#SYM: Vertical

[ticktockstuck-ezodiac]

VOLRUN Sign of the Ballista

VOL* = Garnet Sign • *RUN = Derse + Breath

◈≫༻──◇──◇──༺≪◈≫༻──◇──◇──༺≪◈

#729: A sign for the multi-talented but humble, able to work any craft they put their hands to but never making extravagance unless it's asked for. The strong but silent type that loves to get their hands around something new. Sign 15 of 22 in an ongoing series of signs inspired by the job system of Final Fantasy III. This sign is for the Ninja, one of the game's ultimate jobs and the endpoint of any physical attack-focused job. Their special feature is being able to equip almost any weapon in the game, and this sign was designed around the idea of including ALL of those different weapon types - you can pick out specific lines to make swords, spears, tridents, hammers, axes, the Ninja-exclusive shuriken, and even rods and staves. It makes for a sign that looks complicated on the surface but is actually pretty trivial to draw in just two lines.

◈≫༻──◇──◇──༺≪◈≫༻──◇──◇──༺≪◈

Garnet Signs • Breathbound Signs • Derse Signs

[symerr]

I finally got fed up enough with how my Sim looked that I edited several CC we have specifically to use for me (as well as hand-making some makeup swatches).

[math-journal2]

Parabola

Key

Vertical or horizontal

p, h, k

Set up algebra for reverse engineering

Eq —> F, d, Fd

Graph —> Eq

Eq —> V, F, d —> Graph

V + d —> Eq

(#, #) + V + Sym —> Eq

.

[busterslong]

Riftbound caches locations

#RIFTBOUND CACHES LOCATIONS MOD#

In comparison to previous expansions, the selection of gems you need to level up is incredibly low. He’s the jewelcrafting supplies vendor, and you’ll be visiting him often for reagents. Take note of Distributor Au’kharn standing nearby as well. You may want to pick up Mining to provide yourself a steady stream of ores to prospect and work with, but it is not inherently needed in this expansion due to ore prices dropping exponentially with the release of flying. Head to the Hall of Shapes in the northwest section of Oribos and speak to Appraiser Au’vesk to learn WoW Jewelcrafting in Shadowlands. Image: Blizzard Entertainment via CC BY-SA 3.0 + Fandom 3 WoW Jewelcrafting Leveling Guide 1-100įirst things first, you’ll need to be at least level 50 to learn any Shadowlands profession.1 WoW Jewelcrafting Guide: Getting Started.The diversity of gems and crafting materials required has considerably diminished, and obtaining the jewels needed is very straightforward. You’ll be prepared to work with any gem and be decked out in the finest jewelry.Ĭompared to classic WoW, leveling Jewelcrafting in retail is incredibly simple. In today’s WoW Jewelcrafting guide, we’ll be going over the fastest and most efficient ways to level your Jewelcrafting profession in Shadowlands. Looking for more WoW tips and tricks? Click to view all our World of Warcraft guides. There’s no resting even in the afterlife. With players constantly on the search for more power, the works of Jewelcrafters are in demand. Even more so as you parade down the streets looking down your nose at the peasants who dare to lay their eyes upon your shiny bling.Įlite bourgeoise snobbery aside, Jewelcrafting allows you to infuse your armor with stat-boosting gems and to create imbued rings and necklaces. IF 1 ultimate doesn't destroy a storage container it's a "Rare Storage Container" or even a "Reinforced Storage Container" dropping a booster, parts of a landing craft or Detonite Injector (Grineer)/Fieldron (Corpus)/Forma (Orokin).Adorning yourself in the finest gems, torn from the earth and molded into exquisite works of art, is an incredibly satisfying feeling. !!! So for leveling syndicate purposes it's indeed better to look for them. !!! BUT if you don't have the maximum rank the missions will reward you with very little standing. (if you're lucky and find the rarest kind of medallion you triple the standing gain) Which means it is not necessary to search for them if you already have the maximum rank at the syndicate. Medallion yield: Regular missions: 8 Interception/Defense: 0-1 (common) 3/6 (uncommon) 8 (rare)īasically on not time fixed missions you get for twice the amount of time normally needed also twice the amount of standing if you turn in the medallions. (It's hard to forget a spot that wasted 10 mins of your life) There is a learning curve but once you get used to the worse spawn locations you run the maps with next to no delay. But if you're pedantic you can check the map again a little more detailed and mind vents going down or open/high ceilings. If you have checked every tileset and you're still missing 1 medallion just extract since it's possibly one of those who are hidden on a bad vertical level. If you're fast or lucky you will need 5-7 minutes, but in general it will take you up to 8-10 minutes. Everything else I play solo since most players I encountered are not really fond of the idea to wait 4-6 more minutes to extract. (check maps with high ceilings like on Jupiter)ĭefense, Mobile Defense, Interception, Disruption and Survival are missions I play in a group since they can't exactly be rushed thus giving me the time to search. Mostly vertical levels even though you should see them they are still hidden on the map. Yet there are very few hidden locations that you have to check manually. You have with this build +82 loot radar which should cover most of the possible medallion spawn locations. IF there is still a loot symbol on your map it's a medallion.

#RIFTBOUND CACHES LOCATIONS MOD#

I advise to equip a sentinel with the " " mod or an animal companion with " " to suck up the regular loot. Medallions are visible on the minimap (or if u keep pressing "m" the map overlay) as plain loot. (Cast you ultimate twice to immediately detonate it) Most crates only have credits which are not shown with loot radar so this is a good way to thin the herd. With your ultimate ability you destroy the loot crates in a wide radius. " " is optional and " " is not necessary either since it will give you only +15% efficiency until you the cap.

