identity analysis

Room Analysis: Rose Quartz

Anonymous said:
What is the point of Rose Quartz’s room? Not as a narrative device, which it functions wonderfully as a reflective and therefore revealing mirror, but in universe, what was its purpose? Why would Rose Quartz have her room be able to form simulations?

I think this is a good question. When we look at the rooms of the gems, they are their rooms in every sense of the word. Not only do the Crystal Gems own these spaces, but as we’ve seen from Barn Mates, all gems want to feel as though they have a space of their own. 

What I think is that it isn’t necessarily having a physical space itself that really makes the room compelling. Rather, it’s the idea that in a world that is still foreign, sometimes hostile, and always uncontrollable, a room is a space in which freedom and control can be exercised at the same time.

This is more prominently observed in some Gems’ rooms over others. But it’s a recurring thing that is evident enough to warrant further analysis.

Because the space is so personal, we get to see something of the characters that at times, aren’t even revealed to the characters themselves. With that, let’s kick off this new series with Rose’s room.

1. The Imagery of Pink Clouds

When we look at Rose’s room in particular, it does indeed appear consistent with her character, by the sheer colour scheme alone already tells us how much of Rose’s the room is. 

And I think this contrasts with the way the other Gems’ rooms are presented. Characters who maintain a physical presence in the show, like the other Crystal Gems and the Homeworld “defectors” have a more subtle sign that a room is theirs. For instance, Pearl does have the whitish blues in her room, but it could also be mistaken for a room in the Sea Spire without proper context. Amethyst’s room in the temple has piles of purple but the dominant background colours also involve blue. And the Burning Room, which is Garnet’s space, is largely devoid of the colours in her aesthetic. The same can be said for the Barn, Peridot, and Lapis.

On the other hand, Rose doesn’t have her own presence in the show. Her influence in events and the way characters interact is in no part facilitated by present actions. Instead, reminders of her exert a strong influence on the cast. And it would then make sense that each reminder is very prominent and very apparent. 

Part of this presentation involves how the clouds are the same pink as her hair, and her gemstone. I would say that thematically, the overtness of colour indicates a reinforcement of Rose’s identity. While the other Gems are more comfortable with the subtlety of their identity being revealed in their space, Rose needed to be reminded of it every time she entered her comfort zone. 

Rose went through a lot of changes in her life. From leaving her rank on Homeworld, to initiating the Rebellion, to remaining on Earth, to meeting Greg, to deciding to have Steven, her roles continually changed.

That the other main motif is clouds reinforces this. Clouds are transient. They form through condensation and they dissipate. They are moved around by external forces such as the temperature and wind. 

In that, it would make sense that Rose had nothing in her room. It shows that her person was not beyond just letting things go, and letting the forces around her show her what her next step would be. 

We know that’s just the surface though. We know that Rose did struggle with the things she did, that she wanted to make things right but really didn’t know how. Rose wanted to be able to let go. And to some extent she was successful. She didn’t rock the boat she was on too much and was able to leave a lot of loose ends untouched. Chief among them was her own friend and comrade.

Nonetheless, she couldn’t completely shut off how she felt about the past. Her many attempts at healing the corrupted gems show that her past did weigh on her. Trying to heal them may have been a way to assuage herself of the guilt, dragging everyone into the war she started.

On their own, the absence of anything in the room may have served the purpose of centring  Rose. The quiet of her room may have helped her cope with the clutter in her mind. There were so many things that she didn’t say and didn’t try to say.

The room is a sharp break from who she was as a character: Complicated. Even when the weather in the room becomes tumultuous, there is still nothing there. Nothing to get whipped by the wind or tossed around by the draft. But it does show us who Rose wanted to be, or at least what she was trying to become.

2. Projections, Fabrications, and Simulations

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anonymous asked:

You said once that mCorrin and fCorrin had slightly different quirks. If you don't mind me asking, how so?

I don’t mind at all (。•̀ᴗ-)✧

I didn’t notice at first (I played Birthright with a female avatar and Conquest with a male avatar) but somewhere in my 929 hours of playing Fates I started noticing their personalities, behaviors and the way they interact with other characters differ. I couldn’t quite put my finger on it at first, but after several playthroughs it became obvious.

F!Kamui: mischievous, peppy and (maybe it’s just my imagination but I have this impression every time I switch back between male and female avatars) smiles more.

M!Kamui: earnest, socially awkward/gauche, a bit uptight and (again, it strikes me every time) tends to keep a straight/poker face more often.

The rest under the READ MORE ‘cause it’s *ahem* QUITE LENGTHY.

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April 3rd {5/100}

Day 5 of my 100 days of productivity! Today I spent most of my time rewriting my in-class psychology notes. I re-write my notes for almost all of my subjects, but mostly just in those that I actually take the most notes in. For example, Bio and Psychology. I’ve got a summative essay due by Tuesday and it’s stressing me out. I did so well for the formative version of this essay topic that I’m worried that when it comes to sitting the test for 1.5h that I’ll somehow forget it all. I know it sounds like I’m stressing for no reason, but this is seriously one of my biggest anxiety triggers. 


About Reiners Split Personality 

My True Identity Analysis

- Thomas keeps playbills

- Logan was so smiley. He isn’t anymore…

- He’s also halfway between his current spot and Anxiety’s because Anxiety, as a character, didn’t exist yet. Anxiety existed ‘in some capacity back then’ (Accepting Anxiety, p1) , meaning he was a developing character. Was he part of Logic?

- Logan calls himself a nerd AND is not adverse to being called one by Prince, unlike in future videos

- The sides didn’t have their music yet

- “Is ARE there four people in here, or is it just me?”

- Prince throwing shade

- The overdramatic “but” in Thomas’ speech (sounds like Logic)

- “And that’s when the Anxiety kicks in.”

