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Getting Women
Posted by: Mark Newton in discussions, genre stuff, my books 36 Comments
No, not that, you foul-minded lot. I'm talking about the concept of male writers creating believable female characters (please excuse the simple binary gender in this post).
I don't want to go on about good reviews (okay, yes I do, of course I do), but I was particularly chuffed with this write-up at the Book Smugglers, especially one of their last paragraphs.
One last word. I cannot finish this review without mentioning the female characters. After the recent fiasco with … where females characters were basically walking talking vaginas at the beck and call of the protagonist, it is great to see an author who gets it. The female characters here are women on their own right, never in relation to other characters. They are distinctive, diverse and interesting. From Beami, to Eir, Rika and Artemisia all of them play a huge rule in the book (although they have less scenes than I wished them to have) and in fact, I would go as far as to say that when the time comes (OMG huge awesome battle in the end), the women totally saved the day and look: without having to use their vaginas. Kudos to Mark Charan Newton.
I'll be up front: seeing accusations of women being treated poorly in genre books made me reflect deeply on how I write women in my own work. Legendary texts such as Gene Wolfe's New Sun books are frequently highlighted for a vicious streak of misogyny, and there have been several reviews of other books recently that have picked up on the subject. When backed up and well-argued, this can only be a good thing.
Why? Because it makes writers (and readers) think.
I don't want to get all sanctimonious here. I wondered, quite simply, am I writing women well enough, without resorting to the crudely-packaged fetish-extremes of the leather-clad-ZOMG kick-ass babe? Do I actually get women? Whether or not I did previously (it was too late to worry about that) it was certainly on my mind during the writing of City of Ruin. It's why I was absolutely delighted to get such a reaction from the Book Smugglers, who frequently take incriminating writers down to Chinatown. I had thought about my portrayal of women long and hard. I wanted to improve at this area, and the results were noticed, which makes me happy.
All of us are shaped by our cultures, of course, but we can see just how misogyny exists in both brazen and subtle ways. "Mums go to Iceland", anyone? The same could be said for racism. A lot of people read books, and lot of people absorb what writers put into pages, so surely writers – irrespective of their cultures/gender – have a vague responsibility to consider matters of equality?
Writers are not perfect (despite how we would like to convince you otherwise…) and I've certainly got areas where I want to improve. There is so much to take into consideration when writing a book that often we will fail on many fronts. But it is up to reviewers to point out where we go wrong with matters of equality – be it racefail or genderfail – because, as I said, it makes writers think.
These things have to start somewhere, right?
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DanielChuter
Tuesday, July 13, 2010 at 8:32 am
You have to admit though, that due to the usual "era/period" of fantasy, women aren't usually equal in society to the men, and, more often than not, are wenches or whores or some such.
Sam Sykes
I don't know how comfortable I am with the concept of "getting women." Before anyone crucifies me for that, let me clarify my position.
The idea, it seems, in "getting" women would suggest that women conform to a universal type that dictates their characters. It's been my opinion (my own) that when women are written in a dissatisfying way it's because they're written as women first and characters second.
I'll expound if requested, but my head is throbbing right now and we're treading delicate ground.
In re: "era/period" stuff, we're actually making whole new societies. So long as the motives behind female status are believable, you can probably do whatever.
I have to agree with Sam's first post. You can really tell when I writer creates a character who happens to be female, as compared to when the writer decides he needs a character that is female… If that made sense.
And while I agree with the "making new societies", it is still difficult for a lot of people to separate "fantasy" from "medievil". Thankfully, a lot of newer fantasy is doing so though.
I'm curious, Mark. Did you consciously write your female characters the way you did, or did they just turn out that way?
By that, I mean did you sit down and very deliberately design them so they didn't fall into stereotypes or categories, etc etc?
To use a more concrete example – the lead character in my book Empire State is a big black guy. I didn't particularly intend him to be a big black guy, but that's how he appeared to me. Likewise, I have female lead/main characters in my other books, including miners, scientists, marines and engineers (ie, possibly male-dominated roles) simply because that's who they are. I didn't think, oh, I need two female characters here and one male character here, and so on. I've found I really don't have much control over characters – they appear as they are and they do what they want.
Adrian Faulkner
I hope that my 2 female protagonists (an 82 year old and a clumsy, slightly unconventional 19 year old with big glasses) go some way to breaking away from 'female tropes'. They are not 'walking vaginas' nor 'men with boobs' but as Sam says characters in their own right. I'm hoping I've imbued them with a sense of femininity without turning it into farce and having them discuss shoes all the time. I'm shallow, but not *that* shallow. Oh and they kick absolute ass!
If I don't react to a character of the other genre than the writer, I think the writer has "got it". Haven't read City of Ruin yet, but I had no problem with your female characters. I've had female friends with many of their characteristics.
Being male, I have of course reacted more to male characters written by female authors. And I think male authors are better at avoiding stereotypes in their female characters than women authors are in their male characters. Of course this has to do with the fact that male authors run the risk of being called sexist if they do something that's perceived as wrong. -But that unfairness is perhaps another debate…
I think the comments above have it right. Characters are people first, gender second. Write them as people not types and they should automatically be non-cliched. I agree with the idea of consciously examining your own preconceptions and ignorances to make your writing better and more interesting – though the idea of consciously writing a 'woman' character seems odd to me. There isn't really all that much difference between men and women. Different societal constraints, different expectations perhaps … but we're all pretty much the same underneath all that. No mystique.
To quote "As Good as It Gets",
"How do you write women so well?"
"I think of a man, and I take away reason, and accountability."
I don't see it as a problem limited to male authors, myself. I've picked up enough of my girlfriend's preferred reading material (romance, historical romance, paranormal romance, etc) to see that the majority of women writers create female characters that are just as wooden, one-dimensional and ultimately misrepresentational of their gender. You'd struggle to defend post-Narcissus in Chains Anita Blake or Bella Swan as great examples of women in fiction on the basis they were written by a woman.
While there's not going to be a sea-change in the representation of women in literature as a whole – simply because masses of people continue to buy awful books – at least it's nice to know that a few people are taking the time to think of all their characters, and not just the women, as something more than MacGuffins to keep the plot going.
On a side note, I have to give you kudos for the "Mum's gone to Iceland" slogan, made all the more ironic considering Iceland's comparatively progressive stance on women's rights. 😀
Tuesday, July 13, 2010 at 10:02 am
Living in Norway I haven't seen any "Mum's gone to Iceland slogan". But since the female Icelandic Prime Minister married her girlfriend two weeks ago that should be a slogan for gay rights 😀
Another great post, Mark. Thanks for linking to my review.
I would like to reply to some of the comments here, but please bear in mind that I am not a writer nor do I ever plan on being one. My comment will come from a reader/reviewer point of view.
First of all, the "some such" really did not go down well with me. It sounds dismissive and I am pretty sure this is not what the commenter intended to come across as, but it serves perfectly to mirror what Mark tried to say in his post. You have to THINK about what you write.I believe that writing can be a conscious effort without losing creativity, freedom etc.
In that sense, I can never understand when a writer says that they don't have much control over what they are writing: what do you mean by that? Surely characters do not exist in a vacuum. They are YOUR creation, coming from inside your head. Whenever I hear this, from a reader's point of view, I just hear an excuse for not taking responsibility by taking into consideration matters as gender and race. Does it sound harsh? Possibly. Do I expect a lot from writers and that is not fair because we are all humans? Probably. I just don't know how to read in any other way. And do you know? This is a learning curve as well, I am not the reader I used to be three years ago, two years ago, one year ago. It is because of posts such as this, and the genderfail and racefail issues that I am much more of a conscious reader. I don't think it is too much to expect the same conscious effort from writers, is it?
Second, there WERE women in all times and periods who did not exactly fit the status quo. There are several accounts of women who ran breweries in medieval times, who had to take over running castles, etc. They were not ALL wenches or whores, you know. In any case, aren't we talking Fantasy here? You can do whatever you want with your female characters and heck, getting a female character to BE much more than what she is supposed to be in her society sounds like awesome conflict to me. That also means, of course that your female character can be a whore if that is who your CHARACTER is (and not you know, because the character is a woman and a whore is all she can be). I believe this is what Sam is trying to say too, right?
Female characters (note Sam, the use of the term, in its full splendour) in fantasy need not be relegated solely to either the brothel or the barroom.
Simply because a story is set in a writer's version of "Ye Olde Society," does not automatically forestall it having a complex, gender mixed ensemble. Many of the ideas we hold about stark gender inequality are the product of the recent past – and our popular reinterpretation of it. History, the real stuff anyway, is ultimately more complex. There is ample evidence for both matriarchal structures, powerful religious sisterhoods (admittedly, pre-Christian for the most part but not-exclusively), and a flowering of female influence in a range of societies across the typical pan-Western European, pre-industrial landscape.
You can find dynamic women outside the "typical" negative medieval viewpoint in the pre-Albegensian Crusade Languedoc, during the bloody Wars of Religion which set Europe alight, and of course farther back, in such divers societies as developed in Crete, Gaul, and even among the Romans and Etruscans – the latter who despite having very strong misogynistic elements, possessed powerful independent women who held on to their vital roles in society.
The spread of popular monotheism in the form of the Judeao-Christian-Islamic religions form an arguably less favourable period. The vital but male-warrior dominated barbarians which took up its banners as the old empires of the region fell before their advance, both the germanic and arab expansions which followed were not exactly the high watermark of female empowerment – this is true. Up to a point. Unfortunately, we often look to these periods to form our ideas about the societies that characters *must* be drawn from, no matter that these represent an incomplete view of the period – and as if there was some sort of fantasy commandment that states "thou shall have no girls in thine bitching adventuring club." Even if we admit to a bias in power lying definitively with the populations of free males in much of post-Roman Western Europe, how many fantasy novels are written to be strictly historical fiction?
If it is fantasy, with your own secondary world, then there seems even less need to potentially limit yourself to having the lasses only draw the drinks and turn back the covers. Dig deeper. After all, half your potential readership out there doesn't have a pair of testicles. It seems foolish not to remember this. Even such writers as Robert E. Howard – who will never be accused of being a feminist by either armed camp, penned some vibrant female characters in his time who were capable of more than just swooning when his brooding, black-haired Cimmerian entered the room. And there is of course C. L. Moore's Jirel of Joiry of the same period. Considering the time period she was written in, she's a wonderful character.
Personally, I have a harder time with the whole element of every-day people risking their lives to do the foolhardy, dangerous things most protagonists need to accomplish in order to move the story along. They're often too quick to shoulder a sword and set off whistling over the edge of the precipice with hardly a ripple in the fabric of their wider lives and socities. I suppose this is why orphan farm boys whose ma and pa get done by the baddies, their pet cow crossbowed, and their fly spotted hovel burnt to the ground in some yokel backwater, so often serve as our starting point. But I don't see why both sexes may not equally apply.
Where are the books about the adventures of orphan milkmaids out to avenge bessie? Come on people, pull up a three-legged stool and get to work.
Pretty much, Ana.
To elaborate, though, what a writer means when he says he doesn't have that much control over his writing is that the characters take on lives of their own and do their own thing, regardless of what we might want to happen.
Basically, it boils down to the author writing something involving a character and then pausing and asking: "Is this really what he would do?" It might be easier to swallow if he goes for Option A, it might be more appropriate to the times if he goes for Option B, but in the end, if his motives and his personality dictate that he goes for Option C, that's what he does.
This is basically a choice for both the reader and the writer. There are readers out there who will look at Option C and say: "You know, I really don't want to read this anymore." That's fine. There are authors who say: "Some people won't like Option C, but there it is."
