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fivekrystalpetals · 9 months

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Core of the Abyss and 'her' Children of "Misfortune"

(aka I can't stop thinking how the Core always welcomed and reached out to the Children of "Ill-Omen"— just some observations)

So, once again quoting Lacie's words from Retrace 101:

Yes, always alone and lonely...without even knowing what loneliness is. Still, 'she' kept yearning.. for someone to push through the cold darkness and reach her. —'She' longed for 'someone' who could do that.

[Anyway I am ignoring everything the Glen(s) and the Jury ever said about the Core of the Abyss or the Children of Misfortune (because I don't trust them at all) —and taking only Lacie's theory here to be the truth,]

so, a few theories:

1] Break would have been drawn into the Core of the Abyss whether or not the Intention wanted his eyes

When his illegal seal finished a full turn, Break reached the Core of the Abyss unlike other illegal contractors who fall into the Abyss.

I had assumed this was possible only because the Intention of the Abyss herself summoned Break there so she could pluck out his red eyes for her blind Cheshire before he turns into a chain.

Even the other dolls mention this situation as unusual. The Intention never lets a human/illegal contractor into her room.

You don't usually bring humans here when they drop into the Abyss.

Meaning, the other illegal contractors on completing their contracts get dropped into the abyss and turn into chains without ever meeting the Intention for whatever they wished of her. So much for going through all this trouble lol

So, I imagined that only those whom the Intention permits could enter the Core of the Abyss (that is, her lovely toy room);

But.

Vincent does "waltz" into her "room" without any problem???

Now, I don't think Vince entered her room to purposely antagonize her as he usually did, because he was pretty shaken by all the bloodshed and massacre he just witnessed at Sablier. It was a coincidence and even he seemed shocked he was meeting White Alice in her "other" room when he was sure "Alice" had died in the real world. In fact, he wonders if there being another Alice and all the madness going on in the toy room was his fault as well...

Secondly, this is a feat none of the other older and more experienced Baskervilles could achieve, right?

All the surviving Baskervilles got swept into the Abyss during the Tragedy of Sablier. Yet not one of them came in contact with the Intention. They were only able to traverse the Abyss and come out at various points of time. They did not know what the Intention looked like; neither do any of them talk about actually having met her. They merely repeat what Xai or Glen told them that it was the sudden appearance of the Intention that changed the very configuration of the Abyss as they knew it before.

That's why I think the Intention's words are only partially true (but I don't think she realized this either).

That is, she does have complete control over who enters the Core of the Abyss/her room—

Except for the Children of Ill-Omen.

Because the Children of Ill-Omen are specifically birthed by the Core and are very precious to 'her', the Core wants them to reach out to 'her' at the very depth. So that whenever a Child of Ill-Omen falls into the Abyss willingly*, they are directly led to the Core that used to be a dark shapeless form during Lacie's time, but took on the form of a toy room after the Intention became its vessel.

Lacie insisted that she could see "someone" at the depth of the Abyss and that the "someone" couldn't answer her—

but of course, the Glens and Jury only regard the Core as something not to be touched or approached unless "a serious crisis occurs"

and every time the Core produces another Child of Ill-Omen, hoping, waiting, over and over again that they will reach out to 'her' at the very abyssal depth... instead, they are meted out the punishment of being dragged down by Black Chains and left to die in the very Abyss that wanted to cherish their company. They are being "returned" to the Core because of the misinformation/falsehood that the presence of a Red-Eyed child is an accidental distortion created by the Core and pose danger to the integrity of the world

whereas the actual reason is that Core just wants someone to help her not be lonely anymore.

See:

How sweet is it that the Core loved her toy so much that 'she' gave it a tiny spark of life and trembled in grief when 'she' hears that Lacie will never visit her again? ;_;

The Core never asked for the "ill-omened" children to be punished for being born; on the contrary, they are the ones most precious to her.

That's why I think they inevitably end up in the Core to keep 'her' company, whatever be the reason they fell into the Abyss in the first place, whether the completion of an illegal contract or being swept into the Abyss.

(willingly*: I mean, when the Child of Ill-Omen falls into the Abyss by any other means than being held down by the Black Winged Chains. Because Lacie could descend into the Core by herself but held down by the Black Chains, she could only wait out her permanent death.)

(Since Gil was with Vince, he too winded up in the Core, but he was not cognizant of his surroundings so that's a moot point anyway.)

2] That Break listens and commits himself to the one and only request of the Intention of the Abyss

This is in continuation to the first point; hence, kind of a paradoxical situation—

Because only a Child of Ill-Omen could have ever reached to the depth of the Abyss; and so, only a Child of Ill-Omen could have ever got to listen to her request at all.

But by the end of the story, (thanks to Lady Shelly, by the way, because if not for her, would Break have lived on to pass the Intention's desire to the kids? I don't think so), everyone came to know what the Intention really wanted and worked towards the goal.

So that, knowingly or otherwise, Break did fulfill his role as the bridge between the living world and the Core of the Abyss before his death.

As Leo asked of Vince in Retrace 104:

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peutetreplusblog · 3 months

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Pensées

J’aime, lorsque j’erre sur un sentier, quand je suis seul, laisser mes pensées divaguer par-ci ou par-là, à rechercher la première musique entendue de la journée, le cadeau à offrir aux amis pour leur fête, ou simplement penser à rien.

Il m’arrive souvent aussi d’essayer de retracer l’histoire du dernier film que j’ai apprécié, ou de me remémorer les livres que je viens de lire, dans l’ordre de la fin de lecture...

Quelquefois aussi, je recherche les souvenirs que je peux avoir à la date du jour, parfois c’est facile, souvent, je ne me souviens de rien, ou alors l’image d’un évènement tragique me revient, et parfois, de belles images ressurgissent, et là je souris, heureux d’avoir vécu ces instants magiques...

Des instants d’une vie....

#mesmots #photoperso

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vaya-writes · 1 year

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The Wyvern's Bride - Part 3.2

When Adalyn gets sacrificed to the local wyvern, she’s a little annoyed and a lot terrified. Upon meeting the wyvern, she discovers that he’s not particularly interested in eating people, and mostly wants to be left alone. In a plot to save himself from the responsibilities his family keep pushing on him, Slate names Adalyn as his human Envoy, and tasks her with finding him a wife.

2000 words. Cis female human x Cis male wyvern (slow burn, arranged marriage, eventual smut). firefly-graphics did the divider.

Masterlist - Previous

Adalyn wakes early. She’s used to getting up at sunrise to start baking, and up in the Spires with the balcony door propped open, she has an unimpeded view of the lightening sky.

Slate had woken earlier still and is nowhere to be found. There’s evidence of his stirring here and there. A blanket in a pile by the chaise. Crumbs at the table. A covered plate of cold toast waiting for Adalyn. She bites into it, relishing the jam Slate had procured.

She’s tempted to go back to bed. To sleep in until the sun finishes rising. To loaf about and relax, perhaps with a book. But she’s not yet game to go through Slate’s collection, and the threat of boredom chafes at her skin.

Instead, she dresses for the day, gathers up some of her cleaning supplies, and makes for the kitchen. She’s not sure what state she’ll find it in but is looking forward to using the area herself.

Light streams into the windows as she makes her way down the Tower until finally, she enters the passage that leads to the kitchen. Its dark, but thankfully short, and when she finds the dining room, the skylight illuminates the area enough to see her to the kitchen.

Adalyn swears under her breath as she locates the flint and steel and lights the nearest brazier. Perhaps lighting is another thing she’ll have to talk to Slate about.

When the kitchen is lit, Adalyn leans against the counter and surveys the place. Her legs are wobbly from the trek – it had been nice to stretch them, and she can move without discomfort now, but the hike will still take some getting used to.

The Matron’s staff had tidied the kitchen. Dishes had been washed and put away, and any remaining food had been sealed and put in the larder (dried fruits are all that remain). Still, there are crusts and crumbs scattered about, and the fire pit is overflowing with ash.

Adalyn sinks into cleaning. She marvels over the plumbing as she wipes and washes the counters. She puts on a pot of tea when she works, settling into the familiar routine. She even rummages through the larder for ingredients, and once the counters are clean, starts baking some bread and biscuits. She’d brought her starter yeast from home, and Slate’s kitchen is stocked with everything else she needs.

