people represented as objects

Different Types of Magic

A note by the poster: this list is not extensive; these are not the only varieties of magic that exist or can be used, but are merely examples of some of the more common or well-known branches of practiced magic.


In this particular  type of magic the Elements of Fire, Earth, Air and Water are given their own directional focus to create added power and give extra energy to your spells. You will no doubt find that you tend to favor one particular direction, but you should be able to use all of them.


Perhaps the simplest form of magic is that which involves color. This method of working is also used in conjunction with various other forms of magic. Color can enhance, alter and completely change moods and emotions and therefore can be used to represent our chosen goal. At its simplest, it can be used alone and in dressing an altar. 


Herbal magic is often used alongside many other forms of magic. Used as talismans and amulets – for example in a pouch or bag – herbs become protective; the oil from herbs can also be used in candle magic. There are many different types of herbs available for use in this way. Each herb has its own specific use, but frequently is used along with many other herbs and oils to produce a desired result.


In candle magic, man discovered the ability to control light and this is one of the oldest forms of magic as well as one of the most simple. Using candles to symbolize ourselves and our beliefs means that we have access to a power beyond ourselves. Candle magic also forms an effective back-up for most other forms of magical working.


Every stone or gem has its own attribute which can be used in magic. Crystals are used extensively in healing because of the vibrational impact they can have. Because of this, they lend themselves to the enhancement of any spell making or magical working. Even ordinary stones have their own power and can be used as repositories for all sorts of energies and powers.


Knot magic works partly with the principle of binding, which is a type of bidding spell, and also with that of weaving. It utilizes ribbon, rope, string, yarn, or anything that can be knotted or plaited to signify our aspiration. It is a type of representational magic, and is used in conjunction with many of the other forms. The techniques of color, form and use of energies are all used in its practice.


Representational magic involves using an object that represents something or someone for whom you are working the spell. It helps in concentrating the energy and visualizing the desire and the end result. Representational objects should never be used for negative purposes. [This is an opinion of the book’s original author, and not one that is shared by the poster.]


In this system different symbols, rather than objects, are used to represent various ideas, people or goals. These symbols can be personal to you, or such things as Tarot cards, runes, sigils, or numerology. You will often use symbolic magic in your magical workings and will soon develop your own preferred symbols.

Talismans, Amulets and Charms

These devices use all the other forms of magic in their formation, but principally representational and symbolic magic. They are ‘charged’ (given power) magically and usually are worn or carried on the person for protection or good luck. Many are worn around the neck, perhaps as jewelry, or carried in a pouch and incorporate crystals, herbs or other magical objects. There are many types of each of these objects and you will gradually learn to differentiate between them.

[“The Ultimate Book of Spells” by Pamela J. Ball]

Dream Interpretations

We’ve recently received several questions asking about dream interpretations.  The reason we don’t do them is simple: we can’t.

Dreams operate on a very personal system of associations, experiences, and beliefs.  What a symbol represents to one person may represent something completely different to another.  Consider:

  • What people, objects, emotions, and themes stand out to you?
  • Are any of them recurring?
  • What are your kneejerk reactions to these things?  Not what you think you should feel but what you actually feel.
  • How do these things interact with one another?

If you dream of someone you haven’t seen in a long time, maybe it’s an indication that something in your past will become relevant.  If you feel fear or anger, maybe it’s a warning about that.  If that person interferes with the present action of your dream, maybe it means the past will disrupt your present and you need to be prepared to face whatever emotions or themes that person represents.  Is any of that actually accurate?  Hell if we know, because we’re not the ones inside your head.

Only you can know what your dreams mean.

Your dreams are as much a system of symbols, archetypes, experiences, and personal intuition as any other form of divination or psychic ability, perhaps even more so.  It’s up to you to figure out how to piece it all together to find the picture on the front of the box.  Sometimes dreams are exactly that - just dreams.

There are reasons we don’t answer certain types of questions and I swear it’s not because we want to be assholes.  We simply can’t interpret dreams for you or know if something is an omen with any degree of certainty or usefulness.  The FAQ, Before Asking, and Resource Blog are there for a reason, partially to help us but mostly to help you, and as we try to recover the resources that were lost with Tumblr’s latest break they can only improve.

- mountain hound

before asking | faq+tags | resource blog

One of my greatest talents is turning things that are seen as superficial- such as appearance- into things of depth. An appearance does not define a personality, but I use my imagination to create one from what I see of others. If you think about it, art is superficial in the way it is mostly based solely on appearance. But if you look closer, that appearance means something. It portrays emotion, thoughts, ideas, experiences. Nature, people, objects- they all represent the same themes. I suppose the quote, ‘Life imitates art’ is applicable in this way.
—  Submitted by anonymous

anonymous asked:

Hey I was wondering if you could do a prompt where Harry comes back for eighth year with a man bun and a lip ring and Draco just dies on the spot, like practically drooling... Sorry this is blunt but you are the best writer ever and I love this idea of Harry not wanting to be 'the golden boy'

Omfg yes I fucking love this prompt. And thank you so much that’s so nice I love you 💙 Also when I read this prompt I immediately thought of this artwork by @sadfishkid

I got soooo carried away with this before Draco even showed up 😂 I had fun with the tattoo thing…it was cool trying to think of what Harry would get for each person, but I decided to leave all those out to prevent this from being even longer lmao

My Writing

Harry was sick of being the Golden Boy. He couldn’t stand everyone treating him like he was something special. Someone who could do no wrong. He just wanted to be Harry. That’s why he decided to change his image. If he didn’t look so damn innocent, maybe people would stop treating him like he was.

