Finding Out About: Things That Go (1980)

Text: Eliot Humberstone -- Art: Basil Arm, Louise Nevett, Etic Smart, Graham Smith, Clive Spong, Mike Roffe, Gordon Wylie & Guy Smith

Several Short Games, Part 2

Last time I got through about half of the games that Lily gave me. Here's the rest of them, including the one that's much longer than the others.

queerweird (Jeni Usborn, 2016) The game queerweird (lowercase mandatory) is an asymmetrical indie game for three people in shorts around a fire pit. The game's "safety rules" section directly addresses that last point, and you find out quickly that that's because the resolution mechanics include kicking at the firepit. Other resolution mechanics include yelling loud enough to get an echo or making out with one person until the third one gets uncomfortable. Really, queerweird isn't meant to be played. The art seems mostly like it's Usborn's private kink stash touched up to a minimum of reasonability. Cool stuff: Look, if I didn't sell you on it already then there's no cool stuff in here for you.

Giant Robots on Spreadsheets (Henry Stein, 2007) When you have someone who is very, very mathy writing a game, they generally write about a thousand pages of Very Arithmetic game rules involving space, mecha, or both. I know because I did that once. Mechanical engineer Henry Stein went several steps further. He simplified it all down to reasonable heuristics, transferred it to one massive Excel sheet that did all the work for you, and gave it tabs that would let you look up the rules by keyword. He distributed this at-cost on USB 2.0 keys in .xls format. What's that? You have a computer with a USB 3.0 ports and can only read .xlsx format? Yeah, such was the fate of my mathy space game written in WordPerfect as well. Cool stuff: The game balance is impeccable.

Uncomfortable Erotic Tension Cultivator (ListyMcListerson, 2019). UETC is a two-player game / foreplay tool. It is the 21st-century, slightly grown up, itch-diaspora equivalent of naughty dice. (Not Naughty & Dice, that's different.) Cool stuff: Meant to be used over the course of several days to, as the name says, build tension. It puts you into an actual scenario rather than just being "Roll the dice and hope it comes out hot."

ARCANO, the Game of Rules, Magic, and Regulations (Little, Burco, and Frane, 2014) ARCANO is a 5-volume set, outweighing all the other books on this list put together. Each book is in 12x12 inch format, and the whole set makes up a one-foot cube. The books are: character creation, core rules, summoning, shadow magic, and bibliomancy. There are just those three classes. Individually, the rules are not particularly intricate or complex, but there are a lot of them. Cool stuff: The bibliomancy book. Not only is it put together in a way that makes it a useful tool at the game table, but it turns all four other books into bibliomantic resources as well. There are acrostics and anagrams and all kinds of neat things hidden away in it. It's a shame the authors of the other books couldn't keep up.

Just Let's Make Pretend (AnonymousIsMyUsername, 2023). JLMP is a diceless game, if you can even really call it a game. It's like someone wrote down a set of instructions for "make-believe" just in case we ever needed to explain the concept to martians. It's not poorly-written, but you don't need it. Cool stuff: Cites its sources. If you're looking for people who are studying RPGs as a scholarly pursuit, the reference section in JLMP is an excellent place to start.

Thanks again to Lily Vers for the pile of books. Now the question is how I can foist them on someone else. I'm starting to fill up my storage container.

where sleeping girls lie // faridah àbíké-íyímídé

first published: 2024 [to be released 14 march] read: 17 january 2024 – 24 january 2024 pages: 576 format: ebook [ARC]

genres: fiction, young adult, mystery, light romance (lesbian) favourite character(s): elizabeth least favourite character(s): baz (sorry!)

rating: 🌕🌕🌗🌑🌑 thoughts: so. i read ace of spades as an ARC back in 2021 and i can't really explain the way i was truly obsessed with this book (you can read my original review here). i read it in four days, bought a physical copy when it came out, talked about it to other people, etc. it was one of my favourite reads that year and it put faridah very firmly on my list of authors to watch. imagine my excitement when i was offered a chance to read her sophomore book early.

