scale variation

anonymous asked:

I am often so bummed out by the news cycle that I stop following contemporary issues altogether. Even though I feel that this avoidance safeguards my well-being, I also recognize that I quickly become ill-informed about noteworthy events. How do you stay informed without being disillusioned by the world?

The news cycle these days is scary and disheartening and exhausting and it’s quite understandable to feel overwhelmed or to want to avoid it altogether. But, like you said, it’s also vital to stay informed and engaged if you want to make the world a better place. I often find myself struggling with this tension. There are great articles out there for people who are experiencing news overload, or who need advice on dealing with traumatic or gruesome coverage, or who just feel deflated and overwhelmed with what’s happening in the world.

As far as a personal strategy goes, one thing I do that helps me cope with the news is to separate what I’m hearing about on a daily basis from what statistics and research show are general trends. It’s kind of analogous to the difference between the weather and the climate. We can’t track large-scale climate variation simply by looking out our window and assessing the weather. To do that is akin to a Republican ‘disproving’ global warming by bringing a snowball into the Senate. If we want to know what the climate is up to, we have to look at the bigger picture, at large-scale trends over long periods of time. Similarly, when it comes to the news, it’s important to balance-out the heartache and misery of the day-to-day news cycle with the solace that comes from knowing we currently live in the least violent era of human history, that there have been steady declines in war, genocide, terrorism, and homicide. In all cases, ‘the long-term historical trend, though there are ups and downs and wiggles and spikes, is absolutely downward.’ As Steven Pinker writes in his Two-Minute Case for Optimism:

The only way to appreciate that state of the world is to count. How many incidents of violence, or starvation, or disease are there as a proportion of the number of people in the world? And the only way to know whether things are getting better or worse is to compare those numbers at different times: over the centuries and decades, do the trend lines go up or down?

As it happens, the numbers tell a surprisingly happy story. Violent crime has fallen by half since 1992, and fifty-fold since the Middle Ages. Over the past 60 years the number of wars and number of people killed in wars have plummeted. Worldwide, fewer babies die, more children go to school, more people live in democracies, more can afford simple luxuries, fewer get sick, and more live to old age.

Knowing that, on the largest of scales, there’s some reason for hope and brightness allows me to take in the horror of the day-to-day, to stay informed and motivated to work for change and progress, while also maintaining a healthy perspective. This is not easy, of course, and sometimes it does a whole lotta nothin’ to counteract my despair at the suffering in the world—but that’s okay too. Much of the world is shitty, but much of it is beautiful and lovely and worth fighting for. To quote Pinker once again,

Too many people still live in misery and die prematurely, and new challenges, such as climate change, confront us. But measuring the progress we’ve made in the past emboldens us to strive for more in the future. Problems that look hopeless may not be; human ingenuity can chip away at them. We will never have a perfect world, but it’s not romantic or naïve to work toward a better one.



MSV-06K Zaku Cannon

1/144 Vintage Kit

Completed the vintage kit of what is probably one of my favorite Zaku variants, the cannon type! This was built from an original issue (still had the old little tube glue in the box!). Resculpted the waist and the posing to make it less stiff (the old kits come out of the box with the expressiveness of Lego men). First time making my own trees for the base, used the technique of twisted wire like model railroaders do. Lots of hidden work with styrene sheet and epoxy sculpt, especially in the feet and waist. Painted with Gaianotes Tank Color, enjoy! And thanks for looking… almost at 600 followers, I’ll be doing something special when I hit that number!

This is the final poster for Sweet Ambrosia

The concept behind it is that the gods are offering their sweet ambrosia (literal definition: sweet god food) down to earth for us mortals to try. The forks circle around the logo to draw viewers’ eyes to the written information. I used variation in scale, colour and texture to create visual interest. The clouds have been given depth through their various layers and colours. I used the same typeface throughout which is Effra Sans. The logo uses a combination of greek and latin letters, however as they all come out of the same typeface, they blend together seamlessly. I made ‘greek sweets festival’ slightly bolder so it readers more clearly from far away. I stuck to a grid to create a systematic and even look for the poster. The textured background creates an old-world, ancient effect. The poster suits the festival identity; it is fun, whimsical and playful. I did not want to design something too serious, as dessert is light-hearted and sweet.


