definitely broke the 90s trend with a younger target audience - but Disney could never make a movie filled with as much imaginative strange shit as this one. Watzky points out how much Otomo influence there is in the direction - dense environments and elaborate multiplane shots, in contrast to simple character designs which afford a lot of movement. These designs allow great animators like Okiura [AN139] (who animated most of the finale) to really go to town. There's a great para in Watzky's article on the different directions taken by the 'realist' animators.

Catnapped is a pretty short film at less that 80 minutes, a revel of visual imagination; Nakamura's next film A Tree of Palme is just as distinctive but in a different direction. It's another take on the Pinocchio story [c.f. AN138], but a very 'dark, metaphysical' one, with its biggest inspirations apparently being French - Moebius and René Laloux [AN71, 93], with Mutsuo Koseki coming up with art direction capable of comparing to Laloux. The three year megaproject pulled in animator legends from across the board - Inoue, Ohashi, Ando, Masuo, Matsutake, Umetsu! (Count how many directed part of Robot Carnival).

The character designs of Palme look simple in stills, but once you see them in motion, they're anything but - incredibly volumetric and full of life and movement.

In the 2000s and 2010s, Nakamura ended up working with Colorido and 4C a lot (naturally enough given the connection with Morimoto!), increasingly making effective use of CG in his projects. This led up to The Portrait Studio (写真館 Shashinkan) (c.f. AniObsessive) in 2015 - an almost solo short film, with Nakamura writing, storyboarding, designing characters and doing all the key animation, which is a kind of slice through Japanese history through the lens of a photographer who just wants to figure out a way to get his client to smile.

Much like Palme, The Portrait Studio combines simple character designs (in a stylised picture-book look) with very precise, realist animation on 2s and 1s to lend them a sense of density and 'existence'. Moreover, unlike most anime, it uses the raw pencils as finished lines instead of redrawing them clean on a computer. The style might call to mind Otomo's Cannon Fodder, and in fact the two films share a colour designer. 3D is integrated with an unusual degree of skill and subtlety. It makes for a fascinating combination, a very memorable and impactful film for all its apparent simplicity.

So, that's our focus for tonight! We'll be watching Catnapped!, A Tree of Palme and The Portrait Studio, and getting to find out what the deal is with Nakamura - one of the Very Important Guys in the history of anime, influential on so many of my faves... but all too often overlooked by people who aren't like, huge animation nerds.

If that sounds fun, come join me at twitch.tv/canmom - going live in just a minute! I've been wanting to do Nakamura for ages, and today I finally found energy for a writeup. See you there~

#animation night #takashi nakamura #catnapped #a tree of palme #anime

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obsidian-pages777 · 17 days

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Pick a Card: Career Guidance from Pallas Athena

Top Left (Pile 1) , Top Right(Pile 2) Bottom Left (Pile 3) ,Bottom Right (Pile 4)

Pile 1: Current Challenges and Obstacles

The Tower: This card suggests that significant changes or disruptions may be occurring in your career path right now. Pallas Athena's message here is to embrace these changes as opportunities for growth and transformation. Trust in your wisdom and strategic thinking to navigate through any obstacles that arise.

Five of Pentacles: This card represents financial challenges or feelings of lack. Pallas Athena reminds you to tap into your resourcefulness and inner strength during difficult times. Remember that setbacks are temporary, and with perseverance and strategic planning, you can overcome any financial obstacles in your career.

Channeled Key words:Resilience and Adaptability

Action Steps to consider:

Embrace change and consider exploring new career paths or industries that align with your skills and interests.

Seek opportunities for financial stability through budgeting, saving, or exploring alternative sources of income.

Focus on building resilience and adapting to changes in the workplace environment.

Consider seeking support from mentors or career coaches to overcome obstacles and navigate challenges effectively.

.....................................................*****************************************

Pile 2: Guidance and Wisdom from Pallas Athena

The High Priestess: Pallas Athena's message here is to trust your intuition and inner wisdom when making career decisions. Quiet your mind and listen to the subtle guidance from within. Your intuition is a powerful tool that can lead you toward the right path in your career journey.

Ace of Swords: This card represents clarity of thought and new opportunities. Pallas Athena encourages you to approach your career with clear intentions and a strategic mindset. Stay focused on your goals, and be open to seizing new opportunities that come your way. Trust in your ability to manifest success through your intellect and determination.

Channeled Key Words:Networking and Relationship Building

Action Steps to consider:

Explore careers that involve intuition, spirituality, or working in fields such as counseling, coaching, or holistic healing.

Consider opportunities in education, research, or intellectual pursuits that allow you to leverage your analytical skills and strategic thinking.

Pursue roles that involve clear communication, writing, or public speaking, where you can share your insights and wisdom with others.

Embrace leadership opportunities where you can use your intuition and intellect to inspire and guide others toward success.

..............................................*********************************************

Pile 3: Opportunities and Potential

The Empress: This card symbolizes abundance, creativity, and nurturing energy. Pallas Athena's message here is that there are abundant opportunities for growth and success in your career. Embrace your creativity and tap into your nurturing instincts to cultivate a fulfilling and prosperous career path.