Harry grew his hair out, much to Mrs. Weasley’s dismay. It got long enough that he was able to put it up in a bun, and he found that he actually really liked how it looked. But that wasn’t enough. He needed something else. Something that would be the icing on the new badass Harry cake. He was strolling through muggle-London one day when he found exactly what he needed. He walked into a tattoo & piercing shop. He pointed to the lip ring that he saw through the shop window and said he wanted it. They immediately pierced his lip for him.

“Anything else?” The worker asked him.

Harry thought for a moment.

“Yes, I’d also like a few tattoos, please.” 

Harry thought about waiting until he could get these done at a wizard tattoo shop, but decided that he wanted the muggle ones. He wanted them to always be there, permanent, never changing. Harry was sure wizard tattoos could be removed. And even if they couldn’t, he didn’t want something that would change and move.

“Sure. What would you like?”

Harry ended up getting more than just a few. He knew he wanted one for everyone in his life that was very important to him. He started off with a star for Sirius, antlers for James, and a moon for Remus. These were all pretty small and he got them all on his right forearm. He then went through all the others that deserved a tattoo: Ron, Hermione, Neville, Luna, Molly, Arthur, Fred and George, Ginny, Bill, Charlie, Percy, Fleur, Hagrid, Cedric, Colin Creevey, Moody, Tonks, Dobby, Hedwig, Dumbledore, and his godson Teddy. All of these were all relatively small tattoos, all of them covering his arms. Each one was some sort of object to represent every name.

There were 3 people, however, that he saved for last. He wanted these tattoos to be bigger than the rest. Because without these three people, there was no way he would be alive. Harry knew that he probably wouldn’t have lived without mostly everyone on his list, but these three people literally saved his life. 

So he got a large lily flower on his right pectoral muscle, a large narcissus flower on the left, and on the back of his shoulder he got a dragon.

Lily, Narcissa, and Draco.

Harry never showed those three tattoos to anyone. They were special to him. Plus, he knew Ron would flip if he knew he got a tattoo in honor of Draco Malfoy. And no one even knew about what Narcissa had done for him. He always kept that story to himself.

Harry was pleased with the reactions he received at his new look when he arrived back at Hogwarts for his 8th year. Every compartment he walked by on the Hogwarts Express had kids staring at him. Harry couldn’t suppress his smirk.

Ron and Hermione were on Prefect duty or something. Or maybe they just didn’t want to be around Harry, he got that vibe from them pretty often these days. Harry didn’t really mind, though. He liked being alone now. He sat in the quiet compartment and looked out the window.

Harry was pulled from his thoughts, however, when he heard the door open.

He turned and saw Draco Malfoy standing there. 

“Holy shit,” Draco muttered quietly to himself, thinking Harry couldn’t hear.

Draco stared at Harry with his mouth open, speechless, for a moment before he licked his lips at the sight, and then finally said something.

“I, um, I’m sorry. I was just- well I’m not sure if you know, but my um…friends,” he put quotes around the word. “They aren’t returning. And well…not many people want to sit with, well, you know…the death eater. And so I was, um, still looking for somewhere to sit. I-I saw this compartment was only occupied by one person, and well, it’s you. But I don’t mind! I mean, that is, if, um…you don’t. So, um…would it be okay if I sat here, Potter?”

Harry smiled at him.

“Your company would be greatly appreciated, Draco,” Harry told him and then moved his things off the seats so Draco could sit.

“Thanks,” Draco mumbled.

“I thought you were a prefect, though?”

Draco snorted.

“Yeah right, Potter. You really think people trust ex-death eater Draco Malfoy to have authority over their children.”

Harry shrugged.

“I would trust you.”

Draco just looked at Harry, bemused.

The train ride was nice. They talked about all sorts of things. It wasn’t until a few hours in, though, when Draco finally asked Harry about his new appearance.

“So…I see you’ve changed a bit.”

Harry laughed.

“Yeah, you could say that. What do you think?” He raised an eyebrow at him and smirked. He already knew the answer,

“Y-You look really good- I mean, um, it suits you. Somehow your hair is less of a mess when it’s long,” Draco quickly tried to correct himself.

Harry smiled at him.

“I really like the piercing.” Draco blushed. “Did it hurt?”

“A little, but it was tolerable.”

Draco nodded. 

“And the tattoos?”

“Same thing. Although I may be a bit biased.” Harry laughed. “Most physical pain doesn’t really seem like much after…well, you know.”

“I really like that one,” Draco said and pointed to the phoenix on Harry’s right bicep.

“Thanks. I like that one too. I got it in honor of Dumbledore.” 

“Oh! Do they all…?”

“Represent someone? Yeah.”

Draco moved so he was now sitting next to Harry, rather than across.

“Who’s this one for? It’s quite nice.”

Harry smiled at Draco.

“Sirius Black. He was my godfather.”

“I know,” Draco said quietly, more to himself than Harry. “And this one?” Draco ran his thumb over a tattoo of a sock, smiling down at it in amusement. Harry felt a chill go up his spine at Draco’s touch.

