#Socio-political Art | Explore Tumblr Posts and Blogs

liyawritesss · 1 month

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-> 𝚕𝚘𝚊𝚍𝚒𝚗𝚐 𝚌𝚊𝚜𝚎 𝚏𝚒𝚕𝚎...

-> 𝚌𝚊𝚜𝚎 𝚏𝚒𝚕𝚎 𝚕𝚘𝚊𝚍𝚎𝚍 𝚜𝚞𝚌𝚌𝚎𝚜𝚜𝚏𝚞𝚕𝚕𝚢!

-> 𝚘𝚙𝚎𝚗𝚒𝚗𝚐 𝚌𝚊𝚜𝚎 𝚏𝚒𝚕𝚎, 𝚙𝚕𝚎𝚊𝚜𝚎 𝚠𝚊𝚒𝚝....

-> 𝚌𝚊𝚜𝚎 𝚏𝚒𝚕𝚎 𝚜𝚞𝚌𝚌𝚎𝚜𝚜𝚏𝚞𝚕𝚕𝚢 𝚘𝚙𝚎𝚗𝚎𝚍! 𝚠𝚎𝚕𝚌𝚘𝚖𝚎 𝚝𝚘...

𝚘𝚙𝚎𝚛𝚊𝚝𝚒𝚘𝚗: 𝚋𝚛𝚘𝚠𝚗 𝚎𝚢𝚎𝚜 !

—> OVERVIEW

—> The death of Bruce Wayne has shaken the city of Gotham to its core. His presence defined the very city he vouched for for years, and while many mourned the death of one of the city’s highest elites, no pain could be compared to that of (y/n)’s, eldest daughter and heir to the Wayne Family. The beloved father-daughter duo were the saving grace of Gotham City; Bruce pouring his attention into politics, social and criminal justice and technology, and (y/n) strongly advocating for the arts, social change and socio-economical and political reform. With tragedy in the air and crime running amuck in the streets, what will become of the brilliant and beautiful (y/n) Wayne amidst the turmoil within her city, within her family, and within her own heart?

—> OBJECTIVES

—> (y/n) has not spoken since arriving at the Belfry. She spends her days reminiscing on the times when Bruce was alive, holding on to what little memories she has. Much of her memories are stored in the gifts Bruce had given her over the years, as well as moments the family has shared together. Your task is to retrieve these objects from across Gotham and unlock core memories of the heiress’s childhood with the Wayne family, in hopes to restoring (y/n) back to her original self.

CHOOSE YOUR ROUTE

MAIN STORYLINE

NIGHTWING | RED HOOD | ROBIN | BATGIRL

ADDITIONAL ROUTES UNLOCKED

ALFRED PENNYWORTH | BRUCE WAYNE

🇫🇮🇳🇩 🇹🇭🇪 🇮🇹🇪🇲🇸

🇷🇪🇱🇮🇻🇪 🇹🇭🇪 🇲🇪🇲🇴🇷🇮🇪🇸

🇪🇽🇵🇪🇷🇮🇪🇳🇨🇪 🇹🇭🇪 🇱🇮🇫🇪 🇴🇫

🇬🇴🇹🇭🇦🇲’🇸 🇩🇦🇷🇱🇮🇳🇬

🇨🇱🇮🇨🇰 🇾🇴🇺🇷 🇷🇴🇺🇹🇪 🇹🇴 🇵🇱🇦🇾

🇳🇴🇼

⚠️This Series Will Contain: canon-accurate violence with weapons such as guns, knives, batons, customized batman gear and other vigilante gear, hand to hand combat, mentions of blood, injuries, heavy talk about grief, depression, anxiety, major character death (bruce wayne/batman). Readers discretion is advised.

Tag List: @punkeropercyjackson @insomniac-jay @neesieiumz @honeypotsworld @honeybleed @hellkaiserinphoenix @saintriots @agent-nobody-knows @badass-dora-milaje @sincerelyzee @anuttellaa

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crienselt · 3 months

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So a few days ago I saw someone (elsewhere) questioning Zutara fans’ excitement about the scarf scene. It wasn't a mean comment, more general curiosity. And well, I didn't have time to get my thoughts out then. But they haven't gone away, so I'm getting them out here:

Here’s what everyone need to understand about Zutara shippers. We were baited baaaad during the initial run of the show–from the magazines to the shorts to the trailers and how they were cut. And Zuko and Katara’s relationship on the show certainly underwent a lot of development and featured objectively emotional–if not overtly romantic–moments between the two. We were well fed, and we had reason to hope. Right up to the end, we had reason to hope.

The shipping wars were the shipping wars, of course, with all the usual tensions; there are always going to be overzealous fans of each (and any) pairing willing to get toxic. Generally, I think Kataang fans were always jealous of Zutara’s popularity and Zutara fans, post finale, were jealous of Kataang’s, well, canon status. But really it operated much the same as any other large fandom’s shipping wars.

And then came Bryke and the panel where they showed and mocked Zutara fan art, some of which had been created by teens if not straight up children. Then came their, “Come on, kids! It was never going to work. Zutara is just dark and intriguing.”* And the pièce de résistance, their telling Zutara shippers (specifically girls/women) that they were doomed to have failed romantic relationships. Like, what? The thing with the art was arguably cruel, and the rest of it was oh, so condescending. Just all around not well done.