well. where sleeping girls lie just didn't hit the same. it's hard not to compare to her debut because there are a lot of shared elements and themes between the two, but i couldn't help noticing that WSGL lacked the spark, the excitement, and the punch of AOS.

one of the major faults is just how uneventful it was. the pacing felt so slow and only by around 80% in did i find myself thinking "oh, something's actually happening now". threads are picked up and then dropped for so long that by the time they came back around, i didn't care anymore. or things went unexplained for so long that i feel they became largely irrelevant to the plot. i wasn't necessarily bored but i did feel like i was in a perpetual state of waiting for the story to pick up. the overall plot was not as groundbreaking or exciting as the one in AOS, but i appreciated what it wanted to say.

the characters were also a little lacklustre. chiamaka and devon from AOS felt well-written, they were relatable in ways, and they had personality. sade, as the main character in WSIG, didn't really have much personality outside of her trauma. who was she, as a person? i don't really know. the side characters were okay, although i will say that i really liked the sense of intrigue and duplicity written into the male characters like august and jude. this will probably be an unpopular opinion but i didn't care for baz as the best friend at all; his manic pixie dream boy schtick got tired real quick.

i'm not so sure about how good the writing was in general. the whole book felt like it could have done with another thorough edit, and definitely a cut down in length by at least 100 pages. some of the dialogue also felt stilted and clunky. the story ultimately had an interesting and relevant message but i struggled to feel much depth from the writing.

i didn't dislike this book, i think i just had very high expectations following AOS and with the similarities between the two i wasn't expecting quite so many differences in quality. i would absolutely still go ahead and read more books by faridah (i've still got four eids and a funeral on my reading list) and would love to see her branch out to stories perhaps with an older cast, set outside of high school, or not focused on elite teens.

massive thanks to Usborne Publishing and NetGalley for providing me with an advanced digital copy in exchange for an honest review!

Sách tiếng Anh - Usborne What's Happening to Me? (Boy)

Sách tiếng Anh – Usborne What’s Happening to Me? (Boy)

What’S Happening To Me? (Boys) With bright, cartoon-style illustrations and clear diagrams this sensitive, detailed and informative guide explains male puberty in a reassuring and friendly way. It tackles everything from physical and hormonal changes to emotional upheaval. Ideal for libraries and schools, the contents and index pages make key topics easy to find. Giá sản phẩm trên Tiki đã bao gồm…

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How TV Is Putting the ‘B’ in LGBTQ — And Why It Matters – Rolling Stone

“Mom. Dad. I know you don’t want to talk about this, but I do. I might get married to a man, like you so clearly want. And I might not. Because this is not a phase, and I need you to understand that. I’m bisexual.” That’s Rosa Diaz (Stephanie Beatriz), Brooklyn Nine-Nine’s resident no-nonsense detective, pouring out her heart to her parents in the show’s landmark 100th episode. To which her dad (Danny Trejo) stoically replies, “There’s no such thing as being bisexual.”

Beatriz, who is bisexual herself, wrote in GQ: “When does it end? When do you get to stop telling people you’re bi? When do people start to grasp that this is your truth? …When do you start seeing yourself reflected positively in all (hey, even any?) of the media you consume?”

There’s a real cognitive dissonance to identity erasure. You can be standing right in front of someone telling them exactly who you are, and they can just look right through you, and intone, like a Westworld robot, “That doesn’t look like anything to me.” Nevertheless, it’s a daily reality for LGBTQ folks, and bi- and pansexual people in particular. (The term pansexuality, which has come into wider use in recent years, intends to explicitly refer to attraction to all genders, not just cisgender people — or, as self-identified pansexual Janelle Monae put it in Rolling Stone last year: “I consider myself to be a free-ass motherfucker.” However, many in the queer community define bisexuality the same way. You can read more about that conversation here.) Until recently, sexual and gender identities that existed outside the binary have been anathema to mainstream culture — and often, even, to more traditionalist branches of gay culture.

