dual function

i’ve talked about this before but the model minority myth has functions beyond creating a schism between asians & other people of color or justifying racialized income/education inequality by using asians as a gotcha.

it serves to make asians (and asian labor) simultaneously invisible and exploitable, while obscuring capital-driven destruction and manipulation of asian laborers in asian countries. 

asians are invisible not just numerically; quantity is not a sufficient enough explanation for our invisibility because asian immigration to the US is increasing and we’re populating multiple urban and suburban centers. we are invisible because of how white supremacy, specifically in this case the model minority myth, works to portray us as obsequious, robotic, hardworking, emotionless, and quiet, not prone to resistance or protest of any form. white supremacy does this through exploitation of labor + a series of rewards and punishments, rewards being assimilation to american society (if that can truly be considered a reward) or punishments being not hired or accepted by employers and universities. 

here’s the thing. you have a wave of immigration from asian countries that encompass asians who are middle-class, educated, and probably know english. they have an easier (not an easy but easier) time settling into the country, adapting american norms, and becoming financially stable and successful. they are the face of the model minority myth - the asian doctors, bankers, engineers, etc, the ones who “remain quiet and work hard with their head held high”, and get “great grades in STEM subjects” and provide intellectual/technological labor to the flourishing markets. 

you also have a wave of asian immigrants who do not fit this picture. they know little to no english. they may be undocumented. they’re working-class and don’t have college degrees. these are the asians who live in places like edison, new jersey, or chinatown and koreatown in NYC, or dearborn, michigan. they’re the ones who run laundromats and dry-cleaning stores, drive your taxis and ubers, own cheaply priced restaurants and grocery stores, work in manufacturing, cut, dye, or style your hair, paint your nails, wax your facial hair, maintain and work at your gas stations, dunkin donuts, and 7/11 type convenience stores. 

how is it that the model minority myth can exist alongside the “indian 7/11 worker / chinese restaurant owner / korean dry cleaner / afghan nail lady / arab taxi driver” stereotypes? how can one group be simultaneously stereotyped as “privileged, educated, assimilated, hardworking, technical geniuses” AND “provincial, smelly, backward, poor, scary, cheap”? how can one group be invisible yet also stereotyped as the population-heavy thieves of ol red white n’ blue good american labor and education? how do you have asians who do “succeed” under american capitailsm and asians who are exploited and even killed by american capitalism? 

because of the model minority myth, which impacts the first vs second group in different ways. 

the first group does have to work really hard to get “acknowledgment” by the state/by white supremacy. consider why asian-american students suffer so much from mental illness and suicidality. we are driven to work hard to exceed expectations, to outpace white american labor, to justify our presence in the country. we need to please not only our parents and communities but also appease employers and admissions officers who think that there are too many of us. i’m sure you’ve heard of harvard’s quota on asian admission. the school i attend, the university of michigan, also has “a lot” of asian students and in fact i often hear white students complain about that. it’s a complaint i’ve heard my entire life. so that’s where you get studies that show that people with “asian sounding” names don’t get hired, or why asian students who are deemed “too similar” to the “asian average” (which is higher than the “white average” because we are held to a higher standard because of white mediocrity) don’t get accepted. universities have to make room for their white alumni and rich students and because white people hate affirmative action, the best solution for universities and employers is to discriminate against us. 

of course this all happens under a quota system which means that they’re still using our academic prowess and labor to enhance their reputations or profit. their logic is to accept just the “right” number of asians to, say, prettify their research program or attain skilled workers for some financial or technological company. the “right” number of asian workers or students will drive up the image or profit of a certain institution but it won’t offend white people or “take up” white space. 

the second group, the one that is impacted by poverty, homelessness, income inequality, etc, is invisible precisely because of the model minority myth. since the myth posits that ALL asians are equally privileged and educated, poor asians are veritably nonexistent. and these asians cannot defend themselves - they do not have the financial, political, or communicative means to do so (language and financial barriers prevent them from speaking out). terrified of poverty, deportation, instability, assault, or police brutality, these working-class asian americans are forced to remain silent because if they don’t they will also lose their job or home or risk the threat of actual physical retaliation. this then feeds into the “asians are robotic and obedient” stereotype as much as the first group, comprised of “smart asian students and workers” does. it’s an insidious cycle. 

so this is the dual-function of the model minority myth. we are made invisible by a deliberate stereotype pushed forth that obscures the reality of our diversity, and this invisibility allows us to be exploited, whether we are being exploited by universities or by multinational corporations or by startups or any other institution or employer. 

젓가락 [Korean Chopsticks]~

(2/∞)

[A Brief History]

As you all may or may not know (or at least, will know now), chopsticks were first invented in ancient China about 4,000 - 5,000 years ago before spreading across the continent and essentially all of Asia. With the spread of this technology, the size, shape, and cultural functions differentiated slightly across ethnic boundaries. Chinese chopsticks tend to be longer as accustomed to the tradition of having lots of food on larger dishes that longer chopsticks are better for reaching. Japanese chopsticks tend to be the shortest due to the custom of bringing the bowl closer to the mouth when eating.

[Korean Chopsticks]

Korea’s own version of chopsticks were invented about 1,000 - 2,000 years ago. If Chinese chopsticks are long and Japanese chopsticks are short, Korean chopsticks tend to be (literally) of “medium” length and are the only ones made of metal. This originated from the chopsticks that the royal family used which were made out of pure silver. The silver would change color when it came into contact with poison serving a dual function of being aesthetically pleasing and protective. The people wanting to emulate the royals turned to metal chopsticks and the metal was thought to be more hygienic. Thus, today we see the modern stainless steel chopstick! Innovative!