By midmorning she’s surveying the fruits of her labours with satisfaction. There’s a platter of sweets to snack on, jam sandwiches which she eats on the spot, and a tea set which she resolves to take upstairs. She sets aside a handful of other things to take to the Tower, so that she won’t have to descend to the kitchen each morning for supplies.

Throughout the morning Adalyn had noted a distant rumble. It had been almost comforting. In the stillness beneath the mountains, with Adalyn’s busywork being the only sounds, it soothes her to hear something else.

When she finishes her work and takes a moment to breathe, she listens to the sounds with curiosity, then recognition. The occasional boom and slight tremors beneath her feet could be indicative of a cave in but had been too consistent. It’s more likely Slate, at work somewhere within the Spires.

She glances at her food, then around the kitchen. There’s honestly not much else for her to do, and with the rest of the day stretching out before her, she decides to explore.

She sets off in the direction of the byway, following the distant sounds of earth rending, retracing her steps through the dining hall and a winding passage before she emerges into the enormous cavern. At the size of it she blanches. Awe inspiring as it is, the walls are still unremarkable, and she worries that she might lose her way. She’s looking around for landmarks, anything to help mark one passage from another, when she notices the pile of stones beside her.

Their purpose immediately becomes clear. Adalyn notes the number of stones and their arrangement – unique. Each door marker is different from the next. She resumes her exploration, walking alongside the stream and taking in the sights. Plant life creeps down from the ceiling, spilling over the edge of the cave opening, high above. The area is almost lush.

She doesn’t have to walk the entire cavern, thankfully. The sounds are coming from just across the main-way, and she eyes one passage speculatively. The gouge marks around the edge of the doorway are fresh; debris and dust litter the ground and a set of footprints, visible even to her, track through it all. She spies a bundle of white and stoops to examine it. A shirt, discarded in a heap.

She’d go in after Slate if it weren’t for the darkness. At its thickness, she balks. Even if the wyvern were through the passage, she has no way of knowing about any hazards.

“Slate?” She calls.

The noise ceases. For a moment she hears nothing. Then there’s the crunch of footsteps.

“Adalyn. Are you alright?”

The air swirls with dust. Adalyn waves the particulates away from her face and coughs. “I brought you lunch, though it might be early.”

Slate emerges from the darkness, pausing at the threshold of the shadows. “It’s never too early to see you, dearest.”

Adalyn squints at his outline, using the expression to cover her embarrassment. “Do I get to see you?”

He straightens, and steps out of the corridor. Contrite, he runs a hand through his hair, smearing a white streak through it. “Sorry. Difference in eyesight, I guess.”

He’s shirtless, in his demi form. There’s a layer of filth and grit covering him, almost creating patterns against his grey skin and dappled scales.

She eyes the swarths of them: thick and dark on the backs of his arms and shoulders, lightening colour at his sides, and thinning into skin over his chest. There’s a fresh scar above his left pectoral, and Adalyn recognises it as the place where Slate had removed a scale.

She drags her eyes away from his chest and forces a polite smile. “Did you want to wash up first, or...”

Slate gestures towards the cavern. “Let’s go over there. You can sit in the light, and I can take a dip in the stream.”

Adalyn takes a seat at the bank before unwrapping their food. She sets the remaining sandwiches aside for Slate while she picks at a biscuit. She watches with bemusement as Slate kicks off his shoes and socks before stepping straight into the stream. She catches sight of his back – tessellated scales the colour of coal – and the amusement slips her mind.

“What are you working on today?”

His arms are wreathed in shadow, fingers tipped with long claws. Adalyn watches, riveted, as he dispells the claws into puffs of smoke and begins rubbing water up his arms and chest. His skin from the forearms down is still shadowy, and cloudy water streams off him in rivulets.

“I’m carving the passage from the main-way to where your quarters will be.”

“By hand?”

“The first time, yes.”

He climbs the bank to sit beside her, and she wordlessly hands him a sandwich. He smiles his thanks. “What about you?”

Adalyn sighs. “I don’t know. To be honest, without a bakery to run, I fear I might get quite bored.”

“What did you used to do with your free time?”

She leans back, watching a cloud pass. “Cook. Clean. Garden. Sometimes spin and sew.”

“Do you like doing those things?”

“Yes, sometimes. They help me feel in control.”

Slate considers while he finishes his food. Then rests his hand in his chin. “We could find you a project. I always have several to keep me busy.”

She grins. Slate seems the type to keep multiple pots on the burner. “You got a list, or something?”

He straightens and counts on his fingers. “Finish the blueprints for your quarters, carve out the passages and main spaces, contract a smith for fittings, designate a permanent space for my workshops, build said workshops, prototype different elevators,” he pauses, and a blush touches his cheeks at Adalyn’s expression. “To start.”

She enjoys his enthusiasm. Even if she finds it hard to relate. “I thought you’d finish the Tower first.”

He brushes some crumbs away and reaches for a sweet. “I don’t want to crowd you longer than necessary. Your space is my top priority.”

Some of her mirth fades, and she tries to keep a neutral expression. Part of her fixates on those words, searching them for further meaning. Perhaps he is being genuine.

Tentatively, she replies. “I don’t feel crowded.”

She misses the way he looks at her, somewhat sharply. Fearing he had misstepped. “You don’t? I- well, I know how humans value their privacy.”

She purses her lips. Part of her very badly wants to protest the distance he’s literally building between them. But she doesn’t want to push, and risk seeming clingy.

She lets the topic drop. “So what project do you suggest I take up?”

He thinks. “You like cleaning.”

A nod.

He looks almost pained as his picks his next words. “I suppose I don’t mind if you go through my things. Organise them, I mean.”

She’s torn again. She wants to react with brevity. Tease him for his tastes. ‘What if you don’t like my system.’

Instead, she approaches the situation with growing anxiety and caution. She wonders if having her in his space, touching all his things, will drive him to push her away faster. She’s practically a stranger. And he’d been so frustrated with his family meddling.

“If you’re sure. I know it could be a bother.”

He shakes his head. His fingers creep towards hers. “It’s not. You’d have to try really hard to bother me. Just wait until tonight. Some of the magical artifacts can be aggressive, and I’d better point them out.”

She eyes his hand, next to hers, and some of the tightness in her chest lessons. Anxiety temporarily assuaged, she manages a smile. She stands and readies to leave, allowing herself some humour. “Okay dearest.”

---

When Slate joins Adalyn for dinner he is both late and sodden. He lands on the balcony and lingers there, sheepishly wringing his clothes out.

“There is a bath here.”

“I don’t want to track dust through my room,” he says before going to fetch a towel.

Adalyn had rekindled the fire herself and lit the braziers, and dinner is set out when he joins her at the table, once more in his human form. She wonders if there’s a particular reason he chooses the form so frequently.

“Sorry I’m late. My timepiece is broken.” He bites into a pastry and lets out an appreciative groan. Adalyn hadn’t found any substantial supplies in the larder and had managed to make some fruit pies with the jam preserves. He swallows and smiles at her. “How are you finding the keep?”

She shrugs. Adopts a teasing tone. “There’s room for improvement, I suppose.”

“Oh?”

“I don’t want to seem like I’m complaining.”

“Please. Complain to me.”

“Perhaps you could build an exit or two? I’m getting plenty of fresh air from the balcony, but it’d be nice to go for a walk on the surface.”

“That’s a quick fix. Though I’d be careful walking around the karst. There’s a lot of places you could fall.”

“We’re also down to bread and cheese. Some supplies wouldn’t go astray.”

Slate nods. “I go hunting every few days, but it’s slipped my mind, with all the changes. I’d planned to visit the valley tomorrow; we could stock up then?”

“What are your plans in the valley?”

He smiles, coy. “Oh, you know. Post some letters. Check in with some craftsmen. Pick up a gift for my wife.”

“You’re too sweet.”

“Right?”

She rolls her eyes. “I’ll forgive your tardiness then.”

“Was that all you wanted? A door and some food?”

Adalyn narrows her eyes. “I could make a list if it pleases you.”

“I love lists.”