Harry grinned this time.


Draco nodded.

They went through all of Harry’s visible tattoos. Draco looked a little disappointed when there weren’t anymore left. 

“Are you sure that’s all of them?”

Harry chuckled.

“Yes, Draco. As much as I’m sure you’d love to have a look at my arse, I haven’t got any tattoos down there.”

Draco’s pale skin turned bright red.

“I didn’t- I wasn’t- I dont- I only meant-” Draco sputtered for a response.

Harry burst out laughing. He was laughing so hard he had tears in his eyes. He couldn’t remember the last time he felt so happy.

“I know, Draco. I was only teasing,” Harry said and lightly patted the top of Draco’s head.

Draco glared at Harry for a moment, but he couldn’t hold it, and a bright smile broke out on his face instead. Harry had never seen anything like it. Anything so…perfect, radiant. It was at that moment that Harry considered letting Draco see his three hidden tattoos, but decided against it, as they were going to arrive at Hogwarts very soon. If he really wanted to show him, there would be plenty more opportunities, because Harry had a feeling that he and Draco would find themselves in each other’s company a lot more this year.

Part Two

Silence of the Lambs: Hannibal Lecter [INTJ]

OFFICIAL TYPING by Charity / The Mod.

Introverted Intuition (Ni): Dr. Lecter has such a powerful ability to make unseen connections that he can solve crimes from behind prison bars, with scant details and no crime scene photos. Not only that, he immediately knows how he figures into subsequent events and how he can manipulate, withhold information, and shift the circumstances to suit his longer-term agenda, which ultimately accumulates in a flawless escape plan completely planned out in advance. He visualizes what he wants and pursues it. He turns people into symbolic objects that to him represent elements of humanity, rather than humanity on an individual basis.

Extroverted Thinking (Te): He does everything for a reason, to create some cause and effect in the external world that in some way helps him to accomplish his goals—including his escape. From there, he systematically rids himself of his enemies and anyone who was ever rude to him. He plans, he executes, and he is motivated through tactical advantages. His particular brand of cruelty is merely to state the facts and twist them to his advantage, but harming others emotionally is not his primary goal; merely a byproduct of his mental superiority. He doesn’t care how people work, merely what he can do with them.

Introverted Feeling (Fi): His motives are centered around his personal beliefs and values, which include cannibalism but not rudeness. Dr. Lecter is unsympathetic to anyone outside himself, but also forms a strong silent bond with Clarice, in whom he senses a “kindred spirit.” He never addresses this affection for her, but instead pursues her with single-minded determination.

Extroverted Sensing (Se): Whenever out of prison, Dr. Lecter pursues and indulges in only the finest things … from his choice of automobile to his love for good food, a fine table, and expensive clothing. He can be opportunistic and impulsive, but more often represses those instincts for a calm, deliberate, long-term plan.

Help me with my art project

So I am doing this project where I make paintings about objects that represent happiness for people, for example for me it would be a box of crayons because they remind me of when I first started drawing.
If you could send me the name of the object that represent happiness to you and a small explanation that would be great.
Thank you!

Ps. It would be better if the objects aren’t that obvious, try avoiding things like a football or your violin, it can be things like the backpack you used for when you went backpacking through Europe, headphones if they remind you of hearing music with someone, etc. Try giving it more meaning than “oh I like doing these activities so that’s my object”.

Zak confirmed on Afterbuzz last week that production wouldn’t let them write anything down because that’s how season one won. Season two won by purposely blacking out to get basically ten free “truth booths”. Production also wouldn’t let them use objects to represent people or anything like that.

So this is what they’re left with. Flipping fucking coins and using party cups to represent beams. It’s literally so stupid lmao. Just let them use some paper.

anonymous asked:

Hi :$ um I'm kind of new to witchcraft, and I was wondering how to cast a circle? I know it's a very basic thing, but I can't seem to find any instructions that don't involve invoking some god or goddess. I don't use religion in my craft. Do you have any tips for me? Thank you.

Hey there! Casting a circle is actually really easy, and you can basically use any way you find (even if it invokes gods or goddesses), just don’t invoke the deities when you cast. The circle doesn’t even have to be a physical barrier, it can be a visualized one, although the visualization does have to hold the entire time, so sometimes a physical barrier is easier when first starting off.

First thing you want to do is find where you want to cast your circle. You can literally do this anywhere. In your room, outside, at the park, in the woods, your basement, wherever you feel comfortable. You will want to be where you will have the free time to do it, without interruptions, as I am guessing you don’t want to be interrupted during your ritual or spell. ;) Make sure your space that you are casting is big enough for your ritual, all your items, and you.

Next step is to make sure your area is physically and spiritually clean. Physically, just pick up anything thats in the way. If you are outside, clear any leaves, branches, etc out of your area; if you are inside, make sure there is no laundry, toys, or any other clutter in the area. Next spiritually cleanse your area. If you use a broom or a wand in your practice, you can use that to push all unwanted energies out of your space. Typically you are pushing out negative energies, but if you are utilizing those for your spells, then push out the positive energies or whatever energies you do not want within your space. If you don’t use a broom or a wand, all you have to do is meditate and push the energies out, or push them out with your hands. You can also smoke cleanse the area if you so desire, or use a cleansing spray to spiritually cleanse your area.