Hope you enjoyed and happy studying!~

Dual-function nanorod LEDs could make multifunctional displays

Cellphones and other devices could soon be controlled with touchless gestures and charge themselves using ambient light, thanks to new LED arrays that can both emit and detect light.

Made of tiny nanorods arrayed in a thin film, the LEDs could enable new interactive functions and multitasking devices. Researchers at the University of Illinois at Urbana-Champaign and Dow Electronic Materials in Marlborough, Massachusetts, report the advance in the Feb. 10 issue of the journal Science.

“These LEDs are the beginning of enabling displays to do something completely different, moving well beyond just displaying information to be much more interactive devices,” said Moonsub Shim, a professor of materials science and engineering at the U. of I. and the leader of the study. “That can become the basis for new and interesting designs for a lot of electronics.”

Keep reading

anonymous asked:

Why do u think Jean is going to survive in the end? I just read something predicting he's going to die getting revenge for Marco 🙄 and it put a really bad taste in my mouth. I trust your judgement and would like to hear your reasoning

I got an ask a while back that detailed the concept of characters whose function within a narrative is to be something other than a person. For example, in the Rose of Versailles anime (not the manga), there is an accordion player whose narrative function isn’t to be a single human being; rather, his role is representative of the people of France in the years and days leading up to the French Revolution. In this case, the character in question isn’t a person; we’re not meant to see him as one–at least not in the individual “has a family has dreams has goals” sense. We’re only meant to hear his words and think: Okay, this guy is speaking for the everyman, the people who had no voice of their own.

Now, Attack on Titan is a very different story with a completely different narrative, but I feel that Jean is a character who has a dual narrative function:

1.) A person who has dreams, goals, feelings, et cetera, and also:

2.) The everyman who isn’t the hero of the overarching narrative, but who works hard and is at the center of his own narrative.

I’ve always felt that we’re meant to see Jean as the character who could be us. Of course, we see ourselves in other characters, too, in veterans and 104th and Marley kiddos–but I think Jean was created to fill a specific role–a void in a series filled with Special People. Veterans are fun but we don’t know their story; we have a better idea of what Jean’s story is, so we can feel a bit more connected to him. Most of us aren’t special, not in the kinds of ways we’d like to be. Jean isn’t a shifter, he’s not a genius, he’s not a complete badass, he’s not secretly royalty or from outside the walls. He possesses no particularly useful skill (like medical knowledge, hand-to-hand combat, cooking). And the series hints at times (I’m ignoring the terrible OVA, all right) that he’s from a Bland Financial Situation. So, here we can imagine that Jean is who we’d be in this kind of narrative. We’re not special like Eren, Mikasa, or Armin. We’re not the kids from Marley. And coming into this series in the beginning, we’re not the veterans either, because hoo boy when they swoop in for the first time we’re like the other greenhorns, you know? Watching them come in and be badass… In awe over it a little bit. Years of exposure to the series makes it hard to recapture that kind of feeling but when this was originally being written and people were reading it, it helped to have a character who could kind of…speak for us. Not that Jean always says the right thing. Like I said, he’s a character who serves a dual function, and one of those is as a character who is a human being; he has to make mistakes and do things wrong; he has to have flaws. But hey, don’t we also have flaws? 

At the end of the day I can’t help but see Jean as the character we’re meant to see ourselves in–not fully, mind, but by part and parcel. 

Because of this, because he’s not special in a big, mindblowing, glaring way, I just can’t help but feel that we’re meant to see him as a survivor–as the kind of person who lives to tell the tale of his more heroic companions, who has to shoulder the guilt of living while they died. I think we get this a little with Flocke (however much the fandom hates him, I wish he was more of a person-character and less of a lazy attempt to cram Themes into the story): the way he talks about Marlowe is exactly the way I think Jean might someday be talking about Eren. Flocke and Marlowe put it all on the line but Flocke knows Marlowe had a good head on his shoulders and was fighting for what was Right and Just–even when everything looked hopeless. Meanwhile, Flocke was despairing in a big way. Yet, in the end, the one who lived wasn’t the just, upright soldier but the coward who didn’t deserve it.

I don’t think Jean is a coward, but Jean has said time and again that everything is up to Eren–and now Armin, too. He’s not blind at who the big heroes are of the overarching narrative of the walled people. He’s fighting for the same thing but he knows he’s not on the same level as Eren–by chance, by luck, by circumstance, sure, but it’s still a fact.

Too, I really want Jean to represent the everyman in a hopeful sense. I mean, yes, all of the soldiers we’ve seen die were, generally speaking, an everyman who worked hard. But Jean is the only one we’ve seen from the beginning, you know what I mean? We watched him change and grow along with Eren and the other Special characters in ways we didn’t get to see for any of the others. Wouldn’t it make great sense for the narrative to let Jean live to the end? Here’s a guy we followed from the start who worked hard and didn’t die; in part, perhaps this journey is his as much as it belongs to the “main” cast, eh?

Anyway, as far as this “revenge” nonsense goes, it smells like a bad case of The Shipper Tee-Hees to me. Jean has never once been about revenge in this series. I don’t think he’s going to start now. I don’t even think he has enough information to begin to know who to punish for it, and I don’t think that’s what his character is about. Many other characters have sworn vengeance, but Jean isn’t one of them.