That said, though, this is absolutely, positively NOT carte blanche for the author to write absolutely every offensive, ridiculous or just ignorant thing he can and expect to roll his shoulders and go "welp, out of my hands, can't get mad about that."
Ideally, a good author makes it clear when Option C is the character's path, not his own.
That's a great explanation Sam. Just to add some more about character – the way I see it is that if a character is well-formed and if the story works, that character will essentially take up a life of their own inside the writer's head. I think that makes sense too – we're just a collection of thoughts and ideas ourselves, so if a character is real enough there is no reason why they shouldn't start thinking, so to speak, for themselves.
This is why outlining a book can be a problem for some people, because you can spend days working out a chapter-by-chapter breakdown, only for your main character to do something unexpected in chapter 4 and throw the rest of the book off.
I do hear it a lot from non-writers: what do you mean, your hero did something unexpected? You're the writer, you're in control! Well, yes and no, as Sam as illustrated above. Stephen King said he wrote 'Salem's Lot because he wanted to find out what would happen if vampires arrived in rural New England. I mentioned that to a non-writer friend, and they were all: What do you mean, he wanted to find out what happened? He wrote it! Surely he knew what would happen? Actually, the answer is not necessarily so.
That can be applied to individual characters too – I had a main character appear halfway through a book, and while I had her plot and personality all worked out and outlined up to the end of the book, as it happened she was quite different when she arrived. She was supposed to be fast-talking and brash, but it turned out she was really pretty cold and aloof. I was completely surprised by her attitudes and actions (me, the writer who created her), but later on in the book I found out why she was how she was (and different to how I had imagined her), and it made perfect sense.
But I digress. Going back to the subject of this blog post, that's why I asked Mark about his thought-processes regarding female characters. How much of their characters were deliberate and how much was the characters coming to life in the writer's head and doing their own thing.
Anna Wildheit
Tuesday, July 13, 2010 at 12:02 pm
I'm with Sam. To me, good characters have an almost abstract gender. Also agree with Andrew that the issue of "getting women" is just as present with female writers. Quotation marks because this kind of issue makes me fret if I "get men". Then I realize nobody gives a crimp if I'd choose to portray men like big lumbering destroyers of all or fat lazy dumbasses who like beer, as long as they are well-rounded characters that fit the story. Nobody whines about stereotypical heroes as a "male issue", only as bad craftsmanship of the author (flat, 2D character)
E. M. Edwards said: "half your potential readership out there doesn't have a pair of testicles".
Now, I don't have a pair (though I've heard it whispered they may simply not have dropped from the 4th or 5th or whatever dimension they're hiding), and I get what you're trying to say, but my first reaction is: is he saying the testicle-free have *different* needs? What am I, some kind of spaz?
Do I need more strong and well-rounded female characters in my fiction?
Not really (with inner voice uttering a slightly panicked "Ack!"). If the characters are written well, I don't care what sex they are and what sex they are having and what world they live in and certainly not how the male/female relationship is.
Besides, turning the talking vaginas and men with breasts into packaged deals of solely strong, intelligent, caring and whatever else "good" stereotypical traits, might appease some warriors of the female cause, but I sincerely doubt its real value to emancipation.
It might be a good idea for a genre though: FEF! Female Emancipation Fiction, with its own rules, market share and shelve space, as for Dark Romance and so on. Just to keep the bad writing penned down in a category.
As to the milkmaid suggestion: the stable boy is inherent to the mould of the fantasy quest story. If you break free from it by using a milkmaid, you'll have to make clear why and make sure the story remains interesting and believable. And trust me, there's a million ways to get it wrong, starting with whether you choose to have a 12 year old run-away raped or not at the first run-in with big bad men.
Conclusion: ever wonder what happens if all the smart, pretty and strong girls leave their burnt down villages? Well, the surviving villagers rebuild, and are left with the ugly female idiots that grow up to become serving wenches in the taverns the male heroes later visit.
Lots of comments. And what Ana says is pretty much spot on for most of what I would reply with.
To Adam's question: "Did you consciously write your female characters the way you did, or did they just turn out that way?" Both. Ware the sub-conscience, for it's likely to betray prejudice. I consciously thought: I want to write a fair female character, one who does not have to rely on her vagina to get through the story. As far as I'm concerned, that's essential. I deliberately set out for her to be as self-sufficient as the male characters. I deliberately set out to examine any bias I might have had, in the hope of ironing that out and grow as a writer. Is that bad? You decide…
Rachel: Not sure this was generally all about 'consciously writing a woman' more that the women I was writing should exist on their own terms, and not be there ONLY to move the plot forward for the men. Which is different than forcing them through the plot instead of acting organically, which I think Sam was on about.
Andrew / Anna – yeah, poorly written characters is one thing, but misandry is just as bad. Thing is (and I noticed this when I read The Forgotten Beasts of Eld) I thought to myself: you notice when the male characters are positively loathed; think how bad it much be for women who read fantasy to have their sex reduced to plot points.
Tuesday, July 13, 2010 at 1:00 pm
I have to take issue with Anna's bizarre final paragraphs. The rest of her comment is equally stupid but these ones are exacerbated by the fact that although she uses them to reply to Eric she complete fails to take his point that gender roles are not as static as some are assuming them to be in the real world, never mind in the unlimited world of fiction.
As to the milkmaid suggestion: the stable boy is inherent to the mould of the fantasy quest story.
For what possible meaning of the word "inherent" is this true? It might be familar, comfortable and well-established but that is hardly the same thing.
If you break free from it by using a milkmaid, you'll have to make clear why and make sure the story remains interesting and believable.
Why do you have to make clear why? It is the author's perogative to write what they want. There is a such stunning artistic conservativism behind this statement that I can barely comprehend it.
And trust me, there's a million ways to get it wrong, starting with whether you choose to have a 12 year old run-away raped or not at the first run-in with big bad men.
I don't think it is actually a natural law that 12 year old girls must automatically be raped and 12 year old boys must not. It is the author's decision whether a character gets raped and the author's responsibility to deal with the aftermath of this.
As for her supposed conclusion, what is there to say but: WTF?
@Mark – double posted, can you please delete/ignore the one above?
@Anna – see below.
My point about testicles (and yes, all that testosterone surging around can make for different impulses – few of them terribly helpful in most cases I admit, but as far as I know none have anything to do with coordination – so let us if we can, leave that for another post) is that there are lots of female readers out there who enjoy reading about fantasy adventures, so why should we make all those having them principally male?
To play devils advocate to my own assertion, the genre as a whole doesn't of course. I can think of quite a few female fantasy characters who serve both roles (and nary a tray of pewter mugs in sight) admirably. Regretfully, a lot of these have been the product of female authors, though as others have noted, this is changing.
As for the milkmaid, why not? Why is a peach-fuzz faced stable hand inherent to the mould? Even if that was true, shouldn't we challenge and break with such preconceptions? In fact, milkmaids and their like are just as hoary (no pun intended) a part of the fable/fairy tale tradition; they go all the way back to ancient Greece and beyond – just like their male companions.
On a tangentially related aside, I love how discussion of these things can spark off ideas. I'm happy to say I'm now 1,300 words into my very first story about a milkmaid and her companions: a baker, a washerwoman, a tapster, a seamstress, a carpenter, and a burgheress, the last with a bloody scrap of cloth in her white knuckled hand. Untied by loss and joined together on the most unlikely of missions – they are, The Unlikely Ones. Against them are set scheming wizards, cruel princes, blackhearted mercenaries, mad monks and paranoid prelates – but who is to say in the end, that these former, lowly inhabitants of ruined Breck-on-the-Eeld, won't have their own? Each one I'm glad to say, simply stepped forth nearly fully formed and clad in their sex, out of the burning ruins of their ravaged town. What fun and you heard it here first.
And finally, back to the original point in a nice wide wobbly ellipse: it behooves writers of genre fiction, especially male ones I feel (my opinion; need not be yours) to be mindful of the gender imbalance fantasy fiction has at times displayed. Mindful – not slavishly bound to independently righting it.
I love writing complexity (or so I hope) into my stories. For me, it's a simple and easy choice: diversity breeds complexity and a balance of sexes and proclivities can help bring the same to the figures which populate my fiction. Obviously not independent of actually making them complex, interesting characters. Keeping an eye on the question of gender (and sexuality) shouldn't get in the way of creative thinking, but then a pursuit of the latter should never be held up as an excuse for a lack of investment in the former.
One last thing:
I didn't get a chance in my previous posts to ask a question I have, open to anyone really. I'd love some opinions from both writers and readers here:
How hard do you think is it for male/female authors to write female/male characters (strikethrough the gender based adjectives of your choice in the line above) – correctly? And what exactly, does that mean?
Should it really be that mysterious a process? Are we always in the dark about the opposite sex? We live with and around each other on a daily basis (with rare exception), most of us have grown up knowing both sexes, and nearly all of us have read works of literature which contain both, written by both.
Yes, I'm not, nor am I likely ever to become, a woman. But the same applies for all of the following: wizard, assassin, elf, dragon, general, king, goblin, innkeeper, giant rat, nobleman, blacksmith, beggar, god (well, in my own mind I suppose), thief, sentient tree, explorer, etc., etc.. Does this mean I can't create believable characters of this sort, full stop? And before someone screams that gender doesn't equate profession – the point I'm trying to make is that we write about a lot of things that we are not, or know only as much about as we can uncover or imagine through the power of our minds. People like to tell things about themselves. So we really have no shortage of chances to hear from others who do know more, what it is like for example to be a male or female in a particular society/time period (where records of such still exist). The rest I suppose, we make up.
I'm fine with that. After all, no two males or females (or I suppose bisexual hermaphroditic sentient tree-frogs) are exactly alike. What am I under onus then, to get?
Before you think I'm being snide, I assure you, I ask this in earnest. I do wonder at times and personally question if I can portray the complexities of a gender I only know second hand. But then I remember all of the above. Outside of the realm of my skull – it's *all* second hand. That's the step that makes it fiction. You've got to give it the best educated guess you're can and hope that some of the time, you get it reasonably right – or at least right for your story and your readers.
While we may get tired of beautiful female assassins with a hot bod and a flair for hanging upside down while firing a full sized repeating crossbow – they are not really any more silly than all the muscle bound, handsome, impossibly skilled swordsmen/mages/male chosen ones lumbering about in the same fare bedding every tavern wench and princess in sight. This isn't even a question of female writers not getting male characters either. Most of the time, fantasy authors of both sexes are often equally guilty of writing fantastical and let's face, unrealistic characters by the page-load. If there is a problem with that, is it truly one of mistakingly sketching gender by those who are of another, or just the more general malaise of a lack of realism and well rounded characters that affects the genre?
I've even seen some comments on other sites, decrying the move towards darker, grittier, more realistic fantasy simply because of the loss of that utterly fantastical element. Each their own, I suppose.
Food for thought. And I'm looking forward to your answers.
How hard is it to write a woman? I'm not sure, I've never written a character whose primary motivation was "woman."
To write a woman "correctly" implies that there is a criteria for things that women do. This implies that every woman does the same thing as every other woman. We both know this is false.
You can have a female character be concerned with her femininity, for example. You can have a female character be concerned with child-rearing. But if you're writing these as things that females do, rather than what the character does, you're doing it wrong.
@Martin: in the unlimited world of fiction, it's certainly the author's prerogative to write whatever he or she wants. But in the marketable world of fiction, s/he'll have to know what to name the child. And once the child is named, s/he'll have to know where, why and how it diverges from the genre or subgenre.
Which, BTW, is where "inherent" comes into play. There's no fixed set of rules what is or what isn't a certain genre, only a bunch of elements that by consensus (market's, not author's) "exist essentially or permanently" in said genre. Elements that are familiar and well established *stick* to a "definition" of a genre (ah, gotta love good old Latin).
With this I certainly did not want to imply an author can't colour outside the lines, only that the usual and sound advice to beginning authors is: know the genre your writing in before you do. Besides, it helps to know what label to put in the flipping query.
