japanese forms

Although Ryōan-ji, in Japan, has temples built as far back as the 1000s CE, the garden at Ryōan-ji was thought to have been built between 1450 and 1473. Which makes this rectangle of land one of the oldest gardens in the world. A World Heritage site, the garden at Ryōan-ji is considered to be one of the defining surviving examples of a form of Japanese Zen temple garden design called kare-sansui or ‘dry landscape’.

what i say: I’m fine

what i mean: the creators of Digimon have crafted a universe so incredibly versatile and expansive that it boggles the mind, in which the fate of multiple Earths is interwoven with the fate of multiple digital worlds across several iterations of time and space; the creatures we refer to as Digimon are implied to have existed prior to the invention of the internet in the form of Japanese yokai and other beings of legend and folklore. This suggests the line between what is artificial and what is real is thinner than we believe today, if that line exists at all. Considering Digimon are also suggested to be born from the wishes and dreams of human beings, the existence of the digital world also points to a universe in which humans have incredible godlike powers of creation, with the ability to manifest their will into both an organic and digital form, which ultimately leads to a final conclusion - “any sufficiently advanced technology is indistinguishable from magic” (Arthur C Clarke). Therefore, if Digimon are digital, and the line between artificial life and organic life is nonexistent, and technology and magic are the same thing from the perspective of individuals who don’t understand it, then humans have the ability to manipulate the fabric of reality by tapping into the “programming code” that makes up the universe, and the creators of Digimon took this incredible and amazing concept full of potential and used it to make a children’s monster companion anime

Part of the Japanese understanding of nonverbal communication comes from Zen Buddhism, which teaches the use of all five senses in receiving communication, and even states, “silence is communication.” In this tradition, Koichi Sato brings delicate color motifs and metaphysical forms to his quietly poetic designs.

Koichi Sato, Agamemnon, 1972, Offset lithography. 

firemama  asked:

since you are the only person i know of that knows any form of japanese how willing would you be to help translate an error message in Japanese that popped up while coding a game? feel free to answer this publically privately or not at all, no pressure to assist, would just be helpful.

normally id just answer privately but im posting this bc it made me chuckle

its not an error message, just says “would you like to enter full screen mode?” (popup title) and “this can be toggled by pressing the F key” (popup content), lol. thank u 4 the giggle

anonymous asked:

hi !!! can u help me stan Loona ???? I always see u reblog abt them it's just idk where to start!! how many members are there??

!!!!

Okay so loona has not debuted yet, they’re set to debut in december this year.

They have this thing where each month BlockBerry Creative introduce one of the members to us, as well as release a solo song for that certain member and another song with the other introduced members. Each members have their MV shot in different countries and different animals!!!!!

So far, the introduced members are (in order):

October’s girl: Jeon Heejin
DOB: October 19, 2000
Position: Vocalist, Leader
- Scared of pigeons (this kid cried at the shooting set in Paris bc of this save her)
- Can play guitar
ViViD / ViViD (Acoustic Ver) / ViViD (Acoustic Live) / ViViD dance practice
Location: Paris | Animal: Rabbit | Color: Bright pink

November’s girl: Kim Hyunjin
DOB: November 15, 2000
Position: Vocalist
- Can play piano
Around You / Around You (film ver.) / Around You (Acoustic Live)
I’ll Be There (ft. Heejin)
Location: Tokyo | Animal: Cat | Color: Yellow

December’s girl: Jo Haseul
DOB: August 18, 1997 (thats my birthday!!!!!!!)
Position: Vocalist, Sub-rapper
- Scared of pigeons
- Was in a lot of art related activities in school
- Can play guitar
Let Me In / LAYBACKSOUND’s The Starry Night (Haseul Acoustic cover)
Location: Iceland | Animal: Bird
The Carol (ft. Heejin & Hyunjin)
Location: London | Animal: bird | Color: Green

January’s girl: Im Yeojin
DOB: November 11, 2002
Height: about 160cm / 4'11" (According to a fanacc)
Position: Vocalist
- Nicknamed ‘bean sprout’ by Haseul
- Maknae (so far)
Kiss Later / Kiss Later (choreography ver.) / My Melody (ft. Haseul)
Location: Taiwan | Animal: Frog | Color: Orange

Febuary & March’s subunit: LOONA 1/3
Members: Heejin, Hyunjin, Haseul, ViVi (new member)
Love&Live / Love&Live (choreogaphy ver.) / You and Me Together (special m/v)
- The first appearance LOONA has made on music shows
Location: New Zealand & Hong Kong

