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wangisking · 4 years ago

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𝐑𝐄𝐀𝐋𝐋𝐘 𝐋𝐎𝐍𝐆 𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐒𝐔𝐑𝐕𝐄𝐘

BASICS. FULL NAME : Augustus Alexander Wang NICKNAME : August and Gus ( in general ), Auggie, Ice Prince, and Guggie ( by Aurora ). Aug and Lestat ( by Jack ), NAME MEANINGS : Augustus is Latin for the great / the magnificent. Alexander is also Latin and means defender of mankind. From what I know, Wang in Chinese means king. HISTORICAL CONNECTION ? : Though, his dad did think of the Roman Emperor Augustus when they named him, they liked the meaning. It seemed to fit him. They weren’t wrong, he was an emperor and he still has that energy. AGE : 22. Like Aurora, he can’t age past 22. He wouldn’t have minded either way. BIRTHDAY : 5th April ETHNIC GROUP : Augustus is half Korean and half Brazilian. NATIONALITY : British LANGUAGES : fluent in English and French. Conversational Latin. Broken Korean. Learning Urdu. SEXUAL ORIENTATION : demi-heterosexual ROMANTIC ORIENTATION : demi-heterosexual RELATIONSHIP STATUS : Single and doesn’t want to mingle. He had only one serious relationship in the past with Aurora Shams from 2017-2019. CLASS : Upper class, Wealthy but not private-jet kind of wealthy. HOME TOWN / AREA : London till he was 10 and Vancouver till he was 17 CURRENT HOME : Los Angeles PROFESSION : Drummer, songwriter, model, and student. PHYSICAL. HAIR : long and wavy. Chestnut brown. Here is an example. It goes down his earlobes in length. EYES : piercing, almond-shaped eyes. Naturally brown, but he wears blue or green contact lenses. NOSE : a Greek nose, straight without bumps. FACE : Oblong shaped, sharp and chiseled cheekbones, strong jaw. Masculine features. Example. LIPS : not full nor thin, heart shaped. COMPLEXION : pretty pale. Example is same as the face section. SCARS : one on his chest. TATTOOS : a very small ‘10/17′ on his left rib. PIERCINGS: earlobes HEIGHT : 6′5″ or 195cm. BUILD : Inverted triangle. Broad, tapered shoulders. Muscular. Defined, sculpted abs. Long limbs. Broad chest. He was naturally towards the muscular side with broad shoulders and chest. He’s never been on the skinny side. Example one and two USUAL HAIR STYLE : he lets his hair do their thing, he styles them a little, but he prefers a messier vibe. USUAL FACE LOOK : He looks generally bored. His eyes have a piercing look that seem to be drilling into the person before him. Like he can see right through you. There is an insolent smirk tugging at his lips like he thinks you’re amusing. Almost proud, like he thinks he is above you. There is depth and intensity in his eyes that stare skywards in thought. There is also mischievous, radiant glimmer in his eyes. USUAL CLOTHING : prince charming meets rockstar. Lots of jackets, darker colors, boots, necklaces and rings. Here is his wardrobe. PSYCHOLOGY. FEARS : claustrophobia and the fear of ending up alone. He always had this creeping feeling that he’d be alone in the end and that he was always meant to be alone. ASPIRATIONS : he doesn’t have any set aspirations. They change every now and then. However, his goals are just to keep his found family happy. POSITIVE TRAITS : extremely charismatic, intelligent, academic and studious, alluring and attractive, quick-witted, charming and captivating, articulate and eloquent, adventurous, desirable, analytical, brilliant, friendly, enthusiastic, adaptable, observant, kind, mellow, competent, extremely caring and protective over those closest to him, clever, loyal, clear-headed, confident, humorous, courageous, imaginative and creative, a visionary, refined tastes and manners, daring, dignified, ebullient, deep, remarkable, surprisingly he’s very forgiving, forthright, gallant, logical, gentlemanly and sophisticated, perfectionist, popular, self-reliant, shrewd, witty, suave, curious, and resourceful. NEGATIVE TRAITS : egocentric, self-obsessed, idle, indifferent, selfish, defiant, arrogant, argumentative, rebellious, kinda lazy, stubborn, distracted, doesn’t really care for morals, blunt, can appear insensitive a lot, is insensitive at times, no filters, can be cold for those he doesn’t care for, emotionally immature, deflects emotions, suppresses his feelings, sorta detached, kinda pessimistic, and unknowingly self-sacrificing because he thinks it’s fair and he deserves it. MBTI : ENTP ( Ne dominant, Ti auxiliary, Fe tertiary, and Si inferior — this means she can’t use Ni, Se, Te, and especially can’t use Fi). He perceives the world by connecting dots, thinking of never-ending possibilities, looking for pieces of a puzzle, and finding meaning in abstract. He makes judgments on if what he perceives fits his internal logic. ZODIAC : Aries sun, Gemini rising, Sagittarius moon. TEMPERAMENT : sanguine choleric ANIMALS : parrots and cats because they’re both intelligent but little pieces of shit who enjoy making your life hell. VICE : it’s either his ego or how he ends up detaching himself FAITH : currently, he’s Mu.slim. He was born protestant, became an atheist when he was 13, agnostic at 14. Bud.dhist at 15. Taoist at 16. Confucianist at 17. Mu.slim at 19. Doesn't practice it though. GHOSTS ? : yep.. AFTERLIFE ? : yep REINCARNATION ? : he guesses so. Went through it, but doesn’t remember. ALIENS ? : hell yeah. POLITICAL ALIGNMENT : liberal. ECONOMIC PREFERENCE : upper class or upper middle class is good with him. EDUCATION LEVEL : MSci in Physics from the University of Cambridge. Is opting to specialize in astrophysics soon. FAMILY. FATHER : Edward Wang, owner of a chain of fine dining restaurants MOTHER : Elisa Violeta Wang, psychiatrist, deceased STEP MOTHER : Chaeyoung Wang, lawyer. SIBLINGS : Cassandra Wang, athlete EXTENDED FAMILY : he is not close with his external family and doesn’t know his birth mother’s family at all. They never wanted him. FAVOURITES. BOOK : Crime and Punishment by Fyodor Dostoevsky, Galactic Dynamics by James Binney, Kafka on the Shore by Haruki Mukarami, Slaughter house Five by Kurt Vonnegut, War and Peace by Leo Tolstoy, and Lord of the Flies by William Golding. MOVIE : Scott Pilgrim vs The World 5 SONGS : All You Want - Dashboard Prophets, Tokyo Smoke - Cage the Elephant, Where is My Mind? - The Pixies, Sparks - Coldplay, Lithium - Nirvana, and Mr. Blue Sky - Electric Light Orchestra DEITY : none. Let him argue with one and ask for proof of their deity-ness. HOLIDAY : Halloween. It’s dramatic and fun. MONTH : October, because he met Aurora and Jack this month in 2017. SEASON : spring and summer. PLACE : he doesn’t have a specific place, but he prefers European architecture. WEATHER : cloudy and windy. Sunny if it isn’t too hot. SOUND : drums and percussions, the sound of aurora and jack’s laugh, guitars, violins, the sound of wind roaring, music boxes, and the clinking of bangles and jewelry. SCENTS : sage, rosemary, and damascus roses. TASTES : chocolate, strawberries, chilies, and fried food. FEELS : the feeling of hitting the drums, wind in his hair, the cold night air, warm morning sun, grass against his fingertips, silk, and touching long hair. ANIMALS : cats and dogs. NUMBER : 8 COLORS : white, cherry red, pink, maroon, wine red, black, and silver. EXTRA. TALENTS : he is an extremely talented drummer, good at guitar and the piano, he is talented at songwriting, composing music, he’s exceptionally good at mathematics and physics, analytical skills, storytelling, knows a lot of facts, near photographic memory because he remembers all important historical events with dates and details, academic writing, and brainstorming ideas. BAD AT : cooking, not very good at driving because he gets distracted, doing one task at a time, playing videogames, actually listening to what people say, being humble, and actually being a good leader. TURN ONS : this is a complicated question. He needs a very strong emotional connection to feel sexual attraction towards someone. And he only felt it for one person in his whole life. But, what sparked that attraction was a brilliant mind and the ability to connect with his mind on a very different level. It’s not going to repeat with anyone else. TURN OFFS : literally everyone else. He’s not sorry, but I am. HOBBIES : playing the drums, writing and composing songs, reading, solving problems, listening to music, watching shows, getting people to do weird shit, and annoying people. AESTHETIC : crowns, drums, broken drumming sticks, abstract art, the vast space, chess boards, album cases, thrones, the echoing sound of pianos, Greek sculptures, galaxies and nebulas, early morning sunrise through curtains, libraries, equations scribbled on napkins, empty museums, unmade white sheets, polaroid cameras, conspiracy theories, VHS tapes, antique books, cobblestone alleyways, night skies, cluttered books, calloused fingers, crumpled composition pages, guitar picks, vinyl, telescopes, and planets. Basically: abstract, chaotic academia, cryptid academia, dark academia, indie, kingcore, light academia, musical academia, science academia, spacecore, QUOTES : it’s weird but i can’t decide which one fits him. FC INFO. MAIN FC : victor han ALT FC : n/a. OLDER FC : he can’t age past 22, so he doesn’t need one. YOUNGER FC : none yet. VOICE CLAIM : both speaking and singing (his accent is posh British with a slight hint of Canadian) MUN QUESTIONS. Q1 : If you could write your character your way in their own movie , what would it be called , what style would it be filmed in, and what would it be about ? A1 : The same answer as Aurora, The Tale of Solis et Lunae that stars him alongside Aurora, Lunae, Jack, and Tate, plus more. A cosmic adventure / fantasy / coming of age / superhero / the reluctant hero / the chosen one. His role is of Aurora’s best friend and her greatest support in emotional and supernatural dangers. He is the time traveler who ascends time and space, so he often also gives her insight and information like the sage. It’ll expand across dimensions, worlds, and different states of existence. The scenes would be cinematic with a strong soundtrack. I imagine him to have some scenes like Quick Silver in the X-Men movies. Q2 : What would their soundtrack / score sound like ? A2 : He would have a 90s grunge or spacey dream rock sound. It ties in with the end of the last answer because i see him in one of those scenes with 90s grunge or maybe classical music ? Q3 : Why did you start writing this character ? A3 : I made Augustus just a bit before Aurora. They were a two part deal. I don’t know when it began, I just had this image of a tall, long haired boy with piercing, intelligent eyes who’s a smart-ass and likes being a know-it-all nuisance. This character has been the same since he began in 2019 and refused to change. He was always a drummer, he always had the same fashion sense, the look, Gus was always half-Korean, he always had long fingers he wore rings on, and he was always Aurora’s best friend/partner in crime. He remains unchanged and that's why I wanted to write him. This very vivid image of this boy was something I had to pen down. And just my luck, I found a fc who looks exactly how Gus looked in my head. Q4 : What first attracted you to this character ? A4 : Augustus is just extraordinary. It’s something I always felt about him and Aurora and I don’t see any of my other characters coming anywhere close to them regardless of how much I spent time on them. But with Augustus, his entire image and looks and personality — down to his wardrobe and jewelry was always so vivid in my head. Like I knew this very chaotically handsome boy who was going to turn the world upside down. His story is interesting, but what interests me more is his perspective on his story. The way he looks at his life and how he is quiet and doesn’t show his pain. How confused he always is. How much he aches but never seems so. The way he loves but doesn’t say even a quarter of the intensity he feels. And how sometimes he believes he deserves suffering because it makes sense to him. I also love the connections he makes and the way he loves so deeply and profoundly but underneath the surface. His connection, love, fears, and hopes with Aurora and Jack for their respective reasons are extremely beautiful. Q5 : Describe the biggest thing you dislike about your muse. ? A5 : Augustus is unknowingly self-sabotaging. He let go the only relationship / love in his life that made him feel like real love just because he thought he didn’t deserve it. And because when he was provoked, it made “sense” to him. He bottles his emotions and pain so much despite their intensity. He never shows how much he really cares and really hurts. And how sure he is that he’ll end up alone without friends and that it makes sense to him. Q6 : What do you have in common with your muse ? A6 : Here’s a fun answer, because I bottle my emotions like him. I also interact with the carefree way he does even if I don’t feel peachy. He’s smart and witty and really hot and I don’t even have that going on for me. So, yikes. Only of Gus’ bad things I share. Q7 : How does your muse feel about you ? A7 : Gus loves interacting with people so he’ll definitely show up to annoy me. Maybe, he might think I’m fun to annoy? Or maybe, we’ll have a similar sense of humor. I think he won’t dislike me. Not sure if he’ll like me. I think he’d think I’m funny in a strange sort of way. Q8 : What characters does your muse have interesting interactions with ? A8 : Aurora, first of all. They have this same brain wave-length thing going on where they’re partners in crime and bffs forever more. He knows how she is feeling and what she’s thinking even before she utters it. If she is about to sneeze, he’d get a tissue ready. He can tell if she is hungry or sleepy with one glance. She can do the same, so they sorta have this weird understanding of each other. Jack is this older brother figure Augustus loves. He won’t admit it, but he kinda wants to make Jack proud of him. He also wants to provide love and care to Jack that he thinks he deserves but never got. They’re his family now and he’ll never be alone or sad again. He annoys Jack a lot but behind it all, he just wants Jack to think he is needed and he belongs. That if he thinks Augustus is reliant on him, then he has this family he has to protect and care for. He can’t stand the thought of Jack feeling unloved, forgotten, alone. Tida is another one. There’s this great respect and adoration Gus has for him. Almost like he looks up to him in some ways He also has a lot of hopes and expectations attached. He feels Tida is everything that Gus himself lacks. He is the ideal boyfriend, kindest person, shows his emotions vividly, and is like a warm and cozy blanket personified. He is probably Tida and Aurora’s biggest supporter and first one to know. He can’t be happier than he is that Aurora found someone as good and perfect as Tida. Taewon is one really fun character. Their two-way frenemy jealousy spans over years and started in Cambridge when they were both in love with the same girl they claimed to be best friends with. Though, trying to be calm, Augustus was constantly provoked and hurt, made to feel inferior and constantly in fear of his relationship being broken by Taewon’s schemes that he couldn’t say out loud. This dark period ended with a fist fight and baggage of guilt they both carry to this day for hurting each other and the one they claimed to love. Today, they’re way past that and frenemies who have funny quips and arguments for each other. They say they dislike each other. But if the lighting is good, one would be the photographer of the other. Q9 : What gives you inspiration to write your muse ? A9 : Music helps me imagine scenes with perfect visual details. Any scenes from shows that remind me of my storylines. Q10 : How long did this take you to complete ? A10 : I don’t remember. It was many days and I didn’t count because it was in bits and pieces.

#╰ ♛ 𝐌𝐄𝐓𝐀 ━━ the king of gods #long post #i finally did this!

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ayuuria · 4 years ago

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Yashahime Translation: NewType Magazine October 2020 Issue

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

This is an old article that was published back in September of 2020, before Yashahime began airing so please keep that in mind as you read this.

REBOOOOOT!! The Challenge for the Next Generation

The Half-Demon Girls Who Fight in the Modern and Feudal Eras

“Inuyasha” is an original story by Takahashi Rumiko that was adapted into an anime in 2000 and became a worldwide hit. The story of the fierce battle with the demon, Naraku, centering around the “Shikon Jewel” said to grant any wish, was put to an end by Inuyasha and Sesshōmaru with the assistance of Kagome and others. After the battle ended, Inuyasha and Kagome married and with the conclusion that they were starting a new life, the curtains on the story drew to a close.