Furthermore, I deliberately left the choice about the rape open ("whether"). I believe it's perfectly possible to have a good, enjoyable quest starting off with a runaway girl that doesn't get raped. Rape doesn't even have to come near the character. There's other ways to toughen up a chick, and I'd even prefer to see the other ways, since there so much that can go wrong with having your character, male or female, raped (in character development and examples that are set).
Point is: in good writing it doesn't matter whether she is or isn't, since the female character is a person first, a woman second. Even if it's a suffragette.
Whatever you do as a woman, there's always two measures, two weights.
@Eric: I think the gender imbalance is well enough on its way of getting evened out just because there are more female authors. Not sure whether we need the "help" of male authors to shorten the distance. That sort of smacks of good old affirmative action, something I've an ambivalent attitude towards. The idea that an art would need it flat-out makes me cringe (getting spooked here by the phantom of 50% of shelf-space in bookstores reserved for female authors, and as a reader losing out on excellent writing by male authors). And, not saying man aren't allowed to write female characters. Simply, to me gender don't matter. Not of the author and of the character(s).
If you can't help but notice that the female characters are all bubbleheads, I feel it's probably because of bad character development, and then it seems to me the priority issue is bad writing and not genderfail.
What's more: if a not particularly gifted male author writes a story filled with underdeveloped male characters, he'll be criticized for bad writing. If he writes a crappy story with underdeveloped females, he'll be criticised as a misogynist. The discrimination goes even deeper: I'm pretty sure that if I, a woman, were to write a story featuring flimsy male characters, I'd be criticised for bad writing, and not as a man-hater. I'd probably have to work really hard to earn that particular badge. There's simply no justice in this world.
Eric, my answer to your question is pretty much what I was trying to say in my previous comment (however poorly worded). It is something I have thought about quite a bit (most of my main characters tend to be male) and the answer I've come to for myself is that there is no mystery – we're all people first and foremost. Be emphatic, sympathetic … try really, really hard to get inside their head, don't be lazy … and as you say – that's no different to what you'd do for writing any character who isn't you. It shouldn't matter what gender the character is, so long as you can put yourself in their shoes. Don't limit yourself by thinking 'this is a woman, therefore I must be conscious of x, y and z', or to me, anyway, surely that will constrict you somehow, make it ring false? As Sam says there is no universal 'womanness' which all female characters should possess and all male characters lack.
Aaron Singleton
I could never understand how those who say that New Sun is misogynistic could also infer that Wolfe himself is a misogynist. The way I see it, Severian is the (fictional) writer/narrator of New Sun. Wolfe writes from Severian's point of view, so the voice includes his, Severian's, personality and attitudes, not Gene Wolfe's. And there are many places where Severian and Wolfe are completely different, but Wolfe never changes this practice throughout the text. Never does Severian become a mouthpiece for Wolfe's ideals, etc. So, call the fictional character Severian a misogynist, but not Wolfe.
Martin: You don't have to agree with Ana's review or even her response here, but calling her review "stupid" is uncalled for.
A reader picks and chooses the books they read and for someone to read a book and take the time to pen a review, which may take hours, should be treated with more respect than your very childish response.
I apologize Martin for my comment, since I thought you were talking about Ana. But again, I think using the word "stupid" was wrong to use.
The thread that grows and grows…
Well let me feed the monster by saying thanks to all those who replied (oh wait – this isn't even my own blog, so thank you most of all thread-starter, shite-stirrer extraordinaire – Mark Newton).
Of course the hint was in the devil's (or devils' if you like a nice polytheistic feel) advocate remark:
Sam, Anna, Rachel – That is exactly what I wanted to get at. Writing good characters may be hard – but writing good female characters shouldn't be any harder than any other kind that isn't exactly modeled on the writer themselves.
Sometimes I think this is why all of Stephen King's characters these days are writers – he's lost the ability to actually make that jump outside his own skin, and why Bret Easton Ellis doesn't even bother to write any main characters who aren't Bret Easton Ellis – or his brother-from-another-mother, Jay McInerney.
Seriously though, gender (writing outside your own) really shouldn't matter much in the hands of a skilled writer. It's just a shame that our expectations have been lowered to the point where having more well-rounded (in nearly the exact opposite of the literal sense) female characters in a fantasy book is anything to talk about.
Aaron – an interesting point there. At what stage does the author have to take responsibilities for the character he or she creates, do you think? As in, if misogyny can be found throughout the entire text (albeit seen through one set of eyes), is it too simple to place the blame with the character? (I'm playing devil's advocate here, of course. I suspect the answers are bound with how one sees authors' relationships with their texts.)
Eric: I merely deal the cards. 🙂 But on your last sentence, given the track record of the genre, I think there's something worth celebrating these days. That it generates a debate speaks volumes about our community.
Leiali
What a fascinating thread! My two pence worth as a reader are that it is disappointing when reading fantasy which has a limited imagination as to what female characters do (in the mundane) or can become (in the heroic tradition). The issue is when a character is defined by the author's perception of their gender role. One of my favourite authors is Charles De Lint, who mostly has female protagonists, and he does that better than male protagonists in my view. I don't know why but his women are more vivid, engaging and realised than his male characters. A good writer writes well from many perspectives I guess.
However, I do think that gender identity probably should have some impact on choices made by characters, so I don't totally agree with some of the views expressed if I have them right, that it's of no consquence, male or female- it's only about character. I think gender/sexual orientation/race, all personal characteristics have some impact on identity and choices, and therefore add that complexity which Eric mentions. Ignoring or overlooking these characteristics in characters present in the book just makes for uncomfortable reading. That's what I think.
Wednesday, July 14, 2010 at 3:26 am
I think the main thing I got out of the comments here is that many more people are writing about milkmaids than I would ever have guessed. JV
Sam Kelly
The farm-boy narrative is a classic male fantasy of advancement & power (and therefore inherently classist as well as sexist, because it reinforces both structural inequalities). I'm not sure offhand where it started, but Star Wars bears a lot of the blame.
I'd certainly be much more interested in reading about a milkmaid in the same situation, rather than Yet Another Farm Boy. I'm trying to think now of novels with female characters following the same Humble Beginnings career path – I've come up with two by Mercedes Lackey (The Lark and the Wren, and Arrows of the Queen), Holly Lisle's Fire in the Mist, and Bujold's Sharing Knife books. None written by men so far. Anyone?
Not you too Jeff! Say it ain't so.
I'm trying to carve out a name for myself as the foremost emergent writer in the sub-sub-genre of the New Milky Weird.
Give a starting author a break, people.
The Unlikely Ones (which is a twist on the plot of Aeschylus' Eumenides for you literary types – with a liberal does of speculative weirdness and yes, milky goodness in between all the mud, blood, and killing) is going to put milkmaid driven speculative fiction, squarely on the fantasy map.
Let a cow and its maid have their day. That's all I ask.
Zeborah
Wednesday, July 14, 2010 at 11:51 am
Eric:
After all, no two males or females (or I suppose bisexual hermaphroditic sentient tree-frogs) are exactly alike. What am I under onus then, to get?
That no two males or females are exactly alike. A lot of authors don't quite get this, and all their women are essentially interchangeable, or maybe can all be assigned to either the "madonna" or "whore" roles.
Anna:
if a not particularly gifted male author writes a story filled with underdeveloped male characters, he'll be criticized for bad writing. If he writes a crappy story with underdeveloped females, he'll be criticised as a misogynist.
There are few stories – particularly novels – which are populated only by one gender. Most have both male characters and female characters, and readers can compare how they're portrayed. If all the characters are underdeveloped then we're obviously talking bad writing. But if the male characters are well-rounded and the female characters are cardboard then I reserve the right to be Suspicious.
(If the female characters are well-rounded and the male characters are cardboard then I'd probably have Suspicions too. But for some reason this just doesn't seem to happen nearly as often.)
Daniel, back in comment #1, said:
This is a wrongheaded comment in several ways, some of which have already been discussed in this thread, but I have a couple of additional points.
Firstly – and this is contra both you and, later in the thread, Anna – women are only not 'equal' to men in such fantasy settings because writers choose to write their stories and their settings that way. It's fantasy; so long as your world is internally consistent, there's no more reason for all your women characters to be whores than there is for all your men characters to be whores. Imagination: that's what we read for.
Secondly, even if all your women (or all your men) *are* whores in your particular world, it doesn't follow that they all must share the same two-dimensional personality and the same storylines. What the post that Mark quotes is arguing is not that there is some eternal essence of Woman to 'get' – as Sam @ 2 rather straw-man-ishly suggests – but that it makes a refreshing change to read a book that treats its women characters as individuals, with their own character traits and their own reasons for doing what they do, which are separate from the needs or plot of the male character(s).
Finally, the picture you paint in your comment leads me into another disagreement – this time with the recurrent argument that female characters should be characters who just happen to be female. This sounds fine, superficially, but it rather ignores what should be a big part of any character's life and identity, and thus his/her/its responses to any given plot situation. A person's gender is – like their race, or their culture, or their occupation, or whatever – an important filter through which he or she experiences the world. Not least because assumptions in the world around them re. gender affect how the world treats them: e.g., if this *is* a society where all women are whores or wenches, any female character who wants an adventuring career (or loves to read, or has a knack with numbers, or develops a talent for magic) will face very different challenges than a male character in the same world with the same abilities and aspirations would.
Being a (stereotyped) woman should not be the sum total of who a female character is and what role she plays in events, but it shouldn't be entirely disregarded.
In the end, it's all grist for the mill of Story, right?
Put another way: what Leiali said. 🙂
Thursday, July 15, 2010 at 2:37 pm
Leiali:
I didn't mean that gender has no consequence to a character, but that personality (winning or not, so not *what* kind of personality, but that there *is* a personality at all) matters, and in that way, she could as well have been a man since her gender at that level is abstract. Whatever her personality, she will be well written with her own likes and dislikes, and if she's a lead character and thus gets plenty of exposure I'd probably be able to invent a short interview with her (not even considering if it's the type of woman I'd actually want to interview).
Zeborah:
Of course if there's comparison possible you can have suspicions or not. But if there's only either male *or* female characters? I stand by my point that there's a bias out there that is not always against us poor discriminated-against women.
As for fully fleshed out female main characters in fantasy, the first that spring to mind are also from female authors (Mary Gentle's Ash, plenty of women from Tanith Lee, and of course, Elizabeth Moon's Paks is as milkmaidy in origin as they come). Zelazny's women are, you know, women, though in supportive and not main roles and not quite that type of fantasy.
Nic:
I never said the fantasy writer had no choice in the way women are presented. Only that in a fantasy genre mainly given form in the '30s it's only naturally that you see social relations reflected from that age still, since as the genre grows into what it is by emulating those times/lifestyles all over again and thus a certain view of things is part of its mainstream. Why does Conan always gets mentioned in discussions of the value and role of the female, and nobody gets even slightly annoyed that female hobbitses only seem to cook, clean and produce more hobbitses all day? Both books are products of their time. Over time the genre and social relationships within grow and change and get explored in all directions and possibilities: great! But does it mean I should take as much, or less, or more, offence with the women Elric beds as opposed to those that Conan beds? My point was: in good writing you'll never pose the question since in good writing whatever the role of the female (main character or supporting, princess or whore), it will be a natural fit for the world and the story. Thinking about the issue might lead to better writing, and that is a good thing. But good writing does not explicitly need a thought on the issue, social relations should not get updated to our current norms simply cuz. As you say, imagination is why we read, but you have to take into account that it may lead to worlds of equality between the sexes, or worlds where women are more than men, or worlds where women are considered less than men. It's not the equality between the sexes that's important, but the quality of the writing.
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This mornings Team Jamaica Bickle 5k has been postponed due to weather and course conditions. The Race Directors are very concerned for your safety and this was the best course of action. Please contact the Organizers for further details.