- “I shall learn to love… myself.” Okay so a couple posts about this have been circulating around lately about how Roman is the most insecure. (I believe it was @dan-yuna who was responsible for one? I could be wrong.) This line is super telling because Roman doesn’t love himself.

- “Wouldn’t want to be our own villain, would we?” AKA the reason Princey hates Anxiety so much. He’s trying to learn to love himself and Anxiety gets in the way of that.

- Roman’s biggest fear is rejection

- Morality asks a deep question (while Princey music plays) but when Thomas tries to recognize that, he goofs off. Um, okay.

- “Silly, light-hearted content” EXCUSE ME ACCEPTING ANXIETY PART ONE 

- Thomas has a pet hamster named Sacajawea 

Graffiti, Rap, and Sexual Awakening: An Analysis of Dizzee Kipling

This was a paper written for a course I am taking in gender, sexuality, and media on how a character in television or film’s gender intersects with other identities. I chose Dizzee Kipling because he’s one of my faves from The Get Down and I felt this show does a really great job of exploring intersecting identities anyway. This analysis is about 8 pages in Word so if you read it, I totally love you! I’m really proud of this paper and had so much fun writing it!

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Why You Should Watch Serial Experiments Lain. (Analysis)

So, it’s come to my attention that during my few years of watching anime that nobody really talks too much about the psychological series that were experimental and unique in comparison to epic, story-driven series that are (more than likely) the same and unoriginal or (more than likely) bland and uninteresting. There are several series I can name that get more credit than they should, but yes, there are several modern hits that are worth watching and still hold up to this day, for example, Fullmetal Alchemist. However, something about the anime that came from the 90′s - Neon Genesis Evangelion, Cowboy Bebop, and even Sailor Moon to an extent, all hold something that several modern anime cannot capture: amazing characterization. It’s in this that we can see familiar archetypes that have been replayed over and over with newer releases, and it’s easy to see why they got so far, because the 90′s anime were different. Serial Experiments Lain, an anime created in the late 90′s, is different as well, but because of its creative atmosphere, intellectual ideologies, and fascinating characters, makes it worth every minute of your time.

Serial Experiments Lain is worth your time because it actually focuses on psychological and philosophical material rather than just action and adventure. Now, both of the latter are good in an anime because it gives its audience something enjoyable to watch, such as good fighting in something like Dragonball or Naruto, or it’s pleasant to see characters bond over the journey, like Fullmetal and even Spice and Wolf. However, there aren’t many anime that take the cake for being a series you can be rest assured you will think about for a least a little while after you watch it. Even if you don’t think much about philosophy or psychology, you will get something about of watching Serial Experiments Lain because it’s goal as an anime is to make you question. You’re more interested about the wired, or the Internet world in Lain’s plot, rather than who is going to go against who. There are several moments that make you actually pause the scene and have to step back, not sure of how to interpret something that intimate, or something so far beyond your ordinary thinking that you go, wow, an anime that actually does something like that? 

Originally posted by mpencil


Lain focuses primarily on the deconstruction of technology, but also primarily on the deconstruction of people, and society. Lain Iwakura, the strange character found in the GIF above, is the persona of what separates and combines the wired world fro the physical world, and basically in Serial Experiments Lain, she could very well be one of the strongest reasons to invest yourself in this series. I know personally that many people are drawn to shows which have characters who are unsure of what they are, or their purpose. Lain is exactly this: she doesn’t understand much of the physical world and is often questioning her role. The entire series delves on this concept, that these wonderfully written individuals do not comprehend some of what this world is giving to them, and it’s not just Lain who questions this: it is Lain’s father, mother, and sister, along with her friends, especially Arisu. Lain knows that there is something farther out there that she has to learn for herself, and you are with her because you also feel as though whatever is out there, whatever is hidden from the basic layers of our world, should be revealed, and you relate to Lain because of this reason.

Lain also focuses on serious topics regarding social identity and socialization. Lain constantly suffers from DID (Dissociative Identity Disorder), since she alone is not just herself, but multiple personas in one entity. 

There are also several other disorders that are established within Lain as well as other characters, from depersonilization disorder, schizophrenia, and even depression, and keep in mind, these are are mental. There’s no telling what kind of other disorders these characters face, which is why it is so interesting that this show allows its audience to experience these characters feeling this way - to allow us to see this for ourselves.


Serial Experiements Lain was created in the year 1998 by director Ryutaro Nakamura. The reason I think the year of creation is so important is because the message it carries is so relevant to today’s society because we can understand how technology has grown since the internet first was created. When Lain first was released, the series itself was only just following the creation of the internet, yet it already establishes that we as a society would use it to its fullest (or even to this day, not yet fullest) potential, like prophesying how we would we would wearing goggles to communicate with others, or how we would glue our eyes to the screen to play video games, or how messages can be sent faster than the legitimate timing of a blink of an eye. Serial Experiments Lain also contributes to how we interact with others online more and more as time progresses in comparison to physically. This is evident as Lain talks more with her wired friends rather than Arisu and the other girls. 


One reason in particular I always enjoyed Serial Experiments Lain is it’s use of art.  Yoshitoshi ABe, the character designer for Lain, contributes his more realistic style of artwork and backround designing to give Lain that down-to-earth yet experimental feel the show has going for it. There is an array of dark shades and rustic colors, but also at times there can be colors that seem outlandish. The animation itself isn’t too gaudy, and it doesn’t try too hard: it knows the focus of the show lies within the characterization and the processes of thought, therefore it knows vibrant and flashy animation would only spoil the theme of the series. 