Elgar - Enigma Variations

I usually write my own musings about works, but the description of this video was enlightening enough that I’m just going to share it here: 

“At the end of an overlong day laden with teaching and other duties, Edward Elgar lit a cigar, sat at his piano and began idling over the keys. To amuse his wife, the composer began to improvise a tune and played it several times, turning each reprise into a caricature of the way one of their friends might have played it or of their personal characteristics. “I believe that you are doing something which has never been done before,” exclaimed Mrs. Elgar. Thus was born one of music’s great works of original conception, and Elgar’s greatest large-scale “hit”: the Enigma Variations. The enigma is twofold: each of the 14 variations refers to a friend of Elgar’s, who is depicted by the nature of the music, or by sonic imitation of laughs, vocal inflections, or quirks, or by more abstract allusions. The other enigma is the presence of a larger “unheard” theme which is never stated but which according to the composer is very well known. The identity of the phantom tune left the world with the composer, and guesses have ranged from “God Save the King”, “Ein Feste Burg” and “Auld Lang Syne” to a simple major scale.” - olla-vogala


Brahms - Violin Concerto in D major, Op. 77 - I. Allegro non troppo (with cadenza by Max Reger)

Performed by violinist Gidon Kremer with the Vienna Philharmonic Orchestra lead by Leonard Bernstein

A very difficult and dramatic violin concerto. Many have blamed the difficulty on the fact that Brahms was chiefly a pianist. The technical demands include many multiple stops, broken chords, rapid scale patterns, and rhythmic variations. At least Brahms chose a violin friendly key of D major. The violin is tuned with open strings of G, D, A, and E which creates a brilliant sound. This is probably why many composers such as Bach, Mozart, Beethoven, Schumann, Tchaikovsky, Sibelius, Prokofiev, Korngold and Khachaturian have composed violin concertos in D. 

taetaereporter  asked:

Is there a way to tell dom Ni n Ti apart? I noe they shld be very different but I somehow cant tell them apart. I was thinking Ti creates an internal system of logic, theories, reasoning understandable to only to the user, isnt that like Ni, where also the user comes to a coloured conclusion of certain events, like "this is how ppl will be when that occurs"? N like Ti explores abt to understand n forms an explanation, while Ni also explores to come to a clear conclusion? Or am I missing sth?

I turned this question over to a friend to answer. Here’s what she said.

This is answered by an INTJ who has Ni as her dominant function, and yes, they are quite different, indeed. Both are introverted functions and thus difficult to spot in a person in their purest form; introverts always, without exception, use one of their extraverted functions when communicating with the outside world. Now, let’s begin with the orientation of Ni vs. Ti. Ni is a perceiving function and thus irrational. It doesn’t evaluate or judge what it takes in, it doesn’t form propositions, it simply experiences, and passively passes on information to the judging functions to be evaluated and put into context.

Let’s start with a very simple example:

Perception: There is a Cavalier King Charles puppy running by itself on the side of the main road. (Up until now, mainly sensing has been utilized in this perception, but let’s say your intuition tells you the puppy probably belongs to Mrs. Walker, a dog breeder with her own kennel who lives a few blocks away.)
The perception counts as irrational, because alone, it doesn’t want anything, it merely perceives what’s there.

Se sees the object for what it is, while Ni sees a fuzzy, distorted image of the object, sometimes far removed from the actual physical qualities of the object. In an Ni perception, the object is distorted, even devalued, and the “knowledge” it provides is so intimately connected with the ‘knower’, the self, that the two become indistinguishable and thus cannot be empirically proven or quantified in a meaningful way. Se sees a dog, while Ni might see something less than a dog - shapes, colors, movement, scents - or more than a dog: perhaps a key breeder individual in the making of a new pedigree? One of the great strengths of Ni is that it can easily and quickly go back and forth between the actual phenomena-based sensing impression (the object as perceived by the five sense) and the highly abstracted, “devaluated” product of their own mind. Not only can the Ni user juggle these two contradictory imaginings in their head, but also the full scale of variations between the two extremes. These imaginings, understandably, will appear very different to each Ni user. No two people use Ni exactly the same way.

