abstract and representational

bindingfenrir  asked:

Are there any symbols used specifically for Loki with historical proof?

Velkomin(n), vinur minn,
(Welcome, my friend,)

Archaeological records are not exactly my forte, but it does not seem that there are any symbols that were explicitly used for Loki (at least out of those that have turned up in the archaeological record, that is). By that I mean that there are a few possible depictions of Loki (especially of his binding story), but it does not seem that there was a symbol worn in honor of Loki quite like  there was for Thor with Mjölnir. Furthermore, most of the examples that I have located, and that I am going to share with you momentarily, have room for debate in regards to their intended subject matter. Even so, many of these depictions of Loki come fairly late in the Viking Age, after Loki’s image had begun to intertwine with that of the Christian devil.(1)


THE GOSFORTH CROSS:

THIS EXAMPLE YIELDS the most secure depiction of Loki, at least out of the examples that I was able to locate. Yet, even so, this depiction is on a Christian cross. Although containing a substantial amount mythological scenery, they “appear to have been deliberately chosen because they can be presented in accordance with Christian teaching also.”(2) This may be troublesome for people looking for a symbol to ‘revive’ in Loki’s name. Furthermore, even though depicting an older tale, it is generally considered to be a negative tale from a pro-Loki perspective.

Here is the image of a bound Loki on this cross (I have rotated the image):

Here is the tale from the Prose Edda that this portion of the cross presents:

“Now Loki was captured without quarter and taken to a certain cave. Then they took three stone slabs and set them on the edge and knocked a hole in each slab. Then Loki’s sons Vali and Nari or Narfi were fetched. The Æsir turned Vali into the form of a wolf and he tore his brother Narfi to pieces. Then the Æsir took his guts and bound Loki with them across the three stones — one under his shoulders, one under his loins, the third under the backs of his knees — and these bounds turned to iron. Then Skadi got a poisonous snake and fixed it up over him so that the poison would drip from the snake into his face. But his wife Sigyn stands next to him holding a basin under the drops of poison. And when the basin is full she goes and pours away the poison, but in the meantime the poison drips into his face. Then he jerks away so hard that the whole earth shakes. That is what you call an earthquake. There he will lie in bonds until Ragnarok.”(3)

In the image above, all of these details can be seen depicted in a carved from. Loki is shown bound in three places, a snake is above his head, and his loving wife stands beside him holding a basin. The Gosforth Cross is considered to be among the “oldest remaining monuments from the Norse colonies in north-western England,” and is roughly dated to approximately 930–950 (although this dating may now be an outdated claim).(4) A.B. Cook has interpreted this scene, in a fairly middle-grounded approach, as being a parallel between Christian and ‘pagan’ tales, whereby Loki being bound is equated to Satan being bound.(5) This is not to say that Loki is a naturally demonic figure, but rather to explain Loki’s presence on a Christian cross. Regardless of purpose, this image does indeed come from a pre-Christian tale about Loki, and thus is a fairly secure representation of Loki in a historical, visual context.


THE KIRKBY STEPHEN STONE:

THIS EXAMPLE holds room for debate. Some scholars align it with the imagery expressed in the Gosforth Stone, that the bounded figure presented here, likely the Devil, simultaneously invokes a sort of ‘pagan’ imagery that associates it with Loki. Yet, more recent studies have suggested otherwise. John Mckinnell, for example, agrees with Bailey that this “iconography has nothing in common with that on the Gosforth cross nor with such pictures of the bound Satan as those in the manuscript of Junius 11.”(6) Given the inherit insecurity of this example, then, it is most definitely not as secure of a depiction of Loki as scholars had previously thought it to be. Furthermore, it is more likely that this is not Loki, then, but rather a more straightforward depiction of Satan. Still, it is worth including, for it serves as a good example for just how troublesome deciphering these images can truly be.