10 years have passed since then. Now entering the Reiwa era, production on a new story about the daughters of Inuyasha and Sesshōmaru entitled “Hanyō no Yashahime” has begun. Production of the anime is being done by Sunrise, who also produced the Inuyasha series. Satō Teruo, who was the assistant director in “Inuyasha The Final Act”, will be taking on the role of director. With series composition being done by Sumisawa Katsuyuki, animation character design by Hishinuma Yoshihito, and Wada Kaoru overseeing the music, the “Inuyasha” staff have gathered once again. The perfect production set-up as been put together with Takahashi Rumiko herself drawing the main character design.

“Hanyō no Yashahime” is an original story by Sumisawa. The protagonists are three girls. Towa and Setsuna are twin sisters and Sesshōmaru is their father. Moroha is the daughter of Inuyasha and Kagome, but she has lived alone since childhood, so she does not have any memories of her parents for the most part. Looked down upon by demons and shunned by humans, what will the girls, who are “half-demons”, battle and what sort of future will they strive for? We had producer Naka Toshikazu and animation character designer Hishinuma Yoshihito, talk about the composition of the plan and their feelings on the production.

The New Charms Coming from the Girls

Higurashi Towa A half-demon girl who has Sesshōmaru’s blood and is extremely skilled in martial arts (possibly inherited from her father). In order to take back her younger twin sister, Setsuna’s, “sleep”, she decides to return to the feudal era.

Towa wears a uniform with slacks, but one can tell she is a girl by her body line and facial expressions. The white hair she inherited from her father, Sesshōmaru, and the red streak in her hair are characteristic.

Setsuna Sesshōmaru’s daughter. She makes a living as a demon slayer. Having had her sleep stolen by the Dream Butterfly, she does not have any memories of her childhood and has forgotten her elder twin sister, Towa.

Setsuna is calm and collected. One can sense that personality from her cool expression as well. She wears a white fur just like her father, Sesshōmaru.

Moroha Wielder of the demon sword, Kurikaramaru, and known as “the monster killing Moroha”. A bounty hunter who specializes in slaying demons. Inuyasha and Kagome’s quarter-demon daughter.

Moroha, who’s characteristic black hair is similar to Kagome’s, wears a big ribbon on her head that is like Inuyasha’s ears. Her mischievous facial expression vaguely feels like her father’s.

[There are bios on their weapons as well, but it’s information that’s already known so I’m skipping it]

It Started with Wanting to do “Inuyasha” Again

— Where did the plan for “Hanyō no Yashahime” stem from?

Naka: Even after production for “Inuyasha The Final Act” ended, the staff and cast headed by producer Suwa (Michihiko) (associated with Yomiuri TV at the time) gathered and continued to go on once a year trips with Rumiko-sensei. There, Suwa-san said, “I want to do an “Inuyasha” TV anime again.” and it seems that was the start. Then the conversation went to if it’s a story about the second generation, we can make it an original story. Sumisawa-san came up with a number of different story concepts and proposed them to Rumiko-sensei. After much back and forth, it was ultimately decided that the daughters of Sesshōmaru would be the protagonists of the story. The anime adaption basically began to proceed immediately after that.

— What do you think is the secret to “Inuyasha”’s popularity?

Naka: It boasted top class popularity not only in Japan but also on major American streaming service, Hulu, and its popularity overseas was very high. This means that the content (of the story) is strong. During a time when Sumisawa-san wasn’t making a concrete move, a fan at an overseas event that he attended said, “I would love for you to make another “Inuyasha” anime.” and he said that that has been one of his driving forces. Currently, it has been streamed and broadcasted in over 30 countries, so in a broad sense, it’s a title that can be dispatched worldwide.

Hishinuma: The setting is the feudal era, but it doesn’t follow true history. In the end, slaying demons is the main (focus), so you can enjoy without having any knowledge. There, it has Rumiko-sensei’s serious drama with the periodic love story and comedy mixed in. That gap is what I think makes it fun. Most likely, the number one reason why there were so many young (children) fans was because the story was easy to watch and understand.

— Regarding the production of “Hanyō no Yashahime”, what points of the previous work were you conscious of?

Naka: Putting together components that were different from the “Inuyasha” charm in every sense. In the previous work, it was a story about a son surpassing his greater demon father. If Inuyasha’s son was the main character and the parents made appearances, the parents would take all the juicy parts. No matter how hard the son tries, he could never surpass his parents. Hence, when we were told that the protagonist would be Sesshōmaru’s daughter, I myself was able to accept it without issue. Moreover, I felt that that would be more fun. It’s easy to imagine what Inuyasha and Kagome’s child would be like, but you could say Sesshōmaru’s children, twins no less, stir up the imagination. Rather than following the structure and story of “Inuyasha” as it was, we thought we could create a work that those who watched the original story could easily accept.

— What sort of meaning is behind the strong impacting catch phrase “Sesshōmaru has a daughter” shown in the teaser?

Naka: I think the appeal of “Inuyasha” is the love triangle between Inuyasha, Kikyō, and Kagome, as well as Sesshōmaru being very cool. That being said, it’s no use tracing the same love triangle structure. Thus, by hitting the spot of sisters Towa and Setsuna being separated, there’s a prominent difference between the previous work, and above all, it would grab the interest of fans who wanted a new work. We’ve remodeled the setting and story, but from a picture and production perspective, it has inherited the comedic feel and screen tempo of a Rumic work.

— Hishinuma-san, what did you think when you saw the drafts that Rumiko-sensei drew?

Hishinuma: I instinctively thought if the lineup was these three, then something fun could be created. Rumiko-sensei advised me not to be too conscious of the “parent” when designing the character’s facial expressions and movements. If these kids were around 20 years old, they would’ve had aspects similar to their parents, but they are simply 14-year-old girls. As I drew, I thought about what these 14-year-old girls, who are a little than what Kagome was back then, would think about as they lived their lives.

— In what way did you make revisions using the draft as a base?

Hishinuma: Setsuna and Moroha, who live in the feudal era, were just like the draft I received, but for Towa, who lives in the modern era, I had to redo her hairstyle a little bit. She has short hair so thinking about how she moves, I did things like adjust the placement of the highlight (in her hair) and add a few details to her uniform. Also, she wears male clothing so in a sense, I tend to draw her roughly, but I consciously make sure that the look in her eyes and her actions are that of a girl.

— What did you enjoy during the character designing process?

Hishinuma: Coming up with the grown-up versions of characters that appeared in the previous work like Kohaku, Kagome’s younger brother Sōta, and Miroku and Sango’s son Hisui, was a lot of fun. Kohaku is set as the head of the demon slayers, so I imagined he built up a lot of experience and matured into an adult. However, he may have let his guard down which could be the reason behind the scar (on his face). I imagined those kinds of things as I drew.

Naka: We’ve put in many different components that both new and old fans can enjoy, so it would make us happy if you could look forward to the broadcasting.

To Fans! Two Points!

It is OK If You Don’t Know the History

The story itself is created in a way that one can enjoy it without having any knowledge of “Inuyasha”. In addition, Naka stated “You don’t need to have any knowledge on the feudal era, so please enjoy it leisurely.” Towa and the others who run around between 2 eras; the expectation of the three girls’ activities heightens!

Pay Attention to the Characters Aside from the Main Ones As Well

Other characters like Miroku and Sango’s son, Hisui, as well as others connected to “Inuyasha” will make an appearance. In addition, there will be designs aside from the main characters that will make one go “They look similar to someone from that work” …? Enjoy Rumiko’s work in every nook and cranny of the screen!

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

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danielletinybruiser · 4 years ago

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The Good Fight New York/New Jersey Open 7/31/21

I competed yesterday! And I actually feel really good about it! I'm a writer, so, writing about my experiences helps me really grasp them and process them and such, so, here goes!

And also: as always, when I compete, it's in basically no-stakes tournaments for anybody. I'm not going to big competitions, I'm just doing this as a hobby and going to light fires under my butt and test my skills as they are in the moment. So, I take it seriously, but I don't go into this with delusions of grandeur! I do not think I am the next Danielle Kelly.

(Content warning for weight here, I talk about it a fair bit!)

I think I prepared pretty well this time around! I trained *a lot* and took conditioning very seriously. I also had a funny thing with weight: since getting my (cough, cough, under my breath) Peleton - I've been riding a lot and running a ton using the app. I sure thought I was being a genius doing frequent two-a-day cardio workouts, thinking "oh yeah, I'll be 125 no problem." Instead, obviously, I gained some muscle weight from doing tons of high intensity interval workouts. It's a good thing! I'm so much stronger than I was, walking now at 134-137, and my cardio is very solid. But it did mean having to be very conscious of weight to ensure I came in at 135 on Saturday.

Again, this should actually be ideal for this level of competition (read: LOW), because it means my walking weight and competition weight are super nice and close (I used to be around 126-129 and still competed at 135, thanks to the other major tournament I do having nothing between 120 and 135), and I feel so much more durable.

An action shot! Thanks for reading so far! Lol

So, I was strict with my diet for the last month (I usually am, this just meant no cheat days for a couple of weeks, really), and did weigh-ins periodically, then every day in the last week. It also meant doing a little bit of math and knowing exactly what kind of food I could have in the morning, and what was safe to do in terms of sweating just in case. It was good to know, because that came in handy!

Yesterday morning, I woke up at 136.2 (you get a 1lb allowance, so I was only .2 over). I did a shorty 15 minute HIIT workout so I could have a tiny bit of food and fluid, being very careful to not dehydrate or do anything stupid. I'm not going to cut weight for this, lol, but it would be truly ridiculous for me, at my height (5'5") and body composition (muscular, but not JACKED), to have to go in at 145 for being, you know, .2 over.

The nice side effect of a short workout in the morning was helping my nerves a little bit (they were BAD), so at least that helped me breathe. I don't know if I've ever been this anxious before competing before, and I'm not sure exactly why — I know there are no stakes besides my pride, there's no money on the line, this isn't my career! This is my hobby, for fuck's sake, so I don't know why my body interpreted "lets compete" as "we are going to WAR and we might DIE," but there it was! I was scared! Brains are stupid!

We got a tiny bit lost on the way, but it was ok because things were running behind at the tournament. No problem at all. I made weight (135.6) and started to warm up. The venue had plenty of extra space on a turf field to warm up, and Viki was a SAINT, not only to drive my nervous ass over, but to help me warm up about six times. I felt better after just drilling and flow rolling a tiny bit.

It was a long wait, but my gi division was up first. I had one opponent at bantamweight, so, a small bracket in gi.

Here's how it goes in a submission-only tournament: you have your brackets, for a full division it's basically semi-finals and finals, with a bronze medal match and the two winners do a gold/silver match. With two, it's best two out of three wins gold, the other person gets silver.

For blue belts, we have eight minute regulation matches. No points, no advantages, no stupid bullshit (sorry, I hate points tournaments). If you both survive eight minutes with no submissions, you go into overtime rounds: a back take, a spiderweb/armbar, and a classic head and arm triangle. For each, the defender needs to escape, and the attacker needs to submit. If you successfully escape, and you successfully submit, you win! If both people escape, or both people submit, you go to the next round, and it repeats as needed (back, armbar, triangle).

It's a great format, imo, and really suits my style: I play defense, I like to wear people down, and then go for it when I see an opportunity. I will play all kinds of wild positions and try to get creative and weird with it, and frankly have fun, and I think submission-only facilitates that!

Still, I was so goddamned nervous.

We started the match and it was ON. My opponent and I were really, really well matched. Size and skill wise, we gave each other a lot of hell. It was rough, too, and I have all the bruises on my face to prove it! But I was having fun. A lot of fun.

Overtime action shot!

Our match went through regulation, to overtime. I escaped her back take, but her coaches fought with the ref a little. I offered to do it again, because, hey, I want to do it better. This may have been stupid of me, but I also, like... the reason I like sub-only so much is that I hate stupid technicalities and bullshit. So I offered to go again and did! And I escaped pretty well. On my turn to attack, I submitted her.

I honestly couldn't believe I won a match in gi. The last time I got a gold medal in gi, it was because I went to the 30+ division, and my opponent was 53. I was happy to win that day, but like... c'mon. I was 35 at the time. In sub-only, women don't have age categories, and I believe my opponent was maybe a bit younger than me, but probably not far from my age, and tough as hell. She was my size, we were well-matched in strength. And she BROUGHT IT.

I remember that going through my head, like "you can win in gi???" I could hardly believe it. I got my hand raised IN GI.

This felt great, and I was basically in shock.

(I won't belabor this, but I hate the gi. I think I'm terrible in it. Tuesday night - my last hard training day before competition, I did ok, but felt demoralized. I almost cried after training and told Viki that night "I don't think I'm going to compete in gi" and thought about pulling my registration. This is why I couldn't believe it, lol).

We had a short break and went again. Again, we did the full regulation match - she had an armbar at one point that I escaped, and I did have a last second back take and choke attempt, but I ran out of time. We went to overtime, I escaped her back take... and I remember, in the moment, getting ready for my turn to attack: "this is probably for a medal. IN GI. You are this close!" and I cinched it with a submission. I got my hand raised again. I thanked her and her coaches, and even chatted with them a little.

We went to the podium - another woman congratulated me on the match, saying she watched it and love dit. The podium worker said the same, and I was flattered. Kirsten (my opponent, who again, was fucking AWESOME and tough) and I did the podium thing, getting our medals and taking pictures.

Podium action shot!

Then, it was off to watch my teammate Ollie compete and kick ass, and then get changed for no-gi, where I absolutely knew Kirsten was going to come for blood, lol.

It still didn't feel real: a gold medal? Me? Danielle? Gi-hating Danielle who almost cried after just training in a gi on Tuesday night (again, nothing went wrong, lol, my training partners are incredibly conscientious and were preparing me!) - I let myself wear the medal for a couple of minutes before putting it in the backpack.

Even now, just about 24 hours later, it doesn't feel completely real. I swear, I only even compete in the gi because it's just five bucks more to do both divisions, and you may as well get all the rolls you can on a day you are showing up.

There was a pretty big time gap between gi and no gi, but I was honestly a little nervous again. They put a (fantastic) purple belt (that's the next skill level up if you aren't familiar with jiu jitsu, and a pretty huge gap for me, being honest) in our division, and I faced her first. There was really no pressure at all here, I do not expect to win against a purple belt. I feel — very honestly — that I have a very, very long way to go in blue. Based on how the day went, I do feel like I'm on my way, and making real improvements — But I'm no where near purple.

I survived about five minutes of an eight minute regulation period, and did survive a pretty intense back take at first, but she got me with a second back take and rear naked choke/crank. All the power to her!

Then, the bronze medal match was between me and Kirsten again (who I faced in gi). Holy shit, this was a doozy. We fought really, really hard in regulation. I know she wanted it BADLY after gi, and I could tell she had serious wrestling and probably Judo as well in her background. She tossed my ass around! It was rough and it was tough, and my face is a little fucked up today, not going to lie. But I loved it, and loved rolling with her — she had such good pressure, and beautiful knee cuts, and she was strong and fast and athletic.

We went through regulation, to the first overtime. I won the "rock paper scissors" to determine who went first and I took her back... and she escaped. She did her back attack, and I escaped.

At this point, I was TIRED. Not no much cardio-tired (I have myself conditioned pretty well), but... "I want to lie down and sleep" tired. But I got her in the armbar position for the second round, squeezed... and got the tap! Again, I thought "you are this close to a medal!" and defended the second round armbar well.. I really, really thought I was out, but in the last possible instant she just NAILED IT and got my arm back and I had to tap. It was fantastic, she did well to grab it back.

