I actually love your AU so much. It’s giving me so much inspiration to write Fanfictions. I also like the way you view the characters and write them, and how easy it is to understand what you mean!
:D keep up the good work ^^
Thank you so much, I really appreciate it! 😍 It's always so great for me to hear that my ideas and headcanons inspire others! 🙏💞 Knowing that people enjoy my vision of these characters is immensely gratifying, and I'm very happy to contribute. 🥰
Wishing you the best in your own projects, and 'til next time! :D 🙌
My personal vision of the Dimitrescu sisters is three young women on the bed, crying under the sheets, Daniela and Cassandra one against the other, Bela on them, protective and responsible, surround by many cadavers.
They asked how it will be their future, in how long their humanity will be completely destroyed, from when their personality will only be that madness, sadism and hunger, and how will be they after a half century closed in a castle.
Then, a hand of giant woman cuddle their hairs, kisses their tears, and tell them:
“No matter the horrors that you will accomplish in the next years and what you will become, I will affront this with you”
My artistic vision statement from Week 10 was: I want to create my own design brand that explores the emotional journeys necessary for living life and how they can impact people. After receiving feedback from my classmates, I realized my vision, while clear, was somewhat broad. So, I revised it to "Design with empathy and intention, and aim to encourage reflection on how emotional connections are crucial to people's mental well-being and their relationships with society." This revised version better aligns with the principles of reflective and critical thinking explored in CTS B.
For the theme of social engagement from Week 3, I drew upon my own research, which explored how creative practice intersects with social issues. According to Improving Social Connection Through a Communities of Practice–Inspired Cognitive Work Analysis Approach.” Human Factors, vol. 56, no. 2, 2014, contemporary artists and designers do more than produce visually appealing work; they function as social actors who influence public awareness and dialogue. By addressing issues such as inequality, identity, the environment, and community involvement, creators can provoke reflection and contribute to social change. Through this perspective, I came to understand that social engagement in design isn't simply about "helping" a community, but rather about participating in a larger conversation that challenges systems and exposes hidden realities.
Through this understanding, I realized that social engagement isn't limited to activism or community-oriented projects, but also encompasses ways of engaging with cultural history and identity. This idea became even clearer in weeks 4 and 5 as I explored design practices rooted in tradition and lineage. I realized that reflecting on tradition isn't about passively preserving the past, but rather an active and socially engaged process that reconnects contemporary audiences to cultural memories and values.
For the tradition/lineages activities in weeks 4 and 5, I selected examples of Japanese kintsugi suisen techniques (“The Geo-cultural Conditions of Kintsugi.”) and traditional Korean ink wash patterns reinterpreted in contemporary graphic design (“Fashion Cultural Product Design as Applied with Ink Painting: 수묵화를 모티프로 한 패션문화상품 디자인 연구.” Korean Journal of Human Ecology,). What fascinated me about these examples was how they embody emotional and cultural narratives while evolving into new forms. They demonstrated that tradition is not static; rather, it is a constant dialogue between past and present. The case studies from weeks 4 and 5 broadened my understanding of social engagement in design. They demonstrated that engaging with tradition itself is an act of cultural communication. It perpetuates tradition, sparks reflection, and connects the past and the present.
Throughout the CTS B course, we learned how to consistently record our thoughts, questions, and research findings through journaling strategies. This reflective practice helped me connect my personal vision to the module's themes of critical thinking, social awareness, and contextual thinking. By writing regularly, I was able to see how my design interests, particularly those centered around empathy, narrative, and nuanced social commentary, formed patterns. I believe that the most important thing is to incorporate emotion into design.
In conclusion, revisiting my artistic vision helped me understand how it aligned with the practices I learned in class. I hope to apply this insight to my own creative work.
Word count: 503 words
References Link:
PDF | This paper concerns the analysis of transformative repair in ceramics using concepts of affect. The traditional Japanese craft of kint
Keulemans, Guy. “The Geo-cultural Conditions of Kintsugi.” The Journal of Modern Craft, vol. 9, no. 1, 2016, pp. 15–34. DOI:10.1080/17496772.2016.
Kim, Sun-Young. “Fashion Cultural Product Design as Applied with Ink Painting: 수묵화를 모티프로 한 패션문화상품 디자인 연구.” Korean Journal of Human Ecology, vol. 27, no. 2, 2018, pp. 165–177. DOI:10.5934/kjhe.2018.27.2.165.
Subscription and open access journals from Sage, the world's leading independent academic publisher.
Euerby, Adam, and Catherine M. Burns. “Improving Social Connection Through a Communities of Practice–Inspired Cognitive Work Analysis Approach.” Human Factors, vol. 56, no. 2, 2014,
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