After the reinvention of Kolhii, new tools were crafted for use in the sport. These tools, simply dubbed Kolhii sticks, possessed dual functions that allowed players to scoop up the ball or knock it across the field. Interestingly enough, the introduction of the sticks hardly changed the rules of the sport. Merely the way it was played.

The idea for the sticks finds its place in a rather odd origin; fishing staffs used by the Matoran of Ga-Koro. During the Bohrok Invasion, Hewkii saved Macku from rubble using such a staff. Shortly after things calmed down within the village, many villagers took to playing a modified version of Kolhii with fishing staffs. Their use was soon adopted into the official sport and refined into what you see photographed here.

reboob-deactivated20160911  asked:

do you know what breed refurb is?

This is a very good question. I’m not an expert, but let’s look at a few details about her:

-Wakes up at 6AM to yell at everyone

-Squishy (note: squishing not recommended)

-Incredible dual-function digestive tract turns food into both poop and puke

-Always either happy or mad. Both emotions identical in expression.

-Lots of fuzz everywhere 


Based on this, I believe her breed is “Cat”

I hope this was helpful

2

In Greek mythology, Persephone is the goddess of spring and queen of the underworld. She is the daughter of Zeus and the harvest goddess, Demeter. After she was abducted by and married to Hades, Demeter searched for her ceaselessly, and, preoccupied with her loss and grief, made the crops wither and begin to die. Zeus intervened and sent his messenger Hermes to bring Persephone back to the world of the living; however, she had eaten the seeds of a pomegranate offered by her husband. This bound her to Hades and the underworld for a portion of the year. Persephone’s time in the underworld corresponds to the winter season, during which time Demeter’s grief causes poor crops, while Persephone’s return marked the beginning of the spring.

Homer describes her as “the formidable, venerable majestic queen of the underworld, who carries into effect the curses of men upon the souls of the dead.” The myth of her abduction represents Persephone’s function as the personification of vegetation which shoots forth in spring and withdraws into the earth after harvest; hence she is also associated with spring and with the seeds of the fruits of the fields. As queen of the underworld, Persephone is also classified as a chthonic goddess, and was given a number of epithets to reflect her dual functions. As a vegetation goddess, Persephone was commonly called Kore, “the maiden,” and in Arcadia she was worshipped under the title Despoina, “the mistress,” an old chthonic divinity.

Is ‘scrambler‘ the most overused description in the custom scene vernacular? Probably.
We’re suckers for the real deal — like this Honda XR650L from @federalmoto. Built for blasting through the British Colombia backwoods, it’s a fully-functional dual sport given a classic scrambler vibe.
Hit the link in our bio for the full story and superb shots by @shesaidyeah_.
#honda #xr650l #scrambler #dirtbike #britishcolombia #bikeexif

3

Review: Kiehl’s Actively Correcting & Beautifying BB and Micro Blur Skin Perfector!

If you love the lightweight, silky texture and effectiveness of Kiehl's  Dermatologist Solutions Ultra Light Daily UV Defense SPF50 PA+++ (I believe it’s called Super Fluid UV Protection SPF 50 PA+++ in the US), you’ll be excited to know they finally came out with a BB cream which has the same sun protection rating.

I don’t know about you but I’m kinda glad at the return to old-school BBs with an emphasis on skin treatment, after the slew of later bandwagon products that claim to have 6-in-1, 8-in-1, 10-in-1 properties, but mainly just give coverage and hydration with minimal skincare.

Kiehl’s promises theirs has not just immediate color-true coverage but also clinically-proven results to protect and improve skin tone over time. 

Pros:

The key ingredient is the high level of stabilized Vitamin C, which can prevent oxidative stress on the skin and also clarifies uneven skintone. I haven’t used this long enough to see a noticeable difference yet but I would pick 3 straightforward promises rather than 10 gimmicky benefits. 

The coverage is very lightweight, as you might expect of a tinted sunblock, but as shown above, it IS buildable and stays natural-looking when layered. 

It’s extremely lightweight, but stays dewy and moist-looking. I would think this might be a great product for adding some natural looking radiance to dry or mature skins. 

Cons:

The first one I can mention would be the strong medicinal smell. This is completely fragrance-free but the smell might get to you. It does fade away a minute after applied, but I’m just letting you know!

There are only 3 shades available (4 in the US) and I - at NC25 - am wearing the deepest shade available in Singapore, Natural. The pigments are a nice neutral tone and seem to be quite forgiving so I believe it will fit a pretty good range of skin tones, but I’m just not sure it can cater to darker skins.

This is not greasy, but the dewy finish can be problematic for very oily skins. You will probably need to set with powder if you have oily/combi skin.

Kiehl’s Actively Correcting & Beautifying BB retails in Singapore for $52 (US$37).

Another product that might be exciting for those who are concerned about grease and visible pores is the Micro-Blur Skin Perfector, which will be launching in May 2014.

Unlike most mattifying primers which don’t really do more than just layer a lot of silicones and silica on the skin to absorb a bit of oil and create the illusion of matte skin, Kiehl’s again expects their product to be dual-function. Besides mattifying the skin instantly, it also contains lentil extracts to tighten pore walls and Lipo Hydroxy Acid (LHA) to support gentle exfoliation, which automatically reduces the appearance of blackheads. 

The thing this geek is most interested in is Lipo Hydroxy Acid, which is a popular surface exfoliant for those with sensitive skin. If you haven’t heard about it, It’s an antibacterial, anti-inflammatory acid like Salicylic Acid but structured slightly-differently so it doesn’t penetrate as deep or have the same irritation potential. While it’s not as good at pore-clearing, it does give cleaner and more even surface exfoliation so it allows women with more sensitive skin to do gentle exfoliation for radiance.

