the means of correct training

Lights and Clothes On

“Request: Alright alright alright (*thinking unsexy thoughts*) could you please do something where Peter comes to stay in the tower for [part of] summer and reader is dating him but also either Steve’s or Tony’s daughter and one morning Peter comes to wake her and to get her out of bed he pulls her into a dance to the song Lights On by Shawn Mendes and her dad watches through a crack in the door (maybe even video tapes it) Pretty please! Love your blog and your works, hun!! 💕💕💕

Originally posted by koenigreus

A/N: I feel like I rushed the ending. Oops? Anyways this was super fun to write and I really enjoyed the request. I hope this was good!!!


Some dreams are faint. The one you were having before being rudely awakened was faint for example-you felt warmth of sunlight and heard voices. A hand on your shoulder and another on your waist. 

You didn’t really remember being shaken awake with the thick cloud of sleep but it was only a few moments earlier. Now, though, you were laying on your back with a frown. “Dad, don’t make me get up,” you say with a thick drowsy voice. 

“Dad has to,” Tony replies with an apologetic sigh although you felt the non-apology even from beneath your purple linen sheets. “We have training today. And it’s Peter’s first real day. He’d want his Avenger girlfriend there with him. ”

You sat up in bed with a messy mop of [h/c] on top of your head and a glare on your face. “I’m quitting. I’m no longer an Avenger,” you told your father plainly. “And what exactly do you plan on doing with your life?” he asks with amusement dripping down his face.

“I’ll become a stripper,” you said. “My name will be White Chocolate instead of White Falcon. White Chocolate has a better ring to it, don’t you think?” 

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The C Train: A Sebastian Stan Oneshot

Originally posted by sebastianstanes

Plot: You love Sebastian Stan. Well, you’ve never met him, but he’s a stellar actor who you’ve known for a long time. So when you find yourself sitting right next to him on a train ride to an audition, you can barely breathe. But you’ve only got a few stops until you both get off and part ways. So it’s now or never, on the C train. 

Warnings: none

Characters: Just Sebby 


//


The C train from Brooklyn to Manhattan is always the busiest, especially on Mondays. People are rushing to get to work, groggily sipping coffee with dark circles under their eyes, slightly hungover from weekend parties. 

But not you. 

No, you’re wide awake, hyper even. You’ve got adrenaline pulsing through your veins, either that or the five hour energy you took is finally kicking in. And it’s all because you’re on your way to an audition. Only it’s not just any audition, it’s the audition. As in the audition that could be your big break and send you on a path straight to stardom. It’s an audition for “Avengers Infinity War”  

You’ve been going over the script for weeks, the pages now held together by tape, staples, and sheer willpower. You know every line, every movement, every emphasis forwards and backwards. But you take the pages out of your bag anyways, going over them one last time before you reach 42nd street, which is your stop. 

“What are you talking about Bucky?” you mutter aloud, knitting your eyebrows together in what hopefully comes across as confusion. 

“Don’t pretend you don’t understand.” comes a voice reciting the next line from next to you, one you recognize almost immediately, one you’ve only ever heard on tv, one that makes your heart skip a beat. 

Sebastian Stan. 

You turn your head so slowly to look up at him you feel as if everything is moving in slow motion. The train seems to hold perfectly still inside the pitch black tunnel, the bright yellow lights on the ceiling still flickering. Sure enough, Sebastian Stan is sitting right next to you with a shy smile and twinkling blue eyes. He’s wearing a gray jacket, the hood pulled down low. His hair is disheveled and strewn in every direction, as if he just woke up like that. Which he probably did. 

You want to say something. You want to say something cool or flattering, or at this point anything. But your brain doesn’t seem to be working. So instead, you say what you know comes next, what you’ve subconsciously trained yourself to do. Say the next line. 

“If you’d just let me help-”

“I don’t need your help!” he interrupts right on cue, his features hard and intense. You hold his strong gaze and become completely absorbed in your character. Your hand finds its’ way to his, just as the script says to do, and his eyes soften. 

“Please.” you whisper, “Let me try.” 

He looks at you with wide fearful eyes and you stroke the back of his hand with your thumb. Not because it’s in the script, but because it feels right. It feels like something your character would do and something Bucky needs in that moment, to be comforted.   

“That was amazing.” he grins after a moment of silence, “That was really really good.”