Ten of Cups: This card represents emotional fulfillment and harmony in your career life. Pallas Athena reminds you to prioritize your emotional well-being and seek fulfillment in your work. Follow your heart's desires and pursue career paths that align with your values and bring you joy and satisfaction.

Channeled Key Words: Continuous Learning and Skill Development

Action Steps to Consider:

Explore creative industries such as arts, design, fashion, or entertainment where you can express your artistic talents and creativity.

Consider careers in fields related to nurturing and caregiving, such as healthcare, counseling, or social work, where you can make a positive impact on others' lives.

Look for opportunities to create a harmonious work environment or start your own business venture where you can cultivate abundance and prosperity.

Pursue roles that prioritize work-life balance and prioritize emotional well-being, such as remote work, flexible scheduling, or positions with supportive company cultures.

...................................................*****************************************

Pile 4: Pursuit and Manifestation

The Magician: This card represents manifestation and taking action to create your desired reality. Pallas Athena's message here is to harness your innate talents and skills to manifest your career goals. Believe in your abilities and take decisive action toward your ambitions. With focus, determination, and strategic planning, you have the power to manifest success in your career endeavors.

Six of Wands: This card symbolizes victory, recognition, and achievement. Pallas Athena encourages you to celebrate your successes and accomplishments in your career journey. Be proud of how far you've come, and continue to strive for excellence with confidence and grace. Your strategic thinking and perseverance will lead you to even greater heights of success in your career.

Channeled Key Words: Self-Reflection and Exploration

Action Steps to Consider:

Take proactive steps to pursue your career goals, such as networking, furthering your education, or acquiring new skills relevant to your desired field.

Consider entrepreneurial ventures or freelance opportunities where you can take control of your career path and leverage your unique talents and abilities.

Set clear intentions and goals for your career and take consistent action toward manifesting your aspirations.

Seek opportunities for recognition and advancement in your current career path or explore avenues for professional growth and development that align with your long-term objectives.

#pick a card #pick a pile #pick one #tarot reading #pick a photo #pick an image #career #career reading #psychic readings #psychic readers #pallas athena #message from Athena #tarot cards

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fullmoonandstar · 4 months

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Common Interests

Gale x gn Tav / Reader

Fandom: Baldur’s Gate 3

Rating: T

Word count: 1.3 k

CW: Dyslexia, vague mentions of past trauma

Summary: Your crush is well-read and you want to be close to him by picking up a book. It would be a good strategy if reading wasn't so hard.

Dyslexic gn Tav/Reader wants to impress Gale

A/N: inspired by this post

You were so concentrated on the task at hand that you didn’t notice the footsteps behind. You had found a nice secluded spot a bit away from the camp and settled on a fallen tree to continue your reading as you had done for the past few days.

“What are you doing?”

The question carried a smile, but you jerked, and the book slipped out of your hands. Gale snatched it out of the air, and you grasped at nothing.

“Hmm … an interesting read you have here. I would recommend following up with Sara Ibb’s take on the topic. They give a more balanced view.”

You felt your face burn and prayed to the gods that Gale was too distracted by your choice of book (you had found it in the cellar of an abandoned house) to notice.

He rattled on about the nuances of using weave grass in potions, and you could not help but let the corners of your mouth creep upwards. Gale’s enthusiasm made your insides feel all warm and soft.

“Oh, I totally lost you in the barrage of words. I …” Gale laughed nervously. “How did you like the book?”

“It was good.” you said a bit too quickly.

His eyes narrowed slightly, and he looked at you suddenly intrigued, as if you were a puzzle to be solved.

“Come, my friend, what did you really think?”

You panicked. What would be an acceptable thing to say? Your heart beat faster, and you were stuck between wanting to flee and not being able to so without making a bad impression.

The seconds dragged on, but no words left your mouth. Gale watched your silent struggle for another heartbeat before sitting down next to you and waited.

"It’s hard to read." you said finally. Gale’s brows furrowed and you stammered an explanation. "I can understand it, I can read, but it’s so difficult to read.

"Why?" Gale asked softly. The ball of anxiety and embarrassment was melted away by his warm presence. You had been so caught up in your own head that you had forgotten how save Gale made you feel, like you could tell him everything.

"I’m not sure how to explain it." you paused to think. "It’s like the letters come in and out of focus, like they move around on the page if I don’t give it all my attention."

Gale nodded slowly in the corner of your eye, but you couldn’t look at him. You had never told anyone about this and if you were honest, your school days and the embarrassment that was your inadequate reading skills were still hanging in the back of your mind.

"I hope you don’t think me rude, but why are you reading that if it’s hard for you? I remember you saying you are not big on books."

Now he had hit the target, the big question.

"Which is understandable for someone with your condition."

"My condition?"

"Dyslexia, from the sound of it."

"Is it fatal?"

Gale laughed, and his eyes sparkled with amusement.

"No, and it’s not contagious either." He smiled at you, the sweetest thing you had seen in a while.

"As far as we know, it stems from individual difference in how the brain works and has nothing to do with intelligence or lack thereof. People with it have problems reading or writing, in various degrees of severely. It’s pretty common, but before when reading was a skill not many were allowed to learn, we didn’t notice that about 1 in 10 people has problems with it. You should have seen Val, their writing was atrocious but a very fine wizard indeed." He smiled wistfully. "You have nothing to worry about."