Gather all of your items you are going to be using in your ritual and place them approximately in the center of where your circle would be. You want to do this because once you actually cast your circle, you don’t want to break it. Although, I can’t even tell you how many times I have left my lighter on my nightstand on the other side of the room. You can start setting up now if you like too.

Now is the time to physically cast the circle. You can draw a circle on the floor, use a staff or wand to draw a circle in the dirt lay a cord on the floor (if you do this, tie it), sprinkle salt on the floor, use those branches you moved, make a circle or rocks or leaves, whichever you prefer. You usually want it about as wide as you are tall, but make sure you have enough room for your ritual. So if you need space to move around or dance or whatever, make it bigger. You also probably want to cast the circle clockwise. Note: If you are outside, do not put salt directly on the ground. It will kill all plants and grass or whatever in the area and nothing will be able to grow in that soil.

Now at this point you are in your circle. Some people will place candles or an objects at the points representing north/east/south/west and/or earth/air/wind/fire but thats up to you. Some people will also bless the circle as they light the candles, going clockwise. Thats up to you.

Now is when you want to spiritually cast the circle/state the purpose of the circle. Some people walk clockwise around the circle three times, others just once, do whatever vibes with you. You can state something like “I cast this circle to __(intention)__”.

Now do whatever ritual you need to do! If you find that you forgot something outside the circle and you need to leave it (*cough* like I do), thats easy. All you need to do, is envision a doorway being cut from the edge of your circle, up, over, down. If you cast a physical circle, make sure to move the items to create the doorway. Close the doorway when you are back in.

Now whenever you are done, you close the circle. Basically just do everything in reverse! Thats it!

Ok wow, that turned out really long. Sorry. It looks complicated because it came out really long, but its really not. I’ll probably turn this into a full post at some point too, lol.

I’ve been thinking a lot about this lately, but I kind of feel now that ATLA/Korra aren’t that progressive? In fact, I’m starting to wonder if they’re the opposite.

Basically, both of these stories are “Asian-inspired” and take elements from Asian cultures (like, it’s not hard to draw the comparisons between Earth Kingdom = China, Fire Kingdom = Japan, etc.), but by taking the culture where it originated it from and placing it into an unrelated fantasy world seems very appropriative? It values the aesthetic and the depth of the cultures of origin but refuses to credit them by placing them in a fantasy space where an uneducated viewer might understand them to be just Vaguely Asian Aesthetics. 

It also bothers me that the cast and the production is almost all white. Like, even after the passing of Mako, one of the few Actually Asian people in the cast, they straight up replaced him with a white dude. I mean, it’s nice that none of the characters are white? But still, if you’re being voiced by a white person, doesn’t this mean that ultimately, people who benefit economically from this show are all white? It’s a more subtle form of whitewashing. I was personally drawn into the series because the animated cast were all POC, but ultimately, in the end, the person who benefited from all the merchandise that I bought was a white person (and, like, two Asian people in a cast of 20, I guess).

And the creators are white too, which makes me really uncomfortable now. There’s no reason why ATLA has to be set in The Vaguely Asian Aesthetic Countries, why it has to be inspired by Asian martial arts, etc. Now it just feels like they got together and were like, we want to create a Fantastical Magical Series. Where do all the Fantastical Magical things happen? The most Fantastical Magical place of all……….. Asia (by which they mean East Asia, of course).

What I’m starting to think is that ATLA hides under the guise of progressiveness in order to continue to exploit Asian ingenuity into something ultimately for white people to profit from.  

Curious what some other people think.

Oh my gosh. Yes. Yes to all of that!!! A year ago I went on a long and kinda similar rant to my friend about this… here’s what I said:

Idk about you but even just looking at [ATLA], I really fucking hate it. It involves a ~pan Asian culture~ (by which they mean pan East Asian of course duh because other Asian people who aren’t East Asian don’t exist amirite?), and it was created by a fucking white person.

Some of its fans will be like “oh but it’s well researched!” I literally do not fucking care. A fucking white person is representing Asia for Asian people. What the fuck. And not to mention this didn’t benefit Asian people at all? What representation did we get out of this? None of our actual cultures were represented!!!! Just fakey fake Elemental Nations or whatever. It’s just as bad as representing aliens but not PoC, all you’re doing is putting generic Asian names on these characters and then making them some random shade of brown. What even?! And then a fucking ATLA movie came out and the guy playing Aang was white!

I’m so mad. Whyyyy does all of non-Asian Tumblr like Assvatar the last Fartbender and yet still claim to support us? It makes me really really really fucking mad.

Another thing that really pisses me off about it is this white guy making a pan Asian culture chose to make everyone in it fucking warriors. What even. When are Asian people going to be represented as normal fucking people instead of fighting machines, sex toys, romantic objects for white people, and nerdy virgins? When?!

White people need to get their fucking shit together. Assvatar is not good Asian representation and it never fucking will be. The creators had some motherfucking nerve thinking that creating it would be even kind of a good idea. I’m furious.


Your Artist Statement: Explaining the Unexplainable

by Alan Bamberger on

Q: Why do I have to write an artist statement? It’s stupid. If I wanted to write to express myself I would have been a writer. The whole idea of my art is to say things visually. Why can’t people just look at my art and take away whatever experiences they will?