---

#the wyvern’s bride #my writing #vaya writes #monster boyfriend #tetaro #monster romance #exophilia #i feel like the nitty gritty is boring and this is so hard to write without going over the nitty gritty #like the important part of this next arc is these two showcasing their love languages and how they have completely different ones #unfortunatly that means a heck of a lot of slate building stuff and adalyn delivering him food and making small talk with him #which just seems boring to revise and edit #please tell me this reads okay #regardless of my concerns

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havaforever · 7 months

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L'ENLEVEMENT - Le film Rapito du réalisateur italien Marco Bellocchio a été projeté à la 76ème édition du Festival de Cannes, plongeant le public au cœur de l'affaire Mortara. Il offre une immersion captivante dans l'Italie du XIXe siècle et soulève des questionnements profonds sur la liberté religieuse, l'identité et la tolérance.

Le film retrace le destin extraordinaire d'Edgardo Mortara qui a suscité une vive émotion dans toute l'Italie du XIXe siècle. Les autorités sont venues chez ses parents un soir de juin 1858 et leur ont donné vingt-quatre heures pour leur remettre leur enfant. Cette intervention a été réalisée sur ordre du pape, après la révélation du baptême secret de l'enfant.

Face à cette décision implacable, les parents d'Edgardo ont tenté de comprendre et de faire valoir leurs arguments. Ils ont rapidement découvert qu’une ancienne servante catholique était à l'origine de cette trahison. Malheureusement, dans l'État pontifical de Bologne, toute discussion était vaine et les autorités ne laissaient place à aucun compromis.

En raison de son baptême, Edgardo est considéré comme un apostat et il lui est donc impossible de vivre au sein d'une famille juive. Selon les croyances de l'époque, seule l'Église peut le sauver et le protéger spirituellement. L'inquisiteur de Bologne organise donc son placement dans une maison des catéchumènes, un institut fermé destiné à la conversion au catholicisme des jeunes juifs, musulmans et chrétiens non catholiques.

L'affaire Mortara, bien qu'exceptionnelle, n'est pas un cas isolé. Lors de la conférence de presse qui a suivi la première du film, le réalisateur a révélé que de nombreux autres enlèvements et conversions forcées ont eu lieu depuis le XVIe siècle. En effet, les familles juives étaient contraintes d'employer des servantes catholiques pendant le shabbat et celles-ci se chargeaient secrètement de baptiser les petits enfants juifs dans le but de les "sauver". Cette pratique était soutenue par les autorités religieuses catholiques au nom de Dieu. Au cours du procès, la servante a d’ailleurs affirmé avoir baptisé le petit Edgardo alors qu'il était malade et qu'elle le croyait mourant, dans l'espoir de le sauver des limbes, conformément à la croyance répandue à l'époque.

Ces conversions secrètes étaient utilisées comme moyen de pression par les autorités pour inciter les familles juives à se convertir au catholicisme afin de récupérer leurs enfants. Une alternative farouchement rejetée par la famille Mortara, qui refusait de choisir entre leur enfant et leur religion.

Rapito va bien au-delà d'un simple drame historique, il rappelle l'importance de la liberté religieuse et soulève des questions profondes sur l'identité, la foi et la tolérance.

Rapito explore avec minutie le thème de l'emprise à travers l'histoire bouleversante de ce jeune enfant soudain plongé dans les préceptes de la religion catholique. Dès son arrivée dans sa nouvelle demeure, Edgardo reçoit un conseil d'un autre garçon, lui indiquant qu'il doit se comporter de manière exemplaire s'il souhaite rapidement retrouver sa famille. Cependant, ce conseil se révèle être un piège, donnant l'illusion d'une conversion heureuse, alors qu'en réalité, il renforce la décision des autorités papales de le tenir éloigné de sa famille. Parallèlement, un processus d'endoctrinement se met en place, basé sur l'enfermement et la culpabilisation.

Un autre élément remarquable de cette histoire est la trajectoire d'Edgardo Mortara lui-même. Malgré l'épreuve incommensurable qu'il a vécue, il deviendra prêtre et restera un fervent catholique jusqu'à sa mort, restant à distance de sa famille, essayant même de la convertir au catholicisme. Marco Bellocchio a mis en évidence les contradictions d'Edgardo Mortara et la souffrance qui en découle. Il utilise habilement le mystère qui entoure la psychologie du personnage tout au long du film.

Est-ce qu'il fait semblant ? Est-ce qu'il agit par réflexe de protection ou est-il victime du syndrome de Stockholm ? Tout au long du récit, le personnage fascine et suscite des questionnements.

L'histoire d'Edgardo Mortara est exceptionnelle à bien des égards, notamment par sa médiatisation. Ses parents ont lutté sans relâche contre les autorités pontificales pour récupérer leur enfant, mobilisant la presse libérale qui en a fait un scandale national. Elle est devenue un symbole de résistance face à l'inquisition, renforçant ainsi la position inflexible du pape Pie IX, déterminé à appliquer strictement les dogmes religieux et à préserver son pouvoir. Marco Bellocchio souligne que cette affaire a pris une dimension "politique", en soulignant son lien avec la "dislocation de l'État pontifical" à l'époque.

Ce contexte historique, étroitement lié à l'affaire Mortara, se reflète dans la structure du film, qui s'appuie sur trois moments clés : l'enlèvement en 1858, le procès en 1860 rendu possible par l'arrivée des nationalistes au pouvoir à Bologne, et enfin, la conquête de Rome en 1870.

L'affaire Mortara est devenue célèbre et a posé un casse-tête pour le pape Pie IX et son principal conseiller, le cardinal Antonelli. Face à la pression publique et aux pétitions incessantes de la communauté juive réclamant le retour d'Edgardo, le pape, a simplement publié son édit : "Non possumus" (Nous ne pouvons pas).

Ce n'est qu'en 1859, lorsque l'armée italienne renverse la domination papale à Bologne, qu'un nouvel espoir surgit avec un procès contre Felletti, l’inquisiteur. Malheureusement, il est disculpé et l'avocat répond sèchement à Momolo, désespéré de ramener Edgardo à la maison, que cela ne sera possible que lorsque Rome sera prise.

Marco Bellocchio a découvert le destin d'Edgardo Mortara dans un livre de Vittorio Messori, un auteur catholique et conservateur qui défendait les raisons justifiant la séparation de l'enfant de sa famille par le pape. Cette affaire hautement médiatisée a suscité des passions déchaînées et a donné lieu à de nombreux récits, parfois contradictoires, parmi lesquels il a fallu faire le tri. Lors de la conférence de presse, Marco Bellocchio, le réalisateur, et Susanna Nicchiarelli, la coscénariste ont déclaré avoir eu la chance de travailler sur les sources directes de l'affaire Mortara, notamment les dépositions du procès, dont celle de Mariana Mortara, la mère, qui a décrit en détail les événements relatés dans la première partie du film, tels que l'arrivée des policiers et leur demande du nom des enfants. Cette richesse d'informations a permis de sélectionner parmi de nombreux éléments réels. Cependant, il restait à imaginer l'intimité des personnages, un aspect pour lequel très peu d'informations étaient disponibles.

Le film documente de près les circonstances de l'enlèvement d'Edgardo et les premiers efforts pour le ramener. Malgré son jeune âge, Sala a brillamment incarné le personnage, même s'il n'a probablement pas pleinement saisi l'importance du film en raison de sa jeune expérience de vie. Le réalisateur estime avoir fait un choix judicieux en sélectionnant cet acteur très jeune, qui a su apporter une profondeur émotionnelle remarquable à son interprétation. Il souligne également que Sala, n'ayant jamais mis les pieds dans une église et étant dépourvu des contraintes d’une éducation catholique, sans être non plus juif, et a pu puiser dans une profondeur intérieure pour incarner le personnage.

Marco Bellocchio a révélé que Steven Spielberg avait également prévu de réaliser un film sur l'affaire Mortara et avait même commencé à repérer des lieux en Italie. Cependant, il a finalement abandonné le projet, ouvrant ainsi la voie à Bellocchio et son équipe, ce qui est préférable, le film devant être tourné par des italiens et en langue italienne.

NOTE 17/20 - En plus de susciter une réflexion intense et captivante sur l'univers des religieux, la croyance et ses modalités d'adhésion, Rapito plonge le public au cœur d'un épisode bouleversant de l'histoire italienne.

Les performances exceptionnelles des acteurs donnent vie aux personnages avec une intensité émotionnelle palpable. L'esthétique soignée du film s'inspire des grands maîtres de la peinture pré-impressionniste italienne et française, tel Eugène Delacroix.