Long term use also has been show to stimulate cell renewal and to strengthen the extracellular matrix, so definitely look out for this ingredient!

Kiehl’s recommends Micro-Blur Skin Perfector as the final step in the skincare regimen, to be used after application of UV or BB Cream, in place of primer, before foundation.

What I found is that:

  • it takes a couple of minutes to reach maximum “matteness”. When you just pat it on, it still looks dewy. Resist the urge to keep applying more and more. (I was surprised when I took a photo a couple of minutes later because I initially thought, “It’s not mattifying at all!” but it did become more matte after awhile.)
  • Even if you use a patting motion as recommended by Kiehl’s, there’s no avoiding the removal of some coverage. The red/brown spots on my skin became more visible after I patted this on, even though skin texture was noticeably more matte. You’re probably going to need to follow with some concealer if you have any blemishes to conceal.

Cons: 

It does work as a mattifying primer, but only slightly. Don’t expect dramatic matte results, and don’t expect to stay matte for many hours either. 

That said, this is not a problem for me because I don’t use primers for their mattifying effect anyway. It’s just a temporary effect and a blotting sheet is my preferred choice. Remove the excess oil, don’t hide it.

Pros: 

I would still pick this over regular primers in a heartbeat, just cos of the additional skin regulating properties. A good primer should either make your foundation look better and last longer, or help treat/protect your skin. It shouldn’t JUST look matte.

Kiehl’s Micro-Blur Skin Perfector will retail in Singapore for $52 in May 2014. (I don’t have details on the US release at this time!)

ASM

Artistic Director - 

The artistic director of a theatre has an important role: he (or she) must coordinate all the aspects of a play. and all the people involved in the production. He must oversee all aspects of the staging such as costumes, props and music, and report to the sponsoring group or Board of Directors.

Production Manger -

The production manager is ultimately responsible for ensuring that all aspects of the production are completed within budget, according to the designer’s and director’s wishes, and in time for the first public performance. He or she oversees the cost effectiveness and planning of the entire production process.

Stage Manger - 

The position has a unique function because it serves the dual function of assistant to the director and production staff during the rehearsal period and then becomes the person in charge of the production during the actual performance. 

DSM -

 The role of the Deputy Stage Manager have many responsibilities for a performance. This includes making sure that actors turn up on time and that the stage is set up appropriately, Also sitting in on all rehearsals.

ASM -

 Stage management  is the practice of organizing and coordinating a theatrical production. It encompasses a variety of activities, including organizing the production and coordinating communications between various personnel.

Lighting Designer - 

Lighting designers know how to make the best use of the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action.

Sound Designer -

 The sound designer plans and provides the sound effects in the play, including music from existing sources. In addition, a composer may write original music for the show. All the music and/or effects in a play considered as a whole make up the “soundscape.”

Playwright -

The person who writes the scripts for the actors to perform. They have to imagine what it will look like as they are writing it.

Head of Construction - 

Set Construction is  the process by which a construction manager undertakes to build full scale scenery suitable for viewing by audience, as specified by a production designer or art director working in collaboration with the director of a production to create a set for a theatre.

Costume Designer -

Costume designers create the look of each character by designing clothes and accessories the actors will wear in performance. Depending on their style and complexity, costume may be made, bought, revamped out of existing stock or rented.

Musical Director -

Music directors are responsible for overseeing orchestras, choirs, and other ensembles. They often arrange and direct musical numbers, and direct musicians and vocalists during concerts, plays, and other performances. These professionals work in a variety of settings, including schools, churches, orchestra halls, and movie and radio studios.

luxlicht  asked:

My sister and I don't get along very well. I'm ISFJ, she's ENTP. Are our cognitive functions clashing? How?

Yup.

You’re dual personalities. Your strongest functions are her weakest, and vice versa. High Si and high Ne do not often get along well together.

Ne’s constant search for new possibilities and disregard for familiarity clashes with Si’s lack of interest in change.

Ti/Fe is logical and inclined to push people’s buttons, and Fe/Ti is appeasing and more interested in group harmony. So in your eyes she’s probably a jerk sometimes and in hers, you’re too sensitive.

Not much else I can say at this point except this: your sister is an excellent way for you to sharpen your lower functions and bring you to a more well-rounded state of existence. Engage her with your Ti and Ne if you can, and she’ll help you mature into a more logical and possibilities-seeking state. (If she lets you do the same for her, you can refine and help her Fe and Si.)

3

The Femme Fatale Toolkit - My Experience with Black Orchid

I live in a country where the national flower is an orchid. But I’ve never actually seen a black orchid and only recently realized it was an actual breed of flower (and not just a cool name). And they actually look frikkin’ cool in a slightly scary way.

I recently invested in my first bottle of Tom Ford fragrance (Black Orchid of course) and I have to say it’s an odd scent. 

For something that contains dark chocolate, vanilla and benzoin, it’s not sweet at all to me. In fact it’s VERY very dry, and very earthy. It smells like freshly-turned soil and dark 100% cocoa powder (go dip your nose in a tin of baking cocoa; it’s musty, bitter and a little bit powdery) more than candy. I can’t quite make up my mind about whether I dare to actually wear it out because this thing is STRONG and lasts for hours and hours, but some things sit right between beautiful and scary, and that’s the thing about Black Orchid that fascinates me. I imagine thus is what a vampire would smell like. Earth, blood and cocoa.

