conned, fooled, deliberately scammed, and honestly, you can't decide what's worse - the fact that your own best friends have done this to you or that you actually fell for one of their stupid pranks in the first place.
this is all atsumu's doing.
he was the one who sent you that stupid text asking you to come over, help him out with his stupid laundry, and maybe it was the tiring day you've just had or the fact that he's been weirdly sweet to you lately, but you hit yourself now for not even thinking twice about actually coming over.
"no!" atsumu grabs onto your arm, lightly holding you back as you walk on forcefully anyway, "stay!"
you shake your head, "i'm leaving, miya!"
atsumu gasps, his hand on your arm falling immediately as he stops trying to slow you down, "you called me miya."
you could almost see the dashes of arrows dramatically shooting through him as he says this, his hand clutching his heart as he looks at you with a betrayed expression.
he's worked very hard for you to stop calling him "miya", and and he’s worked even harder for you to start calling him "tsumu" like everyone else does.
of course, you didn't really want to do that, so for the following three months he would deliberately do everything he can just to get you to stop being so formal with him.
but one day you cracked, and you called him "tsumu" for the first time after he scored the winning point for the team, and you’ll never forget how there was just this entire second where he refused to let you out of his embrace.
bokuto runs to your spot, overtaking just a bit after you, and stopping to where he can openly block your passage, his arms outstretched as he repeatedly shakes his head.
a deep frown on his face and weirdly enough, the tips of his hair falling down with it, "you can't leave - we worked so hard getting you here!"
your eyebrows quirk, "kou—"
"you called him ‘kou’ and i'm still stuck with ‘miya’?!" atsumu cuts you off, yelling scornfully from the floor.
you shoot him a quick glare, "shut it, i'm leaving."
"no!" bokuto shakes his head again, the whine in his voice automatically accompanied by him grabbing your right arm, pulling you back away from the door, and you swear you can almost feel his deep frown when he buries his face into your shirt.
okay, see, you would shake him off, but you know bokuto more than anyone, and that means you know that doing that would literally be physically impossible.
after all, you're the one who gets his embraces after matches, good or bad outcome, the second he steps out of the court, he's running to you, arms open, and ready to take you in.
you know more than anyone that once his arms are on you, the only way you're getting out is if he lets you.
your shoulders fall harshly, with atsumu on the floor, sulking his butt off as he stares up at you with an annoying frown, and bokuto unrelenting to let go of your arm, you're unsure if you're ever gonna leave this place.
sakusa frowns, walking in from the main door a few seconds after all this, and there's already a stark look on his face that shows his regret about coming in the first place.
it's surprising seeing sakusa here at all. movie nights weren't usually his thing, and you almost start to wonder if he's been tricked into coming here as well.
“omi, thank god.” you breath out a sigh of relief, “i’m trying to leave and these two won’t let me.”
his face clears up a little, a short "ah" with the nod of his head coming through as if you've just answered a question in his head.
you give him a smile, “talk some sense into them.”
he doesn't say anything. the bag in his hand still tightly placed in his grasp, his glance nonchalant as he keeps it on you.
“omi.” you call out to him.
he doesn't move. instead, he walks backwards, stopping just before the door, and slowly - he shakes his head.
your smile drops, “omi, get away from that door.”
he shakes his head again, a bit more gentle this time.
and you groan, “sakusa kiyoomi, not you too.”
“i’m sorry," he extends his arms out, his bag falling on the floor, not seeming to care, and he shakes his head, "but i’m not letting you leave me alone with these idiots."
atsumu yells, "hey!" picking himself up from the floor, throwing his hands in the air.
bokuto looks up from your shoulder, pulling away slightly once he sees sakusa's arrival and a sudden smile is back on his face.
he cheers, "you made it!"
and sakusa grumbles, "i always make it."
and bokuto smiles, "yeah, but i like cheering when you arrive."
you can't believe what you're hearing. sakusa? a frequent flyer in atsumu's house for movie night? what timeline is this? what is going on?
you move to the side, walking to where sakusa stands, hitting his shoulder lightly as you scoff, and he looks at you, eyebrows furrowed together.
"move." you tell him.
and he says back, just as firm as you are, "no."
"c'mon!" you frown, crossing your arms over your chest, “i thought we were friends!"
and from behind you both, bokuto says, “ouch.”
and it’s followed by atsumu shaking his head in sympathy, “that’s gotta hurt, man.”
your shoulders rise, rolling your eyes as you try your best to ignore the slight pink in sakusa's ears, turning on your heels to look at everyone.