So, we went to a third round of overtime. Triangle. I had her in, squeezed, cut the angle... and got the tap! Yes! Now, I really knew I was close. I tapped her, all I needed to do was escape her triangle and I'd have a bronze in no-gi. I wanted it. I really wanted it!

I got into her triangle. It was tight right away (which it should be!), I *thought* I had stacked her in the correct position to escape, I thought I could do it...

And then... I remember dreaming. I started coming to, thinking I was asleep in my bed, and that i was dreaming about competition. I started to become conscious, and I heard her say "I think she's out!" and saw her face and the ref's face. It took me a few moments, but I realized where I was, and that I had passed out completely. She sank a PERFECT blood choke on me. Absolutely picture perfect.

I sort of kept saying, in my confusion "I'm ok! I'm ok!" and shook her hand and kind of stumbled off the mat.

Me, laughing in utter confusion after taking a nice nap on the mat (my opponent was really nice about it!)

Later on, I realized: we were actually supposed to go to a fourth overtime round! We both submitted to a triangle (if you lose consciousness, that counts as a tap!), and I believe the ref was actually asking me if I wanted to continue. Hand to heart, I'm not trying to save face, I just didn't realize it at all, in my complete confusion. I accidentally forfeited by walking off, lol. I seriously had no idea, and honestly, it was probably better that I didn't try to do another round THAT confused.

But still, that is absolutely going to be something I kick myself about, for forever. Just being THAT CLOSE.

By the way, I will say: it was the second time losing consciousness in jiu jitsu (and the first time... I'm not sure I was all the way out, this time I absolutely was) — it doesn't hurt. I'm not saying it's pleasant or great, exactly, it's very, very disorienting, because you actually start to dream a bit and have NO IDEA where you are for a few. But I would rather that than a broken arm or a torn ACL, so, as things happen on the mat, really not a terrible experience.

Kirsten deserves all the respect in the world — she put me out, and FAST (I had no idea how fast until Viki told me, lol. I sure thought I was fighting it for much longer!). She was wonderful to compete with, and I felt we were very evenly matched and got the best out of one another. I chatted with her afterward and we both complimented one another.

Overall, I'm proud of how hard I fought. I know that, in competition, I have absolutely defeated my self before, and gotten so discouraged. It's never conscious, I will always push, I will always mechanically force myself to get back up and get back out. Always. But mentally, in the past, I've really fucked myself.

Yesterday, I vowed to stay patient, and I actually did. I stuck to a gameplan fully: patience, defense, attacking whenever I saw or felt an opportunity. I actually feel, for the first time, that I did my best out there, the best I can do with my jiu jitsu right now, at 4.5 years of training, as a blue belt with one stripe.

That is a wildly unfamiliar feeling. Every other time I've competed, I've come out with at least a few things that were "holy christ, I am terrible at X and need to work on Y." The only other slight exception was the sub only tournament I got my first-ever medals at (silver in both) where I legitimately shocked myself. Even then, I had a couple of specific things I needed to work on (ankle lock defense! I still think about it!)

I'm a little bit beat up today (that armbar I thought I was out of, then got caught right at the last second? I tapped on time, but "on time" with adrenaline is "a tiny bit late" so it hurts like hell today), and will probably just do cardio for a few days to take time to heal up before going back to grappling. But I feel really proud. I feel good about it. I feel stupid as hell for accidentally forfeiting, but overall very pleased with the day.

Where do I go from here? Rubber guard, baby! I want to get *great* at rubber guard. And this has given me a huge boost to keep chipping away at gi, no matter how much I may hate it in the moment. Because I won yesterday, I do get a free invitation to the submission only worlds for this tournament, so, that's something I can think about...

But for now... I'm going to try and let the good parts sink in. Viki got me victory pizza last night, and holy shit, I don't know if anything has ever tasted so good :D

#bjjwomen #bjj #jiujitsu #competition

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sinceileftyoublog · 4 years ago

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New Bums Interview: Married Couple Vibe

BY JORDAN MAINZER

Unlike the mathematical approach of Six Organs of Admittance or the wound jangly pop of Skygreen Leopards, Ben Chasny and Donovan Quinn’s New Bums is like its name: contemporary slacker vibes, loose playing, easy, gorgeous tunes. The band’s first record, Voices in a Rented Room, came out in 2014, and almost immediately afterwards, they started recording its follow-up. It wouldn’t be released until this March, as the more layered but just as lackadaisical Last Time I Saw Grace (Drag City). Both Chasny and Quinn write songs, and each plays off the other one’s style as much as presenting their own. For instance, on the energetic “Oblieration Time”, which juxtaposes soloing and acoustic strumming, Chasny attempted to write lyrics like Quinn. As for Quinn’s lyrics, more generally, Chasny’s instrumentation shifts them. “One of the great things about songwriting [is] the way the lyrics come across versus what they actually mean,” Quinn said on a Zoom call earlier this year with me and Chasny. “The same words can be funny, sad, [or] ironic depending on the instrumentation behind [them]. It’s really fun to see what Ben does.” Chasny agrees that instrumentation matters, not citing a general philosophy but rather a YouTube video with almost 10 million views that overlays a scene of Darth Vader visiting the Death Star with a snippet of Spandau Ballet’s “True”.

Indeed, the buddy quality of New Bums shines through when they’re in the same room--even a virtual one. They laugh and play with each other and finish each other’s sentences, having been friends for a long time. But such a laid-back feeling wouldn’t be possible without each member’s distinct personalities. Chasny, knowing I was set to interview Chris Corsano later that day about his and Bill Orcutt’s excellent Made Out Of Sound, had me communicate an inside joke to Corsano, with whom he shares a band, Rangda. (The joke? Telling Corsano that he should make a pack of beats called “Chris Corsano’s Breakbeats,” to which Corsano cackled and replied, “You’ve been talking to Chasny.”) Chasny’s also self-deprecating: “I’m not a very good violin player, but the last song has me on the violin,” he shrugs about Last Time’s “Follow Them Up the Slope”. And he forgets the titles of the songs, facetiously chalking it up to the album’s lyrical themes of decay. Quinn, simply, is humble and go-with-the-flow.

Underneath it all are some serious aesthetic and instrumental chops from the both of them, a mix of guitars, harmonium (the circular “So Long, Kus”), violin, and keyboards. Opener “Billy, God Damn” is twangy and layered. “Onward to Devastation” features tasty riffing following the lilting folk of “Marlene Left California”. “Wild Dogs” shimmers, while “Hermitage Song” stuns with deep string textures. All in all, Chasny and Quinn talk about these songs with the same exuberance they do their other projects, or music by Corsano and Orcutt, or even legendary records by 90′s German drone artists. Music fans make music makers, and music bums never fade.

Read my conversation with them below, edited for length and clarity.

Since I Left You: What’s unique about Last Time I Saw Grace as compared to Voices in a Rented Room?

Donovan Quinn: I think both of the records come from the same place. A buddy record is the way I would put it, where it grew out of me and Ben in a room, playing two guitars, talking about ideas and records we admired. This one, we built the songs up a little bit more, added some layers to the songs with overdubs, and really added some depth to a lot of the compositions with vocal and guitar work and different synths, whereas the first one we tried to keep it as barebones as possible.

Ben Chasny: Yeah. I would say the first one was more slopdog, like a mutt running wild, and this one isn’t showdog level, but trimming up the dog a little bit, teaching it a couple tricks.

SILY: Maybe album 3 will be showdog.

BC: Yeah. I think it’ll probably take a poop right in front of everybody, but it will still be up there.

SILY: Those layers are what I noticed from the get-go, on [opener] “Billy. God Damn”. Is that why you decided to have it first on the record and release it ahead of time?

BC: We ran through a number of sequences on the record. It just felt like a good one to start out with. There are definitely more vocal layers on this than the other record we did for sure.

DQ: Yeah, I don’t have a clear memory of recording a lot of these songs because we did it over a long period of time, and “Billy God Damn” is one of those songs. I think we put it first because it set a good tone for the rest of the record.

SILY: The sequencing definitely struck me. It goes back and forth between more up-tempo tracks like “Obliteration Time Two” and more lilting tracks like “Marlene Left California”. Is that something you had in mind when ultimately deciding on the order of the tracks?

BC: I think so, yeah, trying to balance it out without having one of the sides of the records being too much one direction.

SILY: I love records like this where the palate is mostly vocals and guitars but you throw in a wildcard like the harmonium, or the cello on “Street of Spies”. It makes those songs stand out.

DQ: “Street of Spies” has our buddy Jason Quever on cello who has a band called Papercuts. I work a lot with Jason and he was kind enough to put some cello on that one.

BC: He did the drums and some of the strings on the first record, too.

SILY: You could say the whole album has a loose quality, but on that song especially, you kept the false start and the countdown from the live recording.

DQ: We do like that kind of sketchbook vibe with our records.

BC: [laughs] I have a feeling I know what you’re gonna say, Donovan.

DQ: I’m not gonna say what you think I’m gonna say...Me and Ben have known each other for so long, it’s a married couple vibe where we know what the other person is gonna say or is thinking...With the way you can record records now, it’s pretty easy to really get things lined up and cleaned up. We thought with New Bums, it would be kind of a nice contrast to not do that, to keep things a little bit frayed.

SILY: It goes with the aesthetic suggested by the band name, too.

DQ: Yeah, exactly.

SILY: Did anything inspire the lyrics specifically?

DQ: Not anything specifically, but over time, both me and Ben writing, we kind of developed a sense of a type of record lyrically, and it seemed to be a lot of songs about decay and certain kinds of desperation. We built from that, not totally consciously, but everything seemed to gravitate towards it.

BC: I will say, when I wrote some of the lyrics to the song “Obliteration Time”, I was actually trying to write songs like Donovan’s band Skygreen Leopards, and I was hoping he would pick up on it. I was like, “Did you pick up on it?” He was like, “No, I didn’t at all.” That was what I was trying to do.

SILY: In some ways, you still have a ways to go in your marriage, then.

BC: Yeah, a lot of ways.

SILY: What were you going for on the first line of “Street of Spies”, “Who gives a fuck about clemency?”

DQ: You know, I don’t remember. And when we were listening back to different vocal takes, there was one that was so unusually angry for me that Ben was saying I sounded like Rage Against the Machine or something, so we changed it. I don’t know. It’s just meant to have the language contrast the mellow vibe of the song. I like that style when if you have a mellow song with lyrics that contradict that feel.

SILY: What’s the inspiration behind the album title?

BC: It’s a line [on the album]. When you listen to [the] song, you realize it’s the name of a woman, Grace, but in context on the front of the record, it has a different meaning, which we thought would be kind of fun. You listen to the record, and you realize, “Ah, I see what they’re talking about.”

DQ: That was kind of a last-minute title. I think we got lucky with it. It fits really well with the kind of themes developed in the record: decay, desperation, etc.

SILY: Is Grace a real person or just a character?

Both: Just a character.

SILY: What’s the inspiration behind the cover art?

BC: Donovan had the concept behind the art.

DQ: We were gonna see if anyone noticed this, but if you look at the first cover and the second cover, it’s basically the same elements, but we took things away. The first one has the two triangles, and it’s pictures of me and Ben, and this one doesn’t have any pictures. The idea is for every album to have the same basic design that takes elements away to eventually have nothing at all.

SILY: What are you gonna lose on the next one? One of the triangles?

BC: Possibly. That’s when I get kicked out of the band.

SILY: Or it’s self-titled, and you can use New Bums as the band and the title.

DQ: The other day, something cool happened that reminded me of the cover and the two triangles. It doesn’t totally work, but I did this video that heavily references ZZ Top. For the video, we bought a couple of ZZ Top magical keychains, and I was trying to open a box with it, but the fucking thing broke! But the two extreme points of the keys broke off, and what’s left looks a lot like the two triangles.

BC: The original record cover from the first record was based on one of my favorite records, pretty much a tribute to it, a band called The Black Vial. He did a record called Frozen Morning in maybe the mid-90s. He did 300 of them, this German guy, Liebried Loch. They were wrapped in black electric tape, and that’s what held the photograph on. This really gorgeous looking record, one of the most dark, depressing records I’ve ever heard in my life. It’s just droning on electric guitar on a practice amp, really distorted, singing songs like, “Black crows, flying no more!” We based the original artwork off that record and then modified it.

SILY: Have you thought about doing a live stream or socially distant show?

BC: We should try to figure out how to do it together. We still have to figure out Zoom. We may not do Zoom a lot. We’re more Google. We know technology.

SILY: You’re not Luddites?

BC: We have most of our meetings on Google Hangouts.

DQ: New Bums has a lot of meetings, and we spend a lot of time together, so it’s surprising it’s taken us 5 years to do two albums and two tours.

BC: We do have some great video footage from that tour a couple years back filmed at a bookstore in San Francisco called Adobe Books, and I think we’re gonna put that out for people to check out.

SILY: Were some of the songs from this record performed there?

BC: Yeah, we [did] ��Cover Band”.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

DQ: I’ve been watching a lot of movies more than anything else. I have the Criterion Channel service, so I’ve been finding a lot of inspiration in that. I was just recommending the movie Close-up to Ben, if you want to feel that doing any kind of artistic endeavor might have some meaning, it’s worth it.

BC: I’ve been watching a lot of Poirot. That guy’s great. His relationship with Hastings is quite similar to Donovan and me, though I won’t say who is Poirot and who’s Hastings.

Last Time I Saw Grace by New Bums

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ask-de-writer · 5 years ago

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CAPTURED BY THE CLANS (part 2 of 3), a Science Fiction tale.

Return to the Master Story Index

Return to Science Fiction

Captured by the Clans

Glen Ten-Eyck (De Writer)

written, 2006

18231 words

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Users of Tumblr.com are specifically granted the following rights. They may reblog the story. They may use the characters or original characters in my settings for fan fiction, fan art works, cosplay, or fan musical compositions, provided that such things are done without charge. I will allow those who do commission art works to charge for their images.

All sorts of fan art, cosplay, music or fictions is actively encouraged.

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Captured by the Clans (part 2 of 3)

Heads all about the War Room turned at that. “Planetary damage?” F’rufan questioned. “What is this strategy? We seem to have missed something. We were thinking that the M’cratt would come in from off the ecliptic like they did at K’stall.”

Voice almost dripping with sarcasm, T’cass replied, “Oh, sure. I forgot that Lezon’s attack plans are all carbon copies of each other! She has never repeated an attack plan unless it was a sucker play to set you up for something else.

“Let me talk to the Feront. That way I will only have to explain this once.”

Sourly, F’rufan signaled to open the channel. On the screen four reptilian appearing beings, long of hind leg and tail, heads like long narrow arrowheads with jaws full of teeth, looked into the War Room.

Although the four heads each scanned a separate part of the room, they all spoke at once, “Entity, T’cass! It is good to see you. Why have my signals been ignored? I bear a reply to the protest filed by the Entity, Council of Clans.

“The reply of the Entity Treaty Commission to the Entity Council of Clans is: Protest rejected. This Conflict is specifically acceptable under the terms of the Treaty between the Entities presently engaged. No present violations of the Treaty have been observed.

“I have arrived in accord with your summons and the Treaty to observe this conflict for violations. According to both Treaty and law, I shall not interfere unless violations are observed. Message to Entity Council of Clans ends.”

T’cass composed herself and spoke. “Entity Feront, it is good to see you again. It has been long, as this Entity counts time, since I last spoke to you. Have you news of my instructing Entity, K’lass, from the School of All Conflict?”

The polyphonic voice of the Feront changed as two more of the creature entered it’s transmission field and one left but the words flowed seamlessly, “I have word that is only four weeks past. The Entity K’lass wished you to keep your fangs and your claws as sharp as your knife. The Way is all.”