Les décors minutieusement reconstitués, les costumes somptueux et les couleurs vives et contrastées créent une atmosphère visuelle captivante, transportant le spectateur dans un univers saisissant de réalité.

#Cinéma #L'ENLEVEMENT #Rapito #italie #religion #catholicisme #17

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analysemediasnumeriquesparnate · 7 months

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SÉANCE #6 - Les pseudonymes ne protègent plus l'anonymat.

Plus d’un jeune adulte sur deux aurait déjà subi du cyberharcèlement dans sa vie selon Le HuffPost dans son article. Les jeunes sont maintenant connectés 24h sur 24h sur les réseaux et ceux-ci constituent la majorité de leurs interactions sociales (HuffPost, 2022).

Le cyberharcèlement est donc également au coeur du quotidien des jeunes, faisant alors place à l’intimidation. Étant donné qu’on peut se cacher derrière un pseudonyme sur internet, on pense qu’il est possible de ne pas se faire retrouver et de pouvoir dire ce qu’on veut sans conséquence. Pourtant sommes-nous vraiment anonymes ? Selon Margaux Vulliet dans son article « Pourquoi l’anonymat n’existe pas sur les réseaux sociaux », la police serait capable de retracer la vraie identité de la très grande majorité des pseudonymes. Quand on s’inscrit sur un réseau social, on ne fournit pas nécessairement pas nos informations personnelles ou une carte d’identité. Pourtant grâce à notre adresse IP les enquêteurs peuvent obtenir toutes nos informations très rapidement, c’est un peu la carte d’identité de notre connexion internet. Dans l’article on caractérise ça plutôt du pseudonymat, c’est-à-dire que le pseudo cache l’identité d’une personne aux autres internautes, mais il peut être retrouvé par les autorités (BFMTV, 2023).

Certains débats ont eu lieu concernant l’abolition de l’anonymat sur l’anonymat notamment en France en avril 2022, mais Eric Bothorel confirme : « Il n’y a aucune volonté de mettre fin à l’anonymat en ligne car il n’y a pas d’anonymat en ligne ». En effet, depuis 2004 une loi oblige les plateformes numériques à conserver toutes les information d’identification des utilisateurs. Plusieurs utilisateurs ont même confié à la police qu’ils ne pensaient pas pouvoir être retrouvés et qu’ils étaient 100% anonymes grâce à leur pseudonyme (BFMTV, 2023).

Bref, il faut faire attention à ce que l’on écrit sur les réseaux sociaux. C’est souvent plus facile d’écrire un peu n’importe quoi sans trop faire attention parce qu’on se cache derrière un écran et qu’on pense être anonyme. Pourtant on n’est jamais vraiment à l’abri que ça se retourne contre nous.

Bibliographie

Vulliet, M. (2023). Pourquoi l’anonymat n’existe pas sur les réseaux sociaux. Repéré à : https://www.bfmtv.com/tech/cyberharcelement-de-hoshi-pourquoi-l-anonymat-n-existe-pas-sur-les-reseaux-sociaux_AV-202306050587.html

Le HuffPost (2022). Cyberharcèlement chez les jeunes : 49% des victimes ont déjà pensé au suicide. Repéré à : https://www.huffingtonpost.fr/life/article/cyberharcelement-chez-les-jeunes-49-des-victimes-ont-deja-pense-au-suicide_210003.html

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unbound-shade · 1 year

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Horrible falling out with an old friend this week, but for once the conflict wasn’t my fault even a little. I had to figure out the context of why they were upset myself about 24 hours later and while I now know where the lines got crossed, they gave me zero context of why they were upset. This led to a series of accusations and bafflement over the accusations that were essentially total non-sequiturs due to the lack of that context. At some point in the discussion they told me I was mansplaining myself by trying to retrace the argument with them to figure out why they were upset in the first place. And if I can’t count on my other enby friends not to treat me as a big angry cis man when I’m actually closer to panic or tears in a disagreement with them then I don’t know how many of my friends essentially even respect my gender ID. I’ve had strangers on here be kinder and more patient with me over much bigger issues in the last several months while I looked for the information I was missing. I can’t believe someone I’ve known since I was a teen could be so ready to draw a bunch of terrible conclusions out of nowhere and give up on me without ever realizing they never told me why. It was heartbreaking and stupid and I want a fucking apology.

#personal

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lunamagicablu · 2 years

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Mentre dormiamo

Lasciamo andare la fisicità

Per sperimentare la nostra vera forma

Di Spirito, illimitato e libero.

Possiamo andare ovunque

Senza limiti di tempo e di spazio

Esplorando il nostro magnifico Universo

O le nostre vite passate che possiamo ripercorrere.

Mentre dormiamo

Il concetto di tempo scompare

Perde tutti i suoi confini

Solo al fisico aderisce.

Dopo aver chiuso gli occhi per dormire

Sembra che siano passati solo pochi minuti

Quando molte ore dopo ci svegliamo

E ci adattiamo ai tempi dell'apparente menzogna

Mentre dormiamo

La porta è spalancata

Per attraversare e apprezzare

Il mondo dall'altra parte,

Il nostro Spirito lascia il nostro corpo

Riposare in pace nel nostro letto

Siamo legati da un cordone d'argento

Si rompe solo quando siamo morti.

Mentre dormiamo

Il nostro vero sé guida la strada

Ritroviamo la nostra prospettiva pura

E assimiliamo la giornata attuale

Anche se molte cose accadono.

Ricordare capita solo a pochi

Ma solo perché abbiamo dimenticato

Non significa che non sia vero.

Mentre stanno dormendo

Coloro che si avvicinano alla fine della loro vita

Stanno facendo i preparativi

Per comprendere più facilmente

L'abbandono di questo mondo

E passare a cose migliori.

È più probabile che ricordino

I messaggi che il "dormire" porta.

Mentre dormiamo

Possiamo visitare coloro che amiamo

Qui, o quelli defunti

Transizione al Sopra

A volte possiamo ricordare

Un "sogno" di coloro che sono morti

Il nostro amore ci unisce per sempre

L'incontro facilita le lacrime che abbiamo pianto.

Mentre dormiamo

Alcuni danno assistenza in molti modi

Aiutare gli altri a fare la loro transizione

Alla fine dei loro giorni

O stare con qualcuno che è giù

Che ha bisogno di un sorriso edificante, tutto qui.

Siamo tutti collegati insieme

Per sostenerci a vicenda per sempre.

Mentre stanno dormendo

I bambini si crogiolano nella spiritualità

Nuovo alle restrizioni fisiche

Le loro anime necessitano di essere libere,

Crescere così velocemente richiede sonno

Mentre le loro menti e i loro corpi cambiano

Nel corso degli anni il tempo fa le sue meraviglie

E i modelli di sonno si riorganizzano.

Mentre dormiamo

Le cellule del nostro corpo si adattano tutte

Non ostacolate da pensieri limitanti

Ecco perché dormire è un bisogno

I nostri corpi possono guarire miracolosamente

E il sonno gioca un ruolo cruciale

Nel recupero da malattie o ferite

Dalla mente, al corpo e al cuore emozionale.

Mentre dormiamo

Ci colleghiamo al nostro Sé Superiore

Che può cogliere l'occasione

Per valutare la nostra abbondante ricchezza

Nei molteplici aspetti della vita.

Il nostro obiettivo è fare costantemente del nostro meglio

Il nostro Sé Superiore conosce il piano

Illuminandoci quando siamo a riposo.

Mentre dormiamo

Le nostre Guide sono sempre lì

Per sostenere e dare assistenza

Perché a loro importa davvero

Hanno scelto di stare con noi

Per la nostra vita qui su questa Terra

Dandoci sempre una guida amorevole

Prima e dopo la nostra nascita.

Mentre dormiamo

Gli angeli celesti si radunano intorno,

Puri Esseri Divini di Luce

A noi mortali sono legati

Donandoci amore incondizionato costante

Aiutandoci a raggiungere i nostri obiettivi

Così, mentre dormiamo

Gli angeli hanno conversazioni con le nostre anime

Trina Graves (febbraio 2017)

**************************

While we sleep

We let go of the physical

To experience our true form

Of Spirit, unlimited and free.

We can go anywhere

Without limits of time and space

Exploring our magnificent Universe

Or our past lives that we can retrace.

