#tmg art history

[scatterghosts]

Up The Wolves by The Mountain Goats // Minotauro by Jordi Garriga Mora

[notquiteaghost]

spotify's search function sucks & also all i do is listen to music so i am making a playlist index post <3

vibes / moods:

for the union makes us strong [protest folk] / fuck you fuck cops up the punx [protest punk] / a goddamn bitch of an unsatisfactory situation [the closet] / on purpose i am going to care about you ["it's rotten work" "not to me not if it's you"] / alpha couple [blorbos from the tmg discography] [NOT just a tmg playlist] / wanna grab ahold of that little songbird [for going insane about late stage capitalism] / i will sing you a song no one sang to me [healing for your inner child's trauma from homophobia] / a sadness runs through him [bastards who went through something terrible and built a whole fake self to cope] / i'll remember your bee [magnolias are so old they're pollinated by beetles because they existed before bees]

sorting blocks by colour (i am autistic i like putting songs that are The Same together):

the dog who is so angry [dogs as allegory for trauma] / Thumbs [what if i killed my partner's abuser] / house made of hurt [oh christ oh fuck the house is alive]

fiction (characters):

purge trooper commander cody [star wars] / in with a cry and out with a gun [jason todd, dc] / no, you move [steve rogers, marvel] / prayer and work [matt murdock, marvel]

fiction (larger concepts):

gotham city / things don't get even, they just get worse [the clone wars, star wars] / how to fade away [obi-wan on tatooine, star wars] / it is already over [the prequel series is a tragedy, star wars] / din's haunted [the dark saber's got ghosts, star wars] / beltalowda [the belt, the expanse]

fiction (relationships):

your fingers round my neck (izzy/ed, ofmd) / the lawyers start to rewrite our history (m*rkwardo, tsn) / nobody loves you like me (mattelektra, marvel) / murderbot&ART / hold me tight and fear me not (lambert/aiden, the witcher) / followed you to patterns i could never get out of (dick & bruce, dc) / fine. because i need you. (zoscar, rqg) / still our hands match (thoschei, doctor who) / two rabid dogs (darth vader/boba fett, star wars)

[thisseethingcoast]

tagged by @duelsong for my 2023 favs.

babe, char!

hi <3

happy new year's char! thanks for the tag

books:

hangsaman by shirley jackson (I still think about this novel, I've reread it a few times since finishing it earlier this year)

a psalm for the wild built by becky chambers (really loved this one, I need to read the other two in the series)

zen in art of writing by ray bradbury (he's the folksy old grandfather I never had)

blood in the machine by brian merchant (covers the history of ludditism in the west, really great read)

movies (I don't watch enough film but I'll take a shot):

bottoms (it was a genuinely fun comedy)

the banshees of inisherin (I know the old man friendship break up is an allegory for the Irish civil war but it perfectly captures the loneliness and restlessness and claustrophobia of a small town and how people can tear each other up. you could unironically have the same plot in small town rural/ suburban america. also just the emotional damage of the entire plot being that yes your friends does secretly hate you. Padraic under reacted honestly)

albums:

substance - new order

to bring you my love - PJ harvey

rid of me - PJ harvey

jenny from thebes - the mountain goats (not my favorite tmg album but I have a soft spot for jenny)

tagging @fiapple and @kikismovingcastle I'm late to this so no pressure but happy new year

[anna-milton]

3x7 The End, A Series of Unfortunate Events (dir. Bo Welch)

“Island Garden Song” - The Mountain Goats

[plaguedoctormemes]

I’m currently cleaning out drive folders and re-organizing stuff, and found a PDF of “TMG 1 (2014): Pandemic Disease in the Medieval World: Rethinking the Black Death,” by Monica Green (a historian specializing in women’s health care in premodern Europe and history of infectious diseases) as well as other authors/historians. I found this book’s PDF through my medieval art history professor when I told her of my interest in the bubonic plague and the plague during the medieval and renaissance period.

If you are also hyperfixated on the plague and want to take a gander for yourself, the entire book  over 330 pages and you can download it in its entirety or in segments here. Obviously this is a scholarly source so its not exactly dramaticized or very flavorful, but I figured it would be good to use for anyone who is especially interested in the topic for personal or scholarly use.

[dangerdaysdiary]

From Cassie the Venomous... A Danger Days FAQ

You can find the original post on Cassie’s website here.

