multi installation

A Special Anniversary

Today marks one year since I was lucky enough to get to join @imagineclaireandjamie as a mod.

To celebrate (and because, for some reason I haven’t done so already) I’m creating this master post of all my Imagine fics (and I’m planning to update this list regularly, might only be once a month or so but, we’ll see).

Multi-installment fics/AUs

The Beardsley Baby (upgrading from a one shot to in progress): Jamie and Claire decide to keep and raise the baby they find in The Fiery Cross

Part One

Collision Course (complete but brewing a sequel fic): Frank finds his way through the stones but is captured by British soldiers. Claire sees and enlists Jamie to help her rescue Frank but she must confess the truth to him first.

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine, Part Ten, Epilogue

Fergus Through the Stones a.k.a. The Tagalong (in progress): Fergus disobeys Jamie’s order to return to Lallybroch and instead follows them all the way to Craigh na Dun, inadvertently following Claire through the stones.

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

Homecoming (in progress): Book 9 speculation; William arrives at the Ridge with his cousin Dottie the same day that the MacKenzie family has made their unexpected return.

Part One, Part Two, Part Three

Love in Other Words (complete but brewing some appendices): Claire returns to find that Jamie has married Mary MacNab.

Part One, Part Two

Mac Ruaidh (in progress): Jamie is able to raise William as his own from the start but the circumstances are still less than ideal and William has some strong and unusual ideas about who his mother is. 

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight A & B, Part Nine

Murtagh on the Ridge AU (in progress): (not written in chronological order)
An alternate universe in which Murtagh survived Culloden and joined the others at Fraser’s Ridge

*listed in chronological order 
Claire’s return; first Christmas after Claire’s return; Bree’s arrival; Jem’s birth; a skunk on the ridge

Photographs (in progress): Brianna helps Claire choose photos for her to show Jamie. When the time comes for Brianna’s journey, she takes a risk and brings her new automatic camera to document her time in the past.

Part One, Part Two, Part Three, Part Four, Part Five

Truth and Love (complete): Young Ian convinces Jamie to tell Claire the truth about Laoghaire before they arrive at Lallybroch. Jamie tells her about what drove him to marry her in the first place. 

Part One, Part Two, Part Three, Part Four

A Visit to Virginia (complete; CLOSED): Lord John is seriously ill and William sends for Claire to come and treat him at his Virginia plantation. An invitation is extended to Brianna’s family as well and William gets to know his larger family.

Part One, Part Two, Part Three, Part Four, Part Five, Part Six

Wounded Pride (complete): Claire doesn’t get far before turning back after learning the truth about Laoghaire and is with Jamie when Laoghaire returns armed with a score to settle. 

Part One, Part Two; Appendix 1

One Shots:


“Of Conduct and Procedure: Multi-Faceted”

Fourth Installment, dedicated to @katiethemstie

Originally, the Eighth Doctor was all over this, but the fic evolved so that he doesn’t actually make himself physically known. He’s just talked about a lot. He’ll be present in a future installment, I’m sure, so for those of you who were looking forward to seeing him, don’t be disappointed. And for my Classic Who fans, look! It’s Seven!

The TARDIS was in between stages. She had changed a lot, under Seven’s watch, and at this point in her timeline, she was still a mix between the more sterile aura that Six had left behind and the dim-lit, paper-and-tea-scented, homey place she would be by time Seven would start losing his hair (which was a terrible shame, considering the Doctor’s tradition of keeping a fabulous head of hair through all his regenerations, but then again, who was Nine to judge?).

At the moment, though, Seven was still in his younger years and still the keeper of a full head of hair. And he was calmly preparing mint tea like it was nobody’s business, which was mostly true, seeing as the only other person in the TARDIS with him was… himself.

“So, what is the matter?” Seven asked. Nine immediately wanted to call Seven out on his placating tone, because I was you and I remember and I practically invented that tone of voice so don’t you dare use that on me, but he found himself… placated. Well, as much as he remembered being Seven, he had forgotten how good Seven was at this. This, being… well, whatever it was. “It must be something important if you crossed timelines to talk to yourself about it.”

“We met a girl,” said Nine.

“Oh, dear, that’s awfully specific,” Seven snarked casually, shifting the kettle. “Please, be more vague so that we can include basically every day of our lives and ninety-five percent of our companions.”

“Shut it. I’m the one who’s supposed to be a snark, not you,” Nine said. He would have been amused if he wasn’t in such a foul temper.