You looked at the book in your hands in a new light. Since your school days, you had struggled, but now at least you had a name for the trouble you had.

"Thank you, Gale."

Your eyes met, and your heart skipped a beat. He looked stunning just sitting next to you, and a warm wave of affection rolled over you. You opened your mouth to say something when Gale leaned over. For a moment, you thought he would kiss you, but he reached out and took the book.

"Do you want me to read it to you? Or maybe something else? I have a collection at my tent." He gave you a bright smile while you still recovered.

Snap out of it, you told yourself, you’re acting like a love sick puppy.

"Choose whatever sounds interesting."

"You want to read to me?" you said when your brain had caught up.

"Yes, I do enjoy the sound of my own voice, and you seek knowledge."

Gale was someone who talked a lot, but you would be lying if you said you did not like that about him. It was his openness that drew you in, in the first place.

He studied your face and added: "That’s very attractive."

A twig snapped behind you and both, you and Gale jumped.

"There you are!" Karlach appeared with a leaf in her hair that was sizzling.

"Food is almost ready, let’s get back before we eat everything without you."

Shadowheart was not a chef cook by any means, but she and Wyll had a good tag team on the hearth. You ate with gusto, and forgot all about your conversation with Gale.

After dinner, he came over and said:

"My offer still stands. If you'd like, you can come over at any time."

"Now?"

"Sure, come." He held out his hand to help you stand up from the log you were sitting on, and you took it.

Gale had not been lying about the collection he had.

"You carry all this in your bag?!"

"Not technically, I have this pocket dimension…"

"Wizard stuff."

He laughed.

"Yes, Wizard stuff."

You found a book that sounded interesting and handed it to him.

"Ah, yes, I could have known this one would pique your interest."

Gale sat down on his bedroll, and you sat next to him.

"Strap in, you will love this. Such a good read."

————————-

When you opened your eyes, you panicked, not knowing where you were and why you felt so warm. This was not your tent, and you lay under a blanked with a warm body pressed to you, an arm holding you in place. The memory of last night came back to you. Gale reading to you, and you were slowly shifting from a sitting position to lying down on his bedroll. At some point, you must have drifted off to a dreamless sleep, the first one since your infection.

Gale stirred, nuzzling your neck sleepily before freezing.

"Oh, I’m sorry." he said and began to pull back, but you caught his hand as it retreated.

"Don’t." You pull his hand back into the position it was, you tight in his arm and his body pressed against your back. "It’s nice. Let’s stay a bit longer."

He said your name, and you looked over your shoulder. His hair was in disarray, but it made him even more endearing, not less.

"Why did you start reading books?"

He had asked the question that you had not answered the day before, and it seemed he already knew the answer.

"There is this person I like, they are really smart, and I wanted to be closer to them. To him."

Gale shifted until you were on your back, facing him. You noticed the little wrinkles the pillow had made on his face but also the fullness of his lips. His eyes studied your face and got caught by your lips.

You reached out and ran your fingers from his temple down the side of his face through his soft beard. Your hand on his chin, you nudged him to lean in, and he followed your request.

Check my Masterlist for more

#baldur's gate 3 #bg3 #gale of waterdeep #gale x reader #gale x tav #gale dekarios #bg3 fanfiction

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mostlysignssomeportents · 6 months

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The (open) web is good, actually

I'll be at the Studio City branch of the LA Public Library tonight (Monday, November 13) at 1830hPT to launch my new novel, The Lost Cause. There'll be a reading, a talk, a surprise guest (!!) and a signing, with books on sale. Tell your friends! Come on down!

The great irony of the platformization of the internet is that platforms are intermediaries, and the original promise of the internet that got so many of us excited about it was disintermediation – getting rid of the middlemen that act as gatekeepers between community members, creators and audiences, buyers and sellers, etc.

The platformized internet is ripe for rent seeking: where the platform captures an ever-larger share of the value generated by its users, making the service worst for both, while lock-in stops people from looking elsewhere. Every sector of the modern economy is less competitive, thanks to monopolistic tactics like mergers and acquisitions and predatory pricing. But with tech, the options for making things worse are infinitely divisible, thanks to the flexibility of digital systems, which means that product managers can keep subdividing the Jenga blocks they pulling out of the services we rely on. Combine platforms with monopolies with digital flexibility and you get enshittification:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

An enshittified, platformized internet is bad for lots of reasons – it concentrates decisions about who may speak and what may be said into just a few hands; it creates a rich-get-richer dynamic that creates a new oligarchy, with all the corruption and instability that comes with elite capture; it makes life materially worse for workers, users, and communities.

But there are many other ways in which the enshitternet is worse than the old good internet. Today, I want to talk about how the enshitternet affects openness and all that entails. An open internet is one whose workings are transparent (think of "open source"), but it's also an internet founded on access – the ability to know what has gone before, to recall what has been said, and to revisit the context in which it was said.