The others in the War Room saw T’cass relax visibly at the Feront’s words. “Please tell the Entity K’lass that I have kept the Way, even among the strangeness of those who do not understand it.

“Now,” T’cass leaned forward intently, “I need Treaty Commission permission to destroy some worlds.”

The alien heads focused on T’cass’ face like there was no other object there. “These worlds are not inhabited nor can their destruction endanger inhabited spheres.”

T’cass smiled, though that gesture meant nothing to the Feront. “Thank you for the permission. There are software blocks that prevent our computers from calculating the necessary tactics. May I relay through your computers? In this way, the Treaty Commission will be fully informed of the strategy and tactics to be employed.”

**********

Lezon examined the scouting data from C’ustance in the chart tank of the Hand of Claws and nodded. Her enemy was definitely a Warrior. The fleet that should have been milling about C’ustance was gone. There were more fusion product traces headed for the singularity than the passage of her own fleet could account for.

“So, where did thy go?” asked M’ase, looking over Lezon’s shoulder. There was an admiral waiting patiently for Lezon to notice her. Lezon signaled the admiral to come over and join them at the hologram chart tank.

“That’s where,” said Lezon, pointing at the singularity.

Brow furrowed in puzzlement, the admiral asked, “Did they try to follow us? Shall we prepare for an assault?”

It was M’ase who figured it out suddenly. Her whiskers shot erect and she exclaimed, “They went around that thing faster than the Feront on a hot rock! They’ve bypassed us entirely and gone on to M’onafar! Will that change your battle plan, Lezon?”

Lezon nodded. “Of course it will. The question becomes what they have and can get to M’onafar. My original estimate was based on their keeping most of the Main Fleet in the Combine Worlds as a defensive measure. I now believe that the new Warrior on their side will convince them to move in most or all of the Main Fleet. The Central Fleet will certainly be there. All of the retreat from K’stall has gone to M’onafar as well.

“The battles will go on for a while afterwards but the war will be decided there at M’onafar. Their Warrior knows this and will have as much firepower as possible concentrated in that system.”

Lezon adjusted the scale and studied the M’onafar system. She was watching the movement of the planets and the data on the planets themselves. She nodded to herself at what she saw there.

What scouting data they had was projected into the system. M’ase studied the map tank and pointed at an asteroid field between the second and third gas giant planets. “It looks as though they have tried to hide their ships in among the rocks. Would they really do that?”

This particular admiral was one who had earned Lezon’s respect in the past and did so again. Baring a fang on one side of her muzzle, she scratched it with her foreclaw as she thought the problem through. “If these were just the Clanners, I would say probably. Our war leader has just said that however it happened, they have a Warrior leading them now, so probably not. That group is a decoy that we were meant to find.

“My guess is that they have everything that can resist pressure far down under the atmospheres of the giants. If we pounce on those decoys, they will strike us from the planets. We will be going too fast to maneuver easily and they will be doing a slow start out of those gravity wells. They will be able to maneuver better than we can.

“Those planets orbit so slowly that the triangle formation they’re in will basically be the same when we get there. The fourth planet is too far out and off position to be strategically useful.”

She smiled as she saw Lezon nodding agreement. Lezon said, “Right. It’s a trap and neatly laid, too. This system doesn’t have an old signal laser. I checked. We still need to scout the photosphere of M’onafar, just to be sure that the Clan Warrior hasn’t put some other nasty surprise there.”

**********

Empire scouts, all legs and no guns, flashed through the M’onafar system, passing close to the star and the three gas giant planets gathering information. Throughout the asteroid field, idling power plants shut down as the scouts were detected. The scouts found the slight tachyon traces of power plants hidden in the planetary atmospheres, too. They were hard to detect and impossible to number, swamped as they were by the natural tachyon noise of the big planets.

T’cass watched the scouts go back out of the system and get lost out of detection range. In the hologram tank of the chart, things appeared to be going as she had hoped. She felt sad for the decoys that she had positioned in the asteroids between the planets and down in their atmospheres. As many as possible were simply remotely controlled vehicles.

Soon the first battle group of the M’cratti came in at high sub C numbers. They were relying on speed and a cunningly chosen angle to protect them from the firepower hidden in the planets. According to plan, the power plants all through the asteroids came to life and ships rose from the planet atmospheres to defend from the attack.

The M’cratti strike force swatted many of them with contemptuous ease as they roared past.

Lezon’s feint having drawn the enemy out, her forces now committed in a three wave attack coming in at lower speeds in order to preserve maneuverability. Each of the three gas giants was attacked simultaneously by medium and heavy cruisers backed up by her dreadnoughts. The second wave, well back, were the Talon carriers, waiting to launch their swarms of deadly fighters as soon as targets presented themselves. The reserves hung further back yet, waiting to go wherever needed.

T’cass sprung her trap. An icosahedral array of fire balls rose up on each planet. Contraction restriction fields and fusion engine igniters working in concert caused the hydrogen rich atmospheres to become enormous bombs. The planets shattered, flash and radiation simply swamped the defensive fields of many ships. Physical damage from debris was also enormous.

Intelligence was working swiftly to sort out the emergency calls and detect the ruined ships that were not capable of signaling. T’cass watched, both pleased and saddened, as any true Warrior must be. Somewhere around a third of the enemy’s strength was destroyed. Much of what was left was seriously weakened. It was time.

On her signal, ships came to life in the Trojan position asteroids, sixty degrees ahead and behind the orbit of the central gas giant planet, and rising out of the atmosphere of the fourth gas giant, the one furthest out and badly out of position for standard tactics.

**********

Lezon, aboard the Hand of Claws, saw the trap sprung from the safer distance of the second wave. In both horror and admiration, she raised a claw to her unknown Warrior adversary.

Wasting no time on trying to salvage her original plan, she signaled, “Every ship still under power, Lezon dive the star! Choose targets of opportunity as you clear the limb. Work to keep the Clan battle groups separated! Good Hunt!”

M’ase did not seek further orders. The Hand of Claws was already boosting in toward the star at her highest acceleration. Lezon ran for the launch bays. The time for strategic command was past. She got into her vacuum gear and settled into her familiar Talon, tightening buckles and straps with the skill of long practice. All about her, the other pilots of her wing were doing the same. She settled her Warrior’s knife into its safety clips and reported, “Lezon Treh K’lass, ready for launch!” One by one her wing reported in. The technicians completed last checks and retreated to the vacuum locks. It always seemed to take longer than Treh’s Hunt for All the Stars to get the air pumped out of the bay. At last, the bay doors slid smoothly open.

Raw sunlight slammed into the bay from less than two million kilometers away. Filters automatically darkened to compensate. Even so, the interior of the bay stood in stark relief.

M’ase’s voice came crisply over the comm circuit. “Wing group target acquired and locked into your computers. Good Hunt!” Powerful electromagnetic launch rails hurled Lezon’s wing free of the ship’s defensive fields.

Her combat group formed up behind her, boosting with all power at a wide vector away from the ship. The simple essence of the Lezon dive was to change vectors while hidden in the tachyon background of the star and surprise your enemy by emerging in a powered cometary orbit from a less predictable position. Looking outward from the star gave the diver a better position to choose her targets, too.

As the battle group came clear, they saw the situation. It was bad but Lezon could see the way to salvage it. Even with the disaster, the Clans were out numbered and out gunned.

Most of the M’cratti ships under power had followed orders and dove for the safety of the star. Someone, almost certainly their Warrior, had got some true discipline into the Clanners. They hadn’t followed the M’cratt forces in their dive. That was bad.

Worse, their unusually disciplined forces were waiting for the M’cratti to come around the star. They had left spotters behind in the widely spaced Trojan asteroids to see the M’cratt emergence as soon as possible. Their heavy ships, System Siege Cruisers and Battleships, were opening fire under the direction of the spotters, long before the heavies themselves could actually see their targets. The spotter directed fire was having a deadly effect on the ships of the Empire.

Lezon called out over her battle link, “Hand of Claws, Wing One! We need to take out those spotters in the Galactic West Trojans! Go for the big …” The blast knocked out her communications and engine power.

Her wing rose on past, away from M’onafar, going to attack the target locked in their computers, the wrong target. They left her behind, alone in her unpowered Talon. Lezon looked about as well as she was able from the cockpit. She had been hit astern. The damage was beyond visual sight and the cameras facing that way were dead.

Her instruments told a curious tale. The power capsule was intact, of course. If it had been breached, she would simply be an expanding cloud of vapor. There was weapon power. The inertial drive diagnostic circuits were intact. So far as she could tell, the drive unit itself was functional, if it could get power. There were hull breaches back there leaving a hard vacuum in the power section.

Vacuum was not a problem, per se. Lezon’s combat suit was a vacuum survival device, not a true working engineer’s space suit but it would do. She had pressure in the life system but it was slowly leaking away. She shut down the air feed to the cabin life support and disconnected herself from the system. After bleeding her cabin air into space to equalize pressure, she opened the aft serviceway.

Looking at the damage from the inside, it looked more like a M’cratt disruptor hit than one by a Clan Tachyon battery. First things first, though, power. The capsule floated in the center of its cradle but four of the heavy distribution cables had been destroyed. The secondary explosion from the superconducting cable saturation blast had actually done most of the real harm. Superconductors either work perfectly or fail catastrophically. Four out of five had failed. The whole power bay was riddled by their shrapnel.

The weapon power cable was intact. It was the only one that was. The attack had come from dead astern. That was telling.

All that Lezon needed to do was shift the surviving power cable to the inertial drive.

It was more complicated than that, of course. The power capsule had to be shut down first. That was normally controlled by software. The control computer was a mass of shattered circuit boards, shot through by shrapnel from the failed cables. Lezon studied the situation and began to short wires by hand because of the destroyed switch gear. If she did this wrong, either the capsule would be damaged beyond restart or it would explode.

After a tense few moments, the capsule began to drift in its cradle. It had shut down. Lezon removed the remains of the damaged cables, hoping to find a usable connector. One, somewhat closer to the inertial drive looked to be usable. Lezon shifted the weapon cable to it. Unhitching the big cable from the weapons system wasn’t easy without proper service tools.

Lezon’s suit air was going foul by the time that the cable was free and wrestled out of its multitude of clamps. No matter how she tried to route it, the cable was about three inches too short. If only one of the other connectors was serviceable… None was.

Splicing was out of the question. The cable’s size was due to the liquid nitrogen cooling jacket. That had to remain intact. That was why the special connectors were needed. No other superconducting cable had survived. There was husky bit of copper over in the weapon system. Perhaps it would do… It depended on whether the interior of the inertial drive was a superconducting device… If it was, the resistance of the copper would cause it to fail as explosively as the cables had.

Lezon didn’t know the answer to that question. Inertial drives were sealed units. Having little to lose, she patched in the copper. It was done. Either it would work, or not. She crawled back forward to the pilot’s seat and plugged in her air supply. Her suit was holding pressure but the cabin wouldn’t. She wasted no air trying to pressurize it. She just sat and breathed clean suit air for a bit.

She activated the drive system at low power. The little Talon began to accelerate away from the star. Since she could no longer communicate, she aimed for the last known course of the Hand of Claws and hoped for retrieval. There was a self powered emergency transponder in her ship, so she activated it.

A few moments later, she noticed the glow from the engine bay and frantically reached to shut off the power to the drive. She never got her hand to the switch. The glow became a glare of green vaporized copper and the impact of the detonating superconductors jolted the little vessel.

Lezon felt the red hot metal tearing through her body and blasting her exposed arm away. As consciousness faded, Lezon composed herself to meet K’lass of the Triple Goddess and be guided to the Cave of Life to meet her namesake.

**********

It was wrong. Things were blurry and wouldn’t come into focus. One thing was certain. This wasn’t the Cave of Life. Lezon concentrated, trying to figure out where she was. She was sure that it wasn’t an Imperial hospital ship.

A voice intruded on her consciousness, calling, “T’cass! Your property’s awake!”

A tart voice rebuked, “My slave earned her Name. She is Lezon! By her Owner’s order you will use it! If she has more Names we will find out when she can speak.”

The owner of the second voice strode into the room and sat in Lezon’s clear view. Conversationally, she said, “I thought that you were too tough to die. My name is T’cass. I think, based on the markings of the Talon I found you in, that you and I fought at K’stall. You gave me the Obligation of Return.

“I have paid for your regeneration. We saved your brain, most of your central nervous system and a few of your organs. I hope that you were not attached to your pad marks, iris patterns, retinas or hide pattern and color. All that I could afford were random replacements on those issues.”

Her captor’s hands were moving with apparent nervousness. Actually they were giving Hunter’s Signs. “The walls listen. Only I know who you are. You must act with me for now or I cannot protect you from our enemies.”

Lezon’s left hand twitched back, “Our enemies?”

T’cass spoke directly, “I have unfortunate news for you, Lezon. Your War Leader, Lezon Treh K’lass was killed, five months ago, at M’onafar. I personally recovered her destroyed Talon. The lease of it for public display provided much of the care that you have received. I have kept her Warrior’s Knife safe.

“I found you in another wreck, not far from hers. There was no trace of her left. Her life system took a direct hit and there was other damage as well. Here.”

T’cass stepped near and projected a hologram of Lezon’s Talon. It was far more damaged than Lezon remembered. T’cass directed, “Look at the stern areas. You can see that she got hit twice there, probably before the life system was destroyed.”

Knowing that she was being showed this for a reason, Lezon focused carefully on the stern. Clan Tachyon battery damage nearly disguised a prior hit. There was unmistakable damage from a low powered Talon Disruptor. Now Lezon understood what T’cass meant about enemies. Someone had tried to assassinate her and only the Triple Goddess had prevented it.

She signed, “You kept my Knife? Why?”

T’cass smiled, with a slight baring of a fang. She signed back, “Because you put your soul into it when you made it, just as I did with mine. I could not keep you safe and sell your soul. I am a Warrior of K’lass’ School of All Conflict too! Your honor and life are safe in my claws, Battle Friend!” She reached out and took Lezon’s mobile left hand. Her right was bound in place and had tubes and wires in it.

Lezon struggled to speak. Her new body did not yet respond as well as it should. “What of the war?” she croaked.

T’cass sat again and thought before answering. “We won at M’onafar. Your people might have taken us with that sun dive. It was a near thing. Your heavy ships repeated our mistake at K’stall. They committed too soon, with poorly chosen targets. I would guess that it was due to the loss of Lezon’s guiding touch.”

She paused and thought, clearly deciding what to tell and how much. “After that, we lost at C’ursair. I have heard that battle had already been planned by War Leader Lezon.

“The Treaty Commission destroyed over one fourth of our fleet at H’rizin in the process of stopping us from space borne bombardment of an inhabited industrial world with biosphere destructive weapons. I was sitting on the Strategy Board and tried to prevent that from happening. I resigned when they attempted to do a second bombardment at B’lance.

“We were stopped there too. M’cratt itself was being scheduled for total destruction. The Treaty Commission found out and did a preemptive strike on the fleet sent to do it.

“The Empress Triad is suing for a cessation of battle. Effectively, the war is over.”

Lezon digested that for a while. T’cass let her think. Finally, Lezon said, “I did fight you at K’stall. I gave you the Obligation of the Return. You have shown a true Warrior’s spirit in this rescue. It has clearly cost you much. Your Honor has cost you a leader’s position. I hope that saving me was no part of that loss. You planned the battle at K’stall. It was a masterful defense. M’onafar was brilliant.”

T’cass inclined her head in silent acknowledgment of praise from a true master. She carefully asked, “In the laws of both of our kinds, you are war booty. My slave. I can do nothing about the laws. I can, with your help, do something about our relationship. Will you submit to me?”