THE SNAPTUN STONE:

PERHAPS MORE SATISFYING is the Snaptun stone, which was found in Denmark, unlike the previous examples which were found in England. This stone, dating to around 1000 CE (still near the end of the Viking Age), features a face that has a pair of lips with four perpendicular lines etched through it. It is this physical trait that has linked the image to Loki, for Loki’s lips were stitched in a tale recounted in the Prose Edda:

“But when Brook tried to catch him (Loki), he was far out of reach. Loki had some shoes with which he could run across the sky and sea. Then the dwarf (Brokk) told Thor to catch him, and he did so. Then the dwarf was going to cut off Loki’s head, but Loki said that the head was his but not the neck. Then the dwarf got a thong and a knife and tried to pierce holes in Loki’s lips and was going to stitch up his mouth, but the knife would not cut. Then he said it would be better if his brother Awl was there, and as soon as he spoke his name the awl was there, and it pierced his lips. He stitched the lips together, and tore the edges off. The throng that Loki’s mouth was stitched up with is called Vartari.”(7)

And here is an image of the stone itself:

This stone has been identified as a hearth stone, and thus would have had a function associated with fire within the household.(8) Interestingly enough, if this stone was indeed used for the purpose of maintaining a hearth’s fire, its very function would reflect the story from which the reference to Loki may derive. Brokk, after all, was a dwarf and smith — a dealer in fire. This is my own conjecture, but it is worth pondering, nonetheless.


LESS SECURE POSSIBILITIES:

THERE ARE A FEW OTHER OBJECTS worth mentioning here, although they are most definitely not concrete examples of symbols used for Loki by any means. Many people will see what they want to see, so we must take delicate care in interpreting them. The following objects are often reproduced as pendants. Some people already associate these images with Loki, although there is no proof of this being the case. Interpret these as you will, but keep in mind the insecurity that is inherently bound to these images.

The first of these is often called the Gripping Beast Pendant, and there are several variations of these. The one shown below is in the Borre-style, and it dates to roughly the tenth century. It was made in Scandinavia, but found in England. Some people have associated this with Loki’s binding story, which we have recounted above. It is possible that this is an abstract representation of that story, but there are no direct indicators (such as Sigyn and her basin) to make this interpretation more secure. The safest interpretation is that this pendant represents a tangled beast, and not necessarily Loki, especially since intertwining animal motifs are quite common in Scandinavian art.

Here is the description of this object from the British Museum:

“Cast silver open-work pendant with a a Borre-style design of a gripping beast inside a frame further decorated with four protruding animal heads. Suspension loop with central ridge and double median groove. The back of the pendant is undecorated. Small areas of gilding and niello are in evidence on the surface of the pendant.”(9)

Other examples are equally insecure and even have multiple interpretations associated with them. There is a ‘mask’ from Gnezdovo that dates to roughly the tenth century, but some say it could be Odin. It bares similar resemblance to the Snaptun Stone, but there are no stitched lips, which was the only solid ‘evidence’ for it to be Loki in the first place. There is also a winged figure that was found at Uppåkra (Sweden) from the same century, but some believe it may be depicting Völund the Smith,(10) although others have suggested that it could be Loki borrowing Freyja’s falcon ‘dress’, which has been told in the Prose Edda (and in the Poetic Edda, of course):

“Being filled with terror, he (Loki) said he would go in search of Idunn in Giantland if Freyja would lend him a falcon shape of hers. And when he got the falcon shape he flew north to Giantland and arrive one day at giant Thjassi’s; he was out at sea in a boat, but Idunn was at home alone. Loki turned her into a nut and held her in his claws and flew as fast as he could. When Thjassi got home and found Idunn was not there he got his eagle shape and flew after Loki and caused a storm-wind by his flying. And when the Æsir saw the falcon flying with the nut and where the eagle was flying, they went out under Asgard and brought there loads of wood-shavings, and when the falcon flew in over the fortification, it let itself drop down by the wall of the fortification. Then the Æsir set fire to the wood-shavings and the eagle was unable to stop when it missed the falcon. Then the eagle’s feathers caught fire and his flight was ended. The the Æsir were close by and killed the giant Thjassi within the As-gates, and this killing is greatly renowned.”(11)