At last week's Museum Computer Network conference, Aaron Straup Cope gave a talk on museums and technology called "Wishful Thinking – A critical discussion of 'extended reality' technologies in the cultural heritage sector" that beautifully addressed these questions of recall and revisiting:

https://www.aaronland.info/weblog/2023/11/11/therapy/#wishful

Cope is a museums technologist who's worked on lots of critical digital projects over the years, and in this talk, he addresses himself to the difference between the excitement of the galleries, libraries, archives and museums (GLAM) sector over the possibilities of the web, and why he doesn't feel the same excitement over the metaverse, and its various guises – XR, VR, MR and AR.

The biggest reason to be excited about the web was – and is – the openness of disintermediation. The internet was inspired by the end-to-end principle, the idea that the network's first duty was to transmit data from willing senders to willing receivers, as efficiently and reliably as possible. That principle made it possible for whole swathes of people to connect with one another. As Cope writes, openness "was not, and has never been, a guarantee of a receptive audience or even any audience at all." But because it was "easy and cheap enough to put something on the web," you could "leave it there long enough for others to find it."

That dynamic nurtured an environment where people could have "time to warm up to ideas." This is in sharp contrast to the social media world, where "[anything] not immediately successful or viral … was a waste of time and effort… not worth doing." The social media bias towards a river of content that can't be easily reversed is one in which the only ideas that get to spread are those the algorithm boosts.

This is an important way to understand the role of algorithms in the context of the spread of ideas – that without recall or revisiting, we just don't see stuff, including stuff that might challenge our thinking and change our minds. This is a much more materialistic and grounded way to talk about algorithms and ideas than the idea that Big Data and AI make algorithms so persuasive that they can control our minds:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

As bad as this is in the social media context, it's even worse in the context of apps, which can't be linked into, bookmarked, or archived. All of this made apps an ominous sign right from the beginning:

https://memex.craphound.com/2010/04/01/why-i-wont-buy-an-ipad-and-think-you-shouldnt-either/

Apps interact with law in precisely the way that web-pages don't. "An app is just a web-page wrapped in enough IP to make it a crime to defend yourself against corporate predation":

https://pluralistic.net/2023/08/27/an-audacious-plan-to-halt-the-internets-enshittification-and-throw-it-into-reverse/

Apps are "closed" in every sense. You can't see what's on an app without installing the app and "agreeing" to its terms of service. You can't reverse-engineer an app (to add a privacy blocker, or to change how it presents information) without risking criminal and civil liability. You can't bookmark anything the app won't let you bookmark, and you can't preserve anything the app won't let you preserve.

Despite being built on the same underlying open frameworks – HTTP, HTML, etc – as the web, apps have the opposite technological viewpoint to the web. Apps' technopolitics are at war with the web's technopolitics. The web is built around recall – the ability to see things, go back to things, save things. The web has the technopolitics of a museum:

https://www.aaronland.info/weblog/2014/09/11/brand/#dconstruct

By comparison, apps have the politics of a product, and most often, that product is a rent-seeking, lock-in-hunting product that wants to take you hostage by holding something you love hostage – your data, perhaps, or your friends:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

When Anil Dash described "The Web We Lost" in 2012, he was describing a web with the technopolitics of a museum:

where tagging was combined with permissive licenses to make it easy for people to find and reuse each others' stuff;

where it was easy to find out who linked to you in realtime even though most of us were posting to our own sites, which they controlled;

where a link from one site to another meant one person found another person's contribution worthy;

where privacy-invasive bids to capture the web were greeted with outright hostility;

where every service that helped you post things that mattered to you was expected to make it easy for you take that data back if you changed services;

where inlining or referencing material from someone else's site meant following a technical standard, not inking a business-development deal;

https://www.anildash.com/2012/12/13/the_web_we_lost/

Ten years later, Dash's "broken tech/content culture cycle" described the web we live on now:

https://www.anildash.com/2022/02/09/the-stupid-tech-content-culture-cycle/

found your platform by promising to facilitate your users' growth;

order your technologists and designers to prioritize growth above all other factors and fire anyone who doesn't deliver;

grow without regard to the norms of your platform's users;

plaster over the growth-driven influx of abusive and vile material by assigning it to your "most marginalized, least resourced team";

deliver a half-assed moderation scheme that drives good users off the service and leaves no one behind but griefers, edgelords and trolls;

steadfastly refuse to contemplate why the marginalized users who made your platform attractive before being chased away have all left;

flail about in a panic over illegal content, do deals with large media brands, seize control over your most popular users' output;

"surface great content" by algorithmically promoting things that look like whatever's successful, guaranteeing that nothing new will take hold;

overpay your top performers for exclusivity deals, utterly neglect any pipeline for nurturing new performers;

abuse your creators the same ways that big media companies have for decades, but insist that it's different because you're a tech company;

ignore workers who warn that your product is a danger to society, dismiss them as "millennials" (defined as "anyone born after 1970 or who has a student loan")

when your platform is (inevitably) implicated in a murder, have a "town hall" overseen by a crisis communications firm;

pay the creator who inspired the murder to go exclusive on your platform;

dismiss the murder and fascist rhetoric as "growing pains";

when truly ghastly stuff happens on your platform, give your Trust and Safety team a 5% budget increase;

chase growth based on "emotionally engaging content" without specifying whether the emotions should be positive;

respond to ex-employees' call-outs with transient feelings of guilt followed by dismissals of "cancel culture":

fund your platforms' most toxic users and call it "free speech";

whenever anyone disagrees with any of your decisions, dismiss them as being "anti-free speech";

start increasing how much your platform takes out of your creators' paychecks;

force out internal dissenters, dismiss external critics as being in conspiracy with your corporate rivals;

once regulation becomes inevitable, form a cartel with the other large firms in your sector and insist that the problem is a "bad algorithm";