Frequently asked 'Danger Days...' Questions Answered!March 18, 2011Now that My Chemical Romance's Danger Days: The True Lives of the Fabulous Killjoys is out, I'm finding more and more questions about it leading people to this site. I figured it would be beneficial to address some of the ones that are asked most frequently in one place for the benefit of all! I hope this helps! ORIGINAL POST:  November 24, 2010 @ 11:57 P.M. UPDATED: March 18, 2011 @ 9:47 P.M. ____ The Killjoys Fun Ghoul -Corresponding MCR member: Guitarist, Frank Iero -Raygun: Green with horror-style stickers attached to it -Symbol: A smiling face with one eye crossed out and a jagged mouth -Physical Description: Wears a yellow shirt with black-striped accents over which he wears a military vest. In the video for "SING," Fun Ghoul bears a scar on the right side of his face at his mouth. -Mask: Purple and green Frankenstein mask -Additional Information: ... Jet Star -Corresponding MCR member: Guitarist, Ray Toro -Raygun: Blue with red and white details and the text "BECAUSE I SAID SO" -Symbol: Star with a face and a lightening bolt rising from its left side -Physical Description: Wears an eyepatch on his right side. His jacket displays an American flag on its back. -Mask: Black astronaut-style helmet -Additional Information: The original name for Jet Star was "Raygun Jones." Kobra Kid -Corresponding MCR member: Bassist, Mikey Way -Raygun: Red with white details and a decal that says "deluxe" (his raygun was originally named "Demon-shark Deluxe"). -Symbol: the face of a hissing cobra -Physical Description: Wears a red jacket over a yellow-and-black zebra-print shirt -Mask: Yellow helmet with blue and red eye-like details that displays the message “GOOD LUCK” on its visor -Additional Information: In addition to his raygun, Kobra Kid can also be seen using a power glove in the video for “Na Na Na…." Mikey describes Kobra Kid as a "misunderstood" character with a "short temper" who "knows Kung-Fu." Party Poison -Corresponding MCR member: Vocalist, Gerard Way -Raygun: yellow with pink details and "Give Me Money" written in Japanese on its side. -Symbol: pill with an "X" beneath it -Physical Description: Wears a blue jacket with red details, a "dead pegasus" logo on the front and his Killjoy symbol on the back -Mask: yellow domino mask with blue circular details and clown-style eyes or a decorated "mousekat" helmet. -Additional Information: Party Poison was among the Danger Days... characters active on Twitter preceding the album's release. The Killjoys' names, which Mikey Way told NME are "themed after designer drugs," started as the names of their rayguns, but later turned into character names. The band has said that their Killjoy personas are not characters they are playing, but how they picture themselves in the future. Are the Killjoys Dead? Currently, as a result of the “SING” video, the Killjoys are presumed dead. However, a picture from Gerard Way of “Party Poison” in what appears to be an unzipped body bag (left) captioned “Killjoys never die” has many fans questioning how dead they truly are. UPDATE: April 10, 2011 Dr. Death Defying tweeted: that "there are four acceptable levels of dead after posting an ode to Party Poison, whom he called "dearly departed." More information will follow if the four levels of dead are explained further. Dr. Death Defying Played by Steve Righ? of Mindless Self Indulgence, Dr. Death Defying is the smooth-talking narrator who filters in-and-out of Danger Days…. He is a D.J. for 109 F.M., WKIL, a pirate radio station that operates in the Zones. He is recognized by his “Slaughtermatic Sounds” jacket, which also says “Jackals” and “Philly,” his aviator sunglasses and the bandanna he wears tied around his head. Dr. Death Defying uses an electric wheelchair because of an apparent injury to his left leg, to which an electric brace is strapped. In an hour-long video “listening party” hosted by the D.J., the character implied that he is a veteran, possibly of the Helium Wars, which have been alluded to vaguely. Show Pony and the Girl Show Pony, the character who can be recognized by his "NOISE" half-shirt, blue-and-white polka-dot tights & helmet and rollerskates is the companion of Dr. Death Defying, the narrator of Danger Days... (played by Steve from Mindless Self Indulgence). Show Pony is played by performer Ricky "Rebel" (Twitter | Reverbnation). Rebel opened for My Chemical Romance as Show Pony at the band's Hollywood album release show. The actress who plays the Killjoy girl in the videos, whose character name has thus far only been "the Girl," goes by Grace Jeanette. She, too, is an actress and a musical performer. The Girl's role in the Danger Days world appears to be a significant one; as, she was kidnapped by Better Living Industries for a stull-unknown reason. The Zones and Battery City

The Killjoys world centers around Battery City and its surrounding concentric Zones. The map to the left shows how the Zones are laid out in relation to the city. Utopian Battery City is central, corporate, clean and the center of manufacturing. It is where Battery Towers is located. Battery City, California is the setting for My Chemical Romance's "SING" video, to give you a better perception of what it looks like. The setting for the "Na Na Na..." video is in the Zones, which are a more lawless, desert terrain in which the Killjoys live, run and fully embrace their freedom. The Zones are dirty, wild and dangerous-- the opposite of Battery City. Geographic landmarks include: Route Guano, which is the road on which Gerard has said, "the shit happens." It is where Jet Star and Kobra Kid are "ghosted" by an exterminator in the Danger Days... track "Jet-Star and The Kobra Kid/Traffic Report." "The Getaway Mile," which may be a specific location, is mentioned in the song "Bulletproof Heart." There is also a place which Dr. Death Defying on Twitter called "Wolfblood Beach." Better Living Industries Better Living Industries (Also known as BLI, BL/ind, or BL industries) is the corporation that controls Battery City. The corporation strives to bring about structure in a post-apocalyptic world. It is known for producing emotion-eliminating medications as well as every other manufactured product one can acquire in 2019. BLI crosses over from the Killjoys world and into real life. The made-up corporation has its own  web site with products that you can actually purchase, a mission statement and a "Zone Report" in both Japanese and English.  Also, MCR takes it a step further by having changed the name under which their music is published to "Better Living Industries Music," which you can see in the liner notes of Danger Days.... BLI also overtakes the edited version of Danger Days..., whiting out the internal album art, taking away the lyrics and putting its smiling face logo (above right) all over it. The Danger Days: California 2019 Edition box set is packaged in a BLI box and the 3-song The Mad Gear & Missile Kid E.P. that comes with it is printed on a disc made to look like a BLI brand CD-R. Check out some BL/ind commercials and "Fact News" reports. Dead Pegasus Dead Pegasus is a 2019 oil company. Korse, Draculoids and S/C/A/R/E/C/R/O/W