What is important to remember is the following:

Ni is an irrational function, along with Se (and Ne and Si). A judgment is required before the information can be used in an active quest to pursue a goal. I often see Ni described as a “superpower” function that gives the user next to psychic and/or clairvoyant powers. No. While Ni can be of great use to a strategist, Ni itself does not strategize or set up goals. The judging functions, Te-Fi or Fe-Ti are always involved in a decision-making process, no matter how small or insignificant it may seem.

Let’s return to the wayward puppy. Your sensing functions have relayed information to you about the dog’s pedigree and status and its (likely) origin, so what do you do now? An Fi dominant may wish to keep the dog because it’s so lovely and they’ve always wanted one, but doing something like that goes against their internal system of ethics, and they recognize that “doing the right thing” is to have the dog returned to its owner, pronto.

A more Te-oriented approach to this situation might be to capture the dog and hand it over to the dog authorities (and thereby shift the responsibility) or to contact the kennel owner directly and ask for a reward. (In some countries, such as my home country, the owner is mandated by law to pay a reward equal to 10% of the total value of the lost property, so there is a real financial incentive to return lost property, should one find it. A purebred Cavalier King Charles spaniel is worth roughly 15,000 SEK depending on the pedigree, so in this case, the finder would “earn” 1,500 SEK just for returning the dog.)

What is the point I’m trying to make? The perceiving functions can and do show us possibilities, and grant insights, in somewhat different ways, but they do not built systems, categorize, catalogue, rank, take action or place judgment. Ni can never do what Ti does, in terms of structuring a world-view based on subjective logical principles. As for how to tell an Ni dom from a Ti dom, my personal experience regarding this matter has taught me that Ti doms (as well as Fi doms, mind you) are much swifter to pass judgment than any perceiving dominant. What does this mean in practice? Because they judge internally, which means that their internal structuring system (logical - Ti or ethical - Fi) takes precedent over the external world, you won’t see them exercising their judgment outwards the way you would with an Fe or Te dominant user. But nonetheless, the Ti/Fi dom is more likely to display a fixed viewpoint and be resistant to rearranging their internal classification system, in spite of facing factual evidence to the contrary. Accepting something that does not fit into their carefully structured internal map of the world would force the introverted judging dominant to partially or wholly rearrange their entire worldview, and this process is habitually deemed too costly or traumatic by the Ti/Fi dom, so they just don’t even bother trying, and preserve their own opinion, often at the cost of social/professional standing.

With Ni, this process is different. INXJs, particularly INTJs, are rumored to be obstinate, hard-headed and unyielding, almost to the point of a fault, but nothing could be further from the truth. As a perceiving dominant, an INXJ will hold off immediate judgment until sufficient data has been gathered and “ripened” inside the INXJ’s idiosyncratic mind. If you prod an INTJ who has not yet gone through this process, you’ll find them very reticent and unwilling to say… well, anything. Unless it’s something like “I’ll get back to you on that.” By the time the INTJ has had time to reflect and come to an understanding, the time of contemplation and reflection is over, and you are likely going to see determined Te action. At this point, it’s downright impossible to turn the INTJ’s mind, because they have gone over this issue from every angle already and in their mind, there is no reason to pander further possibilities! That part is over and done with! Finito! It took days, weeks, months… sometimes years, and something mere hours. But it’s practically never instantaneous. Ideally, the INTJ should be granted time to contemplate in silence. It’s very hard for us to keep track “in real time”, we become stressed and therefore perhaps bad-tempered.
Keep in mind that Ni and Ti work in tandem in the INFJ (and yes, the ISTP as well), so here we have a person whose psyche is trying to conceptualize (Ti) an influx of fragmented, amorphous impressions fed to it by Ni, and unless these tendencies are curbed by their extraverted functions, these people’s thought processes can become quite strange and far removed from any observable reality.