"claim full victim status," and quit your job, complaining about the toll that running a big platform took on your mental wellbeing.

https://pluralistic.net/2022/02/18/broken-records/#dashes

The web wasn't inevitable – indeed, it was wildly improbable. Tim Berners Lee's decision to make a new platform that was patent-free, open and transparent was a complete opposite approach to the strategy of the media companies of the day. They were building walled gardens and silos – the dialup equivalent to apps – organized as "branded communities." The way I experienced it, the web succeeded because it was so antithetical to the dominant vision for the future of the internet that the big companies couldn't even be bothered to try to kill it until it was too late.

Companies have been trying to correct that mistake ever since. After three or four attempts to replace the web with various garbage systems all called "MSN," Microsoft moved on to trying to lock the internet inside a proprietary browser. Years later, Facebook had far more success in an attempt to kill HTML with React. And of course, apps have gobbled up so much of the old, good internet.

Which brings us to Cope's views on museums and the metaverse. There's nothing intrinsically proprietary about virtual worlds and all their permutations. VRML is a quarter of a century old – just five years younger than Snow Crash:

https://en.wikipedia.org/wiki/VRML

But the current enthusiasm for virtual worlds isn't merely a function of the interesting, cool and fun experiences you can have in them. Rather, it's a bid to kill off whatever is left of the old, good web and put everything inside a walled garden. Facebook's metaverse "is more of the same but with a technical footprint so expensive and so demanding that it all but ensures it will only be within the means of a very few companies to operate."

Facebook's VR headsets have forward-facing cameras, turning every users into a walking surveillance camera. Facebook put those cameras there for "pass through" – so they can paint the screens inside the headset with the scene around you – but "who here believes that Facebook doesn't have other motives for enabling an always-on camera capturing the world around you?"

Apple's VisionPro VR headset is "a near-perfect surveillance device," and "the only thing to save this device is the trust that Apple has marketed its brand on over the last few years." Cope notes that "a brand promise is about as fleeting a guarantee as you can get." I'll go further: Apple is already a surveillance company:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

The technopolitics of the metaverse are the opposite of the technopolitics of the museum – even moreso than apps. Museums that shift their scarce technology budgets to virtual worlds stand a good chance of making something no one wants to use, and that's the best case scenario. The worst case is that museums make a successful project inside a walled garden, one where recall is subject to corporate whim, and help lure their patrons away from the recall-friendly internet to the captured, intermediated metaverse.

It's true that the early web benefited from a lot of hype, just as the metaverse is enjoying today. But the similarity ends there: the metaverse is designed for enclosure, the web for openness. Recall is a historical force for "the right to assembly… access to basic literacy… a public library." The web was "an unexpected gift with the ability to change the order of things; a gift that merits being protected, preserved and promoted both internally and externally." Museums were right to jump on the web bandwagon, because of its technopolitics. The metaverse, with its very different technopolitics, is hostile to the very idea of museums.

In joining forces with metaverse companies, museums strike a Faustian bargain, "because we believe that these places are where our audiences have gone."

The GLAM sector is devoted to access, to recall, and to revisiting. Unlike the self-style free speech warriors whom Dash calls out for self-serving neglect of their communities, the GLAM sector is about preservation and access, the true heart of free expression. When a handful of giant companies organize all our discourse, the ability to be heard is contingent on pleasing the ever-shifting tastes of the algorithm. This is the problem with the idea that "freedom of speech isn't freedom of reach" – if a platform won't let people who want to hear from you see what you have to say, they are indeed compromising freedom of speech:

https://pluralistic.net/2022/12/10/e2e/#the-censors-pen

Likewise, "censorship" is not limited to "things that governments do." As Ada Palmer so wonderfully describes it in her brilliant "Why We Censor: from the Inquisition to the Internet" speech, censorship is like arsenic, with trace elements of it all around us:

https://www.youtube.com/watch?v=uMMJb3AxA0s

A community's decision to ban certain offensive conduct or words on pain of expulsion or sanction is censorship – but not to the same degree that, say, a government ban on expressing certain points of view is. However, there are many kinds of private censorship that rise to the same level as state censorship in their impact on public discourse (think of Moms For Liberty and their book-bannings).

It's not a coincidence that Palmer – a historian – would have views on censorship and free speech that intersect with Cope, a museum worker. One of the most brilliant moments in Palmer's speech is where she describes how censorship under the Inquistion was not state censorship – the Inquisition was a multinational, nongovernmental body that was often in conflict with state power.

Not all intermediaries are bad for speech or access. The "disintermediation" that excited early web boosters was about escaping from otherwise inescapable middlemen – the people who figured out how to control and charge for the things we did with one another.

