#it has len and kauri in it?
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6.08
Seminal interactive narrative influences:
'Myst' (1993): Developed by Cyan, "Myst" is a graphic adventure puzzle video game that offers players a non-linear narrative and an immersive, atmospheric experience. It was groundbreaking in its use of pre-rendered 3D graphics and intricate world-building.
"Welcome to Pine Point" (2011):
An interactive web documentary by The Goggles that explores the abandoned Canadian town of Pine Point. It combines photographs, videos, and interactive elements to tell the town's story in a poignant and engaging manner.
Dr David Evans Bailey - Caravan (2019) from his PhD thesis: Synchronous Reality: Place and Memory in Virtual Installation
https://openrepository.aut.ac.nz/items/d96cacfb-e940-49b5-b9f6-39252923410c
This practice-led research reanimates my own place-based memories; placing participants in an immersive installation to conjure sensorial recollections, both physical and virtual. Visual, aural, kinesthetic, tactile and olfactory perceptual encounters draw the audience into memories of particular interior spaces past. The research asks how personal experiences, in particular intimacy and solitude, can be evoked and intensified in a virtual space, over a duration of time. The term Synchronous Reality was developed to describe the simultaneity of multiple spaces and temporalities in a coherent virtual and physical installation that generates poetic-sensory interactions.
Through a series of installation events using the HTC Vive technology in gallery, lab and theatrical sites, I have explored the feeling of ‘being there’, through embodied experience. The primary methodology is autoethnographic, including creative stages of self-reflection, diaristic entries, photography and animation. I consider the kinds of intensive art experiences that can be generated through emergent VR technologies, at the interface between physical objects and virtual rooms, or psychological landscapes. The confined interior of a caravan has become a key figure where virtual objects conjoin with their physical counterparts in an installation form.



"Notes on Blindness: Into Darkness" (2016)
A VR project by Arnaud Colinart, Amaury La Burthe, Peter Middleton, and James Spinney, based on the audio diaries of John Hull, who lost his sight in 1983. The experience uses VR to recreate Hull's sensory and emotional experience, blending documentary with immersive art.
youtube
Joseph Michael
The Majestic Samaúma is a desktop focused web-based tool, which features a 3D animated model of a photogrammetry-scanned Samaúma tree in the Amazon rainforest is at its centre.
It can be used by teachers to educate students about global citizenship through an Indigenous Latin America lens.


Joseph Michael
Tūrama (2019)
The installation (pictured) was based on a series developed as part of my project Raised Up Sky, utilising scan data imagery from Tāne Mahuta and other magnificent kauri trees of the Waipoua forest.
The installation comprised a dual screen synchronised projection, accompanied by original audio compositions by Rhian Sheehan using four-channel sound.
"Realities" (2016)
Developed by Realities.io, this VR experience allows users to explore real-world locations that have been digitally captured using photogrammetry. The experience provides a narrative layer through environmental storytelling and exploration of historically or culturally significant sites.

Eno (2024) by Gary Hustwit
For over 50 years, Brian Eno has been on the cutting edge of music, art and technology.
To document his unconventional and relentlessly creative journey, filmmaker Gary Hustwit had to come up with an idea as ground-breaking as Eno himself.
Thanks to new generative software, his new documentary Eno appears as a different version at every screening.
"There can be billions of potential versions of the film but you'll learn a different kind of set of ideas about Brian every time you watch it," Hustwit told Music 101.
AI Dungeon (2019)
Created by Nick Walton, "AI Dungeon" is an interactive text-based adventure game powered by OpenAI's GPT-3. Players input text commands, and the AI generates responses and narrative continuations, allowing for nearly limitless storytelling possibilities.

Facade (2005)
Developed by Michael Mateas and Andrew Stern, "Facade" is an interactive drama where players interact with two characters, Trip and Grace, in a real-time 3D environment. The game uses natural language processing to generate dynamic dialogue and narrative paths based on player input.
"The Ice-Bound Concordance" (2014)
Developed by Aaron A. Reed and Jacob Garbe, this interactive narrative combines augmented reality with generative storytelling. It uses real-world data such as the user's location and weather to influence the story’s progression, providing a personalized experience.
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delilah knox’s instagram top 9 of 2018
this isn’t in chronological order, my need for aesthetic took over... oops?
001. april 2018 - delilah’s birthday post for kauri.