Depending on how well-known this story was, it is possible that this object could have been made to reference it. Yet, no matter the likelihood, there is always room for doubt. Although I personally am not as familiar with his story, it still seems more likely, and more agreed upon, that this is Völund the Smith, and not Loki. Here is an image of this object, nonetheless:


ARCHAEOLOGICAL INTERPRETATION seems to be a bit of a challenge, especially when there are not always definite physical indicators to work from. It does not help, of course, that I am not a socialist in archaeology by any means. I am far more familiar with literature. Besides, Loki’s physical appearance can vary tremendously; he is, after all, a shapeshifter. He could appear in numerous forms without us necessarily being able to recognize the subtle hints right away (even then, who decides that we are correct in our assumptions anyway?).

To answer your original question, then, there are very few historical representations of Loki with absolute proof; there is always some sort of doubt. Many of these images can, however, be used to build upon. History only provides us with what survives, but, in working with those fragments, new efforts can be made within reason. Meaning is distributed by society (and even the individual), and meanings can change over time. Being historically responsible, though, means making sure that we know the original intention behind a work of art. It would be irresponsible, historically speaking, to project a new interpretation upon an image that was never meant to have such meaning. In short, it is quite difficult work to be confident in our effort to find historical representations of Loki.

I hope my answer has been helpful, although it is definitely not my strongest. There is definitely plenty of room for more academic work in learning more about historical representations of Loki, but such an area is just not my personal destination. If you have any follow-up questions, feel free to send them my way. I would be more than happy to continue discussing this topic with you, if you’d like.

Með vinsemd og virðingu,
(With friendliness and respect,)
Fjörn


ENDNOTES:
1. H.R. Ellis Davison, Gods and Myths of Northern Europe (repr., 1964; London: Penguin Books, 1990), 176-77.
2. Ibid., 179.
Fig.1. A part of the Gosforth Cross showing, among other things a figure with a horn above a bound figure, usually interpreted to be Loki and Sigyn from Norse mythology. Reproduction by Julius Magnus Petersen, published in 1913. Wikimedia Commons. (Edited – Image has been rotated).
3. Snorri Sturluson, Edda, translated by Anthony Faulkes (repr., 1987; London: Everyman, 1995), 52. (Free version available via the Viking Society for Northern Research).
4. Knut Berg, “The Gosforth Cross,” Journal of the Warburg and Courtauld Institutes, Vol. 21, No. ½ (Jan. - Jun., 1958), 28.
5. Ibid., 29.
6.  John Mckinnell, “Norse Mythology and Northumbria: A Response,” Scandinavian Studies
Vol. 59, No. 3, Anglo-Scandínavían England (SUMMER 1987), 331.
Fig.2. Captioned as “The Bound Devil. Kirkby Stephen.” Plate before page 217. The stone features a depiction of a bound, horned figure, sometimes theorized as the Norse deity Loki. Wikimedia Commons.
7. Snorri, Edda, Faulkes trans., 97.
Fig.3. The Snaptun stone, possibly depicting Loki. Housed at the Moesgård Museum near Århus, Denmark. Wikimedia Commons. (Edited – Image turned black and white for clarity).
8. Hans Jørgen Madsen, “The god Loki from Snaptun,” in Oldtidens Ansigt: Faces of the Past (Jysk arkæologisk selskab, 1990), 180.
Fig.4. Borre-Style Silver Pendant, British Museum Online Collection.
9. Description provided by the British Museum Online Collection.
10. Michaela Helmbrecht, “A Winged Figure From Uppåkra,” Fornvännen; 2012 (107):3, 171.
11. Snorri, Edda, Faulkes trans., 60.
Fig.5. Pendant from Uppåkra, likely Völund the Smith.


DISCLAIMER | ALL ASKS | TOP ASKS

UPDATED: 29 APR 2017 @ 10:25pm EST. | NOTES: Added new information in regards to the Kirkby Stone (see section title “THE KIRKBY STEPHEN STONE” and endnote 6 to view these changes).