You slip your hand from his and try for a polite smile, stuffing the pages back into your bag. “You weren’t so bad yourself.” you manage to laugh. 

“How do you have the script?” he asks plainly, keeping his voice low and his body drawn close. And that’s when you realize that he’s undercover. That sounds really childish, but it’s true. He doesn’t want to be recognized on the train full of people, you didn’t even think about how tons of people asking for pictures that could slow him down somedays. 

“I have an audition. Today actually.” you say, somehow managing to keep your voice from shaking with nerves, “In like twenty minutes.” 

“Well you’re a shoe in!” he whisper shouts, putting his hand on your shoulder lightly.

“Thanks. That means something coming from the Winter Soldier himself.” you say, also whispering. He rolls his eyes but his smile widens, his shoulders shaking with laughter. 

“So you do know who I am.” he states with a nod of his head, folding his arms across his chest. 

“Just for the audition.” you lie unconvincingly, “I watched all the movies a billion times and you’re in them, so of course I know you. Gotta do my research.” 

The subway halts to a stop and a fuzzy voice says something no one can understand. “Fulton street…” you mutter, looking at the sign through the train window, “Only three more stops.” 

“Let’s keep going.” he nods, his body turned to face you completely. Before you say anything, he recites the next line. 

“I don’t want to hurt you.” he sighs, taking both your hands in his with eyes sad and lost. 

You draw in a sharp sigh and shake your head. You place you hand on his left cheek and offer a thin smile. “You won’t hurt me.” 

“But you don’t know that-”

“Yes I do.” you say swiftly, cutting his sentence short, “Because I know you James Buchanan Barnes. And what Hydra turned you into…that’s not you. It was never you and it never will be.” you state, drawing closer to him. You know what comes next but at the same time you don’t. It doesn’t feel as if you’re just saying lines, it’s all so real. In that moment he is Bucky Barnes, so scared he will hurt you that he pushes the world away. But you can’t let that happen.

So you know what you have to do, what the script says to do and what it feels right to do. 

You kiss him. 

It’s soft and quick, much quicker than you know it will be in the movie. Because on tv people kiss for at least ten seconds. But who actually does that in real life? At least not the way actors do, all slow and passionate. No, this kiss is different. You’re not acting anymore and neither is he. 

“You’re amazing.” he says after you pull away, the tension so thick you could cut it in half. Because that’s not the next line, it’s not in the script at all. Now he’s just talking. “I have a question.” 

Your hand drops from his cheek, but the other hand still clutches his. He’s so close you can see the way his eyelashes curl up perfectly, drawing back from the bright oceans that are his eyes. 

“Okay.” you nod, your heart beating so loudly you’re afraid he’ll hear it. 

“When we go see the premiere of this movie, will you save me a seat next to you?” he asks in all seriousness. You bite your bottom lip to keep from laughing out loud. How in the hell did it come to this? Sebastian Stan asking you to save him a seat at the premiere of a movie you haven’t even been cast in yet, having just kissed you seconds before. 

“I’ll try.” you tease, “But I can’t promise anything. That Chris Evans is a looker…” 

“Aw come on! Please?” he smiles, tilting his head to the side with a puppy dog expression. 

You pretend to contemplate the matter for a second before giving an exaggerated sigh and shrugging. “I guess.” 

He wraps his arms around your shoulders and pulls you into a bear hug, laughing gently against your skin. 

“42nd street.” comes the fuzzy voice over the train speakers, a little clearer now.

“That’s my stop.” you say hurriedly, throwing the strap to your bag around your shoulder and standing to your feet. He stands with you, still holding your hand. 

“There’s a read through of the script tonight with all the cast. I guess I’ll see you then.” he says reassuringly. 

“If I get the part.” you remind him, dodging people leaving the train. 

When you get the part you mean.” he corrects, taking your hand and turning it palm up, then scribbling something with a sharpie he seemingly whipped out of thin air. “Now go before you’re late.” he calls as you step off the train, the doors closing while he waves goodbye. Before you can even wave back, the train makes a grinding screech and zooms down the tracks, taking Sebastian with it. 

You sigh, unable to keep a smile off your face. You look down at your hand, curious as to what he wrote at the last second. It’s his phone number in scribbly handwriting, followed by the words “don’t forget my seat!” 

