The top is not likely to change and there is a more robust middle. But someone always surprises — nobody had the New York Knicks making the playoffs let alone grabbing home-court advantage last year — and someone who disappoints — the Orlando Magic last year, for instance. The realist will say this is an incredibly young team and full of inconsistency.
So much of what the team can accomplish depends on the fast development of a rookie in Jalen Suggs and the return to form after yearlong absences from Jonathan Isaac and Markelle Fultz. That feels like a lot of risks to bet on.
And the Magic appear through their hirings and focuses this offseason more concerned with creating a strong player development environment for young players to grow. It sure does not feel like winning is the main priority. Most of the early predictions seem to be OK with this. The Magic might be at the bottom of the standings in most of the early season predictions, but national observers believe the team is on the right track.
With another high Lottery pick, maybe the Magic will have their core to start growing. That growing should always be in focus. And winning is not something that a team can turn on and off. That is why the start of the season should lean toward the optimist side rather than the realist side. The Magic should be thinking about the playoffs in mid-August even if they will not be in mid-April. This is the point of the calendar year where fans try to talk themselves into the best version of the team.
There is at least a current of belief within the fan base that the Magic could sneak into the playoffs. This Orlando team may be destined for some struggle. But with how young the team is and how many key players are already likely on the roster, the team still needs to set out some goals and try to achieve them.
This team cannot create an early environment where winning is not important. Even in Summer League, it was clear to see the frustration losing brought on and how much players like Jalen Suggs and Cole Anthony were trying to and wanted to win. During the Rob Hennigan rebuild, some years the team demurred at any mention of the playoffs, and other times they would embrace the mission and the goal.
In either case under Hennigan, the team fell woefully short through a mixture of a lack of star power, poor coaching and poor organizational culture. And some of that may be dreaming and aiming for the playoffs early.
If this is the ultimate goal for the team — and going beyond that to winning a championship one day — the team should not hide from these goals.
And there is always one team that surprises. In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what it is above.
Woolf is interested in how the individual adapts to their surroundings and how they are viewed. This includes the sex of the individual but also fashions, thus the Elizabethan Orlando is a lovesick youth much given to poetic similes and duels, the Jacobean Orlando suffers from melancholia and so on.
This is enhanced by the mock biography format: For she had a great variety of selves to call upon, far more than we have been able to find room for, since a biography is considered complete if it merely accounts for six or seven selves, whereas a person may have many thousand.
Woolf plays with the different literary styles of the period, which might cause the reader some confusion, but is great fun and I only wish I was better read to enjoy them.
The book seemed to me to be as much about literature and writing as about gender. To put it in a nutshell, he was afflicted with a love of literature. It was the fatal nature of this disease to substitute a phantom for reality. She had thought of literature all these years her seclusion, her rank, her sex must be her excuse as something wild as the wind, hot as fire, swift as lightning; something errant, incalculable, abrupt, and behold, l iterature was an elderly gentleman in a grey suit talking about duchesses.
There's a laugh-out-loud scene where her attempt at writing is disturbed by an inkblot, to which Orlando adds wings and whiskers. We sat down with Smith to find out more about her inspirations, works and why she loves living in Central Florida. Who are some of the local artists or educators that had a hand in that inspiration and your artistic growth? I only drew animals after that point. In middle school, I started sketching pets to help raise money for pet rescues such as Pet Rescue by Judy.
CS: Copper-plate-etching printmaking using an Edinburgh Etch. It is a Renaissance-era technique that Rembrandt himself used. I would describe my style as magical realism, as I take inspiration from both mythology and nature, with realistic techniques, while combining the two to tell stories in my art.
CS : I find inspiration from all things nature: flora, fauna, magic and mythology. After reading such folklores, I attempt to bring what is on the page or in the world around me to life.
From my artistic point of view, the key to etching is drawing. The essential creative process and the most time-consuming of all the stages in the making of a new piece comes from a complete, detailed and perfected drawing of the composition itself that I plan to make into an etching. Since I am a perfectionist on an almost obsessed level, I will usually create a similar piece over and over, changing things only slightly in at least 10 different drawings before I pick a composition that I am excited about with enough to turn into a final copper-plate etching.
The easier part for me, but time-consuming …, is the technical intaglio process itself. It is a personal choice for me to use the same approach that the artist Rembrandt did in the Renaissance.
I use overly thick copper plates. I cover the plates in an acid-resist liquid hard ground. I use chalk on the back of a pencil-sketch image to transfer the outline of the image onto the copper.
By lightly scratching through the acid-resist ground on the copper plate with an X-Acto knife, it exposes the bare copper underneath. Then, only the exposed copper will be etched when I place the copper plate into an Edinburgh Etch solution bath. The real art is working the etching of copper in the solution.
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