Baseline

7 Must-Read Articles on Diversity Within the Publishing

In the fall of 2015, Mira Jacob wrote a piece for BuzzFeed about a speech on diversity that she attempted to deliver at a publishing industry party, to which no one listened. For a person in publishing it’s a gut-wrenchingly shameful read. And I found it all the more so because, if I worked in New York rather than in San Francisco, I’d have been at the party in question. I like to imagine that, had I in fact been there, I’d have been among the “very small ring of people” who paid attention to Jacob’s speech—but would I really? Can I be sure?

In early 2016, the results of the first-ever industry wide Diversity Baseline Survey were released, and the numbers were just as bad as we’d all feared they would be. Publishing as a whole is 79% white. Given that fact, it’s hardly surprising that books and authors are not nearly as diverse as they ought to be either. Many people in publishing care deeply about these issues and want to fix the problem, but—despite some great efforts, particularly in children’s publishing, and amplified by organizations like We Need Diverse Books—the industry as a whole continues to struggle to change.

Here at Chronicle Books, there are a number of initiatives around this topic, but meaningful change takes time. As with any social action, it’s important to divide your energy between long-term, big-picture endeavors, and smaller-scale projects that can be implemented quickly. One such smaller project I’ve been working on for the past year and a half or so is creating and maintaining a library of articles on topics related to diversity issues, and sending out a monthly newsletter of recent articles of note. Drawn from that library, here are a few of the key moments in the ongoing conversation about diversity in the publishing industry, from the tail end of 2015 through 2016. Already this year the conversation has continued to evolve, so perhaps I’ll come back here with another installment soon. For now, read on.

1. I Gave a Speech About Race to the Publishing Industry and No One Heard Me

BuzzFeed, September 17, 2015

Author Mira Jacob discusses how she gave a speech on what it means to be a writer of color at the Publisher’s Weekly Star Watch 2015 party, and very few people listened. Then, she shares the text of her speech in full, detailing her experiences with the insidious nature of discrimination.

2. Equity in Publishing: What Should Editors Be Doing

PEN America, October 14, 2015

A round-table discussion including various editors, a number of of whom work on poetry and literary journals, discussing their editorial responsibility with regards to white privilege and creating a larger, more inclusive space for writers of color in the publishing industry. An extensive resources section at the end links to a number of other useful articles.

3. AAP, UNCF Partner on Internship Program

Shelf Awareness, January 15, 2016

The Association of American Publishers is partnering with the United Negro College Fund to create a paid summer internship program, intended to place African American students from historically Black colleges and universities at a number of industry-leading publishing companies. The positions range across of departments, including editorial, marketing, publicity, and sales.

4. First Diversity Baseline Survey Illustrates How Much Publishing Lacks Diversity

Forbes, January 26, 2016

This article details the results of the first-ever Diversity Baseline Survey of the publishing industry, conducted across numerous companies in 2015 and intended to capture a demographic snapshot of current staffing. The data confirms a lack of diversity, with the industry as a whole being: 79% white, 78% female, 88% straight, and 92% nondisabled.

5. Why Publishing Is So White

Publisher’s Weekly, March 11, 2016

In response to the results of the Diversity Baseline Survey (see above), this article examines hiring practices across the publishing industry to ascertain what factors create and maintain the lack of diversity. It concludes that while publishers do care about diversity, they are not yet taking effective steps to bring about lasting change.

6. Diversity In Book Publishing Isn’t Just About Writers – Marketing Matters Too

NPR Code Switch, August 9, 2016

Discussions of diversity in book publishing tend to focus on the demographics of authors and/or editorial staff, but it’s also important to talk about the impact of marketing. Marketers need to be able to make people care about books written by minorities, which comes with its own special challenges and skill-sets.

7. The Uncomfortable Truth about Children’s Books

Mother Jones, Oct/Sept 2016

An in-depth look at the lack of protagonists of color in kid’s books. The writer concludes that the questions roiling children’s publishing are among the pressing cultural questions of our time: Whose story gets told, and who gets to tell it? How do you acknowledge oppression without being defined by it? And to what extent should writers bow to popular opinion?

Maybe The Real Ravus is The Culmination of The Loved Ones He Lost Along The Way:

Or, an analysis of Ravus Nox Fleuret and how he became the person he is by XV game canon; from his real parentage to the truth about the chip on his shoulder to how love and death slowly came to mean the exact same thing to him and how that shaped his personality.