Whether you like Black Orchid or not, I was inspired to find a few easier-to-love (and more economical) beauty companions that share that same aesthetic, for the femme fatales among you.

  • Too Faced Poison Orchid - the name says it all. This black/purple duochrome is dramatic and gorgeous. If you have never swatched it, you HAVE to.
  • Givenchy Gloss Interdit 15 Velvet Purple - now a dark black purple lipstick is sorta cliché. Soften it up with some shine and translucence and you have a sexy winner!
  • Shu Uemura Calligraph:ink Liquid Eye Liner - this new baby is launching only in Feb 2014, and it’s a GLORIOUS brush-tip pen, shaped like Asian calligraphy brushes. (Think of a brush shaped like a felt tip.) You get the intensity of a brush liner, and the ease and precision of a felt tip.
  • Make Up For Ever Aqua Black - this super versatile black cream is a dual-function cream shadow and liner. It’s just black, black, black, and you can smudge it out, or wear it dense. Super versatile, AND long wearing like all the other Aqua products once it sets.
  • Chanel Le Vernis 583 Taboo - a galaxy in a bottle; you get streaks of red, purple, indigo… you name it. 
The Hylian Architectural Tradition

“The only way you can build, the only way you can get the building into being, is through the measurable.  You must follow the laws of nature and use quantities of brick, methods of construction, and engineering.  But in the end, when the building becomes part of living, it evokes unmeasurable qualities, and the spirit of its existence takes over.”

  -Louis Kahn  

I particularly love the quote above, because it speaks to something that cannot be quantified, something that oftentimes leaves the observer without words.  Meaningful art, beautiful landscapes, or moving poetry all unlock a portion of the human spirit that is the majority of the time contained.  And this latent, powerful upwelling of soul is ineffable by its very essence.  It seems as though certain worldly items can connect to this pocket of whatever-it-is, draw it out and channel it, and bring with it myriad emotions and thoughts, the chiefest of which is that of impassioned and inspired movement.  And this movement need not be external.  It sweeps throughout the body with a speed and power that are equal to that which sparked the movement in the first place.  Our language reflects this movement toward the beautiful.  We are drawn into things, brought low by an encountered object of splendor, and raised to the heights of the sublime.  These descriptions are all lovely, but they cannot fully describe the innermost movements of the spirit, and this is why, at times, individuals are left speechless.  Tolkien, along with a select group of his closest friends during their early school days, referred to this as the poetic fire of the hidden heart

I think that sums it up quite nicely.

Credit to: http://darklordiiid.deviantart.com/ for a lovely composition of Hyrule Castle at dusk in front of a gorgeous sky.

Architecture as explorable space is magnificent in this regard.  Investigating a painting is assuredly excellent, as we are once again drawn in by the individual brush strokes, or the particular hue of the sky, but we can never truly explore it.  But one can explore architecture.  Unlike the medium of painting (which I assure you I certainly appreciate), one can literally be drawn into a structure, walk its halls, descend into its secret haunts, or meditate in its peaceful arcades.  Happily, this is also true (similar, though not exact) of the medium of video games, for, like a painting, one can examine its collocations of pixels or chosen light effects, but one can also traverse its distances and travel the depths and shallows of the in-game world.  In many ways, video games such as these are bridges between mediums; yet, they are very much their own.

Hyrule Castle happens to be such a place that demands exploration.  As it dominates the visible landscape of Hyrule, it subtly speaks of its magnificence, inevitably drawing the player slowly toward the end-game.  We are tempted very early on with hollow promises that it is open to us, only to be transported away without notice, and we are left with a sensation that something is deeply unfinished.  And for the majority of the game, various errands keep players in the hinterlands of Hyrule, far from the castle, though it is always in sight.  Its very existence is a reminder, almost a temptation, of that which waits at the end.  It is the center of the world, resting within sight of every provincial settlement, yet it is the one place that eludes us. 

Thus, when the gates open and the barrier is destroyed, it is almost cathartic.  Finally, the end is near, and the distant unknown finally made knowable.  

Like the castle town nestled up against the steep walls encircling the fortress, the architectural setting of this stronghold is principally medieval, from the turrets to the tapestries.  I do not want to linger upon the castle town, but I do wish to address the northern face of the courtyard that accentuates the castle so perfectly.  In the center of the plaza, there is a cascading fountain aligned axially with the approach to the castle.  Unsurprisingly, this is adorned with the crest of the Royal Family created out of grey stone.  A tall arcade of drop arches on both sides of the court frame a large archway, which leads across the bridge to the inner courts.  The spandrels of these arcades are highly embellished, featuring leaf-like wings.  Every third column (which is technically more a pier than a column) rests underneath the gentle billowing of a crimson standard. The arcade supports what should be a very familiar entablature last seen in the Temple of Time, whose figures move toward the gate and terminate facing one another over the gently-pointed archway.  Crossing this threshold, pausing a moment to once again stare curiously at the seven strange figures lining this path, we approach the monumental gateway to Hyrule Castle.

The courtyards which ring the castle are intense in their subtlety.  They possess an atmospheric quality of quietude, encompassed and created by the high curtain walls which surround them.  A subdued rain falls through curtains of vapor, finally landing upon the tall pines and low shrubs.  Three monuments to the Goddesses and their Triforce feature prominently in this main garden, reaching upward in the pattern of a chain that eventually frees itself to end in a thick triangle.  These shrines demarcate the three main paths throughout this section of the castle’s landscape.  Divided into four distinct units, the layouts of the enclosures are roughly symmetrical.  Straight paths branch out from the approach to the castle gates, leading to smaller iron doors emblazoned with the Royal Crest.