“happy birthday to my favourite human. i’m so proud of u and everything you do.”
002. june 2018 - delilah surprises her fans with new shorter hair w/ secret tease of future lyrics.
“mon coeur est à toi pour toujours”
003. march 2018 - out with friends.
“friends who know the best selfie angles are keepers.”
004. december 2018 - first picture of kauri since april.
“my love.”
005. august 2018 - delilah’s birthday post for herself.
“happy birthday to meeee.“
006. novemeber 2018 - magic’s release/promo.
“coming soon.”
007. september 2018 - lennox appreciation post.
“i have nothing if i don’t have you @lennoxdeluca”
008. december 2018 - delilah shows off new blonde hair.
“dogs man.”
009. january 2018 - delilah’s trip back to australia to visit her family.
“getting to see this loser makes the jet lag worth it”
#shinetask#&. — instagram. ‘♡#should i put more effort in?#yes but i'm too lazy oops?#&. — let’s get married and live on the moon. ‘♡#&. — this feels like falling in love. ‘♡#it has len and kauri in it?
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The Death of a Tyrant
Vincent Shield belongs to @ashintheairlikesnow
TW: antagonising, bbu content warning, owen grant
-
The lights shine down across the stage, three cameras spin and whirl in the shadows beyond. Vincent can feel the eyes beyond the camera watching every hair on his head. He can almost feel the millions of eyes on the other side of the lens.
Today was a long day of interviews for the first television show that he’s ever been in and Ann’s, the young actress to his left, first-ever adult role.
Vincent can almost feel her anticipation through his skin. The poisoned nostalgia freezes the air in his already tense lungs. The interview boasts eyes of venom and they are poised directly at him.
This interview was supposed to be about the show.
It turned into a drama cast very quickly.
“So,” The interview leans back, eyes scouring across Vincent’s face. He can feel the resignation behind his eyes. Simmering coals eat under him. Vincent can feel the question before it leaves his lips, “How has the recent tape release affected you, Vincent. It must be rather hard to deal with the aftermath of being forced to come out.”
Vincent pierces his lips. Watching the lens on the camera pointed at him shift, Vincent draws up the mask, “While I would rather we keep this conversation on Iscariot and the Strings of Time, I will say that there has been many people who have been very helpful during a time that has been definitely stressful.”
The interview looks almost disappointed, eyes dropping into shadows before perking up as the focus returns to him. Vincent can really tell in these moments that this man sitting across from him and Ann was once an actor. Every movement in his face is planned and Vincent can see Ann’s gaze trying to avoid his.
She’s not used to this.
“Vincent, how do you feel about the Director’s new Box Babe, Kat?”
There it is.
Vincent sighs, “Han and I have had a conversation about this. He did not want his decision to get in the way of professionalism. He is aware that I will not hesitate to contact the Commission if I see any sign of abuse.”
The interviewer pauses, waiting for more words to come. They do not.
Then, Ann laughs, shifting in her seat, “It looks like he pulled an Owen Grant, Kat looks so much like his ex-wife to the point where it’s almost uncanny.”
The air stills for a second as the words settle into the floorboards. The sound of the lights quietly can be heard above. Those few heart-chilling seconds seem to eat at the very fabric of his turtleneck. It suddenly feels just a little too tight.
The interview picks up again, “Well, I believe that all of us can say that we are looking forward to seeing how you two work together in this new dynamic.”
Vincent draws a smile onto his face with an invisible sharpie. Ann scrambles to scoop up her own as the camera does doubt pans out to view them all.
“Are you allowed to reveal a date?” The interview leans in, the side of his face away from the camera twitching slightly.
Ann nods and nearly bounces out of her chair. Vincent remembers the excitement when he was younger that came with being the one to say the date. He used to itch for it when he was with his old studio. Something else I’ve lost.
“The first episode will be available on Netflix on November 1st!”
The interviewer sits up straight and clasps his hands together, “I cannot thank you enough for your time out here today, thank you everybody for tuning in and we all anticipate the debut of Strings of Time.”
Vincent watches as the cameras are shut off and pulled away. He holds himself in the chair until all of the cameras have been pulled away and the interviewer stands. In one movement he is off of the stage and talking with someone. Vincent brings his hands on the armrests and pulls himself to his feet.
Vincent floats for the door, plans to go home, and just passes out on the couch already bubbling across his vision. He hates the air conditioning here.