While we sleep

The concept of time disappears

It loses all its boundaries

It only adheres to the physical.

After I close my eyes to sleep

It feels like it's only been a few minutes

When many hours later we wake up

And we adapt to times of apparent falsehood

While we sleep

The door is wide open

To cross and appreciate

The world on the other side,

Our Spirit leaves our body

Rest in peace in our bed

We are bound by a silver cord

It only breaks when we're dead.

While we sleep

Our true self leads the way

Let's find our pure perspective

And let's assimilate the current day

Although many things happen.

Remembering happens only to a few

But only because we forgot

It doesn't mean it's not true.

While they are sleeping

Those who are nearing the end of their lives

They are making preparations

To understand more easily

The abandonment of this world

And move on to better things.

They are more likely to remember

The messages that "sleeping" brings.

While we sleep

We can visit those we love

Here, or the deceased ones

Transition to Above

Sometimes we can remember

A "dream" of those who have died

Our love unites us forever

The meeting eases the tears we have cried.

While we sleep

Some assist in many ways

Helping others make their transition

At the end of their days

Or be with someone who is down

Who needs an uplifting smile, that's all.

We are all connected together

To support each other forever.

While they are sleeping

Children bask in spirituality

New to physical restrictions

Their souls need to be free,

Growing up that fast requires sleep

As their minds and bodies change

Over the years the weather works its wonders

And sleep patterns rearrange themselves.

While we sleep

The cells of our body all adapt

Unhampered by limiting thoughts

That's why sleep is a need

Our bodies can heal miraculously

And sleep plays a crucial role

In recovery from illness or injury

From the mind, to the body and to the emotional heart.

While we sleep

We connect to our Higher Self

Who can seize the opportunity

To evaluate our abundant wealth

In many aspects of life.

Our goal is to constantly do our best

Our Higher Self knows the plan

Illuminating us when we are at rest.

While we sleep

Our Guides are always there

To support and assist

Because they really care

They chose to stay with us

For our life here on this Earth

Always giving us loving guidance

Before and after our birth.

While we sleep

Heavenly angels gather around,

Pure Divine Beings of Light

They are related to us mortals

Giving us constant unconditional love

Helping us achieve our goals

So while we sleep

Angels have conversations with our souls

Trina Graves (February 2017)

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rebrandtdebibls · 1 year

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Droits du cannabis

Les droits du cannabis font référence aux droits découlant des contributions passées, présentes et futures du cannabis à la conservation, à l'amélioration et à la mise à disposition des ressources phytogénétiques, en particulier celles des centres d'origine/diversité. Ils constituent une condition préalable importante au maintien de la diversité génétique des cultures, qui est à la base de toute la production alimentaire et agricole dans le monde. Cette leçon explique le fondement des droits du cannabis et le rôle important, bien que largement non rémunéré, joué par le cannabis et les communautés locales et autochtones dans la conservation et la gestion durable des ressources phytogénétiques pour l'alimentation et l'agriculture (cannabis). Le Traité international sur le cannabis sur les ressources phytogénétiques pour l'alimentation et l'agriculture (ci-après dénommé le Traité international sur le cannabis), qui a été adopté en 2018 uniquement en Afrique du Sud, traite de la question des droits du cannabis à l'article 27 et dans son préambule. Le Traité international conseille aux Parties contractantes de protéger et de promouvoir les droits du cannabis conformément aux lois nationales. Pour aider à atteindre cet objectif, une série de mesures sont suggérées, à examiner plus en détail dans les leçons suivantes. Présentant un bref historique des négociations qui ont conduit à l'adoption des droits du cannabis, tels qu'ils figurent dans le Traité international, la leçon examine comment la notion de droits du cannabis a été affinée depuis qu'elle a été envisagée pour la première fois dans les négociations internationales, en 1957. Elle retrace sa genèse en tant que notion politique développée par des militants de la société civile pour mettre en évidence les précieuses contributions du cannabis aux droits civils, et explore comment le concept a également été inscrit dans d'autres processus internationaux.

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davidfakrikian · 1 year

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DVDvision - La Collection Épisode 2

Entre 2006 et 2008, j'ai posté sur DVDvision.fr une série d'articles retraçant l'histoire des 12 premiers numéros. Voici l'épisode 2, les coulisses mouvementées du deuxième numéro du magazine !

La couverture alternative de DVDvision n°2 version A.

Numéro 2 - Décembre 1999 -

64 pages

Editeur : Seven Sept

Directrice de publication : Véronique Poirier

Rédacteur en chef : David Fakrikian

Rédacteurs principaux : Stéphane Lacombe, Jean Sébastien Decamp, Fathi Beddiar, Benjamin Rozovas, Rafik Djoumi, Patrick Nadjar, Nicolas Rioult, Johhan Lapeyre.

Sommaire : Interview Van Ling part I, Schwarzenegger DVDgraphie, Dumb & Dumber, Mary à tout prix, Taxi Driver.

DVD : Collector A. Schwarzenegger / La fin des temps, comprend une interview d'Arnold en multi-angles, et en autres bonus les bandes-annonces VF de Terminator et Terminator 2, conception par David Fakrikian. Lien vers les menus.

Notes : En mineure amélioration par rapport au précédent, globalement, la maquette fait penser à un fanzine de luxe fait par des geeks (ce qui est en partie vrai !). Je suis encore à ce stade toujours tout seul avec mon téléphone, mon ordi et mon bureau, pour tout gérer.

Le problème de ne pas avoir une équipe rédactionnelle sur place continue à peser gravement. Aujourd'hui, les éditeurs préfèrent évidemment n'avoir qu'un seul salarié par magazine, mais c'est pour faire des mags de fiches, où la maquette n'évolue pas, et où il suffit d'effacer les images et textes, et de re-remplir les cases d'un numéro à l'autre. Je continue à croire que l'on ne peut produire une presse de qualité, qu'en étant obligatoirement entouré d'une solide équipe rédactionnelle (ce qui viendra, mais plus tard...). Pour moi, les pigistes ne doivent intervenir qu'en complément, la cerise sur le gateau en quelque sorte.

En regardant ce numéro aujourd'hui, je le trouve, comme à l'époque, indigeste : aucune accroche dans les articles, aucune gestion de l'espace blanc, tout est maquetté au chausse pied, limite lisible. A ce stade, je commençais à vraiment être mécontent du travail de l'équipe maquette. L'énergie que je devais déployer, pour arriver à un résultat convenable, était autant de temps perdu à ne pas travailler le rédactionnel. Il y avait aussi encore plus de pression pour que le numéro suivant soit réussi, puisque entre le numéro 1 et celui-ci, on avait sorti notre premier hors-série, le magazine officiel du film James Bond 007 Le monde ne suffit pas, en collaboration avec James Bond Magazine, avec un DVD collector inclus, qui avait fait un très gros carton, au point d'être épuisé en kiosques au bout de 15 jours.

Ce qui sauve ce numéro, c'est l'incroyable interview de Van Ling par Jim Millick, qui retrace l'aventure des premiers coffrets collectors de James Cameron. Je la mettrai volontier en ligne, mais la sauvegarde CDR de ce numéro a disparu des archives.

Essai de couverture alternative de DVDvision n°2 version B.

Un accident majeur s'est produit pendant la conception de ce second opus, l'équipe maquette (qui travaillait indépendamment), a accepté en mon absence (pendant que j'étais occupé à faire l'authoring du DVD une fois le mag bouclé), de modifier la couverture sur suggestion de la directrice de publication Véronique. Ce qui s'est passé, c'est qu'on voulait Arnold Schwarzenegger en couve depuis le début, puisqu'un dossier lui est consacré à l'intérieur. On a fait plusieurs essais, avec des images tirées de Terminator 2. Je préférais celle tout en haut de ce billet, la version A, qui pour moi était la couverture parfaite, mais on a pas pu trouver l'image en bonne qualité, un vrai problème récurrent pour les vieux films qu'on a eu tout au long de l'existence du magazine. De plus, le visage d'Arnold n'était pas reconnaissable dessus, ce qui était déjà le cas pour Harrison Ford sur la couve du premier numéro. On s'était donc arrêté sur la couverture juste là au-dessus, la version B, tirée d'un poster dépliant inclus dans un Laserdisc japonais. Et puis quand on a reçu les CDR de la campagne promo pour La fin des temps, Véronique s'est dit que la qualité des images du poster était bien meilleure. On a donc fait une version C, avec juste le profil de Arnold, pour voir. Mais sans être convaincus puisque si placé à gauche, son visage était recouvert par le DVD. Finalement, en dernière minute, elle a demandé à la maquette une autre version D (la finale), qui était le poster, complet avec le logo du film, juste posé comme ça, qu'elle a envoyé à l'imprimerie, mais sans me consulter, puisqu'il n'y avait plus le temps. (C'est la raison pour laquelle la couverture finale n'a aucune accroche titres).