Lezon, gaining control of her new body swiftly, now that she was aware of the regeneration problem, shot a curious look at T’cass. “Submit?” she asked. “Not surrender?”

Briskly, T’cass replied, “Of course not surrender. You must never surrender to me. I did not defeat you.”

Lezon tried to smile at that. “Can’t submit yet. I don’t have a Warrior’s Knife to do it properly.”

The medical tech that had first called T’cass entered the room. She looked Lezon over carefully, moving joints and prodding expertly. She looked up at them both and said, “I have been monitoring everything said in this room. Since she … Lezon … is a M’cratti slave, the monitoring is required by law. While she is here in the hospital, she cannot be allowed near any sort of weapon.”

Pausing, she added, “The monitoring system will be down for the next five minutes due to a drive change. I hope that it will be long enough.” She pointed to an orange light on one of the pieces of equipment hooked to Lezon. “That will go red when the monitor is live again.” She bustled out.

T’cass drew her big Warrior’s Knife with its pattern welded steel. She held it between them, back of the blade to Lezon, and intoned, “With my own hands I forged this Knife at K’lass’ school. It was made in the same forge as the blade of Lezon Treh K’lass. As your own Knife is not presently available, I offer you my soul. Submit. Learn. Fight by my side.”

She handed the weapon to Lezon who tried to hold it up. She was still too weak. The medi-tech came in swiftly and gripped Lezon’s wrist. “How do you need to hold it?” she asked.

Lezon looked at the tech in surprise and said, “Across between us, back to my Mentor.” The tech simply provided Lezon’s arm with the necessary support so that Lezon herself could hold the knife properly.

Lezon intoned, “By this knife which holds the spirit of a Warrior, I submit to you. I will serve you. I will learn from you. I will fight by your side.” Exhausted by the simple effort, she let the knife down slowly to the bed cover. T’cass quickly recovered the knife and sheathed it. The light turned red moments later.

“I fear that I have stayed too long,” T’cass said, standing up. “I have tired you out. I’ll come by tomorrow. We can talk again. It is good to have speech with someone who understands the nature of Conflict.”

T’cass left the room and waited for the tech to emerge. When she did, T’cass knelt before her, and offered her knife, on the flat of her hand. Confused, the tech said, “What’s this for? What do you want me to do?”

T’cass smiled, ears up at a jaunty angle and said, “That was a gracious thing that you did. It was important to both of us. This is my offer of a favor in return. If you accept, just touch the hilt. What you ask of me, I cannot in honor refuse, except that I may not betray an oath already given.”

Cautiously, the tech, reached out and touched the hilt of T’cass’ big knife. She said softly, “I helped you because I know a little about you. I heard that you were raised as a M’cratt Warrior and that you broke the M’cratt advance for us. There are rumors that you quit the Strategy Board to keep us from blasting planets. You tried to save lives, even in a war.

“That is my work, too. Saving lives, I mean.

“All that I want is for you to come and meet someone with me when I come off shift.”

Later, T’cass and the medi-tech were seated at a table in one of the private dining areas. T’cass said, “You took quite a risk for me back there. If your superiors found out that you had allowed a prisoner, however weak, to handle a knife, you could have been fired at least. I only just realized that I have been unforgivably rude by Clan standards.

“I failed to even ask your name. All that I can say is, I was raised as a Warrior. We earn our names and introduce ourselves by them. If we don’t, then we go by our position and a number, if necessary.

“So … I am T’cass. What is your name?”

That brought a smile from her companion. She raised a claw politely and answered, “I’m M’rel. I have treated enough prisoners to know about the M’cratt naming rules. I don’t like the Clan Central law that takes away their Names and gives them serial numbers.”

Softly, T’cass said, “I don’t like it either, M’rel. That’s why I took advantage of those same laws. They do grant a slave permanent possession of what her Owner gives. I gave her back her Name. She earned it during the Feront Contact/War. I will help her to forge a new Warrior’s Knife, when the time comes, too.”

M’rel saw past the immediate conversation to its root. She reached out and took T’cass’ hand and stroked it gently, saying, “It must be terribly lonely for you. Who, here in Clan Space, could understand the way that you think or even just accept it for different?”

Bleakly, T’cass replied, “The only one that I’ve found so far is in your hospital unit. I think that Lezon understands perfectly.”

M’rel said, “I may not understand fully but I do sympathize. I am curious about something. Your slave. You spent enough in saving her to have bought a small star ship of your own. That is far more than any slave is normally worth.

“Then, you took her submission, there in the hospital. What is the difference between submission and surrender? I gathered, from what I overheard, that it is an important distinction to the M’cratti.”

T’cass thought quietly for a few minutes trying to figure out how to explain the obvious. Dubiously she ventured, “Surrender means give up. Accepting slavery at your opponent’s claws. Submission is to become a student, to learn from another, to fight by their side as a free Warrior.”

M’rel put a paw to her muzzle as she thought through the implications of the distinction. While she was thinking, a new person walked into the dining area. Seeing her, M’rel raised her hand and waived, “K’ress! Over here!”

K’ress was a lean individual with some blast scars visible through her fur. As she seated herself, she took M’rel’s hand in the familiar grip of a lover. K’ress smiled at M’rel and asked, “How was your shift in the regeneration unit?”

M’rel smiled back fondly and replied, “Interesting. That M’cratt 80% regeneration case woke up today.”

K’ress snorted softly, “It’s a remarkable case alright. Why would anybody spend that kind of credit on an enemy?”

“She gave me a Warrior’s Return at K’stall,” said T’cass tartly. “I owed her a life.”

Embarrassed, K’ress lowered her gaze and mumbled, “Sorry. I didn’t know that you were the one who paid all that credit. I should have known that you had a good reason.” She paused, and tilting her head, looked more carefully at T’cass. “Warrior’s Return? I was at K’stall. There were rumors all over, after the battle, about a M’cratt Talon escorting one of our fighters back to a point of safety… That was you?”

“Yes. And that Talon pilot was her. I recognized her Talon during the after battle salvage. The M’cratti assign Talons to specific pilots and they can paint whatever designs they like on them. Besides, after she woke up, she acknowledged doing it.”

M’rel said, “T’cass, that slave of yours is probably the most expensive slave in all of Clan Space. Was it really worth it? You know that she will just try to escape at the first opportunity. All M’cratt slaves do.”

T’cass replied bluntly, “Even if she does escape, yes. It is worth it. I don’t believe that she will ever try to escape, though. No matter what our laws on slavery are, she submitted to me. I will regard her as a free Warrior, voluntarily staying and learning, fighting by my side if necessary.”

K’ress skeptically asked, “Would you really risk arming her?”

T’cass’ eyes flew wide, shocked by the question. When she recovered, she said, “Of course. She is a Warrior. Her submission means that I have to trust her. She has to trust me, too. Student and teacher. That’s what submission is about.”

K’ress turned to M’rel and pointed at T’cass, asking, “Has this one had a psychiatric evaluation?”

M’rel narrowed her eyes and said, “I have been able to observe her for the last five months. T’cass is remarkably sane. If any person in Clan Space can understand M’cratti thought, it is T’cass. She was raised as a M’cratt Warrior and dragged to Clan Space when her mothers were recalled from a diplomatic mission.

“I do trust her. That’s why I brought her here to meet you.”

Hostilely K’ress asked, “Why did you quit the Strategy Board when we started winning this war?”

T’cass looked at her with irritation. “That should be obvious to a kit! Those vicious fools wanted to strike at inhabited planets. That kind of action is against all honor and law. They knew it too, and didn’t care! Biosphere destruction and bombardment of civil populations is indecent! A Warrior’s duty is to protect all life! Even the enemy’s life is to be protected as soon as they surrender or submit!” She slammed the table with an open hand for emphasis.

K’ress was taken aback. “Those were M’cratt worlds prepared to fight to the last kit!”

It was M’rel who answered that accusation. “Did they? After the Treaty Commission’s Feront ships stopped us, what did happen? The news was so quiet on the subject that I took the trouble to search. Those worlds submitted without a fight.”

Puzzled, K’ress asked, “Why would they do that? No world of ours would just surrender.”

M’rel replied again, “I just found the answer to that today. They were asked to submit. They did. Under their rules and laws there is a large difference between Surrender and Submission. We have treated them like conquerors since then. By their understanding, we have broken faith with them.

“After the way that we have treated those worlds, I doubt that any more M’cratt worlds will fall without a fight.”

K’ress paused to ponder what she’d heard and said, “I need to learn more about how M’cratti think. We all do. In this short discussion, I have just learned more about the M’cratt than I did in all my life before this. That’s frightening.”

To the surprise of both M’rel and K’ress, T’cass relaxed and actually smiled at them. “Both of you are my kind of people. We will teach you whatever we can. There will be many opportunities for profitable trade between M’cratt and Clan Space after this war is done.”

They both looked at T’cass skeptically. “We? Who else do you mean besides yourself?”

“Lezon, of course. My slave. She has submitted to me, so we can depend on her. She was a pilot in Lezon Treh K’lass’ wing, so she is one of the best the M’cratti had. I am the other best small ship pilot in Clan Space.”

T’cass speared a claw at K’ress and said, “I got messages delivered by you while you were a courier pilot and I was on the Strategy Board. You were a remarkable pilot too, so I looked into your records.

“Why did you quit power engineering on Capital ships?”

Sardonically, K’ress replied, “The Freedom’s Pride left without me. Something about a superconductor saturation blast during our last engagement.” She pointed at the scars under her fur. “The hospital had to rebuild twenty two percent of me, including my spinal cord from the neck down. Took a while.”

She smiled softly at M’rel and added, “That’s where I met this lovely person. All that we need is to find a third to complete our Triad. Then we can buy a small ship to call home and start a Clan of our own.” She reached out and covered M’rel’s left hand gently with all five fingers and the thumb of her right hand. Her ears were up and alert.

Suddenly K’ress shot a look at M’rel and asked bluntly, “You mean T’cass? Why should we take on a M’cratt Warrior?”

“You heard her,” replied M’rel promptly. “It won’t be long until this war is over. The best opportunities for trade will be in running across the M’cratti border. We will need someone who understands how they think so that we don’t mess up. This bit of misunderstanding about submission is almost certainly only the nucleus of the comet. There’s lots more that is certain to be as tricky for us. For instance, there may be other words that we both think that we understand, yet may mean different things in our two cultures.

“Think, My Dear. Even a small cargo ship could make a great deal of credit if it is one of the few that avoid such pitfalls.”

Suddenly more interested, K’ress looked T’cass over more carefully. Frankly, she asked, “What can you bring to our triad besides the most expensive slave in all Clan Space?”

T’cass looked straight back and replied, “I don’t know if I want to join you yet. I still have resources. I lease Lezon Treh K’lass’ Talon for public viewing. If I sell it, it will generate a considerable sum. I can both fly and maintain small ships, as can you. In addition, I know how to correctly manage Conflict. With due respect, you do not. The management of Conflict is the basis of all M’cratti transactions, not just war.

“If we do join you, let Lezon guide you in the selection of a vessel as soon as she is able. You will not be sorry if you do.”

******

Lezon was still pondering the thing that she had done. She had never Submitted to another before, beyond her service to the Empress Triad. At least, T’cass knew more than the forms. She was a true Warrior.

The one thing that Lezon was certain of was that a graduate of K’lass’ School of All Conflict had to have true honor. That made everything else possible. Like Submission. Lezon was still curious about how a Warrior came to be on the Clan side. Sympathetically, she thought how lonely such a Warrior must be.

That there were decent people in Clan Space was a certainty. The medi-tech who had clearly risked her valuable work to help with the Submission was certainly one.

The room door opened. It was the tech. She came hesitantly forward and said, “I have only learned something about M’cratti manners, last night. My name is M’rel. I have heard that your Name is Lezon. May I call you by that Name?”

Lezon raised a claw politely and answered, “After meeting you yesterday, I would be honored if you did. I gather that as a slave, my only claim to the Name that I earned is that my owner returned it to me.”

M’rel smiled at Lezon and replied, “Since T’cass put your Name on your Ident chip, it is official. Your registry number is there by law but since your name is registered too, the number can only be used by officials in a criminal action.”

Lezon tried to smile. Her new body was still strange in some ways and so she asked, “Does my smile show properly? I am glad to hear that news.”

<==Previous ~~ Next==>

Return to the Master Story Index

Return to Science Fiction

#CAPTURED BY THE CLANS #Part 2 of 3 #Science Fiction #Written by Glen Ten-Eyck (De writer)

7 notes · View notes

sylleboi · 5 years ago

Text

𝕮𝖔𝖒𝖎𝖈 𝖇𝖔𝖔𝖐 𝖈𝖔𝖓𝖋𝖎𝖉𝖊𝖓𝖙𝖎𝖆𝖑 𝖆𝖓𝖉 𝖘𝖚𝖒𝖒𝖊𝖗 𝖕𝖗𝖔𝖏𝖊𝖈𝖙 - 𝕾𝖙𝖆𝖌𝖊 𝖔𝖓𝖊 | 02/06/20

There are two types of textures;- Implied texture is basically texture that appears to be there, but it’s an illusion.- Actual texture is texture that exists and can be felt by touch.So I have been falling behind with what we as a class have been doing online on Moodle, making it feel increasingly difficult to approach it and get things done since it feels like things just keep piling up, but I have decided to give it a shot and just go for it!

The following message/messages were left for us on the Moodle forum;

“Hi guys,

Thanks to those that attended the Zoom meeting this week. Well done.

If you are committed to progressing next year I will need to see the following:

- Post a reply to this thread to show you are checking in with Moodle

- Interact with a least 1 of the summer school activities

- Attendance at ALL subsequent Zoom classes.

- A Conscientious and studious approach to the summer project

The time line for what happens next in terms of your studies will be as follows:

Tuesday 26th May - Summer project posted to Moodle and emailed directly to college emails (This will give you a chance to read/obtain equipment/purchase core text)

Monday 1st June - Zoom Lecture - Reviewing the brief and discussing research activities and practical tasks. Q & A

Monday 8th June - Zoom show & tell - Discussing progress so far / issues / findings / examples / Work in Progress

Monday 15th June - Zoom Break out groups / Smaller discussions

Please if you are in contact with any of your classmates/peers who have not be interacting can you please encourage them to do so, the longer we abstain from learning the harder it will be when we do get back to the 'New normal'.

Happy Wednesday!”

- Post a reply to this thread to show you are checking in with Moodle

I posted a short reply to show that I am active on Moodle.

- Interact with a least 1 of the summer school activities

I am yet to do this, but will be attempting my best to catch up.

- Attendance at ALL subsequent Zoom classes.

I have already failed this, but will attend the Zoom classes schedule ahead.

- A Conscientious and studious approach to the summer project

I will be working towards living up to this over the next few weeks as we work on the Summer School Project.

“Hi guys,

Hope you had as good bank holiday, here is the Summer project as promised. 'Comic Book Confidential' is a project that will allow us to start thinking about the type of work we will create in our 2nd year as well as addressing the theoretical and academic ideas we will need to start thinking abound discussing in detail when we return.

This week, I want you to do the following:

- Read the brief thoroughly and write down any questions you may have

- Order your core text book, Scott McCloud's 'Understanding Comics: The Invisible Art'

- Obtain any of the necessary equipment if you do not currently have this

Please ensure you start your research from Stage 1, and begin to write notes for the questions; as I will be asking you to relay your new knowledge next Monday (1st June) in our first Zoom lecture/discussion. I will forward an invite in a separate email and on moodle. I look forward to working with you guys on this, it will be a good one.