Why did he have to get brought up?
Vincent adjusts his blazer and steps out of the recording studio. Regretting wearing a turtleneck, he makes his way towards his dressing room. The sound of his shoes clicking against the tiled floor echoes around him. Air catches in his throat as the faint memory of a different set of oxfords walks down a hall only a wall away from him. The memory tastes like Coke.
Just grab your paperwork and go home.
A hand grabs his arm, “Excuse me, Vincent.”
Vincent spins around, panic, like an ivy spreading up his veins. Ann stands behind him, looking a bit flustered, “I need to apologies to you.”
“For what,” Vincent asks, forcing his muscles to relax.
Ann smooths out the edge of her blouse and forces her eyes, “Once the words came out of my mouth I realized how insensitive it was to just… nonchalantly mention the Owen ordeal as um.”
“Hey,” Vincent says, “I- You were nervous I could tell, I’m not offended.”
“Yeah, but especially since his mother just passed and he’s going to be working with us I- it feels wrong, I’m sorry.”
I’m sorry, what!
“I accept your apology, Ann. Don’t think too much of it. This is your first gig since moving into adult acting, right?”
Ann nods, leaning back on her heels. It is painfully obvious that she is very new to interviews that ask unscripted questions.
“It’s alright,” Vincent reassures, “Honestly Ann, don’t stress about accidentally stumbling over words. It happens.”
Ann relaxes just a little, “Are you sure?”
“Yes, I’m sure.”
“Okay, thank you,” Ann smiles, letting gallons of air escape her tense lungs. She turns around and trots for her room a few halls down. As he watches her walk away the nostalgia hits him like a truck. The people-pleasing, the desire to be perfect, to be without controversy, makes him flash a piteous smile and shake his head.
He straightens his spine and turns around.
A very intense woman is standing behind him.
“Oh, hello,” Vincent nearly exits his skin as she draws her gaze up to him, “I didn’t realise you were there.”
“Vincent Shield, am I correct?”
Vincent nods, squirming under her very intense gaze, “Yes, you are.”
She holds out her hand, “Keira Harker.”
He takes her hand and shakes it, “Pleasure to meet you Ms. Harker. How can I be of service?”
“You’re known to be very active in the Pet Lib movement and you were basically responsible for the creation of the Commision correct?”
Where is this going? “I wouldn’t say that I’m responsible, there are many people who helped put in place the building blocks that would lead to the Commision.”
“I am aware,” she responds, holding her gaze firmer than Vincent does, “However you have a lot of knowledge about the underground and many of the safehouses.”
Vincent raises a hand, feeling himself freeze under the delicate mask, “Ma’am, everything I have done has been within the limits of the law. I can assure you all of my associates are also performing their actions under the law.”
Her face hardens and she takes a small step towards him, “I am not accusing you of breaking the law.”
I have just gotten out of multiple interviews and a press conference and in the press conference, I was called a felon at least four times. I wanna go home and eat Dmitri’s chicken and rice soup.
“All due respect Ms. Harker that is what this is beginning to sound like.”
Keira sighs and relaxes slightly, “I am asking for your help, if I were to accuse you of being a criminal that would not be very productive.”
Vincent lets his body de-tense but he is in no way relaxed, “My apologies Ms. Harker. I have been on the butt end of those accusations for a better part of today. Just on my toes.”
“I understand,” she responds, almost mimicking his behavior, “My brother was… voluntold to join the pet program. I tried everything in my power to find him and I found out that he was sold to the son of a very powerful senator.”
“He was sold to Owen Grant.” Kauri.
Keira nods, glancing over Vincent’s shoulder, “While I wish not to speak ill of the dead, now that she is deceased. I believe it will be easier to discover his whereabouts without WRU getting involved.”
The weight of her words start to weigh on him. If she is looking for her brother, how many others are now looking for their family?
“Well, I agree in that sentiment,” Vincent gestures forward, “If I can have a name, I might ask around to some more of my well versed colleagues.”
Keira reaches into her purse and pulls out a white card, “So, shall we keep in touch.”
“Of course,” Vincent takes the small card and glances down at the contact information, “We’ll be in touch.”
-
Vincent steps inside and can smell something good. He faintly hears Dmitri moving about his kitchen, making dinner. The aroma of fresh bread makes his house feel alive. Dropping his stuff at the door to his office, he floats over to the kitchen.