[pineradult]

Mgmt graphic design studio

#MGMT GRAPHIC DESIGN STUDIO PLUS#

Darlene van Uden, Design Director, Infinite Scale (Salt Lake City).Nadia Tran, Graphic Designer, CORE Design Studio (Houston).Cynthia Jones Parks, President and CEO, Jones Worley Design (Atlanta).Joe Lawton, Managing Director, Media Objectives (Chicago).Jonathan Jackson, Partner and Designer, WSDIA | WeShouldDoItAll (Brooklyn).Chad Hutson, Co-founder and CEO, 2020 SEGD Board Member, Leviathan (Chicago).Bosco Hernandez, Design Director, San Francisco Museum of Modern Art (San Francisco).Inguna Elere, Co-founder and Lead Designer, Design Studio H2E (Riga, Latvia) and Best of Show winner in the 2019 SEGD Global Design Awards.In addition to Sym, the 2020 SEGD Global Design Awards jury includes eight additional multitalented and internationally acclaimed designers: And to remember that design excellence is not achieved by one, but by many.” “To stand back and take in the magnitude of perspectives that were before us, a truly global representation of design, was humbling.

#MGMT GRAPHIC DESIGN STUDIO PLUS#

We were all extremely moved by the intention, care, and focus that was taken to bring these projects to life.” says Traci Sym, principal at plus & greater than +&>, SEGD Board Member and 2020 SEGD Global Design Awards Jury Chair. As the jurors moved through hundreds of project submissions, you could see when they came across a project that defined excellence. “The winning projects have a way of connecting with you. The storefronts told the true tales of wrongful murder convictions in Brooklyn, educational inequality in the Bronx, reckless taxi lending schemes in Manhattan, the life of an overlooked woman in Queens and forgotten history in Staten Island. The project served as a campaign highlighting the value of local journalism with five perspective-shifting storefront installations that brought important reporting from each borough to life. The 2020 Sylvia Harris Award-selected from all submissions for a project, which exemplifies design for the public good in honor of the legacy of Sylvia Harris, the founder of Citizen Research & Design-went to an exhibition called “The Truth is Local: Experiential Storefronts” developed by Local Projects, across the five boroughs of New York. One juror wrote of the work, “This project was a winner from the first moment we saw it: The care, intention, material, typography, and form of each aspect of the experience deliver a powerful focus on this history, and its continued contemporary impacts.” The thoughtful experiential design of the monument effectively communicates the sobering history of racial terror in the United States, contextualizing and imbuing the space with meaning through the use of art, and design.Įqual Justice Initiative will also collaborate to place a monument-identical to the monument found at the National Memorial-into the community, whose past it addresses to help transform our national landscape into a more honest reflection of the history of America and reflect a community’s ongoing commitment to truth-telling and racial justice. The Best of Show award was awarded to the “National Memorial for Peace and Justice,” submitted by design firms Small Stuff and a freeman in collaboration with Equal Justice Initiative in the category of Public Installation. The award-winning designers represented diverse parts of the globe, but what was a common thread for many, was a commitment to use design for the betterment of society. The 30 winning projects span a range of topics, disciplines and verticals, from highlighting the role of technology in addressing injustice in communal workspaces, creating interactive experiences that unearth unconscious biases to material-driven, nature-inspired park placemaking totems. This year’s winning projects in the SEGD Global Design Awards were announced on Jduring the live 2020 SEGD Global Design Awards virtual ceremony.

[cinnamogai]

꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿ ꩜ ✿

☆ hunsymsylvanic (hon-sim-sil-vain-ick) : a sylvanic gender related to the hunter-smyth labrador family.

requested by @orxngecrxsh ! <3

etymology : ‘hun’ comes from hunter, ‘sym’ comes from sym ; sylvanic is a suffix related to sylvanian families/calico critter, but also is a gender related sylvanian families/calico critter when it is said on its own ; the hunter-symth family was released in 2010 and haven’t been made again since 2016, if i’m correct!

♡ pls read my dni ┄┄┄┄┄ by cinna: 3/5/22 …

ID : two flags side by side ; on the right is a five vertical striped flag with colors in this order, left to right : red brown, light red brown, cream, pink, bright orange, and green. the red brown and green stripes are both wavy and larger than the other stripes. on the left is that same flag with a colored silhouette of a hunter-symth labrador in the middle, surrounded by flowers and wearing a collar. it is outlined in a dark brown and then outlined again in white. END ID

[raonimuzho]

Lesson 1

We sat in a perfect circle on big cushions that we could not place under butts but lean under elbows as we lay on our sides. Thus we were lying like orientals, talking about the capacity of the young man who is able to learn at such rates that others are left marvelling. There we sat talking about embodiment, about the roles we play and the power in movement and sound.

The lesson begins thus. It does not need to take the conventional format by which we are ordered and constructed to understand life, learning, and value. It is all a theatre and the job of the theatre-maker is to unmask the theatre of life so that by looking at what lies beneath the mask, one can reclaim ones power from its domination.

We break power structures by which we exist if we are to recognise the words communicated in the body and the ways in which to use those words. These are the codes that maintain the perceivably indestructible hierarchy that categorises the social.

The class already begun because you explained about embodiment, movement and sound in relation to power expressed by the roles we play and those which we are expected to play, often the same, in society. Everything is a theatre so what happens if one chose to reject the role assigned and choose another? Here are two people in our midsts who choose to abandon the gender roles assigned to them in order to choose another. One puts himself in a position of open collaboration to share this privilege of choice so that it can be a tool for the benefit of those whose roles assign them suffering: The role assigned to the one who is considered an illegal migrant; an asylum seeker; a refugee. No single person is in a position of teaching in the vertical sense by which we understand learning but in the horizontal plane of the circle on the ground upon cushions misused. The circle is thus. We smoke and drink while we discuss what brought us to this space, what skills we bring and how these skills can be of use to tackle the theatre of absurd of the colonial legal regimes. The border regime, of course, is the pinnacle of the absurdity of this theatre since prison and border are two sides of the same coin. So here we bring the tools by which the codes can be learnt in order to challenge roles assigned and thus assume power, even in its single definition. There is no need to dominate but power in terms of domination has a singularly identifiable face. How to learn its expressions, when to apply them, how to problematise them, and when to reject them. These are tools of empowerment, tools for the revolution.

We were lying like orientals on our sides in a circle drinking wine and smoking cigarettes talking about the regime that rejects the capacity of a young man while the other man exclaims in determination, “You will have what is your right! You will study!” The young man sits there already in a lesson but one that takes a horizontal ground which will place all the tools at his disposal and his narrow, small eyes light up, knowing the value of this lesson. He says, “Bro! Das is so cool maan! I will learn!”

