hi i hope you don't mind me asking! who are some of the artists that inspire your work and if any art movements too, which ones? i absolutely adore your work and wanna dive into the artists that inspire you because you fill me with so much inspiration 💫
Duilio Cambellotti
Paul Jouve
Norbertine Bresslern-Roth
J. C. Leyendecker
Théophile Alexandre Steinlen
Akseli Gallen-Kallela
Harry Clarke
Nico Marlet
Mike Mignola
Carl Otto Czeschka
Alphonse Mucha
Klaus Haapaniemi
Sanna Annukka
Takato Yamamoto
Ivan Bilibin
Gennady Pavlishin
Evgeni Rachev
Ludvig Hohlwein
Tove Jansson
Just to name a few that have influenced me a lot and continue to live in my head permanently! Sorry about the long post, I thought it'd be helpful if I included examples.
My favorite art movement is art nouveau, I like poster art and antique fairytale illustrations a lot, and in terms of art history I'm most interested in renaissance, early baroque and gloomy 19th century romanticism.
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“I don’t think that is what God wants. And I don’t think you want it either.”
This line of Aziraphale’s in the Job minisode keeps sticking out to me. Because this is the heart of the problem, right? This is how Aziraphale can see Crowley so completely and also not at all.
Because yes they suck at open communication and yes it’s because they had to hide their relationship for thousands of years and have so so so much trauma and fear to work through. But ALSO they actually do have a profound difference in how they see the world that keeps coming between them, and it’s not just theoretical but deeply personal to both of them.
Because Aziraphale still wants to believe that God is good. He can’t let go of that because his whole identity is wrapped up in being an angel of the Lord, and if God’s not good then what has he been doing for his entire existence?
And so when bad things are happening he falls back on This cannot be what God wants. The whole of season one, he refuses to believe that God could really want the world to end—even though we now know he knew this was a possibility before the world even started. He keeps going up the chain of command, trying to find someone to intervene. “That’s why I’m going to have a word with the Almighty and then the Almighty will fix it.” As if God doesn’t have all the information or hasn’t been paying attention.
And really, the events of season one reinforce this worldview for him. Because if the Archangel Fucking Gabriel isn’t sure what God wants, then maybe God did want them to stop Armageddon. Maybe it was Aziraphale and Crowley who were doing God’s work after all.
He’s gotten as far as realizing that Heaven’s orders are not the same thing as God’s will, but he still hasn’t detached the concepts of Good and Right from God in his worldview.
Crowley is a good person who does the right thing so he must still be an angel deep down. “I know the angel you were.” The only way Aziraphale can conceptualize Crowley saving Job’s children is, “Come on, you’re a little bit on our [God’s] side.” So Crowley’s fall was a mistake; Crowley belongs in Heaven, where he was so happy before the Fall. Why wouldn’t he want to be an angel again? And yeah maybe Heaven sucks now but God is still good, so there’s hope that the system can be reformed with a change of leadership, and Heaven can be made to actually do good, the way God always intended.
But that’s not how Crowley sees the world at all. He is operating with an entirely different understanding of reality. Because he figured out a long time ago (at least by the time of the Job job, but probably long before that) that you can’t base your sense of morality on what you think God wants. Not just because you don’t know for sure, but because sometimes God’s plans are fucking awful. God in Good Omens is not kind to Her creations. She doesn’t tolerate questions or doubts or disobedience. She’s capricious, turning on the creatures She made and killing a bunch of them when She’s in a bad mood. She punishes indiscriminately and disproportionately. She wagers human lives like gambling chips. The kids were supposed to be dead no matter who won the bet.
I think it’s interesting that Crowley is the one who introduces the idea in season one of “What if the Almighty planned it like this all along? From the very beginning.” That’s probably a comforting thought to Aziraphale, soothing his anxieties about going against Heaven right when he is feeling acute distress at the idea of no longer having a side. (And, in that particular moment, no longer even having a bookshop.)
But it’s not a comforting thought to Crowley. Have you seen what happens when God has a plan for you? It fucking sucks. Woe betide you if you’re the Barbie God decides to play with today. (At bare minimum, you’re coming back with some burn marks and a weird haircut.)
I’ve brought up the line “There are no right people. There’s just God, moving in mysterious ways and not talking to any of us” before, and I tend to focus on the “there are no right people” part. But also, there’s just God.
Aziraphale tends to draw a distinction between God’s will and Heaven’s orders when it suits him, and collapse that distinction when it doesn’t. Crowley almost never differentiates between God and Heaven. There’s just God, and She’s not going to explain why this is happening or listen to pleas for mercy (although Crowley still tries). You can’t trust Heaven or Hell, and you can’t count on God to show up and make everything all right. Sometimes God is in fact the reason that things are not all right. You’re on your own.
(And. Look. Crowley is right on this one. There are certainly aspects of their relationship where they’re both equally responsible for things being a shitshow, but the text is pretty unambiguous about Crowley, a demon, having the most accurate read on the nature of God in the world of Good Omens out of any of the metaphysical characters.)