Dmitri stands in front of the stove, wearing a faded Kiss the Cook apron. Vincent finds a small smile blooming on his face as he steps up to him.
“Soup should be done in five minutes,” Dmitri asks as Vincent leans up onto the counter next to him, “How was the interview?”
“We cannot be doing that the night before an interview,” Vincent mutters and he fusses with the turtleneck. “I have been paranoid that someone has seen this all day.”
Dmitri smiles and chuckles, “Vincent you can barely see them, I highly doubt they would notice.”
“Dmitri, the media would go batshit if I had hickies in an interview!”
Dmitri swills the spoon around in the soup before turning towards Vincent, “You didn’t seem to mind last night.”
Last night, probably one of the first where he was both sober and relaxed. Dmitri had showered him in deep kisses. The two of them practically laughed themselves to sleep that night. They were so close yesterday.
Vincent had felt so. damned. cherished.
“Yeah,” Vincent pouts slightly while he leans into Dmitri, “I didn’t but I did this morning.”
Dmitri laughs, his chest rumbling against Vincent. His finger rests on Vincent’s hips and drums on his belt.
Vincent squints up at Dmitri, “If we get caught because of stuff like that I’m going to wring your neck.”
Dmitri leans down and places a soft kiss on his curls. His breath brushes across the strands and Vincent’s muscles relax. “I would love to see you try, cariño.”
The oven buzzes and interrupts their little moment.
“There’s the bread.”
-
Dmitri and Vincent sit out on his back porch, eating chicken and rice soup and just enjoying the crisp fall air.
“Can I ask you for advice?” Vincent says as he dips some of the bread into the broth.
Dmitri nods and leans in, “Always.”
Vincent rests his head back on the back of the seat, “Let’s say someone approached you and asked you to help them find someone. This someone has been missing for years but you’ve known their whereabouts for a while now. You want to reconnect them but you’re just not sure about what said ‘missing’ person would think? But you also don’t want to just completely cut of the person who asked for your help”
“Ask them,” Dmitri answers as he sips at his broth, “I’d just ask because they may not want to. They could have been trying to leave a difficult situation and don’t want to approach those who could have harmed them.”
Vincent sighs and tries to melt back into his porch cushions, “But what if he tells me not to talk to her at all, how am I supposed to explain that to her?”
“Improv,” Dmitri shrugs, “Lie.”
“Lie to someone who’s looking for her family?” Vincent blinks, “Isn’t that just cruel.”
“How do you know that she’s looking for them to be kind?”
Vincent pauses and lets his eyes wander upwards towards the dusk sky. The sky matches the color of the bottoms of the trees. The reds and oranges ripple above him and a sinking feeling eats in his gut.
“I don’t.”
Dmitri takes a final sip of his soup and gives Vincent a gentle smile, “Just ask them first, they might just wanna meet her and do it themselves. All else fails, just give them her contact information.”
I don’t think Kauri will. “Alright, okay.”
-
Vincent stands at the door to the safehouse. The sounds of the town around him drape the porch in waves of white noise, masking the sounds from within. Reluctantly, he raises his hand to knock on the wooden door frame. His knuckles barely tap it before two sets of locks are unlocked and Kauri opens the door.
They make eye contact and Vincent watches Kauri’s expression shift.
“Make this quick, I have stuff to do.”
Kauri lets Vincent step inside the safehouse. The air of the interior feels heavier than before, solidified by the sound of the deadbolt locking.
“I’m so-”
“If the words I’m sorry leave your mouth at anypoint, I’m gone,” Kauri says as he walks over to the kitchen, “Just get this over with.”
Vincent follows in his footsteps, glancing over at Jake who lays asleep on the pull-out couch. The makeshift IV step sits on the table next to him, out of use.
Remind me to send Nat money over to cover that.
Kauri places his hands on the counter behind him and shifts his weight into it. Crossing his arms out in front of his chest, he looks up over at AJke before returning his gaze to Vincent.
He looks exhausted.
“How has-”
Kauri raises his hand and presses his fingers together, making a “close your mouth” gesture, “Cut to the chase, I have errands to run today.”
“Alright then. A few days ago I was approached by a woman named Keira Harker who asked for my help in finding her brother, Liam Harker, who was taken by WRU. She said that she thinks the person he was sent to was Owen Grant and, now since Carlotta is no longer alive, she can try and find him without her getting in the way,” Vincent says, leaning his weight into the kitchen table, “She gave me her contact information and asked me to help her in finding-”
Kauri spins around and opens the cabinet behind him. Pulling out a white bottle, he sets it down on the counter and mutters, “So she’s looking for me?”