April’s girl: ViVi
Real name: Wong Viian
DOB: December 9, 1996
Position: N/A
- Was a model in Hong Kong
Everyday I Love You (ft. Haseul) / Everyday I Need You (ft. Jinsoul)
Animal: Deer | Color: Pastel Rose

May’s girl: KimLip
Real name: Kim Jeongeun
DOB: February 10, 1999
Position: Vocalist, Dancer
Eclipse / Twilight
- Gained attention for having an album track (Twilight) produced by Cha Cha Malone, known for his works with Jay Park
Animal: Owl | Color: Red

June’s girl: Jinsoul
DOB: June 13, 1997
Position: Vocalist, Rapper, Dancer
- In LOONAverse, she was kept in a basement (??) and is now freed
Singing In The Rain
Animal: Fish | Color: Royal blue

They have a series called LOONA TV where they upload a short (when i say short i really mean short theyre like 20 sec) video of them behind the scenes, traveling to the MV shooting locations and stuff on their Youtube channel

Honestly all of their stuff are so high quality and aesthetically pleasing, and they’re such talented sweet kids as well. 

I promise, if you check out just their solo mv’s you’ll be hooked. pls support my baby girls, anticipate their future members and debut!!!!

Craft vs. Art

I was thinking about @jenroses’s answer about the arbitrary nature of what constitutes the line between fanfiction and original fiction, and I started thinking about how it relates to the supposed differences between craft and art, and also why doing something that’s considered more of a “craft” can sometimes be more creatively freeing than working on “art.”

Given that I do needle arts, this craft vs. art thing is an issue that comes up a lot. Crafts seem to be things that people classify as something to keep your hands busy. The implication is something small in meaning. “Not something that would go in a museum.” Pleasure, not “real work.” Cross-stitch, needlepoint, embroidery, knitting, crochet, quilting, weaving (basket and cloth), beading, but also woodworking and blacksmithing and pottery. These are all things that are seen to require skill to do well, but the end results are only rarely held up as examples of “art,” and are thus not often seen as truly creative endeavors by people outside that crafting community.

If the work isn’t seen as 100% the maker’s original idea, no working from instructions or patterns at any point, is it really art? they ask.

Does it matter? I counter.

When I started writing fic this past June, I hadn’t written fiction of any kind in 16 years. Nor had I drawn or painted. My artistic creativity, as I had been told to define it, had seemed burned out, gone, dead. All I’d been doing in those years (“all”) was extremely complex cross-stitch, temari (a Japanese form of geometric embroidery), and knitting. It was the temari that really grabbed me, so I worked hard enough at it that I started to get some recognition for making original pieces, which, in the temari world, means combining techniques that are centuries old in possibly novel ways, or at least novel colors. And at this point, people started asking me what it was that kept me coming back to temari. Why did I keep doing it, sometimes variations of the same design again and again? The answer I came up with was this:

I like the way temari sets up rigid constraints that you must work within (the geometric divisions, the stitching techniques), but then challenges you to be as creative as possible within those constraints. Sure, I did that particular pattern five times in a row, but each time I varied the colorway, or I explored how changing just one element would affect the overall final look. And that spurred me to greater and greater creativity.

Fanfiction is very much the same for me. Exploring how to be as creative as possible in a few areas while operating within a set of constraints is oddly freeing. I can experiment with changing just one aspect of canon and explore how that would change the overall dynamic of the established world, or I can push everything into an AU setting and work to keep the character dynamics recognizable even with everything else changed. And if creativity within constraint is what’s inspiring me to actually write/draw/stitch, I’m not going to look down on that.

Nor should anyone.

Blur that line in your mind. It’s all art. It’s the value judgements that are fake.

An introduction to Kansai-ben

When it comes to regional dialects in Japan, Kansai-ben takes the throne as the most widely-recognized form. Here’s a quick rundown of what Kansai-ben is, how to identify it, and key terms to pick up on…

(Once again, as a work-in-progress, any inputs and comments are welcome!)


What is Kansai-ben?

Kansai-ben is a series of dialects native to—you guessed it—the Kansai region of Japan, also referred to as the Kinki region (I know, ha ha). Over the years, Kansai-ben has gained national recognition and popularity through a form of Japanese comedy double acts known as “manzai” (漫才).

The six staple Kansai-ben prefectures are: Shiga, Kyoto, Nara, Osaka, Hyogo, and Wakayama; however, the dialect is not uncommon in other surrounding prefectures of the region.