Be warned - copious amounts of headcanon abound. Pretty much everything under the cut is pulled together by the glue of a theory. A cool theory, but a theory nonetheless.

Keep reading

We Need to Talk About AIDA

I think the problem with the Framework is that AIDA doesn’t understand the core of humanity - emotions, struggle, regret. These are formative to our experience and perspective. She does not have any of them. So to her, it’s like simplifying code to make it more elegant. Remove the tangled bits, take people back to a time when they had the least to regret or struggle with, when their emotions were as baseline as possible. But be aware, baseline doesn’t mean happy - it means that somewhat numb middle ground. You’re not experience joy, you’re not experiencing pain, you’re not experiencing sadness. It is the ideal, to a robot, because it’s what they know and experience.

By removing their struggles, regret, and in a large part, their purpose, their sadness, and their joy, she has dismantled the formative things about our heroes. Now, their journey is to break from this mediocre unreality, coloured in Pleasantville Grey, back into the world of technicolour pain and joy and suffering and love - something they know deep in their core. 

Because here’s the interesting thing about people and memory and emotions - when the mind forgets, it’s the body that keeps score, that remembers. As a person with PTSD, I know this implicitly. They’ve done brain scans and numerous research into the phenomena - because science has proven that what LMD Fitz said, that ‘the brain and the body can be separated’ is inherently incorrect.

I want to see Coulson rubbing his harm when the weather changes, and wondering why he has phantom pain. 

I want to see Fitz struggling with finding words when he’s upset, or having an anxiety attack, rubbing his hand, and describing it as ‘feeling like he’s drowning’ without having any context for it. 

I want to see Ward press his hand to his chest when he catches sight of Coulson out of the corner of his eye. 

I want to see Mack researching online, late at night, when no one is awake, whether men can be affected by post-partum depression/psychosis, because something inside him could swear that the beautiful little girl he tucked in hours ago is not his, but something else. He feels like he’s going crazy, because he feels this immense sense of loss when he looks at her, and goosebumps when he holds her - goosebumps that tell him something just isn’t right.

Imagine, like PTSD memory integration, when Jemma grabs Fitz’s hand for the first time, and suddenly, he feels her grip in his palm the thousands of times it has fit there, the slide of her thumb over his knuckles, so familiar, and a flash of a memory ghosts, disembodied, in front of his eyes. her hand in his. The first time. The last time. The time he took her ring finger and contemplated asking her to marry him. 

When they kiss, and it is the agony of her loss, the universe between them, the surety that she is not for him, and the sheer bliss of knowing, deeply, settled and rooted in his chest, that no - that was once and this is now and she has always been his, and will always be his, that they are together, entangled, rooted within each other. And he barks a laugh and cries and pulls away, terrified and elated and shaking, and breathes, “What the fuck?”

Iwant to see each of them, trapped in the framework, take the risk to dig deeply, grasping their fragmented physical memories like shards of glass, to cut away at the web of lies the framework has trapped them in. I want to see them be vulnerable and scared of knowing that they will feel pain, knowing that this will be scary and this will hurt, but somehow, it’s going to be better. It has to be better, to know. To be who they are, instead of parts of a phantasmagoria of life.

there has never been a show that i’ve wanted to rip out of a creators’ hands more than rwby.

anonymous asked:

Of all the fics you have written, which one is your favorite? Sorry if it's been asked before, I've just found you.

This has actually never been asked!!! *nervous breathing* It’s also quite hard to answer… Hopefully nobody becomes Very Angry with me for listing a few T.T

Kingdom of Crows is my favorite for building history/backstory in a relatively short amount of words. Also, just the tone in general.

Dreamless is my favorite for the fun I had collabing with RC, and for how challenging it was to write! Almost no dialogue in 15k words, non-human Hinata, language barrier, switching POV…

Meta/Movie Star AU is my favorite for its sheer ridiculousness, and the fact that I think I managed to pull off the concept fairly well, something I was not sure I could do at the outset. 

Somewhere to Belong is my favorite for its sheer emotional weight. It’s my most nostalgic fic (my second HQ fic ever, and first KageHina… and a full month and a half of brainstorming with Ellie). I’m still so proud of the style and tone BUT:

Hunger, I think, is my most polished work, and my favorite overall. I love the world that’s grown out of it, and still have a lot of stories I want to tell there. 