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@implementation BLLImageCollectionViewCell

@end

redpajama_set_name: RedPajamaGithub


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La palabra composición puede referirse, según los contextos:

En las ciencias sociales:
La composición lingüística es un procedimiento morfológico que permite la creación de neologismos o nuevas palabras.

La composición de ajedrez es la actividad que realiza una persona que crea estudios o problemas de ajedrez.
La composición en referencia al lenguaje visual supone la organización de los elementos que forman el conjunto de imagen, con el fin de obtener un efecto de unidad y orden.
La composición en música es el proceso como resultado del cual el compositor crea una obra musical.
La composición literaria, en literatura, informa sobre cómo redactar con elegancia, coherencia, cohesión y adecuación un texto.
El término composición en danza se refiere a la organización  de la coreografía.
La composición fotográfica, ya sea en fotografía fija o en cine, es la forma en la que se ordenan los objetos vistos dentro del encuadre.
La composición digital, en el campo de la posproducción de efectos visuales y efectos especiales composición de imágenes, se refiere a la creación de imágenes complejas o en movimiento combinando imágenes de orígenes diferentes.
La composición en artes gráficas hace alusión al proceso de distribuir de forma coherente las letras, frases y párrafos en la página que se va a imprimir.
La composición en arquitectura se refiere al arreglo espacial de los elementos que constituyen una obra arquitectónica y comprende; desde la disposición estructural del edificio (columnas,entrepisos, muros), hasta los elementos visibles en una fachada (ventanas, puertas, cornisas, etc) y que en conjunto constituyen la composición arquitectónica de acuerdo a una función, esquema e intención del arquitecto.

