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lca-portfolio · 2 years

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Lucia Conde Arenas

Hito Steryl is a German moving image artist, working between film and art ranging in multimedia forms from documentary to installations. The visual images presented in Steryl’s work contradict a standard of expectation in cinema further explained in Steryl’s In Defence of the Poor Image. "The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution. The poor image is a rag or a rip;an AVI or a JPEG, a lumpen proletariat in the class society of appearances, ranked and valued according to its resolution.” The striking style of the films is distinctive to Steryl’s work. Steryls films are densely packed, mixing documentary footage, and computer generated images, rendered in the aesthetics of modern tech culture, Steryl explores political issues of surveillance, militarisation, protest culture, colonial violence, and corporate domination. However disruptive the unexpected visual images presented in Steryls work, having studied documentary filmmaking, Steryl videos are often essayistic in their narrative and structure. The abrasive visuals and essayistic components force the viewer to critically reflect their preconceived notions of social issues by presenting them in a new context. Steryls work is self aware and aims to examine further the roles of art and the museum in society and politics, how art questions or further pushes the agenda of government control and neoliberal capitalism.

November 2004. The film opens with shots of Steryls first film, a feminist kung fu film, shot on super 8 with a group of friends when she was seventeen years old. The opening line of the film November: “My best friend when I was 17, was a girl called Andrea Wolf. She died 4 years ago, when she was shot as a Kurdish terrorist”. November examines the media roles of her best friend Andrea Wolf portrayed in three different travelling images: the leader of a girl gang in a feminist martial arts film, an underground fighter of the free womens army in kurdistan in a television show from the 1990s and as Şehît Ronahî (Wolf’s Kurdish codename), where her face is depicted on the posters of protesters demonstrating in Germany. Andrea Wolf plays three roles in travelling images, exploring the constantly changing meaning of images and the images ability to develop an afterlife. Steryl reuses footage in November almost as its rebirth, changing meaning of images through recontextualization. In the untitled film we see Andrea as the leader of a gang of three girls trying to beat up every male they can get hold of, ultimately prevailing and riding into the sunset on a motorbike. November depicts this footage while the narration accounts the facts of her death, in real life Wolf was a PKK fighter who died in battle and became an icon of the Kurdish struggle for liberation. This completely repurposes and recontextualizes the viewer's perception of the image. “in 1983 we made a feminist martial arts film and Andrea was its star, then this amatuer fiction film suddenly turned into a document, now some of the documents have turned back into fiction and this fiction tells us only one truth. The truth is that only in fiction did Andrea disappear into the sunset… Only in fiction were german weapons not used on the kurdish population”. In 1998 Andrea Wolf was killed in a battle against the Turkish army. Andrea Wolf was found in a mass grave found in a cave in the district of Çatak (south-eastern Kurdish city of Van) among a total of about 40 bodies. An investigation revealed that the people buried in the mass grave were killed with bullets in a massacre carried out by Turkish soldiers. The Kurdistan Workers Party PKK has been fighting the Turkish state, which still denies the constitutional existence of Kurds.

In contrast to November in Steryls other work, SocialSim,2020 the artist takes a very different approach at discussing a political issue. Although November used documentary techniques, narration and real footage. Social sim is a projected live installation depicting a live simulation of computer generated images of dancing police officers in uniform and riot gear. The pace at which they move is based on a live measure of data of instances of police brutality in the region which the installation is in. On another wall projected is the”salvator mundi” by leonardo davinci, an announcement states “the most expensive painting in the world is lost”. The work imagines the future of the world in the era of social simulation technology articulated in the form of a narrative film and a combination of visual sources from video games, data visualisation techniques, live online chat rooms , Artificial Intelligence, and found imagery. “In reimagining the aesthetics of gaming, the artist is interested here in the operational and ideological models of social simulation programs, which set out to study and predict the behaviour of individuals within a collective and to model mass interactions." Through this work Hito Steryl experiments with perceptions of understanding nationalism, capitalism and artificial intelligence as a new way of addressing reality.

Works Cited

Florian Ebner and Marcella Lista, Hito Steyerl. I Will Survive, K21/Centre Pompidou/Spector

books, 2020

KALEIDOSCOPE. “Hito Steyerl, November, 2004.” Vimeo, Video, 7 Mar. 2014, https://vimeo.com/88484604. Accessed 2 Mar. 2022.

Nationalisms and Politics in Turkey. https://books.google.nl/books?id=6vYtCgAAQBAJ&pg=PA141&lpg=PA141&dq=catak+1998+kurd&source=bl&ots=1HIQtDgEC1&sig=ACfU3U2j-ESHwE6Y71_jRZ-DhsuPC2En1g&hl=en&sa=X&ved=2ahUKEwiyiZDzk6j2AhWOtqQKHVwmDqQQ6AF6BAgXEAM#v=onepage&q=catak%201998%20kurd&f=false. Accessed 2 Mar. 2022.

“November: Hito Steyerl.” November: Hito Steyerl, https://www.novembermag.com/content/hito-steyerl. Accessed 2 Mar. 2022.

Rothberg, Michael. “6. ‘Germany Is in Kurdistan.’” De Gruyter, 6 Aug. 2019, https://www.degruyter.com/document/doi/10.1515/9781503609600-010/html. Accessed 2 Mar. 2022.

Steyerl, Hito. “November: A Film Treatment.” TRANSIT, vol. 1, no. 1, https://doi.org/10.5070/T711009700. Accessed 2 Mar. 2022.

#literature #research

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artclass210720 · 2 years

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artclassmuskan · 2 years

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Best class in delhi . Home tuitions are best by Muskan mam.

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not-xpr-art · 3 years

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Art Deep Dives #2 - The History of Fanart

Hi everyone!

This post is part of my Art Deep Dives tag, where I ramble about art-y things, often with some relation to art history in some way.

just so you know, these essays aren’t formal in anyway lol! I just do them for fun & to hopefully be interesting in some way to someone!

This week I’ll be talking about the history and importance of fanart! It’s not the entire history of fanart, just some key moments and points in it that I feel are important!

(this essay is about 2500 words long btw!)

Part 1 - What even is fanart?

I think when a lot of people hear about ‘fanart’, they often think of it as a new thing, something that came along at some point in the last century when media begun to be mass circulated around the world.

But, of course, fanart has existed long before media like Star Wars or Doctor Who were created, and even long before photography was invented, even if it wasn’t necessarily referred to as ‘fanart’ at that time since the concept of ‘intellectual property’ hadn’t been introduced at that point.

So I think at first we need to define what we even mean when we refer to ‘fanart’...

Put simply, it’s artwork made by people who are interested in something created by someone else, such as a TV show, film, book, podcast, video game etc. However, by this definition, where do original characters created by the fans as part of franchises fit into the picture? Or celebrity fanart? Or artists who use famous people’s appearances as the base for their own characters? Or what of artworks of media that have long since passed copyright laws (such as Shakespeare works, Austen works, etc)? And where do illustrations of books fit into this?

So perhaps a wider description would be, artworks made by fans of and inspired by something “belonging” to someone else (either a piece of media or... themselves). The issue of this description is that most portraiture would fit into this. So... are we about to call Thomas Gainsborough or Joshua Reynolds, two of the most famous British portrait painters of the 18th century, fanartists?

I think a lot of people in the art world would scoff at this concept, because even now the feelings surrounding fanart are pretty negative. They see it as less of a valid form of art and instead as ‘derivative’ and ‘unoriginal’. I’ve heard both non-artists and artists alike talk about fanart as ‘not real art’, and then in the next breath they’re praising portraits made by Leonardo da Vinci or Vincent Van Gogh.

I also think it’s important to note that fanart isn’t exclusively portraiture too. Often artists will draw landscapes, still life works or even abstract pieces based on their favourite media. And as previously mention, a lot of artists and writers create their own characters within a world created by another person. So, for all intents and purposes, that is a form of original art, but it is often still put down in comparison to people who make up an entirely new story and world for their characters.

Part 2 - Renaissance artists and Bible fanart!?

One of the most common defences I’ve seen for fanart is that Renaissance artists’ basically did Bible and Mythology fanart, and their artwork is considered ‘masterpieces’ so... that’s that!

Right?

Well, if we’re sticking with the definition of fanart being something based on a series of characters or concepts owned by someone else, then Religious or Mythological based art would definitely fit into this.

(Leonardo da Vinci’s ‘Virgin of the Rocks’, currently being held in the National Gallery in London).

But I think it’s important to note that the art world was a very different place in Renaissance Europe. Concepts and characters didn’t belong to any one person or group of people, instead everything was a lot more homogenised. There’s a reason why when we think of figures like Jesus or the Virgin Mary, we have a very particular idea of what they look like (a very white-washed idea, I might add). The same thing goes for portrayals of figures from Greek or Roman mythology. There were often motifs associated with these deities that dated back to Antiquity, and Renaissance artists looked back to this for their inspiration. But there was no one specific point of reference for these ‘characters’ other than the Bible, which didn’t actually ‘belong’ to anyone, not even the church.

So, I think it’s valid to bring up Renaissance artists and how the modern concept of ‘originality’ in art was less important to artists or patrons, and much of the art they did was exclusively works based on something the artist did not come up with. In my first Art Deep Dive, I talked about how History paintings (which were often Religious or Mythology based) were valued for being the product of an ‘artistic genius’ and their connection to spirituality in comparison to portraits or landscapes that depicted the real contemporary world.

But do I think it was actually fanart?