If you want to watch Serial Experiments Lain, please keep in mind that it is a series that while everyone can get something out of watching, it focuses of the why’s and how’s. Lain is not a series to watch if you’re in desperate need of graphic homicide, slaughter and gore. It’s also not a series that involves a trek, where characters explore the galaxy, and honestly there aren’t many scenes in Lain where you can call it a comedy. However, Serial Experiments Lain is the perfect show to watch if you want something interesting. If you love the ideas and deep thinking, you’ve practically hit the gold mine. Not many other series like Lain will take you to such personal levels, hitting all the marks - socialization, religion, philosophy, psychology, theology - not to mention the amazing build up that will take you on the rollercoaster to find, how do you perceive the universe? Even if Lain doesn’t make you question our world or our motives, it will make you at least question why characters do the things they do, and it will give the encouragement to find those answers as you finish watching. As Lain says, “No matter where you go, everybody is connected.” And with this show, we will be.

anonymous asked:

A thought regarding the nature of Amethyst's weapon, and Bismuth's testimony that a whip is unusual for a quartz: perhaps the whip, along with Amethyst's shapeshifting virtuosity, expresses a flexibility and adaptability discouraged by Homeworld? (Whether the latter is a standard ability of amethysts remains to be seen--I've heard rumors that we're going to be meeting some more, but I'm waiting until the WInter '17 Bomb's legitimate airing.) Hope you're feeling better, by the way.

That’s a good point! In fact, Bismuth’s actual line is “Not every Quartz can make a whip like this,” which implies that other Quartzes can make whips, it’s just, they have fundamental differences from Amethyst’s that a skilled blacksmith can tell just by looking.

And flexibility is a pretty good way to put it. In this post I talked about how Amethyst’s other abilities, weapon aside, are all comparatively more flexible than those of other gems. The spin dash attacks that we see both her and Jasper do several times differ between the two of them.

Amethyst is able to manoeuvre more efficiently at the cost of overall power while Jasper has a lot of raw strength but it’s essentially a linear charge. And when we look at how Amethyst has always felt the need to change herself to adapt to the standards of the senior Crystal Gems and life on Earth, we get to see why flexibility is such an important trait for her. That’s why it’s not a huge surprise that Ame really likes to shape shift. 

When pushed very hard though, that versatility makes it difficult for her to pinpoint exactly who she is, which was the conflict central to On The Run, and never fully resolved.

As to whether Homeworld is against adaptability, I would say they’re not openly against it and annihilating gems who happen to be more versatile than are others. But Homeworld implicitly finds comfort in predictability and patterns. They are averse to change, perhaps because they don’t have a lot of extra padding if that change causes them to mess up. Recall that they are in a resource crisis. It’s likely that they’d rather tough it out with systems that might not be as efficient as they could be than change because of the risk of failure.

And it’s interesting that you mention it: There’s also a possibility that gems grown on Earth may, in line with the symbolical implications of Earth, be more adaptable. That everything on Earth supposedly grows and changes and has the opportunity to do so, may mean there’s something in the water, or in this case, soil, that makes it more conducive for gems to want to change things up.

anonymous asked:

Hi! I was looking at pictures of the CG's weapons just now, and thought that Amethyst's whip and Pearl's spear are visually similar to the stem and petals of the rose on steven's shield. Do you think this is more of a coincidence because of the art style of the show, or are there any implications there?

Ooh let’s do a comparison :D

Off the bat, we can actually see a similarity between the whip and stem that is imprinted on the shield. The way it coils and has thorns is very similar and to that I would say it’s no coincidence.

Gem weapons are something very personal, which is why even gems of the same type can have different weapons. This is something Rebeca Sugar had confirmed as well. In that sense, I believe gems aren’t made with their weapons on, but rather, weapons come about as a gem continues to experience things. The “weapon” is what arises out of their needs. This is why some gems like Lapis don’t have clear “weapons.” The more war-cantered gems definitely would because fighting was an integral part of their identity. On the other hand, civilians would have a different way of expressing that identity.
And this is why blacksmiths like Bismuth were even needed to make material weapons in the first place.

We know Ame looked up to Rose Quartz in a very special way. While what we’ve seen of Garnet and Pearl’s “mentorship” of Amethyst was very centred around how a hero should behave, they also unconsciously worked to suppress the parts of Amethyst that are unabashedly Quartz.

The way Ame smashed into things, rushed into action, was grabby and interacted with the world in a very physical way were frowned upon.

On the other hand, Rose clearly embodied those Quartz traits. We’re talking about the gem who broke the lever of a ferris wheel and stopped it with the sheer force of her body, grabbing that same car and wrenching it with her bare hands to save her falling Greg and a tiny baby.

Something I talk about a lot is how rough and tumble is part of how Quartzes and likely other soldiers are socialised. Look at how closely the Ruby Squad members stand next to each other, how touchy they are. It’s very similar to the way Jasper interacts with others. And it’s not because they go out of their way to make other people feel they don’t have personal space, but because in battle, personal space is the least of one’s worries. It really is not the time to worry your were grabbed, when said grab could save your life from enemy fire.

In that way, Amethyst saw Rose as her role model and someone she could be, someone who let her be herself and let her realise her feelings and urges. She says as much in Maximum Capacity, “I had someone who was always there for me too.” She’s implying that sometimes, she felt it was her and Rose against the world, even Garnet and Pearl sometimes. 

That Amethyst has a whip speaks a lot about her personality. It’s flexible (because she’s had to be majority of her life) but packs a punch despite being lightweight. That she would model her weapon after Rose’s shield makes sense. To Amethyst, the flower with thorns is a very Quartz thing. They’re built to be hardy, strong, and dangerous. But at the same time, they’re beautiful and if we look at Rose in her ballgown and the small Amethyst, unassuming. That’s why the symbol might resonate with her.

Pearl’s spear as you mention, has the feel of Rose petals, like the ones at the centre of the shield. What I like about the idea of petals is how transient they are. When we talk about the trunk of a tree or stem of a plant, they keep growing and getting bigger. But the petals of flowers can fall and flowers can bloom new petals. And at the heart of Rose’s campaign was the belief that gems should be allowed to grow, change, and make choices.