En filosofía:
La Filosofía de la composición, en inglés original: The Philosophy of Composition, también conocido como "Método de composición", es un ensayo de Edgar Allan Poe en el que propone una teoría acerca del método de escritura que debería usar todo autor que pretenda "escribir bien".
En matemáticas, una Ley de composición u operación es la acción de un operador sobre una selección de elementos de un conjunto.
En Programación orientada a objetos la composición es un tipo de relación que se establece entre dos objetos.

redpajama_set_name: RedPajamaWikipedia


What is it about Friday's that just make everything feel so happy?! I'm so excited to be starting off the weekend with a killer sale by my very favorite Retailer! ASOS doesn't do 20% off your full priced items very often, so when they do JUMP on it! Things tend to sell out pretty quickly, so if you find something you love be sure to snag it ASAP.
I'm sharing my picks, and the things I already have and LOVE. Don't forget to use code: LUCKYME at checkout for the discount! I also want to say THANK YOU so much for shopping through my links. I get a small percentage of the commission from your purchases and appreciate each and every one of you. Let's do this thang!


Local users could gain elevated system privileges and run malicious commands by exploiting an error within the Windows server library. Vista is among the OS versions affected.
Microsoft is investigating reports of a new flaw in Windows Vista and other versions of the operating system. Local users could exploit it to boost their system privileges and run malicious commands on the network.
Mike Reavey of the Microsoft Security Response Center (MSRC) said in a blog posting early Friday that the center is "closely monitoring" developments surrounding a public posting of proof-of-concept (PoC) code targeting an issue with the Windows Client/Server Runtime Server Subsystem (CSRSS).
"The PoC reportedly allows for local elevation of privilege on Windows 2000 SP4, Windows Server 2003 SP1, Windows XP SP1, Windows XP SP2 and Windows Vista operating systems," Reavey said. "Initial indications are that in order for the attack to be successful, the attacker must already have authenticated access to the target system."
Redwood City, Calif.-based security vendor Determina said in an advisory that the problem is in how CSRSS processes HardError messages. "This vulnerability allows a logged-on user to execute arbitrary code in the CSRSS.EXE process and elevate their privileges to SYSTEM level," Determina said, adding that the flaw was first disclosed Dec. 15.
Security researchers concluded that the vulnerability is primarily a danger in the hands of a malicious insider and is not remotely exploitable. For that reason, Danish vulnerability clearinghouse Secunia rated the flaw less critical, while the French Security Incident Response Team (FrSIRT) rated it a moderate risk.
To mitigate the threat, Secunia recommended that IT shops only grant network access to trusted users.
Reavey said Vista users shouldn't be discouraged by the flaw. "While I know this is a vulnerability that impacts Windows Vista, I still have every confidence that Windows Vista is our most secure platform to date," he said.


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Q: how to pass parameter in wordpress plugin I am trying to pass argument in function and print the output in wordpress plugin i was not able to pass parameter here's my code
global $postidd;
$postidd=$_REQUEST["postid"];
function getcontent($postidd)
{
   // do something with the args

if($postidd)
{

      $args12 = array(
                    'p'=>15,
                    'post_type' => 'offers',
                    'orderby' => 'title',
                    'order' => 'ASC'
                );
      $the_query12 = new WP_Query( $args12 );
      if ( $the_query12->have_posts() ) : while ( $the_query12->have_posts() ) : $the_query12->the_post();

     return   $postidd;

      endwhile;endif;

         return   $postidd;

}
}

A: If you want any variable outside your function available to your function then use closures by using 'use' keyword like this:
$postidd=$_REQUEST["postid"];
function getcontent($somevariable) use ($postidd) {
....

or
declare it global inside the function like this:
function getcontent($somevariable) {
global $postidd

but using global is considered a bad practice

redpajama_set_name: RedPajamaStackExchange


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Home/Trends/After The Fine Imposed By CCI Of ₹1,337.76 Crores, Google approaches NCLAT
After The Fine Imposed By CCI Of ₹1,337.76 Crores, Google approaches NCLAT
Ashvini Rai Send an email December 26, 2022
Google has appealed to the National Company Law Appellate Tribunal against the CCI order on prejudicial practices in the Android mobile device system. The antitrust body had in October this year fined the global tech giant Rs 1,337.6 crore for alleged abuse of its dominant position in the Android mobile ecosystem. Android is a mobile operating system based on a modified version of the Linux kernel and other open-source software, designed primarily for touch mobile devices such as smartphones and tablets.
According to sources, Google said in its appeal to NCLAT that the competition panel failed to appreciate the evidence recorded from OEMs, developers, and users showing that Android's open business model promotes competition to the benefit of all stakeholders, including those from India. Google sought to comply with the CCI order, sources said, saying the decision exposes Indian users to unprecedented security risks — Android devices are relatively expensive, less functional, and less secure in India than they are today. Costs for Indian Android developers would increase and hurt OEMs doing business in India, they said.
Google is optimistic that the appeals tribunal will take into account the "irreparable harm" Android stakeholders would face.
About the role of CCI
The main requirement for development in any economy is the ease of trade. Businesses should be able to enter the market easily and compete without any barriers. It is, therefore, necessary that unfair practices do not occur in the market, but in fair competition. It is ensured by the Competition Commission of India (CCI). CCI is a statutory body of a legal entity that was established by the Government on 14th October 2003. It is thus an artificial entity with perpetual succession. The central government appoints all its six members and the chairman constituting the council.
Now the main objective of CCI is to implement the modern competition laws and the philosophy of the Competition Act 2002. It ensures that there are no unfair practices in the market that hurt healthy competition. This is because healthy competition is good for consumers in the market. Monopolistic competition or other unfair practices hurt economic growth.
Any economy thrives when there is free trade and fair competition in the market. Unfair competition practices such as monopolies, cartels, etc. frustrate the growth of smaller firms and businesses which are essential for the growth of the economy. CCI ensures that infringing companies are penalized and discouraged from such practices in the future.
Promoting competition also benefits consumers. CCI will ensure that the market is not dominated by a few firms. And small and large companies can coexist peacefully in the economy.
CCI strives to carry out the following activities and procedures:
• Ensure that markets work in favor of consumers so that consumer welfare is the highest priority.
• Economic activities promote fair competition in the market for growth and prosperity.
• Implement competition procedures and principles of the Competition Act. The aim is to make the best use of resources by adopting these policies.
• Another role of the CCI is to ensure interaction and cooperation with other regulatory bodies in the economy. This will ensure that regulatory laws in the industry are in line with competition laws.
• One of the important roles of the CCI is to carry out the defense of competition and competition laws. It aims to educate ministries, state administrations, regulators, and other bodies about modern competition concepts. And they do so by organizing workshops, seminars, publishing articles, etc.
The CCI may act on a complaint filed by a whistleblower regarding an antitrust activity or may act suo moto. The CCI may request its Director General to investigate the alleged activity and then hold a hearing on the findings of the investigation report. As a quasi-judicial statutory body, the orders passed by the CCI can be challenged before the Appellate Forum.
NCLAT is also the Appellate Tribunal for hearing appeals against orders passed by the NCLT under Section 61 of the Insolvency and Bankruptcy Code, 2016 (IBC), with effect from 1 December 2016. NCLAT is also the Appellate Tribunal for hearing appeals against orders passed by the Insolvency and Bankruptcy Board of India under Section 202 and Section 211 of the IBC.
The NCLAT is also an Appellate Tribunal for hearing and disposal of appeals against any order passed or decision or order passed by the Competition Commission of India (CCI) – as amended by Section 410 of the Companies Act, 2013 vide Section 172 of the Finance Act, 2017, with effect from May 26, 2017. The NCLAT is also an Appellate Tribunal for hearing and disposal of appeals against the orders of the National Financial Reporting Board – as amended by Section 410 (a) of the Companies Act, 2013 Section 83 of the Companies (Amendment) Act, 2017 with effect from 7th May 2018.
Fine Imposed By CCI On Google
CCI imposed two fines on Google in October. In addition to the Android mobile ecosystem, Google has been pulled for abuse of its dominant position regarding its Google Play policy. Big Tech was fined Rs 937 crore for this. However, people familiar with the matter told Google, the bigger issue was CCI's stance on the Android mobile ecosystem. "The CCI order went much further than any regulator has ever punished or asked for big tech in any other country. The order asks the search engine to license its proprietary APIs to Android's forked versions," the source said.
In its order, the CCI identified five relevant markets for the matter. These are the licensed smart mobile OS market in India, the Android smart mobile OS app store in India, the general web search market, the non-OS specific mobile web browser market, and the online video hosting platform market (OVHP ). The CCI said it had found that "Google is dominant in all of the above relevant markets."
The antimonopoly authority concluded that the mandatory pre-installation of the entire Google Mobile Suite (GMS) within the mobile application and distribution contract (without the possibility to uninstall it) and their prominent placement means imposing an unfair condition on device manufacturers and thus in violation of the Act. Some of the measures the CCI recommended included OEMs not being prevented from (a) selecting from Google's proprietary apps to be pre-installed and not being forced to pre-install a suite of apps, and (b) deciding where to place pre-installed apps on their smart devices.
Google then said in a statement: "Indian developers have benefited from the technology, security, consumer protection, and flexibility and choice that Google Play and Android provide. Our model has fueled India's digital transformation due to it's low cost and expanded availability for hundreds of millions of Indians."
See also We just launched Plugged – a place where we write about gadgets for humans
AI Artificial Intelligence Business CCI COVID-19 ECONOMY entrepreneurship finance fine funding Google government inventiva media NCLAT News Trending UNITED STATES vaccination
Ashvini Rai
Is the world prepared to deal with a new wave of Covid variations?
Drone insurance is rapidly expanding. What does the policy cover?
By Ashvini Rai
Impasse Broken To Continue FTA Talks With India : UK Minister

