Laser-Etchings

Call Me Mistress – River (M)

Summary: The Mistress spends an evening with “River”, a young stockbroker who serves as her obedient pet.

Pairing: Namjoon x Reader

Genre: Smut, a touch of fluff

Word Count: 10,405

Warning: Sub!Namjoon, Domme!Reader, sex work, BDSM, femdom, petplay, foot fetishism, cumplay, praise kink, roleplay, handjob, sexual themes, profanity, and I ruined more food for you guys.

Series: Call Me Mistress

A/N: This series as my sandbox to play in, where the journey is more important than the destination. I am expecting that some of the content in this story (and in this series) will make some readers uncomfortable, so please be mindful of the tags and remember this is fictional. Special thanks to @war-of-hormoan for agreeing to beta in my hour of need!

If you haven’t read the Prologue yet, I suggest reading that first, as it immediately precedes this story. Enjoy!

Client List: Prologue | River (Namjoon) | Ramen, Pt. 1 (Jungkook) | (more forthcoming)

Keep reading

I just watched a documentary about archeological digs in Iraq where they found over a million 3000-year-old clay tablets with ancient cuneiform writing on them. These tablets, having lain in the sand for three millennia begin to turn to dust within hours of their removal if not preserved and even with the best preservation they still degrade fairly rapidly. So, they use lasers to etch a hologram of each tablet on glass plates. This digital information can be transmitted over the internet. 

This is kind of cool. To think 3D holograms of 3000-year-old written words and these holograms once on the internet will live in the web. The actual glass plates can survive for tens of thousands of years.

The holograms are so accurate that they can be examined under a microscope.

Since the information is digital it can be manipulated by a computer to decipher even the most eroded specimens. 

Funny, as I write this little piece it dawns on me: I may be the only one on the planet who thinks this is cool. Oh, I suppose some of my fellow nerds might.

This is the prototype front panel interface for that 6502 homebrew machine I’ve been putting off for awhile now.  I laser cut/etched the panel layout last week, after putting it off for too long.  I need to put in some LEDs and start wiring them up to begin building the logic.  The black switches are dual momentaries, and the metallic switches are toggles.

5

Model Monday: Cardboard Construction

These miniature corrugated cardboard models of iconic SOM buildings were created for Bring Your Child to Work Day at SOM’s San Francisco office. Kids constructed and took home models of the Alcoa Building, Crown Zellerbach Headquarters, Lever House, U.S. Air Force Academy Cadet Chapel, Willis Tower, and One Front Street (where the office is located). Each model was laser-cut and etched as a set of two-dimensional pieces that could be assembled together without glue. Other activities included coloring, puzzle building, a magic show, and face painting, as well as learning about the process of designing buildings. The SOM Women’s Initiative sponsored the event and looks forward to continuing the program in the years to come.

3

Tracking Culture

Cultural translation is a pertinent motif in the realm of Canada’s multicultural contemporary art scene. Canadian artists and their practices come from a sweeping range of backgrounds and culture is subsequently translated in many unique ways. The most recent work of Soheila Esfahani, namely her Cultured Pallets series, 2013, studies this phenomenon in depth with the aid of laser etching and email tracking.

Esfahani is an Iranian born, Kitchener based Canadian multimedia artist. The issue of cultural translation is one that affects Esfahani directly as an immigrant who has experienced it first hand. In the Cultured Pallets series she pursues a twofold investigation of cultural translation. The pieces in the installation feature standard wooden shipping pallets that the artist has beautifully transformed with intricate laser etching and paint. A small collection of these striking pallets fills Toronto’s Red Head Gallery with a particular feeling of transience. The pallets seem to have just arrived, but the viewer gets the feeling that they are about to filled and shipped off to another faraway destination in just a few days time. This is in fact true because this series functions as both an installation and an experiment. The pallets are branded with a bright red email address and returned to circulation in the shipping industry once the exhibition has come to a close. Esfahani hopes to then make contact with the curious individuals who stumble upon her work. In doing so the artist will be able to reach an international and unexpecting audience and will also benefit from analyzing the interpretation of each viewer she connects with. Those who contact Esfahani will be influenced by the cultural context from which they hail and will experience the art differently due to the cultural translation they will each utilize in order to interpret the project.

In addition to the intriguing concept behind the project, the pieces are also stunningly beautiful. Esfahani uses both recycled and new pallets, which adds aesthetic layers to the installation. The small room of the gallery is filled with a mixture of scents, which can be distinguished as the fresh pine of the new pallets and the mustiness of the older recycled pallets. One pallet sits alone on the floor drawing the visitor’s eye because it is embellished with an unmistakable deep Persian blue pattern reminiscent of the tiles used to decorate mosques and palaces in the Middle East. The designs adorning the pallets are not only influenced by the artist’s Iranian heritage as she also uses a variety of found patterns with a more Western influence. The Western impact on Esfahani’s work can also be discerned in her “Made in Iran: The Break in the Tip of the Lotus Leaf”, 2010, woodblocks which portray the transformation of Iranian calligraphy into flora images. The viewer’s eye is carried from the first block that depicts a single letter of the Farsi alphabet down through a series of similar blocks upon which the letter is gradually translated into a lotus leaf. This series highlights the circumstantiality of semiotics, how a sign can be interpreted so differently by different cultures.

- Emily Cluett