For a long time, people who identify as bisexual or pansexual didn’t have a whole lot of visible role models — particularly on television. But as our understanding of the LGBTQ spectrum has become more diverse and nuanced over time, there’s been a blossoming of bi- and pansexual representation. In the past few years, characters such as Rosa on Brooklyn Nine-Nine, David Rose on Schitt’s Creek, Darryl Whitefeather on Crazy Ex-Girlfriend, and Leila on The Bisexual — to name just a few — have been at the forefront of a bi- and pansexual renaissance on the small screen.

But it wasn’t always this way. Even after television began to centralize gay characters and their experiences — on shows like Ellen, Will & Grace, Queer as Folk, and The L Word — the “B” in that alphabet soup fell to the wayside. Bisexuality was seldom mentioned at all, and if it was, it existed chiefly as a punch line — an easy ba-dum-CHING moment for savvy characters to nose out someone who wasn’t as in the know as they were. On Sex and the City, Carrie Bradshaw called bisexuality “a layover on the way to Gaytown”; and on 30 Rock, Liz Lemon dismissed it as “something they invented in the Nineties to sell hair products.”

Even some of the earliest shows to break ground for queer representation didn’t factor bisexuality or pansexuality into their worldviews. The designation basically didn’t exist in the gay-straight binary world of Queer as Folk, and was largely seen as a phase on The L Word. Buffy the Vampire Slayer gave many TV viewers their first-ever depiction of a same-sex relationship in 1999 with the Wicca-fueled romance between Willow Rosenberg (Alyson Hannigan) and Tara Maclay (Amber Benson), but the show too neatly glossed over Willow’s years-long relationship with her boyfriend Oz (Seth Green) as a fleeting step on the way to full-time lesbianism. Or, as Willow succinctly put it in Season 5: “Hello! Gay now!”

Characters who labeled themselves as bisexual were considered to be confused at best and dangerously promiscuous at worst. On The O.C. in 2004, Olivia Wilde’s bi bartender character, Alex Kelly, appeared as a destabilizing force of chaos in the lives of the show’s otherwise straight characters. On a 2011 episode of Glee — a show which, at the time, was breaking ground for gay representation on TV — Kurt Hummel (Chris Colfer) savagely shot down his crush, Blaine (Darren Criss), when Blaine mentioned that he might be bi: “‘Bisexual’ is a term that gay guys in high school use when they want to hold hands with girls and feel like a normal person for a change.” By the end of the episode, Blaine assures Kurt that he is, don’t you worry, “100 percent gay.”

One of TV’s first enduring portrayals of nonbinary sexual attraction came with the entrance of Captain Jack Harkness (John Barrowman) into Russell T. Davies’ 2005 Doctor Who reboot. (Davies also created the original U.K. Queer as Folk.) The time traveler swashbuckled into the series to equal-opportunity flirt with the Doctor (Christopher Eccleston) and his companion Rose (Billie Piper), because, as the Doctor explains, “He’s a 51st-century guy. He’s just a bit more flexible.” Captain Jack went on to feature in his own spinoff series, Torchwood.

Then came Callie Torres on Grey’s Anatomy. Portrayed by Sara Ramirez (who came out as bisexual herself in 2016), Callie had a seasons-long arc that spanned from her burgeoning realization of her bisexuality in 2008 to her complex relationships with both men and women over the years. Callie’s drunken rant from the 11th season would make a great T-shirt to wear to Pride if it weren’t quite so long: “So I’m bisexual! So what? It’s a thing, and it’s real. I mean, it’s called LGBTQ for a reason. There’s a B in there, and it doesn’t mean ‘badass.’ OK, it kind of does. But it also means bi!”

Once the 2010s rolled around, representation began to pick up steam. True Blood’s Tara Thornton (Rutina Wesley), The Legend of Korra’s titular hero (Janet Varney), Game of Thrones’ Oberyn Martell (Pedro Pascal), The Good Wife’s Kalinda Sharma (Archie Panjabi), and Peep Show’s Jeremy Usborne (Robert Webb) all were portrayed in romantic relationships on both sides of the binary. But these characters’ sexual orientations were seldom given a name.