I know the lesson has already begun yet we wait to recognise its face most familiar to us. Why?

It is interesting to speak about choice and oppression because it varies the meaning of power in oneself. All I ever speak of these days… or perhaps always… is power. I learn the power of choice and the choice of power as I learn to recognise the theatre of my encounters with others. I speak about oppression and in the gaze that defines me I meet its naked face. I redefine it from the encounter I had come to accept as normal with man and white; with the police; with the law; with religion. See me now as I stand above the choking red body of the old man who the police in plain clothes as thieves in costume have pressed to the ground, one with elbow around his throat and another with knee upon chest. I am raging, shouting words in myriad languages but not the right one as I the only sense I understand at this very moment is the sense against ruthless bullying. I cannot tolerate. I will not watch quietly. No badge, no arm-band, no matter how red or how far thrust into my face by hands of how butch a man. No, I will not cower for I will not accept dirty killing. If you want to kill, kill with honour because the target of your rage, and this is where it must come from, is the source of the suffering of a thousand others. I cannot stand quietly by because the card shoved in my face entitles one to kill, especially when the purpose for doing so is to punish the poor, the desperate, the denied. It is the theatre that one can play to learn when to move, when to replace rage with fear, when to breathe and how to utilise the breath for effect.

It is the acceptance of theatre as fact that we have come to endure so much that goes against every moral by which society is formed on the sensual level.

When the encounter is to be had with all that we recognise as the body learning why then do we relegate learning only to the realm of the mind? I know it when my skin tingles the difference between an encounter of a sense by which I will form relations with another. I know it in the brush of the hair what my time to come will mean in terms of the way I am to be shaped by one and in turn to shape them. Oikeiosis is not of the mind. It can only be described but it cannot be explained. Only in feeling can we know. How can he say I am to learn feeling-thinking without knowing how much pride I take in my knowledge to feel? It is my greatest ghorur. In fact the only place where I am to recognise ghorur. What I never had. Everyone is telling me how to find the space in which they will finally accept me knowing that I am already accepted as I accept them.

I talk about feeling and simultaneously I talk about the ways in which my oppression has been formed by the manipulation of another who knew exactly how to maintain the power structures against which, in theory, I am always fighting and, in praxis, I am overworked. I speak to Muzho realising that we simply did not know the codes by which to explain our efforts as work so that value can be given in a globalised world that only knows value by man and white. Rich. Bourgie-ass! I say I cannot force the ass to drink water, only take him to it.

I want to reverse symbolic life and symbolic death but I can only do so if I learn first to assume and utilise the tools. I will fill no shoes of man and white. Rich. But I want the space that is rightfully mine. I know this is what I do the best. The best. Not better than anyone but the best. I was made for this.

The course already began in theory as we shared words and thereby passed on the codes but we dived into the depth of the ocean of praxis by sitting there in our queered forms, which caused confused looks and eyes suddenly growing wide in horror as they see that transition is change; and change is what made Muzho an exile from the family, ostensibly the only real link to ones identity with the land, with the culture, with the self. Had they not changed? What happens when they go home? Will their family also reject them? The sense of exile no body can understand better than them.

This is what I want to tell my brothers. I want to say take this course because I believe that nobody can understand exile better than you, the exiled, so I want you to see how another who is exiled from the only real link to their identity can refuse powerlessness?

A lion does not leave the jungle by choice. What means exile but the negation of choice? Yet here is one who still enjoys the power of choice even in exile. Is this not what you said to me? Did you not say that though they took your rights, they would not take your right to be happy because this is your choice. This was all you had. Did you not say this to me?

Brothers, how do these lies make you feel? Brothers, how does it feel knowing that you can but they will not let you? Brothers, how does it feel that I can shout at you for not doing when I am as aware as you are that you can but your wings are taken from you when you are asked to fly? Brothers, I know it is hard but I refuse to pity you. Brothers, I am learning even to remove pity from my gaze unto the ones surviving on our streets. Brothers, I see you as above the ones who have it easy and I know you should have it too but really because your strength lies on the ground, humbled, enrages me. Brothers, I love you, you know, but it is the responsibility that makes me able to shout at you because I know you can. Brothers, you can but you must be more resilient. You must walk and speak because this is the only way networks can be made because here is what they call a dog-eat-dog world of contacts. You will know its face as nepotism and this is the source. Brothers, so little is given you and you are expected to fight among one another over the little but I am telling you please find a way to rise in this world. Think of yourselves as able. Do not await the paper. Fuck their paper.

by manizha khaos

[wgsphoenix]

messy tldw on the current meta. this is just first thoughts and i havent reviewed vods yet so i cant go over the interactions in detail. 

the base comp is sigma/ball, echo/tracer/ashe/sometimes mccree, zen/brig/mercy. orisa/sigma is also sometimes played but is only viable in limited situations

this comp is not dive so much as it is spam. the backline is too tanky to make diving useful, so it usually comes down to breaking sigma shield and forcing his cooldowns

theoretically a rush comp could mess with them, but after losing one fight it would be pretty easy to play around it (+ rein sucks). double shield has its moments on certain maps but losing one fight w/ it makes it hard to ever set back up and makes it hard to get value out of the dps that r strong rn

more in depth stuff under the cut

why ball/sigma is played

ball is the foundation of this comp. his speed, shield, disruption, and area denial w/ mines means he can literally spin circles around the other main tanks. winston has less of a capacity to survive cc than him and rein just is bad bc shatter sucks, limited mobility, he cant do anything when shielding, etc. orisa IS sometimes viable as a counter bc of fortify and supercharger, but she has no mobility and running anything but sigma with her is ineffective. hog/zarya doesnt work either but ill get to that later

its sorta a chicken or egg type thing but to me the rest of this comp is focused around denying the enemy ball value/capitalizing on your ball’s value. for this reason, sigma is the other tank paired with ball. his rock is a useful bit of cc, his shield can block burst and piledrive damage and destroy mines, and his grasp helps defend his supports from burst damage. his ultimate is also very good at isolating targets for a kill and also gives him high ground

none of the other main tanks are able to do everything that sigma does. winston can’t protect the backline and can’t poke at enemy shields, rein is bad, and orisa could protect her backline but this comp also focuses around shield break a lot so it’s easy to force her cooldowns and kill her

zarya isn’t played because she’s basically a free kill once her bubbles are used, she doesn’t have as much survivability as sigma does and she’s unable to do damage as she can’t get close enough to the other team’s backline to be effective. her ult is just worse flux specifically bc it doesnt give her high ground and it takes eons to charge. hog has good survivability, but can’t protect his backline during a push. hooking anything vs this comp would be very hard. his ult is comparatively shitty area control and he’s pretty helpless during it so he does fast. dva gets chewed up pretty fast by the dps and again this comp is very tanky so she can’t get much value out of dives. in terms of defending the backline, she’s just worse sigma. she might be playable on certain maps with lots of high ground, but i wouldn’t risk it. 