Who better to embody that than Pearl? It was perhaps Pearl who had the most drastic deviation from who she was assigned to be, a complete object.

Pearl also devoted her life to fighting for, with, and because of Rose Quartz. A huge reason she was pushed to be herself was Rose. In that sense, her identity is closely tied to her relationship with Rose.

All of this assumes, though, that Rose always knew who she was, always had a constant identity others could use as a basis for their own.

But we know the reality was much messier and much more complicated. It could be equally likely that Amethyst and Pearl based their ideas off who they believed Rose was. There is nothing inherently wrong with that, just that it proves things aren’t as clear as they seem.

And one thing I’d like to bring up is how in Bismuth, our gems eagerly and willingly modified their weapons.

It means that Rose was and still is a huge part of who they are, but that doesn’t mean they aren’t still changing. More importantly, it shows they’re more okay with change than they realise. These touches are entirely their own and the decision to implement them occurs in a post-Rose world. I think that’s very significant in terms of character development. 


on the 16th of November 2012, a man walking around carrying a human skull was apprehended by police.

The skull was that of an unidentified woman who was estimated to be aged in her early 30’s to mid 40’s. It discovered when the man claimed that it was shouting to him to get his attention as he walked past the tree that he said he found it in, in Brisbane, California.

He said couldn’t recall exactly which tree it was or in what specific area  ended up being arrested and imprisoned for 2 months (for an unrelated crime not in connection with the discovery of the skull) before being released with the intention of leading officials to the womans body.

Her skeletal remains were found near a dilapidated property on a hill and her identity remains unknown. Analysis of the bones revealed old injuries consistent with that of someone who had suffered a serious fall or had been in a car crash. There is no details regarding hair or eye color, however she is confirmed to be of European descent.

If you have any information on this case contact the San Mateo County Coroner’s Office.

MIT scientists find weird quantum effects, even over hundreds of miles

Neutrinos traveling 450 miles have no individual identities, according to MIT analysis. 

In the world of quantum, infinitesimally small particles, weird and often logic-defying behaviors abound. Perhaps the strangest of these is the idea of superposition, in which objects can exist simultaneously in two or more seemingly counterintuitive states. For example, according to the laws of quantum mechanics, electrons may spin both clockwise and counter-clockwise, or be both at rest and excited, at the same time.

The physicist Erwin Schrödinger highlighted some strange consequences of the idea of superposition more than 80 years ago, with a thought experiment that posed that a cat trapped in a box with a radioactive source could be in a superposition state, considered both alive and dead, according to the laws of quantum mechanics. Since then, scientists have proven that particles can indeed be in superposition, at quantum, subatomic scales. But whether such weird phenomena can be observed in our larger, everyday world is an open, actively pursued question.

Now, MIT physicists have found that subatomic particles called neutrinos can be in superposition, without individual identities, when traveling hundreds of miles. Their results, to be published later this month in Physical Review Letters, represent the longest distance over which quantum mechanics has been tested to date. 

A subatomic journey across state lines

The team analyzed data on the oscillations of neutrinos — subatomic particles that interact extremely weakly with matter, passing through our bodies by the billions per second without any effect. Neutrinos can oscillate, or change between several distinct “flavors,” as they travel through the universe at close to the speed of light.

The researchers obtained data from Fermilab’s Main Injector Neutrino Oscillation Search, or MINOS, an experiment in which neutrinos are produced from the scattering of other accelerated, high-energy particles in a facility near Chicago and beamed to a detector in Soudan, Minnesota, 735 kilometers (456 miles) away. Although the neutrinos leave Illinois as one flavor, they may oscillate along their journey, arriving in Minnesota as a completely different flavor.

The MIT team studied the distribution of neutrino flavors generated in Illinois, versus those detected in Minnesota, and found that these distributions can be explained most readily by quantum phenomena: As neutrinos sped between the reactor and detector, they were statistically most likely to be in a state of superposition, with no definite flavor or identity.

What’s more, the researchers  found that the data was “in high tension” with more classical descriptions of how matter should behave. In particular, it was statistically unlikely that the data could be explained by any model of the sort that Einstein sought, in which objects would always embody definite properties rather than exist in superpositions.

“What’s fascinating is, many of us tend to think of quantum mechanics applying on small scales,” says David Kaiser, the Germeshausen Professor of the History of Science and professor of physics at MIT. “But it turns out that we can’t escape quantum mechanics, even when we describe processes that happen over large distances. We can’t stop our quantum mechanical description even when these things leave one state and enter another, traveling hundreds of miles. I think that’s breathtaking.”

Kaiser is a co-author on the paper, which includes MIT physics professor Joseph Formaggio, junior Talia Weiss, and former graduate student Mykola Murskyj.

A flipped inequality

The team analyzed the MINOS data by applying a slightly altered version of the Leggett-Garg inequality, a mathematical expression named after physicists Anthony Leggett and Anupam Garg, who derived the expression to test whether a system with two or more distinct states acts in a quantum or classical fashion.

Leggett and Garg realized that the measurements of such a system, and the statistical correlations between those measurements, should be different if the system behaves according to classical versus quantum mechanical laws.

“They realized you get different predictions for correlations of measurements of a single system over time, if you assume superposition versus realism,” Kaiser explains, where “realism” refers to models of the Einstein type, in which particles should always exist in some definite state.

Formaggio had the idea to flip the expression slightly, to apply not to repeated measurements over time but to measurements at a range of neutrino energies. In the MINOS experiment, huge numbers of neutrinos are created at various energies, where Kaiser says they then “careen through the Earth, through solid rock, and a tiny drizzle of them will be detected” 735 kilometers away.