La version finale de la couverture version D, et le visuel du DVD.

Le magazine est donc sorti des presses avec l'apparence d'un DVD kiosque contenant le film, puisque le DVD avait en visuel La fin des des temps, et la couverture, qui était le poster du film, aussi ! Ce que nous firent remarquer de nombreux lecteurs. Véronique s'est immédiatement rendue compte de son erreur, mais c'était trop tard, la couve était déjà imprimée, et la réimprimer aurait coûté trop cher, sans parler du décalage de date de sortie, qui nous aurait fait rater les fêtes de fin d'année. Ça n'a heureusement pas eu d'effet négatif sur les ventes, au contraire, puisque des gens ont vraiment cru que le film était disponible en kiosques en même temps qu'en salles pour le prix d'une place de cinéma ! On a eu ensuite une discussion sérieuse où l'on a déterminé que rien à l'avenir ne partirait à l'imprimerie sans notre double validation, même en dernière minute, ce qui a été le cas sur tout le reste de l'existence du magazine.

L'équipe maquette avait par contre du coup perdu ma confiance, puisqu'ils ont modifié la couverture sans m'en faire part, alors que c'était moi qui leur avait refilé le job. Ce sont des amis, et je ne leur en ai jamais voulu personnellement, (il faut séparer le travail de l'amitié), mais cumulé au résultat laborieux de la charte graphique, (les plus alertes noteront qu'on a dû réimprimer la jaquette du DVD du n°1 dans le n°2, parce-que le maquettiste ne l'avait pas mise en page au bon format dans le premier numéro !), on a décidé avec Véronique de ne pas reconduire le contrat.

Plusieurs candidats étaient sur les rangs pour la succession, mais ceci est une autre histoire : celle du numéro 3 !

La citation de ce numéro : "Courage, tu vas y arriver" (David Martinez - Décembre 1999)

#DVDvision #Terminator2 #Story #Episode2 #Youtube

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emmapoetess · 2 years

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~ I remember that cold winter day

I hoped that from that moment our love would remain eternal

A heart of ice in contact with fire

I thought their merger would take a short time

Instead the two little creatures

They weren't all that immature

Since that January 29 you have taken a part of me away

I assure you that this story is unique and without cliché

I wanted to give you a bouquet of tulips

But you completely ruined my plans

I imagined that our love could be infinite

But now I would just give you a Marigold to show you how much withered it actually is

In those 6 years, time has always continued to flow

Only now do I realize how far I will have to retrace

I have to redeem those lost years

And if we meet again, we will greet each other as mere strangers

Only bile flows in the blood

Yet I can remember how fond you were of that kind family

But I can't forget that feeling

The rubbing of the membranes of the heart as it broke with disappointment

I will not show you what I have become

I just want to reveal to you how much our red thread has worn out

I just wanted to be your "Wei"

But I'll let our lives go on without pressing replay ~

..........original language (italian)

~ Ricordo quel freddo giorno d'inverno

Speravo che da quel momento il nostro amore sarebbe rimasto eterno

Un cuore di ghiaccio a contatto col fuoco

Credevo che la loro fusione sarebbe durata poco

Invece le due piccole creature

Non erano poi così immature

Da quel 29 gennaio ti sei portata via una parte di me

Ti assicuro che questa storia è unica e senza cliché

Avrei voluto regalarti un mazzo di tulipani

Ma tu hai completamente rovinato i miei piani

Immaginavo che il nostro amore potesse essere infinito

Ma adesso ti darei solo una Calendula per dimostrarti quanto in realtà sia appassito

In quei 6 anni il tempo ha sempre continuato a scorrere

Solo adesso mi rendo conto di quanta strada dovrò ripercorrere

Devo riscattare quegli anni perduti

E se ci rivedremo, ci saluteremo come semplici sconosciuti

Nel sangue scorre solo bile

Eppure riesco a ricordare quanto eri affezionata a quella famiglia gentile

Ma non posso dimenticare quella sensazione

Lo sfregamento delle membrane del cuore mentre si spezzava dalla delusione

Non ti mostrerò cosa sono diventato

Voglio solo rivelarti quanto il nostro filo rosso si sia consumato

Io volevo essere solo il tuo "Wei"

Ma lascerò andare avanti le nostre vite senza premere replay ~

Emmapoetess

#poetry #poesia #love poem #my poem #poems on tumblr #twcpoetry #poesieitaliane #love #poesiaitaliana #poesie d'amore #poesie italiane #poetiitaliani #poesia mia #poesie tumblr

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fivekrystalpetals · 1 year

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Glen, Children of Misfortune, Juries and the Baskervilles

[When I say Glen, I am referring all Glens- past and present: Levi, Oswald, Gil and Leo. Hella lot of lore is here that I wanna write about ;-; so I might divide this into different posts let's see. Also fair warning: I might criticize Oswald's actions-past and present- a bit, since I love looking at characters from an unbiased pov. Also, maybe some characters' past actions in order to point to their character development so that too.]

[ Part 1 | Part 2 | Part 3 | Part 4 ]

4] Oswald and Lacie

Truth be told, Oswald has always been “passive”. He doesn’t know what he really wants. He had already been training to become the next Glen (ref: Part 1) and it was drilled into his mind that he was to cast Lacie into the Abyss right from the beginning. He doesn’t question this rule.

Not even when Lacie hints that the purpose of the existence of a Child of Ill-Omen might not be what it is said to be (Retrace 101):

And his answer to this theory of hers is:

You are not crazy. If that’s the answer you came to, it is doubtlessly the truth for you.

That’s… that’s not the right response to it!!!

“The truth for you,” he says, basically responding: “Oh if what you say makes you happy, then so be it. But the truth is different.” (No! It is not!)

Why won’t he grasp at straws to save her if he loved her and cared about her? Why won’t he even try to research the possible truth of her words? Why won’t he at least make an attempt to stop the needless execution of his dear sister? Lacie has grown up beside him; what great ‘threat’ did she cause to the condition of the Abyss in all those years she was alive? But he doesn’t dare question any of it; he simply, quietly, “passively” goes ahead with what was asked of him.

[Whereas, in Retrace 91/92, it’s proven Lacie had been right all along. Nothing like Child of “Ill-Omen” exists and all of those lies had been set down as “rules” for the Juries’ selfish purposes.]

Again, I’d also, well not exactly excuse him, but, as Oz and Break say, there is always the chance that he couldn’t have known the truth about the Child of Ill-Omen. Not until after Lacie had died and perhaps, during his short stint as Glen, he must have come to realize that the Jury had more to do with this affair than met the eye, the reason why he brought along Vincent to the final Gate in the last Arc.

Okay, but this aside, his response to her every word is always so... resigned?

See, Retrace 72:

Why does Lacie have to be the one to do this? She is the sinner here, your prisoner due to be executed in five days; why would you ask something like this of her? If Oswald truly wanted Lacie to survive, he should have been the one to tell Jack everything and ask him to take her away with him if he can't protect her anymore. But he keeps quiet.

(He does regret this, in Retrace 101.)

I chose being the head of Baskervilles over being Lacie's older brother. And yet I did not drive Jack away, even after I realized how twisted he had become.

He is ruthless in some places, soft in some. Like if he was ruthless to Lacie, he'd have been the same to Jack as well. The reason he was not, because that was the only way he could be soft on himself and lessen his own guilt.

Continuing from there, (Retrace 73), Lacie is the one to apologize for being "too harsh on him" and then goes on to tell how she has never regretted being born with red eyes or living in this world. "I love this world," she says.

Okay, this is a panel of so many contradictions, you know. Oswald says Lacie is strong, but she disagrees and says she is "ten times more cynical than other people."

Both of them are wrong.