the mobility + burst dmg of the dps mean that hog/zarya isn’t viable anymore bc they just get burst down so fast, and neither of their ults/abilities do much compared to ball/sigma bc the comp is so spread out. also neither of them are able to protect the supports at all

runaway tried zarya/sigma for like 2 minutes and it sucked because they dont really have a frontline in this case and neither can begin an engage vs a dive

why tracer/echo/ashe is played

what makes dps strong in this meta is their ability to counter and synergize with ball. dps have to be able to chase him down, deal enough damage to force him away, and have the mobility to quickly switch targets to the enemy backline as soon as the ball is forced back. they also can’t be dps that he can feasibly 1v1. in terms of synergy, ball’s disruption makes for quick picks on out of position heroes, which means you need a LOT of focused damage, speed, and (vertical) mobility. on those qualifiers, widow, reaper, hanzo, junkrat, and doom are out. sombra and reaper can’t easily get assassinations so theyre out as well. sym torb and mei output a lot of damage and counter ball, but have no mobility and generally don’t synergize well with ball. bastion is (imo) always debatably playable in some kinda weird bunker setup, but usually not worth the risk and only works on certain maps

out of the heroes we’re left with (ashe, echo, genji, mccree, pharah, s76, and tracer), echo ashe tracer and mccree emerge as just. better versions of the others. echo has great mobility and her beam is essential for dealing w/ ball and enemy shields. her ult also fucks. pharah is just a worse version of her and can’t get as much value. tracer has a lot of survivability and mobility, and her kit allows her to get quick picks by sheer spam and force ults. genji has mobility but can’t survive as well as tracer and you have to invest a lot more into making his ult get value. ashe outputs a lot of damage, charges her ult fast w/ dynamite, and also has vertical mobility with her coach gun. her ult is good for area control. mccree is more or less the same, but you trade mobility for cc and slightly more tankiness. s76 has none of those and just sucks

i’ve only seen the cree played in APAC a bit as a replacement for the tracer, i think to give more stability to the backline and to make it easier to handle the echo. that feels more like a playstyle thing than anything else. 

the sigma pick is mostly a reaction to these dps. echo absolutely chews up tanks (minus sigma), and sigma can eat pulse and echo right click on top of having a shield + cc so hes kinda a must pick

tracer/echo is the most common duo, with tracer/ashe, ashe/echo, mccree/echo, and ashe/mccree being played on certain maps/by certain teams. NA/EU hasnt played anything with mccree so far. i dont have a complete handle on how they stack up yet but i think i like mccree/echo and tracer/echo best so far

you Could try to run a more divey dps duo i guess, but that’s more easily counterable than sticking with meta

why zen/brig/mercy is played

lucio and moira can’t be played because they have extremely limited range. dive is easily countered right now, so your backline isn’t going to have any easy escapes. zen is the most played support in this comp bc he does tons of damage to shields + discord is great for quick kills (havent made specific notes of it but itll be interesting to see where his harmony/discord usually go). trance is good for surviving flux + surviving spam in general. ana has more heals, but less value bc her nade is pretty easily blocked/eaten and bc nano is single target

brig + mercy are viable in different situations. brig is still sorta tanky + can defend against ball w/ cc and has rally as a backup while also doing pretty good heals. mercy is played on maps with good vertical mobility, usually alongside the ashe. balls have to play more carefully in that circumstance to not die. mercy also allows for echo to go hyper aggro, + valk is a good tempo ult. im not sure which i prefer, and id need to vod review to look at the interactions in detail

misc notes/interactions off the top of my head

echo and tracer end up chasing the ball off a lot and/or killing him, especially w/ beam. ball has to play REALLY careful in this comp and will still take a lot of damage regardless. ults charge fast

tracers duel each other sometimes, but i dont think ive seen many echo fights

echo beam also is good against sigma shield and uses her right click to force grasp so tracer can pulse (ive seen that like once but i think its happening more than that)

in this meta piledriving as ball into more than one target can be a death sentence. jihun did this a lot and was punished harshly for it, but his team also was always Right There when he did (kalios shielded right in front of him so he’d take less damage), but i think it just ended up burning more cooldowns than getting value

individual teams are centering different players, and running different dps/supports to do so. i don’t think there’s an optimal playstyle when it comes to revolving around different dps and that its based on player comfort. the one thing you absolutely should not do is make your ball the playmaker cough cough abang cough

if i have to see one more team pull out the genji i’m gonna scream

[verygayandverytired]

symmetra’s getting a rework and on the blizzard forums they finally revealed what they’re working on and it sounds amazing

she’s now a defense hero instead of a support

teleporter is now a regular ability that sym can use to place an exit teleporter anywhere within 25 ft of her. an entrance teleporter is placed in front her. both teles have 300 health and if one is destroyed so is the other. things like turrets and dva’s exploding mech can go through the portal

her photon barrier is becoming her new ultimate, which she places similar to a mei wall. it is now infinitely large vertically and horizontally. it doesn’t move and has 5000 health. it can be used to effectively bisect the map. it can reach the point from spawn with its infinite range

[justsupportmainthings-blog]

I feel that Sym is pretty close to being a non healing support now. If they gave her back her shield giving capabilities, I could see her being used in the support slot since she provides the team vertical mobility and sustain.

Mmm. I’d have to disagree. DPS can have life saving and supportive abilities, in fact, quite a few do. 