Since the sealing off of the castle after the conquest of Zant and his dark god, large portions of wall lie in crumbled heaps, and a general aura of age and disrepair permeates the air.  Tucked away beneath the crenellated walls are transitory, haphazard Bokoblin constructs, meant to shelter and protect their goods and mounts.  Given the number of guard posts and storerooms within these courtyards, it becomes apparent that these defenses were once heavily manned with Hylian soldiers.  Likely, they also served as a barracks and training ground, as the raised platform upon which Link defeats King Bulblin for the final time demonstrates so well.  Apart from their aesthetic pleasure, they also served the dual function of housing the garrisons of Hyrule.    

Within the Eastern (or Western, depending on your game version) courtyard is a rough Triforce etched into the lawn and covered with scattered leaves.  Its corners and joints are all accented by winding columns of light grey stone that support the gale-powered turbines found primarily in the Forest Temple of Faron Woods.  I like to think that some Hyrulean explorer discovered those ruins deep within the woods, took notes on the mechanical developments therein, and brought back his designs for the benefit of the Royal Family.

Behind the castle is a different area entirely.  It appears far older than the previous segments of horticultural niceties, and far gloomier.  The rain falls harder here, and the lichen and moss upon the roots, rocks, and trees seem to have found an age-old home in this forgotten court.  Deciduous trees and long grasses border a faded dirt path, and sunken headstones with worn etchings break the vertical continuity of this passage with their chipped and broken faces.  Around the bend, a pallid green ghost-light illumines the turrets above and the walls below, and statues speak of a cursed swordsman and a sacred tree.

Ringed in stone and flanked by six smaller turrets arranged radially around it, the prominent aspect of this castle is the keep.  This vertically-colossal edifice belies its inner smallness.   Its octagonal design and neatly arranged hallways connect in many places to the outer walls, so as to facilitate the rapid movement of troops to positions where they are most needed.  The structure is built in receding layers, tapering toward the top.  Large stones and giant order pilasters and columns constitute the majority of the outer façade, but they are by no means the most dominant feature of the castle.  Slightly above the iconic blue roofs and crenellated walkways are truly gargantuan flying buttresses—they connect with the outer turrets most precisely, which means that the turrets are not only defensive but structural in essence.  Without such monumental buttressing (though I doubt that these could actually withstand the prodigious load and thrust upon them without collapsing), the central tower could most certainly not stand firm.  At this point in the analysis, it should be quite apparent that the centuries preceding the Era of Twilight were halcyon days for the Hylians.  From the age of Ocarina of Time, this castle has grown exponentially, both in layout and in sumptuous detail.

Passing through the gate within a gate, a shadowy hallway comes to light.  Its tessellated tiles of cream and olive hues augment the lifeless golden glow within the main chamber.  The walls can be divided into three courses, and each is uniquely complex.   The lowest portion of the wall is of plain stonework divided into sections by unadorned columns.  Running the lower course of this section are arabesque panels of cream on dark brown.  Toward the columnar capitals, a course of dentils (the small tooth-like projections set at even intervals beneath the cornice) runs the length of the room, broken only by three vaulted projections that serve as balconies to the upper floors.  Strangely, there are no doors on this main floor, and most of the castle is accessible only through the mezzanine entrances.  Returning to the walls, the second story is much more evenly spaced than the former, with Ionic pilasters at even lengths that separate very intricate panels with bas-relief floral motifs.  The third story serves as a clerestory, even though the windows themselves are blind, and let in no light from outside.  Resting above the entire room, in all its ornateness, is a large triangular lacunar.  Coffering can be seen all over this chamber, from the hemispherical half-domes from which chandeliers descend to the barrel vault above the main entryway from the courtyard.  Personally, I find this room to be the perfect antechamber to the rest of the castle.  It is capacious, yet unoccupied, and its true gravity lies in its emptiness.  For all of the detailed embellishments that cover nearly every aspect of this vast space, it certainly lacks a human touch.  The non-existence of doors or staircases compounds this odd sensation, and the pale lighting is anything but welcoming.  There is all of this marvelous architecture to behold, but not a soul in sight.

However large the castle may appear to be to the outside eye, the interior is surprisingly small.  Apart from the entry hall and mezzanine, the only chambers are those that ring the massive antechamber; a series of hallways connects these rooms, and they are equal parts austerity and lavishness.  The wooden doors are inlayed with gold trim, representing both the symbol of the Goddesses, as well as a multitude of fanciful, abstract designs.  Two decorative pilasters engraved with enriched diamond patterns form a two-level frame for each door, while a neat row of dentils separates them from one another.  The overdoor echoes the topmost panel from the doorway, an enlarged Triforce with jagged trim, but done in stone in low relief.  Depending on the hallway, though each is an elongated, undulating passage with several doorways leading to various courtyards or outside walls, the carpet is either a deep blue, or a rich red.  The pilasters described before repeat upon the walls, dividing them up into different bays, while weapons and tapestries adorn them.  A richly-coffered ceiling resting upon a slight cornice and course of dentils neatly caps the room.

Other hallways are dimly lit ones with blind windows.  Familiar suits of armor line them, and faded tapestries hang upon the walls.  Some are flat-ceilinged, while others are vaulted.  But, regardless of where one goes, the inexplicable vapor continues to rise from the floor below.  