redpajama_set_name: RedPajamaCommonCrawl


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World Illustration Awards 2020
WIA News
Awards / World Illustration Awards 2020 / WIA2020 Showcase / WIA2020 Showcase: Visualising Information Curated Highlights
As data and information increasingly shape our world, the need to understand and make sense of it is more important than ever.
Discover how illustration can untangle complex information and ideas, by building visual guides in formats including dictionaries, recipe books, infographics and more.
Fernando Cobelo: Zanichelli's 2020 dictionaries
This project was commissioned by Italian publisher Zanichelli with the idea to make the dictionary a place to discover new places, new people and new cultures, as if it was a window, a door or a place you can go to get a general view of something bigger. A series of covers were produced for this illustrating the manifold benefits you can get when browsing a dictionary.
Fernando Cobelo is an award-winning illustrator born in Venezuela and based in Italy, where he works with visual metaphors and essential images.
View the complete project >
Angus Ulyett: Fresh Air
New Talent Ulyett created this work as part of a project at University called 'Interpreting Information'. Analysing information in a visual way in order to find solutions to problems. This particular animated project shows how smoke inhalation contributes to and causes COPD in rural Uganda.
Angus Ulyett is a London based illustrator and animator. He studied illustration at the University of Plymouth and graduated in September 2019. Since then he has taken on a variety of freelance clients, ranging from corporate businesses to up and coming musicians.
Rina Allek: Anatomy fun facts book
The purpose of this diploma project is to change the attitude of people towards anatomy as it is still often seen with distaste or prejudice and to increase interest, especially among young people and children. To be aware of your anatomy is the way to a healthy life. There are many aspects to this project, including a series of video tutorials, an illustrated book and collection of souvenirs as the artists shows the inner workings of our bodies in a friendly way.
Rina Allek is a recent graduate (2019) illustrator and animator from Moscow's HSE ART & DESIGN SCHOOL. She is inspired by nature, fairytales, folklore, dreams and nightmares. In her artworks she mixes different techniques, digital and hand-drawing, linocut, etching, collage and others.
Felicita Sala: Lunch at 10 Pomegranate Street
This Children's Publishing project is a collection of recipes linked by a reflection of how your environment affects your food habits and highlights how important your community is to the way you eat. It depicts in lovely watercolours personal stories behind memorable food the author encountered as a child, just after moving to Australia.
Felicita is a self-taught illustrator. She graduated in Philosophy from the University of Western Australia. She has worked on several animation projects along with husband Gianluca, but her passion is making picture books. She lives in Rome with Gianluca and their daughter Nina. She is represented by Scribble Agency.
Jianan Liu: Culturalism
This project consists of a still image used as a cover for IPPR magazine and an animated gif. The image had to reflect the varied collection of essays on arts and culture and their relationship to politics and policy featured in the magazines. Each element, likened to a celebration and being inviting , depicts stories that were featured in the publication.
Jianan grew up in Beijing where she also studied. After that, she worked at a tech company as a UI designer for a year, then she went to the U.S. to continue her studies at Syracuse University for a year then came to Maryland Institute College of Art. Most of her works are editorial illustrations. She likes swimming and 90's Pop Mandarin music.
Hannah Rollings: Woodland Lifecycle Trail
This site specific project created in collaboration with the Forestry Commission forms part of Rollings practice-based PhD which seeks to address how to co design with children in communicating the Carbon Cycle, exploring the role of the interactive visual narrative in the design of the children's picture book. Each page is designed to be a whole body experience loosely based on yoga positions enabling deeper reflection to ones place within nature. Through using visual scientific information with a new purpose a new relationship occurs between the physical act and the reading experience.
Hannah Rollings is an illustrator and lecturer working across publishing and editorial illustration. Represented by How Do You Do Illustration Agency, Hannah graduated in 2013 with a Masters Degree from the University of Brighton in Sequential Design and Illustration, previously graduating from Kingston University in 2007 with a BA in Illustration and Animation.
NewsAri: An infographic of Eastern Lubber Grasshopper
This speculative work was created for general audiences who are interested in the story of nature. It depicts information of the Eastern Lubber Grasshopper, such as external distinction, inside workings, what they eat, where they live etc and collect everything within one poster page. By focusing on the look of the Lubber the viewer is drawn into the page and to discover extra information.
Arisa Jantaralap is originally from Thailand and currently studying scientific illustration at Zuyd University of Applied Sciences, The Netherlands. She has a passion for drawing and painting and aims to create an effective and attractive illustration presenting the beauty of nature and anatomical subject.
Jacques Kleynhans: Zeb and the Bungle Bee of Death
This exploratory project collates the various styles Jaques Kleynhans uses in his illustration work with the aim to have simple images represent complex ideas. This board could provide information for players that seek non-linear inspiration to creativity and each little icon represents a line of thought from his mind.
Jacques Kleynhans is an illustrator and graphic designer born in The Free State, South Africa. After completing his degree at The Open Window School of Visual Communication, he has served as the creative director at two tech-innovation companies while pursuing a sideline career in fine arts throughout. Recently he has settled on illustration as a full-time passion and profession, and works alongside his wife between South Africa and The Netherlands.
Pia Sun: Living Young with My Baby
This advertising campaign for a mall in Shenzhen is aimed at young people and shows that you can enjoy your passions and life as a young parent too. The information is conveyed in bold colours in 2D and 3D and shows young couples doing all sorts of enjoyable things while out and about in the mall with their children. Pia Sun focuses on the customer's emotional experience, using visual elements to stimulate the customer's senses.
Pia Sun comes from China, and now studies in Germany as an animation Student at University Kassel ( Kunsthochschuhle Kassel ). Creating illustrations and animations have been an integral part of her daily life.
Enter WIA2021
Our annual juried competition celebrating great illustration from across the globe!
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Return to the WIA2020 Showcase to discover more great illustration!
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Join the community for support, and benefits during Covid-19 and into the future.
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Before newness can be created,there must be a search conducted.
Should the secret fail to bond with the likeness for which they are seeking, there will be nothing established and the strength of the initial will, will be eroded.
Before we can cultivate anything anew, We must be searching.


text:
Home Archive December 2009
Club History III (1997-2001) - Face Control
Another type of nightlife came to Moscow from 1997-1999, completely different from the epoch of Titanic, Utopia and Manhattan clubs. There were fewer gunshots; the bandits and "Noviye Russkiiye" (The New Russians) were replaced by Bohemian youngsters and the beautiful people. But the club culture became more exclusive, available only to a minority.
Text and photos by Elena Krivovyaz
The age of rave parties came to an end. Nobody expected the crisis that burst on the country in 1998, so Moscow spent money as if there was no tomorrow. The year 1997 introduced glamour to the exalted masses. It was in fashion to be rich, an idler with a sense of humour and a master degree in sciences. That year the Jazz Café was opened – a brand new dwelling-place for this strange society and some other people as well. The club was owned by some Yugoslavians, Sinischa Lazarevich who became famous for his Zima, Leto and Osen projects (clubs he opened during 2002-2004). "I can still recall how it was, - says Dmitry Shalya, the editor-in-chief of "Ne Spat!" magazine ("Stay awake!") and promoter of numerous clubs during the 1990s and 2000s. "Misha the Yugoslavian used to do our face control. He had to decide who would get in and who would stay outside. He kept a kind of balance: some bohemian people, fifty or more young and beautiful models and the rest were respectable people who happened to be sponsors for the models. Expats were frequent guests of the Jazz Café and they were always welcomed. Misha's technique was to look at people's shoes. So shoe manufacturers should thank Sinischa Lazarevich for helping to grow their businesses," Dmitry laughs.
Jazz Café was very successful during its first two years, but the crisis of 1998 spoiled the glamorous paradise. "We had to close the venue in 2001 for some banal reasons", explains Vlado Ostoich, one of Jazz Café founders. "There was a church in the neighbourhood and some inhabitants complained because of the loud noise. Club life in Moscow was different at that time because we didn't want to empty our clients' pockets as is being done in the clubs at present."
These were not the only reasons why Jazz Café disappeared. It cleared the way for the new clubbers' favourite jaunts. They were Zeppelin Club and XIII. They opened in 1999 and became competitors to each other. XIII appeared in early spring and started a tradition of masquerade parties which was taken up with huge enthusiasm. The club was decorated in a special way every weekend. On Friday for instance, it housed freaks and clowns and on Saturday ghosts. It was XIII that brought the tradition of celebrating Halloween to Moscow. The clubbers remember those days with nostalgia, when Myasnitskaya street where the club was located, was choc-a-bloc with cars and with people in strange costumes on the 31st of October.
In December 1999, the Zeppelin Club opened and took some of XIII's audienceit. Zeppelin was in the Gilyarovsky (the famous early 20th century Russian author of "Moscow and the Muscovites") mansion. There was no kind of masquerade as in XIII but the air was bohemian and the people were not occasional visitors: almost all of them were the friends of the owners or their friends' friends… It was not that easy to decide for a clubber where to go: to XIII or to Zeppelin? To Zeppelin or to XIII? Most of them ended up visiting both clubs during one night.
If you couldn't get in to any of these clubs you could try your chances in Propaganda. This club opened in the middle of nineties in Kitai-Gorod, and housed techno and house parties which were new to Moscow at the time (surprisingly they are popular even now). It wasn't as glamorous and unconventional as the famous XIII or Zeppelin, but it didn't welcome 'inappropriately' dressed visitors either.
These clubs started the tradition of free entrance for special people. The words "face control" explained it all. Not every expat was let inside: they had to be stylishly dressed and good looking to the police-like face control men. The result was that the clubs became semiexclusive.
One of the late-nineties clubs in action
This semi-exclusivity led to these two clubs' ruin. The face control toughies couldn't control exactly who came in, they wanted the rich, beautiful and bohemian bunch, but this wasn't possible without attracting a lot of other people too. The rich and beautiful mob who regularly patronised such venues objected to a mixture of 'ordinary' people. The owners felt that the concept of selective entry itself was at fault, and both clubs closed in the early 2000s, paradoxically when they were at the peak of their popularity.
XIII tried to re-open in 2005 but in two or three years it was forgotten because of the appearance of a new generation of fascinating clubs.
Which ones – see Clubs IV.