According to Formaggio’s reworking of the Leggett-Garg inequality, the distribution of neutrino flavors — the type of neutrino that finally arrives at the detector — should depend on the energies at which the neutrinos were created. Furthermore, those flavor distributions should look very different if the neutrinos assumed a definite identity throughout their journey, versus if they were in superposition, with no distinct flavor.

“The big world we live in”

Applying their modified version of the Leggett-Garg expression to neutrino oscillations, the group predicted the distribution of neutrino flavors arriving at the detector, both if the neutrinos were behaving classically, according to an Einstein-like theory, and if they were acting in a quantum state, in superposition. When they compared both predicted distributions, they found there was virtually no overlap.

More importantly, when they compared these predictions with the actual distribution of neutrino flavors observed from the MINOS experiment, they found that the data fit squarely within the predicted distribution for a quantum system, meaning that the neutrinos very likely did not have individual identities while traveling over hundreds of miles between detectors.

But what if these particles truly embodied distinct flavors at each moment in time, rather than being some ghostly, neither-here-nor-there phantoms of quantum physics? What if these neutrinos behaved according to Einstein’s realism-based view of the world? After all, there could be statistical flukes due to defects in instrumentation, that might still generate a distribution of neutrinos that the researchers observed. Kaiser says if that were the case and “the world truly obeyed Einstein’s intuitions,” the chances of such a model accounting for the observed data would be “something like one in a billion.”  

So how do neutrinos do it? How do they maintain a quantum, identityless state for seemingly long distances? André de Gouvêa, professor of physics and astronomy at Northwestern University, says because neutrinos move so fast and interact with so little in the world, “relativistic effects — as in Einstein’s special theory of relativity —are huge, and conspire to make the very long distances appear [to the neutrinos] short.”

“The final result is that, like all other tests performed to date under very different circumstances, quantum mechanics appears to be the correct description of the world at all distance scales, weirdness not withstanding,” says Gouvêa, who was not involved in the research.

“What gives people pause is, quantum mechanics is quantitatively precise and yet it comes with all this conceptual baggage,” Kaiser says. “That’s why I like tests like this: Let’s let these things travel further than most people will drive on a family road trip, and watch them zoom through the big world we live in, not just the strange world of quantum mechanics, for hundreds of miles. And even then, we can’t stop using quantum mechanics. We really see quantum effects persist across macroscopic distances.”


anonymous asked:

Can I ask why you're using " 'cis men' and 'afab women' "? Most people seem to use the same descriptive system (like cis men and cis women or amab men and afab women).

personally, while i dont think using “cis” to describe people who are not trans in a really neutral way is problematic, i am critical of the tendency to treat “cis” as an identity-based class that benefits from the oppression and exploitation of the identity-based class “trans” (e.g., “cis privilege”). the reason i am critical of this is because womanhood is assigned coercively by men and men benefit materially from this coercive assignment at the expense of women.

it is absolutely true that women can and do replicate patriarchal ideology and that this can be harmful to people who are specifically targeted by ideological oppression from patriarchy (this is especially the case with homophobia, transphobia, et cetera). it is, however, typically only men who experience cisness as a means of exploiting value from gendered labor.

the liberal tendency in an extremely reductive analysis of identity based privilege tends to conflate base oppression (that is economic exploitation, especially of labor value) with superstructural oppression (the various ideological and cultural systems which support and maintain the exploitative social arrangement).

capital directly uses gender to replicate itself, divide the labor force, and transfer value from certain classes of laborers to others. gender is in this sense very much part of the material ‘base’ of our social relations. cisness, however, is part of an ideological system which is used to order and legitimize these exploitative arrangements. it is conceivable that even if cissexism as an ideological arrangement were destroyed, that capitalist patriarchy would be able to continue to function more or less as it already does. the focus on, as is common in liberal trans activism, legitimizing gender identity and combating cis privilege is a struggle which will primarily benefit those elements of the trans community which aren’t experiencing exploitation in a substantial way.

many afab women, because of how they experience their gender as coercive and exploitative, reject gender politically and do not identify with it (this is true of some trans women as well). additionally, there are some people who are afab and nonbinary (and therefore not cis by any definitions) but who identify themselves as women politically. saying “afab women” includes both of these groups who disidentify with cisness while avoiding the implication that cisness, which is imposed violently by men for the sake of exploiting women, is a privilege for women

The Team's Secret Identities and Robert Callaghan

Has anybody noticed that at least two people now know the secret identities of the Big Hero 6- Alistair Krei and Robert Callaghan. The news reporter mentioned “a group of unidentified individuals”, meaning no one told the police or reporters who they were (and this would have been quite the scoop). While I can see Krei not telling anyone out of gratefulness, Callaghan could have mentioned it to the police at least. Or leaked it out somehow as a final petty act of revenge.

But he didn’t. We see them living their lives out undisturbed, no police knocking on the Lucky Cat Café’s door. It makes me wonder if perhaps some part of him really did feel sorry for what he did and this is his way of atoning for it to them.

Maybe (and this is just my own headcanon) he actually did see Tadashi rushing to rescue him but chose not to save him out of a moment of selfishness. Maybe in a way, Tadashi’s death haunts him just as Abigail’s did. But he’s so focused on avenging his daughter and his own grief and rage, that he brushes Tadashi’s death off as inconsequential. He’s already begun on his path and he’ll hold to it DAMN the consequences. What he said to Hiro on Akuma Island could very well have been his way of justifying the pointless death of his favourite student.
I think maybe his guilt and regret at not being brave enough to stop his daughter or enter the portal to save her, and his guilt at letting Tadashi die came to a head there and he snaps at Hiro cruelly because he doesn’t see Tadashi’s death as his own fault, after all he didn’t tell Tadashi to go save him, did he? He’s not brave enough to face the consequences of his actions during the showcase. He wasn’t brave enough to stop the experiment or try to find his daughter in the portal (it should have occurred to him to at least try).