... Probably not... Although I wouldn’t begrudge anyone believing it is, because in a way it does somewhat fit into the definition of fanart. Instead this was to look at how society’s relationship to art has changed drastically in the hundreds of years since that era, as has the purpose of art itself.

And I think it does bring up some interesting discussions of why we are so obsessed with ‘originality’ in art at the moment when it’s not something that was really important before, though!

Part 3 - What about portraiture?

So... What about portraiture huh?

Now, portraiture has existed for as long as art has, essentially, but it took until the Renaissance era and beyond for it to be associated with patrons. Portraiture was more than just ‘old-timey photography’, since it was linked distinctively to a sign of wealth. I mentioned Thomas Gainsborough and Joshua Reynolds earlier, who were two very influential portrait artists of the 18th century, who both fed into a market of middle and upper class patrons wanting their portraits done in this era.

(This is a piece by Reynolds of the Actress Mrs Siddons as the Tragic Muse).

And in a way this makes portraiture probably the earliest example of fanart as we see it today.

Except, a part of fanart that people who do it (including myself) often bring up is how it’s connected to a sense of passion and love for something. In a way, portraits done purely as commissions for an aristocrat for profit doesn’t necessarily fit into our modern notion of fanart.

This brings us back to that darn description of fanart again. Because in our current world fanart can be defined as work of celebrities done as commissions. Except, perhaps, if you’re a known portrait painter (no one says the designer of the postage stamp did fanart of Queen Elizabeth, despite the fact that it... kind of is?).

So, why is it that a portrait of the Queen is simply a portrait, but one of Billie Eilish is ‘fanart’? Who decides these parameters? And also who decides which one is more ‘worthy’ or ‘valuable’?

Places like the National Portrait Gallery are filled with portraits of famous people from history. But it’s never referred to as the ‘National Fanart Gallery’. I think in a way this boils down to who is doing the art, who the art is of and why they’re painting it. It is funny, though, that the distinction between fanart and portraiture of famous people is so similar that it requires such detailed specifications as to which is which.

So, I think it’s clear to see that where portraiture fits in the history of fanart is a contentious one...

Part 4 - Shakespeare, Fairy Paintings and other 18th/19th Century Curiosities...

From the late 18th until the late 19th century essentially saw the birth to what we now know as ‘fanart’, in a way. The growth of middle-class audiences in the early part of the 1800′s meant that there was a new found desire for landscape, genre and portrait art. And coupled with the growth of secularism, history paintings in their traditional sense had lost appeal.

There was also the small matter of media being so much more accessible and wide spread to bigger audiences due to the industrial revolution. Books were being printed more easily and sold and a reasonable price, not to mention that a significant portion of the population could now actually read, or at the very least were given some form of education. More travel and trade (and also colonialism) also lead to an increase of new kinds of media being explored. Birth of the Gothic genre, Science Fiction, Fantasy, etc, all forms of fiction that we’re very familiar with now were only just entering the public’s consciousness at this point.

Much like now, technological advances were both a blessing and curse to the people of this era. And also like now, art was used as a way to express what was happening in the world. A great example of this is JMW Turner’s Flying ,,, which shows an old ship being transported into harbour by a steamboat, something that was very new to this era. It spoke of the new technologies overpowering the old, and the fears a lot of people had because of this.

This lead to the development of Fairy Paintings, to move to a new time of history painting that was more based on folktales and works of fiction by writers like Shakespeare, and were often used as a form of escapism. William Blake is a prominent figure in this type of painting, along with some Pre-Raphaelite painters.

This is a piece directly based on Shakespeare’s Macbeth by Henry Fuseli and is completely undoubtedly fanart in essentially every way. Many of his works, and the works of his contemporaries, were based on the works of writers like Shakespeare.

This piece, along with most of his other works, was also exhibited in the Tate Gallery way back in the early 19th century. Fanart like this was openly welcomed into galleries in this era, something that’s a far cry from my art teachers in school and college actively discouraging us from doing any kind of fanart for our projects.

The mass appeal of these kinds of art lasted well into the 20th century and even after the advent of photography, which created an entirely new kind of media to be consumed.

I actually think that a lot of this animosity towards fanart stems from a lot of fanart being born from drawing from photos as references, which is why I think artworks that are fanart from an pre-photography era are valued above artworks done now.

Part 5 - The Beginnings of Intellectual Property and Copyright Hell...

Earlier I mentioned how fanart could be defined as work done inspired by media belonging to someone else. However, this begs the question whether a single person or company can actually own such things as characters and story concepts.

Copyright as we know it today essentially originated in the 18th century. Now, I’m not going to go into all the history of copyright here (partly because it’s confusing af), but essentially throughout the 18th and 19th century all across the world, intellectual property laws were brought in for books & later extended to other media types. They basically prevented any other person or publisher being able to copy, distribute or adapt the piece of media. As many may know, copyright laws run out after a certain amount of time (I believe either between 70 or 100 years), by which time they enter the Public Domain and are free to be used in anyway by anyone.

Copyright laws can be a real detriment to fanartists, however, particularly when large companies like Disney cracking down on any small hint of one of their characters in the last few years. This feels particularly insidious to me given how most Disney films are based on old fairy-tales and legends. But in using these centuries old stories and giving them the ‘Disney flavour’, they have been able to essentially repackage the original story for their own profit. Disney of course aren’t the only company to do this, but given how Disney own basically everything media-wise now, they are the biggest perpetrator of this at the moment.

It’s important to note that to this day, copyright doesn’t extend to ideas or themes. As well as this, copyrighted media can be used by people who don’t own it either by asking for permission or via ‘fair use’. But as a lot of Youtubers would tell you, this is often something that is ignored by large companies in favour of holding monopoly over the entire thing.

This is of course not to say that copyright can’t be a good thing. I believe that artists and creators deserve to have the rights to their individual works. The issue is surrounding big conglomerate companies using copyright not as a way of protecting and supporting their in-house artists, but as a way of boosting profits.

My thoughts are that copyright laws should exist to prevent other people or companies from stealing or overtly copying/adapting a work made by someone else, not preventing a small freelance artist from selling a couple prints of a drawing from a film Disney made 20+ years ago based on a stories written hundreds of years ago.

(I know it’s not as simple as this, but you get what I mean lol)

In a big way, copyright laws were what created our modern notion of fanart, since prior to that no-one really had ownership of their works in the same way that copyright allows you. So, even thought I’ve been quite pessimistic about it, fanart really wouldn’t exist without it so... it’s not all bad lol?

Part 6 - Why is any of this important??

I realise that this is a strange question to ask at the end of this essay, but I really wanted to leave my true personal thoughts until the end in order to keep at least a vague sense of being objective through this lol...

To me, fanart is something that made me fall in love with art in the first place, particularly digital art. I was able to find communities of like minded people and make some really good friends, all because of fanart.

I’ve also spoken to other artists who say how fanart allows them to connect to their favourite shows or characters or celebrities, and a way of expressing their love for something! It’s also often a gateway for artists to get into art as children, and some have said how fanart has allowed them to be more creative in general!

Fanart is something so intrinsic to fandom culture, so much so that it has existed for as long as people have loved things (even long before the internet). And I know that a lot of public figures who receive fanart, either of themselves or of works they’ve created, often express genuine happiness of being the inspiration for someone else...

So, fanart is important to us because it’s escapism, it’s freedom, and it brings us together in such a genuine way!

I wrote this essay because I wanted to truly explore where fanart actually came from, and what I ended up discovering is that the artworld has never been clean-cut separated into ‘original art’ and ‘fanart’!

The history of fanart is messy, confusing, but one thing is very clear to me: it doesn’t just run parallel to the history of art as a lot of people assume, it is instead interwoven into the fabric of all art!