Ice wall - Mei

Hack (For Health packs and enemy players) - Sombra

Coach Gun - Ashe

Trap - Junkrat

Biotic field - Soldier 76

Are just a few examples. These can help team mates in situations, but also allows for the character to escape and have surviability until they can reach a healer or health pack. 

Sym honestly fits well into her tank melt abilities now. With 3 active turrets making a Rein unable to move should all 3 be locked on him. Her primary being a melting nightmare at full charge, and her secondary being the size of trucks.

Add to that the large wall she can summon as an ult and the shield dancing one can do with it. She’s honestly transitioned quite well into DPS.

[ticktockstuck-ezodiac]

SAGIPIO Sign of the Invoker

SAG(I)* = Indigo Sign • *PIO = Prospit + Light

◈≫༻──◇──◇──༺≪◈≫༻──◇──◇──༺≪◈

#794: A sign for opportunistic partiers who don't need to think outside of the box. They just need to be the one to open their personal Pandora's Box, so they can revel in the unleashed chaos.

This sign is the TickTockStuck equivalent of the canon sign Sagipio, which was converted from a Lightbound sign to a Slothbound sign currently under the name Sagicogium.

◈≫༻──◇──◇──༺≪◈≫༻──◇──◇──༺≪◈

Indigo Signs • Lightbound Signs • Prospit Signs

[sketsj]

UPDATE (wip) . Cliënt asked if i could ad a second canvas in vertical, so now it needs some extra attention, i like Some challenge 😁😎 .... A-SYM-METRIC (50x50) A mix of structure and aerosol, wedge, spatel .... Art by me SKETSJ (WIP) . . . #abstractart #art #gold #abstract #artist #painting #abstractpainting #modernart #artwork #artgallery #silver #artistsoninstagram #fineart #artoftheday #acrylicpainting #abstractartist #Photography #artcollector #drawing #belgium #canvas #gallery #bronze #bling #arte #abstraction #kunst #gallery #jewelry #sketsj (bij Ons Huisje - Muylle/Haegeman) https://www.instagram.com/p/CUOAqTHjWQa/?utm_medium=tumblr

[anaicdsantos]

dicionário de símbolos : Cirlot, J. E. (1995). A dictionary of symbols. Routledge. parte10

pp.259: Plants: An image of life, expressive of the manifestation of the cosmos and of the birth of forms. Aquatic plants, in particular, are symbolic of the ‘nascent’ character of life. In India, cosmic images are depicted as emerging from the lotus flower (17). At the same time, man, conscious that biologically he was related to the animals, could not but be aware that his upright posture was more closely related to that of the tree, the shrub and the very grass, than to the horizontal posture of all animals (other than the celestial birds). Thus, whereas totemism drew up relationships between man and certain animals, the astrobiological era was characterized by frequent connexions and equations between mythic beings and plants. In particular, lives which had come to a violent end were supposed to carry on a metamorphosed existence in vegetable form. Osiris, Attis, Adonis, to name only a few deities, are closely related to plants. Another aspect of plantsymbolism is the annual cycle, in consequence of which they sometimes symbolize the mystery of death and resurrection (17). The fertility of the fields affords the most powerful image of cosmic, material and spiritual fecundity.

pp.274: Rock: The Chinese attribute to the rock a symbolism denoting permanence, solidity and integrity (5), and this may be taken as generally valid. Like the stone, it is held in many traditions to be the dwelling-place of a god. As a Caucasian tradition has it: ‘In the beginning, the world was covered with water. The great creator-god then dwelt inside a rock’ (35). It seems, then, that man intuitively regards stones (as in the myth of Deucalion) and rocks as the source of human life, while the soil (inferior because more disintegrated) is the mother of vegetable and animal life. A mystic significance is attributed to this mineral, arising from the sound it makes when struck and because of its unity—that is, its solidity and cohesion.

pp.275: Rotation: For Roux, in Les Druides (Paris, 1961), rotation (the dynamic determining of circumference in rites or in art) generates a magic force, particularly of a defensive order, since it marks out a sacred precinct—the circle—which calls for the projection of the self. For Blavatsky, David’s dance round the Ark, like that of the Sabean star-worshippers, was a circular dance or at least a dance that followed a closed curve.

pp.284: Seed: Symbolic of latent, non-manifest forces, or of the mysterious potentialities the presence of which, sometimes unsuspected, is the justification for hope. These potentialities also symbolize the mystic Centre—the non-apparent point which is the irradiating origin of every branch and shoot of the great Tree of the World (26).

pp.316: Stone-Circle: Often called a ‘cromlech’, and popularly known as ‘the giant’s circle’. Diodorus Siculus had in mind the great stone-circle of Stonehenge when he referred to the existence, on an island off Gaul ‘as big as Sicily’, of ‘the circular temple of Apollo’ where the Hyperboreans sang the praises of god-the-sun. The sun-symbolism connected with the stone-circle is obvious (16). It also partakes of circle-symbolism (that is, of the cyclic process, Oneness and perfection), of disk-symbolism (representing the sun), and of stone-symbolism (or, in the eyes of most primitive peoples, theophany—a manifestation of the divine which they associated with fertility-cults). Often standing in the midst of the circle of monoliths is the ‘hyrmensul’ or sun-stone.