You shake your head with a slight chuckle, your heart still racing. “I won’t forget.” you mutter to no one in particular. And with that, you skip off to the audition, any nerves you had now gone. 

And yes, you nail the audition. 

And yes, you get the part. 

And yes, you save Sebastian Stan a seat.

anonymous asked:

I see a lot of trainers claim they "don't correct their dog" but does that mean they don't use any verbal cues or body language, or just collar pressure? A correction is just more information for the dog right? Would a verbal "here" count as a correction for a dog straying too far? Does any positive punishment(the scientific definition by Skinner) count as a correction

I don’t know if there’s a well-defined definition of what constitutes a correction. The way I’ve always heard the term used is with a connotation that the dog finds corrections aversive. Something like popping the dog’s leash, yelling at them, using a harsh tone, leaning over them, etc., would be a correction assuming that the dog finds those things aversive enough to alter their behaviour.

While corrections are considered inherently aversive, cues are not. If you train with R+, your cues will usually be enjoyable to your dog due to classical conditioning (the cue gets paired with rewards many times, so the cue itself becomes a good thing for the dog). If you train with averseness, your cues will usually be aversive themselves for the same reasons. If you use both rewards and aversives, the cue could be conditioned either way, or what emotion it evokes could change with the environment. Conditioning can be tricky.

If a dog has been taught “here” primarily through aversives (like the dog will be shocked if they don’t recall promptly, R- or P+ depending on how the shock is administered and removed), the cue can be a correction, because it would be conditioned to be aversive. If “here” is conditioned to be enjoyable or is emotionally neutral, it’s not a correction, it’s just asking the dog to change their behaviour.

Not all corrections are positive punishment (some are negative punishment, and many are ineffective, and so are not involved in conditioning and can’t be punishment or reward). I don’t think all P+ would be considered a correction. If it’s not intentional, for example, it wouldn’t be a correction by my standards, though it may be to someone else. For example, if my dog goes to chase a squirrel and chokes himself on his collar, AND he becomes less likely to chase squirrels in the future because of it, that’s P+. I wouldn’t count that as a correction because it wasn’t an intentional action, teaching with it wasn’t intentional, and I would have avoided it if possible.

This question also puts us on the slippery slope of questioning what’s acceptable as a correction, and when does the use of aversives cross from “helpful teaching tool” to “overt abuse”. That line will vary depending on who you ask, but it tends to come a lot sooner for trainers who avoid aversives in their training.

When I say I don’t use corrections in my training, I mean actively avoid using any technique that may cause fear or pain to my dogs while they’re learning. I prefer to motivate my dogs to listen using things they like and prevent behaviours I don’t want them doing by teaching them to enjoy incompatible behaviours.

I hope that answers you questions and helps clarify things a bit. Please feel free to submit another question if you’re still confused, or you can message me any time.

The workshop, the school, the army were subject to a whole micropenality of time (lateness, absences, interruptions of tasks), of activity (inattention, negligence, lack of zeal), of behavior (impoliteness, disobedience), of speech (idle chatter, insolence), of the body (“incorrect” attitudes, irregular gestures, lack of cleanliness), of sexuality (impurity, indecency). At the same time, by way of punishment, a whole series of subtle procedures was used, from light physical punishment to minor deprivations and petty humiliations. It was a question both of making the slightest departure from correct behavior subject to punishment, and of giving a punitive function to the apparently indifferent elements of the disciplinary apparatus: so that, if necessary, everything might serve to punish the slightest thing; each subject find himself caught in a punishable, punishing universality. “By the word punishment, one must understand everything that is capable of making children feel the offense they ahve commited, everything that is capable of humiliating them, of confusing them… a certain coldness, a certain indifference, a question, a humiliation, a removal from office.”
—  The Means of Correct Training - Michel Foucault

but liam rarely sounds off key. 

so i need to know his vocal exercise regimen. i mean…gagging and humming on zayn’s dick isn’t a legit vocal training, correct?

For a long time this model oft he camp, or at least its underlying principle, was found in urban development, in the construction of working-class housing estates, hospitals, asylums, prisons, schools: the spatial ‘nesting’ of hierarchized surveillance. The principle was one of 'embedding’ (encastrement). The camp was to the rather shameful art of surveillance what the dark room was to the great science of optics.
—  The Means of Correct Training -  Michel Foucault