The after effect was that Zutara went from being simply a fanon pairing to a wrong pairing. The ATLA fandom at large became a far more hostile place for Zutara fans, who were now more commonly deemed delusional and viewed as lesser fans. The vitriol only got worse when the show came to Netfilx and the next wave of antis rolled up with their co-opting of legitimate socio-political terms to paint Zutara not just as wrong but morally corrupt if not evil. It’s all very puritanical.**

So Zutara fans need to be reminded that we weren’t delusional, and we aren’t alone. It’s why it means so much to know that Dante Basco and Mae Whitman shipped their characters. And that so many other VAs came out as Zutara supporters too: Jack De Sena, Michaela Jill Murphy, Grey DeLisle, Janet Varney--even the cabbage man. For it to be revealed that it was discussed in the writers room; that the writers fought over it; that it WAS a canon possibility. (And that writers Joshua Hamilton and John O’Bryan are perfectly comfortable admitting their preference for Zutara.) To know that the Elizabeth Welch Ehasz described Zuko and Katara as an “Avatar-style Mr. and Mrs. Smith,” in the script for The Southern Raiders, and used the phrase “Zutara-feuling synchronicity and cooperation” to describe their action sequences. To see Giancarlo Volpe, a Kataanger, admit Zutara might been the better pairing in retrospect and choose a quiet scene between them (to see their “chemistry”) as what he’d most look forward to in the live action adaptation. It’s why we cling to the artwork done by Korean animation director. We aren’t delusional. We aren’t alone.

But try telling that to the general fandom, right? Most are ignorant of a lot of this, particularly Hamilton and O’Bryan’s revelations re: the writers room. A lot of Zutara fans don't even seem to know. But being baited by Netflix on their official accounts? Oh, people see that. And we are reminded in a big way that we aren't delusional and we aren't alone. And everyone else has to remember it too.

So, of course, we're having fun clowning over the scarf scene. And I think most Zutara fans know we are clowning. I don't think most expect to get canon Zutara in live action because of one little scene or the fact that their Netflix icons are facing each other. (I headcanon that that was totally the doing of Zutara shipper on staff, though, lol. Because there are a lot of us, and we are everywhere.)

And this is okay. Zutara has been doing just fine as a fanon ship. Meanwhile, NATLA might actually do Kataang justice. It always worked better as a future ship. (Really all the pairings do. But I especially don't ever need to see another 12 year old kissing let alone making out, in animation or live action, ever again.) There's a reason Padme and Anakin don't get together in Phantom Menace, after all. Also, there's always the chance they could give us Dante's or Mae's headcanon of them basically suppressing their feelings and choosing duty over love/right person-wrong time. And the odds of getting some more moments to clown over are high enough.

Anyway, TLDR: Zutara has been made to feel like an out-of-nowhere crack ship and the live action crumbs remind us that it is not. And this is at least partially why we are enjoying it. (Because, also, it's just fun!)

*Side tangent: I’ve never gotten this dark and intriguing comment. Even during Season 1, the height of the capture fic era, Zutara was always a ship fundamentally about hope, predicated on Zuko's redemption. (Back in the day, there were also plenty of antis arguing that there was no way Zuko would ever be one of the gaang.) And they say “intriguing” like it’s a bad thing? Are we not supposed to be interested in the relationships of their characters???

**There have been some very good think pieces written lately on late stage capitalism and consumption as morality. Worth googling.

#Zutara #atla #natla

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cmrosens · 6 months

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Creating fantasy religions: something I'm doing now so thought I would post about my process.

The mistake a lot of writers make is developing a religion from a singular event, and piling a ton of stuff on top of it that makes logical sense. Whereas, in reality, religions are self propelling systems that travel under their own steam and if there is an event that catalyses them, it is never in a socio-cultural or political and economic vacuum.

You also end up with an apparently totally random set of things attached to one figure which does make sense if you know the origins, but otherwise is just accepted even if the meaning is lost.

It is the difference between "the god of Midwinter and festivals around this originated because a cult of necromancers were banished into the frozen wastes and this <event> became the Origin Story for how we got to a midwinter festival with creepy bone puppets in my fantasy world" and a religion that feels ... Real.

Ok so firstly, this is a bit too neat. (This was my original reasoning for a midwinter god called Yarash and I changed it because it wasn't very realistic or interesting for my world.)

Why, let's say, is the god whose feast is at midwinter also the patron of puppet makers and osteopaths?

Well, we could say that this makes a lot of sense because the god's festival was originally to do with remembering the dead, and puppets were used in the festival to represent the dead, as necromancy should have been part of it but people didn't actually know how to raise the dead properly. Then as magic evolved people could actually raise the dead for short periods to deliver messages in these festivals, but this drew internal debate from the conservative priests who thought puppets were the original form and so should be maintained, and necromancy was an aberration, vs the progressives who saw necromancy as the original INTENTION and so the natural and correct progression from the puppets. The debate might rage on for years creating splinters, sects, differing traditions that sit uneasily together but find middle ground in other less controversial topics and practices, and even cults.

At some point, the secular authorities get involved for their own reasons. Maybe some rulers are pro-"The Old Bones" or anti-, or they want to outlaw necromancy or benefit from it for various political reasons, socio-cultural reasons, economic reasons, military intelligence reasons, etc. Whatever happens, happens. Times change. Official attitudes swing back and forth, while internally the religious debates continue, now informed by and perhaps as counters to, this secular intervention.

Then we end up in modern times, the times of the story. Nobody really believes in gods anymore. They do remember the old gods of the seasons and at the secular festival in winter, there are a lot of traditional puppet shows that have a whole history and life of their own. The puppets are called "the old bones" and nobody really remembers why. Osteopaths have the puppets and symbols relating to the midwinter festival on their certificates and college heraldry and nobody really remembers why, but the information is there to look up and is a fun thing to know for trivia nights.

And necromancy... is a controversial branch of science, divorced from its original religious significance for many but not for all, and more integrated as an art or practice in the public consciousness (positively or negatively depending on perspective and propaganda and actual usage).