A: Artist statements are not stupid; they’re more like essential. And you don’t have to be a writer to write one. And people already look at your art and take away whatever experiences they will. Your artist statement is about facts, a basic introduction to your art; it’s not instructions on what to experience, what to think, how to feel, how to act, or where to stand, and if it is, you’d better do a rewrite.

On this planet, people communicate with words, and your artist statement introduces and communicates the language component of your art. People who come into contact with your art and want to know more will have questions. When you’re there, they ask you and you answer. When you’re not there, your artist statement answers for you. Or when you’re there, but you don’t feel like answering questions, or you’re too busy to answer questions, or someone’s too embarrassed to ask you questions, or you’re too embarrassed to answer questions, then your pal, your artist statement, does the job for you. So let’s get busy and write the damn thing…

Just about all artists want as many people as possible to appreciate their art. A good artist statement works towards this end, and the most important ingredient of a good statement is its language. WRITE YOUR STATEMENT IN LANGUAGE THAT ANYONE CAN UNDERSTAND, not language that you understand, not language that you and your friends understand, not language that you learn in art school, but everyday language that you use with everyday people to accomplish everyday things. An effective statement reaches out and welcomes people to your art, no matter how little or how much they know about art to begin with; it never excludes. Rest assured that those who read your statement and want to know more will christen you with ample opportunities to get technical, metaphysical, philosophical, personal, emotional, moralistic, socially relevant, historical, environmentally responsible, political, autobiographical, anecdotal, or twisty with jargon– LATER, NOT NOW.

Like an introduction to a book, your statement presents the fundamental underpinnings of your art; write it for people who like what they see and want to know more, not those who already know you and everything your art is about. In three to five paragraphs of three to five sentences each, provide basic information like WHY YOU MAKE YOUR ART, WHAT INSPIRES YOU TO MAKE IT, WHAT IT SIGNIFIES OR REPRESENTS, WHAT’S UNIQUE OR SPECIAL ABOUT HOW YOU MAKE IT, and briefly, WHAT IT MEANS TO YOU. Don’t bog readers down, but rather entice them to want to know more. As with any good first impression, your statement should hook and invite further inquiry, like a really good story is about to unfold. Give too little, not too much.

People have short attention spans. When you overload readers with details, you risk drowning them in minutia, and discouraging those who might otherwise persevere if you keep it simple. Address and answer commonly asked questions about your art. Save the complicated stuff for those who progress to the next level. Don’t worry about having to satisfy your dedicated fans. You won’t bore them and you won’t lose them; they already love you. And if they have questions, they know how to get them answered. Remember– your statement is about broadening your audience, not keeping it static. You’ll have plenty of time to give your most recent converts the grand tour– LATER, NOT NOW– you have to convert them first.

Plus this… your statement is about you, so personalize it. Write it in the first person, not like you’re talking about yourself in the abstract. Infuse it with your unique perspective. Whenever possible, make it conversational, like you’re speaking directly to readers (note: a good editor can work wonders here). The more complicated, theoretical, arcane, inscrutable, bloated, pompous, elitist, egotistical, bombastic, arrogant or impersonal your statement, the more trouble people will have trying to hack through it and connecting with you and your art on meaningful levels. Few readers want to burn calories trying to decipher complexities; they burn ‘em all day long. For now, they just want to see your art, take it easy, have fun and enjoy themselves.

Additional considerations:

* Not all artists can write well. If you’re in that category, think seriously about hiring a professional writer or editor, preferably one with an art background, to help you convey what you want your statement to convey in language that ordinary everyday people can understand.

* Make “I” statements rather than “you” statements. Talk about what your art does for you, not what it’s supposed to do for the viewers. This doesn’t mean you start every sentence with “I,” but rather that you respect people’s autonomy and allow them to respond to your art however they wish.

* At all times, give readers the option to agree or disagree with you. Never pressure them or attempt to dictate outcomes.

* Avoid comparative or evaluative comments that have been made about your art by third parties such as gallery owners, critics, collectors, or curators. These belong in your bio, resume or curriculum vitae. In your statement, they’re name-dropping; in your curriculum vitae, they’re testimonials.

* Connect what your art expresses with the medium that you’re expressing it in. For example, if your art is about world peace, and it consists of twigs protruding from pieces of clay, explain the connection. Arbitrarily stating that twig/clay protrusions represent world peace leaves people wondering. If of course, the object of your art or your statement is to leave people wondering, then that’s OK. In art everything is OK, but in order to succeed as an artist, someone beside yourself generally has to get the point of what you’re doing.

* Be specific, not vague. For example, if your art is “inspired by assessments of the fundamentals of the natural world,” tell which fundamentals you’re assessing and how they inspire you.

* Avoid obscure references to music, art, literature, history, or anything else that requires detailed explanation or gobs of previous knowledge. If you have to make such a reference, explain it fast so that people know what you’re talking about. If you can’t do it fast, do it later.

* Tell the story about what led up to your art ONLY if it’s short, compelling, and really really relevant. People are generally not interested in progressions of antecedent events. Something leads up to everything; we all know that.

* Avoid comparing yourself to other artists. If other artists influence you, fine, but don’t say, “Like Picasso, I do this” or “Like Judd, I do that.” Instead, say something like “Picasso’s Blue and Rose paintings influence how I use yellow.” Better yet, leave other artists out of your statement altogether. Let the critics decide who you’re like. Plus you don’t want to invite comparisons between yourself and the greatest artists who’ve ever lived. We all know who the victor’s gonna be there.