“Yes.”
“What else did you say?” Kauri asks as he pours himself a glass of water, “Did you tell her where the safehouse is? If you did I swear Vincent I’m-”
It’s Vincent’s turn to interrupt, “No, I didn’t say anything. All I said is that I would keep in touch.”
“Good,” Kauri says as he pours two pills out of the bottle and into his hand, “Cheers.” Kauri tosses the pills into his mouth and tilts the glass of water towards Vincent before drinking.
“What are you doing?” Vincent asks, tugging some at the sleeves of another turtleneck.”
“Migraine meds,” Kauri answers, pouring the rest into the sink, “I get them when I hear Liam Harker.” Just like clockwork, Kauri winces and rubs his temple, “Just something else to deal with.”
“I’m sor-”
“I will leave until Nat gets back.”
Vincent purses his lips and watches Kauri walk over to the fridge. The air stills around them in the way the air in a freezer is still. Something hangs over the room, could be the tension, could be the unease, could be the new presence in their lives, Vincent can’t tell.
“I have her contact information if you want it,” Vincent speaks, trying to shoo away the stillness, “On your time.”
Kauri pauses mid-reach. He rests his forehead against the fridge handle and says, “I- maybe later. I have far too much on my plate right now, running to the safehouse almost by myself. Nats with Jameson at her house, Jake is still recovering, the whole issue with Chris and Laken, the Oly- I just can’t take on something else right now.”
“I get it,” Vincent nods, shifting his weight onto his back foot, “I’ll keep it if you want it when all of this blows over. But, if she does try to press me for information-”
“Pretend you have no idea who me, Nat, and Jake are,” Kauri answers while pulling out a plastic pitcher of what smells like cold brew, “If I ever decide to contact her I’ll deal with it, okay? I’m just not ready or have the time right now.”
Vincent leans back on one foot to try and see the clock on the wall, “Um. what time is Nat supposed to get here, we have money stuff I have to talk to her about.”
“Around four,” Kauri answer while pouring himself coffee.
The sound of the deadbolt unclicking sounds softly crosses the room. Kauri barely glances over his shoulder.
“Is Nat back already?” Vincent asks as he tries to see the door.
“Nope,” Kauri says, popping the p. “Just Chris.”
“I- I’m back and I have Laken,” Chris beams as he dashes past with Laken in hand, “Oh hi Vince.”
Vincent gives Chris a small wave, “Hi Chris.”
“Wait- is that Vinc-”
But Chris has already whisked Laken away before they could get the last words out. Vincent follows them with his eyes for a moment before looking back at Kauri.
Kauri looks relieved. A tired smile adorns his face as he takes a sip of the cold brew.
Vincent doesn’t ask, he puts enough of the dots together to know something just fixed itself. Good for them.
“Anywho,” Kauri chuckles, looking back over at Vincent, “A turtleneck won’t hide your sins Vincy.”
“Shit, how obvious has it been?!” Vincent panics and readjusts the hem of his shirt.
“I was just joking...” Kauri’s smile deepens as the mischief returns to his face. He gives Vincent a look over and sing-songs, “...So, what’s Dmitri like?”
“We just kissed Kauri!”
“Sure, and I just kiss Jake.”
“Kauri!”
#forgotten to found#dmitri o'brian#vincent shield#interviews#box boy#owen grant should be castrated#kauri is my favorite little shit#kauri is also trying#guess who Vince is gonna have to deal with#:)
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Photo Brief Context
Objective & Overview
To spotlight and explore the relationships between culture and how people identify with their culture
I wish to show the internal struggle and feeling of disconnect that some people from specific cultures such as Māori and Pasifika experience when it comes to how they fit in with their culture due to predominantly urbanisation.
No two people connect to their culture in the same way and the objective is to replicate this in my images. To portray this connection I will need to establish a Kaupapa with each subject.
Central image is a still portrait of subject in normal attire in the foreground. Background will be the same model but in their cultural attire and the image will capture their movement to reflect the internal struggle they each experience when it comes to how they identify with their individual cultures.