Best Regards,

David Dixon”

𝕮𝖔𝖒𝖎𝖈 𝖇𝖔𝖔𝖐 𝖈𝖔𝖓𝖋𝖎𝖉𝖊𝖓𝖙𝖎𝖆𝖑

The brief;

“Hi guys,

Thank you everyone who joined us yesterday for the launch of our Comic Book Confidential Summer Project, there was a great turn out.

I have attached the PDF of the presentation for you to look at and use as a resource.

Please begin stage 1 and make sure for next week you have your viewfinder made and you are able to talk about either a comic book of your choosing or answer some of the questions of stage 1 with clarity.

Any question please post to here and I will answer as soon as possible.

Cheers

DD”

I missed this zoom call, but got some notes and insight to what was talked about during the call from a peer.

This brief is the first surrounding the topic of sequence art/comics that we have done as a class. Comics can be described as being a “sequence through illustration”; a series of images, sometimes with no dialogue showing an action or conveying a space of time in just a few panels, like glimpses of a film, showing key moments to portray the meaning of the sequence.

On another note, we are allowed to animate the project if we want to.

For this brief/project, we are required to put some form of narrative together, based off of our own personal experiences with the 2020 lockdown, making it a personal project to each of us. It is also required to be non verbal.

During the process of making our comic sequence, a short film showing the process from start to finish.

AIMS:

Make at least 5 comic book pages with at least three panels per page

Build a narrative exploring the ideas of isolation and coming out of lockdown

Understand how to create the passing of time

Explore the basic characteristics of a comic, BASICS!

A series of juxtaposed images creating a narrative or a selection of images.

An aesthetic response to our viewer done using a selection of images in a deliberate sequence. - “Sequence art”

Can we link this back to year 1?

I did a workshop at the very beginning of the year (19/09/19) called Fragments/Clips. It focused on experimental editing and making something unconventional with what resources we were given, much like we are asked to do with this brief; creating comic strips from the resources we find within and around us.

𝕶𝖊𝖞 𝖆𝖗𝖙𝖎𝖘𝖙𝖘:

We can find our own if we like but the suggested artists are;

- Hokusai

- Aiden Koch

- Sam Elston - former student from our course that will be visiting us.

Can you define what a comic is in your own words?

Comics can be described as being a “sequence through illustration”; a series of images, sometimes with no dialogue showing an action or conveying a space of time in just a few panels, like glimpses of a film, showing key moments to portray the meaning of the sequence.

What are the characteristics of a non verbal comic?

The primary characteristic for non verbal comics is the lack of words used. Non verbal comics are told solely through illustrations that, when you “read” it, will come alive like an animation that doesn't move. An example of non verbal communication could be something as simple as a smile, often indicating happiness, or perhaps a lack of expression can indicate boredom or something of a much darker background, like contempt or bloodlust.

What different forms of comic can you find, and how are they different?

A number of comic genres pop into mind immediately; Science-fiction comics, Superhero comics, Fantasy comics, Teen comics (humour), Adult/Erotic comics, Manga etc. Comics can also come in many different types of mediums, some that I can think of being Webcomics, Graphic Novels and Comic books.

How do comics communicate their messages?

In comics, with both verbal and non verbal communication within them, the major selling point is the illustrative work. Each panel represents a time, with each gap between the panels representing a passing of time. Much like glimpses of a sequence, put together in a harmonic composition with the goal to be compelling to ones eye. The message/messages that the artist want to portray can be executed through visual language; line, shape, form, texture, value and colour. All of these elements play into a successful comic strip.

I will give a simple example of each of these used to convey the same thing;

* Note that all of these will be left as examples and may look a little rough around the edges since they are just there to show the effects of visual language and nothing more.

Line:

Within visual language, line work is one of the most prominent and frequently used across all comic genres. In fact, the earliest comic that has been traced back to being from 1837 is made up of only line work, meaning no use of colours, values, textures etc.

It was called The Adventures of Mr. Obadiah Oldbuck and was originally published in several different languages across Europe, among them an English translation meant for the British in 1941.

For this first example, I have used only line work and included some shading using various hatching techniques (much like what has been used for the comic of The Adventures of Mr. Obadiah Oldbuck). This has resulted in a very classic feel of comics, made up by only blacks and whites.

I attempted to make this classic style transform into a more modern style by applying a few halftones on top, resulting in the following outcome:

As you can see, by applying these halftones as overlays, the piece successfully achieves the look of a manga/comic book/webcomic, rather than the previous classic style.

Shape:

By using shape in art, one can easily and effectively archive much with little. Shapes can be used in several different ways to convey different emotions. Because this ‘comic’ page is based on action and a narrative of climax, I chose to emphasise on sharp edges as they are commonly known to communicate danger. For example, I changed the smoke into fire and made it look much alike shattered pieces of glass, yet again to indicate it as being something dangerous to touch.

Each line is straight and rarely bends; creating some interesting shapes, squares, and triangles;

Form:

Form is most often describes and applied to something that is a three-dimensional subject, such as clay sculpting, although generally speaking, it is connected to things that are 3D, (three-dimensional) meaning there is an aspect of extra depth that you can’t normally archive with 2D. This is emphasised by light and dark values. (low and high contrast), otherwise known as shading.

For this example I attempted to make the line-art I had done earlier feel more real and lifelike by adding these different shades of grey.

Texture:

There are two types of textures;

- Implied texture is texture that appears to be there, but is really an illusion.

- Actual texture is texture that exists and can be felt physically by touch.

Since I am doing this digitally to speed up the process, I will be doing this by using the technique of implied texture.

For a long while now, I have been building up a collection of high quality scans and pictures of a large variety, based on the advice of my teacher when we were playing around with the visual language of texture in a past project. Out of these, I chose just a couple to play around with in Krita;

Now all that was left to do was to layer these on top of the artwork I had done earlier and have, as I mention before, a play around with them using different layer modes such as colour dodge, screen, overlay, soft light, hard light, multiply etc. I came up with a handful of different textured outcomes, but will be posting just a few of my favourites and put the rest into a gif;

The reason that I chose this one as being one of my favourites is due to how successful both the textures layered together translated so clearly and well. It gives a lovely look of it being aged as if it were torn out of an old comic book and scanned into a computer.

Now this one I am especially a big fan of! Although inverting the values got rid of the majority of the details within the art work, It doesn’t take away from the subjects and narrative, but the most compelling thing about it is how it strongly reminds me to the look of lino printing.

An example of a great artist I found that specialises in this medium of artwork is Valdis Baskirovs. I have chosen to compare their work to this comic strip in particular because their subjects are also most often animals, including canines.

Below are some examples of their work and work process doing lino printing:

Value:

Value is often described as a way of drawing with light, where value is based on how light or dark a given colour or hue is. Values can easier be understood once they are visualised on a scale or a gradient.

The scale above ranges from white to black, with a number of grey tones in between, but any hue/tone has a similar scale that goes from light to dark;

Different colours or values can be achieved by adding light or dark hues, in the case shown above, adding white to it to lighting it, or by darkening it with black.

Colour:

Last but not least, colour is an incredibly important part of visual language. It is used to convey a feeling, narrative or meaning within a given piece of artwork.

For this comic page, I have decided to go for a more cartoony and simplistic style, since that is what the line art communicates with it’s sharp and clear edges; but instead of just splashing any random colour on, I wanted to try and make it monochromiatic, meaning that all the colours have the same base tone, and therefor relate and harmonise with each other. The base tone for the example shown below is a muted orange-yellow.

I applied a layer of texture on top for two reasons; one being to make the piece feel more connected, but also for the reason being that this texture makes the page look like damaged or burnt paper, again to subconsciously communicate the fire being dangerous.

Can you list the similarities and differences between the three artists (Katsushika Hokusai, Aidan Koch & Sam Elston)

From looking at these three artists work side by side, I came to notice that they all seem able and confident in portraying more with less. Everything from line work and choice of colour is basic, simple, yet it still shines through as strong artwork. It feels like there is room to breathe due to the lack of business.

All of the three pieces of artworks shown below have the above in common. They feel light and minimalistic, using a variety of pastel colours and light values with the occasional dark black lines and/or splashes here and there.

I will be keeping this in mind for when I attempt drawing my own non verbal comics/sequences - the saying that less is more.

Example of the work of Katsushika Hokusai.

Example of the work of Aidan Koch.

Example of the work of Sam Elston.

- - -

𝕱𝖗𝖆𝖓𝖘 𝕸𝖆𝖘𝖊𝖗𝖊𝖊𝖑

Frans Masereel (1889–1972) is the creator of the wordless graphic novel “The Sun”, or “Le Soleil”. Frans was a Flemish painter and graphic artist whom worked primarily in France, completing over 20 wordless novel during his career, with his novel “Passionate Journey” or “Mon livre d'heures” from 1919, allegedly being his best work.

“The Sun”/“Le Soleil” Consists of 63 pages showing prints from woodcuttings, and is a contemporary retelling of the Greek myth of Icarus. Briefly explained, the protagonist of the novel continuously attempts to seek to the Sun by any means possible, but before he succeeds, he is sent plummeting back down to Earth.

𝕾𝖍𝖆𝖚𝖓 𝕿𝖆𝖓

Another artist that has added to the genre of wordless novels is Shaun Tan, which work we have studied for a past brief before. I will be talking more particularly about his graphic novel “The Arrival”, originally published in 2006, it is made up by 128 pages intricately drawn in pencil and later edited to fit the aesthetic and look off an old book.

After “reading” through this graphic novel, I was left thinking that this book is very touching and makes your mind wander off in thought.

It follows a man that cannot use words, thus the readers are experiencing everything as he is; silently. The protagonist, a man, leaves his wife and daughter to board a steamship to cross the ocean; all for the reason of building a better future for his family. - This book touches on the journeys that immigrant’s go through and experience on their travels. Although the reader clearly experiences the mans inner isolation, they also get to share his new found joys.

Below are some of the pages found within this book:

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gayerthanthat · 6 years ago

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charta astrologica Zainis Malikis

(or just Zain Malik's natal chart hehe)

So, basically, I tried to read Zayn's and Liam's composite chart before, but I sorta didn't know exactly what I was doing. Now that I improved my knowledges in astrology and felt more ready to try to read an astrological chart, I decided to start with one of my faves, Zain Malik. I found his birth time in astrobank and his chart is like this:

The point in the chart that symbolizes the native is the Ascendant (AC), which is, in this case, Pisces. This means that Zain is a person with a sensitive, empathic, kind, dreamer and naive temper. Venus near the AC gives him even more loveliness and beauty. He's moved by the need of emotional security.

All the planets aspect each other, so, direct or indirectly, all of them are connected with Zain's significator, which makes the chart very complex.

Venus gains a lot of importance because she's very close to the AC and, above all, she's its almuten (the planet which gets stronger in a certain zodiac's degree), since the AC recieves no aspects from any other star. She rules the 3rd house (communication, regular studies) and 8th (someone else's money). We can see that these two topics are crucial on Zain's life.

Venus recieves aspects from other two planets: Mars and Moon.

Mars is in Cancer, his fall, and retrograde (walking backward in the zodiac), which is a high level of affliction. He's in the 5th house (sexuality) and rules 2nd (money) and 9th (faith/religion, higher education, foreign countries). He's in a dexter (an aspect formed against the order of the astrological signs) triangle (120°) with Venus and they apply mutually to each other, which means a strong connection between the two of them.

Mars is also in an partile (exact) sextile with the Moon, which could save him from despair, because she's the ruler of Cancer, plus she's angular, so she could give him the power of her house. However, Mars' retrograde movement makes him reject the Moon's transference of virtue, and even worst: makes her catch part of his debility.

Plus, Mars is applying to Jupiter in a square (90°), who rules the Midheaven (MC), which represents career, public image and fame. Last, but not least, Mars opposites Mercury, in a partile aspect, and applies to the Sun, in opposition too.

The Moon is in Virgo and in the 7th house (marriage), angular, which gives her certain importance too. She rules the 5th house (sexuality, children, sports and art, entretainement) and forms a partile sextile with Mars. The Moon also separtes from an opposition with Venus.

The Moon also forms two triangles: one with Mercury, a partile one, and applies to the Sun on the second one. They both are in Capricorn, in the 11th house (happiness, success, friends). Mercury is the ruler of the 7th house and the 4th (privacy, family, hidden things), and the Sun rules the 6th (work abilities). The Sun and Mercury also form a square with Jupiter.

Jupiter, in his turn, applies to Saturn in a triangle. Saturn is in the 12th house (agony, hidden enemies, prision), in Aquarius, and rules the 11th and 12th houses.

Wow. A lot of informations, right? If you're not getting anything, just relax, drink a cup of water, rest your mind for a minute and then keep reading. Believe me, you'll need to.

This first panorama of the chart is important for us to know what means what and what are the relationships the planets are keeping with each other.

As we just saw, the Moon opposites Venus and, since opposition represents a relation of harshness between the topics that both planets means, we may say that Zain's sexuality was an obstacle during his elementary education.

In fact, Zain already revealed in a interview that, when he was a kid, he did not fit in both schools he studied. However he affirmed that it happened due to the fact that he was half Pakistani, so he felt like he didn't belong.

This means that I am lying? Well, we'll get there.

Mars, forming a very strong triangle with a strong Venus (an universal significator of wealth), gains a bit of her strength, which is no surprise that he's billionaire before 30 and already traveled so many countries.

Here, it's interesting to notice that Mars collects Venus and Jupiter's lights, bounding the two of them. Jupiter is in the 8th house, that means someone else's money, and as we know, Zain career started through someone else's investment.

The square that Mars forms with Jupiter once again point to problems envolving his sexuality (5th), but envolving his career/job (10th) this time, creating conflicts and fights, probably with someone who might be his "boss".

Besides, the square between Sun/Mercury and Jupiter, as well indicates conflicts envolving Zain's job and his happiness(11th) and work abilities (6th). This "boss" probably won't allow him to work the way he's more comfortable with, so it spoils his good spirit (bonus daemon, the 11th house). This idea can be more real for the fact that Saturn's very strong in his chart, he's getting along very well with Jupiter and he symbolizes depression, isolation, disgrace, etc (12th).

Another look on the Sun/Mercury/Mars opposition might take us to think that, again, these problems with his happiness and work are linked with his sexuality. We can also understand that there are friends (11th) who collaborates to hide (4th) his sexuality from the public. He may be unhappy on his work (6th) for not being able to talk openly about this person he's with (which is reforced by the Moon, oppositing Venus), since the aspect between Mars and Moon indicates that his relationships are very influent on his art.

Does it ring a bell? Well, it seems that on his adulthood, Zain's sexuality became a threat once again. This is one of the effects of Mars' retrograde movement, which often symbolizes recurrences, return to previous conditions, etc. Plus, due to Mars' extreme weakness, I'm afraid that Zain's sexuality ends up being held hostage of outter factors (Mars usually represents bravery and action, but, in a watery feminine sign, his power is limitated to fearful, headstrong and irrational reactions only).

In the end, due to the fact that Mercury is in combustion (too close to the Sun, thus out of sight, hidden by the Sunlight), it is possible that his marriage will be kept secret from the public.

Anyway, before we finish, I must apologize to drop things like this, but I couldn't had any sight of change of this general picture. My guess is that we'll have to wait (he's only 26 now), the natal chart must be worn out.

The second point is: humans errors happens, I'm still new on this business, so I can't guarantee that I made everything right all the way till the end. My intention have never been to expose anyone, but, in my defense, I couldn't have known what I'd find untill I read it.

It is difficult even for me to glimpse such a tortuous way for someone I really appreciate. However, I truly believe that most things I revealed were already known by part of us.