“hey,” you wave them off, “we are all friends here.”
bokuto looks at atsumu, “i think i just got friendzoned.”
and he looks back at him, “i think i just got friendzoned too.”
atsumu turns his head to you, shaking his head disappontedly as he crosses his arms, “you are evil.”
you scoff, mimicking him, “i'm leaving.”
and in unison, all three of them tell you, "no!"
your shoulders fall with you, the frown on your face turning into a scowl, and you swear you've just about had enough to start yelling, but with bokuto on your right, atsumu on your left, and sakusa staring at you with a withering focus to not let you get past him, you're unsure what your odds are of winning an argument right now.
the door knob rattles, then with a twist, it swings open.
hinata comes in last, brown bags of food in his arms as he pushes the door behind him with his foot, and once he notices that all eyes are on him, he stops nervously by sakusa.
"so..." he laughs awkwardly, "am i late?"
“shoyo!” you cheer, “you’ve come to save me!”
he mirrors your smile, the wide grin forming on his face as you stare at him in delight, but he still tilts his head in confusion for what you'd mean.
"i'm trying to leave and they all won't let me, and it's not that i don't like movies or movie nights, but i just don't like being tricked into going to them! they're all crazy, did you know that? your team is crazy." you explain, your hands moving with you as you do.
hinata nods, slowly giving the brown paperbags to sakusa who rolls his eyes but takes them nonetheless.
then he looks at atsumu, eyebrows furrowing as he yells, "i told you this would happen!"
your smile falls, "you were in on this too?!"
"i told them it was a bad idea!" he yells back, looking at you.
“i was tricked into being here!” you yell, eyebrows furrowed together, “miya told me he needed help unloading the dryer!”
and sakusa nods, “he is believably stupid.”
( atsumu yells, “i'm right here!” and sakusa looks at him directly, “that’s why i said it.” )
“you’re never here,” bokuto cuts in, his hand on your shoulder back again as he grabs your attention, “you always reschedule.”
and you try to say, "i get bus-"
“even omi-kun shows up for the movie.” hinata intervenes his voice gentle as if to reason with you.
and sakusa shrugs, “it’s good for me to expose myself to stupidity every once in a while.”
you let out a sigh, laughing lightly at that, but you shake your head anyways, arms crossing over your chest, "i don't like being tricked."
and atsumu comes up to you, "i promise to have an actual laundry crisis next time."
you hit him jokingly on the shoulder.
"you know," you shake your head, "you guys could've just asked me to come tonight."
and bokuto answers, his hair falling with his frown, "and risk you not coming? we leave for the season tomorrow and you aren't coming with us and that's three days without you."
you have been rescheduling a whole lot lately, mostly because of the job transfer, but also because you're still unsure how to tell them that you were transferring jobs in the first place.
if they won't even let you leave movie night early, you can't even imagine how they'd take it when you tell them that you're switching careers.
“stay.” atsumu coos, pleading gently, “if not for us, do it for the movie.”
“i'll let you get the good spot on the couch." sakusa adds, nodding lightly to what atsumu's just said.
hinata grabs your shoulders, smiling widely as he looks at you, “you can also get the popcorn bowl.”
“and we have face masks!” bokuto cheers, nodding excitedly as you smile with him.
sakusa shakes his head, telling you, “they’re mine but they always trick me into bringing them here.”
and you laugh.
the four of them - they're a tough crowd to say no to, you wonder how you've gotten by for the last two years of being with them in one piece.
after all, they love you very much.
“fine.” you sigh, and the faux frown on your face is immediately wiped away when three of them cheer loudly and sakusa pats you gently on the back.
you roll your eyes, “you guys owe me.”
and atsumu scoffs, "as if we won't do anything for you already."
with the discussion over and all, the only thing left to do for the night is to actually sit back and watch that movie they've been talking about.
they all seemed so accustomed to this - to spending weekend nights together - and it makes you wonder just how often they actually do this.
“sit next to me?” bokuto walks with you, his smile smaller this time, but his hands don't fail to grab and squeeze yours when he reaches you, and he winks, “i’ve got a hell of shoulder to rest your head on when you get tired.”
you laugh, “movie’s that boring, huh?”
“it’s tsumu’s pick tonight,” he shrugs and he grins, “it’s going to be bad.”
( atsumu scoffs, “it’s like i’m not even standing here.” )
you let bokuto go on ahead without you, deciding to stay back in a corner to make some calls before you start your night, and it's hinata who walks up to you first with an extra jacket in hand.
