@ perfectunion
Official Post of Massachusetts
Sade Olutola

Product Placement

Kiana Khansmith

Kaledo Art
Claire Keane

❣ Chile in a Photography ❣
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DEAR READER

Andulka
Cosimo Galluzzi

Discoholic 🪩

JBB: An Artblog!
cherry valley forever
ojovivo
I'd rather be in outer space 🛸
we're not kids anymore.
AnasAbdin
Cosmic Funnies
Lint Roller? I Barely Know Her
KIROKAZE
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@dreamedge
@ perfectunion
Official Post of Massachusetts
Thank you for 1k!🍷
「let's dance!」
Poor Dan, having to be invited with Doug Walker, while also dealing with the insanity of Beast Studios
Imagine you're a long-running youtube creator who used to be so successful that you essentially defined the youtube reviewer format for more than a decade until your incompetence and short-sightedness collapsed your own media empire, leaving a massive influence on how youtube reviews are done even to this very day, and one day a much more competent and clearly more intelligent youtuber makes a video carefully and patiently pointing out how much of a hack you are where he concludes that you "wants to be a filmmaker, he wants to make art, but he can't, because he's a fundamentally incurious person who isn't much interested in what other people think or feel and all his ideas boil down to 'what if Batman met Mario?'" and it's wildly popular and becomes a defining part of your legacy.
And then you end up in Mr Beast's ATV with him and neither of you knew the other one was going to be there.
And then you go home and make a vaguely positive fluff piece about the experience (because doing PR for people who fly you places and feed you is part of Your Job) and months later he makes a way better and more accurate video that reads the experience in much the same way he read you a couple of years ago.
Afro Queen
I think that Xena, for all of its ridiculousness and cheesiness, did a better job of conveying the allure of evil than just about any other series I've ever seen. Like it understands that violence, no matter how justifiably it starts out, is addictive, and that hatred poisons you until you can't feel real joy anymore, and it's strange to me that I've never seen it laid out so simply elsewhere.
...so THAT'S what sleeper cell activation feels like. Because yes, YES, LET'S TALK ABOUT THIS, because Xena is such an interesting lightning-in-a-bottle-case study! While I would never discount the work done by the writers, Xena as a show is almost perfectly positioned both historically and structurally to consistently explore that theme.
The first puzzle piece is that Xena was a syndicated show at the tail end of syndication's total dominance of a distribution model. For those too young to remember a time when ongoing plots and prestige dramas weren't the norm, syndication is big part of why older television shows almost entirely kept plots contained to one or two episodes rather than having them span seasons. See, when a show is syndicated, it is licensed out to individual television stations/affiliates to be aired as reruns. The individual station chooses when to air them and in what order, and whether to just skip episodes they don't like in favor of the ones most likely to draw eyeballs, etc etc. The more a show is licensed, the more money you make on it, so there is an incentive to make each episode standalone to make them appealing to each station by enabling them to toss on whatever episodes they like without it being a problem for the casual viewer. Also, before streaming, easy access to dvds and episode recording, and the like, a show could not assume that even its fans would have necessarily have seen every episode. "Catching up" was not an easy thing, and reserved for the most dedicated, doing shit like physically mailing bootleg tapes! Therefore, shows needed to have a consistent formula that didn't lock out the person who couldn't watch last week for whatever reason. Characters remained within more of a status quo. Xena is a "monster of the week" style show, like X-Files. I mention X-Files intentionally, because it was one of the first to really break that no-ongoing-plots structure, and that shift affected its contemporaries, like Xena, who also started to follow suit.
That alone doesn't account for Xena being so primed to explore those themes, of course. Even staying within the same fictional universe, Hercules (which Xena is a spin-off of) and Young Hercules don't even come close to Xena's complexity on the subject. But that's because Xena's premise is perfectly positioned to interact with those practical constraints for this outcome in a way those shows aren't. The status quo that syndication demands remain mostly in intact is that 1) Xena was evil and really good at it, 2) she is trying to do good in the world now as penance but can never undo what she has done. Every episode is about Xena trying to save people while dealing with the consequences of her actions as a warlord. The fact that she was evil cannot be changed or diluted nor can the fact that she must continue trying to redeem herself, otherwise the show is over or is unrecognizable to the casual viewer. But this is also an action show, sometimes cartoonishly so, so she must also be fighting consistently! The core spectacle is violence and the core story is why violence is often evil. There is an inherent tension there that the writers either needed to interrogate earnestly or ignore, and they chose the honest, interesting route. They gave Xena a costar who is innocent and principled but loves Xena, and had her always asking why and trying to understand how Xena could be that person, while being put under similar pressures herself. They had Xena continue to use the tools she has, including violence, for good ends, and wrestled with the answers as to why that was ok, why the violence she did then and the violence she did now were different—and sometimes decided they weren't. They showed Xena struggling with falling back into those old habits because they are seductive and easy.
If someone asked "are there so many episodes of Xena where you find out someone tried to get her to change her ways many years ago and failed because that is a really great standalone premise, or because violence as a tool and power and vengeance as motivators are corruptive and hard to stop using once you start," the answer is yes. The show is cyclical because violence is. But also because it is syndicated.
It's fucking rad and interesting.
Does anyone have this picture
But it’s a parody of Master and Commander’s opening title
I swear I have seen this before and I cannot for the life of me find it
This image?
YES
PNG'D! (i didn't know the font so this is taken directly from the image)
+ bonus italian navy vessel
Makoto
if you were wondering what reading bsd is like it's basically chekov coming in and slowly placing more and more guns on the table in front of the writer as the writer watches. and then the writer looks into the camera, breaking the fourth wall and goes "that's a lot of guns. my weapon of choice is actually a sword" and then spawns a fucking sword out of nowhere and cuts all the guns in halves
New art by Untold Origins' illustrator Tomori Adachi for Ranpo's birthday
Blanc and his Watsons 🔎💕
The other day I was surfing the internet and I found this specialized painting colour wheel, it shows how real paint colours relate to each other.
Outside: the purest/brightest colours.
Inside: naturally muted or earthy colors, like browns and ochres.
The Center: dark neutral tones used for mixing shadows.
The Lines: the lines connect colors that are opposites, if you mix them you neutralize the tone creating clean grays or browns instead of muddy puddles.
I want to share this with you because I think it is really illustrative!
Reference: “Quiller Wheel” by Stephen Quiller
sleepy…
Dead Fantasy Kairi ⚔️
She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
Edited down a long tweet. (x)