oblique angle

Cinematography - Shot Types

Establishing Shot - a shot that establishes the setting of the scene. Usually a wide shot.

Titanic (1997)

Master Shot - A shot that includes all the actions of a scene. Usually a wide shot.

American Beauty (1999)

Two-Shot - A shot that has two subjects next to each other. Sometimes shows camaraderie.

Pulp Fiction (1994)

Over-the-Shoulder (OTS) - a shot of one subject that includes the shoulder of the character opposite the subject. Makes the scene feel more crowded or the characters closer.

The Dark Knight (2008)

Point-of-View (POV) - a shot from the perspective of a character, animal, or sometimes object. Can help convey what a certain character is feeling.

Reservoir Dogs (1992)

Tracking Shot - a shot that follows the action, usually on a dolly.

The Shining (1980)

Dutch Angle - a shot that is tilted to give the effect that something is not right.
Also called: German angle; Dutch tilt; canted angle; oblique angle

Mission Impossible (1996)

High Angle - an angle that is shot from above the subject. Makes the subject appear small or powerless.

Matilda (1996)

Low Angle - an angle that is shot from below the subject. Makes the subject appear large and powerful.

Citizen Kane (1941)

anonymous asked:

If you're still taking prompts - I hope - Laurent's POV of the scene in the palace baths would be fascinating.

Water falls onto Laurent’s neck and shoulders, the whole pitcher at once, a weight almost like a blow. It’s as good as fingers digging into the muscles there, and he gives a small gasp of relief as the soap sluices off him and to the floor.

“I remember the first time I did this,” says Damen.

Laurent, off guard, has a mind running along other roads, and so it takes a few seconds for the memory to spring forward. They are standing in the baths; Damen is behind him, attentive, having undressed Laurent with practiced hands, a a private ritual that neither of them are willing to abandon. Damen has set down the pitcher now. His hand on Laurent’s ribcage is gentle, but Laurent’s skin prickles and shivers, wary, beneath it. He remembers.

“Yes,” Laurent says. His voice is completely even. “I imagine neither of us were enjoying ourselves to this extent.”

“If I hadn’t caught your wrist,” Damen says, “what would you have tried next?”

“You want to talk about this.”

“We should be able to.”

Laurent turns around, careful of his bare feet on the tiles, which are now slippery with soap. He can follow Damen’s reasoning. They’ve managed to talk frankly about Auguste, the single greatest shadow that hangs over their union. Anything else should be comparatively easy. Laurent has spent hours tracing scars by moonlight on Damen’s back, sleepless and tense and aching; yes, Laurent is able to retread all of those events in their history that send regret in hot spirals through his stomach. He is able to do all sorts of things.

“Why?” he says, quiet.

“Trust me,” Damen says.

A volley that Laurent has no defences against; not any more. The totality of his trust still strikes him at odd moments, when he is walking from place to place, like a dream. Like an unreal and precious object.

Laurent says, deliberate, “You never stood a chance. I had the advantage of your identity. I would have insulted your father, your mother, and every aspect of your kingdom that you held dear. I didn’t need your desire. Your pride was enough. I would have ripped open your soul if it gave me the excuse I needed.”

“To flog me.”

“To kill you.” The shivers have spread. Laurent ignores them, and looks up into Damen’s face. It is his whole unlikely life that could be the dream; Laurent could wake up tomorrow, sixteen and completely alone, grown up wrapped around his anger and fear and loss like a rose bush, all twists and green thorns. It would not surprise him. It might, however, kill him. “You know that.”

“I know.”

Damen is touching Laurent’s side again. He moves his fingers, a small caress.

The air between them is like the undisturbed edge of a lake. Damen’s eyes are warm, and the why of this shudders abruptly through Laurent. The gold cuffs are the evidence of their forgiveness of one another, but Laurent has worn his now for long enough that it might be part of his skin. Now he has spoken terrible words and Damen has absorbed them, forgiveness intact. The sensation is like the metal closing around Laurent’s wrist for the first time, in the tent. Something bright and unexpectedly heavy. Something assured.

“You could take the skin off my back,” says Laurent. It is not what he meant to say. “You. I wouldn’t–you wouldn’t even have to tie me to the post.”

Damen blinks. His hand trails up the wet skin of Laurent’s chest to rest on Laurent’s shoulder. He says, wondering, “I believe you.”

prettyokayray  asked:

[re: cuttlefish masquerading as crabs] aren't cuttlefish also blind??

They’re colorblind, but not totally blind. Yet they’re still able to match the colors of the area around them, not just the contrast! It’s all because cuttlefish skin is super cool. 

Basically, cuttlefish skin is covered in chromatophores - little organs that have muscular control and contain pigmented sacs. Each is attached to it’s own nerve, which mean they can be controlled independently.  As these dilate or contract, different patterns display across the skin. Chromatophores contain some basic colors - generally only yellow, brown, and/or red. What’s more, the skin itself contains light sensitive pigments that process information about the animal’s immediate surroundings - but still, they’re matching to information about degrees of contrast, not color. 

(First image - individuals chromatophores at a high resolution. Second image - a diagram of the inside of a chromatophore. From Nature). 

So where does the ability to accurately change color come from? It turns out there are two different other types of cells in cuttlefish skin that allow them to - entirely passively - match and mimic the colors in their environments. These are called iridiophores and leucophores. 

Iridiophores are basically stacks of thing cells that reflect light back at different wavelengths depending on the angle that they’re observed at. When viewed from above they look blue, but appear red from a more oblique angle. Since cuttlefish can control the texture of their skin as well as the chromatophores in it, a correct positioning can allow these cells to contribute to the visual appearance of the animal. 

Leucophores are another type of reflector cell that is specific only to cuttlefish and octopus, and they have two jobs. Leucophores both scatter full-spectrum light in a way that makes them appear white (this is a similar reason to why polar bear fur appears white) and reflect back whatever color of light they encounter. They don’t change depending on the viewing angle, but are thought to support color matching by reflecting ambient light and by helping to break up the cuttlefish’s outline. 

For more really cool reading on cuttlefish skin, check out this Nature article and this one from Nat Geo. 

´I’ve smoked well over a hundred thousand cigarettes in my life, and each one of those cigarettes meant something to me. I even enjoyed a few of them. I’ve smoked O.K., great, and terrible cigarettes; I’ve smoked dry and moist, aromatic and almost-sweet cigarettes. I’ve smoked hastily, and other times slowly and with pleasure. I’ve scrounged, stolen, and smuggled cigarettes; I’ve obtained them by devious means, and I’ve begged for them. I once paid thirteen dollars for a pack at a New York airport. I’ve thrown out half-full packs only to fish them back out of the rubbish to render them useless once and for all under the tap. I’ve smoked cold cigarette butts, cigars, cigarillos, bidis, kreteks, spliffs, and straw. I’ve missed flights because of cigarettes and burned holes in trousers and car seats. I’ve singed my eyelashes and eyebrows, fallen asleep while smoking, and dreamt of cigarettes—of relapses and flames and bitter withdrawal. I’ve smoked when it was more than a hundred and ten degrees and when it was ten below. I’ve smoked because I was full and I’ve smoked because I was hungry, because I was glad and because I was depressed. I’ve smoked out of loneliness and out of friendship, out of fear and out of exuberance. Every cigarette that I’ve ever smoked served a purpose—they were a signal, medication, a stimulant, or a sedative, they were a plaything, an accessory, a fetish object, something to help pass the time, a memory aid, a communication tool, or an object of meditation. Sometimes they were all of these things at once. Every cigarette I’ve ever smoked was a good cigarette.


I’ve often dreamt of smoking in an art museum. I imagine how I would sit on one of those smooth, solid-wood benches already warmed by the obliquely angled afternoon sun in front of a quickly painted and austere group portrait by Frans Hals, for instance, and light up a Finas Kyriazi Frères, a filterless Oriental cigarette that sadly vanished from the market a few years ago. I’ve no doubt that this would be a moment of absolute clarity, perhaps my greatest moment of happiness. But this will never happen. I no longer smoke.`

This text was drawn from “Nicotine,” by Gregor Hens from Other Press.