Does Ni seek the truth? Yes. Ni takes nothing “as is” but seeks to see the “noumenon”, i.e. the thing as it really is, beyond sense-perception, behind the physical state of the object. This tendency can lead the INJ into a land groundbreaking discoveries, but for the most part we must downplay this part of ourselves so as not to appear… cranky. Does Ni structure reality into an interconnected “theory of everything” built on subjective logical principles? No. That’s Ti’s job. More often than not, the Ni dominant cannot logically lay out the inner workings of their Ni, it “just is”. And more than that, a person’s dominant function tends to be a largely unconscious process. Asking an Ni dom why they process things the way they do would be like asking someone why they breathe.


Just to better illustrate the scale variation in these figures. While I could accept it as a gold crown large rajang and a gold crown small brachydios, having them a bit more in line across the board would be my preference. Still, a minor complaint for an otherwise fantastic line.

ExoMars first colour image of Phobos

Colour composite of Phobos taken with the ExoMars orbiter’s Colour and Stereo Surface Imaging System (CaSSIS) on 26 November 2016. The observation was made at a distance of 7700 km and yields a resolution of 87 m/pixel.

To create the final colour image, two images were taken through each of the four colour filters of the camera – panchromatic, blue–green, red and infrared – and then stitched together and combined to produce the high-resolution composite.

Two of the colour filters used by CaSSIS lie outside the wavelength response of the human eye, so this is not a ‘true’ colour image. However, showing the data as a colour representation can reveal details of the surface mineralogy. Different colours are clearly seen, with the bluest part in the direction of the large crater Stickney, which is out of view over the limb to the left. Although the exact composition of the material is unknown, the colour differences are thought to be caused by compositional variations on scales of hundreds of metres to several kilometres.

Credit: ESA/Roscosmos/CaSSIS

antemasquerade  asked:

CONCERTOS to warm up. #goals Did you try sight reading them or have you played them before? And a more pressing question, do you know how else to practice sight reading, other than just practicing?

All sight read, haha, I deliberately chose concertos I had never heard of before. To be fair though I did not play them too accurately or particularly well! It was just a bit of fun, although they turned out to be awful concertos so that did not last long! 

I think with sight reading the process is a mixture of everything. From doing scales and arpeggios, theory, learning pieces, and actual sight reading!
Scales and arpeggios (whenever I use that phrase I mean everything from standard major, harmonic and melodic minor, scales in thirds, 6ths, compound thirds (just for some variation), chromatic scales, diminished arpeggios, half diminished if you are feeling fancy, and even making up your own exercises.) ,the point of playing through these mundane things (although I particularly enjoy doing it) that your teachers will pester you about for years and years, are to help you understand the geography of the piano. If you are sight reading a piece and you see a run come up, take Tchaikovsky’s Piano Concerto No.1 for instance, to stay in the theme of concertos, you look at it and…

But then, because you have most definitely been practicing your arpeggios, you think “Wait, a damn second! That’s just a diminished chord on D, right hand start on the 1st inversion and left hand on 2nd inversion! Thank the lord, Johann Sebastian Bach, that I know my theory and totally practice technical things! If I remember correctly I just need to place my 2nd finger on the F and my 3rd finger on the Ab, oh jeez, boy, wowzers! My hands just flew up that arpeggio!” 
Having enough of that you flip to another score…

“Mendelssohn, I am but a mere mortal!” you scream and have a minor breakdown.

But, yet again, ol’ Sebastian here turns up and smacks some sense into you

and you realise that it is simply a D melodic minor scale a 6th apart! Because you have DEFINITELY practiced  your scales you whiz up the scale!