Korse is an exterminator for BL/ind's SCARECROW Unit. In the videos, he is played by comic writer Grant Morrison. The "SING" video has raised speculation among fans that Korse could possibly a robot of some sort; as, he is seemingly "activated" in his chamber by the push of a button. Some also speculate, based on Gerard Way's character sketches and his indicating that Korse suffers from "Zone sickness," that he may stay in the  chamber shown in the "SING" video for medical reasons. Grant Morrison revealed to MTV that Korse is "intimately connected with the Killjoys and their secret history," which has yet to be revealed. The SCARECROW Unit of BL/ind is a sort of police force. Korse leads it, and The Draculoids are the other exterminators that appear to be of lower ranking than Korse. They're a "clean-up crew" for the Zones, getting rid of the things and people who do not comply with the monochromatic standards of Better Living Industries. The Mad Gear And Missile Kid

The Mad Gear and Missile Kid is My Chemical Romance's alter-ego band for Danger Days... Mad Gear is what MCR imagined the Killjoys would listen to in 2019. Fans who ordered the California 2019 Box Set received a bonus E.P. of the three tracks MCR recorded as The Mad Gear And Missile Kid: 1. F.T.W.W.W. (acronym for "fuck this whole wide world") 2. "Mastas Of Ravenkroft" 3. "Black Dragon Fighting Society" The genesis of TMG&MK came with the writing of "Black Dragon Fighting Society," which was originally recorded for the pre-Danger Days album the band "scrapped." "F.T.W.W.W." and "Mastas of Ravenkroft" followed as songs created specifically for TMG&MK. Gerard Way told Alternative Press that the MCR is interested in creating a full album as The Mad Gear and Missile Kid and that they would like to play shows as the alter-ego band on off-days of tours in the future. EVENTS in the Zones 2012: The Great Fires 2017: The Pig Bomb ?: Helium Wars

-- If there's something about which you are confused that you would like added to this post, let me know! Consider this a perpetual draft that will update as often as you, Reader, need it to. Also, please don't hesitate to submit corrections! I have compiled the information in this post using knowledge I've gained from interviews of the band by several sources. Suggested Reading to Expand your Killjoys Knowledge: The Twitter development of the Zones presented in a linear fashion. A full interview transcript series posted by Coup De Main Magazine. XoXo c.

[lids-flutter-open]

I think I have one main takeaway from the post about John Darnielle going around where someone discusses the way he interacts with his fans. If you haven’t seen the post, it went up yesterday and has about 800 notes now. The dynamics OP describes are things most TMG fans are aware of, and that most fans of Darnielle really admire about him: the way he offers friendship and discusses feelings of meaningful human connection to individual fans much more easily than most people in his position would, for example, and the way that he feels comfortable telling people he just met who deeply admire him that he thinks they are special/talking about God a lot when he discusses connecting to other people in a real way. As someone who has consumed a lot of Darnielle’s content and art, I believe, until shown otherwise, that he does all these things without conscious calculation. He’s open about his history of being traumatized, and he’s been a lot of places and met a lot of people from a huge range of backgrounds, met a lot of people who are in dire straits or who may not live another year, and I think that even when you are recovered from your past and are doing very well that this kind of history affects the way you see friendships. You leap into them, and are earnest about them. 

I tend to relate to people in a similar way--I try to pursue friendships and connections as soon as I realize I want them, and sometimes express myself in extreme terms, or hit someone up without warning. The difficulty, when you have trauma, is knowing when to establish boundaries around these needed friendships. 

OP doesn’t explicitly describe any sexual misconduct by Darnielle, though their description of him putting his arm around a young fan’s waist while drunk post-concert does tie this to larger conversations of misconduct by authority figures. The main pattern OP describes is one of Darnielle using fans’ devotion to affirm that he is a good person in moments of doubt--reaching out to them one on one when he is feeling emotionally vulnerable and asking that they do the work of a friend without knowing him well enough to actually give him useful advice. He seems to reciprocate by offering fans assurance that they are good people, or god-sent, etc, which I think are earnest assurances on his part and things he genuinely feels. I think he’s grateful for his fans and appreciates the work they do for him. Thankfulness and humility is a big part of his whole thing. The issue here is reaching out to people who are offering so much to you and making emotional one-on-one contact in order to get comfort and reassurance when the power dynamic between you and the person offering you support is so vast. The other thing is that Darnielle cannot reasonably be expected to maintain ongoing friendships with his fans--he is a busy artist--but continues to expect on some level that they treat him as a friend on equal footing when he cultivates these connections. It is nice, but it also sets fans up for disappointment and a lot of pain, because they will never get the kind of emotional work, one-on-one, out of Darnielle that he (according to the screenshots from OP) has sometimes asked of them. Which is what makes him different from an author who writes a kind letter mentioning god and fate and specialness back to a fan--asking someone to reassure you via twitter DM that you are essentially a good person is a weird thing to ask. That’s something you ask of your wife or a close friend who knows you. It’s the classic problem of people with any kind of power--wealth or fame or whatever--not recognizing, or refusing to recognize, the fact that they always carry this power with them, and that some of their friendships will take far more work from them before they can be actually equal.