In some cases, this felt quietly revolutionary. On post-apocalyptic CW drama The 100, for example, set a century and change in the future, protagonist Clarke Griffin (Eliza Taylor) is romantically involved with both men and women with no mention of labels. Because on the show’s nuclear fallout-ravaged earth, humankind has presumably gotten over that particular prejudice. On other series, however, not putting a name to the thing seems like a calculated choice. Take Orange Is the New Black, a show that has broken a lot of barriers but steadfastly avoids using the B-word to describe its clearly bisexual central character, Piper Chapman (Taylor Schilling).

A few years ago, though, tectonic plates began to shift. On Pop TV sitcom Schitt’s Creek, David Rose (co-creator Dan Levy) explained his pansexuality to his friend via a now-famous metaphor: “I do drink red wine. But I also drink white wine. And I’ve been known to sample the occasional rosé. And a couple summers back, I tried a merlot that used to be a chardonnay.”

Bisexuality got its literal anthem on the CW’s Crazy Ex-Girlfriend with “Gettin’ Bi,” a jubilant Huey Lewis & the News-style number sung by Darryl Whitefeather (Pete Gardner) about waking up to his latent bisexuality as a middle-aged man. “It’s not a phase, I’m not confused / Not indecisive, I don’t have the gotta-choose blues,” he croons, dancing in front of the bi pride flag. Darryl’s exuberant ode to his identity felt like someone levering a window open in a musty room — a celebration of something that, less than a decade before, TV was loathe to acknowledge.

For Hulu and the U.K.’s Channel 4, Desiree Akhavan (Appropriate Behavior, The Miseducation of Cameron Post) cowrote, directed, and starred in a series picking apart the subject, titled, aptly, The Bisexual. In it, Akhavan portrays Leila, a thirtysomething woman coming to a dawning awareness of her bisexuality after having identified as a lesbian for most of her life. The show navigates the tricky territory that bisexuals inhabit when they’re misunderstood — or sometimes outright rejected — by queer and straight communities alike. Akhavan, a bisexual Iranian-American woman, has said the idea for the show came to her after repeatedly hearing herself described as a “bisexual director.” She told Vanity Fair that “there was something about being called a bisexual publicly — even though it’s 100 percent true! — that felt totally humiliating and in bad taste, and I wanted to understand why.”

As Leila shuttles her way between sexual partners and fields tone-deaf comments from friends on both sides of the binary, The Bisexual offers no easy answers. But it also never flinches. “I’m pretty sure bisexuality is a myth. That it was created by ad executives to sell flavored vodka,” Leila remarks in the first episode, unconsciously echoing 30 Rock’s throwaway joke from a decade ago. Except this time, the stakes — and the bi person in question — are real.

The next generation — younger millennials and Gen Z kids in particular — tends to view sexualityas a spectrum rather than the distance between two poles. Akhavan neatly encompasses this evolution in an exchange between Leila and her male roommate’s twentysomething girlfriend, Francisca (Michèlle Guillot), who questions why Leila is so terrified to tell anyone that she’s started sleeping with men as well as women. When Leila tells her it’s complicated because it’s “a gay thing,” Francisca responds, “So? I’m queer.” “Everyone under 25 thinks they’re queer,” says Leila. “And you think they’re wrong?” Francisca counters. Leila considers this for a moment before answering, “No.”

Representation matters, and here’s why: Seeing who you are reflected in the entertainment you take in gives you not just validation for your identity, but also a potential road map for how you might navigate the world. For many years, bi- and pansexuals existed in a liminal place where we were often dismissed outright by not just the straight community — but the queer community as well. Onscreen representation is not just a matter of showing us something we’ve never seen before, but of making the invisible visible, of drawing a new picture over what was once erased.

Hi I'm new to the DM scene and was wondering what you use for maps. I was thinking to use those giant rolls of graph paper teachers use but it's hard finding one the proper dimensions... TIA for the help!