Consider the difference between standard Japanese to Kansai-ben much like the difference between American English to UK English. It involves not only the accent, but also a myriad of phrases and vocabulary. 

BONUS: many Kansai-jin (Kansai natives) are quite proud of their dialect, especially as it’s become so popular across the country. Hearing “fake” Kansai-ben can be quite irking to native speakers, particularly if the imitation is inaccurate.

Identifying Kansai-ben

To non-native speakers, Kansai-ben may not be as easy to distinguish from standard Japanese. Put simply, Kansai-ben employs far more inflections and slurred and/or shorthand syllables, making it overall more dynamic in sound.

Types of Kansai-ben

Kansai, being a major region in Japan, has its own subsets—and with it, differing types of Kansai-ben—however, they all tend to be generalized as one regional dialect. (In fact, many non-Kansai-ben speakers can’t distinguish between the specific types.) This list will cover the Big Three: Osaka-ben, Kyoto-ben, and Kobe-ben.

Osaka-ben is the most widely recognized, and the term is often used interchangeably with Kansai-ben. (Osaka is so large, the dialect has even more subsets—but we’ll focus on the popular form for now.) Osaka-ben tends to be quite brash in tone. Some key markers of Osaka-ben are:

  • Removing conjunctives such as “wa”, “wo”, etc.
  • Adds an “re” sound to conjunctions
    • “can’t speak/talk” hanasenai→hanasarehen
    • “can’t go” ikenai→ikarehen
  • Simplifying syllables: the dialect requires less work of the tongue/lips to pronounce syllables (e.g. ”s” sounds tend to convert to “h”)
    • “excuse me” sumimasen→sunmahen or “seven” shichihichi
  • Slurs syllables: often blends/extends certain a i u e o sounds
    • “that’s right” soudesude
  • Denial “hen: the negative “nai” (ない) becomes “hen” (へん)
    • “didn’t see” mitenai→mitehen
    • “don’t mind” kamawanai→kamahen
  • Suffixes “yade”/”de”, ”yaro”, “ya”/”yan”,  “nen”/“yanen”, etc. at the end of sentences
    • “that’s right” soudayo→seyade or sou→seya
    • “Why’s that?”/”How come?” nande?→nandeyanen?
  • Prefix “do” (occasionally “da”): emphasizes the adjective
    • do-aho

A great reference for different Japanese dialects is Detective Conan’s episode 651! You can hear the victim’s last words restated in standard Japanese as well as Kansai-ben…plus you’ll hear Conan’s (very poor) attempt at speaking Kansai-ben.

Kyoto-ben (aka Kyō-kotoba) is quite similar to Osaka-ben, but has an all-round “softer” sound due to fewer inflections and simplified syllables. It’s typically regarded as more elegant and refined than Osaka-ben.

  • Simplifies syllables (similar to Osaka-ben)
    • no” (の) can be abbreviated as “n” ん
  • Uses more “a” syllables, tends to repeat vowels in conjunctions
    • “will go” ikuikaharu (Kyoto), “can’t go” ikenai→ikehen
  • Slurs or prolongs syllables: commonly employs a prolonged “u” sound
    • “beautifully” utsukushiku→utsukushuu
  • Denial “hen”: similar to Osaka-ben
  • Honorific suffix “haru
    • “to do” shiteiru (st)shiteoru (Os)shiteharu (Ky)

Renzo Shima (Blue Exorcist) and Gin Ichimaru (BLEACH) are speakers of Kyoto-ben. And of course, DC’s movie 7 (Crossroad in the Ancient Capital), set in Kyoto, has an array of characters speaking Kyoto-ben.

Kobe-ben can be considered a merge of both Osaka and Kyoto, landing comfortably in the middle. Unlike the previous two, Kobe is a city, and therefore less distinguishable as its own dialect by non-Kansai-ben speakers. 

  • Frequent use of “o” sounds/syllables
    • “to be” iru→oru
    • “whatcha doing?” nani shiteiru?→nani shitennen (Os)→nani shitoo?/nani shiton(Ko)
    • “it’s raining” ame futteiru→ame futterunename futtoo

I highly, highly recommend you watch Studio Ghibli’s “Grave of the Fireflies”—it’s a feature film set in WWII-era Kobe, and regarded as one of the greatest war films ever & guaranteed to wrench your heart out as you try to pick up on Kobe-ben…!!