3

i’ll explain it again, real slow. i want to broadcast your subconscious into the decker usernet. then you’ll be able to interact with the avatars of users and corrupt the abstract representations of data that are the cornerstone of their online operation…

anonymous asked:

So... if blue mode makes the soul affected by gravity, and if purple and green restrict soul movement.. Doesn't that mean that any human with a red soul could potentially fly? Also, how does combat work in this blog? If I chuck at knife at frisk's BODY, and not their SOUL, would they take damage or no?

I like to think of the bullet-board combat mechanics in the game as an abstract representation of how combat actually works. The reality of those fights was often grittier and more complicated. Turn order wasn’t a thing for example. Hence why I depicted Sans trapping Chara!Frisk in a bone cage during the genocide run. That way what happened was that after Sans fell asleep, They pushed the cage until they were close enough to swipe at him.
-TQ

Happy birthday to Jasper Johns, born on this day in 1930. In 1954, Johns began painting the American flag, which he realized was generally “seen and not looked at, not examined.” The execution and composition of Three Flags (1958) encourage close inspection, so let’s take a look at a detail! Johns painted it using encaustic, a mixture of pigment suspended in warm wax that congeals as each stroke is applied; the discrete marks that result create a sensuous, almost sculptural surface. The work’s structure adds to its complexity. The trio of flags, each successively diminishing in scale by about twenty-five percent, projects outward—contradicting classical perspective, in which objects appear to recede from the viewer’s vantage point. Through shifting the emphasis from the flag’s symbolic meaning to the patterns, textures, and structure of the composition, Johns explored the boundary between abstraction and representation.

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The Myers Briggs types as my favourite books

Northangery Abbey - Jane Austen

ISFJ, ENFP, ISTJ, INTP

Let’s just say that Austen was affectionately taking a dump on the gothic trend rampant at the time with this novel. It’s very clear throughout the story that Jane quite enjoyed gothic novels but also enjoyed playful mockery of all that was popular. The heroine is sassy, kind, and imaginative. The plot is traditional but with a satirical twist. Above all, it’s an exploration of fantasy and its boundaries with respect to “real life”. As if they’re two different things, psh.


The Picture of Dorian Gray - Oscar Wilde

ESFP, INFJ, INTJ, ENTJ

The Picture of Dorian Gray overflows with musings about beauty, art, morality, social image and validation, power, and much more. It brilliantly portrays the fascination of human nature with that which is forbidden and the twisted pride one gets out of engaging in forbidden acts. It features abstract concepts and their tangible representations, a dangerously insatiable curiosity, and dark wit; quite like ni-se.


The Stranger - Albert Camus

a.k.a. the book from your teenage’s ~edgy~ phase that was actually spent crying

ISTP, INFP, ESTJ, ENTP

The Stranger is perhaps the most well known absurdist texts. It tries to understand what crime is, what influences it, and the role of the justice system. It also deals with questions about social conduct and the unspoken rules of reacting to certain situations in a certain manner. The protagonist is highly individualistic, almost to a fault, and unintentionally rebellious in his ways despite wanting to stay out of the limelight. Its general theme can be applied to many issues, whether great or small and it always leaves one with questions to ponder over.


Valley of the Dolls - Jacqueline Susann

ESFJ, ESTP, ISFP, ENFJ

Valley of the Dolls is eclectic, glamorous, austere, and dark all at the same time. It portrays a wide array of characters and gives ambition gender neutrality while also expressing gender roles with skill. It’s shallow and it’s deep. Female friendships are complex battlefields in this world and drug addictions are the bad boy you keep going back to. No stone is left unturned or intact be it romance, familial relationships, friendships, fame, boobs, or learning disabilities.

Let’s Talk about Leonhard

So, I’ve noticed it’s pretty common to joke about Leo’s…questionable…math skills. But let’s take a real close look at what the show told us:

Leo has NO concept of place value. 

None. He completely ignores the fact that having two digits means you have more than 10, thus making a completely illogical leap that adding numbers means smashing them together.

This is actually a REALLY common misconception for young students that are beginning to learn arithmetic. Keep that in mind.