And now, you have a ton of depth and meat to it without having to flesh out the arguments and debates themselves unless that is plot relevant.

There is a lot you can do with this society now, and by tweaking one thing you can create completely different societies and ideologies. The depth is now there to set your story at any point during this history and to develop numerous ideas. So much stuff can happen.

With the singular event version, and a static fact of a necromancy cult in the frozen wastes, things are much more limited and linear, with less depth to play with.

Also remember that your characters will not be expected to know everything about your world unless they are experts in religion and/or history, and also the 2 subjects are not mutually inclusive so a historian is not an expert theologian and vice versa. How much the average person on the street knows depends on levels of formal education, accessible knowledge beyond formal education, which may include religious instruction and folklore, and propaganda. But it means you can build in some subtle things - like the puppet symbols on the door of an osteopath or bone doctor - that never need to be explained, but have a logical in-world explanation below the surface.

Try taking a static idea and work it into a system and see where it leads!

#writeblr #worldbuilding #fantasy religion #writers on tumblr #writing community #writing tips #world building #writing fantasy #fantasy #fantasy writing

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the1975attheirverybest · 2 months

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Palestine Readings And Resources

The following is a list of resources that includes books, articles, websites, and nonprofits to help you get educated and/or involved in action pertaining to the Palestinian genocide. I originally compiled this list for personal purposes, to use in my own local communities. Since it's been an unbelievably grim and never-ending shit-show on the blog for the past 5 weeks, I now feel compelled to make this list public on here in the hopes that it might benefit someone.

Please be aware:

This post is NOT an invitation for you to treat me as your token Palestinian friend, personal educator, or woke police taskforce. Grow your own moral spine.

This list was originally compiled shortly after October 7. It has, as of the writing of this post, been 163 days. A LOT has happened since. Therefore, this list is not exhaustive.

New ways to get educated and involve have since materialized, and, indeed, new ones materialize everyday. Do your own due diligence and decide what shape your engagement is going to take.

I am using my own specific expertise and skill sets as a scholar and educator of Literature and Philosophy to populate this list. Therefore, naturally, a lot of what you will find on here is geared towards educating and raising awareness about the historical, socio-political, philosophical and cultural underpinnings of this genocide and how its reflected in art.

If you are looking for more practical resources, find activist spaces in your local communities.

This List Contains

Non-fiction books about Palestine

Fiction novels by palestinian authors

educational web resources

Documentary

organizations to donate to

BOOKS

A. non-fiction

Edward Said, The Question of Palestine (written by a Palestinian-American literary critic and critical theorist)

Rashid Khalidi, The Hundred Years’ War On Palestine (written by a a Palestinian scholar and historian)

A Land With A People: Palestinians and Jews Confront Zionism (anthology)

Ghassan Kanafani, On Zionist Literature (written by a Palestinian novelist and political activist)

Noura Erakat, Justice For Some: Law and the question of Palestine (written by a Palestinian-American activist and legal scholar)

B. Fiction and Poetry

Susan Abulhawa, Against The Loveless World

Etaf Rum, Evil Eye

Mahmood Darwish, A River Dies Of Thirst

Adania Shibli, Minor Detail

WEB RESOURCES

Al-Shabaka: The Palestinian Policy Network

BuildPalestine

If you are a teacher looking to educate about Palestine,

DOCUMENTARY

Gaza’s Fight For Freedom (2019) Directed By Abby Martin

ORGANIZATIONS TO DONATE TO

The Middle East Children’s Alliance (MECA)

The Palestinian American Medical Association

Medical Aid for Palestinians

Jewish Orgs (specifically helpful for anti-zionist jewish conversations and advocacy)

Jewish Voice For Peace:

We envision a world where all people — from the U.S. to Palestine — live in freedom, justice, equality, and dignity.Like generations of Jewish leftists before us, we fight for the liberation of all people. We believe that through organizing, we can and will dismantle the institutions and structures that sustain injustice and grow something new, joyful, beautiful, and life-sustaining in their place...more here.

2. Jews For Justice For Palestine. Click here.

#palestine #gaza #gaza resources #free palestine #books #education

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ohsalome · 5 months

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Ivan and Phoebe by Oksana Lutsyshyna

Ivan and Phoebe is a novel about a revolution of consciousness triggered by very different events, both global and personal. This is a book about the choices we make, even if we decide to just go with the flow of life. It is about cruelty, guilt, love, passion – about many things, and most importantly, about Ukraine of the recent past, despite or because of which it has become what it is today.

The story told in Oksana Lutsyshyna’s novel Ivan and Phoebe is set during a critical period – the 1990s. In the three decades that have passed since gaining independence, Ukraine has experienced many socio-political, economic, and cultural changes that have yet to be fully expressed. The Revolution of Dignity in 2014 marked a pivotal moment in the country’s history, as it signaled a shift towards European integration and a strong desire to distance itself from Moscow. Prior to this, Ukrainian culture had remained overshadowed by Russian influence, struggled to compete for an audience and was consequently constrained in exploring vital issues.

77 days of February. Living and dying in Ukraine

"77 Days," is a compelling anthology by contributors to Reporters, a Ukrainian platform for longform journalism. The book, published in English as both an e-book and an audiobook by Scribe Originals.

"77 Days'' offers a tapestry of styles and experiences from over a dozen contributors, making it a complex work to define. It includes narratives about those who stayed put as the Russians advanced, and the horror they encountered, like Zoya Kramchenko’s defiant "Kherson is Ukraine," Vira Kuryko’s somber "Ten Days in Chernihiv," and Inna Adruh’s wry "I Can’t Leave – I’ve Got Twenty Cats." The collection also explores the ordeal of fleeing, as in Kateryna Babkina’s stark "Surviving Teleportation '' and "There Were Four People There. Only the Mother Survived."