Any doubts or comments my ask is open. Love ya <3

Leo.

#zayn #zayn malik #ziam #astrology #this was hard to make #took me days #he has a very complex chart #liams next

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30223576-blog · 7 years ago

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Deconstruction

Quite an interesting collage, at first it seems to be just one image sliced and made into another. However, if we look more closely then we can see that there at least the artist has cleverly continued the cutting into the forehead to make it seem as there are more joins that there really are. By continuing the cuts he has managed to blend the image into a much more seamless yet disjointed style. The artist has chosen to use a rough edge which he has emphasised by over-cutting the edges to make this feel almost amateurish.

An interesting weave of two identical images into one, although disjointed it feels seamless in its execution. The choice of a black background makes this compliment the blacks in the image. This is added to by the use of an off white paper, a clean white would have been too much of a contrast to the whole.

An interesting combination of two images. One has been deliberately blurred then composed to its original position on top of the sharp image. This gives this a subtle perspective and a gentle overall softening of the face as a whole. The image is all eyes and mouth now. Once again the artist has chosen a rough uneven cut to his work.

The burning gives us a real sense of loss, pain and isolation. A faceless scream and one which I attempted. Yet not what want as I felt it too familiar with too many peoples work.

Here the photographer has removed the models’ eyes, by doing this the artist has removed the models’ identity and as such she now feels more like a mannequin and less than a person. As the eyes are the windows to the soul then perhaps I should obscure the ones in my shot?

The maze effect of this work leads us to think about what the artist is trying to communicate, he has added an extra dimension which transcends the image itself.

This is nothing more than an image sliced and covered in transparent coloured tape or painted tape. Yet it now holds my attention, the choice to leave the eyes alone gives it a human feel. It seems like someone is looking through blinds which gives it another dimension.

At first, I was going to do my deconstruction with this and I am still going to attempt it, but, I do not find it deep enough for what I am trying to achieve. The fracturing is too neat and one dimensional.

At first, this looks like a random combination to form an impression of a lady but if we look more closely the artist has deliberately placed the eye on the upper left rule of thirds.

Once again the eyes are prevalent but this time combined with the mouth to form a triangle. This feels uncomfortable even when aided by the blurred triangular compositions made by the models face and posing and this has obviously been the artists' desire. It forces us to look deeper and to further analyze the meaning and thought which has gone into the images conception.

Grief within grief hidden in plain sight and behind a thin veneer, a very thoughtful composition.

Although Rankin is more of an s+m type of photographer I like this simply because of the raw medical feel to it. It is almost like a wound unhealed and stitched together to form a semblance of normality.

The undeniably powerful explosion of humanity from these simple yet poignant compositions is astounding. The total lack a face forms images of utter desolation, yet one which we feel even more compelled to examine and question.

Simple folding, crushing and cutting techniques work extremely well with the subject. This has been very emphatically done so as to keep an image of beauty but one which has been scarred to show that which lies beneath.

This is what I think of when I think of any kind of mental anguish, I call it the scream. A warping of reality itself and much more akin to that which I am trying to achieve.

In this image I have tried to remove all but the basic signs of humanity, he is no longer anything more than a scream. Yet this is still too one dimensional.

With this, I have burned out the eyes and mouth in Photoshop then covered him with crushed transparent plastic. I wanted to show his loss trapped inside a warped bubble surrounding him from which nobody could see his eyes or hear him scream. Isolation is the key.

I have covered the subject with chalk emulating bandages, he is wrapped in a way that covers his eyes, ears, and mouth, almost like a mummy. Protected yet encased, trapped yet free. The “bandages” and the medical feel it gives the image are adding an extra dimension now and one which requires thought. This is what I have been trying to achieve up until now I have been too literal.

An early attempt to show fracturing and one which has been unsuccessful apart from showing me that the path I was following was the wrong one. I learn more from my failures though so it is a valuable lesson learned.

I took the first scream image I created and crushed it several times and in different ways to further obliterate the original image. This has given us so many possibilities and ones which I will be exploring in depth. It really now feels more like the scream image which I took as my inspiration, the face is there as an impression and we now have the two linear lines which formed the hands. This works so much better as an abstract image. I will look at shooting this close to see how far I can take it until all that is left is a combination of patterns. This will have to be done in different printing mediums to see how well each takes to the deconstruction.

An early attempt at the medical aspect of my concept, I like the bandages as now they give it a three-dimensional appeal. He is really confined albeit now not by his own mind.

The stitches I took my inspiration from Rankins’ image except magnified by tearing the entire image into strips and sewing it back together like a medical experiment gone wrong. Raw and untamed.

Here I have burned out his eyes and mouth to dehumanize him, to make him nothing more than a feeling, the blue was necessary to create a marked difference from the original black and white. I need this to contrast as much as possible to highlight the feeling I was trying to portray.

RESHOOT

I took the crushed image and reshot it. From here I re-edited it in Lightroom to remove all the distractions, focus into the area I wanted to explore and finally isolated this in a blackness. I did this to make the image far more abstract but, more importantly also to highlight the black void that we experience in times of great pain, my subject has been reduced to nothing more than a silent scream in the darkness. I personally prefer the first image of the two I have re-edited, this one says everything I was trying to capture and more. When I examine the mouth in image one it looks like there is someone inside trying to escape but bound by rope or chain.

#Deconstruction

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fubarexpo · 7 years ago

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/’fu:bar/ 2018

Select:

Exhibition

Performances

Lectures

Workshops

SAT Oct 6th

8pm – /’fu:bar/ 2018 EXPO & FESTIVAL OPENING @ Gallery Siva [AKC Medika, Pierottijeva 11, Zagreb]

8pm – Sabato Visconti [US] – #Glitchbooth [interactive installation @ Siva]

9pm – Lovely Insomnia [HU] – Live Set/DJ Set [performance @ Siva]

SUN Oct 7th

6pm-10pm – Exhibition @ Siva

7pm – Ramiro Polla [BE] – FFglitch [lecture @ Siva]

8pm-10pm – Mark Klink aka srcXor [US] – 3d glitching [teleworkshop @ hacklab01]

MON Oct 8th

6pm-10pm – Exhibition @ Siva

2pm-5pm – Holographic_thought_process [FR] – Video Dirty Mixer [workshop @ hacklab01]

6pm – Nikša Gligo [HR] – Can glitch music be music at all? [lecture @ Siva]

8pm – Magno Caliman [NL] – screenBashing [performance @ Siva]

TUE Oct 9th

6pm-10pm – Exhibition @ Siva

2pm – Random Pixel Order [FR] – The Archive [open studio @ Siva]

6pm – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [lecture @ Siva]

8pm – FRGMNT [DE] – SSB - Sequenced Noise Beauty [performance @ Siva]

WED Oct 10th

6pm-10pm – Exhibition @ Siva

2pm-5pm – FRGMNT [DE] – SNU noise machine [workshop @ hacklab01]

6pm – Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages [lecture @ Siva]

8pm – Paul Vivien [FR] – 99% [performance @ Siva]

THU Oct 11th

6pm-10pm – Exhibition @ Siva

6pm – ROUND TABLE @ Siva

8pm – Nada Hasan [EG] – Experimental Desires [safe passage] [performance @ Siva]

FRI Oct 12th

6pm-10pm – Exhibition @ Siva

6pm – GUIDED EXHIBITION TOUR @ Siva

8pm – Tabache & Lady oN [IT] – cHroma flux [performance @ Siva]

9pm – “Ondes noires” screening & FESTIVAL CLOSING @ Siva

Sabato Visconti [US] – #Glitchbooth SAT Oct 6th – 8pm [interactive installation @ Siva]

#Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers "Selfie Culture" as a social practice that is conditioned by the structures of digital technologies and distribution channels.

Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s "Latin American Fotografia 4" Anthology, and in Photographer’s Forum annual "Best of Photography" books for eight straight years. sabatobox.com

Lovely Insomnia [HU] SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva]

Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements.

During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music.

Ramiro Polla [BE] – FFglitch SUN Oct 7th – 7pm – [lecture @ Siva]

FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it's like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won't choke on your files. It is so precise it can barely be considered glitching at all...

Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better... ffglitch.org

Mark Klink aka srcXor [US] – 3d glitching SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01]

Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched.

Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org

Holographic_thought_process [FR] – Video Dirty Mixer MON Oct 8th – 2pm-5pm – [workshop @ hacklab01]

Building of a video dirty mixer, which "mixes" two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results.

Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr

Nikša Gligo [HR] – Can glitch music be music at all? MON Oct 8th – 6pm – [lecture @ Siva]

The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as "furniture music" (Erik Satie), "paper music" (Josef A. Riedl), "noise music" (Italian futurists), "prose music"/"music to read" (Dieter Schnebel), "eye music" (Luciano Berio), "son organisé" (Edgard Varèse), "organization of sounds" (John Cage), "sound art"... If we want to avoid "sound art" as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural ("musics"). Glitch music would then be just one of them with its own theory, aesthetics and meaning.

Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Magno Caliman [NL] – screenBashing MON Oct 8th – 8pm – [performance @ Siva]

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it's sound components, and C (a general purpose programming language) for it's visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. (...) After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now present himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman

Random Pixel Order [FR] – The Archive TUE Oct 9th. – 2pm – [open studio @ Siva]

Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis - a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques - glitch (sonification, 3D glitches, pixel sorting,...), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage... Different print techniques are also used - some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot.

Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn't keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/

Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques TUE Oct 9th – 6pm – [lecture @ Siva]

The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production.

Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art - ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed.M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 - 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer - she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com

FRGMNT [DE] – SSB - Sequenced Noise Beauty TUE Oct 9th – 8pm – [performance @ Siva]

The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & "bat ears"). The main Units (SNU & sequencer I put under open license & distribute docu after the concert).

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

FRGMNT [DE] – SNU noise machine WED Oct 10th – 2pm-5pm – [workshop @ hacklab01]

In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio:

Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages WED Oct 10th – 6pm – [lecture @ Siva]

Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and "not knowing" some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, I now present myself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in my works for a few years now: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman/

Paul Vivien [FR] – 99% WED Oct 10th – 8pm – [performance @ Siva]

Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download.

Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr

ROUND TABLE THU Oct 11th – 6pm @ Gallery Siva

— on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists.

Nada Hasan [EG] – Experimental Desires [safe passage] THU Oct 11th – 8pm – [performance @ Siva]

A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas.

Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives.  vimeo.com/user5161708

GUIDED EXHIBITION TOUR FRI Oct 12th – 6pm @ Gallery Siva

(hrvatski ~45’ | english~45’) Inquiries contact: [email protected]

Tabache & Lady oN [IT] – cHroma flux FRI Oct 12th – 8pm – [performance @ Siva]

"cHroma flux" explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a "technological landscape". The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In "cHroma flux", sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking.

Tabache — starts his journey in 2004 with "Problems with my Mind", an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, "Album" (2005) and "Stato di Tensione"(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, "Timeless Records". In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015 - 2017), "Bologna Elettrica" (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective "Einheit" (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/

"Ondes noires" screening & FESTIVAL CLOSING FRI Oct 12th – 9pm @ Gallery Siva

"Ondes noires" / "Dark Waves", Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains.

// Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN

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lminnsmars · 4 years ago

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Experimenting With Op Art - Illustrator

I’m now going to use all three of the shapes I’ve just created to now produce them into a more striking design. To do this, I will simply just be duplicating the original shapes to then arrange and place them to hopefully make them more eye catching. I’m doing this for two reasons, One is that I was slightly disappointed with how the overall look as they weren't very impressive. Another is that I feel I can extend and take these shapes further.

Below, I started by copying and pasting this shape that I had only just created, where I used a polygon and a circle. To accomplish this design, I have simply just duplicated the shape once and positioned it the opposite side. I have then just selected both of these shapes and duplicated this. I have then just placed to cover the two gaps on each side.

To achieve this design, I have simply just copied and pasted, the whole design from above, where I have slightly rotated it 90 degrees. I feel like this outcome looks a bit messy as you cant see so many of the details of the lines. As, especially in the centre section, the lines are all going different ways.

This is now the shape where I used a polygon and a triangle to complete the design. Again, I have just copied and pasted it several times where the main triangle is pointing outwards. While experimenting with these shapes, I discovered that there is so many different ways you can position these shapes. I could have tried the other way round of the triangle shape so the point was in the centre. Although, I felt it would look more striking with a more interesting outer shape as this is now showing a diamond shape. When it shows the lines combining in the centre, its engaging because you can exactly se each line this time. The reason for this is because there is less lines at the bottom of this shape compared to the previous.

Here, I have used the two basic patterns which I have only just produced and I have arranged them so that the triangular shape is smaller then this other design. I felt this performs a more unusual outcome as you can see the shape within this larger one.

Here, I have now used the last shape which I haven't yet placed in any of my designs. Before I even started, I could tell that I would be able to experiment with this shape quite a lot as it had more eye catching features. Firstly, I created the same effect where I just place four of the same shapes and rotated them 90 degrees so that I ended up with outcome. To me, this design came out a lot like the other triangular shape but this just going to be because they are similar in shape. Although, this shape has more detail at the bottom so the next layout I tried was were I paced them the other way around.

I have now placed four of the same shape so it is now the other way around. Already, I can see a massive difference as the different lines are now very visible and are in fact the first thing that caught my eye. But because of the shape being a triangle, there are still quite a few gaps either side.

So to solve this, I decided to copy and paste these four shapes above and rotate them again so they will fit into place. I feel this outcome is definitely the most successful layout that I have produces so far as it creates and shows loads of interesting and unusual shapes when you look at the whole design.

I then juts wanted to try one more idea I had which was to duplicate this design above and place the exact same design over the top but as a smaller version. I feel this attracts your eyes even more. This layout actually reminds me of the snow looking design, I used to create, where you would use paper and fold it and cut in random places. This would then reveal this really unusual pattern. As well as this, I don't think there's too much black in the centre either.

I then produced one more composition, where I have used the first layout that I created with this interesting triangular shape. The only adjustment I have made was that copied and pasted it and then rotated it 90 degrees. I think this overall design shows this almost messy look where it then becomes a lot clearer when the shapes come out further from one another.

Overall, I feel this idea has completely changed the look of the overall shapes and has definitely brought a lot more attention.

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gd512676 · 5 years ago

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Soviet Remakes

Research

I began this exercise by researching constructivism and the recommend artists as seen below. I really enjoyed looking at the range of these artists as constructivism is something that I really haven’t had the experience of looking at before. I compiled some artists that I felt were pioneers in constructivism. Below the images re some quick notes I made about the actual images itself. I also looked at Saul bass during this exercise as well, just to see some of the principles in work

Constructivism

Is a form of abstract art, founded by Vladimir Tatlin and Alexander Rodchenko in Russia in 1915.

Its all about the construction, This is art that is built rather than relying on expression.

Should reflect the modern industrial world.

A world less hermetic and more based in factories and laboratories.

Influenced by Picasso’s Cubist constructions.

Construtivists were constructors of a new society - The modernising of the Russian revolution.

Supressed In the 1920s in Russia , but was bought to the western world by Nabum Gabo and Antoine Pevsner.

This then became a modern influence on modern sculpture

Influenced Minimalism and Brazilian neo-Constructivism - (Linked to bauhaus)

It is a mixture of Forward thinking theory and Political propaganda

Observations about constructivism

Sparce and empty looking - almost sterile and mechanical

Geometric forms

Modest materials used - glass, woods, metals

Its about taking form down to its almost basic elements

Artwork is dictated by material

The free combination of primitive shapes

Soviet movie posters

From here I looked at soviet movie posters, I have never really looked at these either and I find them to be a bit intimidating. There is a lot going on in the composition, but a lot of it is made of geometric shapes and it is easy to see how they could have been broken down.