“Hmph. I can be whatever I want to be.” Seven shifted the kettle again, more out of habit than necessity, since moving the tea kettle did absolutely nothing. “So, tell me. What’s so important about the girl.”

“We love her.” Sometimes blunt really was the way to go, especially with one’s own self.

“We do?” Seven looked as startled as he had ever been, which was saying something, considering how many times he had gotten a gun pointed in his face. Really should be a bit more wary of guns, Nine thought, remembering Seven’s unfortunate and honestly stupid end, but it wasn’t as if he could warn his younger self, so he stayed silent on that matter. Seven stared Nine down, looking for some hint as to his future self’s meaning, and he must have found it genuine, because he suddenly went slack in his seat and said, “Oh, my. We do.”


Seven’s eyes darted aimlessly before settling on Nine’ shoe. “So. Love. I never thought….”

“Neither did I,” Nine agreed, bobbing his head in a nod. “But she’s fantastic.”

A small smile lit Seven’s face. “So, did you come just to tell me the big news, or did you need something? Not that news like that isn’t enough. I won’t be able to remember it, but I’ll still have that sensation of looking forward to something. Thank you.”

“S’pose I should tell the others,” Nine pondered, before shaking himself. “But I’m here because… well, I did something stupid.”

“Oh, of course,” Seven groaned. “I may not be particularly knowledgeable of your regeneration, seeing as you do come sometime after me, but I think I can guess that it was something you said. Our talent with words doesn’t seem to last past myself.”

“It does, though,” corrected the Ninth with a sneer. “It lasts through Eight, that’s for certain.”

For a moment or two, Seven was pleased, before he noticed Nine’s sneer of disdain. “Oh, dear. What does this have to do with Eight?”

“Well, y’see, it started…” Nine leaned forward, and so did Seven, both looking as though they were about to divulge the secrets of the universe. “Um… Oh, this is weird. Thing is, she’s human.”

“Human?” echoed Seven, his eyebrows shooting up to his hairline. “Well, I suppose that’s… very much like us, to give our affections to a human. I never really considered it, I don’t think.”

“You will.”

“Hm. So, what’s it like? Loving a… a human.”

“Fantastic.” Nine smiled. “Not like those Gallifreyan ladies. She’s not full of it, actin’ better’n I am ’cause-a station. She’s jus’… her. Wants to see the whole universe. I get to show her everythin’. And she tries so hard, jus’t’be alive. Harder’n any Gallifreyan in history ever bothered to.”

A warm, toasty feeling started to crackle to life between Seven’s hearts. “That sounds… wonderful.”

“Is. Problem, though,” admitted Nine.

Seven turned to gather two teacups from the cabinet. Nine looked at the delicate cups with some level of amusement. They didn’t really suit him or Seven, but they had been around for so long, he couldn’t imagine getting rid of them. He hadn’t dared to take them out around you, but now that he thought about it, maybe you would find them as funny as he did.

“Of course there is,” said Seven, snatching the kettle off the burner (and, really, was that a Bunsen burner? Why did he even own one of those, much less make tea on it?). “Go on.”

“Well, being human, she doesn’t really know about the courtin’ procedures,” Nine admitted. Seven saw where the conversation was going and immediately groaned and allowed his head to bump against the cabinet door with a dull thud. “My thoughts exactly. And the worst part is’at I’m not all that good at courtin’ in the first place. I tried a few little things, messed the last one up horribly.”

“Double down,” Seven mused. “So you want me to help–” and then Seven paused, because the whole conversation clicked in his mind like the final piece of a jigsaw puzzle. “Eight is good with words, you said. You went to him for help.”

“Yeah,” said Nine. “Eight is… well, you’ll understand when you’re him, but it seemed like the perfect plan. He’s good with that sort of… thing. Women, I guess. He practically memorized the courting procedures, and he’s very… charming, y’could say, so I thought it would work.”

“What would work? You didn’t… oh. You did.”

“I took ’er t’see’im,” Nine admitted, scrubbing a palm down his face and covering his eyes. Seven scooted a cup of freshly-brewed tea under the other Doctor’s rather prominent nose. The steam rose up and wetted Nine’s skin. “It seemed like a good idea. He was so lonely, y’know. That body wanted love more’n any o’ the others did, so I thought he would be the most willing to help. Was a bit too willing.”

“Ah.” Seven sipped his tea and instantly regretted it. The liquid was scalding. “So.”

“He was all over her!” Nine exclaimed, suddenly throwing both hands into the air. If he hadn’t been feeling so tired, he might have jumped out of his chair to pace, as well. “I swear, second I told him who she was to us, he practically ran over and snogged her right then and there.”