When I was a kid, I loved the writing of Crad Kilodney, a short story writer who sold his own self-published books on Toronto street-corners while wearing a sign that said "VERY FAMOUS CANADIAN AUTHOR, BUY MY BOOKS" (he also had a sign that read, simply, "MARGARET ATWOOD"). Kilodney was a force of nature, who wrote, edited, typeset, printed, bound, and sold his own books:

https://www.theglobeandmail.com/arts/books/article-late-street-poet-and-publishing-scourge-crad-kilodney-left-behind-a/

But there are plenty of writers out there that I want to hear from who lack the skill or the will to do all of that. Editors, publishers, distributors, booksellers – all the intermediaries who sit between a writer and their readers – are not bad. They're good, actually. The problem isn't intermediation – it's capture.

For generations, hucksters have conned would-be writers by telling them that publishing won't buy their books because "the gatekeepers" lack the discernment to publish "quality" work. Friends of mine in publishing laughed at the idea that they would deliberately sideline a book they could figure out how to sell – that's just not how it worked.

But today, monopolized film studios are literally annihilating beloved, high-priced, commercially viable works because they are worth slightly more as tax writeoffs than they are as movies:

https://deadline.com/2023/11/coyote-vs-acme-shelved-warner-bros-discovery-writeoff-david-zaslav-1235598676/

There's four giant studios and five giant publishers. Maybe "five" is the magic number and publishing isn't concentrated enough to drop whole novels down the memory hole for a tax deduction, but even so, publishing is trying like hell to shrink to four:

https://pluralistic.net/2022/11/07/random-penguins/#if-you-wanted-to-get-there-i-wouldnt-start-from-here

Even as the entertainment sector is working to both literally and figuratively destroy our libraries, the cultural heritage sector is grappling with preserving these libraries, with shrinking budgets and increased legal threats:

https://blog.archive.org/2023/03/25/the-fight-continues/

I keep meeting artists of all description who have been conditioned to be suspicious of anything with the word "open" in its name. One colleague has repeatedly told me that fighting for the "open internet" is a self-defeating rhetorical move that will scare off artists who hear "open" and think "Big Tech ripoff."

But "openness" is a necessary precondition for preservation and access, which are the necessary preconditions for recall and revisiting. Here on the last, melting fragment of the open internet, as tech- and entertainment-barons are seizing control over our attention and charging rent on our ability to talk and think together, openness is our best hope of a new, good internet. T

he cultural heritage sector wants to save our creative works. The entertainment and tech industry want to delete them and take a tax writeoff.

As a working artist, I know which side I'm on.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/11/13/this-is-for-everyone/#revisiting

Image: Diego Delso (modified) https://commons.wikimedia.org/wiki/File:Museo_Mimara,_Zagreb,_Croacia,_2014-04-20,_DD_01.JPG

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/

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nightdepthss · 9 months

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so i took a course about gender violence at my uni to get like a certificate or something. It is four clases, the first one was about adultcentrism and it was very good, actually. The second one tho...

It was about gender but with a nb focus wich was interesting. First of all, i thought (wrongly) that it was about violence against women, so the clases would be only women professionals, but it was a man who was talking lmao.

And he had the worst takes and said shit like "i knew i wasn't a man bc i knew i would never fit in the providers rol" and i was like ????what did you just said??????? and he also,,,, goes to schools,,,, and talks about,,,, being transgender with LITERAL KIDS and shit

they talked so much about trans people and attacked radfems so openly i didn't said A WORD during the whole class

so yeah that inspired me creating this blog basically i just need to vent to someone

#radblr #gender critical #terfblr #terfsafe

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fairyhelpersrpg · 1 year

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Amor y venganza en forma de Prompts.

¡Hola, campanitas! ✨

En alusión a la petición de un anon y para seguir con la #actividad-del-mes, les dejamos algunas premisas con los sentimientos más intensos y la esperanza que les ayude a sus roles

¿Cómo confesarte a tu mejor amigo?

Amigos en universidad.

He estado en tus mejores y peores momentos; en los bajos siempre te apoyo y en los altos me encanta como brillan tus ojos. Perdóname si soy impertinente pero ya no puedo ocultarlo.

Amigos de la infancia.

Hemos sido mejores amigos desde que tengo memoria. Imaginar una vida sin ti a mi lado es imposible… no soy lo suficientemente valiente para decirte lo que siento pero verte hoy con otra persona me ha impulsado.

Amigos en Hogwarts.

Esa poción tiene un aroma que me recordó a ti.

Motivos para pasarte al lado oscuro (venganza).

Tu padre muere cuando eres pequeña y te enteras que eres parte de la otra familia. Sin embargo, él te ha dejado una buena suma de dinero que luego es arrebatado por la familia principal, no contentos, te despojan de los privilegios que gozabas. Como venganza, regresas años después con otro nombre a encargarte de cada uno de ellos, en especial de la temida esposa.

En un mundo post apocalíptico, es difícil no convertirte en un villano. Irrumpieron en tu refugio, quitándote tus escasas pertenencias y hasta a tu propia hija (hijo, hermanx). Lo único que te mantiene vivo es la sed de venganza; tienes un único objetivo y es encontrarlos. Cuando lo haces, te enteras que fue tu propia sangre quien organizó el ataque. ¿Qué haces? ¿Te dejas consumir por el odio?