But then the little brother of the man he inadvertently killed gives him his daughter back, alive and whole. The boy who he thinks hates him, and who he tried to freaking MURDER along with his friends. Hiro shows him how to be the bigger man (or boy?) and how he himself broke the cycle of revenge. And then Robert Callaghan is left knowing all he did was for nothing, that he has now lost almost everything. And Callaghan is a pretty smart man so he might have seen the parallels between him and Hiro and realised that next to this grieving 14 year old boy, he has lost. Don’t forget that expression of his in the police car! YMMV on whether it was regret at possibly never seeing Abigail again or remorse at his actions but it could have been a mix of both. And maybe that’s why he didn’t reveal their secret identities because it’s his way of atoning or saying sorry.

Disney gave us a Tragic Villain this time, an interesting one. He’s a sad broken man, a father consumed by love and hate, rage and grief. He’s actually quite a complicated character because he used to be a good man with noble intentions but his daughter’s death sent him right off the slippery slope.

I’m not trying to Leather Pants Callaghan here or say he should be forgiven/redeemed so easily but I was trying to make sense of why he never revealed their identities when he knew who they were (and my brain came up with this long post filled with cerebral vomit after watching a particular episode of Book 4 of Legend of Korra). What he did was still horrible and tragic and cruel; however as a whole he’s a pretty complicated character if you look deeply enough.

theres a material difference between how ppl subject to transmisogyny + people not subject to transmisogyny are treated

there’s a material difference how ppl subject to homophobia + people not subject to homophobia are treated

this isn’t gatekeeping or identity politics, its material analysis of what we have in common and what we don’t have in common as classes

jellyfishline  asked:

so in the interest of promoting positivity, what's your favorite thing about season 10? mine would probably be the use of unreliable narrators/parallels to detail conflicting perspectives. spn has always been great about showing contrasts between character's differing opinions, but this season it seems like it's really stepped it up a notch--basically every episode has dealt with a conflict of ideals and/or perception of reality. thoughts?

-pulls up a chair, spins it, and sits in it backwards-
You and me - we need to talk. Because this was literally the subject of the conversation I was having with sleepsintheimpala and androbeaurepaire that this rush of positivity stemmed from.

I am in awe of how they’ve chosen to deal with conflicting perspectives on various concepts within the confines of just nine episodes. We are being constantly bombarded with questions this season:

  • Who are you?
  • What are you?
  • Are you a human?
  • Are you a demon?
  • Are you a monster?
  • What constitutes a good man?
  • What constitutes a good father?
  • How do you kill an idea?

All of these questions and more leading back to single-most important question we’ve ever been asked in the history of the show:

Where is the truth in Supernatural?

And the answer is simple: Everywhere.
The truth of Supernatural is everywhere because the truth exists uniquely within each and every character. Every character has their own interpretation, their own version of the story - their own entire construct of their world as seen through their individual perspectives, shaped by experience, by emotion, by upbringing, by time, by existence, by nature. Just like us. The truth in Supernatural is everywhere because “truth” is the greyscale of the technicolor world of our humanity. It’s life.

Season ten has done much more than just give us parallels and mirrors and unreliable narrators. It has completely constructed the nature of existence - the nature of humanity - within in a television show. Yes, it gets entirely confusing because parallels are parallel to other parallels and mirrors are reverse mirrors to the mirror that is a mirror to an entirely different character than you’re thinking about.

But we’re through the looking glass here, people. This is Jabberwocky on freakin’ steroids. All the characters are playing a game, and that game is called Survival. Everything is opposite, time is running backwards, and you can’t have your freakin’ jam today. Translation: nothing is at it seems, flashbacks of the past are keeping everyone from moving forward, and the things they all want most - love, family, whatever - they can’t have them today. All those things were in the past, the things they left behind after all the choices that they made. Or all of those things are in the future, waiting for choices to be made. But today - everyone is just trying to keep playing the game to stay alive.

The thing about truth, about perspective, about people, about the characters, is that they can only fully understand their own truths. They are defined by their truths - by the life they have lived and the choices that they have made. And these truths can be altered, even if it seems wholly impossible. Because all it takes is the idea and the will to challenge the foundation of one’s entire existence, to deconstruct it, and lay a new foundation built from those things that they had wanted most that they had left behind. Change, choosing who you want to be, rather than what you were shaped to be - it all seems hopeless. But Alice used to think that impossible things were impossible, too.

Alice: There’s no use in trying. One can’t believe in impossible things.
The White Queen: I daresay you haven’t had much practice. When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.

“Impossible” is as relative as the truth because one’s own truth defines their willingness to believe in the utterly impossible. And when you live in a world of the supernatural, of monsters, of demons, of angels - a world of the impossible - you have to believe. And therein lies hope for our protagonists.

Supernatural is about storytelling. And each story you hear will be different because the framing of each story is dependent on the storyteller. And the storyteller is the product of their truths, of their lives, of their perspectives. The storyteller is shaped by the past that they’re running from and the future that they can’t yet conceptualize because they’re just trying to survive today. But eventually, the show must go on. Eventually, they have to learn that surviving ain’t living. They have to find faith in the impossible and find their truths as they are written in the stars and across the hearts of those who pull them back from the edge of the desolation of the weight of an existence that was never meant to be theirs. They have to believe. They have to have faith in themselves.

THAT is why I love season ten. THAT is why I love Supernatural.