Framework Theory

Okay, I’ll explain my theory as I explained it on Twitter. The Framework from 4x15 of Agents of Shield showed some gnarly things for our agents, and some of which people don’t understand, so let me break it down in a way that I processed it via characters.

The framework works in the way that it resorts people to not their “happy” places but a state of their “ideal” places. Where things are simplified to a fault and nothing is at all causing them “pain” because it’s baseline stuff. As we know, any relationship causes pain on any level. None is completely perfect. The framework doesn’t cut pain from the emotions, it just puts them somewhere it won’t have a chance to exist, meaning this: Shield does not exist in the framework because it is the source of their strife.

Now, to explain.

Daisy Johnson: Skye was founded by Shield, only because she was part of the rising tide, a hacker group that was commuted to uncovering the secrets of Shield. Since Shield doesn’t exist here, it means that Hydra was the one Skye hacked into. In the same way she joined Shield, Ward recruited her into Hydra. And because of that, Skye never felt the pain of Ward’s betrayal. He never had to change to Hydra because he always was. The world was simplified for her, cutting out the middle man and /that/ is why she’s with Ward and not Lincoln, someone who made her genuinely happy. Ward never hurt her, so she remained happy with him.

Phil Coulson: Coulson has told us before that he got recruited into Shield because in College, as a history major, he started to uncover just how much history was made by Shield. Since Shield doesn’t exist, Coulson never found any of that out, leaving no recruitment into Shield and having him choose the path of School Teacher instead. He teaches people to fear inhumans because without Shield he didn’t have the experience with them, or Daisy in general, that led him to know they aren’t bad guys.

Alphonso Mackenzie: His story is relatively simple. He recently explained to us, or Yoyo, that he lost a child before. In this framework, his life was already fine before. So it just cut out that pain for him. He has his ex wife and a daughter that grew up with him this time. Without any Shield to get entranced by and no reason to turn to Hydra, he lives a peaceful Suburban life.

Melinda May: May’s mother was a spy, something we knew from before and we’re led to believe she followed her mother’s footsteps. Since most of their before-mentioned stories stated the same, I have no real reason to believe May’s changed at all, other than instead of joining Shield’s spy organization, she turned to Hydra since Shield doesn’t exist. She never meets Coulson and lives a stoic life as a Hydra agent.

Fitz&Simmons: To do this separately, I must first do them together and say this. Without Shield, these two never got recruited into the academy and never met. As much as all of us Fitzsimmons fans hate to admit, Fitz and Jemma really cause each other a lot of pain. Even so, we understand that life’s relationships should be that way. Uphill battles for large payouts with people we love. The framework, it doesn’t compute that.

Jemma Simmons: I have many reasons to believe that framework Jemma isn’t dead. For one, she located her avatar. It was explained to us that the only reason so many people could exist in the framework was because of the Darkhold which was able to help obtain all of that information. But when Jemma explains that if you die in the framework, you die in the real world it’s because the collective consciousness that was delivered into the framework ceases to exist. If Jemma was able to locate her avatar it means that her AI consciousness was able to keep her place, which means she still lives. Her death could’ve been staged for many reasons, but that’s up to speculation.

Leopold Fitz: Fitz lives in a world now where he’s literally on top of it. He was told as a child by his father he wasn’t smart enough and wouldn’t be anything. Now, Fitz is everything. He never meets Jemma Simmons, never falls for her, and never goes through any emotional trauma to get her back or live on. He’s content with his life as it is then.

I honestly believe this is what’s going on, and I really don’t think that Hydra and Shield “swapped places” or that Shield had fallen. If that were the case, May and Daisy would’ve stayed loyal to Shield and Coulson wouldn’t very well be alive.

So fear not, my fellow agents.

youtube

Quarashi–Baseline

Mutha f*ckin Amplitude snitches!

What the hell you know about that?

Let me explain to you folks how deep in the psych-oriented thinking I am. 

Me: Trying to figure out the best way to discuss a theory about Zuko’s lack of firebending skill as a child being due tio his inability to interalize the Sozin era’s anger-fueled firebending philosphy.
Me: …You know, looking at what I have, I could totally explain this as if it were an ABA study where anger/hate fueled firebending is the treatment condition, with Zuko’s firebending in the “Zuko Alone” flashback, and at the start of “The Firebending Masters” being the the baseline condition. It’s not scientific given how spotty my ‘data’ is. but it works. 
Me: …Why am I like this? I need to stop

I did manage to write a good description for the post though, so no graph needed!