Your question made me realise that I don’t seem to have a go-to base for setting up a map at the moment. I just went and got out all of the maps I’ve made recently for the campaign I’m running, and each one is completely different, with a different starting point! I’ll try to explain each of them starting clockwise from the 3D model:

3D Model - I made it from this book (”Make This Medieval Village" by Usborne Cut-out Models) and omitted or added features relevant to the story in this town. This is actually still waiting for the next session, so I haven’t tested it yet, but it’s very time-consuming, so not something I’d imagine is possible for every session.

Book - How to Draw Fantasy Art & RPG Maps - this is so good, I just bought it last week and I’m really enjoying flicking through the tips and ideas!

Map with burned edges - This was the end result of me playing around with these cartography Photoshop brushes (by @joelpigou). I like how quick and easy it is to drop these down and create a whole landscape in a short amount of time. 

Rivermeet Map - I was messing around on this site which generates town maps. It’s a really useful tool that lets you input basic info, and toggles for it’s appearance. I played around until I got a shape I liked, then printed it out and traced it by hand to give it a bit of my own style.Isometric Dig Site Map - Shout out to r/IsometricDnD/ for inspiring me to give my own iso map a shot. I printed out an iso grid from Google and drew out the area in pencil until I was happy, then went over with pen adding details. This is quite time consuming, and I was frustrated that there were large areas you couldn’t see because of the view angle.

Top Down Map - This was the inside of a cathedral/monastery the players were visiting. This I drew on top of a dotted grid I also printed out from Google, and went over in pen for the final details.

Finally, there are times I just free hand maps, especially if I need to just quickly make up stuff or the setting isn’t too important. For those times, I use either a pale grey grid I’ve printed out (you can tape multiple pieces together), or forget the grid completely and use a roll of lining wallpaper. You can pick up a whole roll of the really basic stuff for under $5, and tear off and use to your heart’s content!

I meant linearity in Choose Your Own Usborne Puzzle Adventures.

Yes, I realized that's what you were talking about, but you'd said "Would there still be an issue of potential linearity?"

I'm not sure what issue with linearity (regarding the cyoa puzzle story) you're talking about, but I'm interested. Would you please send a longer ask explaining your thoughts? I'd enjoy hearing them.

Father with two very cute daughters are looking at The Usborne Book of Greek Myths.

Dad explains about Medusa to the girls, about the shiny reflective shield and how it was very clever.

Then he goes: “Let’s see if there’s an illustration in here...” *holds it in front of the girls’ faces* “Oh no, don’t look right at her! Ahh, you’ll turn to stone!”

Sách tiếng Anh - Usborne Business for Beginners

Sách tiếng Anh – Usborne Business for Beginners

Dive into the world of business with this lively introduction, whether you want to be an entrepreneur or a smarter consumer. With bright, infographic pictures, it describes how to start your own business, manage your money and beat the competition and explains global supply chains and interest rates. Includes links to websites to find out more. Giá sản phẩm trên Tiki đã bao gồm thuế theo luật…

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Lovely little book of reproductions from MOMA! Handy guide to the works at MOMA (about 6in X 3.5in)...great color reproductions, nice brief commentaries. Would make both a great guide and a lovely keepsake if you plan on visiting...and if you don't, wonderful visual reproductions to enjoy anyway! Go to Amazon

An Excellent Modern Art Book I used this to explain much of modern art history to my ten year old before a trip to MOMA. This was extremely helpful, especially when used with Understanding Modern Art (An Usborne Introduction) by Cook, J. (Cook's book was excellent, and a good place to start) and What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art by Gompertz and ...isms: Understanding Modern Art ... by Sam Phillips. These three books can be very helpful and made our trip to MOMA very successful and enjoyable. Go to Amazon

Little Coloring Halloween Usborne

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Little Coloring Halloween Usborne

Little Coloring Halloween Usborne

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Thanks for visiting my blog, article above(Little Coloring Halloween Usborne) published by coloringid at July, 14 2019.