Crowley rebuilt his entire sense of self, alone, after the Fall. He created himself anew and developed his own moral compass and sense of identity independent of both Heaven and Hell. “The angel you knew is not me.” When Crowley does the right thing, that’s not his angel-ness shining through; that’s just Crowley.
And from a like, trauma recovery point of view, it’s actually very healthy for him to have the realization that sometimes God’s just kind of a dick. He didn’t do anything to deserve getting kicked out of Heaven. None of them did. Just God messing them about because She didn’t like being questioned, or She wanted to see what would happen, or She needed two sides for Reasons and didn’t much care who was on one or the other, or She’s playing some fucked up little game for Her own amusement. (And if there was some Great Plan that required Crowley to fall…well, that is also fucked up. Because it doesn’t matter if there was a reason. It still hurt.)
And while Crowley in general is extremely patient with Aziraphale and his slow, halting journey away from Heaven…it’s gotta sting, every time Aziraphale doesn’t want to believe that God could be cruel, when Crowley is standing right fucking there. It’s gotta hurt when Aziraphale refuses to see something that Crowley knows to be true through his own lived experience. Because it should be enough. What happened to him should be enough to make someone who loves him walk away from Heaven and never look back. And it isn’t.
But of course Crowley is one hundred percent not going to talk about this, if he is even fully self-aware about having these thoughts, because it’s far too painful and vulnerable. (He talks to plants, goats, God, and no one in a bar at the end of the world, but never to Aziraphale.) And so he says “Tell me you said no” and “I think I understand a lot better than you do” because he can’t say Choose me. Just this once, choose me and he can’t say Believe me.
And Aziraphale is not going to think about all this and work it out for himself, because he has a massive lump of denial centered around exactly this thing, that sometimes God hurts people who didn’t do anything to deserve it. I’m sure he’s thought about the Fall in abstract terms, enough to be afraid of it, but not in terms of this is a thing that happened to a person I love. And he has certainly not allowed himself to draw any conclusions about the nature of God from it, because that is far too scary a prospect.
And so they’re stuck. Until they can figure out how to remove this massive landmine from the center of their relationship, they are going to keep having the same fight over and over again, and they’re going to keep hurting each other without fully understanding why.
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There's a fascinating double standard in a lot of the analysis of John's influence on the Nine Houses' society. Like, the role of cavaliers, the widespread commodification of the remains of the dead, these are all faults the Nine Houses have inherited directly from him. Fair enough. But the lack of gendered roles, the complete lack of male primogeniture, homophobia, or patriarchal family structures, these of course have nothing to do with John, who is definitely a misogynist.
edit: what I mean is that the stuff that makes it easy to hate John and frame him as a mustache twirling villain tends to be entirely credited to him, while complications to that narrative tend to fall by the wayside. this post has nothing to do with misandry and everything to do with craving nuance
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Been thinking recently about the goings-on with Duolingo & AI, and I do want to throw my two cents in, actually.
There are ways in which computers can help us with languages, certainly. They absolutely should not be the be-all and end-all, and particularly for any sort of professional work I am wholly in favour of actually employing qualified translators & interpreters, because there's a lot of important nuances to language and translation (e.g. context, ambiguity, implied meaning, authorial intent, target audience, etc.) that a computer generally does not handle well. But translation software has made casual communication across language barriers accessible to the average person, and that's something that is incredibly valuable to have, I think.
Duolingo, however, is not translation software. Duolingo's purpose is to teach languages. And I do not think you can be effectively taught a language by something that does not understand it itself; or rather, that does not go about comprehending and producing language in the way that a person would.
Whilst a language model might be able to use probability & statistics to put together an output that is grammatically correct and contextually appropriate, it lacks an understanding of why, beyond "statistically speaking, this element is likely to come next". There is no communicative intent behind the output it produces; its only goal is mimicking the input it has been trained on. And whilst that can produce some very natural-seeming output, it does not capture the reality of language use in the real world.
Because language is not just a set of probabilities - there are an infinite array of other factors at play. And we do not set out only to mimic what we have seen or heard; we intend to communicate with the wider world, using the tools we have available, and that might require deviating from the realm of the expected.
Often, the most probable output is not actually what you're likely to encounter in practice. Ungrammatical or contextually inappropriate utterances can be used for dramatic or humorous effect, for example; or nonstandard linguistic styles may be used to indicate one's relationship to the community those styles are associated with. Social and cultural context might be needed to understand a reference, or a linguistic feature might seem extraneous or confusing when removed from its original environment.
To put it briefly, even without knowing exactly how the human brain processes and produces language (which we certainly don't), it's readily apparent that boiling it down to a statistical model is entirely misrepresentative of the reality of language.
And thus a statistical model is unlikely to be able to comprehend and assist with many of the difficulties of learning a language.