An Experiment in Analysis: Part II - Storytellers' Mai Himura in "Mai" Representing the Internal Struggle of Ultimate Identity in Multi-identitied Individuals

In this, the second episode of the Storytellers series, “Mai,” personal narratives begin to twist together as the focus shifts from the more well-developed Hunter Crowley to the as of yet ironing board flat character Mai Himura. Throughout the text, we come to know that Mai hails from a Japanese family that’s been steeped in mythology. However, as the viewer can tell based on Mai’s appearance and variety of English, she grew up in the United States, which creates a duality of culture, characteristic of being Japanese-American. After the car wreck, she becomes possessed by a demon of Japanese lore and goes in and out of a state of possession. The portrayal of this character by Jessica Lu, then, serves as an examination of being from two different cultures, showing the viewer the mental wrestling of identity that comes with those cultural origins.

The episode opens on a view of the car crash from before, then the camera shifts back to the campfire. Mai is narrating a monologue to accompany the visuals. As we know from the first episode, the people around the campfire are the same people who are in the stories, and they are the heroes of the story they tell. What she recounts is rife with what’s purported to be a cultural saying from Japan. She begins, “My mother once told me in Japan that it is said [sic] that there are many lives inside of us. Spirits lie within, both gentle and violent,” outlining for the viewer that she is cognizant through her mother of Japanese teachings (0:21). This outlining sets Mai up as a character who is still spiritual and in touch with her Japanese roots and that she’s proud enough of them to talk to others about them and share some of one of her cultures’ teachings in the process.

Mai then goes on to say that she’s “not sure [she] believes in that, though. After all, it’s only a story” (0:55). Out of context, it would appear that Mai is denying that she’s really all that in tune with her Japanese heritage and that she is more of a monocultured, assimilated American. However, as the narrator of the story that’s about to unfold, in which she is the hero, and in which her Japanese heritage and her relationship with Japanese mythology come into play, this cannot be seen as a denial of pride concerning her mixed identity, but rather a playful remark that she’s aware of how absurd it can seem to be balancing two different identities.

The scene then shifts to Mai in the wreckage of the car, her eyes glowing green before shifting to a week later when she’s dolling herself up for guests, making sure her necklace is on correctly and that her hair’s just right. This is the viewer’s first insight in this episode into Mai as one who identifies with American culture, as what she’s wearing is markedly not Japanese, but American: a camisole, pants, and boots, all black. Mai’s guests, Skyler, Hunter, and Finn, then arrive to join her. A conversation ensues wherein the question of blame for the car accident comes up. Hunter attests that it was the car and not Finn’s fault, to which Mai replies that it was Hunter’s (1:51). Hunter is taken aback at this remark, and responds nervously, as though Mai knows too much about something. All the while, Mai is casually sipping her drink, confident in her accusation. This confidence implies that she has some way of knowing assuredly that Hunter caused the accident. The suggestion is that she has powers of some mystical variety, hence her glowing green eyes at the top of the episode, which probably allowed her to intuit Hunter’s guilt. On the surface, this is merely Mai using the Japanese part of her identity to identify a reality of the world. On a deeper level, though, this is an indication that Mai is an allegory for dealing with handling the two aspects of one’s identity. In this case, she’s able to advantage herself by looking at the world through her Japanese lens.

This advantageous state of being a mult-identitied person, however, is soon coupled with the internal struggle of finding one’s own identity as Mai’s possession comes to the forefront of her actions. After leading Hunter outside, she talks for a bit with him before slinking over to a katana on a pedestal in her backyard. She begins to draw it behind her back as she responds to Hunter’s assertion that he won’t be the same person for long, “No, you won’t,” but she stops when Finn and Skyler exit. (2:54). Mai appears to be out to kill Hunter, which will be confirmed shortly to be her possessing spirit’s intention. This appetite for murder, though, is symbolic of the symptoms of the turmoil of associating strongly with more than one cultural group. Mai’s Japanese side is beginning to overtake her American side, to the extent that it’s about to wrest a part of it from her: her friendship with Hunter. This is a case similar to what happens to multi-identitied people in that one cultural identity can seem to dominate the other(s), with the danger of extinguishing it/them, and it requires a great deal of mental capacity and balance to be able to manage to keep the identities intact to retain as a part of one grand identity.

Mai then works a little to seduce Finn, sitting sensually by him, grazingly moving her hand across his body instead of through the air to grab his camera, asking that he film her. Finn responds hesitantly to her request, which prompts Mai to ask, “What? Don’t you like the new me?” (3:48). She then shouts a loaded question at Hunter, stating the he likes her new appearance, as her eyes begin to glow green again. Her possession coming to bear in her green eyes here is indicative of her Japanese culture seeking to push out her American culture. It claims that it is the new Mai, and that the aspects of her American culture like it, which, again, is a dealing with the duality characteristic of a person like a Japanese-American in touch with their culture like Mai.

Mai’s consciousness returns to her for a brief moment, then leaves again when the possessing spirit retakes her. Finn asks why she’s dressing and behaving “weird” (meaning out of character) (4:13). Mai, however, interprets this to mean that Finn accused her of acting oddly, to which she responds, “So, Skyler gets to dress how she wants and hang all over guys in public, but when I do it, it’s weird?” (4:22). The double standard here portrayed here is notable in that it’s seen as more acceptable for a seemingly purely American girl to be fawning over boys, but when the Japanese-American girl does it, it seems out of character, drawing attention to what society unfairly asks of conformity in different cultural groups. Hunter then asks Mai, “Mai, What the hell’s wrong with you?” (4:28). She responds, “Oh, that’s just delightful coming from you” (4:31). Throughout this exchange, the possessing force feels threatened and defends itself verbally from the attacks leveled against it in an effort to keep itself from being wrested away by Mai’s friends, symbolizing the cultural misunderstandings that can arise from encountering an unfamiliar identity in a familiar person, leading to feelings of hurt and insult in the multi-identitied individual. In a final attempt to save itself, the possessive spirit through Mai demonically commands everyone to get out of her house, a last ditch effort to keep its vice-like hold over her. Everyone leaves slowly, as though Mai’s possession, demonic voice, and emerald eyes were nothing to be surprised about, representing friends not quite understanding (i.e., lacking the ability to sympathize and not knowing to empathize with) their struggling friend.