It also highlights tales of Ukrainians who created safe havens amidst the turmoil, such as Olga Omelyanchuk’s "Hippo and the Team," about zookeepers safeguarding animals in an occupied private zoo near Kyiv, and one of Paplauskaite’s three pieces, "Les Kurbas Theater Military Hostel," depicting an historic Lviv theater turned shelter for the displaced, including the writer/editor herself.

In the Eye of the Storm. Modernism in Ukraine 1900’s – 1930’s

This book was inspired by the exhibition of the same name that took place in Madrid, at the Museo Nacional Thyssen-Bornemisza, and is currently at the Museum Ludwig, located in Cologne, Germany.

Rather than being a traditional catalogue, the publishers and authors took a more ambitious approach. Rather than merely publishing several texts and works from the exhibition, they choose to showcase the history of the Ukrainian avant-garde in its entirety – from the first avant-garde exhibition in Kyiv to the eventual destruction of works and their relegation to the "special funds" of museums, where they were hidden from public view.

These texts explain Ukrainian context to those who may have just learned about the distinction between Ukrainian and Russian art. Those "similarities" are also a product of colonization. It was achieved not only through the physical elimination of artists or Russification – artists were also often forced to emigrate abroad for political or personal reasons. Under the totalitarian regime, discussing or remembering these artists was forbidden. Archives and cultural property were also destroyed or taken to Russia.

"The Yellow Butterfly" by Oleksandr Shatokhin

"The Yellow Butterfly" is poised to become another prominent Ukrainian book on the themes of war and hope. It has been listed among the top 100 best picture books of 2023, according to the international art platform dPICTUS.

The book was crafted amidst the ongoing invasion. Oleksandr and his family witnessed columns of occupiers, destroyed buildings, and charred civilian cars. Shatokhin describes the book’s creation as a form of therapy, a way to cope with the horrors. "During this time my vision became clearer about what I wanted to create – a silent book about hope, victory, the transition from darkness to light, something symbolic," he explains.

Although "The Yellow Butterfly" is a wordless book, today its message resonates with readers across the globe.

A Crash Course in Molotov Cocktails by Halyna Kruk

A Crash Course in Molotov Cocktails is a bilingual poetry book (Ukrainian and English) about war, written between 2013 and 2022, based on Halyna’s experience as an author, volunteer, wife of a military man and witness to conflict.

The Ukrainian-speaking audience is well-acquainted with Halyna Kruk – a poet, prose author and literature historian. Kruk is increasingly active on the international stage, with her poetry featured in numerous anthologies across various languages, including Italian, French, Swedish, Norwegian, Portuguese, Spanish, Polish, English, German, Lithuanian, Georgian and Vietnamese.

For an English-speaking audience, her poetry unveils a realm of intense and delicate experiences, both in the midst of disaster and in the anticipation of it. The poems are succinct, direct, and highly specific, often depicting real-life events and individuals engaged in combat, mourning, and upholding their right to freedom.

#ukraine #ukrainian stuff #ukrainian literature #books #book recommendation #ukrainian culture

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allthecanadianpolitics · 8 months

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Dana Claxton received this year’s Audain Prize, one of Canada’s most coveted arts awards, during a ceremony on Monday (25 September). The C$100,000 ($74,000) cash prize honouring distinguished British Columbia-based artists was announced at a luncheon at the Fairmont Hotel Vancouver.

When Reid Shier, executive director of the Polygon Gallery in North Vancouver, awarded the prize on behalf of the jury, he praised Claxton’s “multilayered” practice. He described the photography in her series and book Paris, June Fourth, Fifth, & Sixth, Two Thousand & Six as being “as much [Jack] Kerouac as [Eugène] Atget”—and spoke of her “landmark” work as a First Nations woman—a group who are “systemically denied a place in the art world.”

Claxton, a Vancouver-based artist whose work spans film, photography, video and multi-channel installation, is a member of the Wood Mountain Lakota First Nations located in Southwest Saskatchewan. Her practice investigates Indigenous beauty, the body, the socio-political and the spiritual and has been widely exhibited across Canada and internationally. She is also a professor at the University of British Columbia (UBC) and head of its department of art history, visual art and theory. [...]

Tagging: @politicsofcanada

#cdnpoli #Lakota #First Nations #British Columbia #Indigenous art #Saskatchewan

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transienttheologyproject · 9 months

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CALL FOR ART BY TRANS+, NON-BINARY, & GENDERQUEER CHRISTIANS

Are you a trans+ Christian with artwork (of ANY medium!) expressing your journeys in gender and faith? Would you like the opportunity to share your voice and experience with other trans+ Christians who may be struggling at the intersections of their gender and faith identities, especially amidst current transphobic Christian rhetoric? Look no further! Submissions due Friday 8/18 at 12:00 noon EST.

More information below the cutoff and on the project site! :) Please don't hesitate to reach me at [email protected] with any further questions!

The Transient Theology Project is an undergraduate research project focused on examining the intersections between Christianity, process philosophy, queer theory, and the lived experiences of trans+ Christians.

Given the ways in which non-cisgender identities and expressions have been understood as not only ‘abnormal’ but supposedly immoral in many Christian spheres, this research aims to offer a constructive theology which suggests that not only is it not immoral to be trans, but that transness is an actualization of what it means to be made in the image of God.

This project is critical and timely, especially due to the current onslaught of anti-trans legislation which directly impacts the quality of life for transgender individuals. This legislation, in tandem with anti-trans rhetoric, is understood to emerge from a particular fundamentalist notion of religious ethics; thus, this project aims to provide inspiration to trans+ Christians who may be struggling with reconciling their faith lives and gender identities within the current socio-political climate.