Then we see that he did indeed know a way of solving simple addition that he just needed reminded of:

In math education, this is called a “concrete representation”. It means he had something physical in front of him to count to aid his subtraction. It’s the same way with the first Torte.

It is very likely that he counted the slices that would be taken and saw that one was left, just like he did with his fingers.

(As a side note, they’re correct about having something Leo is passionate about making it easier for him to learn. That’s a heavily proven fact.)

Then we get to the larger amount of torte

Notice how Leo is touching his head as if he is concentrating very hard. That’s because those torte aren’t just an illustration; he’s really picturing them.

We already know he has no concept of place value, so he isn’t subtracting normally. He is actually counting each imaginary slice of torte, which is known as a semi-abstract representation. He never goes through the semi-concrete stage (where the student draws a physical picture to represent their thinking.) Students don’t necessarily HAVE to go through all these stages, but it’s the easiest way to learn math by far.

Anyway, back to my point: he does this mental counting REALLY quickly and I’m sure if he’d been given time he would have done the same with the 250 pieces. 

Now I don’t know about you, but if I tried that I would get lost and start over too many times to count. Keeping images in my mind just isn’t easy

In short: Leo really ISN’T dumb. He’s pretty dang smart if you ask me. He just genuinely has had awful teacher’s who didn’t know the best way to help him learn. I’m so glad he has Heine now. 

anonymous asked:

What do you think of having several art styles ? Like using one for illustrations , one for animations , and another one for comics ? Does this destroy the artist's identity ?

the short and sweet answer is: there’s no right or wrong way to go about art.

A visual style is a combination of decisions and choices made to create a certain tone (intentional or not!) It’s not wrong to always do things ‘in the same style’ but being able to be diverse in your approach allows for a better understanding of what you’re playing with. 

For commercial reasons? Maybe having a sort of BrandTM helps people get attracted to your work, but in the end your work will evolve and change. Plus I’d rather show a diverse range of skill rather than a specific talent.

Your visual style as an overall idea will be coherent because you ultimately have certain priorities, views, and a taste. If I’m doing a painting or a lined work, I’m still looking at the forms in the same way, I’m just deciding to represent them differently.

Keep reading

I came across an old project of mine from 2 years ago

This project is kind of an abstract representation of my mental state during that time. Feeling freedom I had never experienced, and yet trapped and isolated in my own thoughts. And the very very beginning of the start of my recovery. When I realize that everyone experiences life differently. Sometimes people go against the norm, but that’s ok because we all have our own path 

10

1964-1965 New York World’s Fair

“Many of the pavilions were built in a Mid-Century modern style that was heavily influenced by “Googie architecture”. This was a futurist architectural style influenced by car culture, jet aircraft, the Space Age, and the Atomic Age, which were all on display at the fair. Some pavilions were explicitly shaped like the product they were promoting, such as the US Royal tire-shaped Ferris wheel, or even the corporate logo, such as the Johnson Wax pavilion. Other pavilions were more abstract representations, such as the prolate spheroid shaped IBM pavilion, or the General Electric circular dome shaped “Carousel of Progress” (excerpt from Wikipedia)

In order of Appearance:

  1. United Nations Headquarters
  2. Model of Fair at Flushing-Corona Park, Queens NY
  3. General Motors Pavillon
  4. Kodak Pavillon
  5. Republic of China (Taiwan) Pavillon
  6. Travelers Insurance Pavillon
  7. US Steel’s Unisphere (still standing)
  8. Vatican Pavillon
  9. US Royal Tires Pavillon and Wheel
  10. General Electric’s Tower of Light

An abstract representation of osedax (or bone-eating worms) on a whale fall, which is when a whale dies and sinks to the bottom of the ocean. Whales are so huge that, in the right conditions, their bodies become self-sustaining ecosystems that can last for decades. Osedax remind me of flowers as their plumes penetrate bone and branch out into marrow cavities like roots. I found the idea of a garden growing from a whale skeleton on the bottom of the ocean really beautiful. This is a sperm whale skeleton, which is where osedax were first discovered. Done in watercolor, marker pen, and gouache.