Surreal Book and Lamp Installations by Rune Guneriussen Illuminate Norway’s Forests
Norwegian artist Rune Guneriussen moves elements of domestic life into the outdoors, producing large installations built from books, lamps, and other displaced objects. His works are placed in remote areas of Norway’s forest, and either balance precariously in a selected location or illuminate a particular patch of the surrounding wooded environment. “It is not as much photography as it is about sculpture and installation,” says Guneriussen in an artist statement. “…This process involves the object, story, space and most important the time it is made within. It is an approach to the balance between nature and human culture, and all the sublevels of our own existence.”
If aliens were given a fair, objective book summarizing the history of the past 250 million years on Earth, the book would be entirely about dinosaurs—except for the last sentence, which would be a confusing, short footnote about a new species that suddenly emerged and fought each other constantly.
Can you write a post explaining German cases please?
If they could be explained in one post, i’m sure we’d all have less problems lmao but i’ll try!
1. What cases are there?
German has four cases: Nominativ, Genitiv, Dativ und Akkusativ. (for any Latin nerds: Same as in Latin minus Ablative and Vocative.)
2. Why are they necessary?
Well, for once, you’ll need them if you want native speakers to understand what you’re saying. But let’s go a little deeper and compare German to English:
In English, the meaning depends on the sentence structure. “The man bit the dog” and “The dog bit the man” have very different meanings even though both sentences use the same words - that’s because of the typical SVO-order. In English, the subject generally comes first, then some kind of verb, then the object (there are more difficult cases of course, but let’s not go into that rn). English has very little morphology, meaning that nouns/pronouns/determiners don’t inflect (a lot) depending on the case they’re in.
In German, you can switch stuff around until you’re dizzy. “Der Hund biss den Mann” and “Den Mann biss der Hund” both mean the same, because “den” indicates that “Mann” is in the Akkusativ, thus he’s the one being bitten, no matter where you put him in the sentence. The case morphology allows a freer sentence order without leading to possible misunderstandings.
3. So how do I know which case I need?
This is the moment where it gets more complicated. You can associate the following questions with each case:
Nominativ = Wer oder was? (Who?. The subject of a sentence is always in the nominative case.)
Genitiv = Wessen? (Whose?. Typically describes possession or comes as a rule after certain prepositions like “wegen” or verbs like “gedenken”.)
Okay, we can deal with that. Now on to the more difficult stuff:
Dativ = Wem?
Akkusativ = Wen oder was?
To understand this, some knowledge of grammar is definitely an advantage. Consider the following sentences:
I have a book. = Ich habe ein Buch.
This is all well and nice. Subject (NOM), Verb, Object (AKK).
In English, you would call “a book” a direct object because the verb “to have” is transitive, meaning it carries one object. “I have.” isn’t generally a full sentence and is expected to be followed by an object.
So apparently all our problems are solved with the Akkusativ/direct object. What now?
I give you a book. = Ich gebe dir ein Buch.
This is the critical moment. Subject (NOM), Verb, Object (DAT), Object (AKK).
Suddenly we have two objects because the verb “to give” makes us expect information about what we’re giving (direct object, AKK) and to whom we’re giving it (indirect object, DAT).
Such verbs are called ditransitive, meaning they can carry two objects. Just saying “I give.” leaves us wondering what you’re talking about because we’re missing key information.
English, as explained above, solves this with sentence order by making the indirect object come first or by indicating it with “to” (“I give a book to you”). German solves it with inflection, putting the indirect object in a different case.
That’s why things like “Ein Buch gebe ich dir” and “Dir gebe ich ein Buch” are both possible in German.
There are also intransitive verbs which carry either no object at all or just a dative object (“Ich antworte ihm”).
4. How do I know which verbs carry which object(s)?
This list will save you. At some point (once you’ve gotten to a certain level in German), you’ll have a gut feeling about which object(s) to use just from experience. Give it some time!