* Don’t instruct people on how to see, feel, behave, respond, or otherwise relate to your art. Nobody likes being told what to do. Instead of saying “You will experience angst when you see my art,” say “This art expresses my angst” or “I express my angst through my art.” Or go see a therapist and work it all out.


Before you go public with your statement, get feedback. Show your art and statement to friends, friends’ friends, and maybe even a stranger or two. Make sure they get it, that they understand what you want them to understand. When they don’t, or you have to explain yourself, do a rewrite and eliminate the confusion. If you need help, find someone who writes or edits and have them fix the problem. Many times, a little rearranging is all that’s necessary to make your statement a clean clear read.

No matter how good your statement is, know up front that most people will read it and move on; only a few will want to know more, fewer yet will want to know everything, and fewer yet will ultimately progress to the point where they actually buy something. That’s simply the nature of art and personal taste. Having said that, never underestimate the power of an effective statement to intensify, enhance and advance how people experience your art.


ok but the wheel has rotated?? and TWO of the symbols have changed. 

previously we just saw stanford’s six-fingered hand symbol, but now there appears to be a picture of one of the journals in its stead (same hand, but on a book?) which is really, really making me think that the glasses are stanford and the hand/journal is a separate entity entirely (maybe the books themselves??)

and we’ve already noted the shift of the symbol on stan’s fez mid-season 2 but GUESS WHAT? – the fez symbol on the wheel has also changed accordingly

it’s also probably worth noting that the order of the symbols is completely shuffled. there were a lot of theories going around about them showing an “order” – of either people who had/were going to make deals with bill, or any number of other things – but i think that idea may be shot because of a lack of consistency? to document them though:

  • only the llama is in the same spot
  • mabel’s shooting star moved clockwise two spaces (and interestingly is now next to dipper’s pine tree – given that the twins’ symbols are confirmed i feel like that could be significant?)
  • [stanford’s?] glasses moved 6 places clockwise, interestingly taking the place of (though not swapping with) [stanford’s?] six-fingered symbol. also, if the glasses are indeed the symbol that represents stanford, they’ve now moved next to his brother’s fez symbol – just like dipper and mabel’s symbols did
  • soos’ question mark has moved two places clockwise
  • the ice has moved six spaces clockwise
  • the fez symbol, though modified, has moved 2 spaces clockwise
  • dipper’s pine tree has moved 5 spaces clockwise (again, putting it next to mabel’s which is interesting). it’s also the only symbol to move perfectly diagonally across?
  • the star has moved 7 spaces clockwise
  • the hand/[journal?] moved 8 spaces clockwise, almost making a full circle (and swapping places with the pine tree?? which, if the hand/journal doesn’t actually represent ford, and is maybe symbolic of just the journals themselves, seems almost like it could have some kind of symbolic meaning too…

regardless, and even if the numbers/positions mean nothing, i’d say it supports the fact that the symbols themselves are what’s important – and consequently the people (and maybe in one case objects?) that they represent. 

i’d venture a guess that the presence/participation of the literal embodiments of the symbols has to do with controlling bill’s powers outside of the mindscape and in the world of gravity falls itself – a theory i’ve favored for a long time, given that they quite literally surround him (and that the circle they form sort of resembles the portal, which also serves as a “bridge between dimensions”), and i think is supported by the fact that gideon is apparently using the latest one as some kind of summoning circle

this is a (German) memory game I was playing the other day with one of the kids I watch.  Do you see what I saw?

There is a [stereotypically depicted] “Native American” character there.   I found it disturbing, and indicative of the way Native Americans are (perhaps unintentionally, but that doesn’t make it better) de-humanized and commodified in society.   There were almost no “human” memory cards, and the ones that had humans- other than the Native American- were all occupation oriented (Clown, pilot, etc).    But notice that the majority of the cards are objects and animals.   

It basically reinforces the idea that Native Americans are just “things” rather than “people of a culture,” and are something we can “have,” and are in the same category as trees, dogs, houses, clocks, and peaches??   And that it’s enough to just have a Native American, because unlike white people, who can be pilots, Native Americans are just that?

I don’t feel good about this game.
In Louisiana, the Poor Lack Legal Defense
The constitutional obligation to provide criminal defense for the poor has been endangered by funding problems across the country, but nowhere more so than in Louisiana.
By Campbell Robertson

Josh Chevalier, 18, has been in the Lafayette Parish jail for three weeks on burglary charges, with no lawyer and no court date in sight. […] In a hearing that lasted a “minute or two at the most,” the judge set a $52,000 bond and that was that. Since then a detective has interviewed him twice, he said, and the public defender’s office sent him a letter explaining that no lawyers were available. His mother is suffering from dementia, his father will not take his calls and his savings from a job at Dairy Queen are not nearly enough to make bail, not to speak of hiring a lawyer, he said.

Without a lawyer, he cannot make the case for a bail reduction. Without getting out of jail, he cannot go back to work. And so he waits.