“Well, you did say he wanted love more than the rest of us, and that’s saying something, considering how much we’ve wanted a… a bond-mate, over the centuries.”

Nine scoffed. “Either way, he was ridiculous. Eight’s very tactile, no sense of personal space, so I was expecting him to get a bit touchy with her, but he had her sitting on his lap. On his lap, hear me? I’ve known her for years, few weeks ago I finally get her to lie down on the couch with me, and in less than five minutes he’s got her on his lap, holding his hand. Oh, n’his hands were everywhere. On her face, in her hair, on her thigh, blast it. And she didn’t stop ’im, either.”

“Why would you want her to?” Seven asked, confused. “He’s us, he was forward enough to initiate courting touches, and she accepted. That’s perfect. What’s the problem?”

“She’s human, Doctor,” said Nine, frowning. “From a Gallifreyan woman, that might have been perfect, but she’s human. To her, it wasn’t me. It was a man who was more handsome and better spoken than me, touching her, and she was fine with it.”

“So you didn’t tell her that you and Eight are the same person? That we’re all the Doctor, despite our differences?” asked Seven, who was beginning to wonder if his counterpart had lost some brain cells through regeneration.

“Of course I did, but–”

“But nothing!” Seven cut his future self off abruptly. “You explained to her that Eight is you, she met Eight, and she accepted his courting offers. Maybe she doesn’t know the first thing about courting procedures, but it sounds to me as if he was making himself rather obvious. If she accepted it from him, then she accepted it from you, just as much as from me and all of us who come before and after.”

Nine was silent.

“I don’t know how your regeneration thinks,” Seven continued, voice much softer, “but I don’t think we would fall in love with a girl who wouldn’t love all of us. If she is who I hope she is, then she knows that we’re all… us. If she accepted Eight, she accepted us all, and that includes you, in case you didn’t notice. Now, stop being a jealous sod and go to her.”

Slowly, Nine eased his way out of his chair. His eyes wandered over the TARDIS’s mixed interior, obviously recalling when it had been his, what had come before and what would come after. Then he looked down at Seven, and Seven saw a light in his eyes that hadn’t been there before.

“I’d better get back to her, then,” Nine said, a smile playing at his lips but not coming all the way through. “Y’know… seems t’me like ya understand it all better than I do, and you haven’t even met her yet.”

“Maybe so,” Seven admitted, shrugging. He dipped his head down to take a sip of tea, but, remembering the perfectly unacceptable temperature, he refrained. “Still, would you give her my love?”

The smile turned into a full grin. “Aye. I’ll do that.”

And just like that, Nine swiftly escaped from Seven’s TARDIS and into the rough terrain of whatever planet they had agreed to meet each other on. Seven knew that Nine’s TARDIS couldn’t be far away, which meant that you were probably close by. He stamped down the temptation to follow Nine, to catch a glimpse of you, or maybe just to hear your voice. He wanted to know. As confident as he had acted for his counterpart’s sake, he didn’t know anything about you, and he wished… he just wanted to know something about you. Anything.

Someday, he thought, sipping the tea that had finally cooled, someday.

He would have to forget all of this. If he didn’t, it would cause a paradox. But there was nothing saying that he had to forget immediately. He could keep the memory for a day, or two. Maybe… maybe, if he kept the memory overnight, he would dream of you. Yes. Just overnight, and then he would make himself forget. Until then, though… he could imagine.

anonymous asked:

Re: not leaving feedback I do, sometimes, but more often than not it's just lack of an original comment. I'm not one for big long emotional reviews of how beautiful or how funny or how well written things are and if it's a multi instalment situation I feel like my comments just seem kind of... cookie cutter? I mean how many times can a person reasonably comment 'love this! More please!' Before it loses all meaning?

A long emotional review is not needed I am just asking for a because. I love this because it made me cry. I love this because this is exactly what I needed Dean to tell me today. I love this because the way you worded this line *insert line* 

More please however is not feedback. It is demanding and stressful. I wish there was more to this one shot because…. that’s feedback.

I love this never loss it’s meaning though. 150 notes without any comments make writers quit. 

ZING art collective, first Exhibition. Catalogue text, by Joe Hedges
  • Catalogue text, by Joe Hedges.

On December 3rd, 2016 Menagerie gallery in Redwood City will host the first public endeavor of Zing, a group of contemporary asian artists living in the Bay area. The Zing collaborative includes artists working across various media including painting, sculpture, photography, and video and addressing a wide range of subjects.  For this inaugural exhibition, audiences are implicitly asked to consider the works in the context of both contemporary art and the Asian experience in the United States.  