Steve/Tony Fic Recs: Dom Tony

This list is for two anons who asked for Dom Tony fics since we see more of submissive Tony in fic. Full disclosure, I haven’t read much of dominant Tony, but these are some great fics to check out. Please heed the tags and warnings. Thanks to @viudanegraaa​ for the help :) 

Remember to leave kudos and comments for your hard-working authors! 

Permission to Surrender by The_Kinky_Pet: “I have to be so careful, so in control as Captain America. If I don’t pay attention to my strength, I could hurt someone. As a commander, I have to keep on top of things, give orders, take responsibility. I wouldn’t want my life to be any other way, but sometimes,” Steve hesitated, “I’d like to let go. Let someone else be in charge, make the decisions, give the orders.”

In which Steve has no difficulty trusting Tony, but Tony may have some trouble trusting himself… (LePeru’s fanart)

Surrender by The_Kinky_Pet: “I’d want him to take control. I’d want him to tie me down, pin me in place so I could barely move. I’d let him tell me what to do and I’d like it because it was what he wanted; I wouldn’t have to think about it, just obey. I’d kneel at his feet and I’d beg him for it… I want to surrender.”

“Tony, there’s only one person I trust that much.” Steve slid to his knees. (more fanart and WIP sequel)

Nostalgia by blue_jack: "Fuck my life. Why me?“ Tony asked.

(AU of Nostalgia: “I’m sorry, Steve, but without a Dominant, you’re stuck here.”)

Leave Your Marks Written Upon My Skin by blue_jack: “I want you to keep your hands right here, alright?”

Living on Your Breath by Sineala (@sineala​): The Avengers have faced Onslaught and come home. The team has assembled again. And Steve is finally together with Tony. They’re in love. Everything is perfect. But this happiness is all too brief, as Tony is kidnapped by forces unknown. Steve rushes off to rescue Tony, only to find that Tony has been brainwashed and turned against him. Now Steve, captured and tortured by the man he loves, must sacrifice everything he has to stop Tony from becoming a monster. Their relationship will never be the same again… if they both get out of here alive.

(sequel: A year after their captivity, Steve and Tony reclaim the rest of their lives together.)

The Seven Day Contract by Cassy27: “Seven days,” Natasha said, her eyes switching between the two men present, “Mr. Rogers has the right to one hour of complete freedom every day. If Mr. Stark breaks the rules, I’ll be here in less than twenty minutes to kick his ass, and rest assured, I can kick his ass.”
“When have I ever broken a contract?” Tony asked, rolling his eyes, “Don’t worry, Nat, I’ll take good care of him, like it says in the contract.”

For seven days, Steve agrees to be Tony’s submissive. Then everything turns complicated.

In the Springtime of His Voodoo by shaenie: “I’m removing Captain Rogers from this base, but not from active duty. I want him as SHIELD’s liaison to Stark Industries first and foremost. He’ll report directly to me,” Fury says. “As it is, your identity as Captain America is not public knowledge and it will remain that way until I say otherwise. That said, if you think you can get Tony Stark to work with you if you disclose that information, you have permission to do so.” (Don’t Look too Closely (all the angles are oblique series)

Patron of the Arts by Sineala (@sineala​): Steve and Tony try something new in bed. Well, okay, on Tony’s desk. Definitely something new, though. It’s time for some roleplaying!

We’ll Go a Few Rounds by ChibiSquirt (@chibisquirt​): Steve and Tony were planning to play tonight anyway, but then Tony showed up in his Halloween costume.

I won’t leave you falling by BlossomsintheMist (@blossomsinthemist​): 

Tony doms for Steve, which involves some specially enhanced red rope, cock rings, two vibrators, and a lot of orgasm control. It works out. Bottom Steve, trembling and desperate to come, loving dom Tony, plenty of aftercare.

We reveal ourselves when we are least like ourselves by BlossomsintheMist  (@blossomsinthemist​): There are times when Steve needs to be someone else, something outside himself. And at times like that, Tony is there to help. He knows what Steve wants, and what he needs. Pure dom/sub established relationship porn, taking into account Steve’s flexibility and physical skills.

Whatever You Ask by BlossomsintheMist (@blossomsinthemist​): 

Sometimes Steve just wants to let go. Tony’s perfectly willing to help with that. The two of them try something Steve’s been wanting for a while. Basically PWP with added feelings, established relationship.

Please Please Me by BlossomsintheMist (@blossomsinthemist​): 

Steve looked so beautiful flushed and wanting, on his knees, begging. Day 4 of Kinktober: Begging)

To Sweep the Will Away Entirely by BlossomsintheMist (@blossomsinthemist​): “See,” Tony murmured in his ear, hand still stroking softly through his hair, “I know you like it. Love this, love me to call you names, to rub it in. Love to be humiliated, don’t you, sweetcheeks?”  (Day 5 of Kinktober: Humiliation)

Baby, You Can Drive My Car by BlossomsintheMist (@blossomsinthemist​):  “Nothing but the best for my best guy,” and this time, Steve’s groan was soft and shuddering and all about Tony calling him that old-fashioned phrase, it never failed to make him feel warm and, and soft, and cared for, the way Tony always managed to do so damn well, “this is the Lamborghini of fucking machines, all right? (Day 10 of Kinktober: Fucking Machine)

Baby One More Time by BlossomsintheMist (@blossomsinthemist​): 

“And your color now?” Tony said. He was moving around behind him, Steve thought, and then told himself to lay off. He didn’t need to analyze Tony’s every movement; this wasn’t a mission. He didn’t need to be Commander Rogers right now, wasn’t that the whole point?

Well, maybe he needed Tony’s help with that. Maybe that was the whole point. “Green,” he breathed out into the covers over the bed. (Day 11 of Kinktober: Sadism/Masochism)

Blushes Per Hour by BlossomsintheMist (@blossomsinthemist​): 

Steve chewed on his bottom lip. “Well, no,” he said. “Um, but.” He was breathing heavily now, through his nose. “Rachel liked it when I did it, because she has, uh, she has sensitive breasts, and I, um, err. Sometimes I’d pull on my own nipples during, or, or after, on my own, and. And I’d imagine—wonder, really, if I was. If I had enough, or—”

“Are you saying you’ve fantasized about this?” Tony said, and he couldn’t help the pure delight that came through in his tone, because had he actually stumbled onto one of Steve’s kinks, here? He’d never let on at all before, not at all. (Day 13 of Kinktober: Titfucking)

To See Its Truth by BlossomsintheMist (@blossomsinthemist​): 

“There’ll be time for me after this,” Tony told him. The heavy ache, the drag and fullness and wet, was making his cock hard again, so that he could feel it bobbing under his shirt. The fabric felt sweaty, sticking to his back and chest and nipples. “I’ll probably only come once, after all. Just let me make you feel good, champ.” (Day 14 of Kinktober: Role Reversal)

You’re My Medicine by BlossomsintheMist (@blossomsinthemist​): It was just that Steve liked harder kinks, and it seemed like the kind of thing that would appeal to the intense sensation play side of him, always pushing himself and looking for something to send him flying higher. It wasn’t the same as a flogger stinging over his back, but it was more intimate, more invasive, Tony figured—the same intensity, but in a totally different way, and maybe … gentler, softer. Something it would be easier for Tony to give him the way he wanted it, even the way he liked it. (Day 15 of Kinktober: Sounding)

Body and Soul by BlossomsintheMist (@blossomsinthemist​): “You’re going to make me really wait for this, aren’t you,” he laughed after a while, panting as Tony twisted his fingers gently on his nipple and made another wave of sensation arch through him.“I don’t know, sweetheart,” Tony said, smiling himself. 