No public money = no public lawyers

Natasha George, who until recently was one of 10 lawyers defending the poor of the parish, stood before the full gallery of defendants. “I’m the public defender in Vermilion Parish, right now the only public defender,” she said. “Due to a lack of funding for our district and our office, today we will be taking applications for our service but you will be put on a wait list.” […]

The constitutional obligation to provide criminal defense for the poor has been endangered by funding problems across the country, but nowhere else is a system in statewide free fall like Louisiana’s, where public defenders represent more than eight out of 10 criminal defendants. Offices throughout the state have been forced to lay off lawyers, leaving those who remain with caseloads well into the hundreds. In seven of the state’s 42 judicial districts, poor defendants are already being put on wait lists; here in the 15th, the list is over 2,300 names long and growing. […]

Judges throughout the state have ordered private lawyers to represent people for free, prompting objections from members of the private bar. Some lawyers being conscripted are tax and real estate lawyers without any background in courtrooms or criminal law […] With felony caseloads already far above the professional standard, the public defender concluded that turning down cases was the only ethical option. In January, the American Civil Liberties Union sued over this in federal court. […]

No public money << the funding system is corrupt

While the board distributes a central fund to the various districts, that state money is simply meant to supplement what for nearly all the districts is the main source of revenue: traffic tickets and local court fees. Louisiana is the only state where local ticket revenues account for a significant source of public defender revenue […] The funding for a given public defender’s office can depend on whether there is a highway or a casino in the parish, whether there is a road construction project or a bad flood or even, Mr. Dixon said, a hotly contested sheriff’s election that is accompanied by a dip in traffic tickets. […]

All of this highlights the contradiction at the heart of Louisiana’s public defense system. For those with little money, trends away from tickets and jail time may be a welcome development. But those same trends jeopardize a poor person’s ability to get a lawyer if he or she needs one. […]

“All of those are policies we’ve supported,” Derwyn Bunton, the Orleans Parish chief public defender, said of measures to reduce incarceration and punitive fees. “But because of the perverse incentives and the absurdity of our system, it’s hurt us here in the public defender’s office.” Pointing out that court fees are paid only on conviction, Mr. Dixon added: “It’s even worse than that. Our revenue is partially dependent on our losing.”

copperglowingfine  asked:

If/when Hillary wins the nomination, will you be voting for her, or writing in Bernie? I'm having a hard time choosing between voting against Trump/sticking with Bernie at the risk of Trump winning. Enlighten me?

I’m pretty torn as to whether or not I’ll be writing in Bernie Sanders or voting for Jill Stein (more on which one is more important later), but mostly because I live in Idaho and it’ll go to Trump no matter what I do. If you live in a swing state, specifically Ohio, Florida, Colorado, Virginia, North Carolina, and a few handful of other states, the decision is a lot more difficult. George W. Bush won in 2000 by a handful of votes in Florida, literally hundreds. A few thousand “thrown away votes” in the wrong state could definitely lose the election for Hillary Clinton. I definitely don’t blame Ralph Nader for 2000, but the fact is that your vote will matter a lot more in one of those states and if the election is close it’ll matter about 100x more. 

Personally at this point stopping Trump is a big deal to me and if I lived in one of those states I’d be swallowing my pride and voting for Hillary Clinton. I’d probably be swallowing my pride and working for her campaign if I lived in one of those states. I’ve been hyper critical of Hillary Clinton for over a year now. Being pretty tapped into the Bernie social media sphere, I think out of the major outlets for Bernie content we’ve been on the more negative side of the “how to treat Hillary debate”. I despise the Clintonian wing of the Democratic Party and I think they’ve been just as damaging to our political process as the Tea Party and Ronald Reagan Republicanism. That said, I grew up in a county that went incredibly one sided to Donald Trump and as much as I despise Clintonian politics and believe they helped make people like Donald Trump possible, the lesser of two evils is still preferable to America’s first Machiavellian racist demagogue. I worry she won’t solve the problems that make Donald Trump popular, but I’d rather kick the can down the road and see what we can do for the next 4 to 8 years than risk letting Trump show us the endgame of our social problems. 

So if you’re in a swing state I personally would strongly urge you to consider Hillary, but if you can’t swallow your pride and do it, I also understand. 

If you’re like me and your vote doesn’t really matter that much because your state is 100% red or blue, then maybe consider voting for Jill Stein or writing in Bernie Sanders. Voting for Jill Stein might push the Green Party over the edge and give them a spot in presidential debates/access to federal election funds. I think the benchmark for the debates changes depending on how popular a fringe candidate is any given year, but the election fund only requires 5% of the popular vote so that might be possible. The Green Party are fairly ideologically similar to Bernie, so that might be the best use of a vote if you want to push American politics to the left. A lot of really smart people I’ve talked to about this plan on voting for Jill Stein. 

Personally I plan on writing in Bernie Sanders. I think it sends a signal to Democratic Party politicians that there is a portion of the electorate that will respond to Bernie’s message, not because Bernie is Bernie and he’s such a great guy, but because there is a deep belief in the ideas he represents. Some people object to that idea because it’s throwing the vote away, but personally I think the American system is structured in such a way that third parties are incredibly unrealistic and the party’s themselves have taken a lot of steps to make it even harder. (Barring Jill Stein and Gary Johnson from debates, requiring 5% in the general election for federal election funds, ect…).

