tragedy enjoyer

Dedra Meero + Outfits in ANDOR Season 2

oh dude this fucking rocks. i printed this out at work yesterday so i could read and highlight it during my lunch break.

something that interested me a lot about season 1 of the wire was that we saw much more of the consequences of violence than the violence itself. and i think that helped the audience buy into what farber described here as the camera's evidential force. in season 1, the audience is introduced to the violence of the baltimore crime world largely through the surveillance and crime scene photographs traded between the cops and the characters like d'angelo. "as the major crimes detectives hone their craft . . . we as viewers gain much of our own plot knowledge and critical acumen through their investigation." the audience's critical acumen is measured against the police detail's mastery of surveillance, particularly photography. that mastery concerns actually taking the photos, of course, but also deploying them in an effective manner, like when mcnulty shows d'angelo wallace. we see the police's and the camera's power to document, corroborate, fabricate, and persuade. and as the audience develops this critical understanding of the cameras used within the narrative, we also develop a critical understanding of the cameras used to shape the narrative. the wire has this built-in sense of credibility given the past lives of david simon and ed burns, but the self-consciousness of the camera--especially in season 1--does a great job of inviting the audience to question the edges of whatever frame they present us with.

and speaking of david simon's former occupation, something i really loved about season 5 that i feel fits right in with farber's whole discussion was the emphasis on photography within the baltimore sun bullpen. (i think it was gus haynes who was always saying that stories need to run with "artwork"). david simon's journalism is obviously foundational to who he is as a fiction writer, but it's also foundational to who he is as a visual storyteller.

RESPONSIBILITY FOR YOURSELF MEANS THAT YOU DON’T FALL FOR SHALLOW AND EASY SOLUTIONS

ThisisHowURBAN SPACESMustExistintheFuture

UnlessCitiesLookExactlyLikeThis...WellICan'tBeartoSayIt

abuse in caregiving professions (like teaching or nursing) is not solely a result of power dynamics. it's also because people who go into those professions often have a idea of themselves as Good People, and are consequently incapable of recognising or acknowledging when they've hurt someone else. instead, they mentally put 'people who have inconvenienced me' into the Bad People box so they can freely abuse them while maintaining their moral high ground.

i read ross greene a lot when i was working with "difficult" or "behaviourally challenged" children. his refrain is "kids do well if they can" - meaning, in short, that most kids act out only when the demands of a situation exceed their capabilities. punishing them for this is not only cruel but also completely pointless, because they also don't want to be doing what they are doing.

The site sits near Søften in eastern Jutland, about 10 kilometers north of modern Aarhus. Excavations by the Moesgaard Museum show a planned production area instead of a normal farming village. The settlement covered at least 100,000 square meters. Most of the work focused on making textiles, though other forms of handwork also took place there.