The main goal behind this project is to provide trans+ Christians with the affirmation that they don't have to choose between their faith and their gender identity. While many trans people have suffered trauma & abuse at the hands of Christian institutions & individuals, some have found that in embracing their gender identity, their relationship with God has been strengthened, and vice-versa. This project is meant to illustrate that those people aren't alone in that experience & that they don't need to pick between themselves and the God they believe in.

In an effort to be made as accessible as possible, rather than be presented in a formal, academic paper, this research will be compiled into a zine — a small-circulation, self-published magazine — that will feature art by transgender Christians and will aim to serve as a guide for those who are trying to navigate the tensions between their Christian faith and their non-cisgender identities and expressions.

Genderqueer Christians are invited to submit their art (of ANY and EVERY medium) to be shared in the zine by this Friday, August 18th at 12:00 noon EST. The link to the submissions form can be found here.

If you're cisgender and/or not Christian, consider spreading the word! Share us with any genderqueer Christian artists you may know, and stick around for more updates & the final zine release by following us on Tumblr, Instagram, and TikTok.

Thank you for your time and consideration!

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pango-doots · 4 months

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Y'know looking back on my time in the NSR fandom it's weird how victimized people tend to make the NSR elites, which I really don't think is warranted beyond Sayu's team and Yinu who are MINORS that were employed into a fascist government system under the guise of success. Yes, NSR was a fascist government, or at the very least an authoritarian hand over a dystopian society.

Even if its general tone is light-hearted and silly, the game tackles themes of propaganda, scapegoating, wealth inequality and planned obsolescence, environmental destruction, media control, saving face for tourists, authoritative voting and more, yet most of them aren't the player's main gameplay focus; a lot of lore and context clues are in the background like the town's layout, interacting with certain objects and talking to NPCs. But those themes are a core message of the game and by only treating the members of NSR as regular old musicians you take out all the nuance.

(Plenty more under the cut. TL;DR: No Straight Roads is a relevantly socio-political game and I wish fans would utilize that side of the characters more)

Both halves of the "music war" as I'm gonna call it for lack of an official term had their faults, and I do like that there is no 100% right or wrong side; no straight road, if you will. BUT ALSO. BBJ realized the entire city was suffering in some way under NSR's leadership and had nothing to lose by challenging the status quo (they literally live in a fucking sewer, I'd be full of rage too). They didn't benefit from initial fame, wealth, or military protection like NSR did; not to mention they were also egged on and decieved by one of their closest allies. When voices don't work ala DK West's attempt, then you turn to action. Action can include smacking the shit out of government officials, as a treat (I enjoyed every second trying to get an S rank in Supernova's level <3)

On that note, the woobification is ESPECIALLY bad with DJSS, Neon J and 1010. I love the silly object heads and smexy robots as much as anyone else but they are specifically meant to be critiques of self-absorbed billionaires (sorry to tell DJSS fans this but he's supposed to be Elon-Musk-adjacent) and the k-pop industry with its military involvement, plus the use of militial force to keep rowdy citizens in line. I'm begging people to PLEASE handle them with more care.

Thankfully, it's clear that NSR reduces its chokehold by the end of the game and all the artists put in a lot of work to improve thanks to BBJ's push. Whether the game's writers made that decision to appeal to their own government's approval or was a genuine end to the story, I like that Tatiana has a moment of reflection and does a complete 180 to make the city better in the end (beyond the threat of the city being destroyed ofc). Even if it's unrealistic, it's a hopeful message and shows that anyone can be corrupted by the right circumstances.

Just PLEASE don't forget the characters' actions and choices along the way for the sake of ship fics and cute art. There's a lot of complexity and angst you can add to the characters with that authoritarian history!

#I doubt this will really change anything. fandoms will fandom. maybe I can give ppl ideas tho #if I get discourse over this post I'll yell btw. it's not made in bad faith #BUT I'm getting back into this game after some drama and it's smth that always bugged me as a budding punk. had to rant abt it a little #y'know I'm kinda realizing 1010's entire shtick is like if you made a swat team into tumblr sexymen. not sure how to feel abt that #no straight roads #nsr #nsr spoilers #dj subatomic supernova #1010 #long post #pango yells #a pango original #doot.txt #rated t for teen

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nellywrisource · 3 months

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A writer’s guide to art and civil construction: worldbuilding insights – #1 Early Christian art (Part I)

In this guide, which delves into the history of art and civil construction, my aim is to explore the cultural and anthropological factors that influenced the emergence of particular art forms within their respective historical contexts. The goal is to inspire and offer practical insights for those engaged in worldbuilding, especially in crafting art and urban environments that resonate with their chosen settings. Throughout the guide, I will analyze various historical periods from a cultural and historical perspective, providing inspiration rather than prescriptive worldbuilding advice. It's worth noting that the focus will primarily be on the Mediterranean and Europe (I'm Italian ✨ so my academic studies focus on Italy and its surroundings), spanning from the end of the ancient age to the contemporary age.

The emergence of stylistic elements in early Christian art is fascinating because it inspires envisioning the characteristics of religious buildings in a situation where two coexisting religions, one significantly older, shape the cultural landscape.

Diachronic excursus

Let's briefly summarize the historical context surrounding early Christian art to better understand the culture and motivations behind the stylistic choices in urban and rural settings, as well as the care or neglect of these environments.