There are a few chambers within these upper levels that are evidently damaged.  Stones lie upon the floor, where they have clearly fallen from the walls.  Skulls and bits of wood carpet the ground, and the staircases leading upward are little more than chasms.  They have also been trapped, which hints at a security system likely set in place by Ganondorf or his henchman.  

After ascending to the highest interior level, the shift of the building focuses outward to a balcony.  This balcony, aside from providing an exquisite view, allows the castle to double back upon itself.  Two grand staircases to either side of the main portal lead upward to what is really a fortress upon a castle—the secretive throne room astride the mountain of shaped-stone below.  Twilit skies encircle this area, and black clouds attempt to hide the utmost roof from view.  

The throne room is just breath-taking.  The colossal, raised ceiling is recessed into different layers, coffered and ribbed, while the apse behind the throne unites itself with the clerestory in the nave.  In many ways, this chamber echoes a medieval cathedral.  Two colonnades run the length of the chamber, creating two aisles separate from the larger clearing; the windows appear to be open to the elements, although they perhaps were once actual windows of metal and glass.  For all of this beauty, though, the preeminent aspect of this room is the throne itself.  A simple chair rests in front of a large tower of stone (resembling in many ways a stele) which rises to the center height of the entire chamber so that it is framed between pillars and dome.  A unique variation of the Royal Crest graces this monument, with largely freestanding wings, and a brilliant Triforce of gold that is borne aloft by a statuary group of the three Golden Goddesses.  The Goddesses are shown to be breathing out, perhaps representing the life, structure, and law of the land that they created.  

cathoderaysunshine  asked:

Why do you believe an individual can only be I or E? Do you reject the concept of the Ambivert, or do you simply believe it doesn't apply to the MBTI specifically? For the record, I'm not challenging you, I'm simply curious. I have no stock in the matter, just want to hear your views.

Introvert vs. Extrovert isn’t really any big mystery. It has nothing to do with how bold you are, or how assertive you are (although, extroverts do tend to be “faster” at responding than introverts, because of their dual extroverted functions), and everything to do with how being around people on a continual basis makes you feel.

I’m an extrovert because when I’m around people, and having a good time, I don’t want it to end and I get wound up. Their presence energizes me (more so if they are entertaining; being around boring and/or soul-sucking people makes anyone tired). It makes me sad when they go home, and I miss them. Half the time, after spending a weekend with someone, I rush in to my computer after they leave and send them a short e-mail, full of all the thoughts I didn’t get to share with them while they were here. If I really, truly like someone, I want to be in touch with them a lot. Most of my intense relationships have been with extroverts, and involved constant communication because we both craved it; we talked to one another all the time, and never got sick of each other, and rarely wanted any down time, because our energy fed off each other and wound us both up.

This is a much different relationship than I have with my introverted friends. They wind me up, but I wear them out. It’s not uncommon for them to spend the weekend at my house and then for me to not hear from them for a week or more, because they needed time away from me to unwind, find their center, and get recharged. Meanwhile, as an extrovert, I pine, because we had contact and it was exciting, and now we don’t! But I have learned to give them their space.

(ETA: the disinterest in and unwillingness to maintain constant communication as introverts is what killed most of my introverted dating experiences. They were fine with touching base with me once a week, if that, but that wasn’t enough contact for me to feel connected to them. The longer I go without hearing from someone, the more disconnected I am from them and the less I feel like they care. This isn’t the case, but it’s the perception that extroverts can get from introverts.)

Extroverts do need some alone time (particularly the ENXPs, because our Ne is so intense and taking in so much information when we’re stimulated by people and conversations), and Introverts can act social, and be engaged for as long as it takes, but the bottom line is really this:

After being around people for an entire weekend, can you go into your room, shut the door, and not come out for three days, while being totally blissfully happy in your solitude?

Or, after four hours, do you stick your head out and say, “Anyone want to do something with me?!” 

My Review of The Yiynova MSP10uHD + IPS Portable USB Tablet Monitor

I was using the earlier (non-IPS display) version of the MVP10uHD for a few months before I replaced it with the updated version. The difference in screen quality is astounding. This is less of a testament to the quality of the current version (which is high), and more of an admonishment of the previous version. The non IPS display had the most minimal viable viewing angle of any monitor of any size that I’ve ever used. You had to get exactly in the right spot when working on it. Any deviation to the right, left, top or bottom and the colors would shift until they became inverted. I was able to pencil and ink with the old one, but color work was impossible due to the color accuracy being non existent.

I am happy to say that the new IPS version has solved essentially all of these problems. The image and resolution is MUCH sharper, the viewing angles are respectable, and the color accuracy is workable. I can’t speak for those that need custom color profiles, but I am able to do color work in my illustrations and comics using my predefined color palettes with no issues.

As for the general PROS:
-Cursor tracking, lag, responsiveness, etc are all on par with the Wacom Cintiq 21UX I use for my non-travel work
-2048 levels of pressure sensitivity
-The 8 hotkeys are great for speeding up your workflow. They are user assignable to basically any key or combination you could think of.
-The stylus is comfortable and the battery lasts forever.
-The detachable USB cable can be routed to either the left or the right of the device through channels in the back of the case
-The left and right flip out feet on the back allow the tablet to rest on a desk at a comfortable drawing angle. They’re tall enough that I can get my left hand under the tablet while still operating the hot keys with my thumb.
-Little to no lag
-Little to no parallax effect
-No power brick required. 1 double ended USB cable connects to your laptop and you’re good to go.
-Dual mode. Can function as a tabet monitor or a regular drawing tablet with the monitor portion powered off.