“Depends on how fast you can come from what I’m doing, I guess.” He rubbed his thumbs up against the base of Steve’s nipples, the hard, red little nubs that felt very hot now, hot and prickling under each touch. (Day 19 of Kinktober: Nipple Play)

Go Time! by Agent C (arh581958): Tony is the average teenage omega Avenger. He’s smart. He’s handsome. He’s talented. He also happens to be dating the hottest alpha in the whole school. He just received his latest mission: Steve was in rut! (Or: How to Take Care of an Alpha in Rut). 

When You Come Back Down by MusicalLuna (@musicalluna​): After a long night of play, Tony is there for Steve. A fluffy aftercare fic.

Wrapped in Soft Lavender by Tsuki_Amano: It’s been a long day for the both of them. There’s nothing quite as rewarding as spending an evening winding down with Steve. And given how stressed his lover is, the occasion probably calls for bubble baths and massages.

Cuffed by ashes0909 (@ashes0909​): There was a briefcase Tony held sometimes. He used it when they assembled, or when he had a particularly precarious board meeting to attend. It contained the suit, iron man red, sleek as much as sturdy. But all Steve saw was the thin metal chain; twisted steel from the handlebar to Tony’s wrist.

Saddle up, buttercup by fakesheep-luna (octavaluna)"Are you really a mechanic or have I accidentally walked into a porno?”

As far as first meetings go, theirs is pretty damn awesome. Steve is a kinky slut, Tony may be more than a little bit of a sadist and a good fuck is a perfectly fine form of payment for emergency car repairs. And that should be the end of it, but then again, Steve turned himself into a human guinea pig once just for the sake of getting the fuck away from his hometown. The memory of Tony’s hands on his ass is more than enough to make him ignore all the offhanded mentions of the man’s criminal record and focus on new and creative ways to wreck that old pile of junk that is supposed to be his car.

The sex is worth it. The sex is worth everything.

Our Dual Nature by Winterstar: He will do anything for Tony in this room. Outside, he’s Captain America/Steve Rogers, inside he’s only omega – Tony’s omega. (A/B/O)

All That’s Left by Winterstar: In the midst of the civil war, Steve meets Tony at an abandoned hotel. (CA:CW, Not-a-Fix-It)

The Fourth Bead by Winterstar“You smell delightful,” Tony says in a whisper and then very gently kisses the nape of his neck. He kisses and licks as he says, “JARVIS said you called, you’re ready and willing. Is that true?” 

“Yes,” Steve says and he closes his eyes to feel the entirety of Tony’s actions, of his firm lips, of his seeking.

The Lost Protocol by Winterstar“Oh, babe,” Tony whispers and pulls him in for a kiss. Now, more than ever, he wants to haul Steve upstairs and dedicate every motion, reaction, and caress to him. He’s never been so entitled before, never been so blessed. Yet, Steve requested something different than what Tony needs. One thing he’s learned in their constant exploration of the ways of dominant submissive pairing is that he listens to the needs of his submissive, Steve. What Steve wants and needs is what he gets. Tony finds that his cravings and desires come secondary, and he feels more fulfilled when he succeeds in giving Steve what he needs.

Standard Operating Procedures by Winterstar: Tony deals with his break up with Steve as the team re-forms and they all move in together in his Tower. Through painful realizations both Tony and Steve hurt one another as they grow to know they are made for one another. A story of pain and promise, self-sacrifice, and hope. A story where outside forces might end their new foundation even before they’ve mended it.

And All of Death’s Angels by Winterstar: Tony’s been kidnapped, and Steve’s been brutally shot….the team must assemble and save them, but will they be on time?

Executive Summary by Winterstar: The last of their story as Tony and Steve find their way through their dom/sub relationship. Tony battles with a devil inside, a devil called Extremis, that could end their relationship and permanently separate them forever.

Hours Not Wasted by tellxmebby: Steve is Tony’s imprinted submissive, and Tony has a little too much fun teasing him in bed. D/s world that I may play around with more in the future?

All Tied Up, Mk I by CptRembrandt“It wasn’t easy to keep Steve Rogers tied up when he didn’t want to be. Of course, it was hard to keep Steve Rogers tied up, even when he did want to be." In which Tony is a sneaky boy, and tries his hand at being a Dominant.

In you I trust by Randigzebra: “Yes..” He breathes out. Tony moves away fast and the leather hits his chest again harder this time. 

“Yes what?” Tony’s voice hard and steady and hits him over the midsection before his answer comes.

“Yes Sir.” He gets out.

“Good boy.” Sometimes Steve wants to give the control to someone else and Tony helps him with that. (I belong to you series)

(Edited to include recs from @lazywriter7​ and @chibisquirt​, thanks guys!)

If anyone wants a themed rec list, hit me up in my inbox! Previous rec lists are here.  

angelcroc  asked:

Does it actually help, while becoming acquainted with new dogs/cats who may not be entirely familiar with humans, to get down on their level and hold still with no eye contact? I feel like they're less intimidated, when I'm low to the ground and not just a huge pair of stocky legs, but that might just be me.

Absolutely. Especially because we don’t tend to notice that we accidentally loom over most smaller animals when trying to pay attention to them. 

One thing that really helps is to crouch down and stay still while turned sideways to the animal. Most animals don’t approach each other head on unless they’re either well acquainted or being aggressive, so facing them directly can be a little bit pushy and make an already uncomfortable animal much more skittish. If you turn sideways and put a hand at your side near them (sometimes out, sometimes just hanging at your side) they can approach at an oblique angle and sniff you while still feeling safe. 

okay oh my god, That Scene with Obadiah is terrible, but also, holy heck, What A Scene. What acting. What camera work. Fantastic. Like:

  • when you first hear the high-pitched whine before you see Stane, RDJ’s like body language there is so unworldly and hits so many visceral Wrong feels. Amazing!!
  • that like…perverse mockery of tender care by Stane (”Breathe. Easy…easy…”)
  • and then Stane just leaves it all behind and lays all his cards on the table basically
  • and then Stane comes around to the front of the couch and there’s all these cool camera angles, and then finally it’s purposefully at a tilt so him and Tony look more vaguely upright, but the wall/column on the back is at this off-putting tilt, and the camera moves around a bit but the angle remains as Stane’s pulling out the arc reactor and there’s this spooky atmospheric soundtrack in the background of it all
  • holy shit this is fantastic:

it’s direct-ish and confrontational - which suits the fact that Tony is the hero, etc etc, but everything is still off and there’s this Wonderland/Up is Down/Mystery Spot eeriness to it that so fckn Works. 

  • “Do you really think that just because you have an idea, it belongs to you? Your father, he helped give us the atomic bomb. Now, what kind of world would it be today if he was as selfish as you?“ HOLY SHIT!!! HOLY SHIST!!!!
    • HOLY. SHIT.
  • “Oh, Tony. This is your Ninth Symphony” AGAIN, HOLY SHIT!!
    • yo the sheer symbolism in that allusion I’m going to flip a table. Beethoven’s 9th was his last work, greatest work, greatest work of all time, etc etc, he was fully deaf by the time he completed it, couldn’t even hear the applause and had to be turned around so he could see the ovation, etc.
    • also holy heck I just found this thing called the “curse of the ninth.” apparently it’s a superstition that a ninth symphony is destined to be a composer’s last, would be fated to die after it or before completing a tenth, those who give credence to this idea believe embarking on a tenth is to tempt fate. Holy. Fuck what is this, holy shit the symbolism.
  • and then finally the camera starts rotating as Stane sits down next to Tony admiring the thing and “showing it off” to Tony, his arm on the couch back behind Tony’s head. Tony, who is DYING because his LIFE-GIVING THING that Stane just unplugged and is just chilling with right in front of his face (”What a masterpiece, look at that”)
  • “This is your legacy. A new generation of weapons with this at its heart”

even after the camera straightened out, it’s not quite “straight,” there’s still these uncanny oblique angles

(edit: obligatory heart!!! HEART!!!!! screaming, I can’t believe I forgot this)


I noticed something interesting about the first verse of Rondo Revolution (i.e. the opening theme to Revolutionary Girl Utena):

The first verse has two distinct ‘voices’ - the main voice who sings the major lines that you’ll see on your subtitle track, and the backing voice who a couple of shorter lines, both in English. It’s natural to expect that the two voices should work together - the backing voice of a song usually supports the main vocal lines, through repetition or other techniques. However, what is interesting in this case is that this backing voice (in true Utena fashion) appears to be a backchannel, actually subverting the main voice. See:

Let’s live our lives heroically, let’s live them with style. 
(Just a long long time) 
Even if the two of us are ever torn apart
(Let go of me) 
Take my revolution.

