My first attempt at glitch art! There are many ways to create glitch art and one of them is to alter the coding of the file creating errors on purpose which is the method I used here. No Photoshop whatsoever involved, just codes. Pretty much like genetically modifying DNA, except this is picture DNA. If you were to open these images in a hex code editor, the clones respective names and "This organism and derivative genetic material is restricted intellectual property" can be found somewhere in the code as seen in the screenshot, because I put them there :d.
I wish I could’ve went even further with the glitching but there’s a risk of damaging/breaking the files if you go too far, much like with *cough*realhumans*cough*.
When I started Stargate, I got the part, I was SO thrilled to have this INCREDIBLE character, to be playing someone in the military. I had SO much respect, to be playing someone who’s so smart and so liberated and… I thought “Yes!”
I had two weeks to move from Toronto to Vancouver. I flew out there, I had my first wardrobe fitting. And one of the things that was in… THE thing that was in the wardrobe room was a very low-cut tank top and a push-up bra…
And I turned to the costume designer - whom I’ve worked with since, who’s wonderful - and I said “What… What is this?”
And she said “Well.. they wanna see what you look like in it.”
And I said “…but this… NOBODY in the military, no captain in the US airforce would wear this… while her male counterparts are wearing crewneck t-shirts and… I c… I can’t do it!”
And she said “Well, they just wanna see what you look like and take a picture and…”
I was like “…”.
And I PANICKED because I thought, I had just been given this AMAZING opportunity - I didn’t know it would last 10 years but I knew it was gonna be a kick-ass show - and I was like… “I can’t do it…”
And I started to cry and I said “You have to go upstairs and tell them I’m not doing it. And if it means that they recast the part then recast the part but you’ve cast a smart woman and you’ve cast somebody who has NEVER tried to get a job based on her looks or her body, I’ve always played strong, smart women, I… I can’t do it. So if they wanna recast the part I totally get it but I’m not playing THAT version of this character.”
But I’m saying this while I’m blubbering because I’m suffering that I’ve just lost maybe the best job of my career…
And so she said “Okay” and I said “I’m sorry, I’m sorry, I’m sorry, I’ve NEVER been difficult, I don’t… but I CAN’T do that!”
So she went upstairs and she came back down and she said “Okay, no problem.”
And I said “Okay, so what’s my costume?”
And she said “Well…”
And I said “Just… What are the guys wearing?”
So she handed me a black T-Shirt and the BDUs, which is what my character would wear in the field with her male counterparts, and that’s where we went from there.
But that to me was the defining moment of…
And I STILL cry about it because I still remember that young woman on the verge of breaking into the… new something big, being petrified that she was gonna loose it, but… I knew that I couldn’t play the TNA version of Sam Carter.
I’m thinking about the elements of the Divergent Universe arc, and it’s actually freaking me out a little how perfectly it makes sense and how connected the whole thing is.
The idea of a circle starts with “Scherzo” and is continued when C’rizz is strapped to the wheel in “Creed Of The Kromon”. He’s constantly dragged through the water and comes out again at the other end, only to be plunged back in. It’s a symbol of the cycle of death and rebirth that the Divergent universe is going through!
"The Natural History Of Fear" drives that imagery home with the spinning top, and explicitly mentions the evolution from reptilian to mammalian… not just a reference to the food from "Scherzo" (and the importance of Keep later on), but also to C’rizz and the sheer extent of his inherent adaptability. The entire Divergent arc is based around evolution, revolution, cycles and circles and spinning things, reincarnation, religion, motherhood and birth (“Scherzo”, “Creed Of The Kromon” and “The Natural History Of Fear” explore the idea of Charley being a mother), people melting into each other. The characters constantly become food for other things, or are seen eating other things, incorporating them into their own persons (and vice versa).
The heroes are constantly split apart into separate beings, cobbled together again or merged into a compound consciousness. (Just like in “Zagreus”.) The Divergent universe isn’t just a Möbius time strip - it’s a Möbius strip of consciousness, where Eight, Charley and C’rizz all end up becoming each other a few times over in several different ways. Bits of dialogue are frequently repeated word-for-word by different characters, and identity is completely fluid.
Every episode of the Divergent arc ends with something huge being destroyed or being created again. C’rizz’ compulsive fascination with death isn’t just a character quirk - it’s what allows him to deal with the entire arc, because he gets to keep things after their life/death cycle ends. And in “The Next Life”, the whole Adam and Eve plan isn’t just a coda, it’s inevitable.
TL;DR Big Finish is awesome.
Peter Capaldi takes us through the history of surrealism, from its origins in the cafes of Paris with André Breton to Dalí’s lobster phone and Oppenheim’s furry teacup
Peter and Art - new video!
Let’s play a game.
Type the following words into your tags box, then post the first automatic tag that comes up.
Pod: I’ve been an idiot, haven’t I?
Homily: Yes, but you’re mine and you’re forgiven.
In the year 2 billion the Doctor finds out that there are three great works of human literature that shall never be forgotten.