Some CONS:
-Build quality is sub par. It’s very plastic-y and creaks/flexes when you hold it. The buttons do have a nice solid click, but the housing seems like it needs more connections between the top and bottom. Maybe some kind of bracing in the middle as well. There is nothing sleek or stylish about the design. Very utilitarian. Well made, but not extremely well made.
- Pressure sensitivity is fine, but I find the curve to be weighted a little too light at the low end. You blow past the first 50% of the pressure curve with little to no applied pressure, then the real variation is in the upper half of the curve. I found that sliding the pressure settings from light to hard in the drivers had little to no effect on the actual pressure performance. 

-The hot keys are not “in numerical order” in the drivers. Going down the side of the device, from top to bottom, the keys are labeled 7,1,2,5,6,4,3,8 as far as the drivers and set up software is concerned. This makes button set up difficult. I actually ran a strip of tape down the device next to the buttons so I could label their number and their intended function. The buttons are permanently labeled with little graphics of what they expect you to use them for (zoom in, zoom out, enter, etc) which adds to the confusion.
-There’s a driver issue (which Yiynova has confirmed to me) that after you press a hotkey, you lose stylus connectivity for a half a second or longer. If you are someone like me who uses “space” and “undo” constantly while drawing, this requires a bit of an adjustment. I usually have to pick the stylus up from the monitor while pressing a hotkey to negate this effect.
-I did not care for the included draw string carry bag. It’s not form fitting, and the material is very rough to the touch. I replaced it with a neoprene generic tablet zip case with a pocket on the front to hold the stylus and cable. More padding, and it holds the device much more securely.
-In order to fit the tablet into the new case I had to remove the stylus holder from the right side. Not really a con, just had to lose it so everything fit. I thought I would hate the stylus holder because it stuck out and seemed like it would get in the way but it’s actually quite useful.
-There’s a 3rd flip out foot on the back of the device, in the center. If you try to use this to stand up the tablet while drawing, it will just fall over. Perhaps it’s for displaying the tablet like a picture frame if you are just using it as a secondary monitor.
The screen is about 2" to 3" too small to really make this a killer device. I would love to see a 12" or 13" version of this tablet in a 4:3 aspect ratio instead of 16:9, so I didn’t feel so cramped when I had all of my Photoshop tools and menus on the screen.

Final thoughts:

If you are a traveling digital artist and you need a set up for working in a hotel or on an airplane (and you don’t want to put up $1000-$2500 for a Surface Pro 3 or a Cintiq Companion… ESPECIALLY if you are a Mac user like me), it’s hard to argue with the utility and capability of the MVP10uHD + IPS. I take my 11" Macbook pro and this tablet in a tiny bag and I can literally do my job from anywhere in the world. There is certainly room for improvement, but if you need a light, portable, very functional tablet monitor for digital art WITH MINIMAL CABLES, I can definitely recommend this tablet.

I would note that if you are just looking for a digital tablet monitor for art and you DO NOT intend to travel, I do not consider this a stepping stone towards larger tablet monitors. Save your money for a Yiynova 19" or 22" stationary model. The 10uHD really only makes sense for the traveling artist, or someone that is more comfortable working in their lap as opposed to a desk.

You can buy it HERE on Amazon from The Panda City. 

I’m a closet tennis fanatic, but sadly this other great love rarely cross-pollinates with art. However, in describing the genesis of his best-known body of work, Kori Newkirk recalls when Venus Williams burst onto the scene as an unheralded teenager at the 1997 US Open. Rather than her raw talent and infectious confidence, however, Newkirk noticed that nearly all press coverage focused on Williams’ hair beads. “They didn’t know how to talk about them,” he said. This fueled a significant period of time in which Newkirk tried to resolve the issue of using these beads—simple, cheap cosmetic objects that became a flashpoint for racial panic—in a compositional manner, drawing on his training as a painter. While he’s since abandoned the practice in search of other equally idiosyncratic materials, I always come back to the beads. To work with them, Newkirk essentially creates curtains, whose dual function is to show and to conceal; drawing power from the loaded beads, these works make me think about inclusion and exclusion and how racism fuels these dynamics, as Venus threw into stark relief when she crashed the white world of professional tennis almost 20 years ago. Newkirk often depicts suburban imagery with the beads, like the house here, which injects the works with even more dynamism and discomfort. It’s quite a gesture to depict the last bastions of whiteness with an object traditionally used by black women. I characterize these works as loaded, political, even anti-racist, but at the same time they are also humble and familiar, drawing as they do on a hair product known intimately by many and virtually unknowable by many others. In this way, Newkirk complicates the idea of audience profoundly.

Kori Newkirk, Untitled (Modernist House), 2005

Prime Space to Primp. When space is at a minimum, corners can be cut — four of them to be exact. Instead of trying to fit a nightstand and dressing vanity together in one room, take one table completely out of the equation and instead set up a small sized bedside table. Add a mirror and table lamp for optimal makeup application lighting. Top the vanity with trays for organization and finish the space with a small stool to tuck beneath the table when not in use. A makeover your morning routine will love.

(via We Heart It)

Classic cottage. Beautiful in tried and true off-white and designed to entertain effortlessly. To maximize storage, create islands and shelving that have dual function. Islands that offer access to storage or exterior shelving for extra space keep you organized and party ready at a moments notice.