I think a lot of Darnielle’s fans are aware of his trauma, and are also aware of our own trauma and the way we express ourselves, and so the way he conducts himself with his fans doesn’t often read badly. It’s also true that many many famous people conduct themselves with young fans badly in more overtly harmful ways--remembering the Amanda Palmer or Emilie Autumn fan debacles, or the John Green Tumblr years, when I was first reading OP’s post, my reaction was initially to go “just this? he’s just a man with few boundaries who earnestly sees people as equals.” But that is the kind of thinking that doesn’t help this sort of dynamic from happening again. When men have power, even if they are very self aware or even paranoid about using it badly, I think it is still hard to be self aware enough to not hurt people. I think this is something JD may have trouble with. The takeaway line of OP’s post for me is towards the end; the idea that when people give and give and give to you it’s hard not to take. 

For me, I think OP makes a good point. John’s concerts are like religious experiences; I have the same feelings there as when I pray. People singing together about trauma and pain is a transcendent, religious experience. But JD is human, and while I firmly believe (as of right now) that he tries to be self critical of the way he conducts himself with his fans and tries to not take advantage of his own power, I think that one of the things about being a famous musician or preacher or a person with power is that many people without this power gravitate toward you, and that as a result, a person with power can easily become someone who thinks that they deserve people’s time and attention and love and work without reciprocation. Having power--as in, record deals, money, fame--inherently makes it harder to relate to people without these things on an even footing, and it takes more work than many people know how to do. I know rich people who act like this too, know academics who act this way--ask things of people without offering things in return except relatively empty words of praise, because they know they are smart or impressive or famous or rich and people will give them what they ask for. I don’t think it comes out of an inherent personal evil, though egomania can quickly make someone’s personality go totally rotten. I don’t think JD’s personality is rotten, but he is someone with power. My hope is that JD can listen to this critique of his actions and actually put work into setting better boundaries for himself in terms of the personal emotional affirmations he asks from fans. I think he is capable of the self reflection and humility necessary to do that, though as OP says, the ball is in his court.

[hazesmr-blog]

                     ❛   welcome back, sleepy heads  !   ❜

OOC

waddup i’m sutton, i’m 19, and i never fuckin learned how to rp !  i’m in the gmt timezone and trying to live my best life but instead i just make a load of oc’s to live vicariously through uwu. i love yt, tmg and... basically that’s it lmao. i’m really chill and i love my asmr baby so i hope you can vibe with her too ! my dm’s are always open but i’m probably most on discord tbh so add me at: chodey ko#5778 !

              *       〉     hazel katherine novak ｡                            ｡ the asmr god       〈       *

    fc: bree kish.  cis-female .  she / her .  twenty two . 

                                           stats       ◦       pinterest       ◦       connections 

HISTORY

hazel hails from the town of ogunquit, maine, which is a town with a population of 920, so she is used to a much quieter pace of life than what los angeles offers. she wasn’t born there, mind you. 

she was born a state over in quebec, to the whirlwind of a reckless couple veronica and jacob novak, high school sweethearts turned man and wife through a shotgun wedding at the age nineteen. the pair had been recreational drug users throughout their teens and that didn’t cease after the birth of hazel. they had another child when hazel was two, a little brother named after their father (but hazel to this day just calls him jack or jacky). 

when hazel was five, she and jacky were removed from their parents and their grandparents, avery and george novak got custody of them.

to say hazel has humble beginnings is putting it lightly. her grandparents didn’t have much in income. she and jacky shared a small spare room in the two bedroom house; hazel was always helping around the neighbourhood for extra cash to help buying things, always from thrift stores. they didn’t have a tv either because it was unnecessary cost and they had to save electricity so she grew up on radio stations and casette tapes with stories on.

from being thirteen, hazel was always trying to earn substantial money, from getting part time sweeping pet fur at a nearby dog groomers, doing laundry / shopping / housework / etc for the other elderly folk around her area. when she was fifteen one of the men she helped with wrangled her an evening shift at the store his daughter managed. so with a more stable income established and jacky beginning to do odd jobs himself, the novaks found themselves with a bit of luxury money. a few months into the arrangement, hazel would drop out of high school to continue working full time to help support her family. this was when she got herself and jacky second hand iphones and the novak’s got internet!

hazel is also diagnosed with anxiety and depression linked to trauma from her childhood (her brother was mute for many years too) and her outlet for this is art. 

fast forward to 2014, at age 17, when looking for some white noise to play in the background as she focused on some art, she clicked on an asmr video out of curiosity. after that she was hooke and got addicted to the calming sensation that aided her in restless and troubled times and, whilst it was no permanent alternative to her medications, it was soon a vital step in her night time routine.

eventually hazel was struck with the same thought as many viewers: could i make this ? so she created hazesmr and started making faceless videos with her headphones and phone and beaten up laptop, doing drawing videos, tapping, whispering, even a few rookie roleplays! 

her channel was very small for about a little over a year, staying around 15,000 subscribers that hazel was so grateful for as she could help people through her content. but in 2016 asmr blew up and, for better or for worse. so did her videos and channel in turn. this new level of community and interactivity encouraged her to finally do a face reveal for her 500,000 subscriber milestone and things just kept growing from there.

it became another facet of income for her and her family that she never could have imagined being hers.

she moved to la to explore more opportunities as a creator and is now trying to adjust to life in a loud environment as well as balancing her asmr channel and her newly formed vlog channel to showcase more of her non-asmr self and navigating the demand for content is quickly becoming a hectic lifestyle but she can rely on her friends to help get a video out and stick to her dual-channel schedule!

though, secretly she fears the newfound vulnerability in her content as she’s showing more of herself than ever before, whilst trying to protect her privacy and past.

hazel sends a portion of her monthly earnings back home to her family to support them.

she has three big goals currently: get her high school diploma, help her grandparents buy their home, and save up to support jacky going to college.