Now it must be said: I am neither young nor asian.  My allegiance is to contemporary art.  However, in the current political climate one would be challenged to avoid viewing the show through the lens of identity.  Our challenge as viewers is to accept both the fact that contemporary art is a language that cuts across class and ethnic lines to celebrate individual perspectives, as well as the uniqueness of the Asian-American migrant experience.  In the Zing exhibition, this tension between the universality of contemporary art and the uniqueness of the Asian experience of the United States is most apparent in the figurative works of Shi Feng and Rentian Qiu.  

  • Shi Feng, “Mist“, Oil on Canvas.

Shi Feng’s work Mist is portrait of a nude, seemingly asian woman crouched on the floor, buttocks to the viewer, twisting her torso and revealing her face with hands and feet curled into some unseen ground.  Formally, every aspect of the painting is strong, with an intimate knowledge of human anatomy and keen observational skills on display.  But while the title Mist draws our attention to the limited range of values and beautifully-handled atmosphere, try as they might, contemporary figurative painters have not yet transcended the double-edged project of objectifying their subjects.  Here we are reminded that an Asian-American experience is at once conflated with ideas about race, and that ideas about race deal necessarily with the body.  For what is a body if not the place where our differences are most superficially on display?  In viewing Shi Feng’s paintings that often feature asian subjects, the viewer reconciles thoughts about race, flesh gender, while necessarily and simultaneously stripping the body of all labels but human.

Shi Feng’s second painting in the exhibition provides a strong conceptual counterbalance.  In Bath, a man stands in tall grass wearing nothing but an oversized sweater.  He lifts the sweater in order to gaze downward at his own genitalia as a tiger—a familiar symbol of Asia—looms toward him in the background.  Here Feng again asks the viewer to consider ideas about flesh and identity, leaving it to the viewer to consider the symbolism of the predatory beast.

  • Shi Feng, “Bath”, Oil on Canvas.

In another dark composition about identity, Ethan Zhao’s arrestingly slick film Samsara utilizes VFX-compositing to place disparate imagery into the same surreal black and white world.  An electronic Radiohead-esque soundscape helps to set a brooding mood as a single masked figure slow-motion dances around chiaroscuro asteroids and foggy trees.  As the character’s mask multiplies and floats around him, the mask’s function of obscuring one’s true face is at once on display and subverted.  In a video piece by Yanling He, again the viewer is invited into another world where identity is obscured: figures frozen in water droplets, soundscape blending the digital and organic, extending the moments between drips from a leaky facet.  

  • Ethan Zhao, “Samsara”, Film.
  • Yanling He, “Refraction”, Film.

Continuing with the theme of identity and the body, artist Rentian Qui’s four figurative watercolors feature women in intentionally provocative, compromising or disturbing poses.  The subject of Tease is a woman in her underwear lying on a bed or couch, legs crossed in the air and touching the underside of her thigh.  Dark pubic hair escapes from her red underwear.  This painting evokes the work of the famous Viennese artist of the 20th early century, Egon Schiele.  Like Schiele’s works, Qui’s figures have a somewhat geometric and expressive quality while the background remains relatively stark.  Here we would be remiss not to acknowledge the impact of asian prints on the work of Schiele and his contemporaries: the use of negative space, a limited pallet, the twisting strangeness of the bodies.  Formally, Qui’s works operate in a zone that can be seen as bridging cultural divides of east and west.  While all Qui’s works implicate the “male gaze” of the viewer (and artist), Qui manages to do so sensitively with the inclusion of additional compositions that take on ideas about the body in more nuanced and critical ways.

An international traveler might recognize that the subject of another work by Qui, Peeing, is a woman crouched on a western-style toilet.  Her backside to the viewer, face turned away, the scene contains at once the mundanity of a genre painting and the force of a social commentary.  Art history buffs will recall that Marcel Duchamp famously signed a urinal with the words “R. MUTT”, and titled it Fountain, as a commentary, exclamation point or full stop on what can and cannot be art.  As it turns out, it is not only ideas about contemporary art that are socially constructed: ideas about a seemingly simple act of urination are relativistic as well, and for this Asian-American artist, the picture plane remains a suitable battle ground within which to assert quotidian contrasts.  For many individuals residing in or immigrating from asian countries, sitting on a toilet chair—rather than crouching over a floor toilet—is rightfully considered unsanitary and unhealthy.  In viewing Peeing, the viewer may extrapolate an endless list of daily challenges immigrants encounter, as an object as seemingly familiar as a toilet becomes a container for struggle and difference.