5. What about determiners and pronouns?
I actually think this is less work because it’s one table of endings each, and once you’ve got that down you should be fine.
side note: As a native speaker and language nerd who loves grammar, it’s hard for me to judge if this was helpful or just confusing as hell. I hope I still answered your question to some extent! If you need more help or have problems with a specific sentence, let me know and i’ll try my best! :)
What an astonishing thing a book is. It’s a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you’re inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working magic.
A lot of witchcraft seems to be focused on visualisation as a means of imbuing things with magic, energy work seems almost entirely written to suit those who can visualise images. I am extremely tactile, I am a touchy feely person with busy hands so I decided to share how I “enchant” items.
Enchantment in my book means to take an object and make it magical, whether it be a charm, a ward, an agent of the spell itself.
Kissing things - your lips are far more sensitive than your fingers, they are also very close to your nose so you can incorporate smell into this, too. Take the item, and bring it too your lips gently, place a plush firm kiss whilst focusing on planting your into into the item.
Stroking or brushing - I have heard people try knot magic by braiding their hair, my hair is too short for this, but you could start by brushing your hair. Really smoothing it out, deeply brushing hair or even fur is a great way to transfer magic from your mind to the hands to the object, brushing is very therupeutic and could almost be a trance inducing activity. When I had hair I could sit on, it was a wonderful sensory experience to hand brush it after a wash.
You could also feel the surface of your item by smoothing it with you hands, really get to know the texture, let the magic explore the grain of the wood, the crevices in the stone or the cool touch of the metal.
Crumbling something - You could do this with breadcrumbs for kitchen magic or a bath bomb for bath magic (I wouldn’t crumble a bath bomb imo but I have heard some people prefer to do that.) Guide your intent to your hands and let it over whelm the object in your palms.
Stepping on something - This could be very destructive and great for curses.
Walking around it - Walking around an object features a lot in folk lore, perhaps you could use it to slowly build up intent and magical energy within you?
Throwing or juggling - Juggling is a great skill to learn and I can well and truly say kinetic energy is magical very powerful, throwing and catching something in the air until your satisfied is a fantastic way of enchantment, the weight as you catch it in your hand and watching it fly in the air is just fantastic.
Rubbing it to give it body heat - This is very physical, you can feel the warmth you’ve transferred to this object and its very responsive as well.
BOOKS MEME: THREE THINGS OR OBJECTS ◢ expecto patronum! (harry potter)
The Patronus is the most famous (and famously difficult) defensive charm. The aim is to produce a silvery-white guardian or protector, which takes the form of an animal. The exact form of the Patronus will not be apparent until the spell has been successfully cast. One of the most powerful defensive charms known to wizardkind, the Patronus can also be used as a messenger between wizards. As a pure, protective magical concentration of happiness and hope (the recollection of a single talisman memory is essential in its creation) it is the only spell effective against Dementors. The majority of witches and wizards are unable to produce Patronuses and to do so is generally considered a mark of superior magical ability.
10 drawing prompts to help you sketch outside the box.
1) Self portrait: In a mirror with a washable pen, trace the lines of your face (on your face), or of one particular part (an eye, your mouth, etc.) Take note of things that you discover: the placement of under-eye bags, the curves in your nose, the line of your jaw. Recreate the line-art on paper.
2) Poses and Posture: Draw stick figures in a variety of positions- dancing, jumping, leaning backwards, sitting forwards, etc. gradually fill in the bodies of these figures using a wooden model or online guide. It’s helpful to draw a line down the centre of your figures that runs through the nose, sternum, and pelvis. If your figure is twisted or bent, the line should be too.
3) Doodle: Draw the silhouette of something you’re good at drawing. Then, draw the biggest circle that you can without going outside the lines of that silhouette. In the remaining space around the circle, draw the biggest circles that you can. Attempt to fill the entire space with circles. Each new circle creates room for several smaller ones, and eventually you will have spaces that are too small for new circles ( using a fineliner will reduce but not eliminate this problem). If you like, colour in the circles and spaces according to the coloration of the thing you drew the silhouette of.