So for my fellow fanartists, keep on doing what you’re doing, because your passion and love is palpable in your work, and really isn’t that what fanart is all about anyway??

~~~

Phew... Can you believe I actually did try and keep this short lol?

Anyway, thank you for reaching the end! And a special thank you to the people over at Artfolapp (my username is dangerliesbeforeyou over there btw!) who gave me their thoughts on fanart!

As always, my ask box is open for anyone who’s interested in discussing this further, and I also have an Art Advice Tag if you need help on improving your art!

#art deep dives #fanart #history of fanart #art history #art discussion #essay #history of art #blog post #i'm just... really passionate about fanart ... can u tell lol?#i may do a follow up of this one day since this is far from everything i want to talk about #but i figured 2500 words was enough for now..

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theauthorofworlds · 4 years

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ᛞᚫᚷᚫᛚᚠᛖᚳᚣᚾᚾ

Dæᵹælfecynn

Day Elves.

There are two races of Ælf within Middangeard, though neither of the two which call this realm can call their home of origin. The first of which is to be discussed is the Dægælecynn, known as ‘day elves’ in the common tongue.

History ⁊ Beginnings

In Middangeard, there were colonies of all races, the Lihtælfe and Deorcælfe amongst them. This was not because the humans were unable to hold their lands, indeed, they did so ferociously. But Middangeard is the largest of the realms, and there was more than enough land for all races. However, when the Lucians began their expansion, any non-human settlements in their way were exterminated like vermin, any survivors being enslaved and worked to death as frontline hordes and workers. Others were annexed into Middengeard’s various kingdoms and other domains with varying degrees of equality. The Dægælfcynn and Nihtælfcynn came about around the same time from various Lucian attempt at crossbreeding their slave races, as well as occurring naturally, though rarely, in the various allied kingdoms as the unions of two parents of different elven races; the carrier determined the appearance of the children, and through generations of interbreeding these hybrids eventually replaced the Light and Dark Elves of Middengeard, becoming known in the common tongue as ‘Day and Night Elves.’

Biology and Physical appearance

Like all of the Lihtælfcynn, the Dægælfas are naturally light in colour, yet unlike the icy white of the Snawælfas or the golden, wheat-like shades of the Lihtælfas, the Day Elves are of the calmer, more subdued shades, the lights of Sunne, one may say.

The Day Elves share the trait of small, lightly pointed, almost human ears with Nihtælfas. Compared to the long, dagger-like ears of the past, there is a clear process of evolution over the millennia, from the almost bat-like ears of the Ælfas who lived in Middengeard, and the less prominent ears of the modern races. Their features are often soft and angular, with their forms slender and curved perfectly by most human standards, having angular faces and lightly toned muscles, yet retaining a feminine waist and a slight swell of the chest where the mammary glands are.

They are, like all Ælfcynn, naturally intersex, though not in the way humans can be intersex. Due to the extremely slow gestation period of the races, there is no ‘gender’ per se. Every Ælf, regardless of race, is born with a fully functioning male and female reproduction system to ensure that their race is populous enough to survive. Usually, only one partner will bear a single child at a time, twins being almost unheard of. In the safer parts of the realm, such as the upper-class districts of the larger cities, there is a growing tradition wherein both partners will carry a child at the same time. While not truly ‘twins,’ the children will often resemble each other, though not always.

Typically, the Day Elves start life with pale, cloud coloured skin, hair and eyes, like an overcast sky, although this rarely ever remains the case throughout their life. The most common colourations of the Dægælfe are sky blue eyes, a light, butter-yellow skin colour, and retaining the cloudy white hair, looking quite like the clear day sky personified.

The offspring of a union between a Nihtælf and a Dægælf will vary depending on who bears the child. The child will be born with a pinkish hue, slowly darkening to a golden orange colour. Their eyes will usually be the colour of honey, and their hair would retain the pinkish hue of their skin at birth, sometimes darkening to the same reddish-pink of clouds at dawn. Due to this appearance change, these elves are by rights their own race, being known as a ‘Dagungælf;’ a Dawn Elf.

Occasionally, there will be a Day Elf born who is already the buttered-gold of adulthood; their eyes and hair are similarly yellowed. As the child grows, their skin turns deeper and darker, as well as warmer to the touch as their blood burns as hot as Wyrmfyr; their hair and eyes are often the same whitish-yellow colour, yet there have been as many different colours as there are different-coloured flames. This incredibly rare ‘mutation’ is regarded as a blessing of Sunne, a champion of the goddess and an avatar of her power; in her name, they are named ‘Sunnanælf,’ Sun Elves.

While rare, there is no special term for a hybrid borne of a Day Elf and a human, instead they are generalised as ‘Healfælfas,’ or Half Elves.

Dwimorcræft ⁊ Gewinncræft

As their name implies, Dægælfcynn and their child races are the strongest natural wielders of Dægsiden, more commonly known as Day Sidsa, or Day Magic in Lucian lands. Their abilities range from a golden flame they can utilise similarly to Fyrsiden known as ‘Sunnanfyr’ or Sun Fire, to weapons and armour or pure light, similar to the icy weapons of Issiden. Their abilities grant them a certain proclivity to healing magic, but this is noted to leave a burning sensation and tender flesh compared to other healing crafts. Like all other Ælfcynn, the Day Elves are swift, lithe and accurate, far more than the average human, able to shoot further, dodge and run faster, as well as being able to jump higher and are overall more dexterous and flexible than most humans are naturally. Their vision is often aided by their connection to the sun; using their power, they can see anything the sunlight touches. This ability is to a lesser degree in Dawn Elves, however they are noted in having slightly better eyesight under the moon, whereas Light Elves are just as blind as humans in the night. Sun Elves can generate their own light, and so are able to see just as clearly so long as their light shines bright enough to reach what they are searching for.

Physically, the Day Elves form most of the heavy armoured part of the main armies, however they are not as heavily armoured as the vanguard forces. Often they shall go into battle with swords, spears and shields, be long-distance archers, or use their sunfire and ‘hardlight’ as they use each to fire at the enemy, the sunfire ‘splashing’ as if it was lava on impact whereas the hardlight is used as a shieldbreaker, puncturing through the wood and leather shields of the common soldiery, and often penetrating the bronze-plated shields of the elites and commanders, though the quality of the metal and materials used may simply stop the weapon from piercing, or diverting it entirely.

Day Elves have a special style of metalworking they use that functions both alone and in conjunction with the powers of a sunstone to increase the power and potency of Sunnansiden. In a staff, this allows the caster to fire stronger orbs of sunnanfyr with larger ‘splashing,’ whereas in weaponry it can enhance the metal. When enhancing the steel to endure stronger blows, the fuller and any runes glow with the power of sunlight. When used for offence, the edge and tip of the blade glows, the glow reaching up to two inches out. Used in this way, it is able to cut through plate and mail like mere flesh. Used carefully, it can also bite into wood and stone without damage, melting and setting aflame what it cannot cut through.

It has been noted that the abilities of the Light Elves are completely contrasting with those of the Night Elves; defences made of their magics are equally shattered by their counter, and their weapons are equally able to cut through each others’

While they are one of the more numerous races of Elves, they are still not populous enough to place as a full legion, better suited to work as small, elite companies to minimise losses for their race as it takes far longer for elven races to procreate compared to the other races of Middengeard.

Culture ⁊ Politics

Culturally the Day Elves are quite a peaceful race, preferring to take roles pursuing the arts or aiding nature, both domestic and wild nature. Their powers allow them to aid in the growth of crops and, on a good year, two harvests can be achieved in a single season lasting from Hreþ-monaþ to Ƿinterfylleþ. They worship the same pantheon as humans for the most part, however certain gods ad celebrations are held as more important culturally to the Day Elves, mainly the gods and goddesses concerned with the fertility of the land and the harvest. The full religious and cultic practices shall be dealt with at another time, however, rather than the worship of Ƿoden, Þunor and Seaxneat/Ingƿine-Frea, the Day Elves and, indeed, most of the ‘Light Elf’ family tree have their own trinity, with Ingƿine-Frea being their chief deity as the lord of peace and fertility, rain, and sunshine, King of the Elves, and lord of their ancestral home of Ælfham/Ielfham. They will also have numerous roles in the arts, from sculptors and joiners to painters and Scopas.

Oftentimes in the politics of the kingdoms, they will be amongst the staunchest advocates for the continuation of limitations in favour of protecting the farmlands and forests that dot the landscapes and are heavily against any form of large-scale deforestation/harvesting.

#worldbuilding #elves

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a---z · 4 years

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TRANSMISSIONS

www.transmissions.tv

TRANSMISSIONS returns for Season 2 comprising eight episodes with contributions from BBZ TV, Juliet Jacques, Ignota Books, Lawrence Abu Hamdan, Kat Anderson, Plastique Fantastique, and many others!

All forms of community are now more important than ever, and it is vital that we find mechanisms to support each other through this precarious time. In the landscape that we have found ourselves in, many artists, writers and thinkers have had exhibitions, opportunities and subsequent fees postponed or cancelled. In response to this, we have established TRANSMISSIONS an online platform that commissions artists to share their work within a classic DIY TV show format. Episode 1 | 9 September | 9PM GMT REPLAY | 11 September | 9AM GMT Kat Anderson: Bad Man Nuh Flee Episode 2 | 16 September | 9PM GMT REPLAY | 18 September | 9AM GMT Plastique Fantastique Communiqué: Beware Mars with Earth in Ascendance W/ Plastique Fantastique / Arianne Churchman & Benedict Drew / Christopher Kirubi / Gentle Stranger Episode 3 | 23 September | 9PM GMT REPLAY | 25 September | 9AM GMT Juliet Jacques: Spectres of Socialism W/ Bill Morrison / Colin Newman / Deimantas Narkevičius / The Duvet Brothers / Erica Scourti / Igor & Gleb Aleinikov / Jasmina Cibic / John Smith / Kerry Tribe / Octavio Cortázar / Oleksiy Radynski / R W Paul / Santiago Álvarez Episode 4 | 30 September | 9PM GMT REPLAY | 2 October May | 9AM GMT Lawrence Abu Hamdan W/ Maryam Jafri / Maan Abu Taleb & Others Episode 5 | 7 October | 9PM GMT REPLAY | 9 October | 9AM GMT BBZ TV: Past, Present and Future Episode 6 | 14 October | 9PM GMT REPLAY | 16 October | 9AM GMT Ignota Books: Deep Deep Dream Episode 7 | 21 October | 9PM GMT REPLAY | 23 October | 9AM GMT Curated by Anne Duffau, Hana Noorali and Tai Shani W/ Adam Christensen / Carolyn Lazard / Hardeep Pandhal / Imran Perretta / Jordan Lord / Sung Tieu / Tabita Rezaire / Lloyd Corporation / Rehana Zaman & Others Episode 8 | 28 October | 9PM GMT REPLAY | 30 October | 9AM GMT w/ TBC