A statistical model might identify that a learner misuses some vocabulary more often than others; what it may not notice is that the vocabulary in question are similar in form, or in their meaning in translation. It might register that you consistently struggle with a particular grammar form; but not identify that the root cause of the struggle is that a comparable grammatical structure in your native language is either radically different or nonexistent. It might note that you have trouble recalling a common saying, but not that you lack the cultural background needed to understand why it has that meaning. And so it can identify points of weakness; but it is incapable of addressing them effectively, because it does not understand how people think.
This is all without considering the consequences of only having a singular source of very formal, very rigid input to learn from, unable to account for linguistic variation due to social factors. Without considering the errors still apparent in the output of most language models, and the biases they are prone to reproducing. Without considering the source of their data, and the ethical considerations regarding where and how such a substantial sample was collected.
I understand that Duolingo wants to introduce more interactivity and adaptability to their courses (and, I suspect, to improve their bottom line). But I genuinely think that going about it in this way is more likely to hinder than to help, and wrongfully prioritises the convenience of AI over the quality and expertise that their existing translators and course designers bring.
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Promises
He should know better.
Wolfwood has seen Vash make promises, or hear about the ones he has made in the past. He has also seen the end of each one and how every single time the outcome is less than what was promised.
Vash likes to say embellished words, with a soft and determined voice that lures you into his hopes and dreams, it almost feels like a spell, as if he was calling for you to come closer and believe him. But Wolfwood knows better.
He believes in him, but Vash is much closer to being an idealistic dreamer than a realistic person like he is. He might not be aware of it, but his beautiful promises of a better future give people hope, a hope that is usually embraced with things like disappointment and abandonment.
He doesn’t think that Vash does it with the intent of looking for any of those things. Far from it, he might even do the impossible in order to accomplish said promises, but life is too short and humans are too mortal for his wishes, so in the end, most of Vash’s promises end up being empty or they come to haunt him as a reminder of his failed vows. He admires the man, for his perseverance and idealism, but he also hates the man, for his stubbornness and lies.
Wolfwood knows all of this perfectly to a tee. And yet, he has also found himself being drawn to his world. Because he also dreams of it.
A world in where his always present calls for love and peace exist, a world that is far more kind than what he might deserve, a world in where the kids can be happy and roam around without any worry in their heads, a world in where he can peacefully turn grey with age and his hands can shed the harsh callouses of his life. Who knows, maybe a world in where he and Vash can finally know the peace that was taken away from them, in where they can share the calmness that comes with the passage of time, indulging in every tick of the clock welcoming with open arms whatever comes their way without any fear.
It is a beautiful promise. But Wolfwood is a person that has to keep his feet on the ground, indulging in “what ifs” would only make things harder than what they had to be. He can’t have any ifs if he can’t make it through the now. And by the way he is carrying his present, he is doubtful he will even get to see a shed of that promised world that Vash tries to drag him into. So why mourn something he doesn’t even have, or will ever have for that matter.
He hates the way Vash seems to promise things so easily. His tongue silky and pliant, slipping divine words one after the other, promises way too big for what that barren world can actually fit.
But when Vash talks to him in that holy voice of his, when he hears him say “It’s okay, everything will be alright, I promise” so gently right on his ear, while he holds his face so tenderly making him focus on him and nothing else, he wants to believe him.
He has seen the end of his promises. He knows how impossible they are. But for once, he wants to believe it too. Believe in that loving world that will cradle them both until they fall asleep, listening to the soft sound of the wind laughing while the moons smile upon them.
So he allows himself to indulge in the warmth of his palms, leaning into the comfort of his existence, feeling the soft air of Vash’s breaths against his skin while their foreheads meet in a touch that feels like a hot brand that will melt him.
For an instant, he allows himself to be selfish and believe that maybe, that is how living in that world Vash so desperately fights for would be. Soft and warm, making him feel safe in the hollow of Vash’s hands where the world seems to fit so well. A world where the blue sky is a blanket that covers the love and care that is nestled in it like the one in Vash’s eyes. He wants to see that world.
For now, he will selfishly think that the world that fits in Vash’s hands is right there in where he is holding him, where his blue eyes are drowning in the light of the sunset dripping with love and care while looking at him, that the gentle touch of Vash’s thumb wiping his tears is the same as the kiss of that laughing wind in that distant future, where the smile of his eyes overcomes the smile of the moons.
He should know better. But he loves the thought of that world. And he hopes that Vash will get to see that world, because that gentle sight is more fitting for someone like him than the one of his violent world.
He promises to himself that he will do what it takes for that day to be possible. Even if the end of that promise will be empty for Nicholas, he knows it will be a full one for Vash. So it really isn’t that empty for him after all.
He hates his lies, and he hates how true they sound, but Vash’s embellished words are far sweeter than his bitter thoughts so they feel better on his insides, almost like a balm that cares for the wounds of his throbbing, painful reality.
He should know better.
But aren’t humans weak at the promise of love?
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