PERSONALITY

hazel is a mixed bag, very all or nothing. this means she gives her all to projects and those she trusts and cares about, but can be incredibly fickle at times as her interests jump frequently. she’s hesitant and cautious but if she warms up she can easily be the life of things. she’s so big on supporting charities and giving old / unwanted things to thrift stores and donating to food drives and other worthy efforts. she’s passionate and creative and just one of the kindest and attentive souls you’ll meet. soft spoken even off camera, just soothing af presence in general tbh??? the type of person people unload their baggage to within 24 minutes of knowing her rip

[themountaingoatssociety]

About Us

For all our members on mobile!

The Mountain Goats Society has three purposes:

Share and promote fanworks, projects, and events related to the Mountain Goats

Make the music more accessible

Preserve the band and community’s history

Hopefully, we’ve piqued your interest! You can help by submitting or tagging us in your fanart and community events, sending us interviews, recordings, etc. that you’ve found, and telling us about your time in the community.

Ask Guidelines The inbox will always be open! Come talk to us!

Be respectful. Alt-right people, TERFs, and all flavor of LGBTQ+ exclusionists are blocked on sight. But this gets more mundane, too - be polite to other people you’re interacting with through our inbox.

No off-topic discourse allowed ever, unless it is concerning a policy on this blog. If you’re going to argue with people, do it in the notes and not the inbox. This will be strictly enforced. But discussion about the music held through our inbox? Cool! Super cool, actually, we love that!

Off-topic asks will be posted on Friday under the tag “casual friday”.

Submission Guidelines Before submitting something official or semi-official, ask yourself:

Have we already posted it?

Is it related to the American folk rock band the Mountain Goats?

If the answer to those questions is “no” and “yes” in that order, congratulations! Album art, behind the scenes info, fansites, concert anecdotes, anything, we want it! Message us, submit, or tag us. We’ll tag you in the body of the post. For fanworks and original content like covers, comics, illustrations, analysis, etc., we’ve got a few more stipulations.

We prefer that you post big stuff on your own blog and tag us in it, including event announcements. If you change your URL, we’d like you to still have the credit.

Crossover art/fic with other fandoms is welcomed! As long as it is primarily about TMG, it’s good. Your Tallahassee AU of Star Wars? Tell us about it on Friday. Your Star Wars AU of Tallahassee? Send it over. (For a real world example: We would post this, but not this.)

No RPF, “incorrect quotes”, or NSFW of real people.

Try and steer away from NSFW at all - sorry, but we’ve got Tumblr Overlords to appease.

About the Mod So, the usage of the collective pronoun around this place is a bit facetious. Only one person presently runs this blog. Hi, I'm Halcyon or Hal, I really like possums and corvids, and my favorite Mountain Goats album is Tallahassee! I was inspired to start this project by the inactive @themountaingoatsproject here on Tumblr, the Annotated Mountain Goats, and neurodivergency. I found that the band's massive catalog really intimidated me when I started listening, and I wanted to help other folks in my position.

I don't claim to be an authority on anything posted here. Please don't be afraid to correct me.

[scatterghosts]

This Year by The Mountain Goats // Dishes in the Sink by David Showalter

[virginiaovers]

Tokyo City View and Mori Art Museum at Mori Tower

At the top of Mori Tower, you can enjoy the best panoramic view from Tokyo City View and seasonal curated exhibitions at the Mori Art Museum. 

We will share a travel guide for Roppongi shortly on the blog, before we do that we want to share this post on Tokyo City View, the Sky Deck, and Mori Art Museum at Mori Tower.

Nami and I have been to Roppongi Hills many times, the illumination around the area during the holiday time is worthy of the visit if you get the chance.  Despite the number of visits we have taken to the area, we never visited Mori Art Museum or the Tokyo City View at top of Mori Tower.  This past summer, we finally did as a family and it was a wonderful and memorable experience.

If you are not familiar with Mori Tower, it is a mixed-use building with retail and restaurants on the bottom 6 floors.  Corporate offices take up the majority of the building and Tokyo City View and Mori Art Museum are located at the top.

Tokyo City View at Mori Tower

There are several places where visitors can take in the birds-eye view of Tokyo.  Of those places, we have been to the top of TMG many times and also visited Tokyo Skytree a few years back.  In our opinion. the views from Tokyo City View is probably the best of the three.  Why?

Roppongi is located closer to “center” of Tokyo than either TMG or Tokyo Skytree.

There aren’t many tall buildings nearby blocking your views.

You get to go outside onto the Skydeck!

At the time we visited (July 2018), the cost of the tickets was:

Adult ¥1,800 ($18)

College and High School Students ¥1,200 ($12)

Age 4 through Jr. High School Students ¥600 ($6)

Senior (age 65+) ¥1,500 ($15)

Ready for some awe-inspiring views of Tokyo?  Let’s go!

Tokyo City View ticket counter.

The first step, buy the tickets.  We booked our hotel through booking.com and they had a discount QR code that was supposed to work.  However, none of the ticket staff knew how to apply it and we ended up having to pay full price.

Elevator up to Tokyo City View on the 52nd floor.

After exiting the elevator, the view of Tokyo immediately grabbed our attention.  On the day we visited, it was a beautiful clear day and you could see quite far away.