Season 2 of TRANSMISSIONS will run as eight weekly episodes screening every Wednesday at 9 pm BST and repeated on Friday at 9 am BST on Twitch. The 1st episode will air on 9th of September 2020. Each artist included in TRANSMISSIONS is paid a fee in return for their contribution. In some instances, artists have waived their fees in order to donate the money to a charity of their choice. With a sense of community, all the money used to pay artists in season 2 has been kindly donated by established art institutions and commercially stable artists.

Season 2 is funded and supported by BALTIC Centre for Contemporary Art, Chisenhale Gallery, DACS, Grazer Kunstverein, Matt's Gallery, Studio Oscar Murillo, Netwerk Aalst, Somerset House Studios and Wysing Arts Centre.

Episode 1 | 9 September | 9PM GMT REPLAY | 11 September | 9AM GMT Kat Anderson: Bad Man Nuh Flee

Kat Anderson will show a collection of audio/visual notes on oppression, Black liberation and the white imagination.

Kat Anderson is a visual artist and filmmaker, working under an artistic and research framework called ‘Episodes of Horror’, which uses the genre of horror to discuss representations of mental illness and trauma as experienced by or projected upon Black bodies in media.

Episode 2 | 16 September | 9PM GMT REPLAY | 18 September | 9AM GMT Plastique Fantastique Communiqué: Beware Mars with Earth in Ascendance W/ Plastique Fantastique / Arianne Churchman & Benedict Drew / Christopher Kirubi / Gentle Stranger

On 30 May 2020, at 3:52 pm EDT, Plastique Fantastique watched the Spacex Falcon 9 rocket carry NASA personal (for a fee) to the International Space Station and thought, as below, so above (next stop the moon, then Mars)… there is much today, down here, that needs our urgent attention… and there is much in the future, up there, to worry about too (including one million people living on Mars by 2050 as the first stage of planetary colonisation)… Earth views Mars as a planetary symbol for the cocksure warrior, and for violence, passion, assertion, and the weaponization of skill and sex… above all, Mars is the sign of competition (and Mars is a goal for commerce)… Mars is not this Mars though... That land is not that land… We know a different Mars (we have been there)… It is the hominids of Earth that have projected this image (of themselves) onto Mars… all other animals know this… Mars as ruling planet is not to be feared… it is Earth as ruling planet (Earth in Mars and the Mars in Earth) that we need to worry about… For episode two of the second series of Transmission2020, Plastique Fantastique offer moving images, stories and songs about planetary problems, below and above, with help from our friends Gentle Stranger, Christopher Kirubi and the collaboration of Arianne Churchman & Benedict Drew. The broadcast will feature clips from a film by Plastique Fantastique commissioned by Southwark Park Galleries. Plastique Fantastique is a collaboration between David Burrows, Simon O’Sullivan, Alex Marzeta and Vanessa Page and others, including Mark Jackson, Motsonian, Benedict Drew, Frankie Roberts, Harriet Skully, Ana Benlloch, Stuart Tait, Tom Clark, Simon Davenport, Joe Murray, Lawrence Leaman, Samudradaka and Aryapala. The collaboration is a performance fiction produced through comics, performances, text, music, film and assemblages, and investigates the relation of aesthetics and politics and sacred, popular and mass cultures. Recent exhibitions include Shonky: Aesthetics of Awkwardness, Hayward Touring Show 2017-18, and Mars Year Zero at Southwark Park Galleries 2019.

Episode 3 | 23 September | 9PM GMT REPLAY | 25 September | 9AM GMT Juliet Jacques: Spectres of Socialism W/ Bill Morrison / Colin Newman / Deimantas Narkevičius / The Duvet Brothers / Erica Scourti / Igor & Gleb Aleinikov / Jasmina Cibic / John Smith / Kerry Tribe / Octavio Cortázar / Oleksiy Radynski / R W Paul / Santiago Álvarez

Less than a year after the UK's traumatic General Election, after a pandemic that would surely have been far better handled if the principles of communality and solidarity had been at the heart of government, Juliet Jacques presents a selection of films that mostly look back at socialist politics and culture. Starting with comrade John Smith's film made in response to the Covid-19 crisis, and the government's chaotic communications, these films - by Jasmina Cibic, Octavia Cortázar, the Duvet Brothers, Deimantas Narkevičius, Oleksiy Radynski, Kerry Tribe and others - engage creatively with ideology and art in Yugoslavia, the USSR, Cuba, the UK and beyond.

Juliet Jacques (b. 1981) is a writer and filmmaker, based in London. She has published two books, most recently Trans: A Memoir (Verso, 2015). Her short fiction, journalism and essays have appeared in numerous publications including The Guardian, Granta, Frieze, Sight & Sound, Wire, New York Times, 3:AM, The New Inquiry, Arts of the Working Class, London Review of Books and elsewhere. Her short films have screened in galleries and festivals worldwide. She has taught art and creative writing at the Royal College of Art and other institutions, and hosts the political arts podcast Suite (212).

Episode 4 | 30 September | 9PM GMT REPLAY | 2 October May | 9AM GMT Lawrence Abu Hamdan W/ Maryam Jafri / Maan Abu Taleb & Others

Lawrence Abu Hamdan is a “Private Ear”. His interest with sound and its intersection with politics originate from his background as a touring musician and facilitator of DIY music. The artists audio investigations has been used as evidence at the UK Asylum and Immigration Tribunal and as advocacy for organisations such as Amnesty International and Defence for Children International together with fellow researchers from Forensic Architecture.

Abu Hamdan completed his PhD in 2017 from Goldmsiths College University of London and is currently a fellow at the Gray Centre for Arts and Inquiry at the University of Chicago

Abu Hamdan has exhibited his work at the 58th Venice Biennale, the 11th Gwanju Biennale, the 22nd Sydney Biennial and the 13th and 14th Sharjah Biennial, Witte De With, Rotterdam, Tate Modern Tanks, Chisenhale Gallery, Hammer Museum L.A, Portikus Frankfurt, The Showroom, London and Casco, Utrecht. His works are part of collections at MoMA, Guggenheim, Van AbbeMuseum, Centre Pompidou and Tate Modern. Abu Hamdan’s work has been awarded the 2019 Edvard Munch Art Award, the 2016 Nam June Paik Award for new media and in 2017 his film Rubber Coated Steel won the Tiger short film award at the Rotterdam International Film festival. For the 2019 Turner Prize Abu Hamdan, together with nominated artists Helen Cammock, Oscar Murillo and Tai Shani, formed a temporary collective in order to be jointly granted the award.

Episode 5 | 7 October | 9PM GMT REPLAY | 9 October | 9AM GMT BBZ TV: Past, Present and Future

BBZ present a snapshot into queer Black British archives, memes that shaped us and a re- imagined queertopia. BBZ is a Black Queer Art & DJ collective raised in London with roots in nightlife and clubbing culture, working to challenge institutionalised and post colonial behaviours. We prioritise the experiences of Black queer womxn, femmes, trans folk and non binary people in all aspects of our work, providing physical and online spaces for this specific community.

Episode 6 | 14 October | 9PM GMT REPLAY | 16 October | 9AM GMT Ignota Books: Deep Deep Dream

Deep Deep Dream is a journey through the techniques of awakening taking the hallucinogenic form of a palindrome. Unfolding through a series of experimental rituals, this encounter is an invitation to touch the dreamworld — a place where no matter how far you walk, you arrive back at your point of departure — and a meditation on these questions: What kind of world do you want to live in? What is a world?

Ignota Books is an invitation to awaken, and at the same time, dream. Founded in the last days of 2017 in the Peruvian mountains by Sarah Shin and Ben Vickers, Ignota publishes at the intersection of technology, myth-making and magic. Deriving our name from Hildegard of Bingen’s mystical Lingua Ignota, we seek to develop a language that makes possible the reimagining and reenchantment of the world around us.

Episode 7 | 21 October | 9PM GMT REPLAY | 23 October | 9AM GMT Curated by Anne Duffau, Hana Noorali and Tai Shani W/ Adam Christensen / Carolyn Lazard / Hardeep Pandhal / Imran Perretta / Jordan Lord / Sung Tieu / Tabita Rezaire / Lloyd Corporation / Rehana Zaman & Others

Episode 8

| 28 October | 9PM GMTREPLAY | 30 October | 9AM GMT

w/ TBC

Thank you to:

All contributing artists, writers, composers and thinkers; Adam Sinclair; Donald Smith; Hen Page; Lori E. Allen; Maxwell Sterling; Mika Lapid;

BALTIC Centre for Contemporary Art

Chisenhale Gallery

DACS

Grazer Kunstverein

Matt's Gallery

Studio Oscar Murillo

Netwerk Aalst

Somerset House Studios

Wysing Arts Centre

www.transmissions.tv

@transmissions2020

TRANSMISSIONS collective is composed of:

Anne Duffau

is a cultural producer, researcher, and founder of A---Z, an exploratory/nomadic curatorial platform exploring artistic practices and knowledge exchange through collaborations, presentations, soundscapes, screenings and discussions. She has collaborated with a range of projects and organisations including ArtLicks, Southwark Park Galleries, Mimosa House and Danielle Arnaud Gallery, London Please Stand By, or-bits .com, PAF Olomouc Czech Republic & Tenderflix. Anne has previously run the StudioRCA Riverlight, London programme (2016-2018) and is currently the interim curator at Wysing Arts Center, a Tutor at the School of Arts and Humanities, and is the acting Lead in Critical Practice, within the Royal College of Art’s Contemporary Art Practice Programme. She has performed live music under Alpha through a number of projects and collaborations.

Hana Noorali

is an independent curator and writer based in London. In 2019 she was selected (together with Lynton Talbot) to realise an exhibition at The David Roberts Foundation as part of their annual curator’s series. She curated Lisson Presents at Lisson Gallery, London from 2017-2018 and from 2017 -2019, produced and presented the podcast series Lisson ON AIR. In 2018 Hana edited a monograph on the work of artist and Benedictine Monk, Dom Sylvester Houédard. Its release coincided with an exhibition of his work at Lisson Gallery, New York that she co-curated with Matt O’Dell. In 2007, she co-founded a non-profit project space and curatorial collective called RUN active until 2011. In 2020 Hana and her curatorial partner Lynton Talbot will be publishing an anthology that examines the intersection of poetry and film with (p) (prototype).

Tai Shani