Finn stays behind at Mai’s house and looks through the Japanese folkloric books and objects in the house. After a few moments, Mai’s mother discovers him, and they have a short conversation in Japanese, after which Finn flees. While a rather short scene, it serves to further cement in the viewer’s mind that Mai comes from a Japanese family that keeps its roots strong; her mother speaks Japanese and goes so far even as to keep books and objects of folklore and legends in their house. Finn then makes his way over to the Crowley residence with a book of folklore in hand. Hunter isn’t there, but Celia, his sister, lets him in, and he speaks with Skyler about the legend that he found about Tsukimono-Yokai (an animal spirit that possesses human beings to rid the world of the “spawn of the wicked”), which he surmises is what’s possessing Mai. This revelation about Mai’s character suggests that her Japanese culture seriously is looking to kill a part of her American culture identity, represented by her friendship with Hunter, whom the spirit has characterized as an evil part of Mai’s identity to be excised, like a malignant tumor. It’s a symbolic representation of the battle that goes on in the minds of such multi-identitied people, that each culture, at times, battles the other.

Finn, Skyler, and Celia then race off to try to save Hunter from Mai, and Mai starts a narrative monologue to close out the episode. “Who’s to say who we really are,” she begins, “our inherited impulses, our darkest desires, they’re all in us. It’s in our blood” (9:04). Her opening is a direct reference to the battle that she has going on, each identity pulling at her, informing the way she views the world and fighting for a more uniform worldview. And it will say that way because, after all it’s in her blood.

Episode 2, “Mai,” of Storytellers focuses on the characterization of the character Mai. She’s a Japanese-American who’s struggling with the extremities of the two identities that make her up: the Japanese and the American. After the car wreck, her Japanese side begins to well up and seek to drive from her being the American culture that she grew up with outside of her home, destroying her friends and her image in other’s minds so that she is more mentally uniform. This battle, however, is not unique to Japanese-Americans or fictional characters. While the impeti and results of the battles are different, this is a situation in which many different, multi-ethnic or multi-identitied person find themselves. Mexican-Americans, Bosnian-Americans, homosexual men and women who dance in both Queer culture and Straight culture, transgender people who delve not just in the culture they create but the one that cisgendered people do as well, really anyone who dances in two ore more strikingly different identities can find themselves in such a situation, and though their struggles likely won’t manifest themselves in the way that Mai’s do, they will still undergo such struggles, probably throughout their whole life trying to find exactly where they fit in society, being of not just one group, but two, or three, or more, each group saying “Oh, you’re not X enough to hang around us Xs.” They may try to bleach part of their identity to lessen its impact and hide it more easily, but it will always be there, having informed their worldview from birth. Everyone has their demons, some more obvious than others, but we, as a society, should do our best to allow everyone to fit in and value fresh perspectives. Else, we’ll find ourselves in a whitewashed society where neophobia and xenophobia are rampant and stagnation is the norm.

anonymous asked:

Would a Gem ever make her default form cover her gem? The outfit Amethyst is wearing in the old-timey picture does this, but maybe it was a shapeshift? It would make it difficult to get her weapon out quickly. Are there any reasons you can think of for why a Gem would form herself in a way that covers her gem? Might it be a little better protected, perhaps if she was lower on the Mohs scale (though Amethyst is pretty high on it)?

The picture in question: 

Yes! I’ve talked about this before, but it’s worth discussing in light of the new episode we’ve seen.

First of all, gems identify themselves by their gemstone. It’s their name, where their attributes originate, and the store of their data. Their bodies are just a manifestation; the gem is the good stuff. This is how gems can at a glance tell what kind of gem the other is. 

Steven and Rose have very different forms, are clearly made up of different matter. But one look at a pink gem, with a particular cut (I’m certain there are other pink gems out there), and Jasper immediately knows it’s Rose’s gem. In fact, gems can even tell if another is a fusion just by looking at them.

So to me, it wouldn’t be surprising that gems would wear their stones out proudly. Because it’s the equivalent of showing the world your face.

Second, it’s pretty interesting to ask how humans identify each other. We look at faces. We recognise faces. We say, “I can’t seem to put a name to that face,” or “Your face looks familiar.” That’s our go-to. 

When we look at Amethyst, we have to ask, where does she identify with? Earth, or Gemworld? She doesn’t choose, really. She’s the gem we most often see just roaming around Beach City, interacting with humans as she did in the underground wrestling arena. As early as Story for Steven, we see that she’s been curious about the world outside. And she’s friends with Vidalia. 

And what do we notice about her? Interestingly enough, her gem and her face are both half-covered. She can’t choose between the two, but she’s not comfortable enough choosing both. And it reflects a lot of the tension she feels between these two spheres of her life. In On the Run, she says, “Earth’s not my home!” and “[Homeworld]’s not my home either!” 

Young Amethyst was showing her full gem, but young Amethyst had Rose, was more willing to listen to the older gems, because she didn’t know as much, and as a result had a closer relationship with them. As her own interests started to surface, of course there’d be arguments and disagreement. 

She never felt she had a place for herself. In the Gemworld, there’s so much history and context that she’s just not privy to. In the human world, there’s so much she’s curious about but can’t ever experience on the same level. 

One other other gem who has a covered stone: Steven. Steven looks at his gem when he’s thinking of his mother. He still associates his gem with Rose, the part of him that’s Rose. Rose is such a loaded topic and Rose in death has become such a larger-than-life person. As such, he feels he can’t fully claim that gemstone as his and his identity.