Keep reading

I'm the Only One

(your rec was good, they always are, but I couldn’t find exactly what I was looking for, so I wrote it. Enjoy Aeren!)

“Do you even understand how perfect you are in every way?” Dean asked as he gently tugged the socks off Sam’s long feet. He kissed the arch of Sam’s right foot, followed by his left as Sam giggled and squirmed. Dean slipped soft fingertips up inside the cuff of Sam’s jeans and stroked the inside of his ankle. “So smart, so funny, so beautiful.” Dean crooned to the inside of Sam’s slender ankles as his long arms reached up and tugged at the waist of the jeans to pull them down Sam’s long legs. Sam laughed breathlessly as he lifted his hips off the bed to make it easier for Dean to get his clothes off. “You’ve already got me, you don’t need to seduce me anymore.” He added and Dean stopped, a frown on his pretty face as he looked up and caught Sam’s eye. “You’re wrong, so wrong. How can someone so perfect be so wrong? I always need to seduce you. You don’t know, do you?” Dean asked, pausing to dip his head down and press kisses into the muscular, hairy calves now exposed to him. “You don’t know how amazing you are Sammy. How much I worship you. So I have to tell you. I have to show you.” He looked back up just in time to see Sam avert his eyes and for the apples of his cheeks to turn the slightest pink. “You’ll know by the time I’m done.” Dean promised and bent his head back to his task, worshipping those mile-long legs. The pale skin and dark hair looked so amazing to him, and he tickled the pit behind Sam’s knobbly, colt knees to see him kick and giggle. “These long legs. They make you stand out in in crowd. They look so good in jeans, or your fed suit or in nothing at all, but they really look best in the air.” Dean smirked and kissed above the knee as he dug his fingers into the tough muscle of Sam’s thighs. Sam groaned and went limp, melting into the bed and Dean pulled himself closer and massaged those thick thighs.“So strong and they make you go so fast. I only run so fast because I have to keep up with you. BUt the view from behind….” Dean trailed off as he slipped his fingers up the backside of Sam’s boxers and rubbed his rough fingertips over the soft skin at the crease of butt and thigh. “Dean, I promise, that’s enough.” The words were breathless and anyone with eyes could see the monsted cock tenting the front of Sam’s boxers, but Dean would not be deterred. He shifted his body to one side of Sam’s and lay down next to him on the bed, skipping over the boxers and jumping right up to Sam’s face. Dean cupped SAm’s face between his hands. “Do you know how precious your face is to me. So expressive, little brother. So gorgeous. YOu could stop traffic. You could get me going with the lift of an eyebrow or the flash of a dimple. Your pretty eyes and your nose and perfect perfect pink lips.” He paused to press a kiss to those perfect lips. “And it’ll be enough when you’re beyond words. When you can’t speak. That’s when it’s enough.” He added in a whisper like a secret. “Your brain , though, baby boy. Your brilliant, brilliant mind. You’ve come up with so many solutions to problems. You’ve saved us over and over and over again. You’re brilliant and it makes you shine.” Dean tilted Sam’s head so that he could press a kiss into the hair at the top of SAm’s head. “This long neck. It’s drives me crazy Sammy. The way it shines with sweat. The way it turns red when you exert yourself. I want to have my mouth on it all the time.” He licked up the side of Sam’s neck, ending at the corner of Sam’s perfect, stubbled jaw. “Your shoulders, man, you could be a model. So big, so strong. Everyone who sees you thinks about it. These big arms and shoulders lifting them up and holding them in the air or…my personal favorite… up against a wall. Love it when you get all Alpha on me, little brother. My BIG little brother.” Dean trailed a line of kisses from elbow, up Sam’s bicep, across his collarbone and then down the other bicep to his elbow. “And you hands. They might be my favorite part of you. Show the whole world what they’re missing out on. Those long fingers; they can be so delicate and yet they’re so strong. And they’re so good and fingering me open. You find all the right spots every time.” Dean sucked Sam’s middle finger into his mouth and pulled it back out, repeating the action with his index finger and back again until both were shining with saliva. Sam was panting, his stomach heaving with each breath and his neck shining with sweat. “Please Dee. I get it, I get it.” He whined as Dean nipped the end of his fingertips. “Nah, you can still talk Sammy. And I’m just getting to the best part: your chest. Fuck, look at this chiseled from marble chest. Jesus, you could fit right in at a museum with all the classics. But, if you were on display I couldn’t do this.” Dean opened his mouth wide and sunk his teeth into the muscle of Sam’s pec above his nipple, causing Sam to arch his back and breathe out a harsh, turned-on breath. Dean sucked the skin into his mouth and let his teeth dig into the muscle until he almost broke the skin, then he released it and pulled back, admiring his mark on the perfect skin. “Love marking you as mine. Love having my teeth marks and finger bruises in your perfect skin.” Dean breathed over the giant, quickly purpling bruise, then snaked his tongue out over the peaked, tan nipple below it causing a squeak and a breathed “fuck” from Sam. “Still talking, I’m not doing a good enough job.” He repeated the bite on the other side then pinched both SAm’s nipples between his thumbs and forefingers, making sure they were as peaked as could be and nice and red with attention. He skimmed down Sam’s stomach. “Baby. Baby. this fucking stomach. It makes me stupid. Look at these hipbones, perfect handholds. Look at these angled obliques pointing me right in the direction I want to go. And Jesus. This line of hair leading down from your belly button right into your boxers.” Dean turned his head to the side and licked the hair in question, groaning like it tasted like a gourmet meal. “You make me crazy baby. I think you’re ready.” he curled his fingers into the waist of Sam’s boxers and wiggled them down over his giant cock, pulled them down his mile-long legs and tossed them off the end of the bed. “It people only knew” he whispered reverently as his lips closed, soft and wet, around the purpled head of Sam’s uncut cock. He wrapped a hand around the big shaft and pulled the foreskin back even more, the wet sound it made making both of them throb. He lipped at the head, loving the smell and the taste and the way that Sam whined and twisted and whimpered under him. No matter how many times he’d tried over the years, Sam’s massive cock is something that Dean can only take one way; it makes him choke and gag even only half-way in and that was not the kind of worship Sam needed. Dean shoved himself off the bed, tossing a bottle of his favorite lube towards Sam on the bed. “Can you help me baby?” He asked, tearing his clothes off and tossing them all over the room. He watched, his whole body thrumming with arousal, as Sam squirted a generous amount of lube into his big palm and wrapped it around his cock, coating it with lube. Dean rushed to pull off the rest of his clothes and kneed back up onto the bed, grabbing the lube for himself and giving himself the bare minimum of prep and stretch. “I like the burn of your big cock baby. I like to feel it push me open. I like to feel you inside me, oh fuck.” Dean threw a leg over Sam’s prone body and straddled his hips, grabbing the lubed up cock and pressed the head to his hole. He rocked backwards, his own dick bouncing in front of him, as he took Sam to the root with one long groan. “That’s it” Dean breathed out as he wiggled his hips to get settled. “Love you baby boy. Now, use those hips and those core muscles that I worship so much and make me lose my mind.” He grinned down at Sam as his hands came up to grip Dean’s hips hard enough to bruise and his own hips began to roll and buck beneath Dean. With all that seduction and build up, it wasn’t long before both were covered in sweat and nearing orgasm. Dean began to swivel his hips opposite to Sam’s thrusts making Sam’s thrusts go impossibly faster as the ned beneath them shook and squeaked loudly. “C’mon baby, gimme. Fill me up” Dean grunted as he began to strip his cock, aiming for the two matched bite marks across Sam’s pecs. Sam’s hips stuttered and his muscles locked as his face twisted with pleasure and Dean could feel his thick cock pulse and empty inside him. Dean lifted his ass off Sam’s softening cock and rolled off to the side to breathe and begin to regain his head. “Not that I’m complaining, but…” Sam trailed off, his voice weak, “you really don’t have to do that everytime someone makes me feel low.” Dean rolled onto his side, squishing Sam’s arm beneath his sticky side in the process. “Yes, I do, Sammy.”

