Monday, January 31, 2011

E is for Ethereal Filcher

 For those of you not familiar with the strange aberrations of the Dungeons and Dragons world, this is what Ethereal Filchers look like:
Ugly, huh? I would say not to tell it, but it can't hear or speak, so no worries.

Hey, everyone! So, starting from now until the assignment is finished, I'll be posting work (ugh.) on here. This is going to consist of:
The Assignment
A Journal
An Observation and finally
A Reflection.

I don't know how much it counts but I feel that I can count all of my stuff about nerdy things as a journal, but I dunno- I'll ask Middlemiss tomorrow.
Prompt 1: Respond Emotionally, intellectually and honestly to 5 projects that Goldsworthy presents in the film "Rivers and Tides."
           Most of my questions/responses were mechanically-based, because that's what caught my attention first, and what stuck with me the longest.
My first question had to do with this picture /|\. I really wanted to know how he managed to keep the icicles together effectively enough to hold some of those heavier bits on the far ends?
Next I focused on this motif of his:
When you make that cone, is there a way the area around it has to be? Is balance on the surface taken into consideration when you make it, or do you figure if it falls over after you're done that it's part of the art, or maybe there's something that you feel that you want it to guard or look over? I seem to remember that you said that it has sort of a feel like a silent guardian, but what exactly is it guarding?
My next response/question for Goldsworthy had to do with all of his changing works:
How quickly does the change happen? Does it happen relatively quickly, or do you watch it for extended periods of time? Do you ever leave a piece and come back the next day to see how it's changed, or do you just watch for the first bits of change?
My final response/question had to do with the wool on the wall, which I couldn't find on the internet. :\ Ah, well. Anywho, I was really curious as to if he intended the wool on the wall looking like the horizon between the back ground and foreground  looking like a tear, almost like the paper was ripped away to show something behind it. I loved the effect, but I couldn't help but feel that I'm over thinking that piece.

Prompt 2: Discuss why Goldsworthy is consumed with motifs.
                As a song writer and poet, I feel that a lot of artists, including myself, use motifs as a way to center ourselves and reach a certain level of our work that we feel connected to it again. However, it looks like the Motifs themselves serve as a constant where in nature everything else is always changing. The cone serves as a silent sentinel, watching over the world around it as the forest grows, taking it with it. However, it's still there, watching everything. The hole in nature, as he put it, really didn't show it's meaning until something sprouted out of it, showing the life crawling out of the void and taking it's first glimpses of light.
The ribbon had me for a bit, until I though about how it flows; the ribbons just goes however everything around it moves, and slowly disappears into the ether as time goes by.

Prompt 3: "It's the dialog with the stone that makes the wall."
"The Real work is in the change."
Explain these quotes and their meaning. What is a story that the wall can tell? What is the change?
                 I feel like a wall of any style, be it wood, stone, metal, etc. tells a wonderful story. With the stones that make up a stone wall like the ones in the videos, each stone has a slightly different story to tell about how it got where it was going, and all of these stories lead to the same destination: the wall. The stones' stories all intertwine and make the wall what it is.
As for the change, it's really straightforward, and I believe I sorta answered this in a previous question; the change gives the work meaning. Where he can make a hole in nature, nature, nature can make something sprout out of it. Where he can make a cone, nature can grow a forest around it.
Now for the Journal. :D
So, I started making a D&D Campaign yesterday, as some of you may know. It's been chaotic, I haven't been able to think up a good plot for the first adventure, and, to put things simply, I didn't know how to start. Then, it hit me. With the aide of my friend's trusty Monster Manual, and my graph paper notebook, things are coming along swimmingly. I hope to have people show up to my campaign when it rolls around. That'd be fun.
Now, I'm sure you're all wondering "Cedric! When are you going to start your campaign and what's it called and etc.?!" Well, I can tell you only a few things:
-I'll probably have a game for my campaign in March, if I can fit two games into that month. Legacy of St. Vasco takes priority, since I'm not going to college this year.
-The Campaign will span a whole continent, and there will be more to it than you expect.
-The Campaign is called "The Locked Box," rightfully so. :)
-I already have 80% of the map done, but it's nowhere near as in detail or as large as Andrew's map. :\
-There will be a recurring antagonist, played by a non-DM player!
-I will be co-DMing with different people until I decide on a person's dependability and style that I can work with.

ALSO: I suck at Laser Tag, just so you all know. =)
Observation: I suppose I just talk about something that I've noticed or something like that today. Well, I've noticed a lot of things ,but I think that I'd like to go with my favorite thing for today: the mantra of the day is "NO EXCUSES." I was talking with my friend about Star Wars, and he admitted to having NEVER seen the movies or read any of the books before. I was a bit appalled, and he promptly replied his obviously rehearsed excuse of "I don't have any time to watch them." This guy plays WoW. That's time that could be spent watching Star wars, so "NO EXCUSES" for inaction.

Reflection: Is this where I reflect on the observation, or what? I feel that because of my constant chanting to myself of today's mantra has led me to do more than I normally would. It's been good for me, and I think I'll keep it tucked in my head for a while now. :)

Ethereal filchers are bizarre-looking creatures with a penchant for snatching trinkets from passersby. Their ability to move quickly between the Ethereal Plane and the Material Plane makes them spectacular pickpockets.
Ethereal filchers do not speak.


An ethereal filcher prowls about, using its ethereal jaunt ability to move about unseen (and often through solid objects). Upon locating a likely mark, it shifts to the Material Plane, attempting to catch its victim unaware. The creature attempts to seize an item, then retreats quickly back to the Ethereal Plane. It is not above delivering a bite to distract its target. Once it secures a trinket, it scurries back to its lair to admire its prize. When badly wounded, a filcher escapes rather than continuing the fight.
Any number of simple ruses can blunt a filcher’s attack.
Detect Magic (Su)
Ethereal filchers can detect magic as the spell (caster level 5th) at will.
Ethereal Jaunt (Su)
An ethereal filcher can shift from the Ethereal Plane to the Material Plane as part of any move action, and shift back again as a free action. It can remain on the Ethereal Plane for 1 round before returning to the Material Plane. The ability is otherwise identical with the ethereal jaunt spell (caster level 15th).
Ethereal filchers have a +8 racial bonus on Sleight of Hand checks, and a +4 racial bonus on Listen and Spot checks.

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