Two key points to focus on for understanding this historical reality through our chosen lens are:

Spread of Christianity

Germanic invasions (which we'll discuss in the next post)

The spread — not birth — of Christianity occurred gradually, beginning around the time of the Edict of Milan in 313 AD, issued by Constantine, which declared Christianity a religio licita, meaning that it granted freedom of worship. It was further established as the “state religion” with the Edict of Thessalonica by Theodosius I in 380, mandating worship.

While Constantine had political motives for issuing this edict (yes, the legend about Constantine’s vision is just that), our focus lies on the socio-cultural context in which an emperor favored a religion amidst a predominantly pagan Roman aristocracy.

Origins of early Christian art

In its early stages, before Christianity became the state religion, Constantine, who oversaw the construction of the first Christian places of worship, took into account the pagan sensitivities of the aristocracy. As a result, these early buildings exhibited the following characteristics:

Located outside the city center, where pagan temples were typically found (often situated beyond the city walls, as was the case in Rome);

Featuring a simple exterior, often constructed with common brick (laterizio) and lacking elaborate decorations;

Boasting monumental dimensions to accommodate the public liturgy of Christianity, inspired by the Last Supper, as well as reflecting Roman appreciation for grandeur.

The decision to depart from classical norms stylistically served both to avoid offending the aristocracy and to visually distinguish Christian structures symbolically from classical temples.

Types of buildings

Basilica

The basilica, which predates Christianity, emerged in Italy following the Second Punic War in the first half of the 3rd century BC. Originally serving administrative functions, it featured a rectangular layout with three naves (side corridors) and two apses (semicircular protrusions) on either side, with the entrance situated along the longer side.

The architectural design of basilicas was chosen for its spacious layout, although modifications were made to suit the needs of Christian worship. Unlike their original purpose, which varied, Christian basilicas typically adopted a longitudinal plan with three or five naves. They featured an entrance on one of the shorter sides, leading to a single apse opposite the entrance.

This adaptation involved repurposing buildings originally intended for other functions, driven primarily by practical considerations. An important detail regarding the structural elements is seen in the narthex and the quadriportico.

Narthex: a sort of rectangular entrance area.

Quadriportico: a large external four-sided portico attached to the entrance wall.

Both spaces were used to accommodate catechumens (the unbaptized) and penitents¹. Initially, the quadriportico fulfilled this role, but it was gradually replaced by the narthex between the 6th and 8th centuries.

This transition was prompted by changes in baptismal practices. As the custom of adult baptism declined, it became apparent that many individuals were already baptized, rendering the extensive space for catechumens unnecessary. Consequently, the need for a large quadriportico diminished.

The narthex, too, began to decline in importance from the 7th century onward, reflecting a decrease in the number of unbaptized individuals attending services.

Another fascinating aspect illustrating the synthesis of paganism, Roman art, and Christianity is evident in the architectural feature known as the triumphal arch. Typically semicircular, the arch serves as a division between the central nave and either the presbyterial area.

The architectural concept of the basilica’s arch finds its origins in the Roman triumphal arch, a grand structure with one or more openings (fornix) traditionally erected to commemorate military victories. In Christianity, this symbol was reimagined to signify Jesus' triumph over evil and death. Moreover, the arch served a dual purpose as both a symbolic gateway between the space reserved for worshipers and that designated for the clergy (the presbyterial zone).

Now, I won't dive into discussing every single architectural detail of basilicas or the liturgical furnishings (although, if anyone desires, they can ask, and I'll gladly provide a glossary). Instead, let's briefly look at the different floor plans a basilica can have:

Latin cross: this design is longitudinal, with a shorter horizontal section intersected by a transept, either about ¾ along its length (immissa) or closer to the apse (commissa or tau).

Greek cross: here the transept intersects at the center, with arms of equal length to the nave. This layout was more prevalent in the Eastern tradition.

Circiform: this is a distinctive basilica design used for cemeteries, as well as for hosting specific masses like funeral banquets and an annual mass in honor of the titular saint's martyrdom. It lacks a transept and features a ring corridor intended for burials.

Baptistery

The baptistery was a centrally planned building², often octagonal, specifically designed for conducting baptisms, with the baptismal font positioned at its center.

Was traditionally distinct from the main body of the church, it was commonly situated adjacent to or in front of the main facade, especially until the Gothic period, notably in Italy.

The octagonal design held symbolic significance; eight represented an eschatological number, closely linked with the Resurrection of Christ, who rose eight days after his entry into Jerusalem. Thus, the octagon came to symbolize the concept of eternal life conferred upon the faithful through baptism.

This architectural feature reflects influence from Roman traditions, drawing inspiration from thermal buildings, particularly the frigidarium, which the Romans referred to as a baptisterium (derived from the Greek, meaning “place where one receives enlightenment”). Hence, the origin of the term can be traced back to this context.

Martyrium

Another centrally planned building (circular or polygonal) prevalent in the 4th century, the martyrium (from the Greek “witness”) was erected on the site of a martyrdom or over the tomb of a martyr.

Over time, they also began to serve as repositories for the remains of martyrs, often located at the center of the building. The martyrium's origins lie in the cult of martyrs, which itself evolved from the more common pagan reverence for the dead. Its architectural design was influenced by classical mausoleums, grand tombs traditionally used to house the remains of significant individuals.

Images, iconography, and iconology

The influence of architecture extends to imagery as well; Christianity originally spread through pagan iconography and symbolism. Art served as a means of proselytism. Why? Because classical art had long been used to convey the divine, and Christianity also drew inspiration from Roman culture in this aspect.

Even the artistic techniques bore similarities to those of the pagans:

Sculpture, as evidenced by sarcophagi.

Mosaics, widely employed for adorning basilicas (which in Roman art were mainly used for floors but eventually shifted to the apse — see subsection on the hierarchy of light).