Originally posted by nerd-watching


Since NASA’s Dawn spacecraft detected localized organic-rich material on Ceres, Southwest Research Institute (SwRI) has been digging into the data to explore different scenarios for its origin. After considering the viability of comet or asteroid delivery, the preponderance of evidence suggests the organics are most likely native to Ceres.

“The discovery of a locally high concentration of organics close to the Ernutet crater poses an interesting conundrum,” said Dr. Simone Marchi, a principal scientist at SwRI. He is discussing his team findings today at a press conference at the American Astronomical Society’s 49th Division for Planetary Sciences Meeting in Provo, Utah. “Was the organic material delivered to Ceres after its formation? Or was it synthesized and/or concentrated in a specific location on Ceres via internal processes? Both scenarios have shortfalls, so we may be missing a critical piece of the puzzle.”

Ceres is believed to have originated about 4.5 billion years ago at the dawn of our solar system. Studying its organics can help explain the origin, evolution, and distribution of organic species across the solar system. The very location of Ceres at the boundary between the inner and outer solar system and its intriguing composition characterized by clays, sodium- and ammonium-carbonates, suggest a very complex chemical evolution. The role of organics in this evolution is not fully understood, but has important astrobiological implications.

“Earlier research that focused on the geology of the organic-rich region on Ceres were inconclusive about their origin,” Marchi said. “Recently, we more fully investigated the viability of organics arriving via an asteroid or comet impact.”

Scientists explored a range of impact parameters, such as impactor sizes and velocities, using iSALE shock physics code simulations. These models indicated that comet-like projectiles with relatively high impact velocities would lose almost all of their organics due to shock compression. Impacting asteroids, with lower incident velocities, can retain between 20 and 30 percent of their pre-impact organic material during delivery, especially for small impactors at oblique impact angles. However, the localized spatial distribution of organics on Ceres seems difficult to reconcile with delivery from small main belt asteroids.

“These findings indicate that the organics are likely to be native to Ceres,” Marchi said.

IMAGE….SwRI scientists are studying the geology associated with the organic-rich areas on Ceres. Dawn spacecraft data show a region around the Ernutet crater where organic concentrations have been discovered (background image). The color coding shows the surface concentration of organics, as inferred from the visible and near infrared spectrometer. The inset shows a higher resolution enhanced color image of the Ernutet crater acquired by Dawn’s framing camera. Regions in red indicate higher concentration of organics.
Image courtesy of NASA/JPL-Caltech/UCLA/ASI/INAF/MPS/DLR/IDA

anonymous asked:

What exactly does "noir" mean in film?

HI, well this won’t be the textbook definition of “film noir,” but for me it’s a style of film, usually Hollywood movies, popular in the United States from approximately the end of WWII until around the mid-1950s (some consider Robert Aldrich’s 1955 Kiss Me Deadly the last “true” film noir), which contain certain similarities in style and substance (and forgive the brevity and reductiveness of this list, film noir is a large and complex genre): 

––A grim, often nihilistic tone and philosophical bent. Usually a crime story with a tragic or bittersweet ending.

––A story about a protagonist who faces an unsolvable mystery or otherwise is made to feel small and helpless in a confusing and hostile world/environment, overwhelmed by forces he (or more rarely, she) cannot control. 

––Black and white photography with high contrast images and often oblique and severe angles reminiscent of German expressionism in the silent film era. (Many German directors actually fled Nazi Germany to Hollywood and directed a lot of the best films noir.)

––Iconic “femmes fatale,” women characters who often seduced male protagonists to their doom, Siren-style, who used their sexuality to get what they wanted, and were usually pitted against contrasting “good girls” vying for the protagonist’s affection. (Direct descendants of the “mols” in gangster films, the precursors to films noir.)

There are some films noir which don’t fit the prototype to a “T,” and these are actually some of my favorites, for example Nicholas Ray’s In a Lonely Place, which is about a screenwriter (Humphrey Bogart) trying to overcome his violent tendencies to find love (with Gloria Grahame). 

I am particularly intrigued by femmes fatale, because at first blush it would appear to be a rather misogynistic trope, demonizing women’s sexuality, but upon deeper study seems to be a moment of empowerment for women in film. Men coming home from fighting in WWII returned to find that out of necessity, women in America had broken many of the bonds of gender rolls to enter the workplace outside the home, and many of these women, married and otherwise, had taken lovers while their beaus were off fighting. So this confused and frightened men’s (already fragile lol) egos, and they didn’t know where they fit in society anymore. This is a popular theory about films noir and femmes fatale anyway, but I buy into it to some extent. I think men were as … aroused as they were frightened by women’s newfound independence, and this was reflected in these films. In a way, the femmes fatale in these movies were the first women to be operating on equal footing with the male protagonists of American cinema and men and women viewers alike were intoxicated by this. It’s true that in these films the women were often punished for their independence, but at the same time the movies hardly made this seem like a just outcome, and in fact the moral grayness of films noir is one of the most modern and attractive things about the genre then and now. There was an old-world sensibility to many of these films (not in small part due to what I mentioned before about European directors and writers migrating to America during this time), and American’s fascination with this “otherness” was also a result of WWII and the economic boon that proved to be for the US. It reflected the angst and anxiety and terrible cost of the newfound freedoms afforded the new middle class in this country. 

Anyway, a few of my favorites are:

In a Lonely Place



Kiss Me Deadly

Act of Violence

The Third Man

The Narrow Margin

On Dangerous Ground

Out of the Past

Clash By Night

Born to Kill

Okay, and I haven’t touched on neo-noir films, but we’ll save that for another day, lol. (Needless to say I love the genre, and many of my favorite modern directors were/are heavily inspired by film noir, from David Lynch to Michael Mann.) Thanks for asking, hope that was helpful!

Originally posted by nitratediva

Out of the Past, 1947, dir. Jacques Tourneur.

On Wind Power

So, this thing sometimes happens where a prominent person makes a public claim that wind is a finite resource, and therefore that we shouldn’t make wind turbines because they will stop all of the airflow.  Then everybody points at them at laughs, and the clip gets passed around as a Weak Man argument against renewable energy, etcetera etcetera.  But climate systems are pretty complicated, and people might be making fun of the “we’ll run out of wind” claim without necessarily understanding why it’s wrong.  And it turns out to be wrong in a fairly interesting way.  After all, there’s a certain amount of logic to it- you can’t get energy from nothing!  We’ve got to be depleting something, right?

Asyouknowbob, wind is a rebalancing of atmospheric pressure differences on large scales, from high pressure to low.  To the first order, these are caused mainly by thermal gradients (north-south) and coriolis forces (east-west)- basically, sunlight hits the equator head-on, and the poles at an oblique angle, so the energy density of any given patch of land will be higher at the equator.  The thermal expansion increases pressure at the equator relative to the poles, and convection takes care of the rest, with the direction of Earth’s rotation setting the counter/clockwise direction of the convection cells (if the Earth spun the other way, England would be frozen and Quebec would be temperate).  The presence of liquid water bodies, dark forests, and reflective snow or sand can influence this a bit, as can the atmospheric composition, but honestly the order of magnitude is mostly just set by the spherical geometry of the Earth and its distance from the sun.

A windmill can leach energy from a given gust of wind, sure. But that doesn’t mean the pressure difference across two different geographic regions has suddenly been equalized. Instead, it just makes wind a less efficient conveyor of heat and mass, as if air had a higher viscosity wherever windmills are common. In fact, with pressure imbalances being corrected more slowly, that creates an opportunity for atmospheric imbalances to grow *more* severe.  So the immediate lee side of a wind farm might be dead air, but elsewhere, where people live and work, average wind speeds might well increase!  Think about what happens to the flow rate of water coming out of a garden hose, if you cover half the opening with your thumb. 