pp.347: Tree: The tree is one of the most essential of traditional symbols. Very often the symbolic tree is of no particular genus, although some peoples have singled out one species as exemplifying par excellence the generic qualities. Thus, the oak was sacred to the Celts; the ash to the Scandinavian peoples; the lime-tree in Germany; the fig-tree in India. Mythological associations between gods and trees are extremely frequent: so, Attis and the pine; Osiris and the cedar; Jupiter and the oak; Apollo and the laurel, etc. They express a kind of ‘elective correspondence’ (26, 17). In its most general sense, the symbolism of the tree denotes the life of the cosmos: its consistence, growth, proliferation, generative and regenerative processes. It stands for inexhaustible life, and is therefore equivalent to a symbol of immortality. According to Eliade, the concept of ‘life without death’ stands, ontologically speaking, for ‘absolute reality’ and, consequently, the tree becomes a symbol of this absolute reality, that is, of the centre of the world. Because a tree has a long, vertical shape, the centre-of-the-world symbolism is expressed in terms of a world-axis (17). The tree, with its roots underground and its branches rising to the sky, symbolizes an upward trend (3) and is therefore related to other symbols, such as the ladder and the mountain, which stand for the general relationship between the ‘three worlds’ (the lower world: the underworld, hell; the middle world: earth; the upper world: heaven). Christian symbolism— and especially Romanesque art—is fully aware of the primary significance of the tree as an axis linking different worlds (14). According to Rabanus Maurus, however, in his Allegoriae in Sacram Scripturam (46), it also symbolizes human nature (which follows from the equation of the macrocosm with the microcosm). The tree also corresponds to the Cross of Redemption and the Cross is often depicted, in Christian iconography, as the Tree of Life (17). It is, of course, the vertical arm of the Cross which is identified with the tree, and hence with the ‘world-axis’. The world-axis symbolism (which goes back to pre-Neolithic times) has a further symbolic implication: that of the central point in the cosmos. Clearly, the tree (or the cross) can only be the axis linking the three worlds if it stands in the centre of the cosmos they constitute. It is interesting to note that the threeworlds of tree-symbolism reflect the three main portions of the structure of the tree: roots, trunk and foliage. Within the general significance of the tree as worldaxis and as a symbol of the inexhaustible life-process (growth and development), different mythologies and folklores distinguish three or four different shades of meaning. Some of these are merely aspects of the basic symbolism, but others are of a subtlety which gives further enrichment to the symbol. At the most primitive level, there are the ‘Tree of Life’ and the ‘Tree of Death’ (35), rather than, as in later stages, the cosmic tree and the tree of the knowledge of Good and Evil; but the two trees are merely two different representations of the same idea. The arbor vitae is found frequently, in a variety of forms, in Eastern art. The— apparently purely decorative—motif of hom (the central tree), placed between two fabulous beings or two animals facing each other, is a theme of Mesopotamian origin, brought both to the West and to the Far East by Persians, Arabs and Byzantines (6). In Romanesque decoration it is the labyrinthine foliage of the Tree of Life which receives most emphasis (the symbolic meaning remaining unchanged, but with the addition of the theme of Entanglement) (46). An important point in connexion with the ‘cosmic tree’ symbol is that it often appears upside down, with its roots in heaven and its foliage on earth; here, the natural symbolism based on the analogy with actual trees has been displaced by a meaning expressing the idea of involution, as derived from the doctrines of emanation: namely, that every process of physical growth is a spiritual

opus in reverse. Thus, Blavatsky says: ‘In the beginning, its roots were generated in Heaven, and grew out of the Rootless Root of all-being. . . . Its trunk grew and developed, crossing the plains of Pleroma, it shot out crossways its luxuriant branches, first on the plane of hardly differentiated matter, and then downward till they touched the terrestrial plane. Thus . . . (it) is said to grow with its roots above and its branches below’ (9). This concept is already found in the Upanishads, where it is said that the branches of the tree are: ether, air, fire, water and earth. In the Zohar of Hebrew tradition it is also stated that ‘the Tree of Life spreads downwards from above, and is entirely bathed in the light of the sun’. Dante, too, portrays the pattern of the celestial spheres as the foliage of a tree whose roots (i.e. origin) spread upwards (Uranus). In other traditions, on the other hand, no such inversion occurs, and this symbolic aspect gives way to the symbolism of vertical upward growth. In Nordic mythology, the cosmic tree, called Yggdrasil, sends its roots down into the very core of the earth, where hell lies (Völuspâ, 19; Grimnismâl, 31) (17). We can next consider the two-tree symbolism in the Bible. In Paradise there were the Tree of Life and the tree of the knowledge of good and evil. Both were centrally placed in the Garden of Eden. In this connexion, Schneider says (50): ‘Why does God not mention the Tree of Life to Adam? Is it because it was a second tree of knowledge or is it because it was hidden from the sight of Adam until he came to recognize it with his new-found knowledge of good and evil—of wisdom? We prefer the latter hypothesis. The Tree of Life, once discovered, can confer immortality; but to discover it is not easy. It is “hidden”, like the herb of immortality which Gilgamesh seeks at the bottom of the sea, or is guarded by monsters, like the golden apples of the Hesperides. The two trees occur more frequently than might be expected. At the East gate of the Babylonian heaven, for instance, there grew the Tree of Truth and the Tree of Life.’ The doubling of the tree does not modify the symbol’s fundamental significance, but it does add further symbolic implications connected with the dual nature of the Gemini: the tree, under the influence of the symbolism of the number two, then reflects the parallel worlds of living and knowing (the Tree of Life and the Tree of Knowledge). As is often the case with symbols, many more specialized meanings have been developed on the basis of the general tree-symbolism already outlined. Here are a few: firstly, the triple tree. According to Schneider, the Tree of Life, when it rises no higher than the mountain of Mars (the world of phenomena) is regarded as a pillar supporting heaven. It is made up of three roots and three trunks—or rather one central trunk with two large boughs corresponding to the two peaks of the mountain of Mars (the two faces of Janus). Here the central trunk or axis unifies the dualism expressed in the two-tree symbolism. In its lunar aspect, it is the Tree of Life and emphasizes the moon’s identification with the realm of phenomena; in its solar aspect it relates to knowledge and death (which, in symbolism, are often associated). In iconography, the Tree of Life (or the lunar side of a double or triple tree) is depicted in bloom; the tree of death or knowledge (or the solar side of a double or triple tree) is dry, and shows signs of fire (50). Psychology has interpreted this symbolic duality in sexual terms, Jung affirming that the tree has a symbolic, bisexual nature, as can also be seen in the fact that, in Latin, the endings of the names of trees are masculine even though their gender is feminine (31). This conjunctio confirms the unifying significance of the cosmic tree. Other symbols are often brought into association with the tree, sometimes by analogy with real situations, sometimes through the juxtaposition of psychic images and projections. The resulting composite symbolism is, of course, richer and more complex, but also