is an artist living and working in London. She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee. Her work has been shown at Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow International, UK (2018); Wysing Arts Centre, UK (2017); Serpentine Galleries, London (2016); Tate, London (2016); Yvonne Lambert Gallery, Berlin (2016) and Irish Museum of Modern Art, Dublin (2016).

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dukeofviseu · 4 years

Text

TASK 001.

FULL NAME : antónio afonso de bragança MEANING: an apt noble of incalculable worth, from the district of braga.

BASIC INFORMATION

FULL NAME : antónio afonso de bragança

MEANING :

antónio: of incalculable worth, worthy

afonso: 'noble', alternatively 'ready', 'apt' - the first king of portugal

bragança: from the capital city of braga, of the braga district

MONIKERS / NICKNAMES : nino ( family & close friends ), tonho ( vitoria )

TITLE : infante de portugal, duque de viseu/duque de beja, governador geral do brasil ( infante of portugal, duke of viseu, governor-geral of brazil )

GENDER & PRONOUNS :

cisgender male

he / his

ETHNICITY : white european & african black

DATE OF BIRTH & AGE : march 28th, 1531 / twenty-eight

ZODIAC SIGN : aries

ORIENTATION : bisexual biromantic

MARITAL STATUS : unmarried

OCCUPATION : governor-geral of brazil

CURRENT LOCATION : castelgrande castle, switzerland

BACKGROUND

PLACE OF BIRTH : lisboa, portugal

RESIDENCES : paço da ribeira

RELIGIOUS VIEWS : roman catholicism

EDUCATION : antónio was educated accordingly for a second son in his time - firstly in how to behave properly as a royal, then to fulfill what was expected of him at all moments. he was raised to be a skilled strategist and counselor for his father and his older brother, who will one day assume the throne. aside from being taught his duties as infante, antónio had tutors for many of his interests - some that his father deemed useful for him as a prince, some that he didn't (such as specific subjects in arts and literature). antónio has great swordsmanship and horsemanship, as well as well stretched social skills that range from the lowest to highest social class.

LANGUAGES SPOKEN : portuguese ( native ), latin ( fluent ), spanish ( fluent ), english ( fluent ), italian ( conversational ) french ( conversational ), german ( learning )

ALLEGIANCES :

house of bragança ( first, by birth )

brazilian colony ( second, by vocation )

the holy roman empire & its allies ( third, by tact )

FAMILY :

king joão of portugal ( father )

queen carlota of barcelos ( mother, deceased )

beatriz of portugal, queen of spain ( sister )

prince sebastião ( brother )

infanta vitória ( sister )

OTHER FAMILIAL RELATIONS :

archduchess louisa of portugal ( aunt )

grand duchess augusta of styria ( cousin )

grand duke lucas of carinthia ( cousin )

archduke augustinus of bavaria-munich ( uncle )

king alonso of spain ( brother-in-law )

tomás, duke of barcelona ( brother-in-law )

infanta luciana ( sister-in-law, deceased )

infanta mariana ( sister-in-law )

infanta teresa ( sister-in-law )

manuel, prince of asturias ( nephew )

infante cristóbal ( nephew )

infante miguel ( nephew )

infanta inés ( niece )

infanta carlota ( niece )

APPEARANCE

FACECLAIM : keiynan lonsdale

HAIR COLOUR / STYLE : black in color. cut short, well trimmed and cared for, in an unusual manner for the time.

EYE COLOUR / SHAPE : deep set, black eyes, piercing in stare.

HEIGHT : 1.83 m / 6'0’’

BUILD : athletic in build ; little body fat due to extensive athletic leisure, toned but proportionate muscles..

SPEECH STYLE : antónio is a soft spoken young man, with vast rhetorical knowledge, which he uses accordingly to social situations. his portuguese accent is always present and considerably heavy to the ears, and he will speak in his mother tongue whenever he can. when talking amongst his cared for, he will enthusiastically ramble and often get lost in his own thoughts. in official situations (or around his father), his tone and speech pattern will change, turning into a calmer, more responsible sounding tone, proper of a young infante. antónio seeks to always better represent his country and family.

RECOGNIZABLE MARKINGS : squared jaw

BEAUTY HABITS : bathes regularly, likes infused water with herbs and flowers (the latter mostly for aesthetic pleasure). takes care of dental hygiene (accordingly to the time). carries a nosegay when strolling through in public. wears bright colored attire, harmonious with his country colors - mostly red, golden and bege - in undershirts, trousers, tunics and cloaks, frequently uses leggigns for protection or belts to secure his trousers. sometimes will wear wrap-over coats and puffier sleeves for more official and/or social occasions.

PERSONALITY

TROPES : crowd pleaser, like a duck takes to water, wake-up call

INSPIRATIONS : i literally do not know?? maybe a bit on dom pedro i just because of the whole 'choosing the colony over the metropole, despite him being far from like dom pedro (also cause dom pedro is from the 1700s-1800s)

MBTI : enfp-t ; the campaigner

ENNEAGRAM : type 9 ; the peacemaker

ALIGNMENT : lawful good

TEMPERAMENT : sanguine ( melancholic, phlegmatic, choleric )

HOGWARTS HOUSE : hufflepuff

POSITIVE TRAITS : buoyant, altruistic, merciful, principled, loyal, tolerant, gregarious

NEGATIVE TRAITS : tactless, quixotic, lenient, hesitant, submissive

HABITS : switching between accents/dialects/languages, pacing, overly expressing physically, restless leg

HOBBIES : athletic leisure (quarter staff, jousting, archery, riding, hunting), music related pastimes (listening to music, playing the moorish guitar and the harpsichord), painting, literature (reading and writing poetry, troubadours), academic endeavors, social encounters (drinking involved) & sailing

USUAL DEMEANOR : surrounded by his closest and most trustworthy, antónio is a bright and light young man, talkative and friendly, full of ideas and easily excited. he stands goofily and doesn't appease to royal standards. amongst court, he's stiffer and less expressive, unless in defence of his family and country's honor, but is more of a listened than a talker - unless in festive environment, when he's capable to mix his public persona with his personal social talents, an energetic and magnetic man.

HEALTH

PHYSICAL AILMENTS : none worth mention. always an active and healthy child, antónio never suffered from grave illness, only usual summer fevers..

NEUROLOGICAL CONDITION : from a young age, tutors and staff noticed antónio's restlessness. even when doing things he enjoyed, he displayed anxious behaviors, such as inability to wait for his own turn, having difficulty maintaining attention in one task - description compatible with symptoms of ADHD-C. despite the hardships of his lack of focus and generalized anxieties, antónio grew up to be an emotionally intelligent man, although only mildly aware of his own emotional dependency on his father's opinions. aside from the above and the sleep disorder, which will be described later), antónio struggles with a sense of lack of self-awareness. not a complete disruption of perception, which would make him identifiable with a dissociative disorder, but mild enough to be considered a sort of dissociation from material reality, such as depersonalization, in which antónio is detached from his surroundings in midst of anxiety episodes and finds himself as a third-party, observant of himself, but is aware that the feeling is not reality. in defiance of all the above, antónio remains a light-hearted individual, usually seem as a happy young man. he would not describe himself as unhappy in any given time, but is aware of his inner turmoils - only to categorize them as usual human emotions. he has no intention of pursuing explanations for his behaviors, nor treatment for them (despite his father's constant attempts of calming him down as a child).

PHOBIAS : fear of disappointing his family, fear of being forgotten

ALLERGIES : none

SLEEPING HABITS : antónio has difficulties in falling asleep, and once he does, he might wake up several times throughout the evening. he's gone through weeks at a time with minimal amounts of sleep, but his overall appearance and posture is hardly affected by it. antónio suffers from episodes of dissociation during sleep, such as being unable to dream in first person, which affects him while awake as he sometimes has a hard time knowing if he's awake or dreaming. overall, antónio sleeps late when he does, just as sun's about to rise, and wakes up throughout his sleep several times, but eventually gets up around 3-5 hours later, average. when he has early duties, he often does not sleep.

SOCIABILITY : extremely extroverted, antónio will make a point to talk to as many people as he can in any given situation, whatever the matter is. he's constantly and impatiently looking for new acquaintances and companies, whether it be for sexual reasons or merely social ones. he is usually seen as the life of the party in many people's eyes. although he prefers writing, painting and studying by himself, all his other leisure activities are prefered to be done with groups of people. antónio is more than capable of spending good alone time, but prefers to keep the company of others.

ADDICTIONS : antónio is exhaustingly drawn to physical activity - for leisure and health purposes. considered addiction of not, he participates in competitions and tournaments often, thrilled by the adrenaline suppressed in it. besides that, he's not much of a heavy drinker, choosing to do so only in social gatherings or to impress someone (he's that guy). he enjoys the feeling of being drunk, and is always aware of his limitations with alcohol.

#bgtask #anxiety tw #dissociative disorder tw #insomnia tw #adhd tw #idk just making sure!!!!

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totallyseiso · 6 years

Text

“Wait, who was that old man in the opening cinematic?”

It’s time for another lore post because I said so.

Meet Kuben Blisk. From the cinematic he probably seems like an average old man who happens to like knives and hate newspapers, but he has some history. A very long history involving multiple war crimes. This is also a brief (”brief” being used loosely) overview of the Titanfall story, however I am leaving a lot of stuff out. (this is very spoiler heavy of course)

Events of Titanfall:

Roughly 35 years before the events of Apex Legends, the Frontier is in a bloody civil war between the IMC (the Interstellar Manufacturing Corporation) and a rebel group known as the Militia. Kuben Blisk was a South African mercenary contracted by the IMC for combat intel and counterinsurgency services. His pay was enough for his entire outfit to retire to a tropical paradise, but the allure of laying waste to the Frontier with state of the art weaponry was too good for Blisk to pass up, so he renewed his contract one more time, serving as part of the Remnant Fleet under Vice Admiral Marcus Graves, and a computer network named Spyglass.

During this time he helped coordinate a battle that saw heavy casualties among the Militia’s 1st fleet, including both combat vessels and civilian vessels. Civilian casualties however were no issue for Blisk, stating: “today's civilians are tomorrow’s Militia.”

He was later given charge of an expedition to investigate life signs in the uninhabited Sector Bravo-217. This expedition lead to the discovery, and then massacre of the peaceful Colony G21 on the planet Troy. During the battle on Troy, Blisk was tasked with assassinating the IMC traitor: James Macallen who was hiding on this planet. A goal he would ultimately fail, leading to MacAllen joining the Militia.