"it gets pretty cold here." he smiles, handing you the fabric.
out of the four of them, hinata's the one who's always looked out for you the most. he brings you bottles of water when he really looks like he'd need it more, even letting you get the first sip of his in case you didn't want to share, but you always feel your face flush when he scores a point and you'd always be the first person he'd look to as if he wanted to know if you were watching him.
he tells you, “thank you for staying.”
and you smile, “i’m taken hostage.”
“hmm," he mirrors your expression, "you’re a very cute hostage."
and he walks off, leaving you alone once again to tend to your calls.
you make a few about work, one about your two weeks notice, and the last just to leave something spiteful on atsumu's voicemail.
you enjoy doing that so much that you didn't even notice sakusa coming up to you, already settled in the clothes he brought for the night, standing awkwardly and waiting for you to finish speaking into the phone.
he tilts his head, "you're not mad, are you?"
and you pat his shoulder, "i’m furious."
it's rare to get a smile from sakusa, but he's always been kind enough to you to show when he's delighted. sometimes you'd get the brow quirk with the crinkling of the eyes, other times he'd pat you on the back, moving lightly as to not touch you so much.
but tonight, he gives you a small smile, one that barely reaches his eyes, and it reminds you of when he'd insist to treat you to dinner before driving you home.
“i’ll drive you home,” he tells you, the smile on his face as short as ever, “don’t worry.”
and from afar, atsumu yells, “omi just wants alone time with you!”
and sakusa groans, “ignore him, he was dropped on the head.”
“as a child?” you smile, shoulders rising.
“that," he nods, and you notice the reddish pink from his ears, and he tells you, "and recently too."
atsumu comes up to you when sakusa finally goes, grinning ear to ear as he hands you the dvd remote for what you'll be bingeing tonight. his smile as proud as ever, and you see the little stars in his eyes.
“you’ve got an interesting team there, miya.” you tell him, teasing.
and he looks at you, “you seriously gonna call me miya all night?”
and you coo, “only until you leave."
he brings his hand up, "it's my apartment!"
and you repeat, grinning wider this time, "only until you leave."
atsumu is... different with you. he's a pain in the ass, and you're pretty sure he'll always be a bane in your existence, but out of every person you've ever met, atsumu will always be the most to stand out.
last season, he spent twenty minutes out in the freezing snow outside your house waiting for you to get home to bring you some files you left behind at the gym, and when you got there, you swear he was on the brink of actually freezing to death.
you spent the evening taking care of him, sitting by the fire place, and listening to him ramble on and on about his brother's restaurant opening up.
“you know they’re all in that line of helpless guys madly in love with you right?” atsumu grins, walking with you to the living room as he points subtly at the team.
"yes, well," you shrug, joking, “i have that effect on people.”
he laughs, but then he stops walking, his hand holding onto your arm so you stop with him, and he says, “just so you know,”
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Research Report on Project Concept and Background, Steps of Brain Storming
- A Theme of Hybrid, Appropriation and Juxtaposition in Developing an Idea of Globalization, Technology and Creative Arts.
The project is developed into a theme in association with the speciational unit - Digital Fine Art Photography, an idea as well as the would-be concept in the future will be put into reality; that is, a solo art show of my digital fine art folio in a gallery which is affordable with possible collectors. My art works will reflect the modern days or the post-industrial condition and serve as a mirror of how technology, globalization and creative arts affect the contemporary Australian Landscape and Sceneries. According to Adorno and Horkmemer:
‘THE sociological theory that the loss of the support of objectively established religion, the dissolution of the last remnants of pre-capitalism, together with technological and social differentiation or specialization, have led to cultural chaos is disproved every day; for culture now impresses the same stamp on everything.’1
We are living in a world of an information age with a faster pace of globalization and commodification. Globalization
'is the process of world shrinkage, of distances getting shorter, things moving closer. It pertains to the increasing ease with which somebody on one side of the world can interact, to mutual benefit, with somebody on the other side of the world.’2
And the technology innovation has change our world views, perceptions and our every aspects of our daily life with the World Wide Web, surveillance cameras and e Commerce. My art works will give an insight into these matters.