more specific, and consequently less spontaneou and of less scope. The tree is frequently related to the rock or the mountain on which it grows. On the other hand, the Tree of Life, as found in the celestial Jerusalem, bears twelve fruits, or sun-shapes (symbols of the Zodiac, perhaps). In many images, the sun, the moon and the stars are associated with the tree, thus stressing its cosmic and astral character. In India we find a triple tree, with three suns, the image of the Trimurti; and in China a tree with the twelve suns of the Zodiac (25). In alchemy, a tree with moons denotes the lunar opus (the Lesser Work) and the tree with suns the solar opus (the Great Work). The tree with the signs of the seven planets (or metals) stands for prime matter (protohyle), from which all differentiations emerge. Again, in alchemy, the Tree of Knowledge is called arbor philosophica (a symbol of evolution, or of the growth of an idea, a vocation or a force). ‘To plant the philosophers’ tree’ is tantamount to stimulating the creative imagination (32). Another interesting symbol is that of the ‘seatree’ or coral, related to the mythic sea king. The fountain, the dragon and the snake are also frequently related to the tree. Symbol LVII of Bosch’s Ars Symbolica shows the dragon beside the tree of the Hesperides. As regards the symbolism of levels, it is possible to establish a vertical scale of analogies: dragons and snakes (primal forces) are associated with the roots; the lion, the unicorn, the stag and other animals expressing the ideas of elevation, aggression and penetration, correspond to the trunk; and birds and heavenly bodies are brought into relation with the foliage. Colour correspondences, are: roots/black; trunk/white; foliage/red. The snake coiled round the tree introduces another symbol, that of the spiral. The tree as world-axis is surrounded by the sequence of cycles which characterizes the revealed world. This is an interpretation applicable to the serpent watching at the foot of the tree on which the Golden Fleece is suspended (25). Endless instances could be quoted of such associations of symbols, full of psychological implications. Another typical combination of symbols, extremely frequent in folktales, is that of the ‘singing tree’. In the Passio S. Perpetuae XI (Cambridge, 1891) we read that St. Saturius, a martyr alongside St. Perpetua, dreamed on the eve of his martyrdom ‘that, having shed his mortal flesh, he was carried eastward by four angels. Going up a gentle slope, they reached a spot bathed in the most beautiful light: it was Paradise opening before us’, he adds, ‘like a garden, with trees bearing roses and many other flower-blooms; trees tall as cypresses, singing the while’ (46). The sacrificial stake, the harp-lyre, the ship-of-death and the drum are all symbols derived from the tree seen as the path leading to the othern world (50) (Plate XXIX). Gershom G. Scholem, in Les Origines de la Kabbale, speaks of the symbolism of the tree in connexion with hierarchical, vertical structures (such as the ‘sefirothic tree’ of the Cabbala, a theme that we cannot develop here). He asks himself whether the ‘tree of Porphyry’, which was a widespread symbol during the Middle Ages, was of a similar nature. In any case, it is reminiscent of the Arbor elementalis of Raymond Lull (1295), whose trunk symbolizes the primordial substance of Creation, or hyle, and whose branches and leaves represent its nine accidents. The figure ten has the same connotation as in the sefiroth, the ‘sum of all the real which can be determined by numbers’.

[artbookclubdublin-blog]

This is the list of book suggestions that were gathered for our first book club. We then voted for the book that we wanted to read for our first meeting. 

Documents of Contemporary Art: Participation, edited by Claire Bishop 

The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context.

Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Bürger, Jen-Luc Nancy, Edoaurd Glissant, and Félix Guattari, as well as the first translation into English of Jacques Rancière's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and Hélio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.

Ways of Seeing, by John Berger

John Berger’s now classic article "Ways of Seeing" (1972) revolutionarily, for his time, analyses the manner in which men and women are culturally represented, and the subsequent results these representations have on their conduct and self as well and mutual perception.

The Sublime, edited by Simon Morley 

In a world where technology, spectacle and excess seem to eclipse former concepts of nature, the individual and society, what might be the characteristics of a contemporary sublime? If there is any consensus it is in the notion that the sublime represents a taking to the limits, to the point at which fixities begin to fragment. This anthology examines how ideas of the sublime are explored in the work of contemporary artists and theorists, in relation to the unpresentable, transcendence, terror, nature, technology, the uncanny and altered states.

Book of Mutter, by Kate Zambreno

Composed over thirteen years, Kate Zambreno's Book of Mutter is a tender and disquieting meditation on the ability of writing, photography, and memory to embrace shadows while in the throes -- and dead calm -- of grief. Book of Mutter is both primal and sculpted, shaped by the author's searching, indexical impulse to inventory family apocrypha in the wake of her mother's death. The text spirals out into a kind of fractured anatomy of melancholy that comes to contain critical reflections on the likes of Roland Barthes, Louise Bourgeois, Henry Darger, Theresa Hak Kyung Cha , Peter Handke, and others. Zambreno has modeled the book's formless form on Bourgeois's Cells sculptures -- at once channeling the volatility of autobiography, pain, and childhood, yet hemmed by a solemn sense of entering ritualistic or sacred space.

Neither memoir, essay, nor poetry, Book of Mutter is an uncategorizable text that draws upon a repertoire of genres to write into and against silence. It is a haunted text, an accumulative archive of myth and memory that seeks its own undoing, driven by crossed desires to resurrect and exorcise the past. Zambreno weaves a complex web of associations, relics, and references, elevating the prosaic scrapbook into a strange and intimate postmortem/postmodern theater.

Aliens and Anorexia, by Chris Kraus  

First published in 2000, Chris Kraus’s second novel, Aliens & Anorexia, defined a female form of chance that is both emotional and radical. Unfolding like a set of Chinese boxes, with storytelling and philosophy informing each other, the novel weaves together the lives of earnest visionaries and failed artists. Its characters include Simone Weil, the first radical philosopher of sadness; the artist Paul Thek; Kraus herself; and “Africa,” Kraus’s virtual S&M partner, who is shooting a big-budget Hollywood film in Namibia while Kraus holes up in the Northwest woods to chronicle the failure of Gravity & Grace, her own low-budget independent film.

In Aliens & Anorexia, Kraus makes a case for empathy as the ultimate perceptive tool, and reclaims anorexia from the psychoanalytic girl-ghetto of poor “self-esteem.” Anorexia, Kraus writes, could be an attempt to leave the body altogether: a rejection of the cynicism that this culture hands us through its food.