Te has dejado consumir por la venganza confundiéndola por justicia. Es solo cuando estás apuntando con una pistola a la sien de una persona que en antaño te hizo un mal (o a tu familia o un ser querido), te preguntas: ¿valió la pena vender mi alma por esto a pesar de que ya no van a regresar? Si ya cometiste un crimen, ¿que mas da otro?

#prompts #actividad del mes #writing prompts #foro de rol #writers #rol inspiration #fairy helpers rpg

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robogirlwomb · 6 months

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His name was Sam, and I didn't hate him.

It wasn't his fault.

But he still had to go.

He didn't realize just how tired he was until he met me.

When I slithered out of the cold, dark corner I'd been hiding in, waiting, and he never knew.

All those mandibles and claws and eyes, sitting and waiting so patiently within him, and he never knew. Waiting like a boogeyman in the closet, like a troll under a bridge.

I explained everything to him, and he understood.

He was ready.

He was so shocked that this was to happen to him. He'd thought for so long that surely, he couldn't possibly be worthy of these desires, of such an honor.

I kissed his tears from his eyes. How could I possibly express how loved he was, that I loved him as much as he loved me?

I took him into my bed, and I loved him even more, made him feel as good as I could. It was the least I could do, with how he paved the way for me. Gave me a life to take from him.

That was his purpose. His purpose was for me.

I took his head into my lap, and slit his throat from ear to ear with my claw.

I stroked his forehead and sang softly to him as he bled out, all that beautiful crimson running over my legs and soaking into the sheets and mattress.

He smiled and whispered a "thank you" with his last breath as he faded away.

Once he was gone, and there was nothing left but me and the object his body had become, I tore into it with my teeth.

I ate his heart. It was thick and pulsing and juicy, dripping with his love.

I ate his soul. It wiggled like a fish as it slid down my gullet. I feel it wriggle within me, sometimes, but it mostly sits, curled up and warm and sleeping in my belly. Perhaps one day, I'll realize it's long gone, finally digested and faded away when I wasn't looking.

I ate his life, and savored every bite. Fol rol de ol rol.

I pulled his ribs tight around me, like a blanket.

I wear his bones as jewelry.

His skull sits on my mantel, where I can smile at it and kiss its forehead and tell it to have sweet dreams.

His loved ones know how I've stepped in, and they think they understand.

But they don't. Not really.

No one except me and him can really understand my becoming.

He gave himself to me. He was so kind, but so tired. So ready to go.

And I loved him. It would be an insult to not take his gift, to not use every scrap of who he was.

Perhaps his skin is a little ill-fitting for me. But what new home isn't a little bit of a fixer-upper?

(Inspired by the amazing @pillsburysoyboy . Its beautiful post about something very similar but also very different helped me find the words to type this all down)

#blood cw #cannibalposting #trans #trans tag #my posts #nsft #trans nsft

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ecoamerica · 2 months

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youtube

Watch the 2024 American Climate Leadership Awards for High School Students now: https://youtu.be/5C-bb9PoRLc

The recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by student climate leaders! Join Aishah-Nyeta Brown & Jerome Foster II and be inspired by student climate leaders as we recognize the High School Student finalists. Watch now to find out which student received the $25,000 grand prize and top recognition!

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ladycerise · 7 months

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#oc: jun norphine #oc: antonio selvaggio #kkoth #rol #kaelkoth #picrew #oc: giacomo a. bianchi #original character #inspiration #chillando #accuracy #me acabo de dar cuenta que Antonio no tiene orejas.#imaginenlas (?)

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boneinator · 26 days

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Fanbot pt.2 💥💥

Do u guys fw Rosetta I made this one completely on impulse . Also look at my lore boy ⬇️

So ! As I said before in that one post Rosetta is based on argentinian culture , she's genderfluid so she's constantly shifting between her dancer and gaucho mode , uses she/her and he/him exclusively respectively . She sings and plays acoustic guitar :]

She was built back in the xix century using silver (but was later repaired with scrap metal several times) and is powered by red matter ! Her creator fist intended her to be a replacement for his recently lost lover , but was helped by his community to finish her as some sort of communal companion , using her dancing skills carried over from her real life inspiration to cheer people up and later developing her "gaucho" persona to help in manual jobs . (I don't think any of you know what a gaucho is - it's like the here equivalent of cowboys just much more common at the time , most men had the gaucho rol)

Her original community has since been dissolved due to the passage of time , so now she travels by horse and lives a nomad like life occasionally making money by performing in bars the same songs she was taught at the beginning by her 'family'

Her main genre is tango ! And Buzzer is also here uhh they probably met around the beginning but they're friends 👍 brothers from different creators even

Also some concept doodles bc yeahh

#im still figuring her out so things might change - especially her design probably but im happy with what I have for now :]]#steam powered giraffe #spg #spg fanbot #rosetta spg #she has a tag now idc #traditional art #bone's singular crumb

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mirkwoodmunson · 2 years

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eat your lunch

eddie munson x f!y/n

815 words

eddie has a hard time calming down when he’s in one of his loud-mouthed moods, until you cram some food in his mouth for some peace and quiet.

contains: fluff, goofs, hellfire club, established relationship, jason carver, chrissy cunningham, pre-s4 tw: cursing, food mention/eating/forced eating but in a lighthearted way, playful hitting a/n: very short lil thang completely inspired by this post that i love and have been thinking about all day i love it so much i love goofy eddie. nate is just a random name for the one hellfire member they decided not to name for whatever reason :/ disc: i do not give permission to share my content outside of tumblr; please reblog and do not repost; my content (even sfw) is not meant for minors; i am not responsible for the media you consume online

Jesus fucking Christ he was really on one today.