TEOTWAWKI and Enterprise Architecture

TEOTWAWKI stands for the end of the world as we know it. It is a term used in the survivalist movement and is sometimes used as a reference to the apocalypse. (The apocalypse though has religious connotations in that the end of the world has greater meaning in terms of revealing G-d’s ultimate purpose for mankind.)

The end of the world—is there such a thing?

As mortal human beings, we know that all living things have a beginning and an end of life. Even inanimate objects are recognized as having a lifecycle, and this is often talked about from a management perspective in terms of administering “things” from their initiation through their ultimate disposition. Some common lifecycles frequently referred to are: organizations, products, projects, assets, investments, and so on.

So how about the world itself?

Well, the answer is of course, yes—even the world will one day come to end. Astronomers have long witnessed even the implosion of stars at their end of life—these are called supernovas. And our world is a lot smaller than a star; in fact, you could fit about a million Earths inside our sun (which is a star).

When times get tough, TEOTWAWKI is something that perhaps we ponder about more and wonder whether this is it!

For example, during the Cold War and the buildup of the nuclear arsenals of the Soviet Union and the United States, there were enough nukes to destroy the world ten times over. And people wondered when the button would actually be pushed.

Nowadays, we wonder less about nuclear holocaust and more about overpopulation (currently at 6.3 billion and expected to reach 9 billion by 2042) and depletion of world energy resources like oil (currently at $140 a barrel and up 44% in cost YTD), demand outstripping supply for silver, copper, aluminum, and many other commodities, and shortages of food (as the UK Times reported in February that “the world is only ten weeks away from running out of wheat supplies after stocks fell to their lowest levels for 50 years.”)

Further, while the population continues to explode and resources continue to be depleted, we continue to overflow the world’s dumps with garbage so much so that there has even been talk of sending garbage into space, just to get it the heck out of here!

And let’s not forget global warming and pollutants that stink up our cities, cause acid rain, asthma, and so many other unfortunate effects on the ecosystem and human health.

The good news is TEOWAWKI talk is often just fear and occasional panic and it is not imminent. The bad news is there are some very real problems in the world today.

The problems are so big that leaders and governments are having a difficult time trying to tackle them. All too often, the problems get passed to the next generation, with the mantra, “Let it be someone else’s problem.”

As an enterprise architect, my frame of reference is to look at the way things are (the baseline) and try to come up with a better state for future (the target) and work up a transition plan, and basically get moving.

We all know that it is extremely difficult to see our way through these extremely complex problems of global magnitude. But if enterprise architecture has taught me anything, it is that we must create a roadmap for transformation; we must forever work to change things for the better. We must do whatever we can to prevent TEOTWAWKI.

Perhaps the field of enterprise architecture can be expanded from one that is IT-focused and now becoming business and IT-focused to ultimately becoming a discipline that can drive holistic change for major world problems and not just enterprise problems. Does this mean that enterprise architecture at some point becomes world architecture?

External image

bassline-skanka  asked:

What are some of your other favorite shows?

[re: this post]

Hm…I really felt Luke Cage on a spiritual level bc it was relatable, and I liked Jessica Jones and season two of DareDevil. I try to keep up with The Walking Dead and Game of Thrones. Liking TWD surprised me though, bc I’m not a blood & gore type person…

I was a HUGE stan for Melissa Harris Perry and political shows, but that was before MSNBC became this weird mix of diehard neoliberalism and whatever it is now 

And I’ve been known to veg out on HGTV and House Hunters

Basically Imma sucker for the superhero genre, I like space / science / tech shows, and I’ll always chill out to any reruns of the original Law & Order or the Law & Order with Vincent D’Onofrio. 

But beyond that, I like shows like Atlanta, Black-ish, Fresh Off The Boat, Insecure…it’s hard for me  to keep up with a lot of tv through, bc I’m one of those weirdos who still doesn’t have an actual tv at home 

And I’m getting more into podcasts lately

 @bassline-skanka

anonymous asked:

Maybe it's because I don't know how a radio show works, but do you happen to know if there's a writer for BNR? Or does Jonghyun write the script/generic baseline for what he's going to talk about on the show himself? (Thank you for your amazing work!)

thank you! every broadcast has a baseline script - usually with a topic for that day, but each day of the week (unless adjusted to suit a special guest) usually has a similar basis in terms of discussion. so, everything that jonghyun says is off the top of his head unless he’s reading from a message sent in, etc.