We love this converted firehouse in Russian Hill, full of vintage furniture and funky details. We got to pair appetizers with whiskey and Guinness, and to make syrups for some boozy snow cones. A grand time was had by all. Thanks to Julie Michelle Sparenberg for the photographs!


Last week was very packed with some really great things going on and loads of sharing and learning.
The CQC announced well led inspection has been confirmed to take place on 21–23 January. The well led element of the inspection focuses more on the Trust's Executive Team, structures and governance.
The CQC will be trialling a 'light touch' approach to the well led inspection this year. This is due to the Trust hosting successful engagement sessions and visits throughout the year with the CQC and in response to assurance that we have provided to queries and concerns generated throughout.
As you may recall, prior to any well led inspection, the CQC carries out unannounced inspections of core services. We have also now heard that the inspection of core services begins this week with our Adult Community Services being inspected this week on Tuesday, Wednesday and Thursday.
Those of you who were with the Trust at the time of the last inspection will recall that we produced a weekly CQC Update newsletter, to provide news, advice and support to help everyone make the very best of the opportunity the inspection gives us to demonstrate how our journey towards outstanding continues to progress.
We were told that staff found these updates really useful, so we are launching them again – starting today. Can I ask everyone to look out in your email inbox for them and take the time to read through the advice and support they contain.
The most important message is to try to relax and tell the CQC about the great work you are doing day in day out working with service users and carers, how you are continually learning and improving.
Our Behaviours Framework – co-designed with our staff and service users – ensures we live our values in all we do. The Framework takes each of the four values and provides five examples of behaviours that would demonstrate that we are adhering to those values in our day-to-day working lives.
We will shortly be circulating to all teams in the Trust a series of new posters we have produced to celebrate our Behaviours Framework. You may like to display them in prominent places in your work area. Or, if you wish to use an electronic version of the posters, you can download these digital versions.
One of the elements of our Behaviours Framework is "Looking outside the Trust to compare our performance, search out best practice, develop relationships and share learning to improve ways of working".
And that's precisely what the Board, Clinical Directors and Associate Directors did last week, as we enjoyed an extended visit to Northumberland, Tyne and Wear NHS.
We endured a long and sometimes difficult journey to the wet and windy Northumberland but we're so glad we did! The Trust were wonderful in hosting us and generously shared and showcased their excellent services and approaches to their continual improvement. We learnt loads and were also able to share ideas, lessons, insights and experience with each other.
We have already agreed a return visit to our Trust and feel excited about more we can do to become outstanding.
I was delighted to hear from Tendai Chirawu, Tanisha Molloy and Lesley Faux about their attendance at the Asian Fire Service Association Inclusion Conference and Awards night last week. The event served as part of the induction programme for our new BAME Inclusion Facilitators.
Dalvinder Rai, who both participated in the Stepping Up programme and whose contributions were also recognised at the Awards evening.
Later in the evening, Lesley participated in the end of conference panel discussion representing the NHS. Congratulations Lesley – fantastic recognition for our dedication to diversity and inclusion at Combined as well as in the local community.
Our action to promote inclusiveness and diversity at Combined and make a stand against racism continues unabated, and we have also produced a new Trust poster to drive home our determination to stamp out racism together.
You will all be aware that I have been using my blog each week to keep you all updated on progress on our NHS Staff Survey and urging everyone to take part and have their say.
The survey came to an end last week, and I am thrilled to let you know that we had the highest response rate since 2015.
Congratulations to staff working in Workforce and Leadership for posting a perfect 100% response rate and thanks to everyone throughout Combined who took this opportunity to tell us what they think about working at Combined and where we can do even better. We will be publishing the results of the survey, as well as an action plan, setting out precisely how we intend to respond to its findings once the entire national figures are collated and published next year by NHS England.
Many thanks to everyone who engaged – your feedback is so important.
On Friday, I was pleased to open a major Suicide Conference attended by over 300 delegates, jointly organised by the Mental Health workstream of the STP and a team from Combined Healthcare and chaired by our Medical Director, Dr Buki Adeyemo.
The conference brought together a whole range of experts, service users, clinicians and others from across Staffordshire and Stoke-on-Trent and beyond, including Switzerland to share perspectives and knowledge.
The most impactful part of the day for me was the sharing of heartfelt personal stories from service users and carers. It was incredibly brave if the individuals and made such a difference to us all being able to think about the personal and emotional consequences of suicide and what we could do better as organisations and the wider community.
It also was an opportunity for the partners across our area to sign a Suicide Charter, setting out their determination to work together with an ambitious aim for nothing less than zero suicide in Staffordshire and Stoke-on-Trent from 2019 onwards.
Well done to all involved in organising and delivering a fantastic event and initiative – a particular thank-you to Ben Boyd, Lesley Whittaker and Jane Callear for all your help.


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In this blog, we dedicate our resources to providing information on Playtech, one of the giant online gaming software providing companies. Read through it for detailed information on the developer's past, and the new releases it continues to make that maintain its position at the top of the gaming pyramid.
History of Playtech
Playtech has been around since 1999 when it first opened its doors in Estonia. The company focused on the release of casino games until 2001 when it made news by opening its first fully powered gambling destination. Ever since then, Playtech has grown to become the world leader in the provision of gaming solutions with a focus on the design, development, and mobile compatibility of mobile games. The success attained by this online game developer showed in 2006 when the company was traded in the AIM market at an impressive value of nine hundred and fifty million dollars. The company has since changed its headquarters from Estonia to Malta, then again to the Isle of Man.
When Playtech first went digital, it only produced slot machine games, which remains their biggest game category to date. With time, however, the game provider started to focus on other game categories such as video poker, card games, scratch cards, bingo, poker rooms, sports betting, and poker rooms. One of its latest additions is the live dealer category where gamblers can enjoy real-life gaming sessions from the comfort of their preferred location. In the category, players have access to an array of roulette, poker, blackjack, and baccarat table choices in different variations. The layout also varies depending on the chosen studio out of the two in Latvia and the Philippines.
On top of providing games with cutting-edge graphics, animations, and sounds, Playtech also topped the gambling business charts with the acquisition of several smaller game developing companies. Some of these firms that have been absorbed include Quickspin, AshGaming, and Eyecon. Even though these game providers operate under the Playtech company, some of their games bear their names in the online casinos they are provided. Such a tactical expansion spearheaded Playtech's rise to become a multi-billion-dollar agency.
One of the biggest steps for Playtech was in 2005 when the company decided to become publicly traded in the London Stock Exchange, where it is still listed. This move shot up the company's revenue and exposed it to a much wider gambling market in not only Europe but the rest of the globe. As of 2017, Playtech generated a massive revenue of over eight hundred and seven million euros.
New Playtech Casinos and Games
Playtech stays ahead of its competition with the release of casino games at par with technology as well as opening and partnering with various gambling destinations. Most of the software providers have the latest releases are in the slot games category, and one of them is Anaconda Wild. This slot game has six reels, and fifty win lines with fifty bet lines cutting across that depict a beautiful jungle theme. Other titles are Buckle Up, Yutu, and Age of the Gods: Lord of Lightning. Each of these sets was released within the past three months and can be found in some of our suggested casinos.
Playtech History
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McEwen Mining Inc. has an overall rank of 1584 out of 6863 stocks based on 8 positive rankings and 7 negative rankings.
The StockSelector Value for McEwen Mining Inc. is $255.80. The StockSelector Value assumes the market consistently prices a stock around a given PE ratio and, therefore, multiplies the average PE (using forward earnings estimates) over the past three years by future earnings estimates. Among companies with a StockSelector Value above the current stock price, McEwen Mining Inc. is ranked 11.
McEwen Mining Inc. has a low Put/Call ratio of 0.04 on active options expiring within the next 90 days. A low put-to-call ratio indicates there are more bullish investors than bearish investors for the stock. Among companies with a low Put/Call Ratio, McEwen Mining Inc. is ranked 56.
McEwen Mining Inc. has a low Put/Call ratio of 0.31 on all open interest of options expiring in the next 90 days. A low put-to-call ratio indicates there are more bullish investors than bearish investors for the stock. Among companies with a low Put/Call Ratio, McEwen Mining Inc. is ranked 766.
McEwen Mining Inc. missed the consensus earnings estimate when it last reported quarterly earnings.