Lucky for you all you were desensitized to it, half the school’s eyes drawn to the Hellfire club, drawn to the nerdy metalhead strutting proudly along the tabletop, giving his performance of the day. One of many, actually. Earlier in the hallway with you he had raised his arms to the ceiling, tipped his head back, and bellowed,

“FELLOWS OF THE HALLWAY!! PLEASE PART YOURSELVES — AS THE RED SEA PARTED BEFORE MOSES — FOR THIS GORGEOUS CREATURE IS ABOUT TO GRACE YOUR PRESENCE AND MUST PASS!! DO NOT LOOK UPON HER!! THOSE UNWORTHY SHALL BURST INTO FLAAAAME~!!”

Again, you were used to it. Before, when you were very first subjected to this type of torment, you would’ve been beating his arm and hiding your face, hissing at him to knock it off.

Now you just, roll your eyes. The crowd does part — mainly due to the weirdo screeching at them — but you reach up and grab one of Ed’s hands and drag him along behind you while his free arm still praises the heavens.

“SHE BLESSES ME WITH HER HEALING TOUCH!! I AM CLEANSED, I TELL YOU, CLEANSED!!”

Now, at lunch, you all munched and engaged in idle chatter amongst yourselves, having to raise your voices every now and then when Eddie got particularly loud. Dustin slides you half of a Cosmic Brownie, and you slide him back a single Twinkie like it’s a high-stakes deal going down — Lucas nudging his arm for half of that. Mike scribbles out a letter to Eleven. Gareth drums pencils on the edge of the table while Jeff and Nate grunt, engaged in an arm wrestling competition — which Eddie steps over every time he makes a lap.

“Dusty, honey, chew your food,” you comment softly as Eddie breezes between the two of you, brow puckered, as the boy practically swallows the Twinkie whole, Lucas groaning in defeat as he misses out on a taste of the golden treat.

“—buncha ball-bouncing pretty boys with sticks up your butts!!” Eddie exclaims as he addresses the table of jocks. That’s where you groan, eyes sliding shut as a chip drops from between your fingers. The others have tight lips, now shifting their eyes down, as Jason Carver meets Eddie’s challenge.

“Don’t think I asked, freak!” The blonde boy spits, standing from his table where Chrissy Cunningham attempts to pull him back down.

“Oh jeeeeeze,” Dustin groans, sinking down in his seat.

Sure, it was all fun and games and business as usual when Eddie was just, talking. Just loudly speaking his mind about whatever was bothering him about society that day. But when he got Jason riled up too, the fun quickly got sucked out of it, and things would get heated rather quickly. You notice Lucas giving you a look that says ‘please make him stop’ but you hold up your hands, snorting.

“Hey, that’s like waking someone up from sleepwalking. He might go feral.”

“He is feral!” Mike drops his pencil, unable to even try to continue concentrating as Eddie’s and Jason’s voices get louder and louder.

You all look over at the sound of impact, Eddie hopping down heavily from the table and immediately he and Jason getting into each other’s faces, Chrissy still trying to tug Jason’s arm. You make eye contact with her, and she rolls her head in exasperation, her look deeply apologetic. You nod at her and then stand up, grabbing Eddie by the scruff of his t-shirt.

He doesn’t protest, or pull or turn away, instead following your tugging with backwards steps as he jabs a finger in Jason’s direction, their words still heated but it seemed like they were starting to run out of fuel.

“Pansy-ass ball-jockey!!” Eddie throws a final insult as you toss him into his chair, slapping down his pointing hand as you drop back into your own. Chrissy settles her partner as well, keeping him turned away and getting him calmed down.

“Oookay okay okay,” you coo, picking up a handful of pretzel bits and stuffing them into Eddie’s mouth, holding the back of his head. He grumbles as he chews them, grumpy and agitated but starting to calm down as you practically mother him into returning to a docile state.

“Theeere ya go,” you coo again, more mockingly as you grin, satisfied with his silence. You pick up half your sandwich, gesturing to Eddie,

“Now shut up n’ eat your lunch, Munson. Wind-down time.”

The others at the table give you approving nods, grinning over the antics between their friends.

He sighs heavily and crosses his arms, chewing and grumbling still, but much calmer now. Whenever he throws a dirty glance at the jocks you simply hold up more food to him, smiling when he visibly softens every time and lets you feed him.

#eddie munson #eddie munson fanfic #eddie munson fluff #eddie munson fanfiction #hellfire club #stranger things #eddie munson x fem!reader #eddie munson x y/n #eddie munson x you #eddie munson drabble #drabble #short fic #stranger things fanfic #stranger things fanfiction #stranger things x you #mine

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