So you can see that broadly, wind power is actually a kind of once-removed solar power, with some of the same advantages and disadvantages.  They do, of course, have other consequences.  Higher atmospheric “viscosity” means that our wind turbines are causing a warmer equator, and cooler poles.  Inland areas are more arid, coastal areas are more prone to monsoons, and with extreme windmill proliferation California might even start having seasons.  In general, oceans and large lakes store heat very well, which is why coastal areas are less seasonal, and our windmills insulate those oceans further and prevent them from moderating nearby land areas. 

However, it’s not only solar power.  See, if we increase the “viscosity” of the atmosphere by sticking a bunch of windmills into it, then it’s more tightly tied to the motion of the rocky planet underneath it.  From the perspective of our angular momentum as a rotating planet, it makes the Earth “heavier” in a sense, harder to move.  Thus, we see that unlike pure solar panels, wind turbines draw from a second, non-renewable source of power.  The real problem with windmills isn’t that they use up all the wind somehow- if anything, they increase the speed of the wind you can expect to feel. The real problem with them is that they deplete the Earth’s finite store of angular momentum, slowing down the rotation of the Earth. If unrestrained windmill propagation is allowed to continue, the day and night will get longer and longer, until eventually the spinning stops completely and the Earth becomes tidelocked.  One hemisphere will be trapped in eternal daylight, baked to a desert, while the frozen night on the other side makes life all but impossible.  In the narrow band of twilight at the boundary of these two hemispheres, where the last remnants of humanity scratch out a desperate living, the thermal gradient between the dark and light sides of our world will produce some very strong winds.   They’ll be steady and unidirectional from the day side to the night side, making wind an ideal power source for our dystopian cities.

Oblique Strategies (subtitled Over One Hundred Worthwhile Dilemmas) is a deck of 7-by-9-centimetre (2.8 in × 3.5 in) printed cards in a black container box,created by Brian Eno and Peter Schmidt and first published in 1975. Each card offers an aphorism intended to help artists (particularly musicians) break creative blocks by encouraging lateral thinking.

Origin and history

In 1970 Peter Schmidt created “The Thoughts Behind the Thoughts”, a box containing 55 sentences letterpress printed onto disused prints that accumulated in his studio, which is still in the possession of Eno. Eno, who had known Schmidt since the late 1960s, had been pursuing a similar project himself (which he had handwritten onto a number of bamboo cards and given the name “Oblique Strategies” in 1974). There was a significant overlap between the two projects, and so, in late 1974, Schmidt and Eno combined them into a single pack of cards and offered them for general sale. After Schmidt died suddenly in early 1980, the card decks became rather rare and expensive. Sixteen years later software pioneer Peter Nortonconvinced Eno to let him create a fourth edition as a Christmas gifts for his friends (not for sale, although they occasionally come up at auction). Eno’s decision to revisit the cards and his collaboration with Norton in revising them is described in detail in his 1996 book, A Year with Swollen Appendices. With public interest in the cards undiminished, in 2001 Eno once again produced a new set of Oblique Strategies cards. The number and content of the cards vary somewhat from edition to edition. In May 2013 a limited edition of 500 boxes, in burgundy rather than black, was issued.

The entire story of Oblique Strategies, with the content of all the cards, exhaustive history and commentary, is documented in a website widely acknowledged as the authoritative source, put together by musician and educator Gregory Alan Taylor.

The text of Schmidt’s “The Thoughts Behind the Thoughts” was published by Mindmade Books in 2012.

Design and use

Each card contains a phrase or cryptic remark which can be used to break a deadlock or dilemma situation. Some are specific to music composition; others are more general. Examples include:

  • Use an old idea.
  • State the problem in words as clearly as possible.
  • Only one element of each kind.
  • What would your closest friend do?
  • What to increase? What to reduce?
  • Are there sections? Consider transitions.
  • Try faking it!
  • Honour thy error as a hidden intention.
  • Ask your body.
  • Work at a different speed.

From the introduction to the 2001 edition:

These cards evolved from separate observations of the principles underlying what we were doing. Sometimes they were recognised in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, sometimes they were formulated. They can be used as a pack, or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case the card is trusted even if its appropriateness is quite unclear…

Cultural impact

Many references to Oblique Strategies exist in popular culture, notably in the film Slacker, in which a character offers passers-by cards from a deck. Strategies mentioned include “Honor thy error as a hidden intention”, “Look closely at the most embarrassing details and amplify”, “Not building a wall; making a brick”, “Repetition is a form of change”, and one which came to be seen as a summary of the film’s ethos (though it was not part of the official set of Oblique Strategies), “Withdrawing in disgust is not the same thing as apathy.” This line was quoted in the 1994 song “What’s the Frequency, Kenneth?” by R.E.M., who also mentioned Oblique Strategies in their 1998 song “Diminished” from the album Up. The Oblique Strategies are also referenced in comic 1018, “Oblique Angles”, of popular web comic Questionable Content.

Other musicians inspired by Oblique Strategies include the British band Coldplay, said to have used the cards when recording their 2008 Brian Eno-produced album Viva la Vida or Death and All His Friends and French band Phoenix, who used the cards when recording their 2009 album Wolfgang Amadeus Phoenix. German musician/composer Blixa Bargeld has a similar navigation system, called Dave. In response to their song “Brian Eno”, from their album Congratulations, MGMT has said they had a deck of Oblique Strategies in the studio, but they “don’t know if [they] used them correctly.”

They were most famously used by Eno during the recording of David Bowie’s Berlin triptych of albums (Low, “Heroes”, Lodger). Stories suggest they were used during the recording of instrumentals on “Heroes” such as “Sense of Doubt” and were used more extensively on Lodger (“Fantastic Voyage”, “Boys Keep Swinging”, “Red Money”).

anonymous asked:

Hello! I'm new to the Stony fandom and I was wondering, what are the "classic" fics I should read?

Hello to you too! And welcome to the wonderful world of Stony. :D

Also sorry for my late reply!! :o

I never really worked on a rec list before, so this is gonna be VERY random and VERY short, there’s just too many great fics on AO3, and I’m afraid I don’t really have the time to put up an elaborate rec list right now. There’s a good site, though, for your first general glimpse at the Stony fandom: http://fanlore.org/wiki/Steve_Rogers/Tony_Stark#Fanfiction

My recs (again: very random):

- When I joined the fandom I basically read everything @wordsplat (AO3) is writing. She is a wonderful writer and her fics contain lots of fluff, but also great plot and very VERY well-written characters and dialogues. So that’s hugely recommended, especially: You’re Not Stubborn (Just Impossible)Home Is Where The Time Machine Is and Holding Out For a Hero.

- Everything from @sabrecmc (AO3) is amazing as well. Can’t really pick out a favorite story, she is just hugely talented, though I kinda died and went to heaven while reading A Higher Form of War

- As to “classics”:

Resurrection, Reconstruction & Redemption by Elspethdixon, Seanchai (probably “the” classic fic, at least for me; very plot-driven, but A-amazing dialogues and a truly great get-together. There’s probably at least some minor 616 knowledge needed though.)

Ready, Fire, Aim by gyzym

The Act of Creation Will Be Your Salvation by @scifigrl47 (I loved this to pieces and now that I remember I will have to read the whole series again)

America Isn’t Chicken by Amuly (Ehem, this might be my personal favorite fic of all times, I’ve read it like….. 100 times, probably. So if you’re into great dialogue, great plot, some slightly weird smut :D, two idiots being EVEN MORE HUGE IDIOTS with an ending to simply swoon and die for… that’s your fic to read) 

Don’t Look too Closely (all the angles are oblique) by shaenie (Beware, it’s a very explicit, very kinky BDSM-series, but well-made.)