Theory is an important thing to have because it will allow you to mentally prepare before you have even touched a key. If you grabbed the Ravel Concerto for instance and turned to the third movement you are faced with this

At first glance you might want to just get up and leave the room and never turn back. But when you analyse it you soon realise that it is just a chromatic scale made to have more textural interest, it is a repeat of this

Knowing that in your mind will allow you to comprehend it at the piano.

Sticking with the Ravel I will touch on how learning pieces will improve your sight reading. Take these two bars for instance,

Rhythmically it is a bit of a hassle and to sight read that first time can cause some confusion. If you settle down and learn the page this is on will allow your mind to process other rhythmic variants in other pieces a bit more quickly. At first rhythmic challenges area hurdle that you might constantly slam your face into but as your mind gets used to them find yourself being able to fly over them with ease. Perhaps a better example would be from the third movement,

If you have not played 4 against 3 before, or not much, it can cause you to freeze up. Once you have confidently  learnt it in a piece you can then approach it in the future without the hesitation and get right over it.

Finally, sight reading! Just grab pieces you enjoy, pieces that might be too hard for you, pieces that are easy, anything! Play through them. I sometimes play through pieces way beyond my skill but I play them slowly and hit every note. If you grab a concerto you love but know you are not ready to play, just go through it at whatever tempo necessary to hit everything. I find that enjoyable. If you are enjoying it it will not seem like a task. I am half asleep whilst writing this but I hope it is of some use! 

- The Piano Blog

anonymous asked:

good job taking place in the colour run which is a racist and appropriative white tradition stolen from Indian Holi, a religious Hindu festival. but oh you and your white boyfriend got to have some white fun. how good for you.

Holi is an ancient Hindu religious festival which has become popular with non-Hindus in many parts of South Asia, as well as people of other communities outside Asia. It celebrates the beginning of Spring.

The festival has, in recent times, spread to parts of Europe and North America as a spring celebration of love, frolic, and colours.

It is a time of enjoying spring’s abundant colours and saying farewell to winter. It is a justification to reset and renew ruptured relationships and end conflicts.

A number of Holi-inspired social events have also surfaced, particularly in Europe and the United States, often organized by companies as for-profit or charity events with paid admission, and with varying scheduling that does not coincide with the actual Holi festival. These have included Holi-inspired music festivals such as the Festival Of Colours Tour and Holi One (which feature timed throws of Holi powder), and 5K run franchises such as The Color Run and Color Me Rad, in which participants are doused with the powder at per-kilometre checkpoints.[78][79][80]

In an interview with Al-Jazeera, a Hindu participant in a Color Run event in Birmingham, England did not show an objection, and actually praised the event for being a larger-scale variation of a traditional Holi celebration, and as a way to allow the rest of her family to experience a Holi-styled event without travelling to India.[79]

good job using a festival that celebrates love, life and joy to spread anon hate.

stella-ignis  asked:

Not sure if you have been asked this...but do you think Drago's cape is Night Fury hide? This really saddens me because Hiccup and Toothless have been searching for more Night Fury's and Drago proudly wears his kill as a trophy.

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Hmm well if you compare Drago’s cape to Toothless’s hide, there are a few slight differences. Toothless seems to be covered in more leathery-looking scales and skin, rather than prominent individual scales like those on Drago’s cape. Also, if you look closely, Toothless has leopard-like circular markings all over his skin as well as differently sized scales, unlike Drago’s cape where there isn’t much variation in scale appearance, other than color.

But Drago’s cape has been confirmed to be made of dragon skin, and they didn’t specify which dragon species it came from. However, I doubt it was Night Fury skin because in the movie, when Astrid is telling Drago about Hiccup the “Great Dragon Master who would come riding in on his Night Fury and blast his armada to smithereens”, he looked  quite shocked and surprised, as if he’d never seen a living Night Fury before. And I remember Eret saying that Drago didn’t have a Night Fury in his dragon army, so he’s probably never crossed paths with one.

But, anything’s possible, given that  we know so little about what happened to the Night Furies. I think Dean will definitely make it an interesting (and hopefully not heartbreaking) fate in the third film.