It can be argued that from this classical influence emerged the conceptual link between wealth, splendor, and divine grandeur; gold symbolized divine light (indeed, numerous mosaics featured golden backgrounds) — a motif that would resonate throughout the Middle Ages — reminiscent of the portrayal of the deified emperor in the declining centuries of the Roman Empire. Pagan iconographies were thus reinterpreted, with scenes of apotheosis transformed into representations of the Ascension, pastoral imagery adapted to depict the Good Shepherd, and even the apostles portrayed akin to philosophers.

A clearer Christianization and a distancing from pagan iconography will be seen as we move forward in time, in the upcoming posts. If you're interested in a post focused on the various iconographies and their resemantization, lemme know!

Acheropite images

An intriguing outcome of the fusion between ancient cultural practices and evolving concepts of imagery is the phenomenon of “acheropite images”.

It's essential to understand that early Christians adhered closely to Jewish traditions, which forbade the creation of divine images to prevent the risk of idolatry. Moreover, due to the threat of persecution, early Christians concealed references to their faith in the catacombs through subtle allusions understood only by fellow believers, akin to a form of coded language.

The incorporation of images into Christianity, particularly in the Western world, occurred gradually, as apprehension about inadvertently creating idols spawned legends surrounding acheropite images - icons purportedly “not made by human hands”, but possessing a “miraculous” origin. These images were believed to be not products of human craftsmanship, but rather “revealed” through divine intervention, thereby attaining status as revered relics (e.g., the Shroud of Turin, the Madonna of Guadalupe, etc).

The hierarchy of light

Why do mosaics transition from the floors to the apse and, more broadly, to the walls?

We first notice this transition at the onset of the 5th century, exemplified by the apse mosaic of the Basilica of Santa Pudenziana in Rome. The driving force behind this change is light, or more precisely, the hierarchy of light. This hierarchy derives from the earlier discussed concept: the translation of divine light into the symbolism of gold and actual illumination within a basilica.

Light holds great significance in this context. It is strategically channeled through windows, particularly illuminating the apse (the sanctuary area closest to God, traditionally restricted to the clergy) and the central nave, with the side naves receiving less light. Mosaics, meticulously crafted with tesserae to reflect and enhance light, are placed in the apse to intensify this effect, emphasizing the hierarchical importance of light in this central space.

¹Penitents: in the ancient and medieval Christianity, penitents were faithful individuals who, after committing serious sins post-baptism, sought forgiveness from God. They publicly assumed a specific status within the community. ²Central plan: buildings where all parts are organized around a center are termed as having a central plan. This plan can take the form of a square, a circle, an octagon, or other regular polygons, such as a Greek cross. The centrality of space is usually emphasized by a dome.

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sylvianfoxart · 9 months

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I want my art to be Hozier-coded not in a ‘ooh bog man’ way, but in a ‘discussing important socio-political concepts in a beautiful and incredibly meaningful way while using a long history of other meaningful media to express such concepts even to the extent of taking media that may not have originated for that purpose and using it to further illustrate one’s point for the sake of one’s audience’

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thelastalessamontgomery · 10 months

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FEATURE | Into the Decadent Life of Dorian Gray: How Victorian Aestheticism Led to His Demise

Originally published as a serial in 1890 and in book form the following year, Oscar Wilde's only novel The Picture of Dorian Gray is one of the best examples of late Victorian Gothic horror. The late 19th century aestheticism and decadence are among the key concepts that Wilde creatively weaved into his novel.

Behind the Aesthetic movement

During the 19th century, aestheticism was an art movement known as "art for art's sake" which favors the aesthetic value of the arts, literature, and music rather than their socio-political purpose. This movement focuses on producing art that is deemed beautiful rather than having a deeper meaning. Its philosophy is meant for escaping the ugliness of the materialism brought by the Industrial Age, thus only absorbing beauty and good taste. It also challenges the norms during the period where Victorians would often associate ethical and moral roles to any form of art, which is the very opposite of the movement's perspective.

While a critical reflection on the arts with the aim of getting through the hardships of a new age by recognizing the necessity of beauty in everyday life, the movement also gave rise to ethical questions–creating a conflict between aestheticism and morality, which can be perfectly observed in The Picture of Dorian Gray.

A stirring and provocative introduction

The novel probably has one of the best prefaces ever written. Novel prefaces during the Victorian age were usually crowded with characters, with long paragraphs that are thickly plotted. Prefaces invite the readers inside the book by stating the purpose, and Wilde was successful in doing so. He wrote the preface without complicated words, it was written realistically and with much thought.

In reference to the Aesthetic movement, Wilde asserts in the preface that art's aim is to only reveal art and conceal its artist. He also talks about the critics of art, who he defines as those who can translate into another manner or material. Detesting people who find ugly meanings in beautiful things, he calls them corrupt and uncharming; this is a fault. Those who are cultivated are the ones who can find beautiful meanings in beautiful things. Then, he ends it strongly with, "All art is quite useless."

Such an introduction will put the readers into deep thought, challenging someone's beliefs on the matter whether one agrees or not. And with the intriguing notions laid upon them, one may argue against it or further interpret the concepts on their own.

Navigating the tenets of Aestheticism in the novel’s synopsis

Opening with a vivid image of the setting, artist Basil Hallward paints Dorian Gray's portrait in his London studio. With them, Lord Henry "Harry" Wotton is smoking an opium-tainted cigarette while taking a shine to the fine young man with an "extraordinary personal beauty." Speaking in aphorisms, and in mostly profound manner, he slowly encourages Dorian to indulge deep into life's greatest pleasures, advising him to look constantly after new sensations in life despite Basil's begging that he should not corrupt Dorian with his words that reek of hedonistic values. Lord Henry, depicted as a manipulator as he picks a flower's petals one by one, would soon have a large role in Dorian's way of life.