4) Creativity: Using an online guide, make a rough sketch of the proportions of a human face. Include lines for the nose, mouth, eyes, ears, and eyebrows. Then, instead of drawing a human face, try to draw one as alien as possible while still following the proportions you have sketched. Pay attention to shading and details such as eyelashes, lip-wrinkles, and facial blemishes.
5) Hands: Go through a few magazines and cut out pictures of hands in as many different positions as possible to glue into your sketchbook. Using a pencil or erasable pen, trace over the key features of each hand. Pay close attention to the width of the hand, the length, and its connection to the wrist. Try to recreate these hands beside the pictures. Don’t focus on detail, instead, focus on making the position of the hand look as natural and fluid as possible.
6) Perspective: with a pencil, draw a large square with a dot in the centre. Draw lines between the corners of the square, crossing over the dot in the centre. Attempt to draw the room you are sitting in by first drawing the largest objects, and later filling in details. Use the lines as guidelines for perspective: things closer to the dot will be further away, things closer to the edges of the square will be closest to you. An object that starts close and gets further away will seem like it is being ‘pulled’ into the centre by the dot, and will have lines of the same angles as those you have drawn.
7) Animals: If you have a pet, try to sketch it as quickly as possible. Focus on forms and shapes, not on detail. When it moves, sketch its new position over top of the old one. If it moves to the right, sketch it again to the right. Allow your sketches to overlap. If you do not have a pet, this would be a great excuse to watch cute cat videos on youtube.
8) Memory: It’s dangerous to rely on memory when drawing, especially if you haven’t trained your memory to recall forms and shapes before details. Generally, what we remember most about a scene is what we see as the most unusual. This is why some people are good at drawing eyes, but unable to draw the rest of the face. For this exercise, find a photograph you like in a magazine or newspaper, and give yourself 30 seconds to study it. Try to see shapes, not objects. Instead of seeing a cup, remember the shape of the cup and its position relevant to other objects. Then, try recreate the photograph from memory. This may take several tries, don’t be afraid to ‘cheat’ if you get stuck.
9) Abstract: allow yourself to be filled with a specific emotion. Focus on that emotion, think about how it feels, the physical effect it has on your body. Try to draw that emotion coming out of you. It may be helpful to start by drawing a self-portrait of your facial expression while feeling the emotion, and letting yourself get carried away as you draw the components of your face that are most altered by that expression. Don’t try to preserve the first things you sketch, let them be covered and obscured as you add more details.
10) Practice: It’s always good to practice drawing objects, I find it most helpful to draw from photographs. Dedicate a page in your book to drawing objects that you feel represent you, or are otherwise close to your heart/ identity. Like music? Try drawing piano keys. Like fashion? Draw a few of your outfits draped over the bed. Try to fill the page with these drawings, making use of every inch of space available.
Plot: Young Tom Riddle x Hufflepuff reader. This is going to be a story about their complicated relationship and why they connect with each other on a different level. I try to stay true to Toms character, so it will be pretty angsty. Will contain fluff and smut in future parts.
You pretty much knew that you would be sorted in the Hogwarts
house of Hufflepuff, as soon as you got to know about the school of
witchcraft and wizardry itself. Your family tree is well known as
pure-blooded, though there has not been a continuous line, relating to
Hogwarts houses. All of your ancestors were selected in different
houses according to their traits. You were relieved when the sorting
hat decided to put you into Hufflepuff, since you identified the most
with all of its attributes.