  • Rentian Qiu, “Tease”, Mix-Media.
  • Rentian Qiu, “Peeing”, Mix-Media.

American and European art history textbook favorites like Schiele and Duchamp have had the luxury of being simply called artists—not having additional suffixes forced upon them.  By contrast, minorities and women have faced a particular challenge when attempting to enter the world of contemporary art: they have often found themselves unable to avoid the labels of “black artist”, “asian artist”, “female artist” etc.  Unfortunately, these labels have historically been read like caveats, putting artists in the position of asserting their seriousness in the best way they know how—by directly addressing their heritage or gender or some other aspect of their identity in their art.  For minorities today, a refusal to explicitly take on the subject of identity in one’s work has itself become a form of postmodern subversion.

Working in a non-representational mode are Dongze Huo, Shi Dong, and Hung Ying Lee.  These three pieces exist in the tradition of western modernism but each contain traces of asian aesthetics.  For the first of these three artists, Dongze Huo, Escape contains muted negative space that subtly echoes asian landscape painting.  At the same time the work also recalls the color-blocks of Hans Hoffman and other American Abstract Expressionists.  Here one finds a certain quietude in contrast with vibrancy, that could be read as the contemplative history of Asian aesthetics meeting the so called “pure abstraction” of painters in 1950’s New York City.  But while abstraction has appeared in essentially every culture known to human beings, it is often mistakenly presented as an invention of Picasso, who it is well known was largely inspired by African masks.  Here Dongze Huo covertly participates in the project of returning abstraction to its rightful conception: a language that reduces color and form to spiritual elements that speak about the universal human condition.  

  • Dongze Huo, “Escape“, Silk-Screen on BFK Paper.

Secondly, Shi Dong’s abstract work Soul Comb is a blue color field upon which square dots are presented in a grid.  The grid is a modernist tool that’s been employed in near infinite iterations, from Piet Mondrian and continuing up through Damien Hirst’s contemporary multi-colored spot painting installations.  But in the hands of Shi Dong one might also consider the history of the grid in an asian context.  Unlike phonetic languages, the Chinese language can exist in a neatly ordered grid, legible from left to right or top to bottom.  In this reading Dong’s multicolored squares suggest a more semantic meaning.  Is the language of color ideographic?

  • Shi Dong, “Soul Comb ®”, Oil on Wood Panel.

The third artists working in a nonrepresentational mode is Hung Ying Lee.  Lee’s modestly-sized abstract paintings I Can’t Avoid the Wet Trend and The Falls present varied approaches to paint application, from thin drips to highly impasto strokes that are almost sculptural.  Although Lee’s title betrays some doubts about the legitimacy of this approach, she would do well to remember that nearly hundred years has elapsed since Van Gogh first famously began to think about paint strokes in relationship to the patterning and texture of weavers.  Today, contemporary painters like Allison Schulnik and Conor Harrington continue to push the unique possibilities of paint to cling and drip (respectively), confirming again and again that an interest in surface is more than a trend.  Lee’s complimentary color palettes and confident mark-making recall paintings of peach or cherry blossoms against a blue sky.  

  • Hung Ying Lee, “The Falls”, Oil Painting on Canvas.

Although more representational, Jihoon Choi’s 3D pixelated life-sized sculptures of animals also owe a debt to the history of abstraction—specifically cubism.  These forms have a strangeness that evoke both Minecraft and Super Mario Bros., confronting our expectations about nature and the virtual.  Ideas about simulacra are again on display in Max Luo’s three square ceramic pieces.  These works function largely like paintings, presenting a figure peeking through a crack.  First, the figure exists in the 2D space of the picture plane.  By the third panel, the figure has receded to exist within the 3D space behind the picture plane, drawing the viewers focus to ideas about paintings as virtual containers.  Luo essentially plays with the oldest and most implicit question in the arts: what is reality?  In answering this question, we turn to photography.  

  • Jihoon Choi, “White Deer“, Steel - Body, Real Antler, Wheels, Paint.
  • Max Luo, “Shh…”, Wood, plaster, Metal, Ceramic.

Xuebing Du’s photographic prints are spectacularly detailed liquid-scapes that disrupt gravity and space.  Water here is presented as a mysterious and uncontrollable force, at once calming and terrifying.  The prints of Ying Jung also confuse our expectations of space.  Ying Jung’s works make use of traditional photographic techniques to create contemporary multiple exposures of disappearing figures in undergrowth.  The black and white denseness of the images have the all-over-ness of a Jackson Pollock surface, but the addition of the figure reminds the viewer of the unique ability of photography to embrace decisive, overlapping moments in time.  