Blisk stayed out of combat for a while after these events, until the battle of Airbase Sierra where Militia forces, lead by an operative named Sarah Briggs, attempted to take down the base’s anti-wildlife measures to prevent the stationed fleet from defending the nearby planet of Demeter. Blisk failed in his task of killing Sarah Briggs, instead only managing to wound her. The Militia succeeded in their mission with only 30% of the stationed fleet managing to escape the airbase and join the following battle.

Blisk deployed to the following battle of Demeter with the goal of killing James MacAllen and preventing the Militia fleet from destroying the planet Demeter; a vital refueling station for the IMC. While James MacAllen did die on Demeter, Blisk once again failed in his goals and Demeter was destroyed by a chain reaction of nuclear detonations.

Three months after the battle of Demeter, Vice Admiral Marcus Graves had defected to the Militia, following in the footsteps of his old friend; James MacAllen. Spyglass then took on the responsibilities of Vice Admiral and promoted Blisk to Commander. They then lead a defence of a production facility created to build robotic infantry. They once again failed in their goals. During the battle, Blisk showed eagerness in facing Marcus Graves, wishing to see who was better, stating: “You kill me, you’re better. I kill you, I’m better.”

Events of Titanfall 2:

5 years after the battle of Demeter, Blisk and his mercenary company; the Apex Predators entered into a contract with the IMC’s ARES Division: a research division lead by General Marder, intent on winning the Frontier War by any means necessary.

The Apex Predators were deployed to the planet Typhon to oversee security operations and lead garrisons on the otherwise uninhabited planet. Their goal was to defend a device known as the Fold Weapon, a device of alien origin capable of destroying planets, and its energy source known as the Ark.

The 9th Militia Fleet, as part of Operation: Broadsword were sent to investigate the planet. Not knowing the full extent of Typhon’s defences, the planet’s orbital cannons tore the fleet apart, with the Apex Predators, and the IMC personnel under them, decimating most of the Militia forces who were forced to hot drop onto the planet.

During the following day, Blisk was involved in operations across the planet in a command capacity. During this time other members of the Apex Predators got killed one by one by a lone Militia pilot with a Vanguard class titan.

After multiple setbacks from the Militia survivors and this lone pilot, Blisk and the one other surviving Apex Predator named Slone, succeeded in delivering the Ark and preparing the Fold Weapon for use against the Militia planet of Harmony, ending their contract and receiving their payment. The lone Militia pilot then arrived to try and stop the Fold Weapon from being used. Slone then chose to fight the Militia pilot for free while Blisk Left.

After Slone’s death at the hands of the lone Militia Pilot, Blisk returned to the Fold Weapon’s Injector Room, informing the pilot that he would not fight them or try to stop them, as his contract is over and he doesn’t kill for free, much to General Marder’s dismay. Instead he congratulated the pilot and gave him an invitation to join the Apex Predators as a reward for killing the other members, which is fitting given the company motto:

“You kill me, you’re better. I kill you, I’m better.”

Events of Apex Legends:

Not much is known about the lore of Apex Legends so far, besides the game taking place 30 years after the battle of Typhon, with the Frontier War being over.

If I had to guess, I would say that due to the war being over and his age catching up to him, Blisk can no longer work as a mercenary pilot, instead he chose to use the money he earned as a mercenary to found the Apex Games, either as a means of entertainment, or a means to earn more money. this is supported by all the Apex Predators imagery around the arena, and the Apex Games catchphrase:

“They kill you, they’re better. You kill them, you’re better.”

[If you have any lore related questions, story questions, or would like to see me make a post about a specific subject, send me an ask about it.]

#apex legends #titanfall #titanfall 2 #kuben blisk

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artclasslajpatnagar · 2 years

Text

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runlikethemotherfuckingriver · 5 years

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Hey everyone! Happy Ares Appreciation Day! I’ve finally finished that project I’ve been working on, so here it is!

Also Happy Birthday @bring-us-back-light . You can finally drink alcohol!

The Fount

What we know:

The Fount is an area generally believed to be in the South of the Underland, next to the Waterway. It’s controlled by Howard’s family, mainly his mother Susannah and his father York. We can assume Howard and his siblings are generally in the same social class as Luxa, there doesn’t seem to be any official royalty in the Fount, but York is apparently the Chair Governor. Its proximity to the Waterway is definitely reflected in its inhabitants; Howard is trained in water aid and enjoys raw shellfish. The Fount is believed to be smaller than Regalia, but it has similar facilities (They have a hospital that is at least on par with Regalia’s). Other than that, there isn’t much description of the Fount within the books. Enjoy!

=====================================================

A note on timing:

Throughout this document, years have been referenced using the Underland system, but for the sake of readers unfamiliar with this timing standard a short explanation has been provided below:

BD refers to Before Descent, which is the entirety of time there have been no humans in the Underland.

AD refers to After Descent. However, there has been much debate concerning whether years should be counted from the first discovery of the Underland or at the end of the fifty years it took to transfer everyone into the new world. Most scholars, for the sake of consistency, start counting from the first time Bartholomew of Sandwich entered the Underland.

For reference, Gregor Campbell first fell in 377 AD.

History

Backstory:

After Bartholomew of Sandwich migrated to the Underland in 0 AD it took over 200 years for a separate colony to develop. By this time, fliers and humans had developed a strong relationship; whilst riding fliers had been a general method of transport since the original treaty, the concept of bonding was only just starting to emerge around this time. At this specific point, humans held mostly peaceful relationships with Underland species, most notable of which was the Treaty of Klier, which was signed in 116 AD after a particularly brutal war with the Gnawers. This treaty remains the longest kept in Underland history, eventually crumbling after the uprising of Prince Bloodspike (for more reading see “file::TreatyOfKlier/116” in the Regalian library.)

Beginning:

This peace gave humans reason to explore, map and colonize areas within the Underland they had never been before. King Opel especially wished to explore the South, beyond the Waterway. Realising it would be much too impractical to have fliers travel that distance multiple times, he ordered a village, the first of its kind, to be set up just over halfway between Regalia and the unexplored areas. Over a thousand soldiers, families and workers left their Regalian homes to start afresh in this new town. Planning for the future, Lirk of Reyton (who Opel decreed should oversee the building of the village) ordered the construction of various houses upon a cliff. He was famously quoted: “I imagine a beautiful city here. A city of vibrant colour, of joyous life. Of children playing, of friends laughing. I imagine a home.” However, the humans did not have nearly enough resources to create such a large project, and instead of being purposefully created as Regalia was, the Fount started as a just few houses cobbled together on a cliff.

Sustenance:

It was virtually impossible to continue feeding inhabitants with food imported from Regalia, so citizens began to look for their own sources of nutrition. The art of fishing had been lost due to the lack of safe water near Regalia, but over the next couple years people began to set up homes and docks near the shallows of the Waterway. Basic crop fields also sprouted up in the surrounding areas, and despite a small famine for the first few years, inhabitants soon had a steady stream of food. Various tributaries and rivers joined the Waterway nearby, so fresh water was never an issue.

War:

For the first 30 or so years, Regalia kept a tight hold on the Fount, making sure it never developed its own parliament or military. However, increasing action from both Gnawers and Cutters forced Regalia to focus on more pressing concerns. By the end of 268 AD the capital was recovering from a particularly bloody war, and the Fount had developed to have similar size and might as the capital. Fearing another attack, the Regalian council turned to the colony for help, begging them to combine their armies and defeat their common enemy. The Fount agreed, on the terms that whilst the two cities were to be united, they had separate authorities and governments. Accepting these conditions, the two great cities joined together and managed to destroy both the Gnawers and Cutters at the same time, winning a victory that was celebrated for years to come. Over time, the Fount softened and became more under Regalian control, but to this day they are regarded as separate territories and regions.

Peace:

Relative peace ensued between 270 to 320 AD. The Gnawers’ lack of numbers meant they posed no threat, and the Fount continued to develop, enlarging the area it had control over. Connections between the city-state and Regalia had never been stronger; the humans were free to create new technology and continue exploring the Underland. Aside from various attacks from rouge Gnawers, this peace was maintained until the Garden of Hesperides flooding (file::GardenofHesperides) . This, although actually caused by previous grievances, was to set the cornerstone for the war that continued up until Gregor Campbell’s arrival. The Fount assisted the humans, of course, but Regalia’s larger army and royalty meant the coastal city could largely avoid conflict. This, combined with the Fount’s obscure location far away from the Gnawer’s territories are reasons why it is generally believed to be safer than Regalia during times of war.

Ripred:

In what has now become somewhat of an urban legend, Ripred the Gnawer (for more information see “file::Gnawer/0001”) attempted to take over the Fount with an army of Clackers (more commonly known as Lobsters, the Overland term). He, along with several other Gnawers, tried to organise the Clackers into separate attack groups, but the species’ incoherence and confusion resulted in the eventual capture and gentle redistribution of Clackers along the coast. Ripred himself managed to non-lethally injure hundreds of guards before being imprisoned (and promptly escaping less than a day later)

Modern Fount

Physical Description:

Today’s Fount bears almost no similarity to the organized grids of Regalian architecture; having started as a small village and spread out from there, the city is essentially a sprawling mess. It spreads all over the mountain it was originally built upon, some houses are over 400m above the Waterway’s sea level, despite being almost right next to it. The city is almost in reverse; instead of having the palace at the centre, the smallest and oldest homes take pride of place. However, there is something comforting about the way locals can navigate the small alleys and misshapen buildings with ease.The buildings themselves serve as homes, workplaces and leisure areas for inhabitants, and all look cobbled together, somehow teetering on the edge of collapsing but also looking incredibly sturdy at the same time. Due to the Fount’s relative proximity to not only the Jungle but also the flower fields of Kjar, the majority of the Underland’s dyes and paints are mixed and made in the city (various materials from the Waterway’s seabed are also used). This has lead to most of the buildings being painted in an extraordinary array of colours, and first-time visitors - who are usually used to the monochrome palette of Regalia - are often astounded by how beautiful the city is, especially at dawn/dusk.The palace was designed in a very different way to Regalia’s; the eldest city’s royal home is much more blocky and sturdy, whilst the Fount’s palace is slanted, abstract and colourful, giving it a much more vibrant look. The Fount gets its name from the monument outside the palace, the natural geyser, around which was built a beautiful community park (possible, of course, because of the bioluminescent creatures that give off enough light for plants to grow and the fresh water that keeps the soil hydrated). Many ceremonies are held there throughout the year, and it is not uncommon to see weddings or parties taking place. Not to mention, of course, the annual explosion of fresh water due to the build up in the natural pipes (see file::theFount/Geyser), which thousands come to see every year.

Political Structure:

The Fount is ruled over by a single governor, influenced by the Regalian council but also able and encouraged to make their own decisions. Unlike the heredity system used within Regalia, the governor is chosen democratically, with a new election every four years. This governor leads the small council known as The Oligarchy who discuss and impose laws concerning military defence, economic structure and social justice. Whilst both cities follow the Seven Commandments written down by Bartholomew of Sandwich in 2AD, laws passed in each settlement do not apply to each other. The Fount’s justice system is a complicated subject and will not be covered in this document. Governors can be elected no more than twice in a row, and must wait for the amount of time they spent in office before standing for election again. As mentioned previously, the Fount has had a rocky history with Regalia, but as of 379 AD it is almost exclusively under Regalian control, mainly due to the marriage of Susannah Vetring (aunt of Luxa Hawthi, current heir to the Regalian throne ) to York Griye, whose family has ruled the Fount for years. Readers should note that the royal family of the Fount is different to the governor. Susannah is the current leader whilst York is the governor. They have five children, but due to Howard Griye’s pursuit of medicine he has been pardoned of heirship, so Stellovet Griye will rule the Fount after her parents, followed by the rest of her siblings. The Fount abides by the same rules and laws of Regalia, and the two cities share the same social, legal and economic systems. However, a notable difference between the colonies is their justice system; Regalia takes much harsher action on criminals when compared with the Fount’s view on punishments.

Economy:

The Fount has a similar economy to Regalia; although the cities do not have a ‘currency’ as an Overlander would see it, inhabitants obtain necessities by trading goods and services with each other. On a much larger scale, the government also supervises a huge trading system with Underland species, such as trading dyes for silk from the spinners, fish for the safe return of any Overlander’s found by the crawlers and bread for shedded Stinger scales, as they are incredibly tough and are used in armour production. The Fount’s inter-species trading is much larger than Regalia, as the capital is more concerned with military defense.

Daily Life:

There is a variety of jobs Fount inhabitants work as, ranging from fishermen to palace guards, Waterway explorer to simple farmer. Most people are employed in some sense, and the few who aren’t receive benefits from the government. People generally work for 7 hours a day, and the rest of the time is devoted to leisure. Residents have access to a wide variety of recreational activities and centres, swimming being most popular. Almost everyone is able to swim to some extent, and water aid training is mandatory for children. Education is also mandatory for children below sixteen, although there are many further education opportunities after that.

Final Notes:

This document is only an outline of the Fount, various documents in the Regalian library will provide more specific and detailed information about the events and places discussed within this document. For further reading see:

“The Fount: a conclusive history” by Lathor Frej

“Civil Strife: the truth about the Fount and Regalia” by Destho Lok

The Fount’s official history, compiled from multiple sources and on display at the palace.

If you have noticed any mistakes in this document please submit a ticket at the library’s service office.

#gregor #Gregor the Overlander #tuc #the underland chronicles #ares #the fount #luxa #ripred #vikus #regalia #underland #ares appreciation day #please reblog #im being held against my will #save me

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artclass210720 · 2 years

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#Art class in lajpat nagar #Art class in defence colony #Art class #best art class in delhi

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tashamagda200103 · 3 years

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Guest Sufea

Personally I found this guest speaker particularly enlightening. As someone who has always been a little confused by contemporary art, and if I am being honest not the biggest fan, I was surprisingly very interested and keen to know more about Sufea and her work. Sufea started the lecture by introducing herself within the artistic community as the Development Assistant Officer for Tate Liverpool. This title immediately intrigued and impressed me, making me ask questions such as what this entails and how to get to such a place.

She began to talk about her early feminist role within her practice, following the work of people such as ‘Sutapa Bishwas’ – a British/ Indian conceptual artist who created ‘Kali’ which was used by Bishwas in order to explore the issues that surround gender, race and class. This creation was said by Sufea to be one of her favourites. She saw it as a direct challenge towards the colonial legacy within the university of Leeds where she and her fellow students studied. As Sufea talked about this piece of work I was able to understand where Sufea's motives lay in the art world. I could see how she was dedicated to art that would make a difference and could be used to attack discrimination in the world. Other works she was interested in and inspired by where Jenny Holzer and her Inflammatory essays from 1979-1982, as well as Glenn Logan and his condition report from 2002.

She also stated that she enjoyed walking around Liverpool and admiring the posters people had put up in defence to all different problems surrounding the world today. This was something I had found myself doing so it caught my attention and sparked my interest as to where the lecture may head next.

The lecture then began to move in the direction of Sufeas own work which I was very excited to learn more about. The first example of work was called ‘The reality of being a woman’ which had been created with used food packaging overlaid with text such as ‘Leaving a conference on the dot to cook dinner at home and have scheduled sex before the weekend ends’. I found Sufeas use of an everyday object refreshing and fun but then understood the meaning behind such an idea. As she stated, she enjoys using everyday objects many of which would be found in the kitchen to highlight the feminisim found in her work. I love Sufea’s creativity in this piece and I was extremely impressed by her use of text to convey art in a humorous and relatable way.

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easyfoodnetwork · 4 years

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The Finger Bowl Is an Old Dining Etiquette Tradition That Could Soon Disappear

Creative Family/Shutterstock

The tableside rinse has links to an enduring caste system and social hierarchy. So would it be better if it went away for good?

I was thrilled when I found out that Sagar, a low-key dosa place in Defence Colony (a neighborhood in South Delhi), had begun “no-contact” restaurant service. On a sweltering June afternoon, I was one of just three diners: a rarity in a place that, pre-pandemic, always had a waiting list. Soon after I registered this strangeness, I became preoccupied with something else: the absence of the finger bowl, a half-moon lemon bobbing in a tepid water rinse, often presented in a stainless-steel bowl. Usually, in casual restaurants like this (where there is typically just one course), the finger bowl appears on the table right after an order is placed. Now, instead, a bottle of chemical-blue hand sanitizer sat at the edge of my table.

“Finger bowls… not allowed anymore?” I asked the server, sure that this was a COVID-19 consequence.

Around the finger bowl, I sensed contestation and possible extinction.

I didn’t get the response I was expecting.

“Haan voh bhi [yes, that also],” he replied, a vague answer that indicated there was more to the story. When I probed, he revealed that “some servers,” particularly those in the “younger generation,” had complained about having to carry the diner’s used rinse, which sometimes had suspicious material floating in it. He excluded himself from this coterie, saying he was not bothered with “such small things,” and could still sneak me a bowl whenever I pleased.

But in just a few months, this everyday dining object, still used across South Asia in establishments both fancy and casual, had taken on an illicit feeling thanks to the pandemic. Around the finger bowl, I sensed contestation and possible extinction.

Behind what appears to be an innocuous culinary object is a tumultuous history with multiple, contested genealogies. The finger bowl appears and disappears on the tables of British, Indian, and American eaters, for whom it has served different purposes through time. It sometimes marked aristocratic splendor, and at other times economic scarcity. Food historians like Katie Stewart and Reay Tannahill teach us that it was key in upper-class English culinary rituals from the Middle Ages on. This was a time when sharing food was common, and having clean hands was all the more important.

