"You’re doing the look again."
Sherlock Holmes + The Look
if you want to understand the psyche of our generation take a good look at the stories we tell ourselves about the future
because it isn’t flying cars or robot dogs, it’s faceless government surveillance and worldwide pandemics and militarized police brutality and the last dregs of humanity struggling to survive
our generation isn’t self-centered, or lazy, or whatever else they wanna say about us. we are young, and we are here, and we are deeply, deeply afraid.
Contemporary Odawa artist Barry Ace works with tradition and technology, creating inter-connectivity between history, tradition, and innovation, using computer components to speak to both electronic and cultural connections specifically among the Anishinaabeg. The artists’ work incorporates the machine into the manmade; natural motifs share the artists’ space with digital materials to stimulate cultural and social connections in order to “map out a new Anishinaabeg cyber-territory”.
The works of Ace, such as “Urban Bustle” (2013), “Bandolier” (2011), “Healing Dance 2” (2013) , “Nigik Makizinan – Otter Moccasins” (2014) and “Parallel Tasking” (2000) all incorporate culturally specific designs with that of found computer parts to create cross-cultural assemblages. Through the process of traditional craft, the artist is able to bring a tangible representation of digital imagery, and a contemporary aesthetic to floral motifs normally made with glass beads, which have been replaced with circuits, transistors, capacitors and resistors.
“Parallel Tasking” is a work comprising of a fully beaded vest with computer parts and a headdress representing the Great Lakes cultures. The computer parts on the back of the vest are juxtaposed with traditional beadwork on the front creating a metaphor, as the artist states, of “electronic paths that link us as Anishinaabeg in the urban landscape”. “Bandolier” also incorporates the traditional, and sacred, with a digital aesthetic, commenting on the tenacity of the Anishinaabeg of adapting “to rapid change while maintaining a distinct and unique sensibility, aesthetic and spirituality”. The digital age in fact, does not destroy tradition and culture, but allows for a new aesthetic. The heart of the work is still there, such as in the work “Urban Bustle”. A replica of a traditional Plains dance bustle worn by powwow dancers uses found objects, natural materials, a digital screen, glass beads, and electronic components, to name a few. What is specifically significant about this piece is that the screen portrays a black and white, silent archival film from the 1920’s (from Library and Archives Canada) of a powwow from Wikiwemikong on Manitoulin Island. There is a text attached to the work which reads “an unadulterated cultural expression on borrowed colonial media” which is a direct jab at the anthropological idea that those who still uphold traditional practices are somehow “tainted…unauthentic” when using technology. On the contrary, Barry Ace’s works prove there is no cultural erasure with technology. The only erasure referenced in any of these works, is in “Nigik Makizinan – Otter Moccasins” which reference traditional otter moccasins that had trail dusters attached to the heel to wipe away the wearers footprints. The artist’s contemporary take symbolises rather, the erasure of digital identity, bringing up issues of surveillance and the cyber trail we leave behind. The traditional in this work is used as a starting point to talk about contemporary issues. Finally, the work “Healing Dance 2” presents traditional medicinal plants and flowers with strong healing qualities, alongside energy retaining capacitors, showing correlation between two cultures. “Healing Dance 2” creates a bridge between traditional cultures and the digital one.
The artist’s work allows us to see beauty in the mechanical, and also think about cultural innovations; how we do not have to sacrifice our identity in order to be contemporary and innovative. Tradition and technology can coexist together, both helping the other to flourish in today’s digital age.
Newsflash: You continue to inspire the holy mother of pearl out of me. I am a suspicious person who apparently needs a pony. And I seem to have A SHERLOCK BOOK available for pre-order.
~ Read more: AO3
I have feminist things to tell you.
NICE THOUGHTS CHALLENGE. ONCE YOU GET THIS YOU HAVE TO SAY 5 NICE THINGS ABOUT YOURSELF PUBLICLY AND THEN SEND THIS TO 10 OF YOUR FAVORITE FOLLOWERS.
1. I write a pretty decent historical pastiche.
2. I’m a champion thrift shopper.
3. I’m loyal to my friends.
4. I have nice handwriting.
5. I’m fairly prompt in answering correspondence.
ticklefighting tagged me for this! I’m greedy to see everyone’s answers, so if you see this, please consider yourself duly tagged. :)
destroy this new idea that a woman can’t be strong if she cries over a man she’s lost. destroy the idea that you have to be cold and emotionally detached in order to be a strong woman
mapynguary said: Hello :). Do you have any advice on story charts? Sometimes I try to write by inspiration only and just doesn't work cause I don't know where to put the scenes I want to write. Btw, I love your U2 fanfiction.
Please forgive my delayed reply; Berlynn had a busy weekend.
So, I don’t actually have a whole lot of experience charting fics, actually, as most of what I write is just porn. But when it is necessary, there are basically two ways I do it: if the fic has a plot but it’s pretty simple and really just a vehicle for porn (like Intrusion), I just make a list summarizing what happens in every scene, which ends up looking like this:
But if it’s a big complicated fic like A Study in [DATA EXPUNGED], I gotta open up Excel.
For the fic I’m working on now, I originally had this scroll covered in sticky notes on my floor, so I could jot down ideas and move them around easily. But now that I have a clearer idea of how the story will play out, I made a proper spreadsheet. I can’t tell you precisely what is on this spreadsheet, because spoilers. But here’s basically what you can do:
First of all, for a big, plotty fic with lots of intrigue and plot twists, you have to start with the ending. Where do you want your characters to be at the end of the fic? Once you know that, then you have to work backwards.
So make a spreadsheet. Left-hand column is the chapter numbers. Then you have a row at the top with the following titles:
* What action explicitly occurs in the chapter?* What is going on in this chapter that the reader doesn’t know about (yet)?
* What is going on in this chapter that the reader does knows about, but that [POV character] doesn’t know about?
* What does [Character A] do in this chapter that makes [Character B] fall further in love with him?
* What hint does the audience get that [PLOT TWIST EXPUNGED]?
* What happens in this chapter that is perfectly straightforward to the reader, but is later going to make it look like [PLOT TWIST EXPUNGED]?
Now as I said, you should know what happens at the end before you begin, so decide what action will explicitly occur in the last chapter, then you can work your way back up, dropping in plot points and character-development moments as needed.
But don’t think that you have to fill in the whole chart before you can start writing. It’s not a one-way street, where the chart helps you write the fic and that’s all. Writing the parts of the fic where you already know what needs to happen will make filling in the empty parts of the chart easier.
Reblogging here because of relevance. :)
It took me a while to realise that having an outline and notes are valuable tools for writing. They give me the structure and sense of security I need to write/go exploring
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