Target Audience
A lot of young Māori and Pasifika people can feel embarrassed and sometimes even mocked for not fully connecting with their culture. Everyone deserves the right to try and embrace their culture without being ridiculed. It is about each person’s journey, and it is not about whether they are completely fluent with a cultures language or know all aspects of their culture, it is about the journey that that person is on when it comes to them discovering and embracing their culture.
The target audience therefore is not just these young Māori and Pasifika people, but the wider Mana Whenua (traditional inhabitants).
Mood Board
Ohia, Tyone. Extended Whānau Ōtairongo. 2020. https://bestawards.co.nz/graphic/design-communication/extended-whanau/otairongo-2/
Wadman, Bill. Motion. N.d. https://www.billwadman.com/motion
Sagapolutele, Raymond. Siva Samoa. 2017. https://www.samoaobserver.ws/category/samoa/64063
Resell, Stefan. Photography. N.d. Deviantart. https://www.deviantart.com/gesell
Sagapolutele, Raymond. Wild Dogs. 2019. https://www.samoaobserver.ws/category/samoa/64063
Auckland Art Galley
I started to consider where to have an exhibition as I knew which direction I was going in and knew that I wanted to reach Urban Maori and Pasifika so the most logical place was in Auckland city and in particular the Auckland Art Gallery on the corner of Kitchener and Wellesley Streets.
The Auckland Art Gallery is one of the country’s most well known and iconic buildings which was founded in 1888. As the theme to my work is how Maori and Pasifika identify with their culture, then I could not think of a better place as the entire building is targeted at the culture of Aotearoa.
You enter though kauri columns and is home to the largest permanent New Zealand art collections. What better venue than this to exhibit my images as they will compliment the stunning art that is already there.
Auckland nz. “Auckland Art Gallery Toi o Tāmaki, Auckland CBD” Retrieved from https://www.aucklandnz.com/visit/discover/arts-culture-heritage/art-gallery/auckland-art-gallery-toi-o-tamaki-auckland-cbd

Subject Matter Conventions: Bill Wadman, an American portrait photographer is well known for producing a series of blurred long-exposure portraits showing dancers in motion that he shot as slow shutter speed. Wadman shot this and the others in his series in a studio setting with a darkened background so as to not detract from the image. Like other images in his series, the only colour Wadman uses is red to add to the continuity of his series of images.
Composition Conventions: In order to capture the blurred motion shots, Wadman has used slow shutter speed which gives a dynamic and moving impact for the viewer. He has shot in symmetry and with blurring, there is very little negative space. This, was the viewer focuses on the entire image.
Camera Conventions: Wadman shot his entire series with a Canon 5D Mark II and a 35mm f/1.4 lens. The image is a simple exposure taken in a very dark room, with a single soft light source shining down on the dancers from above. Wadman used a 3-second shutter speed with his lens stopped down to f/11. The reason he did this was to prevent the depth-of-field from being too shallow as he wanted a motion blur rather than an out-of-focus blur.
Other Interesting Features: What is interesting about Wadman’s work is that the his whole ‘Motion’ series started as an experiment after he attended a lecture by a sports photographer who showed a slow shutter image of a boxer. The imagery inspired Wadman who initially planned to shoot a broad cross-section of subjects. This changed however after photographing a professional dancer where the results were exceptional, so he changed his focus to dancers in motion instead.