Tokyo City View is set up so visitors can walk around the perimeter of the building and see Tokyo from every angle.

We especially loved the view of Tokyo Tower.

View of Shibuya from Tokyo City View.

View of Shinjuku from Tokyo City View.

During our to Tokyo City View, the exhibition at Mori Art Museum was Japan in Architecture: Genealogies of Its Transformation.  To complement the exhibition, there was a section with 3D models of buildings, pictures of them in real life, and diagrams of their drawings.

Towards the end, there was a cabinet with Nano Nano toys by Kouichi Miyajima on display.

$1,000 USD for the toy car?

Sky Deck at Tokyo City View – Mori Tower

Besides Tokyo City View, we paid an additional ¥500 ($5) so we can visit the Sky Deck.

Before going up Sky Deck, visitors are required to put bags and belongings in lockers.  You can bring a camera with you.

So what is the Sky Deck?  It’s basically the rooftop of the Mori Tower.  To get there, you take a short elevator ride and walk through a pathway surrounded by industrial machinery.

Helipad on top of Mori Tower.

From the Sky Deck, you can take in truly unobstructed views of Tokyo, no glass, no steel barrier, just you and the city.

You walk around the perimeter of the building and there are a few observation decks where visitors can walk down and take photos.

Observation areas at Sky Deck.

View of Shibuya and Shinjuku from Sky Deck.

After spending a bit of time on the Sky Deck, it became uncomfortably hot so we headed down to the Mori Art Museum.

Mori Art Museum at Mori Tower

Mori Art Museum has seasonal exhibitions and during the time we visited the topic was Japan in Architecture.  The theme traced the history of Japanese architecture from ancient times to today.  The entrance fee of Mori Art Museum is included in Tokyo City View and vice versa.

Escalator to Mori Art Museum.

The topics the exhibition addressed.

KIGUMI INFINITY.

Diagram showing how KIGUMI INFINITY was built.

3D models of traditional Japanese wood architecture.

Replica of Sen-no-Rikyu’s Tai-an Tea House.

As we toured the various projects, the most memorable one was Experience Japanese Architecture to Scale in 3D.  The project is located in a dark room where Japan spatial concepts were displayed with lazer fiber and 3D projection on the wall and screen.

The digital transformation of the room going from traditional Japanese to modern condos was really cool.

Between Tokyo City View and Mori Art Museum, we spent about 3 hours in Mori Tower.  If you have limited time in Tokyo and want the best view of the city, we highly recommend stopping by Tokyo City View.

Mori Arts Center Gallery at Mori Tower

Not to be confused with the Mori Art Museum, on the same floor as Tokyo City View is the Mori Arts Center Gallery.  The gallery exhibits works from museums around the world as well as from anime and manga.  2018 is the iconic Japanese comic magazine Jump’s 50th year.  Mori Arts Center Gallery had a special exhibition on the various comics which we did not attend.

Mori Arts Center Gallery entrance fee is separate from Tokyo City View/Mori Art Museum.

After taking in the view from the top of Mori Tower, it’s time to roam around the rest of Roppongi.  See you soon in our next travel post, Roppongi.  In the meantime, here is what we have planned for our 2018 Summer Tokyo Series:

Shinjuku 新宿

Meiji Jingu 明治神宮

Harajuku and Omotesando 原宿・表参道

Shibuya 渋谷

Roppongi Hills 六本木ヒルズ

Tokyo Tower (update) 東京タワー

Ginza 銀座

Imperial East Garden 皇居東御苑

Akihabara 秋葉原

Ueno 上野

Kappabshi かっぱ橋道具街

Tokyo Dome City 東京ドームシティー

Asakusa (update) 浅草

Tokyo Sky Tree (update) 東京スカイツリー

Odaiba お台場

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Tokyo City View and Mori Art Museum at Mori Tower published first on https://zenramensushi.tumblr.com/

[chaoticjune]

About me

Hello there! 

My name is Kirsten,

I am a Mexcian/American from sunny SoCal passionate about art & art history!

I love to draw, specifically dragon age.

I don’t post art here but if you’re interested in my art i have an instagram i keep up with! Which is Pugtears !

Main Interests:

Law & Order: SVU

Dragon Age Series

D&D

Art History

EDM 

Tomb Raider

TMG

I am currently in college figuring myself out but right now, however I do want to pursue art.

[centuryassociates]

German DSK publishes guidance on the applicability of the German Telemedia Act to telemedia services

On April 5, 2019, the association of German Supervisory Authorities for data protection (‘Datenschutzkonferenz’ or ‘DSK’) published a guideline regarding the applicability of the German Telemedia Act (‘TMG’) to telemedia services – including, for example, the use of website cookies for targeted advertising post-GDPR. The guideline aims to “clarify and concretize” a previous statement on the topic released by the DSK in April 2018 and to serve as guidance for the implementation of data protection requirements when processing users’ data through telemedia services.  This guideline is the result of a stakeholder consultation carried out by the different German Supervisory Authorities last year.

In line with its previous paper, the DSK confirmed in its opinion that Sections 12, 15(1) and 15(3) TMG ceased to be applicable when the GDPR came into effect. Hence, in the absence of a lex specialis, the provisions of the GDPR apply by default. The main difference between the two laws is that the TMG provides for a specific legal basis under which online tracking may be lawfully carried out by a website operator.  According to Section 15(3) TMG, so long as the website operator uses pseudonyms, it may create user profiles for purposes of advertising, market research or for the demand-oriented design of telemedia services, provided that the user does not object to this (typically through an opt-out solution like unticking a pre-selected checkbox on a cookie banner).