We are living in an information age and the information age is
‘ formed by capitalizing on the computer microminiaturization advances, with a transition spanning from the advent of the personal computer in the late 1970s, to the Internet's reaching a critical mass in the early 1990s, and the adoption of such technology by the public in the two decades after 1990. This evolution of technology in daily life, as well as of educational life style, the Information Age has allowed rapid global communications and networking to shape modern society’3
In our information age, our culture industry has become a Jameson-ish Fear and
Loathing,such as:
...The Crying of Lot 49 remains a fundamental paradigm and, as with Hunter Thompson, the differences are historically very instructive indeed. For the post-horns and the other tell-tale graffiti have here been replaced by something like a ‘work of art’: the clues point, not to some unimaginable reality in the social world, but to an (as yet) unimaginable aesthetic... A worldwide confraternity comes into being, committed to this new object and passionately exchanging and arguing contradictory theories about it...work of art inside itself like a black hole, a future indeterminacy suddenly shimmering in the present, the absent Utopian sublime suddenly opening up like a wormhole within the empty everyday.’4
My art work folio will employ contemporary visual arts techniques together with Photo Shop CS 6 to manipulate the image of Australian Heidelberg School with geometric shapes of Surveillance Cameras to explore issues such globalization, hi-tech and information in a context of Australian Landscape. Actually, post-modernist techniques: appropriation, are nothing new and now they are widely used in commercial advertisements, bill-boards and internet. Appropriations were first and foremost applied in Picasso and Brasque’s surrealist collages of newspaper clips and Dadaist Duchamp’s ready-made - ‘Urinal’. My technique is more of a hybrid in nature - a sort of an add-on over the old piece of art work with a complete new dimension of visual objects. By positioning of two object of contrasts in time and space together, side by side in a comparative context, new meanings are discovered.
My purpose for this project is to alert the viewers how the landscape of Australian and CBD have been e voled in a hundred year’s time from the Impressionist Period of light and shadow of painting revolution to the current contemporary world of Hyper-reality and Surveillance cameras of almost every corner of the main roads, streets and highways in an age of informational GPS, hi-techs and world webs of electronic transmissions.
Backgrounds
Materials that are used in this projects are the downloads of Australian Heidelberg School of Visual Arts ( oil paintings, sketches, on-line journals and archives ) as well as the security CCTV camera photo I took in the public space in various geometric forms and shapes. A digital download of lo-fi and low-tech qualities of resolutions of vague pixels is another sort of simulated prints of image. In The Work of Art in the Age of Mechanical Reproduction (or Reproducibility), Walter Benjamin stated:
‘With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift
between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. Only later did it come to be recognized as a work of art. In the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental. This much is certain: today photography and the film are the most serviceable exemplifications of this
new function.’5
With a juxtaposition of certain CCTV security cameras on the digital formats, the cult status of the Australian Heide burg School of Arts has been altered into another status: a post-industrial and post-colonial conditions of fast globalized world of terrorism, WTOs forums and protests and ubiquitous existence of the monitoring of
‘Big Brother’ such as the dystopia of George Orwell’s 1984. This new re-presentation echos in the valley of industrial installation, nuclear reactors and space station in the outer space to an extent that our human creatures are constantly living in an artificial world we create of our own.
In terms of our investigative researches, I have found out that how technology’s innovation and invention have influenced upon the artistic creativities. Therefore, its impact upon our representation of the world is not only enormous but also extremely overwhelmingly cost-effective in the global markets of trades of goods and services. The scientific discoveries are helpful in our very creation of art works, art-facts and artistic creative energies. Furthermore, it is paradoxical the representation of Australian Landscape now with CCTV securities camera gives back an image of that technological evolution within a span of one hundred years.
In summary, my major researches for this project is Technology, Globalization, Frankfurt School theories on Culture Industries, the Art critic W. Benjamin, Post-modernist (arts) and the photos taken of the surveillance camera in the Public Space. In a comprehensive manner, these research efforts assist me in further understanding our living conditions and under-taking our journey of artistic creativity. In a word it is very insightful.
Adorno, T. W., with Max Horkheimer. Dialectic of Enlightenment. Trans. Edmund Jephcott. Stanford: Stanford UP, 2002. 242.
2 Larsson, Thomas. (2001). The Race to the Top: The Real Story of GlobalizationWashington, D.C.: Cato Institute. p. 9
3 Kluver, Randy. "Globalization, Informatization, and Intercultural Communication".United
Nations Public Administration Network. Retrieved 18 April 2013
4 FREDRIC JAMESONFEAR AND LOATHING IN GLOBALIZATION New Left Review 23, September-October 2003
5 Walter Benjamin, Hannah Arendt, ed. "The Work of Art in the Age of Mechanical Reproduction", Illuminations. (1968). London: Fontana. 214–218
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