What a beautiful sight on the school run this morning! (We got caught in a downpour just after this photo though!)😏🌈🌦 Luckily we have a book that explains what rainbows are made of! How hot is the sun? When do hurricanes happen? Discover the answers to these questions and many more in this fascinating information book, with over 60 flaps to lift. There’s also a quiz, a make your own water cycle experiment, and Usborne Quicklinks to specially selected websites for more amazing facts. #rainbow #weather #greatbritishweather #rainraingoaway #theresabookforthat #usbornebooks #childrensbooks #bookladylife #wfhm #booksbygeorge https://www.instagram.com/p/BwrLvEmlfE_/?utm_source=ig_tumblr_share&igshid=1pz28qnzdqwgm

Increase in sales for children’s books and how to increase diversity.

‘The UK children’s book market continues to grow for the fourth consecutive year and is now worth £383m, with one in every three books sold being aimed at that market. That’s despite the warnings of children’s increased screen time, library cuts, and children’s books’ lack of coverage in newspapers and media campaigns.

Part of this growth could be potentially due to adults buying children books for themselves.In 2014 nearly one third of YA books were purchased by readers ages 30-44 years. Author Dave Eggers states how there is great books made for young readers, but aren’t really just for them.

Roald Dahl’s book Matilda has been re-imagined by Quentin Blake as he illustrates her turning 30. Publishers Puffin hope that the book will be brought from adults also, who read Matilda 30 years ago. 

Modern readers are stuck in an ever-lengthening childhood where the liminal spaces between life stages blur.

Figures by the Office of National Statistics show that the age for adults is rising. How fathers aged 30 and over has increased to 68 percent as of 2016. Mothers aged 30 and over has increased to 54 percent in 2016 from 41 percent in 1996. We are returning to education at older ages to with help of open degree, staying at home with parents for longer due to finance and still playing video games into adulthood.

In our disordered and confusing political times, it could be that the child’s sense of wonder at the world, explored in so much children’s fiction, or perhaps the ideation of hope and meaningful resolution at the end of children’s books, is precisely what adults need too. Children’s fiction doesn’t really differ from adult fiction, except in how it is marketed. Nicola Usborne- “The effectiveness and sophistication of much writing for children has meant that it also attracts many adult readers.”

“We have changed our strategy to annually publish three or four titles that get people talking about contemporary issues,” says Sohini Mitra, an associate publisher at Penguin Random House. “The best kind of picture books are the ones that both children and adults access and derive a value addition out of.”  There are 10,000 new children’s books published each year in the UK, and many of them are of the highest quality, both in production and content. Ever since Harry Potter reached across the generational divide, children’s books have become more than a side-line, rising from 34 million sold in 1998 to 64 million in 2016.  With commercial capital in the once niche children’s market, publishers began to lavish high production quality on their children’s books. This is now especially true of children’s nonfiction, marketed as gift titles in the run-up to Christmas, with bookmark ribbons, good quality paper, lavish illustrations, and foiled or embossed hardback covers. Nosy Crow’s I Am the Seed That Grew the Tree, compiled by Fiona Waters and illustrated by Frann Preston-Gannon, a nature poetry anthology with a seasonal poem for each day of the year. The cloth cover, bold full-colour illustrations, and the physical weight alone ensures its status as a treasure trove and long-lasting gift, and appeals to the adult purchaser with a collection of poems they will recognise with nostalgia. What is definitely terrible in the world of children’s publishing is the lack of gender equality and diversity. Last year The Observer, together with research company Nielsen, revealed that the majority of picture books are dominated by male characters, and when the protagonist is not a human – an animal for example – the gender pronoun was 73 per cent more likely to be male. Only 4 per cent of children’s books for 3-11 year olds published in 2017 featured a BAME character, falling to 1 per cent for BAME protagonists, and only one single book had a BAME funny protagonist. In Britain, about 32 per cent of schoolchildren identify as black, Asian, and other minority ethnic groups, according to the Department of Education.  Lantana publishing is an independent publishing house with a mission to give BAME authors and illustrators a platform to publish in the UK, and Nimesh the Adventurer by Ranjit Singh and Mehrdkoht Amini is the perfect picturebook example of how to celebrate inclusion in modern Britain.  BookTrust’s “In Other Words” project has helped UK publishers to acquire books in translation, and Wacky Bee, Pushkin Press and Tiny Owl publishers are all playing their part. Jill Coleman, director of children’s books at BookTrust, explains: “We know that reading changes lives. Books in translation allow children to reach beyond their own language and culture and to share what one of our judges calls ‘the international language of the imagination’. Now more than ever, our children need an international perspective.” So as children look to books for better representation of their own lives, and to how other children live, adults look to children’s books for identity, reassurance, and a more global outlook. But above all, for a good story. As Philip Pullman said all those years ago in 1996: “There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children’s book.”’