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darien police blotter
Officers swept the home for any suspects, finding none. Officers swept the home for any suspects, finding none. Darien teenager charged with selling LSD to undercover officer Nov 2, 2020 Burr Ridge police blotter: Residents burglarized when they let man in house "to check the water" The homeowners would later give officers an accounting of the missing items, which included jewelry, purses, handbags, and coins. Burglary At approximately 6:30 p.m. on Dec. 29, police responded to a St. Nicholas Road address for a burglary alarm. The residence had an alarm system, but the system had not been armed. The man was followed outside by the shift leader, who took a picture of the black Ford F150 pickup truck in which he left the lot. Officers checked the vehicle, but found no occupants. The other case was reported at 12:50 p.m. March 8 when another woman came to police headquarters to complain that someone had activated four cell phones on her family's plan, taking over existing lines and leaving the family without the use of their cell phones. 25 Hecker Avenue Darien, CT 06820 (203) 662-5300 Detectives responded to process the scene for evidence. A few minutes later, a juvenile approached them and indicated that they had been the operator of the vehicle. The homeowners stated they had left for travel on Dec. 26, and that they were on their way home. The missing items, all pieces of men's and women's jewelry, were valued at a total of $50,570. They were charged with operation of a motor vehicle by a minor having elevated blood alcohol content and failure to drive right. Officers, as well as the Tokeneke Constable, checked the residence for any suspects, finding none. They were able to grant access to the home through the garage. Officers observed a vehicle laying against a fence, facing southbound, off the shoulder of the northbound lane. https://www.darientimes.com/news/article/Darien-police-blotter-6928198.php, Darien High goes full remote Thursday due to COVID-19 case, Darien supports Biden, Board of Education newcomer, First selectman: Darien sees 14 COVID cases in 14 days, Police: Bridgeport man accused of high-end bicycle theft spree. DARIEN — Town police are investigating two cases of identity theft. The officers noted that the second story of the home had been ransacked, finding items on the floor, and drawers and cabinets open. The woman told police she received an email earlier that day from the store about the purchase of a $228 Marc by Marc Jacobs handbag. DARIEN, IL — The Darien Police Department on Monday released its weekly police blotter. The juvenile, a resident of New Canaan, said they had been driving North on Mansfield Ave. and had been behind another vehicle. If you are looking for a particular suburban publication or story, the best place to start is our suburbs page. Detectives responded to the scene to process for evidence. The homeowners were contacted. Officers noted that the second floor of the home had been ransacked. The other vehicle made a sudden turn, causing the juvenile to lose control of the vehicle and strike the fence. On Jan. 3 at about 11 p.m. Darien Police responded to Mansfield Avenue and Fox Hill Lane after a report of a motor vehicle accident. 'Never seen lines this long'- Turn out to vote in Darien strong. Blue Wave notch third win of season over the Rams. Based on the above, the juvenile was placed under arrest. They also noted that all of the area rugs on the first and second floor had been partially flipped over. While checking the home, officers noticed that a rear window, leading into the kitchen, had been broken out. The homeowners had departed on Dec. 1 and were not returning until April 1. At approximately 6:30 p.m. on Dec. 29, police responded to a St. Nicholas Road address for a burglary alarm. A man reported his work cellphone and a diaper bag were stolen from his unlocked vehicle while it was in the Hampton Inn parking lot, at 100 Harvester Drive, between 10 p.m. Jan. 24 and 6:30 a.m. Jan. 25. They were able to grant access to the home through the garage. A 43-year-old Darien woman came to police headquarters to make a complaint about an incident that had happened at Saks Fifth Avenue in Stamford the previous day. At headquarters, the juvenile agreed to breathalyzer testing, which measured their BAC to be 0.166 at 12 a.m. and .0161 at 12:22 a.m.
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Categorized in: Web Development
Setting up Jenkins with ReverseProxy and with with github-webhook
Want to hire/contact me?
I'm a software developer, owner of Fundynamic.
I work in several languages (java, c#, javascript, ruby, etc). And If I don't know the language, I am a very quick learner.
I give workshops and I'm always willing to listen to your business ideas and help you out technically.
Or if you just want to get in touch. Just head here.
Automating your SQL migrations in your Java (web) Application with ActiveJDBC's DB Migrator
Indienamic: Map loading created!
Adventure started, how is the journey doing so far?
Code Katas
Compose Method
Dune II – The Maker
Indienamic
JFall
Software Development Processes
Stuff I've learned
what is wrong with this code
stefanhendriks on The difference between TDD and Test First Development
ToF on The difference between TDD and Test First Development
Plamen on Integration testing your Asp .Net Core App – Dealing with Anti Request Forgery (CSRF), Form Data and Cookies
stefanhendriks on Integration testing your Asp .Net Core App – Dealing with Anti Request Forgery (CSRF), Form Data and Cookies
olof on Integration testing your Asp .Net Core App – Dealing with Anti Request Forgery (CSRF), Form Data and Cookies


No way legal would allow that press pic. Cool looking, though.
In my experience, the only thing you may need to worry about with Sidi boots is the fit. They skimp in the toe-box. Cortech boots are true to size. Never had Alpinestars. I'd get 'em.
Where Can I Shoot For Free?
There's a place at Delaware State Park. North on 23 to 229 Right, less than a mile on the right. Used to go there all the time - I think it's still open. Norton Gun Shop is just West of the int. of 23 and 229. I picked up my LCP there for a good price.
There was a Veyron down around the Short North last night - the sound was incredible.
That's one nice looking Yamaha...and why in the world do you have a pillion!?
Thank you professor! Now if we could only get that darned radio to work!
...or what you want to eat!
They do work but there are a couple of things to get ready for. One; they are very very small and perfectly round (you can imagine how careful you have to be handling them). Two; they offer an applicator with the kits (it's a small plastic squeeze bottle with a length of clear tubing pressed over the cone that fits over valve stems) and when you use it you have to be very patient and use a pencil to tap against the tube while they trickle in. Three; You may not care for the wear grooves they create inside your tires. It's extremely minimal but still. Four; You can re-use them but you'll have to collect them all first (see 'one'). I went back to clip weights because it's just easier. Great product, though.
I suffer from a condition known as Propulsive Thermo Anxiety or PTA. Tell tale symptoms are; irrational visions of jewel-like engines melting in heavy bumper to bumper traffic followed by desperate and frantic attempts to find air speed. Even with something as serious as PTA, I would'nt lane split even if it was legal. I will and have, however, taken a nice clean, wide berm.
If you haven't riden it yet it shouldn't look much more beat-up than this one. Nice pick-up! You're back in the game.
Well, that right there should do it for you! Nice.
Spent some time trying to find what frame would be best to modify for a TL motor. It has to a be a V-Twin. With perfect forks. And perfect bars. Seen some great ones consistently at Hooters Hilliard Bike Nites.
I've got 2 Neon Transformers with conduit boxes if anyone wants them. Each runs on household current, corded plugs included. They both have the same specs but look a bit different.


This article is about operating system that loads from disks. For the Microsoft operating system commonly referred to as simply "DOS", see MS-DOS. For other uses, see DOS (disambiguation).
A disk operating system (DOS) will load from a floppy disk each time a computer starts, and will access that disk for software to complete operations. MS-DOS is probably the most well-known DOS, and was purchased by Microsoft Corporation from a system known as QDOS. As operating systems became more complicated and took up more space, they began to be permanently installed on hard drives, which are faster and more reliable than floppy disks, and can store more data. This was encouraged by a steady drop in hard drive prices.
DOSes are usually text-based and without graphics to save space on a floppy disk. Although DOSes have mostly been replaced by Windows, Macintosh, and Linux systems, among others (sporting a GUI, or Graphical User Interface), they are still in use in some places, mostly on older computers. This may be because of a lack of money, the need to use software which still runs on a DOS system, nostalgia for an older operating system, or the belief that text-based systems are more efficient.
Although GUIs are more popular, in times of emergency or when one needs to install special software, a boot disk allows a user to start his or her computer into a DOS.
This page was last changed on 15 January 2019, at 17:15.


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Each General Assembly of the legislature of the province of Nova Scotia, Canada, consists of one or more sessions and comes to an end upon dissolution (or constitutionally by the effluxion of time — approximately five years) and an ensuing general election. Today, the unicameral legislature is made up of two elements: the lieutenant governor and a legislative assembly called the House of Assembly. The legislature was first established in 1758.

Like at the Canadian federal level, Nova Scotia uses a Westminster-style parliamentary government, in which members are elected to the House of Assembly in general elections and the leader of the party with the confidence of the Assembly (normally the party with the most seats) becomes the premier of Nova Scotia and chooses the Executive Council from amongst the party's members of the Assembly.  Government is carried out in the name of the King in Right of Nova Scotia, represented by the lieutenant governor, acting on the advice of the Executive Council (the Governor in Council).

The legislature was originally bicameral. From 1758 to 1838, it had an upper house called the Council, which also held executive functions. In 1838, the Council's executive functions were given to an Executive Council, and the upper house was renamed the Legislative Council. That house was abolished in 1928.

List of Assemblies
Data before 1984 summarized from:

Post-Confederation

Pre-Confederation

See also
 List of Nova Scotia provincial electoral districts
Nova Scotia Council

Notes

Politics of Nova Scotia
General Assemblies


Where can you get a GREAT meal AND help shelter dogs for ten bucks? St. Joseph's on April 27th at 6:00PM - that's where! We're saving up for our adoption events AND to buy a second trailer desperately needed to haul our kennels to adoption event locations around the state - if you order for two you'll be helping us to help 'them'!