The DSK argues that Sections 12, 15(1) and 15(3) of the TMG do not implement the ePrivacy-Directive’s[1] ‘cookie requirements’ and therefore are not covered by Art. 95 GDPR, which leaves (national) laws like the TMG unaffected if they constitute an implementation of the ePrivacy Directive. With regard to Section 15(3) the DSK also rejects an interpretation in line of the GDPR. Finally, the DSK points out that the ePrivacy-Directive is not directly applicable. Hence, according to the DSK, online tracking must be based on one of the legal bases listed in Article 6 GDPR (or Article 9 for sensitive data) and if consent is sought, this it must comply with the requirements for consent under Article 4(11) GDPR.

The DSK then sets out the various legal bases in Art. 6(1) GDPR that a website operator may rely on for processing personal data collected via website cookies. According to the DSK, in most use cases online tracking requires the user’s prior consent in the form of an opt-in solution whereby the user must actively demonstrate consent (typically by ticking a checkbox on a cookie banner). When the collection of sensitive data is involved, consent shall always be required.

With regards to consent, the DSK clarified that if personal data collected from the user is combined and evaluated by the website operator across websites, the user must be informed in advance of all processing activities and of all recipients of the data. Furthermore, the user must be given the opportunity to give his/her specific consent to the various forms of data processing. In cases where multiple data controllers wish to rely on the same consent (either as joint controllers or because of a transfer between co-controllers), all controllers must be named and their different processing activities must be sufficiently described. In these cases, all data controllers must check whether there is effective consent for their processing activities and whether this can be proven by them. With reference to Recital 32 GDPR the DSK points out that an opt-out procedure does not comply with the consent requirements of the GDPR.

Notably, the DSK also said that it must be possible to view a website without consenting to non-essential cookies – this appears to be a prohibition on the use of cookie walls. Obtaining consent through an “OK” button is also not GDPR compliant in the eyes of the DSK if users are not given an opportunity to refuse the cookies.

The guidance sets out a three-step balancing process that website operators should carry out if they intend to rely on legitimate interest as their legal basis for using cookies. Here, the DSK describes what it considers to be acceptable and unacceptable examples of (overriding) legitimate interests. For the DSK, it would be acceptable for a website operator to collect information about (i) the number of website visitors over a specific period of time, (ii) the devices they used to access the website, and (iii) their language preferences, in furtherance of the website operator’s legitimate interest to maximize the website’s reach. However, it would not be acceptable for the website operator to use an analysis tool for this purpose that passes on the browsing behaviors of website visitors to third parties (e.g., social networks or other services which merge usage data with data from other sources). According to the DSK, a user does not reasonably expect that user history is shared with third parties or that web browsing behavior (e.g., the manner in which one touches a screen or types on the keyboard) is recorded.  The DSK recommends alternatives such as collecting less data and/or utilizing an in-house software solution for certain website analytics purposes.

The DSK expressly highlights that this guidance is subject to the interpretation of the European Data Protection Board and any changes that may result from the finalization of the long-awaited ePrivacy Regulation.

[1] Directive 2002/58/EG as amended by the Directive 2009/136/EG.

German DSK publishes guidance on the applicability of the German Telemedia Act to telemedia services posted first on https://centuryassociates.blogspot.com/

[forensiceyes]

German DSK publishes guidance on the applicability of the German Telemedia Act to telemedia services

On April 5, 2019, the association of German Supervisory Authorities for data protection (‘Datenschutzkonferenz’ or ‘DSK’) published a guideline regarding the applicability of the German Telemedia Act (‘TMG’) to telemedia services – including, for example, the use of website cookies for targeted advertising post-GDPR. The guideline aims to “clarify and concretize” a previous statement on the topic released by the DSK in April 2018 and to serve as guidance for the implementation of data protection requirements when processing users’ data through telemedia services.  This guideline is the result of a stakeholder consultation carried out by the different German Supervisory Authorities last year.

In line with its previous paper, the DSK confirmed in its opinion that Sections 12, 15(1) and 15(3) TMG ceased to be applicable when the GDPR came into effect. Hence, in the absence of a lex specialis, the provisions of the GDPR apply by default. The main difference between the two laws is that the TMG provides for a specific legal basis under which online tracking may be lawfully carried out by a website operator.  According to Section 15(3) TMG, so long as the website operator uses pseudonyms, it may create user profiles for purposes of advertising, market research or for the demand-oriented design of telemedia services, provided that the user does not object to this (typically through an opt-out solution like unticking a pre-selected checkbox on a cookie banner).

The DSK argues that Sections 12, 15(1) and 15(3) of the TMG do not implement the ePrivacy-Directive’s[1] ‘cookie requirements’ and therefore are not covered by Art. 95 GDPR, which leaves (national) laws like the TMG unaffected if they constitute an implementation of the ePrivacy Directive. With regard to Section 15(3) the DSK also rejects an interpretation in line of the GDPR. Finally, the DSK points out that the ePrivacy-Directive is not directly applicable. Hence, according to the DSK, online tracking must be based on one of the legal bases listed in Article 6 GDPR (or Article 9 for sensitive data) and if consent is sought, this it must comply with the requirements for consent under Article 4(11) GDPR.