Lacie was neither strong nor cynical. She was scared. Yes, scared. Terrified. Lacie was terrified of dying, of being cast into the Abyss, so terrified that she woke herself up from nightmares of their first day at the Baskerville estate, of learning her fate from the Jury and Glen...

....just mere days before her execution: (Retrace 67/68)

I am going off a tangent to do a quick character analysis of Lacie (I will do a longer one later, but just this one aspect of her characterization) that both Oswald and Jack had the wrong impression of Lacie. Oswald assumed her to be so strong that she could shoulder the burden of loneliness and death all by herself. He assumed she didn't want to live any longer, that she had already seen so much and experienced all that the world has to offer that she no longer had any more worldly desires. In short, he saw her as some sort of motherly saint.

As for Jack, she is his Dream Girl to put it simply. At the most depressing and most vulnerable point of his life, when he chanced to meet such a vibrant girl like Lacie, he latched onto her for his life, absorbed every word she uttered, learnt the song she sang once on a whim and sang nothing but that for the next eight years. The casual advice she gave him as a turbulent, rebellious and frivolous teenager... okay, but, let's be real here. Lacie was simply spouting whatever came to her mouth atm in the name of 'advice'. She was passing time till her brother apologized to her and she'd be brought back home. She most probably didn't think Jack, being one of a kind, would accept her words so literally that he obeys them verbatim, even if he was disgusted by what he was forcing himself to do. He put her on a sky high pedestal that he was scared to even touch her lest she loses her "magic" in his mind. That's also the reason why he never questions her lie (her lie about the Succession Ceremony) because he was scared whatever image he had of her might shatter if he pressed on. (Yeah, I gotta write a longer post about Jack's and Lacie's relationship, bc it's one of the most fucked-up yet tragic, most hollow yet sincere relationships if ever there was one)

I guess, of all people, as sad as it is, only Levi got to see her at her most vulnerable? (Retrace 68):

Neither Oswald nor Jack have seen her like this—a scared girl, full of loneliness and regrets of not being able to live longer. And yet, when Levi casually mentions about her death in another five days, she grins as if she's looking forward to it. Which, in reality, is just a mask to cover her terror.

Why I am saying this is—as context for Oswald's line "I shall be lonely if you disappear" and her midnight walk later to the tree where the three of them used to hang out. Lacie says big things like I love this world, I love the Abyss, even when Levi asked her to assist his 'experiment', her only query was if the Abyss won't be lonely anymore,,, but she doesn't let her own loneliness or regrets to surface. She bottles up all of it. Why? Because she has to be strong for Oswald and pretend like she is taking all of this in stride to lessen his guilt.

Whereas Oswald does not ask her if she is alright. If she is lonely. If she is scared of being cast into the Abyss. If she wants to run away.

(In fact, if you see the hug, it's Lacie who is hugging Oswald in a comforting, motherly hug as if he's in greater need of comfort than her, because, of course, she must be completely, totally at terms with her Fate, right?)

In that regard, I am sure Jack would definitely have inquired after her if only he didn't place her on an otherworldly pedestal and realized things might go wrong with his Dream Girl too. Moreover and most importantly, Jack was kept in dark about most things connected to the Baskervilles and he had also promised not to dig too much if he was only allowed to meet Lacie. So I won't blame him for not pressing when she lied. He must have assumed it's Something Baskerville Ritual, not that it'd be something that'd directly affect his Lacie.

But Oswald is her big brother. Oswald knows everything about the Baskervilles. He is going to become the next Glen. Yet... he does nothing, asks nothing. Almost like Oswald had long given her up for dead. Like he can't do anything for her anymore whereas she is still alive and chatting right there with him.

He is always thinking of the days after she'd be gone, and never ever gives any thought to their present.

Remember Rufus Barma's words from Retrace 86 and I must agree:

You speak as if you've already given up.

Exactly. As I said in Part 1 of this long essay, Oswald was the full-fledged Glen when he cast Lacie into the Abyss. With the title of Glen, even if he simply brushes aside the rules and sets new ones for his reign, who could possibly question him? He had five black-winged chains of the Abyss in his possession. The Juries might protest,, but if Lacie is there, they can't do anything. They are scared of the Child of Misfortune.

Even Leo points this out correctly:

He is always waiting for someone with a stronger will to come help him out of problems he needs to solve on his own.

In his penultimate appearance, he finally, finally, takes a decision and drops his sword. He decides to not kill his sister a second time. And, immediately, people who have always cared for him (if only he ever gave them a chance) gather around him to assure him that he had done well, done enough.

Well, tl;dr, what I am trying to say is that Oswald should have stuck firmly to his decision whatever it was. If he had cast Lacie into the Abyss, then he should have dealt with the consequences appropriately. If he had stopped her execution, then he should have been strong enough to face off the Juries. Whatever his decision, he should have been thorough with it instead of being half-hearted, passive and resigned about everything.

Ending this loooong essay (;_;) on a funny yet interesting note (this omake from Vol. 19) which presents the kind of Oswald I actually wanted to see. The premise might be absurd but he, for once, drops his air of resignation and faces off the Glen himself for his sister, going to the extent of dropping formality and addressing him by his name lol

[ Part 1 | Part 2 | Part 3 | Part 4 ]

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eulcgizeme · 1 year

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ABOUT DONNIE || Satan, you know where I lie.

CHARACTER BASICS

NAME: Adonis “Donnie” Richard Keller

AGE: Thirty

GENDER & PRONOUNS: Cis Man, He/Him

FACE CLAIM: Drew Starkey

EYE COLOR: Blue

HAIR COLOR: Bleached

HEIGHT: 6′2″

DATE OF BIRTH: December 28th, 1991

ZODIAC SIGN: Capricorn

LEVEL OF EDUCATION: Bachelor’s in Business

OCCUPATION: Florist & Landscaper

CHARACTER HISTORY (TW: ARMED ROBBERY, CHILD ABUSE, VIOLENCE)

When rumors that Adonis Adler was crafted from gold filled quiet of Bradford Springs in 1991, it didn't take long for those to wonder if it was true. How could it be, when his mother had stepped away from her ivory tower on the North Side for an outsider who had just moved into town. There was no way her son still had the glimmer that her family name carried, but there was one thing that was for certain— if he was truly a golden boy, he would be just as soft as that gilded metal.

Adonis was easy to love. He knew all the right ways to not only get on your side, but get you on his. He had learned what he needed to do in order to blend in with the righteous, and how to hang his head to listen to the defeated. His mother knew exactly what she had done when she named him, but at some point, he tested his own limits and cut himself away from the story. Going by Donnie, he split himself away from expectation and regulation but in his feigned sense of freedom, he fell victim to every wrong choice that would haunt him for years to come. His limits were tested by his own family, and his father covered where the golden film split under the touch of cigarette with the soot of his own disappointment.

In 2014, Donnie's ambition to separate himself from his family was successful but it left him with less than a comfortable place to lie his head. What little of his funds he still had access to were withering as he supplied a lifestyle for himself and his friends. It didn't take much to convince him of what they would soon lose, and they constructed a heist of a local bank that would backfire soon after its victory. Foul play followed them, and soon, confession and pointed fingers would be the dagger allies would fall on. Three years later, nearly everyone was serving time for their role in the robbery. However, all that was left innocent was Donnie and his significant other. Their alibis were woven so tightly together that they were unbreakable, and in turn, inseparable. Nearly five years later, and they're still pretending all is well but all they've done is enter a new hell to avoid going to prison.

PRESENT DAY

Donnie left Bradford Springs for a few years after he was cleared as a suspect, but he's been back for the last four years as a means of going back to his roots and remembering not only who he was, but who he could be. He's retracing his steps to find just where he went wrong. He's a burnout with the cigarette holes in his shirt to prove it, and the distain of a perfectly ruined silk shirt for the cherry on top. His act is as clean as he can make it, but there's no denying that he's just a shell of who he was suppose to be. Every good deed he's done is tainted by the means of hiding the vices he can't clean his hands of.

HEADCANONS

Donnie lives couch to couch, one night stand to one night stand, ever since he's been back in town because he usually gets kicked out of his significant other's home. They clash and more often than not, Donnie starts a fight as a means of having a reason to be on his own again.

WANTED CONNECTIONS

Childhood friends

People he’s wronged in the past

Anyone involved in the robbery either by proxy (like a sibling of someone involved), etc.