  • Xuebing Du, “Static Flow”, Photograph Print.
  • Ying Jung Lucky Lu, “I Was There Before“, Silver Gelatin Print.

A third artists using the tools of photography is Shen Linghao.  Linghao’s media installation makes use of light-sensitive photographs of a Jiangnan Shipyard and the former residence of Chiang Ching-kuo, a former president of the Republic of China and who is remembered in part for relaxing authoritarianism and prohibitions of free speech in Taiwan.  The moody, monochromatic photographs are printed on light-sensitive paper but displayed in a dark box.  Viewers are invited to shine a flashlight on the images and consider the cinematic afterglow.  Recalling the repurposing of the shipyard and the destruction of Ching-kuo’s villa, Shen Linghao’s artist statement reflects on change, seeing his images as “a disoriented theatre, in which various self-conflicted dramas are presented”.  However, a flashlight in the hands of an American viewer may also suggest the fraught history of perception of Taiwan and Taiwanese by outsiders: acknowledgement, followed by denial and willful obfuscation.

  • Shen Linghao, “ The Scenery in Heart-Theater of History”, Composite Media Installation.

Finally, one encounters three artists making use of saturated color.  Hsien Chun’s screen-prints present decorated figures that mash-up comic book chic with old-world spirituality emerging from dystopian landscapes.  Alison Ye’s refreshingly whimsical works I Love Candy and First Date are ceramic wall-mounted figures.  The figures are both cartoonish and freaky, utilizing color and pattern to first disarm the viewer, then stylized monster features like horns and a cyclops eye to surprise.  Yuri Hyun’s works on paper use ink pen, colored pencil and marker to create fantastically detailed worlds that evoke ancient Cambodian architecture and 80’s cartoon funhouses for an aesthetic that is unmistakably contemporary.  

  • Hsien Chun Tsai, “Taiwan”, Screen Print.
  • Alison Ye, “I love candy“, Ceramic, Underglaze, Steel, Epoxy.
  • Yuri Hyun, “Spring”, Mix-Media.

When I spoke to Ma Shang, one of the founders of the Zing collaborative, about the exhibition he first told me there was no theme.  After a pause, he then stated “the theme is we exist”.  As white people like myself continue to fight our way down the semantic rabbit holes of terms like “identity politics” and “political correctness” this exhibition serves as a reminder that defining and redefining racial categories, Americanness, and contemporary art norms remains a privilege for a few.  In the last few decades, identity has found ubiquitous expression in contemporary art through individual works and exhibitions not because artists and institutions wish to uphold boundaries, but because in order to break them down we first need more equal representation.  The United States has a complicated and violent history with regard to minority groups, migrants and immigrants that continues today.  We are a country of immigrants that quickly invented concepts like “white” and even the peculiar definition of “asian” in order to maintain power for some groups and withhold it from others.  Of course, words alone are not enough: laws like the Chinese Exclusion Act forbid ethnic Chinese from entering the United States.  The law was not repealed for 61 years—in 1943, even as Asians became the “model minority” in the white imagination.  San Fransisco was always at the forefront of these issues, and Zing today is perfectly positioned to continue these conversations in a public way even if they are doing so covertly or implicitly.  

We must acknowledge that no matter how its turned, the Rubik’s cube of “artist” in the popular imagination contains these tinges of whiteness and maleness.  This puzzle is solved only by taking things apart and writing new histories.  For Asian Americans and groups like Zing, flipping this narrative is a vital task.  The challenges of immigrating to a new country remain prohibitive to creating art: acquiring language skills, navigating cultural norms, finding creative ways to extend continually expiring visas.  These challenges are so far removed from the experience of most Americans that indeed, the theme “we exist” is itself palpable and most powerful.  Artists in the inaugural exhibition of Zing engage the same themes that all artists engage: abstraction, the body, loss, time, etc. while using the same tools and techniques, too.  Since romanticism, a large driver of artistic work and identity is the idea of alienation: that feeling that one does not quite belong.  Here one relates in at least a tenuous way to the experience of immigration.  For what artist, or indeed what human being, has not felt a pang of dislocation or separation?  It is in compassionately recalling these emotions that one is able to recognize what it means to be human, and what it is to create and enjoy art.  