The DSK then sets out the various legal bases in Art. 6(1) GDPR that a website operator may rely on for processing personal data collected via website cookies. According to the DSK, in most use cases online tracking requires the user’s prior consent in the form of an opt-in solution whereby the user must actively demonstrate consent (typically by ticking a checkbox on a cookie banner). When the collection of sensitive data is involved, consent shall always be required.

With regards to consent, the DSK clarified that if personal data collected from the user is combined and evaluated by the website operator across websites, the user must be informed in advance of all processing activities and of all recipients of the data. Furthermore, the user must be given the opportunity to give his/her specific consent to the various forms of data processing. In cases where multiple data controllers wish to rely on the same consent (either as joint controllers or because of a transfer between co-controllers), all controllers must be named and their different processing activities must be sufficiently described. In these cases, all data controllers must check whether there is effective consent for their processing activities and whether this can be proven by them. With reference to Recital 32 GDPR the DSK points out that an opt-out procedure does not comply with the consent requirements of the GDPR.

Notably, the DSK also said that it must be possible to view a website without consenting to non-essential cookies – this appears to be a prohibition on the use of cookie walls. Obtaining consent through an “OK” button is also not GDPR compliant in the eyes of the DSK if users are not given an opportunity to refuse the cookies.

The guidance sets out a three-step balancing process that website operators should carry out if they intend to rely on legitimate interest as their legal basis for using cookies. Here, the DSK describes what it considers to be acceptable and unacceptable examples of (overriding) legitimate interests. For the DSK, it would be acceptable for a website operator to collect information about (i) the number of website visitors over a specific period of time, (ii) the devices they used to access the website, and (iii) their language preferences, in furtherance of the website operator’s legitimate interest to maximize the website’s reach. However, it would not be acceptable for the website operator to use an analysis tool for this purpose that passes on the browsing behaviors of website visitors to third parties (e.g., social networks or other services which merge usage data with data from other sources). According to the DSK, a user does not reasonably expect that user history is shared with third parties or that web browsing behavior (e.g., the manner in which one touches a screen or types on the keyboard) is recorded.  The DSK recommends alternatives such as collecting less data and/or utilizing an in-house software solution for certain website analytics purposes.

The DSK expressly highlights that this guidance is subject to the interpretation of the European Data Protection Board and any changes that may result from the finalization of the long-awaited ePrivacy Regulation.

[1] Directive 2002/58/EG as amended by the Directive 2009/136/EG.

German DSK publishes guidance on the applicability of the German Telemedia Act to telemedia services posted first on http://ronenkurzfeld.blogspot.com

[joshua-gray-b2b2-jekyll-and-hyde]

Contextual Research

Sigmund Freud, known as the founding father of modern psychoanalysis, set up his clinical practice in Vienna, 1886, the same year that the novella was published. (BBC History, 2014) Therefore I feel my take on the narrative does also combine some level of reality in the sense that It could have happened, even though it would have been highly unlikely.

Mesmerism was popularised by Franz Friedrich Anton Mesmer (Goldsmith, 1943) and found incredible popularity in London during the Victorian Era, it was the predecessor to modern day Hypnosis, and very little was truly understood as to how it worked. "Magnetizers” (practitioners of mesmerism) of the time thought that there was a natural energetic transference that occurred between all animated and inanimate objects known as animal magnetism (Crabtree,1988), and this force was what they controlled to get their subjects to preform certain tasks.

In 1843 the Scottish physician James Braid (Kroger, 2009)  was an important and influential pioneer of hypnotism and hypnotherapy. He is regarded by many as the first genuine "hypnotherapist" and the "Father of Modern Hypnotism"

He was inspired by the stage demonstrations of animal magnetism in Manchester by Charles Lafontaine on November 13, 1841 to pursue the study of what came to be known as hypnotism. (Yeates, 2013)

He proposed the term “Neurohypnology” in Febuary 1842 (TMG, 1842), for a technique derived from animal magnetism; this was then refined to what we now know today as Hypnotism, and this is now considered the usual meaning of mesmerism.

Braid was the first to use the terms hypnotism, hypnotise and hypnotist in English, derived from the terms hypnotique, hypnotisme, hypnotiste coined by the French magnetist Baron Etienne Félix d'Henin de Cuvillers (1755–1841) at least as early as 1820.

Braid, was the first person to use "hypnotism" in its modern sense (Kroger, 2009), referring to a "psycho-physiological" theory rather than the "occult" theories of the magnetists.

References:

-BBC History (2014) Sigmund Freud Available at: http://www.bbc.co.uk/history/historic_figures/freud_sigmund.shtml (Accessed: 06/02/17)

-Crabtree, A. (1988)  Animal magnetism, early hypnotism, and psychical research, 1766-1925: an annotated bibliography.  Kraus International Publications.

-Goldsmith, M., L. (1943)  Franz Anton Mesmer: A History of Mesmerism. Doubleday, Doran, Incorporated.

-Kroger, W.S. (2009) The Practice of Hypnotism. Robertson.

-Stevenson, R., L. (1886) Strange Case of Dr. Jekyll and Mr. Hyde. Harvard: C. Scribner's Sons.

-TMG (1842) "Mr. Braid’s Lecture on Neurypnology" , The Manchester Guardian , 16 March 1842, p.4

-Yeates, L.B. (2013) James Braid: Surgeon, Gentleman Scientist, and Hypnotist, Ph.D. Dissertation, School of History and Philosophy of Science, Faculty of Arts & Social Sciences, University of New South Wales. 2013