There really does seem to be the main shapes just repeated throughout the composition, the triangle, the square and the circle. a lot of primary colours used, but somewhat desaturated in some images.

From looking at this posters I was able to make some sketches of designs that I would want to use for my movie poster.

Making the poster

I chose Psycho for my poster, I am really familiar with this film and I felt like it was a classic Hollywood film that had an iconic scene that would make a good focal point for the poster. A lot of the posters feature a woman or main characters head separated from the body, as a focal point and I knew that I would do this for the character of Marion Crane.

Below are some of my initial sketches I made when thinking about how I wanted my poster to go.

At this point I knew That I wanted to have the spiralling circle effect on my poster as it resembles an Emanata in particular a Agitron. I walks wanted to make sure that I had some strong geometric shapes in the piece as that is a core point of constructivism. I decided to colour Marion red to represent blood from the death scene. Originally I was going to make her yellow like alot of the other soviet posters woman and colour her lips red, but I felt like this would be more dynamic. Although I have my doubts about this. I don’t know. I feel quite unconfident about this exercise. I Also included a red triangle facing down to feel like a knife. I wanted there to be meaning behind my decisions.

Making the poster was actually a bit more difficult than I planned. I have been used affinity designer for some points instead of illustrator, and learning how to do the repeating circles was actually really annoying, but once I figured out how to perfectly space them apart the effect looked pretty good as It looks like she is shouting. I ended up moving some of the text around, looking at the way that the soviet posters looked. I made the poster in Russian as I felt that it helped give it that look.

Overall, I had so much trouble visualising this poster and making it. I’m not really happy with the final thing. I have learnt so much this unit but I feel like this is a giant step backwards and I could do better. Hopefully I will haver the chance to go back and move things around, maybe change the colours around a bit.

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jakeboleygraphicsfmp · 6 years ago

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Practical Experiments 1

Geometric block printing workshop

Context:

Beginning my own experiments towards the development of my ideas, this workshop was inspired by Neasden Control Centre, mainly looking at how I could use basic shape to construct interesting compositions.

By creating random compositions using basic shape got me thinking about how I could use the same 3 shapes in different approaches to creating a range of different compositions. Things I could consider include; orientation, colour, overlapping, repetition in order to ensure my outcomes were different. This workshop was also partly inspired by Bierut and the approach he has to create

Knowing that I wanted to experiment with shapes to create interesting textured compositions, this workshop was also partly inspired by design critic Micheal Bierut. Being quite a broad approach to a workshop, I thought about how I could develop a technique of Bierut’s to help narrow and challenge myself. This included restricting myself to 3 shapes and 3 colours where I had to think about how I could use each interestingly to create various structures.

Aims/objectives:

Create a range of different compositions using the same 3 shapes and 3 colours.

Apply Bierut’s principle of restriction to own creations

Tools:

MDF wood

Sanding disc

Bandsaw

Ruler

Compass

Oil-based ink

Ink roller

Palette knife

Cartridge paper

Wooden blocks (shapes)

Newspaper

White spirit

Cloths

Albion or Columbian press

Task:

After completing a letterpress workshop inspired by David Carson, where I used the printing process to produce experimental typography outcomes. This workshop was in response to how I could use shape rather than type to create experimental compositions.

Task 1- Creating blocks

Before heading to the print workshop, I had the task of creating the block shapes that I was going to use to print. Previously, in the letterpress workshop, I was supplied with a huge selection block letters however, when it comes to shapes I had to create my own from scratch.

To do this, I headed to the resistant materials workshop getting hold of some MDF wood roughly 15mm thick. Using a pencil, ruler and compass I sketched out a square, triangle and circle 8cm in height and width. Once I had my shapes drawn out, I had to cut them out using the machinery in the workshop. To cut out the triangle and square, I simply used the band saw, however, to cut out the circle I started on the band saw to trim the edges and then used the sanding disc to make it round.

Task 2

With my shapes cut-out, it was time to move on to the printing process. To begin, I started by rolling out some black ink which I was going to use to create a print of each shape. The reason for this was to produce a basic print of each shape, that I could scan in and use digitally afterwards.

Task 3- Experiment

Having made a basic print of each shape, I moved on to using colour to construct compositions. Restricting myself to 3 colours, I rolled out the primary colours (yellow, red and blue). From here I used a roller to apply ink to my block shapes which I placed face up in an arrangement on the printing bed. I then placed the paper on top with the correct amount of packing and run through the press. I continued to do this using a mixture of colour and shape which I combined with techniques such as overlapping. When doing so I explored how I could use repetition and alter the orientation of shapes to make things more exciting.

When doing this workshop, I felt like I was pointlessly placing shapes together in random compositions. By having no idea of what I wanted my outcomes to look like, this workshop was embracing accidental effects and was a way of pushing myself out of my comfort zone. Usually, I prefer to plan my work and be more precise, whereas this workshop was a way of being more experimental in my approach.

Undergoing this workshop, I faced a few limitations that slowed down the process. When using the technique of overlapping, I obviously couldn’t overlap my blocks, therefore I had to work back into prints in order to create overlapping effects. Another limitation was by only having 1 of each shape, I spent alot of time cleaning my blocks when I wanted to change colour. Looking back, if I was to do it again I would probably work completely with one colour first, printing on to multiple sheets of paper which I could then work back over with 2nd colour and then 3rd. This would assure I would only have to clean my blocks a few times and would fasten up the process and allow me to print more.

Review:

Looking at my outcomes, I produced some interesting work using such a simplistic approach. Having used only 3 colours and shapes, all my outcomes are very different and quite visually appealing. The block printing process has made my work is very textural and contain lots of imperfections which gives them more effect than if they were just a solid colour. Where I have overlapped my shapes, it has also created an additional, unintentional colour which is dependent on the quality of the print.

Overall, I am rather happy with my outcomes and has taught me to be more experimental in my approach to design. Moving forward this will be important to producing more expansive work and will be a good skill to take with me. Being more experimental and loose with my work is definitely something I need to embrace more often as it is usually a good place to start and creates some really effective work.

Out of my 4 outcomes, only 1 of them doesn't contain overlapping and between the shapes there are gaps. In comparison, I think the overlapping is more effective due to the effect where two shapes overlap which gives it more depth. Looking at the more organised outcome, it looks very flat and boring whereas the overlapping look busier and reflect more a Rauschenberg style.

On the other hand, compared with my outcomes from the letterpress workshop, I think by using text it can communicate more. When using just shape, I found it very hard to communicate information. With two words that are the complete opposite of each other, I found it easier to use different colours or typefaces to make one more dominant. With shapes that don't have meanings, it was more of a case of creating outcomes that are visually appealing which may communicate unintentional things. Again, where printing is used in both to create overlapping, more shapes and colours are created which I think works really effectively and moving forward would like to combine the geometry with type.

Response:

Having been a workshop inspired by Stephen Smith (Neasden Control Centre) I didn't think my outcomes reflected his work that much. Other than using an analogue process which he used to create his very organic outcomes, I thought I could develop my outcomes further by adding in texture digitally.

I started by scanning in my outcomes, which I then re-created digitally in Photoshop and added textures within shapes using layer masks. I also decided to combine the shape and textures with typography.

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mageinabarrel · 8 years ago

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In which the practice of taking copious numbers of screenshots justifies itself.

I don’t want this to be thought of as an analysis piece, but as the continuation of an evolution of perspective I’ve been going through since I watched Gundam Unicorn and the Macross Frontier films. In a way, Garo: Divine Flame (the sequel film to the 2014-2015 TV anime series, Garo: Hono no Kokuin, directed by Yuichiro Hayashi) is a worthy successor to its two predecessors in this chain, seeing as the Makai Knights are basically giant robots—with eyebeams and all—once they transform. But that has nothing to do with what this post is really about; rather, it’s the visual world that said mecha wannabes inhabit that demands our attention.

Part 1 – How Garo: Divine Flame Speaks

Hayashi’s work on the Garo TV series was good (he storyboarded 8 episodes himself), and looking back it’s easy to see the seeds of the distinct visual vocabulary Garo: Divine Flame adopts in his work there. As an intellectual conclusion, this is interesting, but it pales compared to the stunningly immersive experience of actually watching the film. Seeing Divine Flame—and I mean literally “seeing” it with your eyes—is like hearing the movie speak. Language is a common metaphor for cinematography (I’ve already used it once myself in this paragraph), but as I watched the film I felt I finally understood this in a more profound way than ever before.

If the creation of image on screen is a language, then Garo: Divine Flame is a poet—for it’s command of said language is vast, thorough, inventive, and beautiful. An non-exhaustive selection of the film’s favourite turns of visual phrase follow.

I. Lines, Shapes, Geometry

This film and its obsession with bridges, stairs, and arches is something else. It’s one thing to like a particular style of architecture; it’s another entirely to make sure that you’re using that same image throughout the entire film (the selections below are scattered from the beginning of the film all the way through the end). On its own this is something, but it also fits into a larger dialect Divine Flame taps into, which is the use of strong lines and shapes. The bridges just happen to combine both of these things because they always get used in long shots where the walking surface cuts through the middle of the shot.

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But you can take away the shape parts and just leave the lines and still get some truly dynamic images thanks to the way lines can lead the eye through the frame and imply motion. In particular I’d note that the first, third, and fourth screenshots are all moments of stillness following a motion, and that the preceding movement is exactly what you’re probably thinking it is. The second and sixth screenshots express motion-to-come, and likewise, you know what to expect thanks to the composition.

Also relevant is the fact that with shots like the fourth you also get shapes anyways, so it’s not as clean cut a distinction as the categorization of this post implies.

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And then, you’ve go just shapes on their own, for which I’ve only got two screenshots because that all I bothered to grab. But there are circles, implied circles, squares, arches, triangles, and whatever else all throughout the film.

II. All the Colors, and All of the Lights

I made fun of Pacific Rim a while back because of its heavy (over)reliance on the memetic blue/orange color combination. I loved Pacific Rim, but someone needs to tell del Toro that there are other colors in the world (and while you’re at it, send that memo to Takuya Igarashi, too, as Bungo Stray Dogs did the same thing). I don’t have an ingrained dislike of blue and orange, but heavens is it nice to see a film that actually uses the full spectrum of the rainbow—and to beautiful effect.

I have taken the liberty of selecting seven shot from Garo: Divine Flame, each of which correspond to a color of the rainbow.

While it’s true that the blue/orange contrast does show up at times, I’m grateful that the film never resorts to ping ponging back and forth between the two colors ad naseum (and even leans into other pairs of colors at times). Instead, it reserves the recognizable contrast for relevant moments like the shift from the heat of the burning castle to the chill of what remains after it (and the passion that accompanied it) have been reduced to ashes.

Divine Flame is also bathed in beautiful and varied lights, making gorgeous use of sources both natural and supernatural. In some moments subjects are lit by the glow from inhuman creatures, magic, the sun or moon, isolated lamps, and even non-lights like the dank murk of an ugly green mist. The sheer, consistent inventiveness of the lighting is astounding, as is the film’s grasp of variation within larger categories (not all magic light looks the same, different times of day are clearly different).

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III. The Beauty of Nothing: Negative Space

There’s a general kind of way you can split a composition in half, which basically just gives two different subjects equal positioning in the screen, and then there’s the way Garo: Divine Flame splits the screen, which uses vast swathes of negative space (often, the sky) separated by hard lines to make the subjects pop from the screen.

This isn’t to say that this is the only way Divine Flame uses negative space to create attractive compositions, but it’s certainly the one that’s most visually arresting.

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IV. On Distant Stagecraft and Immediate Motion

This is two categories rolled into one because they present a nice duality within the film and because this post is getting long. The dramatic stylings of Divine Flame lend themselves well to flat layouts and careful blocking techniques that ape the feeling of the stage, an effect achieved as often through sparse locations and foreground elements as shots that use the ground or other parts of the shot to create a frame within a frame.

In parallel, Divine Flame also incorporates numerous close-up shots, offering in contrast to stage-like techniques that create dramatic distance viscerally immediate closeness that breaks through the artifice of theater to draw the audience into a single action. And while the selections below stand out more as isolated moments, it’s worth noting that close-ups pervade the film’s action sequences to marvelous effect as well (as seen in the opening seconds of this sequence).

Near and far… there is a sort of harmony there…

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Part 2 – Two Languages Need Not Mean the Same Thing: How Should We Understand Visual Storytelling?

I knew I wanted to talk about the visuals in Garo: Divine Flame as soon as I finished the movie, but I wasn’t quite sure how I wanted to talk about them at first. Scale of doing the project aside, I knew I wasn’t interested in doing the same kind of cinematography close readings I did for shows like Hyouka and Blood Blockade Battlefront. That kind of analysis just didn’t seem to be appropriate for something like this movie. I don’t mean this as a pejorative towards the Garo film, but there was a kind of intricacy to the cinematography of those two shows that was replaced with a far more sweeping and wide-reaching cinematography in Divine Flame. To put it another way, Hyouka and Blood Blockade Battlefront are exercises (very complete ones at that) in very precise cinematography. Divine Flame paints with broader stokes.

Part of why this is so perhaps derives from the fact that the stories being told in these three works are different. Both Hyouka and Blood Blockade Battlefront (particularly the former) deal with complexities of characters and situations that Garo: Divine Flame either has no time or no inclination for. So in assessing the quality of the the two TV series’ use of visual language, it can be said to be good because the visual and written elements work in unison to convey information to the audience. There is an acute harmony there.

The subtext here, though, is that good visuals mean are made “good” when they back up the story well—and the cinematography of both these TV anime can be said to do this. But this further implies that the story is the main feature. Remove the story and leave all the visual elements and you have something that looks evocative and pretty, but doesn’t “mean” anything. Right?

Before watching the Garo movie, I might have been inclined to answer yes (in fact, I think I said as much in the piece I linked earlier on Gundam Unicorn and the Macross Frontier films). But having seen Yuichiro Hayashi’s masterpiece, I conclude that even had I watched it with no sound and no subtitles, I would have found it compelling. The visual language is just that good.

Subtitle of this section be damned, I’m deliberately avoiding the phrase “visual storytelling” when talking Garo: Divine Flame for a reason—because I don’t necessarily think the idea of a story is the best paradigm for understanding why the film’s visuals work the way they do. Earlier in this piece I used the analogy of poetry for Divine Flame‘s visual language, and I find that a fitting distinction to draw between what it is that this film is doing and what something like Hyouka‘s cinematography is doing. In essence, it’s a matter of priority.

Where Hyouka seeks to use its visuals in equal complementarity with its story, Garo: Divine Flame‘s style seems to me to be more like a visual aria being sung over the story (with Blood Blockade Battlefront existing somewhere in the middle). Rather than each shot adding a bit of texture here or a tiny increase in understanding of the characters there in painstaking detail, the cinematography of Divine Flame dumps buckets of gorgeous paint over the canvas of the film. The numerous specific techniques (some of which I’ve highlighted above) certainly contain “information” of a sort, but to only encounter each individual shot through the constant question “what does this mean?” ultimately fails to understand the film’s goals or offer a suitable methodology for appreciating its successes. The many shots that make up this film don’t have mean anything, and they certainly don’t demand to be shackled to the film’s (merely) serviceable and enjoyable story.

The visuals justify themselves, on their own terms and for their own sake. What say you, Leon?

In which the practice of taking copious numbers of screenshots justifies itself. In which the practice of taking copious numbers of screenshots justifies itself.

#Cinematography #Garo #Garo Movie #Garo: Divine Flame #Review

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