In Free Fall: A Thought Experiment on Vertical Perspective, by Hito Steyerl  

Available on the e-flux website: http://www.e-flux.com/journal/24/67860/in-free-fall-a-thought-experiment-on-vertical-perspective/

The Temporality of the Landscape, by Tim Ingold

“In Tim Ingold's article, there are two themes present; that "...human life is a process that involves the passage of time," and that "...this life-process is also the process of information of the landscapes in which people have lived". Through the use of these themes and his methodological structure, Ingold argues that the landscape can be read as a text. First, he defines the terms landscape and temporality, and second, he introduces a new word, "taskscape", and considers how this relates to landscape. Finally, to further prove his point, the author attempts to "read" the landscape of a well-known painting, The Harvesters, by Bruegel, in which he interprets the temporality of this landscape. This article is useful in understanding cultural landscapes in that it encourages the researcher to think about an often missing, yet integral part of the interpretation of landscapes: time. The researcher is also made to question the relationship of the dimension of time to a particular landscape.” [E. Martin]

The Indiscipline of Painting, by Daniel Sturgis  

Essay and catalogue texts to exhibition.

 High Rise, by JG Ballard

High-Rise is a 1975 novel by British writer J. G. Ballard. The story describes the disintegration of a luxury high-rise building as its affluent residents gradually descend into violent chaos.

Two Hito Steyrl essays, to be read in combination: 

Politics of the archive, Translations in film: http://eipcp.net/transversal/0608/steyerl/en  and In Defense of the Poor Image:

http://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/

The Secret History, by Donna Tartt

Under the influence of their charismatic classics professor, a group of clever, eccentric misfits at an elite New England college discover a way of thinking and living that is a world away from the humdrum existence of their contemporaries. But when they go beyond the boundaries of normal morality they slip gradually from obsession to corruption and betrayal, and at last - inexorably - into evil.

Curating Research, edited by Paul O'Neill and Mick Wilson. Specifically the text called ‘The Complete Curator’

This anthology of newly commissioned texts presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice. The first volume of its kind to provide an overview of the theme of research within contemporary curating, Curating Research marks a new phase in developments of the profession globally. Consisting of case studies and contextual analyses by curators, artists, critics and academics, including Hyunjoo Byeon, Carson Chan and Joanna Warsza, Chris Fite-Wassilak, Olga Fernandez Lopez, Kate Fowle, Maja and Reuben Fowkes, Liam Gillick, Georgina Jackson, Sidsel Nelund, Simon Sheikh, Henk Slager, tranzit.hu, Jelena Vestic, Marion von Osten and Vivian Ziherl, and edited by curators Paul O'Neill and Mick Wilson, the book is an indispensible resource for all those interested in the current state of art and in the intersection between research and curating that underlies exhibition-making today.

The Argonauts, Maggie Nelson

A brave, fascinating memoir about love, gender, gender theory, having children, death, writing, and the modern family. Maggie Nelson, an established poet and prose writer, details her love for and relationship with Harry Dodge, a charismatic, gender-fluid artist ('are you a man or a woman?' the narrator wonders, but it just doesn't matter). In a brilliantly-written account that is moving as well as fascinating, Nelson charts her thoughts and feelings about becoming a step-parent, her pregnancy, Harry's operation and testosterone injections, and the couple's complex joys in queer-family creation.

Staying with the Trouble, by Donna Haraway

In the midst of spiraling ecological devastation, multispecies feminist theorist Donna J. Haraway offers provocative new ways to reconfigure our relations to the earth and all its inhabitants. She eschews referring to our current epoch as the Anthropocene, preferring to conceptualize it as what she calls the Chthulucene, as it more aptly and fully describes our epoch as one in which the human and nonhuman are inextricably linked in tentacular practices. The Chthulucene, Haraway explains, requires sym-poiesis, or making-with, rather than auto-poiesis, or self-making. Learning to stay with the trouble of living and dying together on a damaged earth will prove more conducive to the kind of thinking that would provide the means to building more livable futures. Theoretically and methodologically driven by the signifier SF—string figures, science fact, science fiction, speculative feminism, speculative fabulation, so far—Staying with the Trouble further cements Haraway's reputation as one of the most daring and original thinkers of our time.

[nocterm]

Martine Syms, Vertical Elevated Oblique

[coachlapink-blog]

Abstract Teo, SYM, Newton, MJ, Newton, RU, Dempsey, AR, and Fairchild, TJ. Comparing the effectiveness of a short-term vertical jump vs. weightlifting program on athletic power development. J Strength Cond Res 30(10): 2741-2748, 2016-Efficient training of neuromuscular power and the translation of this power to sport-specific tasks is a key objective in the preparation of athletes involved in team-based sports. The purpose of this study was to compare changes in center of mass (COM) neuromuscular power and performance of sport-specific tasks after short-term (6-week) training adopting either Olympic-style weightlifting (WL) exercises or vertical jump (VJ) exercises. Twenty-six recreationally active men (18-30 years; height: 178.7 ± 8.3 cm; mass: 78.6 ± 12.2 kg) were randomly allocated to either a WL or VJ training group and performance during the countermovement jump (CMJ), squat jump (SJ), depth jump (DJ), 20-m sprint, and the 5-0-5 agility test-assessed pre and posttraining. Despite the WL group demonstrating larger increases in peak power output during the CMJ (WL group: 10% increase, d = 0.701; VJ group: 5.78% increase, d = 0.328) and SJ (WL group: 12.73% increase, d = 0.854; VJ group: 7.27% increase, d = 0.382), no significant between-group differences were observed in any outcome measure studied. There was a significant main effect of time observed for the 3 VJs (CMJ, SJ, and DJ), 0- to 5-m and 0- to 20-m sprint times, and the 5-0-5 agility test time, which were all shown to improve after the training (all main effects of time p < 0.01). Irrespective of the training approach adopted by coaches or athletes, addition of either WL or VJ training for development of power can improve performance in tasks associated with team-based sports, even in athletes with limited preseason training periods. (presso Libreria DELLO SPORT Palermo) https://www.instagram.com/p/BsJbBsrFGJe/?utm_source=ig_tumblr_share&igshid=1b7hs6hky3us1