Passion is important. Why? Well passion is what you feel when you have an extreme liking for something or someone, you can be passionate about your job/work, about books, objects, activities, and that’s all amazing for the person feeling it. Unless that passion is for another human being, that’s when passion can either be magnified, if said person feels the same way. Or passion for another can make you feel like your heart and your brain are tearing you in half. passion for another person is when you think about there happiness when making a decision no matter if it involves them or not, you just think “would doing this make them mad at me?” Or something similar. Passion for another is when you find interest in anything they say, you want to hear them talk, there voice is calming yet exciting. Hearing there ringtone on your phone makes you jump to read and respond. You listen, actually listen not just hear what they say. You learn what they like, what they dislike and how they think because if you are truly passionate about them then you pay close attention. Yet you want there attention as well, passion is when you fantasize about talking, yes I mean just having a long conversation with them. You look forward to seeing them, passion feels like a nice warm fire on a cold winter night in your chest. Passion will light a spark behind your eyes that you won’t see, but others, only those who are looking for it, can. I know that may sound strange but I know from experience. Passion will attract others, but it’s not the key to keeping them, not even having a chance with them. Passion is the drive to find the way for those, to try and try like you are going insane and well, you might as well be if you’re passionate enough. Passion for another will make you go wild if anything begins to go wrong with them, or if you even hurt there feeling by accident you will feel SO guilty and that’s why it’s amazing. The amount of emotion you can experience if you’re passionate for someone, if someone is seriously that important to you then you’re about to go through a rollercoaster of emotion for a while. You will miss them very soon after leaving them or not talking to them, you will worry about them in more ways than I can count (and I’m good at math). Passion can get you so angry and enraged if they belittle themselves or someone mistreated them in the smallest of fashion. Passion is dangerous, but one of the few things that’s more dangerous is loosing it once you’ve felt it. It’s like a drug (actually I’m pretty sure the chemical released in the brain is similar to heroine in some way but I’m not 100% on that) you want that high, you want that feeling more and more once it starts to go. Loosing passion for someone hurts, it hurts so bad. It feels like either you might have just died or it feels like they did and there’s nothing you can do about it. Passion will drive you crazy yes but once you’ve felt it and lost it. You’d rather be insane so you dont have t feel anymore. I know this, personally.
Request fill for @minim236 who asked for, “Can you please do a Spencer x reader where she’s Hotch’s daughter and they are secretly dating and they get caught by the team?” Here’s some misadventures in babysitting! Un-beta’d. Hope you enjoy! xx
“Y/N, I was calling to ask if you could pick Jack up after school and stay with him tonight. I’m sorry for the late notice but this paperwork is taking way longer than anticipated and I want to get it done before his soccer game tomorrow,” you heard your dad’s voice through the receiver. He sounded drained.
“Uh, yeah.” You were supposed to go out with Spencer tonight, but seeing as that your dad had no idea you were dating, nonetheless dating one of his employees, you couldn’t really use that as an excuse. Spencer would understand anyways. “That’s fine, dad. What time does he get out?”
“2:35. Thank you, Y/N. I really do appreciate it.”
Summary: You know that Castiel likes you as you’d overheard him tell the boys, but he won’t act on it. You tease him by calling him “Angel Boy”, a name he doesn’t like. Castiel decides to confront you about this, which leads to an interesting demand from you.
Author’s Note: On my last home visit I got my wisdom teeth out and read a lot of fan fiction when recovering- I noticed Cas rolling his eyes and being sassy was a trend, as well as sarcastic sex- so I was inspired to write this.
Over the past couple of weeks, I’ve been continuously teasing Castiel. After having heard him admit to Sam and Dean a few weeks ago that he always got a weird feeling around me which he didn’t quite understand fully- to which the boys later confessed what he was describing was ‘Love’- I decided that I’d try to see where I could take this little love interest.
I’d been wearing clothes that I thought I looked especially cute or hot in whenever I knew Castiel was going to be around; I would purposefully button a few of the top buttons of my flannel so he could get a ‘good view’ of my cleavage when we were researching. I also made sure to put in lots of touch, considering that I knew Castiel wasn’t much of a ‘touchy-feely’ kind of guy; he never had many interactions with humans before meeting Sam and Dean-according to what they tell me- so he was a little more socially awkward when it came to the hugs, or handshakes. Whenever we would pass by one another I would ‘accidentally’ brush my hand against his, or reach for the same book or object when doing research in the bunker. My touch seemed to always startle him, making him seem wearier and almost electrocuted when it’d happen, even if only for a split second.