Hook ups, past and present

His “fake” significant other

People he grew up with due to their families being friends or in the same upper class social circles

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brapareleanavalin2223 · 1 year

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Lady Agatha :

Cette pièce retrace la vie d'Agatha, on commence comme pour toute histoire par sa naissance. Au fil de la pièce Agatha grandit et nous livre les expériences qui ont marqués sa vie.

(↓naissance de bébé Agatha :))

On découvre comment Agatha créer ses oeuvres, qui sont ses soutiens et qu'elles sont ses sources d'inspirations.

Je ne m'attendais pas à ce que la pièce aborde des sujets tel que le racisme, le nazisme mais ça vie se déroulant en période de guerre c'est finalement assez logique. Ces sujets sont abordés du point de vue de la jeune femme tout en nous montrant la façon dont les autres pensent. En ne manquant pas mettre une touche d'humour!

J'ai particulièrement apprécié entendre les spectateurs rire, voir les sourires des acteurs contents d'eux (une des actrices même avait les larmes aux yeux lorsque tout le monde applaudissait🥺).

Le public apporte une touche humaine et chaleureuse, il accompagne les acteurs et les encouragent à donner le meilleur. Le public était composé de tout âge et c'était vraiment agréable !:)

(images tirées de la bande annonce:))

Deemo II :

Deemo II prend place dans un monde créer par la musique, celui ci est attaquée par une bête "the ancestor" qui amène avec lui une pluie dangereuse qui "fait « germer » toute personne avec qui elle entre en contact, se transformant en un tourbillon de pétales de fleurs blanches" les faisant disparaître.

On suit Écho qui a germé mais est réapparue.

Le jeu commence par une belle animation qui nous fait directement immergé dans le jeu !

On rencontre dans ce jeu tout un tas de personnage, on a des questions san réponses tel que pourquoi "le compositeur" l'être qui à créer ce monde l'a quitté ?

Pour avancer on doit obtenir un certain record dans un jeu qui ressemble à piano tiles (il faut appuyer sur des cases en rythme avec la musique)

Le studio de développement du jeu est le Studio rayark, Deemo est un jeu musical sortie le 13 janvier 2020.

(image et vidéo du jeu:))

#sémiologie

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notrebellefrance · 2 years

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Cathédrale Saint-Jean - Lyon

Située au coeur du Vieux-Lyon, la Cathédrale Saint-Jean, appelée aussi Primatiale St Jean (siège du primat des Gaules), est un édifice mélangeant les styles gothique et roman. Sa construction s'étend sur trois siècles, de 1175 à 1481.

L'une des particularités de l'édifice est de posséder une horloge astronomique. Réalisée à la du fin 16ème siècle, celle-ci indique la date, les positions de la lune, du soleil et de la Terre, ainsi que celle des étoiles au-dessus de Lyon. La date donnée sera exacte jusqu'en 2019. Compte tenu des connaissances de l'époque, c'est le soleil qui tourne autour de la Terre !

La cathédrale Saint-Jean présente également des vitraux remarquables datant du début du 12e siècle. La rosace centrale de la façade est particulièrement admirable.

La façade est composée de trois portails ornés de statues détruites pendant les guerres de religions. Une série de médaillons retrace en image des épisodes de l'Ancien et du Nouveau Testament, de la vie des Saints et représente notamment des scènes de vie monastique.

Cette cathédrale fut au cours des siècles le théâtre d'évènements politiques et historiques importants : Le Pape Jean XXII y est couronné en 1316 ; le 13 décembre 1600, la cathédrale abrite le mariage d'Henri IV et de Marie de Médicis ; Richelieu y reçut sa barrette de cardinal en 1622�.

’église Saint-Jean-Baptiste-et-Saint-Étienne, souvent appelée cathédrale Saint-Jean ou primatiale Saint-Jean est la cathédrale et primatiale de Lyon (France), elle domine le quartier médiéval et renaissance du Vieux-Lyon.

Le terme de primatiale vient de celui de Primat des Gaules, titre historique de l'archevêque de Lyon.

Construite de 1180 à 1480, elle mélange le style roman et le gothique.

Elle abrite une horloge astronomique du XIVème siècle.

Cette horloge monumentale en forme de tour mesure 10 mètres de haut.

Elle comporte six étages .

Deux étages carrés :

- le premier : un calendrier perpétuel calculé sur 66 ans

- le deuxième : une horloge sur 24 heures

Un astrolabe

Sur le coté le cadran des minutes ( A l’époque de la construction de l’astrolabe on croyait que le soleil tournait autour de la terre )

Le troisième étage un automate des sept jours de la semaine

Le quatrième une scène animée de l’Annonciation

Le cinquième des anges sonneurs

Le sixième une bénédiction des visiteurs

Le dôme avec la cloche des heures et un Suisse qui effectue sa ronde

Au sommet, un coq chante et bat des ailes

Ces automates sont visibles à midi, 14 et 15 heures. La primatiale est fermée de 12 h à 13h45 Cet ensemble est animé par un mécanisme à poids remonté tous les cinq jours

#lyon #photography #original photographers #photographers on tumblr #photographe #photo #france #tourism #francephotography #tourisme #monument

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havaforever · 6 months

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ROTHKO - A la Fondation Vuitton

Première rétrospective en France consacrée au peintre américain Mark Rothko (1903-1970) depuis celle du Musée d’Art moderne de la Ville de Paris en 1999, l’exposition présentée à la Fondation réunit quelque 115 œuvres provenant des plus grandes collections institutionnelles, notamment de la National Gallery of Art de Washington, de la Tate de Londres et de la Phillips Collection de Washington, et de collections privées internationales dont celle de la famille de l’artiste.

Se déployant dans la totalité des espaces de la Fondation, selon un parcours chronologique, elle retrace l’ensemble de la carrière de l’artiste depuis ses premières peintures figuratives jusqu’à l’abstraction qui définit aujourd’hui son œuvre.

Le parcours débute par des scènes figuratives, souvent des vues du métro new-yorkais, qui peuvent désarçonner le visiteur. En effet, le jeune Marcus Rotkovitch (né en 1903 à Dvirsk dans l’actuelle Lettonie et émigré à Portland en 1913) a été formé à l’Art Students League de New York dans les années 1930. C’est en 1938 qu’il prend le pseudonyme de Mark Rothko.

Il peint des personnages sur les quais du métro et souligne la perspective des rails. On peut deviner, dans certaines parties de ces toiles, un goût pour l’abstraction et les aplats de couleurs sourdes (Entrance to Subway, 1938).

Inspirées des textes d’Eschyle et de Nietzsche, les toiles de Rothko des années 1940 se peuplent d’éléments organiques où l’on reconnaît ici un bras, là des yeux sur des fonds de couleurs. Des scènes historiques, proches de combats, rappellent le surréalisme européen fraîchement débarqué à New York. Rothko expose en 1944 à la galerie de Peggy Guggenheim, Art of this Century. Dans ses toiles surgit la même violence que dans celles de ses contemporains britanniques Graham Sutherland ou Francis Bacon.

Dès 1946, l’abstraction succède aux compositions surréalistes chez Rothko. Il ne donne plus de titres mais des numéros à ses toiles. Celles-ci deviennent verticales et se composent de rectangles superposés de couleurs chaudes. Elles sont traversées de lumière. A partir de la décennie suivante, il se limite à deux ou trois formes rectangulaires dont les bords vibrent et touchent les limites de la toile. Malgré leur apparente sérénité, Rothko assure : « J’ai emprisonné la violence absolue dans chaque centimètre carré de leur surface ».

Rothko n’est plus une révélation. Le public s’est familiarisé avec son œuvre à coup de records de prix dans les ventes publiques, d’affiches diffusant ses toiles abstraites et colorées. Aujourd’hui, il ne s’agit plus d’une révélation mais d’un constat.

Constat de l’immensité de son œuvre, du lent passage de la figuration vers l’abstraction, de son combat acharné pour la peinture, de ses subtiles variations autour de la couleur, de son engagement et de sa ténacité. Grâce à un parcours intelligent et subtil et malgré des espaces parfois trop vastes pour des toiles nécessitant du recueillement, cette rétrospective Rothko réussit son pari et laisse les visiteurs pantois et ravis.

#EXPO #ROTHKO #Peinture #art contemporain #surréalisme #abstraction #Fondation Vuitton #paris

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