I’m totally sympathetic to the whole “the two party’s are ruining our country” line of thought, but the fact is that throughout American history big changes have always come from one of two major parties. Whether it was the federalists and anti-federalists. The Jacksonian Democrats and the Whigs. The Lincoln era Republicans and Southern Democrats, or the modern Republican/Democrat split. There have been plenty of third party attempts ranging from the populists in the 1870′s, Teddy Roosevelt’s “bull moose party”, George Wallace’s  racist 1968 “American Independent Party”, Ross Perot in 92 and 96 with “the people’s party”, Ralph Nader in 2000 with the Green’s, Gary Johnson in 2012 as a Libertarian, or the modern third parties. There is plenty others, these were just the most successful attempts and even at their most successful they’ve been largely unsuccessful. So personally I think writing in Bernie is more effective because it sends a message to an already powerful and well established institution that like or not has driven social change for decades.  

So if you live in a swing state, vote for Hillary please. Or not, but please consider just how truly bad Donald Trump could be and just how regressive a conservative president, congress, and supreme court could be. I hate the lesser of two evils politics, but consider the real implications of a Donald Trump presidency before you abstain. 

If you want a third party and think it’s a sustainable or much needed solution, then vote for Jill Stein. If you doubt the efficacy of a third party as a political solution write in Bernie Sanders. 

anonymous asked:

Could I bug you for the simple explanation of Gamergate? Any search results I get are completely bias and throw around the same words on both sides to the point where I can't even understand which side is for what. I know it all started over "ethics in video game journalism", but basically, what the hell is each side standing for? I honestly can't even answer someone if they ask if I'm pro or anti-gamergate, haha. Thanks!

the short version is this:

gamergate is a misguided witch hunt which wraps itself up in a shoddy pretense of “journalistic ethics”. it’s the same bigoted people as before, except now they gave themselves a name, a “movement”, a “cause”.

it started when an unhinged, abusive ex-boyfriend accused an indie developer of sleeping with game journalists for positive reviews. the reviews in question never existed, it’s been debunked a thousand times over, but that doesn’t stop them from still screaming about it.

the same indie developer had already been harassed several times in the past, and it happened again there. in response, several games publications published opinion pieces in which they argued that it was time for the stereotypical “gamer” identity to go and that it could be far better.

gamergaters took extreme offense at this, which they called the “gamers are dead articles”. (amusingly those are the same people who constantly yell at their evil-feminazi-SJW strawman for being “offended too easily”.) they started mass-spamming the ad agencies selling ad spaces on those websites in an attempt to hurt them financially (super ethical!)

and then it snowballed from there. 

to them, “journalistic ethics” just mean “i don’t want all those evil mean feminazis and social justice warriors in my video games”. 

If you ask #gamergate what they want, sooner or later most people representing the hashtag will mention that they want reviews to be “objective” and free of “political lensing” or “agendas” or “soapboxing”.

They’ve even gone so far as demanding it be accepted as an ethical standard that any journalist who objects to the content of a game not review it. Such a review, they say, will be biased and unfair and will cheat the game of revenue as people end up not buying it.

Now, I’ve had multiple people in the last 24 hours use the “cheat” language on me, and I found it interesting. This implies that games—some games, anyway—are naturally entitled to a certain amount of sales because of their objective merits, and if they don’t reach that level of sales, then the system has somehow failed, or been broken.

This idea, as bizarre as it sounds to anyone with an actual understanding of the concept of a free market, matches perfectly with #gamergate’s outrage over the relative success of games like Gone Home. If every game is naturally entitled to a particular level of sales, then a game that does better than they think it should is also cheating.

#gamergate can’t handle the idea that the free market might decide against their tastes, or even decide less overwhelmingly in favor of their tastes. So it attacks the free market, tries to restrict access to the market, and does so while claiming to be the champions of the free market.

to quote Upstreamism,

Who is GamerGate fighting? Mostly indie developers and progressive critics so far. By questioning and critiquing the assumptions that have historically driven the industry, those voices actually function a great deal like the consumer revolt GamerGate claims to be.

In opposing them, Gamergaters set themselves against challenges to the status quo. GamerGate thus functions more properly as a counter-revolutionary force, not unlike the revanchist, pro-monarchist movement that opposed the French Revolution. In that regard, it promotes a very conservative view of gaming.

free press would mean that gaters wouldn’t be so livid about Anita or a less-than-10 review from Polygon that they invent conspiracies to try and shut them down. they believe in free press as far as being allowed to say what THEY want to say and handing out consequences to OTHERS, but they don’t like the flip side of the coin where other people can say what they want and hand out consequences to gaters.

when a gater says they want equal press, what they mean is that a feminist magazine that releases an article about harassment women receive in an online game should also be required to also include Roosh’s statement that women are evil cumbuckets who lie lie and lie again. what they mean is that Game Informer putting out an interview with Anita Sarkeesian should also include an interview in that issue with Rogue Star on how SJWs like Anita are the reason he hasn’t finished his game.

they don’t want an equal press in the sense of anyone being able to make their own newspaper or magazine or blog or site, because that already exists. they already have that. that’s their free press right there. what they want is for all media outlets to be required to print what they tell them to print because otherwise they’re being censored, or they’re being “unfairly biased”.


this is ending up far longer than i wanted it to be but there’s honestly a lot to be said about this putrid cancer of a “movement”. and i have barely scraped the surface, especially when it comes to the harassment.

there aren’t two sides. there’s gamergate, and there’s everyone else.