On taking pictures “BILL WADMAN PHOTOGRAPHER” Retrieved from http://www.ontakingpictures.com/~billwad/about.php
Wadman, Bill. Motion. N.d. https://www.billwadman.com/motion
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New Zealand's glorious mud
Monday 23 January
Our final stop in New Zealand, suggested and arranged by the Bridge & Wickers folk, was at Lake Taupo. We drove up from Napier in our rather sporty hired Mazda - well, any vehicle would feel sporty after a week in a house on wheels - to the address we’d entered on the iPhone’s sat-nav. Such is my trust in B&W that I hadn’t even checked whether we were going to a five star hotel or a humble bed & breakfast. As it turned out, it was both: a five star bed and breakfast! Kauri Point, a couple of miles outside Taupo was a wonderful house, set in secluded gardens with a view of the nearby mountains. It was run by Robert and Gail, a delightful pair of Brits who had emigrated with their family in 2005. Robert was farming at that time, but had finally decided to give up the struggle with British weather and EU red tape. And astonishingly, his farm had been a mere few minutes tractor drive from Staplehurst! We were treated royally, and very much enjoyed our stay with them. Any conversation with an ex-pat about their new lifestyle always has to be viewed through the rosy lens of post rationalisation, but it was clear that both they, and more surprisingly, their teenaged offspring had no regrets about leaving our sceptred isle. Tuesday found us back on the road again, en route to Aukland. We’d originally planned to give the sulphurous fumes and boiling mud of Rotorua a miss, but with time to spare, we changed our minds, and went to do battle with the coach parties again at this “Thermal Wonderland”. Whilst it scores rather low on the “iconically beautiful” scale, it is undeniably fascinating, and humbling to be presented with such a graphic reminder of what goes on beneath the thin crust of earth and rocks we call home. We headed on towards Auckland, and were again presented with a number of examples of one of the more puzzling traits of the Kiwi character: They are quite appalling drivers. That such friendly, open-hearted people should be so selfish, pushy and at times downright stupid when they get behind the wheel is quite inexplicable. And lest you think I am being unfair, we were told that the road traffic accident statistics bear this out. As we boarded our nightmare two-stage 18 hour flight to Peru, I found myself thinking that if they could just get the weather sorted out, move the islands a few thousand miles nearer the rest of us and learn to be a bit more considerate on the road, New Zealand wouldn’t be a bad place to live.
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Theory Homework Week 3
1. Andrew Denton aims to make what is invisible, visible, through a cinematic lens. In his works ‘Crude’ and ‘Flight’ he brings to light issues surrounding pollution, climate change and deforestation.
2. Andrew studied what he was shooting, he sometimes would stay in the same position for hours or days, becoming completely engrossed in the atmosphere or ambience surrounding what he was filming. This research method gave him a genuine understanding on the impact on the environment and humans living within the environment. This enabled him to create a realistic experience for the viewer.
3. Shooting his subjects with a high resolution lens, and a slow panning hand held camera helps us to see through film what we cannot see with the human eye. The way Andrew works with film, sound and subject demand attention from the viewer, you are being confronted with the issues within climate change and see his critical opinion from an indifferent perspective. When Andrew was discussing the dieback of Pine Trees in Canada, I saw a direct relation to our studio project which is dealing with the dieback of Kauri Trees in the Waitakere Ranges. His unique and powerful way of capturing the devastating issue has definitely broadened my design thinking, especially when it comes to incorporating this important issue into my design of the new Arataki Visitors Centre. His work has inspired the way I want people to feel if they were in my version of the Visitors Centre, drawing their attention to the big issue. How I will approach this is yet to be explored.
4. Timothy Morton is a professor at Rice University in Texas. His position on ‘ecological thought’ is that all forms of life are connected in a vast entangling mesh. Andrew used an idea of Timothy’s in our lecture “Modernity is the story of how oil got into everything” meaning enormous amounts of resource (oil) is being put into getting an enormous amount of resource (wood), and that everything relates.
5. The article is written in a melancholy, expository tone. You can sense that Andrew is having a hard time dealing with the issues he is writing and creating art about. His way of dealing with the issues are by exposing them in a more poetic approach, which makes them resonate deeper.
6. A ‘hyperobject’ is anything that creates experiences or feelings for humans, without necessarily being tangible. Denton explains a hyperobject as “things that are massively distributed over time and space relative to humans”. For example climate change, global warming, oil, and tar are all hyperobjects as they evoke something within us and add to our perception or experiences. They do not have to be seen physically.
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I’m sure he means well enough, but uh, Jake rubs me the wrong way. Maybe it’s the savior complex. He doesn’t really have a life outside of the Safehouse. We saw the fight with his mom, about him not having a “real” career. Like he literally devotes all his time, energy and resources into this. Why? What does he get out of it other than personal satisfaction? I think he loves the idea that people need him.
It could be the hypocrisy of “not” sleeping with pets. After being so adamant about it this whole time and then to go for the sluttiest pet that shows up? Kinda sus, tbh! Like not even just Kauri, like one would be an exception, I guess, but also I know he wasn’t like “sleeping” sleeping with Chris but I think the bed sharing is kinda just.... no. Would deffffff be against HR regulations lol.
Maybe it’s just because we are supposed to like him, I dunno man. Don’t take it personally! I love your the rest of your characters and all of your stories and I think you are a fantastic writer! But Jake makes me want to pull my hair out.
