For International Women’s Day, I want to tell you a little story that I just wrote my art history paper on.
This is Judith Slaying Holofernes by Artemisia Gentileschi. It depicts the violence of two women decapitating Holofernes’ head (one of the general’s of the King Nebuchadnezzar’s army). Gentileschi is known for painting scenes during the 17th century Baroque movement that illustrated violence towards men. This is because whenever she was 18, she claimed to have been raped by one of her father’s colleagues at the university she studied art at. When she spoke out against him, the man went through trial but was never punished for his actions. Judith Slaying Holofernes is a story portrayed in the bible. At the time, the Assyrian army was about to destroy the town of Bethulia. Judith had snuck into his tent late at night with her maidservant, seduced him, got him drunk, and decapitated his head when he passed out. The next day, she had hung his head on the gates to the city showing that the entire Assyrian army couldn’t go further because of their dead general. Because of this action, Judith was seen as the city’s heroine. Gentileschi’s characteristics in this painting are shown to be very forceful and violent. She is telling this story out of anger through her experiences with men. To the audience, it shows that women (even religious ones) can be a lot more than what men can expect from them, and nothing is stopping them to get justice. And if you don’t think that is not just the most badass thing you’ve heard all day then I don’t know what is.
Colorful Elements from Nature Seamlessly Blended Into Vintage Photographs
Natural Act is a collection of creative photo collages in which Turkey-based photographer Merve Özaslan merged multiple images into intriguing narratives. Using vintage black and white photographs, the artist blended color elements into the scenes to create unexpected visual stories. Viewers are invited to investigate how the surprising alterations change the meaning of the work.
Straight ahead or two steps forward, two steps back? Linear and non-linear narrative in BBC’s Sherlock
I was probably not the only one to be blown away by the complex narrative in season 3 of Sherlock. It has been nagging me for a long time, so of course I had to visualise it.
What started as an experiment, turned into a monster that would not let me go. In the end, I just had to finish it, so here you go. (If someone ever tells you that they intend to make 224 frames by hand, please tell them to go learn animation properly. I do know that I ought to!)
This is what you need to know when watching the animation:
The size of the jumps do not match time passed in the show’s universe.
The jumps are placed roughly at the point in time in the episode where they take place. Since legibility takes precedence, complex episodes do not align well.
Jumps forwards in time are only noted when they are very large and obvious in the storytelling (weeks or months) or when they are part of a non-linear narrative.
Considering the recent discussion about the order of events in A Scandal in Belgravia and The Hounds of Baskerville, I should also point out that each episode has a line of its own. I did consider letting the dots jump to the right line when there are flashbacks to earlier episodes, but that would have turned this regular monster into a flaming balrog that would have burnt me to crisp. So each line refers only to that episode and flashbacks to earlier episodes are simply put to the left of the events that actually take place in the episode. I hope that made sense … :-)
When I was analysing the structures of CYOA [Choose Your Own Adventure] works a few years back, I
began to recognise some strong recurring design patterns. I came up
with some home-brewed terminology, but didn’t ever lay it out in a nice
clear way. This is a non-exhaustive look at some of the more common
approaches, somewhat-updated (a lot has changed since then).
I should stress that these aren’t discrete categories: while a lot of
works will fall very straightforwardly into a single pattern, many will
involve elements of multiple patterns. (And yes, I’m aware that you can
often simulate one using the mechanics of another. That’s mostly beside
the point.) Also, the example diagrams I’m using are smaller and
simpler than would be likely in actual works.
On structuring choice, mostly in visual novels, choose your own adventure, and interactive fiction.
For a week or so now, I’ve been wanting to talk about Kingsman: The Secret Service, which I was finally able to watch, and which I genuinely loved. Not only is it an engaging, well-acted, well-scripted action movie that is funny, touching and littered with pop cultural hat-tips, but it manages the difficult trick of being both an homage to and a biting debunk of the James Bond franchise. Specifically: Kingsman takes all of Bond’s hallowed trappings – the spy gadgets, the sharp suits, the suave badassery – and explicitly removes both the misogyny and the classism that traditionally underpins them. Being a Kingsman, or gentleman spy, as explained by veteran Harry Hart to protégé Eggsy Unwin, isn’t about having the right accent or upbringing, but “being comfortable in your own skin” – the exact opposite of Bond’s womanising, macho façade and aristocratic heritage.
The history of a medical instrument reveals the dubious science of racial difference.
“This is a problem not just with lung capacity measurements but with health inequality more generally. There’s vastly, vastly, vastly more research on genomics than on the social determinants of health. Part of the problem is the infrastructure of science. What kinds of questions are considered scientific?”