In forming a collaborative around a minority identity these artists celebrate of the uniqueness of an asian perspective as it operates in the United States, and at once reject the notion that they are somehow wholly apart from American citizen artists and/or non-asian artists.  In viewing the inaugural Zing exhibition, asians and non-asians alike must remind ourselves to do the same.  This is the challenge and force of Zing: is it possible to stage exhibitions that assert the identity of minority groups in a way that also celebrates individuality?  If Zing’s inaugural exhibition is any indication, the answer is yes, in San Fransisco and the world.  

  • Shang Ma, Founder and Curator of ZING.

This is my second Gravity Falls fic and first BillDip (sortof) fic. I want to thank @ladyofthegeneral for her lovely BillDip art and @smolskey for writing “Desperate Measures” which brought me into this fandom. Please be gentle with me. 

UPDATE: Due to the high amount of people that like this (bless you all), this has expanded into a multi-installment thing under the “Fractured Falls” AU. Again bless and thank you all for the support!

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A Journey Through Armenian Music and History

For the commemoration of the centennial year of the Armenian Genocide, last year Armenia’s musical prodigy Tigran Hamasyan, along with the Yerevan State Choir embarked on a special journey through Armenian music and history. They uncovered ancient manuscripts at Matenadaran in Yerevan, and were allowed to photograph these ancient songs and hymns that haven’t been heard for a very long time.

Deciphering The Old Language - Luys I Luso

After meticulous deciphering the old language, they re-sang and revived the old sounds of our ancestors, and the result is the new ‘Luys I Luso’ album. Then together, along with Tigrans famous grand piano, they toured through old Churches and Monasteries in not only Armenia, but Western-Armenia in cities like Ani, and Akhtamar Island off the shores of Lake Van. Even after 100 years of turmoil, these territories are now deemed unsafe once again due to Turkish/Kurdish conflict, and threats and attacks by ISIS. Fortunately, two talented film-makers documented the whole experience. Along with modern innovative technology, animation, and the ‘Luys I Luso’ music recordings from the tour of these sacred ancestral sites, it has all been turned into an immersive multi-media installation. They were able to capture the essence and the vision from beginning to end, to share with the world.

The end-result is a wonderful spiritual re-creation of old Armenian Music. For more on this project visit

Koki Tanaka, Provisional Studies: Workshop #7 How to Live Together and Sharing the Unknown, 2017 / burglars

In July 2017, this multi-media installation was damaged while on view at Skulptur Projekte Münster. Late in the night of July 31, an unidentified group of burglars broke into the local university building where the piece was being shown and stole a large amount of the piece’s technical equipment. The piece was temporarily put on hold while new equipment was collected.

The incident was being investigated as a “typical burglary,” as opposed to an intended act of “vandalism.”


Maria Campos-Pons, Spoken Softly with Mama, 1997, Multimedia Installation

I will display two pieces by the Afro-Cuban artist Maria Campos-Pons, both of which examine Afro-Cuban female identity and provide artistic commentary on feminism, racism, and their intersectionality within Cuban culture. This first piece exhibited by the artist is Spoken Softly with Mama, which was first exhibited in New York in 1998, and it places a “strong emphasis on modes of expression rooted in Santeria practices at the center of the project”. (12) The projected video in the multi-media installation piece captures the image of a familial scene involving a young girl and her mother. Their conversation is soft and whispered, showing close intimacy between the characters. This work is a nod to her Afro-Cuban female family members, who were all descendants of Nigerian slaves forced to the island of Cuba. Her mother, grandmother, sisters, and aunts are all featured from afar are shown exchanging stories and trinkets. The multi-media exhibit features embroidered silk and organza on top of ironing boards with photographic transfers, cast glass irons, cotton sheets, and projected video tracks like the one discussed previously. Spoken Softly with Mama is a symbol of the Afro-Cuban woman’s experience on the island and integrates personal memory and experience to represent this. Like La Familia, it places women at the forefront of the artistic piece which is a mode of empowerment for Afro-Cuban women.

“Terminus” visualized Atlanta’s transportation past, present and future and New York City subway tunnels. It was a multi-media installation created from light, ribbon, string and video. Projection created by Pablo Gnecco and sound design by Adam Babar. The audience was able to enter “Terminus” and traverse the artwork as if walking through a subway tunnel. This project considers what the city of Atlanta could become if their transportation issues were resolved.

— at The Goat Farm Arts Center.


Marina Abramovic, Balkan Baroque (Father) / Balkan Baroque (Mother), 1997. Multi-screen installation (detail views). Courtesy the artist.