The Last Love Song of Anthony E. Stark by jibrailis (SO MUCH LOVE FOR THIS)

The Twice-Told Tale by Arysteia

Even The Light is an Illusion by Mizzy (also, a HUGE favorite)

… again, this is by no means a full-out rec list. Do check out the following blogs, they have amazing rec lists: @fuckyeahsuperhusbands, @stonyrecs@superhusbandsrecs, @stevetonyficrecs, @tonystevestories

anonymous asked:

omg thank you for the stony recs. i stayed up really really late reading the lovecraft one. it was so good. do you have a stony fic rec post like you do for cherik?

I do now!

R.C.’S SUPER (soldier) AWESOME STEVE/TONY FIC REC LIST OF DOOM (but not, like, Dr. Doom)

Personal Favorite (I seriously read this like twice a month)

What Lies Beneath by asktheravens (warnings: Lovecraftian horror)

“Carlton’s last log entry just says, ‘I have to go home.  Mother is calling me.’  At about the same time, he made this recording.”  He pushed play, and Carlton’s last words came through the speakers.  The man, a fully trained agent of SHIELD, had sobbed in his last moments, and the sound crackled with his ragged breathing.  They listened in silence as he choked and gasped and called out one word, over and over again: Mother.  Near the end of the clip, he drew a long, shaky breath and must have rallied, for the last sounds from him were footsteps and the faint jingle of the handcuffs.  After that, he could be heard to mutter and sob, mother mother MOTHER in the distance, but the audio broke apart into the sinister hiss of the whisper repeating its terrible message.  The last few seconds were filled with a strange sound that reminded Tony of both an animal braying and a nasty chuckling laugh, and then the recorder shut off for good.

“What the hell did I just listen to?” Steve asked.

Keep reading


9/25/16              Yellow-striped Armyworm Moth - Hodges#9669      

  Another tomato eating caterpillar !!!

Class Insecta (Insects)
Order Lepidoptera (Butterflies and Moths)
Superfamily Noctuoidea (Owlet Moths and kin)
Family Noctuidae (Owlet Moths)
Subfamily Noctuinae (Cutworm or Dart Moths)
Tribe Prodeniini
Genus Spodoptera (Armyworms)
Species ornithogalli (Yellow-striped Armyworm Moth - Hodges#9669)
Other Common Names
Yellow-striped Armyworm (larva)
Cotton Cutworm (larva)
Synonyms and other taxonomic changes
Spodoptera ornithogalli (Guenée, 1852)
Prodenia ornithogalli (Guenée, 1852
Long list of synonyms due to the very large range to South America.
Phylogenetic sequence # 932219
Lafontaine & Schmidt (2010) listed 11 species of the genus in America north of Mexico. (1)
Wingspan 32-44 mm.
Larvae to 45 mm.
Adult: forewing brown with bluish-brown shading inside AM line and near apex and anal angle; oblique yellowish shade line extends across orbicular spot and almost to PM line; white mark below reniform spot forks to form a sideways Y shape; lower median area dark gray (or orangish-yellow in form “flavimedia”); hindwing translucent white with blackish veins and terminal line. [adapted from description by Charles Covell]
Larva: smooth-skinned, pale gray to black with yellowish-orange stripe along each side and two black triangular spots on top of most segments; head capsule brown with black markings and white inverted V shape
California, to Colorado and Florida, througout all of eastern United states and southeastern Canada.) (2), (3), (4), (5), (6), (7), (2), (8), (9)
West Indies, Mexico to Brazil. (9)
Moth Photographers Group - large map with some distribution data.
Adults are most often reported from March to November. Florida and Texas have adults reported every month of the year. (10), (9)
Larvae feed on many herbaceous plants, including alfalfa, asparagus, bean, beet, cabbage, clover, corn, cotton, cucumber, grape, grass, jimsonweed, morning glory, onion, pea, peach, peanut, pokeweed, sweet potato, tobacco, tomato, turnip, wheat, watermelon, and wild onion.

Life Cycle
Overwinters as pupae in soil. Adult emergence begins in early April and continues into May. Egg masses placed on foliage, trees, or buildings. Eggs hatch in about 6 days, and larvae feed for 3 weeks. Sixth instar larvae burrow into soil to pupate. Moths emerge in two weeks. Entire life cycle takes 4-6 weeks. Three to four generations per year.


Jupiter’s North Pole Unlike Anything Encountered in Solar System

NASA’s Juno spacecraft has sent back the first-ever images of Jupiter’s north pole, taken during the spacecraft’s first flyby of the planet with its instruments switched on. The images show storm systems and weather activity unlike anything previously seen on any of our solar system’s gas-giant planets.

Juno successfully executed the first of 36 orbital flybys on Aug. 27 when the spacecraft came about 2,500 miles (4,200 kilometers) above Jupiter’s swirling clouds. The download of six megabytes of data collected during the six-hour transit, from above Jupiter’s north pole to below its south pole, took one-and-a-half days. While analysis of this first data collection is ongoing, some unique discoveries have already made themselves visible.

“First glimpse of Jupiter’s north pole, and it looks like nothing we have seen or imagined before,” said Scott Bolton, principal investigator of Juno from the Southwest Research Institute in San Antonio. “It’s bluer in color up there than other parts of the planet, and there are a lot of storms. There is no sign of the latitudinal bands or zone and belts that we are used to – this image is hardly recognizable as Jupiter. We’re seeing signs that the clouds have shadows, possibly indicating that the clouds are at a higher altitude than other features.”

One of the most notable findings of these first-ever pictures of Jupiter’s north and south poles is something that the JunoCam imager did not see.

“Saturn has a hexagon at the north pole,” said Bolton. “There is nothing on Jupiter that anywhere near resembles that. The largest planet in our solar system is truly unique. We have 36 more flybys to study just how unique it really is.”

Along with JunoCam snapping pictures during the flyby, all eight of Juno’s science instruments were energized and collecting data. The Jovian Infrared Auroral Mapper (JI-RAM), supplied by the Italian Space Agency, acquired some remarkable images of Jupiter at its north and south polar regions in infrared wavelengths.

“JIRAM is getting under Jupiter’s skin, giving us our first infrared close-ups of the planet,” said Alberto Adriani, JIRAM co-investigator from Istituto di Astrofisica e Planetologia Spaziali, Rome. “These first infrared views of Jupiter’s north and south poles are revealing warm and hot spots that have never been seen before. And while we knew that the first ever infrared views of Jupiter’s south pole could reveal the planet’s southern aurora, we were amazed to see it for the first time. No other instruments, both from Earth or space, have been able to see the southern aurora. Now, with JIRAM, we see that it appears to be very bright and well structured. The high level of detail in the images will tell us more about the aurora’s morphology and dynamics.”

Among the more unique data sets collected by Juno during its first scientific sweep by Jupiter was that acquired by the mission’s Radio/Plasma Wave Experiment (Waves), which recorded ghostly- sounding transmissions emanating from above the planet. These radio emissions from Jupiter have been known about since the 1950s but had never been analyzed from such a close vantage point.

“Jupiter is talking to us in a way only gas-giant worlds can,” said Bill Kurth, co-investigator for the Waves instrument from the University of Iowa, Iowa City. “Waves detected the signature emissions of the energetic particles that generate the massive auroras which encircle Jupiter’s north pole. These emissions are the strongest in the solar system. Now we are going to try to figure out where the electrons come from that are generating them.”

The Juno spacecraft launched on Aug. 5, 2011, from Cape Canaveral, Florida and arrived at Jupiter on July 4, 2016. JPL manages the Juno mission for the principal investigator, Scott Bolton, of Southwest Research Institute in San Antonio. Juno is part of NASA’s New Frontiers Program, which is managed at NASA’s Marshall Space Flight Center in Huntsville, Alabama, for NASA’s Science Mission Directorate. Lockheed Martin Space Systems, Denver, built the spacecraft. Caltech in Pasadena, California, manages JPL for NASA.