As Basil finishes Dorian's portrait, the painting reveals such beauty and is praised by Lord Henry as being the artist's finest work ever done. Suggesting that it must be shown in the best galleries possible, Basil quickly insists that he does not want the portrait to be seen. He says, "I have put too much of myself in it."

Basil worries that showing his work will reveal so much of himself, that spectators may uncover more of his personal and artistic idolatry of Dorian than the fair subject himself. This echoes Aestheticism's principles, where artists must be dismissed; create only a beautiful work and not put meaning into it. He refuses to have his work be explored by critics, and be seen as a biographical expression.

Looking at the artist's finished work, Dorian marvels at how young and beautiful he looks. He wishes that he would always remain young, and that the portrait must become the one to age and wane. In order for such a wish to be granted, he even declared he would sell his soul. And this is the moment as if he has made a pact with the devil.

Dorian coddles with a life of pleasure, living a life with his gift of youth, just as Lord Henry has advised him. Soon he meets Sibyl Vane, a theater actress, and falls in love with her art–performing on stage with different roles embodying the aspects of tragic love: Cordelia, Juliet, Desdemona, and Portia among others. She artistically acts on stage, as if completely losing herself and fully becoming the characters she plays. This is what Dorian falls in love with, her art as an actress. Sibyl falls in love with Dorian, she then experiences real love and realizes the falseness she has been doing onstage.

Sibyl initially inspired Dorian to turn away from decadence. Dorian discusses with Lord Henry the emotions that Sibyl makes him feel, "Her trust makes me faithful, her belief makes me good. When I am with her, I regret all that you have taught me." But when Sibyl performs as Juliet on stage, she seems artificial. She hopes that Dorian will take the hint that she does not want to act anymore after falling in love. Disappointed and ashamed, Dorian stays the whole play after everyone has left. "You have killed my love," he mutters. And then he leaves as Sibyl pleads and cries on the floor.

Sibyl symbolizes truth and purity, while Dorian is nothing but deceit and selfishness. Dorian, once again, is swayed by the values taught to him by Lord Henry. Soon, Sibyl becomes like the tragic characters she portrays, she meets a bitter end when she takes her own life after Dorian turns her down for losing her ability to act. Without this art of hers, she is now meaningless. Henry tells Dorian about the girl's death and says, "The girl never really lived, and so she has never really died."

Aestheticism's values deeply affect how Dorian sees people around him, same with how he treated Sibyl. He only saw value in her knowing that she was a brilliant actress. He mourned for her when she died as Cordelia. But never did he feel an ounce of sadness, when she died as Sibyl Vane.

After Sibyl's death, Dorian feels there is nothing more to stop him from treading a terrible path of sin and immorality. He goes on with self-indulgence, and there is no coming back. Sin after sin, he commits all things hideous. His physical body remains perfect but his portrait changes, becoming uglier as days of sin go by. Shocked by the changes in the portrait, he locks it away in his house's attic. Once again, after ceaselessly doing immoral things, he looks at the portrait and an old, evil face is revealed to him.

A tragic but fulfilling ending

13 years pass by and Dorian remains young and attractive. Dorian shows Basil his secret, the portrait that he is hiding, and the artist is appalled by the sight of his then beautiful work. Dorian then stabs Basil to death. Sibyl's brother, James, also went to exact revenge on him but is shot by one of the members of his shooting party. These events continue to disfigure his portrait. He tries to believe that the portrait may improve if he starts to behave, but he looks at the portrait again and his old self remains with the face of an evil man.

Dismayed and outraged by the loathsome sight, Dorian shoves a knife into the canvas to destroy the evidence of his sin. The sin he wants to destroy is himself. So when the servants arrive in the attic after hearing a blood-curdling sound, they witness Dorian's beautiful portrait just as Basil has painted it, but there lies on the floor a body of wrinkled old man with a horrid face.

The ending scene, as tragic as it appears on the surface, is perfectly constructed. All the events in the story, each circumstance of the characters that have different values and especially Dorian's journey of sin, led to this very end–to his ultimate demise. An ending he deserves, the moment of his death with the magical portrait at the scene that displayed strong symbols–him being one with the portrait maintaining his immortality, the depravity in the painting that he longs to kill instead of facing it.

Dorian Gray and the demise of his Aesthetic life

Dorian's ending is a reminder that no one can get away with everything. He went about in his life with the values of aestheticism imparted to him by Lord Henry, and that brought his downfall at the end. The movement should have only been a means to distract oneself from the industrialization and the physical harms it had on people. But too much indulgence in just beauty on a surface level gets rid of other things that are also important.

Living this life must also take some inspiration. Creating art can be both for the art and artist's sake, so as creating meaning or not having meaning at all. Sibyl is not meaningless when she loses her ability to act, it is not meagerness to finally embrace and see oneself as who they truly are. Basil should not have been shamed for keeping something so precious to him. Dorian would not have been put into a life of decadence if only he considered both having youth and not having youth as a gift, if only he considered to also put value in his attitude as he does in his looks.

It is mentioned how there is conflict between aestheticism and morality which is discernible in the novel. The very conflict presented there is Dorian Gray himself, who is such an exceptionally beautiful-looking young man but has a crooked and amoral attitude–which led to his own downfall. What lies beneath the surface is more worthwhile after all.

#the picture of dorian gray #oscar wilde #victorian era #aestheticism #basil hallward #lord henry wotton #dorian gray #sibyl vane #book review #feature #writing #graphic art #reading #novel #philosophy #art movement #gothic

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