Martin Usborne’s heartbreaking photos of dogs in cars speak to humans’ fear of abandonment

Martin Usborne’s heartbreaking photos of dogs in cars speak to humans’ fear of abandonment

“I like the idea of darkness with humour,” Martin tells us. “I’m drawn to chiaroscuro shadows, to colours emerging from near blacks, to the possibilities that lie in hidden corners. At the same time I don’t want to disappear up my own arse, which is also, presumably quite dark. I recognise that in darkness there has to be light, some humour.” Martin explains that the images were inspired by his…

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Your soul correction and how you react to things... like being abandoned in a car as a child

Your soul correction and how you react to things... like being abandoned in a car as a child

One of the most interesting things to track is how much of the interpretation of an original incident depends on the person's soul correction. OK, let me explain: we come into the world with a supposedly blank slate... We don't know anything, and we need to learn everything. And yet, we seem to have a certain bend... as if humanity had sub-species... Why? I don't know. This is pretty much the only reason I think there is an Original Design... from where it comes, I have no idea. Maybe we ARE in a created world... a whole lot more sophisticated than what the Bible sets up... Anyway, every person is born with a soul correction. It is not the soul that needs correction... it is the person. The soul is perfect... I think. My soul correction is "Forget Thyself" and it is an attitude where I place myself above everyone... For me to ask for anything, anyone, anything, including Life, Source, etc. is DOING MY SOUL CORRECTION. I don't think the soul correction can be ever completed... it is like a slope in reality... it needs to be compensated for, no matter where you are on the evolutionary scale. There are all kinds of other aspects to a human... the Zodiac, the Human Design... all come from the time and date of birth... Why? I don't know. Now... to my topic for this article: similar incidents happen to many children: they find themselves abandoned. It is their interpretation... or the truth... for a child 15 minutes that they didn't know was going to happen feels like forever. And not surprisingly, given what I just said before, a child interprets what happened differently, and reacts to it differently. And then live their life out of that interpretation and the fix they invented... as if that were the only way to be. I get daily emails from digg.com and some of my inspiration for the article come from there... There was a photo article about dogs alone in cars... And the accompanying text by and about the photographer, saying: “I don’t know when or where or for how long, possibly at the age of four, perhaps outside a supermarket, probably fifteen minutes only,” recounts Usborne. “The details don’t matter. The point is that I wondered if anyone would come back. The fear I felt was strong: in a child’s mind it is possible to be alone forever.” While he went on to live a happy childhood despite this isolated experience, Usborne decided to revisit his fear of being alone and unheard in an evocative photo series titled The Silence of Dogs in Cars. Having a deep affinity for animals, he recreates the sentiment of abandonment that affects everyone, people and animals alike. Now, I have students, relatives, myself, who had similar experiences. 1. Mine: I was abandoned, like everyone, in my imagination. My decision to "failing to be loved, failing to be wanted" was to be a "I'll do it myself" person who will not even ask others to do thing, even if it is their job. For example, my toilet is leaking. I a

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28 Things You Won’t Miss Out If You Attend Art Ideas | art ideas

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