IMAGE 1….As NASA’s Juno spacecraft closed in on Jupiter for its Aug. 27, 2016 pass, its view grew sharper and fine details in the north polar region became increasingly visible.
The JunoCam instrument obtained this view on August 27, about two hours before closest approach, when the spacecraft was 120,000 miles (195,000 kilometers) away from the giant planet (i.e., for Jupiter’s center).
Unlike the equatorial region’s familiar structure of belts and zones, the poles are mottled with rotating storms of various sizes, similar to giant versions of terrestrial hurricanes. Jupiter’s poles have not been seen from this perspective since the Pioneer 11 spacecraft flew by the planet in 1974.

IMAGE 2….Storm systems and weather activity unlike anything encountered in the solar system are on view in these color images of Jupiter’s north polar region from NASA’s Juno spacecraft.
Two versions of the image have been contrast-enhanced differently to bring out detail near the dark terminator and near the bright limb.
The JunoCam instrument took the images to create this color view on August 27, when the spacecraft was about 48,000 miles (78,000 kilometers) above the polar cloud tops.
A wavy boundary is visible halfway between the grayish region at left (closer to the pole and the nightside shadow) and the lighter-colored area on the right. The wavy appearance of the boundary represents a Rossby wave – a north-south meandering of a predominantly east-west flow in an atmospheric jet. This may be caused by a difference in temperature between air to the north and south of this boundary, as is often the case with such waves in Earth’s atmosphere.
The polar region is filled with a variety of discrete atmospheric features. Some of these are ovals, but the larger and brighter features have a “pinwheel” shape reminiscent of the shape of terrestrial hurricanes. Tracking the motion and evolution of these features across multiple orbits will provide clues about the dynamics of the Jovian atmosphere.
This image also provides the first example of cloud shadowing on Jupiter: near the top of the image, a high cloud feature is seen past the normal boundary between day and night, illuminated above the cloud deck below.
While subtle color differences are visible in the image, some of these are likely the result of scattered light within the JunoCam optics. Work is ongoing to characterize these effects.

IMAGE 3….This image from NASA’s Juno spacecraft provides a never-before-seen perspective on Jupiter’s south pole.
The JunoCam instrument acquired the view on August 27, 2016, when the spacecraft was about 58,700 miles (94,500 kilometers) above the polar region. At this point, the spacecraft was about an hour past its closest approach, and fine detail in the south polar region is clearly resolved.
Unlike the equatorial region’s familiar structure of belts and zones, the poles are mottled by clockwise and counterclockwise rotating storms of various sizes, similar to giant versions of terrestrial hurricanes. The south pole has never been seen from this viewpoint, although the Cassini spacecraft was able to observe most of the polar region at highly oblique angles as it flew past Jupiter on its way to Saturn in 2000

IMAGE 4….This infrared image gives an unprecedented view of the southern aurora of Jupiter, as captured by NASA’s Juno spacecraft on August 27, 2016.
The planet’s southern aurora can hardly be seen from Earth due to our home planet’s position in respect to Jupiter’s south pole. Juno’s unique polar orbit provides the first opportunity to observe this region of the gas-giant planet in detail.
Juno’s Jovian Infrared Auroral Mapper (JIRAM) camera acquired the view at wavelengths ranging from 3.3 to 3.6 microns – the wavelengths of light emitted by excited hydrogen ions in the polar regions. The view is a mosaic of three images taken just minutes apart from each other, about four hours after the perijove pass while the spacecraft was moving away from Jupiter.

IMAGE 5….This montage of 10 JunoCam images shows Jupiter growing and shrinking in apparent size before and after NASA’s Juno spacecraft made its closest approach on August 27, 2016, at 12:50 UTC.
The images are spaced about 10 hours apart, one Jupiter day, so the Great Red Spot is always in roughly the same place. The small black spots visible on the planet in some of the images are shadows of the large Galilean moons.
The images in the top row were taken during the inbound leg of the orbit, beginning on August 25 at 13:15 UTC when Juno was 1.4 million miles (2.3 million kilometers) away from Jupiter, and continuing to August 27 at 04:45 UTC when the spacecraft was 430,000 miles (700,000 kilometers) away. The images in the bottom row were obtained during the outbound leg of the orbit. They begin on August 28 at 00:45 UTC when Juno was 750,000 miles (920,000 kilometers) away and continue to August 29 at 16:45 UTC when the spacecraft was 1.6 million miles (2.5 million kilometers) away.

IMAGE 6….This image provides a close-up view of Jupiter’s southern hemisphere, as seen by NASA’s Juno spacecraft on August 27, 2016. The JunoCam instrument captured this image with its red spectral filter when the spacecraft was about 23,600 miles (38,000 kilometers) above the cloud tops.
The image covers an area from close to the south pole to 20 degrees south of the equator, centered on a longitude at about 140 degrees west. The transition between the banded structures near the equator and the more chaotic polar region (south of about 65 degrees south latitude) can be clearly seen.
The smaller version at right of this image shows the same view with a latitude/longitude grid overlaid.
This image has been processed to remove shading effects near the terminator – the dividing line between day and night – caused by Juno’s orbit.

jordnstuff  asked:

How do you model heads/faces? I'm terrible at that so far D:

Hey me too. or at least I feel that way. Getting all of the features to mesh together and have them feel like they’re fitted into the skull is really tough for me. I think it’s just a matter of buckling down and churning out a bunch of models. There are several ways to approach modeling faces and you just have to try them all and figure out what works for you. You can google face or character modeling and find a bunch of tutorials and time-lapses out there by people who have a better understanding of modeling than I do. I really like watching time-lapses. They help me see how other people approach areas I have difficulty with. Here are a couple of places to get you started:

X | X | X |X

The biggest thing that I forget to do, is move around the model while I’m working. It’s important to check different views like the profile, silhouette, top, oblique angles, etc often. It’s really easy for me to get zoomed in and stuck in one view. Before I know it I’ve got something that looks awesome in one angle and horrid in every other one.

I wouldn’t be afraid of abandoning models once you feel like you’ve learned what you can from it and move onto the next project instead of grinding it to “perfection”. Just think of it as sketching to figure something out to help you with the finished work you want to invest in.

With all that being said here’s how I’ve been working for the past year. For heads I start with a cube or half sphere and carve the features out of it adding edges and faces where I needed them. The first low poly models I made were really simple with the mouth and eyes painted in. Eventually I got to the point where I would just start adding more features in naturally. Here’s the progression with M’Ki, The Third Sword, Veracruz Dancer, and a punk girl I’m currently working on.

I’ll admit that the way I approach character modeling is old school.. you can get faster results if you use a sculpting program like Zbrush or Sculptris. I’ve dabbled in Zbrush and am planning on giving it more attention once I wrap up the punk.

anonymous asked:

do you have any tips for hand pains when drawing digitally? because i've been really confused about it recently, whenever i pick up my tablet pen my hand and wrist feel so painful, it's not the same with traditional stationary though which is why i'm so confused, everywhere i've looked is telling me i'm holding my pen to tight but i physically can't hold it any gentler without it toppling backwards hahaaa.. anyway, sorry to bother, have a good day thank you in advance, as well as for this blog!

Working with a tablet puts a different kind of strain on your wrist than working traditionally does due to the size of the pen and based on your set-up!

First up, open up your tablet drivers and look for the pressure sensitivity slider

On a wacom tablet this is called ‘Tip feel’ iirc.

You need to make it softer, so that it takes less force to reach full pressure.

It’s going to feel very weird to draw with for a while, and you’ll draw lines that look heavier than you intended until you adjust to it.

But once you do, you’ll be putting less strain on your wrist as you won’t be pressing quite as hard.

I use Manga Studio, so my brush settings are also set to be softer in the program itself

The other thing I suggest you do is get a small cheap laptop stand like this

so that your tablet is not on a flat surface. Working at an oblique angle is much better for your wrists whether you’re working digitally or traditionally!

You might want to take a break from working digitally though if your wrists still hurt after changing the above, as that suggests you’ve injured your tendons and need to let them heal.

If this is the case, then you also don’t want to do too much traditional work either or you’ll make things worse! Take it easy and look after yourself anon!