The Hall of Biodiversity presents a vivid portrait of the beauty and abundance of life on Earth, highlighting both biodiversity and the factors that threaten it.

Ecological biodiversity is illustrated by a 2,500-square-foot walk-through diorama that depicts part of the Dzanga-Sangha rain forest, one of Earth’s most diverse ecosystems. Featuring more than 160 species of flora and fauna, the diorama uses video and sound to re-create the ecosystem at dawn, at an elephant clearing, and degraded by human intervention along a road.

The hall’s Spectrum of Life exhibit showcases the diversity of life resulting from 3.5 billion years of evolution. More than 1,500 specimens and models, from microorganisms to terrestrial and aquatic giants, are organized into 28 groups along the 100-foot-long installation.

Underscoring threats to biodiversity, a timeline of the five previous mass extinctions includes examples of species lost. A nearby display case features examples of extinct and threatened species, including the long-extinct Dodo bird and the threatened Siberian tiger. A multi-screen video installation provides a tour of nine ecosystems and explores perils to preservation, and a regularly updated BioBulletin video features the latest in biodiversity research.

cassassandra  asked:

Do you have any recommendations for fantasy and/or science fiction written by women? Especially multi-installment series?

Sure! :)

First and foremost: Lois McMaster Bujold, one of my favorite authors of all time. My favorite series of hers will always be her Vorkosigan Saga (see my guide to reading order). But I also especially love her Chalion series, which I think would very much appeal to fans of ASOIAF (some reccing of it here). There’s also her Sharing Knife series, which I don’t consider a favorite, but is still very good and has a lovely romantic story (you can read the first few chapters here). She also has a solo novel or two that are rather good.

Another author I like is Naomi Novik, and her Temeraire series. I rec it here, along with some other series. You like dragons, these are the books for you.

I haven’t read that much Connie Willis, but she’s excellent (she’s the #1 winner of sf awards for a reason). Her time travel novels are not exactly a series as such, but share some characters and setting. (I may never read Doomsday Book again, though — it was very good, but way too depressing for me.)

Diane Duane is one of my favorite Star Trek writers ever. Her stories of the Romulans are considered by fans to be more canon than actual canon. ;) She also has an excellent YA series, Young Wizards, which I’m terribly behind on (I’ve only read like the first two books ages ago), but I know has a fiercely devoted fandom. And I know she has other series too, they’re probably all quite good.

Other female sf/fantasy authors I like… hmm, Jody Lynn Nye, and her Mythology 101 series; and Esther Friesner, who had multiple series that are probably out of print now but I loved in the 90s — she also edited the Chicks in Chainmail anthology series, which featured (mostly) women authors and female protagonists; and all the women authors involved in the Thieves’ World series (including Diane Duane, whose characters were my favorites).

And of course there are certain rather famous female sf/fantasy authors that I like, but who don’t need me to rec them, I’m sure. :)

karadrinkstea  asked:

How do yup convert a simpack lot to a library package file ( I saw your reply to francythatsims)? I tried before but I ended up with a bunch of files and I didn't know what which was the lot.

I’m going to publish this in case anyone else is curious.

Here are the steps:

  • Run your sims3pack through Custard
  • If it has stuff other than just the lot and images, uncheck them and “Save As”
  • Then, use the Multi-Installer to extract the package
  • I recommend checking the “Rename Files on Save” box though this only works if there is only one package in the sims3pack
  • Put the package file in your Library folder

If you don’t remove the files with Custard first, the Multi-Installer will extract EVERY package in the sims3pack. Sometimes this is the only way (because Custard occasionally will give an “unhandled exception error”). If that happens, look in the sims3pack again with Custard. Every package will have a random string of letters+numbers name. Note the one that is first (which is the lot itself). When you extract, find that one and rename it to your lot. You can then delete the rest of the packages since those are just the custom content files included.

You can do this with worlds too! Custard does not like cleaning world sims3packs for some reason so, if I get a world that has CC attached to it, I usually do this to use them, rather than install the sims3pack and the unwanted CC.

  • Use the Multi-Installer to extract the package
  • Rename the package that is the actual world (by matching the random names as explained above) to a .world instead of .package
  • Navigate to your “C:\Program Files (x86)\Electronic Arts\The Sims 3\GameData\Shared\NonPackaged\Worlds” (or if you have it through Origin or Steam, the equivalent of this location) and put the .world file here. 
  • The only other world that will be in this folder right now should be Sunset Valley.

Hope this is helpful! I’ve not tried this with sims but that is generally because I don’t download very many sims and try to never download any that are sims3packs.