kemasminda

 This drawing technique is often referred to as "shading from imagination," "rendering," or "scumbling". It is a method of building form by focusing on the interaction of light and shadow rather than strictly relying on outlines.  Key details about this technique: Process: Instead of drawing a detailed contour first, you imagine a 3D overlay of the object and begin shading in the darkest areas, building up layers until the form becomes visible. Methodology: It often involves starting with general shapes, then defining the light source to determine where shadows should be. The artist uses circular motions, scribbling, or cross-hatching to build up tones. "Carving" the Image: This approach is described as "carving" the form out of the light by progressively darkening the shadows to create a 3D effect. Value Hierarchy: It requires a strong focus on the relationship between different tones (values), ensuring the darkest shadows and lightest...

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  Both the "anteater" and "crab" forms are famous examples of   convergent evolution , where unrelated species independently evolve similar body plans to adapt to similar environmental pressures. The anteater body plan has evolved more often in a shorter time frame than the crab body plan.   https://phys.org/news/2025-07-mammals-evolved-ant-eaters-dinosaur.html https://www.science.org/content/article/things-keep-evolving-anteaters-odd-animals-arose-least-12-separate-times Anteater Evolution (Myrmecophagy) Frequency and Speed:  The myrmecophagy (ant- and termite-eating) body plan has evolved in mammals at least  12 separate times  since the extinction of the dinosaurs 66 million years ago. Lineages:  This adaptation has appeared across all three major divisions of mammals: placentals (like giant anteaters, aardvarks, and pangolins), marsupials (numbats), and monotremes (echidnas). Driving Force:  The primary driver is the immense abundance of ants ...

teras cihampelas placemaking https://youtube.com/shorts/Sko6rc251yM?si=AtQbxGDkymkdhhzJ  Sotonoba | sotonoba.place  Make Program of Casual Approaches Sharing thoughts (as casual as possible): Interview Survey Pop-up Workshop Communication and Outreach: Gathering Online chat/platform Referral Image: Groove Designs Learning: Walk tour Talk session Peer to peer learning Study tour Collective research Do it Together: Experimental project Co-planning Programming support, mentoring Community Engagement is NOT: Excuse to justify Immediate solution One-shot Free mobilization of labor Control  https://creatingmeaningfulplaces.com/Meaningful-places/Software,-hardware-orgware/ To design good places, the approach to placemaking must look at both the use of the place and the activities that (may) take place there, the so-called 'software'; the physical design at the human scale, the so-called hardware and what strategies, partnerships and instruments are needed to maintain this in a s...

"Thoughts of a dry brain in a dry season" is a line from T.S. Eliot's poem Gerontion, capturing feelings of spiritual emptiness, lost vitality, and fragmented memory in old age, reflecting post-World War I disillusionment where passion and meaning are replaced by weariness and a fading connection to life, symbolized by waiting for rain that never comes, notes Punishment" by the Irish poet Seamus Heaney.  "...who have stood dumb when your betraying sisters, cauled in tar, wept by the railings, who would connive in civilized outrage yet understand the exact and tribal, intimate revenge."  T.S. Eliot quote you're looking for, expressing the idea that one is always alone, comes from his play The Cocktail Party, specifically the lines: "Hell is oneself, hell is alone, the other figures in it Merely projections. There is nothing to escape from And nothing to escape to. One is always alone".  The call of the open sea" is a widespread expression ...

 To edit and humanise: Loving her from far away feels like living between two worlds — the deep sea and the open air. When we're apart, it’s as if I’m underwater. Most days, I move through life like a freediver sinking into the blue: focused, disciplined, and holding my breath. Down there, everything is muted — sound, colour, even emotion. The world feels slowed, heavy with pressure. I remind myself that I’m diving for a reason: to gather the pearls and treasures that will one day shape the life I want to share with her. That purpose keeps me steady. It keeps me swimming. But the deeper I go, the more I must focus. In the depths, there’s no space for distraction or hesitation. Every second is borrowed air. If I lose focus, even for a moment, the weight of distance presses harder against my chest. That’s the risk of loving someone far away — one lapse, and it can feel like drowning. Yet I keep diving because she is the surface. Seeing her in real life again is like breaking through ...