In the West, the presence of the finger bowl was common at elite dinner parties and in expensive restaurants during the early 1900s, as the comma between the main course and dessert. As an affirmation of status, it suggested that diners were too privileged to spend precious steps on a trip to the restroom to wash their hands. In an email interview, food historian Alison Smith writes how the finger bowl is, for her, synonymous with her grandmother — born in 1892 — and leisurely meals in Cape Cod. A lover of a “proper dinner table,” and “butlers, chauffeurs, and cooks,” Smith remembers her “beloved granny’s staunch defense of the finger bowl,” which even then inspired a little light-hearted debate around the table. To a young Smith, the object appeared “somewhat archaic and ridiculous.”

Unsurprisingly, the finger bowl is center stage in etiquette books from the early 20th century. These texts were targeted at young women in the U.S. and England, and anglicized women in the Global South. In pedagogical language, the focus is on how to correctly use the object. A brief dabble that “resists the temptation to swish your fingers around” is the norm. Ideally, the ritual should leave the lemon or flower tickled, but firmly intact. Of equal importance to the proper way to use the finger bowl is how and where to place the dinner napkin on which the bowl typically sits. Once used, the napkin should be “loosely” folded and placed on the left side of the service plate, orchestrating progress toward a much-anticipated dessert.

Sepia Times/Universal Images Group via Getty Images

A glass finger bowl made in Wheeling, West Virginia, after 1886

By WWI, many popular American dining restaurants had adopted the finger bowl along with live music. These elements were successful in attracting a wealthier clientele. While there is a record of a threat to the object as early as 1908 — when concerns around its hygiene were first raised — it was eventually ousted in the 1910s, when it came under scrutiny in the larger cultural efforts to “minimize excess” during wartime. It is harder to find mention of it in North America after the 1950s, when it, as one Southern Living article put it, “fell off” the “social radar.” If it appears thereafter, it is mostly in the form of upper class ridicule. For example, in 2002, “Miss Manners” — a moniker for the author of an etiquette column — writes: “If finger bowls don’t stop scaring people and figure out how to make themselves useful once again, even these remaining nights of theirs are numbered. They could be spending the rest of their lives in the cupboard, sulking.”

While Miss Manners indicates the object’s antiquity in the West, the finger bowl has found continued relevance in India, where historical evidence suggests that it first arrived as a colonial object. Early culinary records of regal life in South Asia and the Ottoman empire — where kings commonly had their finger bowls monogrammed with their initials — make only casual mentions of it, pointing to its natural place in these settings. In India, its easy adoption is perhaps related to the existing, pre-colonial South Indian custom of sprinkling a banana leaf — a traditional placeholder for a plate — with water in order to purify it before the meal is served.

Curator and art historian Deepika Ahlawat’s documentation of luxurious glass objects made between 1840 and 1930 in India suggests that finger bowls were important for maharajas, who fused Victorian and Edwardian culinary customs with local culinary influences. As a rule, the more upper-class and -caste the diner, the greater the ornamentation around the chasm between diner and server. Where there was a finger bowl there were indentured butlers, and at least a couple of dozen rich dishes during each meal. As historian Donald Clay Johnson wrote in “First Ladies of the Raj: Status and Empowerment in British India,” in one palace, a member of staff was reportedly responsible for not only delivering one bowl to the maharaja for a rinse of his fingers, but bringing him a second so that he could wash his rings, which may have been removed for the pleasure of his culinary experience.

As early as 1920, the finger bowl was also found in India’s colonial clubs like the Gymkhanas (member-only sports clubs, built by the British), where it still opens lunch and dinner service. In elite homes, it was reserved for the patriarch — the veritable king of the house. We see this in Anita Desai’s 1999 novel, Fasting, Feasting, where to describe the authority of the male figure, Desai writes: “he is the only one in the family who is given a napkin and a finger bowl; they are emblems of his status.”

Whether in the more courtly accounts or in aristocratic, domestic spheres, the finger bowl’s original function in India, we learn, is not really hygiene. Appearing alongside meals that are served individually, and that cater to expanding tastes, it becomes a symbol of power and status rather than a facilitator of cleanliness. Nevertheless, this is what contemporary discussions around the object often hide behind, concealing the more crucial questions of class and caste.

By the late 1970s, the finger bowl was found in many of India’s most upscale dining restaurants, and by the mid-’80s, it was not out of line to ask for one in a fancy restaurant if one wasn’t automatically provided. In an interview, a former hotel receptionist, now in her mid 60s, associated the object with Bukhara, a legendary Mughlai restaurant at the Maurya Sheraton, in New Delhi. In the late ’70s, this establishment was a place to see and be seen. She also links it to sophisticated Chinese restaurants in the 1980s, where it often appeared with an exotic flower, signifying to the eater that he or she was deserving of luxury.

The late 1980s and early ’90s, however, marked a steady trickle down, with the object ending up in spots like the dosa eatery where my server promised to sneak me a bowl. In a phone interview, Delhi-based food critic Marryam Reshii speculated that its introduction here was to the owner’s benefit, because it negated the need to provide functional wash basins — requirements in South Indian restaurants where everyone eats with their hands. It simultaneously pleased customers — even if the material of the finger bowl had changed from white or electro metal to stainless steel — who at this time counted it, along with air conditioning and carpeting, as signs of a “good” restaurant. Meanwhile, friends in the U.S. recall that by this time, the finger bowl had more or less disappeared from elite settings, but were still found in Astoria or Jackson Heights’ mid- to low-budget Indian restaurants (where a packaged toilette now replaces it).

If the finger bowl carries with it the power to mark class and caste divides, is hand sanitizer a welcome equalizer?

After this decade, the finger bowl mostly vanishes from the memory of Indian-restaurant patrons in the U.S., while in India, it’s become increasingly democratized, and even appears in the odd dhaba — casual stalls typically targeted at less privileged long-distance commuters. At odds with the ad-hoc service and dirt-cheap food — which can sometimes be deliciously satisfying, and at other times just belly-filling — the finger bowl was, and still remains, a somewhat humorous anomaly. As one disappointed Tripadvisor reviewer wrote after eating in a Chennai-based dhaba: “the only thing served warm was the finger bowl.”

Of late, online discussions around its use in restaurants veer toward confusion about its relevance, though an appreciation, grounded in both functionality and nostalgia, remains palpable. On Quora — a public Q&A-style chat — the view that the finger bowl is a useful tool in removing “oil and grease” is common, as is the sentiment that it makes guests “feel like maharajas.”

But on platforms like these, as well as around actual restaurant tables I dine on, there is rarely a discussion about what the finger bowl, with its links to an enduring caste system and social hierarchy, means for servers. While I have witnessed public objections to fellow diners “misusing” the object — using the water to dampen their arm or the bowl as a spittoon — the discourse remains confined to correct manners, or, at the most, the object’s charming but strange place in our contemporary culinary rituals. Unfortunately, the expectations most diners have of servers — that they should deal with our bodily waste and risk their mostly insurance-free health statuses (even more precarious in the time of COVID-19) — are still marginal.

If, then, the finger bowl carries with it the power to not only mark class and caste divides, but reproduce them, is the sanitizer a welcome equalizer? Is Sagar, the restaurant where I first encountered the sanitizer as a substitute, in some ways ahead of the curve? I briefly debated whether this non-fancy establishment was perhaps participating in a cultural politics that is more progressive than those of other upscale establishments — which may continue to offer the finger bowl once they open for service after the pandemic — or of aristocratic homes where it never left.

My internal debate led me to reflect on the work of the sanitizer in this context. As there are no etiquette rules governing its use, we experience it as a medical pump that is difficult to romanticize. Introduced at the restaurant door, and then again before the order is taken, the sanitizer makes all diners appear temporarily equal, responsible for their own cleanliness. And unlike the finger bowl, which leaves a visible trace of dirt that must be taken away with urgency, the sanitizer becomes an invisible and continuous presence through the meal. Its use is typically quick, repeated, and almost missable in the course of dining.

Still, while it may seem quite natural to treat hygiene as the fulcrum around which the debate between the sanitizer and finger bowl should take place, historical context reminds us that cleanliness was not the finger bowl’s primary function. Whether in a time of excess or limitation, the finger bowl has identified the most privileged actors in the performance of dining — the high caste, the aristocrat, the blue blood, the upper class, or just the paying customer. In contemporary India, where growing anxieties around food continue to center around caste, the sanitizer may create a visual fracture in marking hierarchy, or the void of a familiar tactile sensation. Its substitution of the finger bowl does little, however, to rupture the multiple ways in which food and its rituals continue to organize and reify social inequality.

Meher Varma is a New Delhi-based anthropologist and writer. Her interests include food, fashion, and gender in post-liberalization India. Fact-checked by Dawn Mobley

from Eater - All https://ift.tt/37L0Nzr https://ift.tt/3mA3Gr3

Creative Family/Shutterstock

The tableside rinse has links to an enduring caste system and social hierarchy. So would it be better if it went away for good?

“Finger bowls… not allowed anymore?” I asked the server, sure that this was a COVID-19 consequence.

Around the finger bowl, I sensed contestation and possible extinction.

I didn’t get the response I was expecting.

Sepia Times/Universal Images Group via Getty Images

A glass finger bowl made in Wheeling, West Virginia, after 1886

If the finger bowl carries with it the power to mark class and caste divides, is hand sanitizer a welcome equalizer?

Meher Varma is a New Delhi-based anthropologist and writer. Her interests include food, fashion, and gender in post-liberalization India. Fact-checked by Dawn Mobley

from Eater - All https://ift.tt/37L0Nzr via Blogger https://ift.tt/3jvTfCU

#Blogger #cooking #Eater #food #recipes

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