Hey, Anon! I appreciate this comment, and I hope you weren’t worried that I would be mad or anything. While every writer kind of has the “oh no but that’s my son” response, I actually really enjoy seeing how people see my OCs and their actions over the course of a story.
Heads-up, I ramble a lot and this got long
Jake definitely does have a savior complex, and it’s rooted in his childhood abuse by his father and his sense that the people who could have helped (family, friends, community) chose not to, and instead simply stood by while he and his mother fought alone to find a way out. As a young adult getting into pet lib, he found a place to channel his innate need to NOT be the person who sits by and does nothing, and he definitely throws himself headlong into it.
It’s less about the rescues needing him, and more about him needing to feel like he’s building something out of the wreckage of his own early life, something better. That he’s MAKING something better for other people than what he himself had, providing the support that he didn’t receive, giving the care that he struggled to even admit he needed.
Jake’s not perfect, but he’s not enjoying the dependence on him - far from it. He is, though, trying to sort of change the timeline for other people so it won’t look as much like his own.
As far as not having a life outside of his work, that’s very true! Not only is he working full-time and living in the safehouse, he is also going to school with the specific intention of gaining skills and knowledge to run a safehouse himself (which he eventually does) and provide even more advocacy for the rescues, who often aren’t safe to speak up for themselves. In the Speak Out arc, which I’m kind of easing into now, you’ll see Jake struggle with the push and pull of knowing that, long-term, keeping these secrets isn’t as much help as the rescues deserve, and knowing that speaking out could have even more ruinous results.
t could be the hypocrisy of “not” sleeping with pets. After being so adamant about it this whole time and then to go for the sluttiest pet that shows up? Kinda sus, tbh! Like not even just Kauri, like one would be an exception, I guess, but also I know he wasn’t like “sleeping” sleeping with Chris but I think the bed sharing is kinda just.... no. Would deffffff be against HR regulations lol.
When Jake and Kauri meet, they are 23-24ish and 21-22 respectively (more or less- I change my mind on the exact numbers now and then, just go with it). When their long-running friendship and pining eventually becomes a relationship, Jake is nearly 30, and Kauri not far behind. The interim seven years or so involved a lot of change for them both, and Kauri himself changed a lot. I don’t write this chronologically and I really haven’t done enough to develop Jake’s changes, too! I can see why it’s weird to read it, thinking through the lens of early, vulnerable Kauri. But as @whumpiary I think said at one point, at some point a person is not defined by their tragedy or trauma and can define themself. Kauri defines himself, with time, and it’s strength for him to reach out and take Jake’s hand.
(For the record, I kind of hissed through my teeth at describing Kauri as slutty in a way that’s pretty judgy, only to have Kauri’s response be, “So what if I am? I’m having fun” because... well, Kauri gonna Kauri and he is ~unbothered~)
I do bristle a little at the platonic bed sharing with Chris. Chris comes out of things deeply dehumanized and degraded, and seeking out the comfort of someone when he is scared at night is actually pretty important to him. Jake isn’t pushing him on that at all. Chris also pursues similar behavior with Antoni - and also Nat! - when Jake isn’t around for some time, and it becomes less and less common and eventually stops entirely as Chris becomes more solid, steady, and stable with therapy and rebuilding his life.
Also, I love the idea of the most harried Linda in the world working at safehouse HR.
THAT SAID
I totally see the validity in not liking him! People have had similar feelings about Nate Vandrum in Danny’s story because of his initial passivity and not doing anything to help (Danny actually hates Nate for a while, too, during early captivity, and ooooh I should write out some of that).
Please don’t take my rambling as trying to make you like him, I’m totally not, I just love the excuse to ramble about character motivations and internal thought processes and whatnot.
I found this ask really interesting (I woke up to it and I’ve been thinking it over ever since) and appreciate you sending your honest thoughts!
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I keep thinking about pets and/or escaped pets trying to relate to people who have always been free and just,, not. Further, escaped pets in countries like Canada being called "political" for seeing everything through the lens of their experiences.
It's NOT Box Boy and existed before that, but @deluxewhump has done AMAZING things with the Carlo and Max stories and has recently posted work that deals with Carlo's struggle to integrate into life as a free man and inability to relate with his peers. PLEASE read if you haven't yet!
Kauri struggles a lot with this! He just... Doesn't get things and because he can't read or write any longer, he can't research very well to try and up his knowledge to 'fake' normalcy.
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