#ART: Work of the Nomes

[end-the-transmission]

-"I think you're wonderful"-

[randybutternubber]

I’ve noticed a distinct lack of love for the kid from the first ep of TSON who helped noone and the workers, so here’s some art with some HCS (Kid on the left, I’ll just call them goo kid, worker on the right)

Random goo kid HCS

Goo kid fell into a vat of some weird ass shit shadow goop in the factory

They use this to their advantage to basically blend in with the workers

Goo kid is around 6 to 7 years old and was relatively young when they were taken to the nowhere

Because of the factory having a lot of darker areas and the goop messsing with their eyes, they don’t have great vision and they’re nearly blind in one eye. They also have some hearing issues due to basically getting exposed to loud ass factory equipment constantly. Due to this, they’re very tactile and they often try to hold the hands or touch the faces of other children, but it’s often met with rejection due to often getting mistaken as a worker and usually not properly asking to do so. Their sense of smell is also pretty fried

Goo kid is mostly non-verbal and has a very limited vocabulary as a result of being taken so young and spending most of their time around the workers who don’t speak

The workers often try to give them tools like hammers and wrenches, thinking that they’re another worker

Even if a worker realizes they’re not one of them, they tend to not be very aggressive towards them because they’re very used to them being there. They’re mainly aggressive when goo kid is with another child or gets too close to the machinery

Goo kid’s clothes were taken from a worker. Most of them wear workers overalls, but it’s very common for the overalls to be heavily damaged as the shadow goop stuff isn’t that good when on fabric and they’re often torn by machinery

Because of lack of exposure to light, goo kid has pretty pale skin, which is also very sensitive to the sun, along either their eyes

Worker head canons

Workers act smarter when alone/in small groups and show a lot more individual personality as well. When they’re in groups, the hive mind kind of takes over and they become completely engrossed in keeping the factory running. This is why they tend to act quite dull/stupid when together, but the individual workers seemed to stalk/observe Noone and goo kid before striking

Like nomes, workers do hoard items, often in their pockets/pouches or tool belts if they have one, but they also like to hoard items in their own little nooks and crannies



They sometimes accidentally (or purposefully) steal each other’s tools while working, and yes, they will brawl over a wrench, but they often don’t notice/don’t know who took it

Workers can coalesce into far bigger shadow amalgamations, but it can only occur in very low light conditions, and only if the situation is bad

They have great eyesight in the dark and can see a ton of detail when up close, but otherwise, their vision is quite poor. Their hearing, on the other hand, is excellent, and like birds when they call, their ears have a sort of shadow muscle something something like that that closes when near loud machinery. This is another reason why goo kid doesnt talk besides being primarily non verbal and why they stop noone from speaking. Their hearing also helps with noticing if a machine needs fixing

Workers walk on their toes and their feet are rarely flat on the ground. This, coupled with their claws causes them to have a unique sounding footstep

Their toes/feet are very flexible, allowing them to scramble around and climb quite well

Their arms are proportionally longer since they often work with tools that are quite large for them

Workers can scramble around on all fours quite effectively

Some of them have exposed teeth

They often grab goo kid/lead him “back to the group” when they find them far away from where most of the workers are. It makes exploring difficult, but if goo kid gets stuck/lost, it can be very helpful

Goo kid is a bit scared of the workers, but because they tend to just think they’re another worker, they aren’t absolutely terrified

Singular workers are generally more playful and curious. They’re also more likely to notice something is different about goo kid. They poke them and sometimes try to apply some of the shadow goop to their face thinking that there’s something wrong with him

[anaharae-s]

Nome da história: Maybe, that's the problem

Escrito e editado por @anaharae-s

Artes oficiais e IA

copyrighty: All fanarts used on the coversare with the permission of the artists. Neveruse covers without written permissionfrom the artist and ask for permission bymessage. The covers on my profile arenon-profit, all editing work is free and donefor fun.

[ohholydyke]

When the prophet Elijah faced a government that wanted him dead, he wanted to die, so God sent an angel—a messenger of the Lord—who put their hands on him, brought him food and said “Arise, eat.”

And when Elijah laid back down because he lacked the strength to continue, the angel came again. They put their hands on him, brought him food and said “Arise, eat, because the journey is too great for you.”

And Elijah got up and ate. Until he was ready to engage in his long journey to the mountain of God.

When he got there, the government still wanted the prophet dead, so Elijah still wanted to die. So God told him to stand on the mountain while He came by, so that Elijah could be near God and see Him.

Elijah looked for God in the roaring wind, but God was not there. He looked for God in the earthquake, but God was not there. He looked for God in fire, but God was not there.

And then Elijah heard a gentle breeze, and God was there. In comfort. In stillness. In gentleness.

And when Elijah left, still despairing over facing a government that wanted him dead, God sent him to Damascus with the promise that Elijah would anoint new kings and a new prophet. He found Elisha, his companion and fellow prophet, who stood with Elijah as they weathered the storm of government, grief and fear together. And then they built a new world.

Elijah outlived those who wanted him dead. But he did not do it alone. Comfort, touch, food—these are the essentials. These get us out of bed. These keep us alive. The message from God when Elijah is lying down in despair isn’t “get to work,” it isn’t “focus on resisting,” it isn’t “mourn,” it isn’t chastisement. It’s “arise, eat.”

Communion, gentleness, stillness, focus—these are what motivate us to do the work. Elijah was driven by despair into God’s arms. Maybe that works for you—I will be spending my day in prayer alongside my local parish and participating in a communal Mincha service. Maybe the communion and gentleness for you is other people. Your friends, family, loved ones. Maybe it’s yourself—sitting in meditation, art, music, screaming, cooking, sobbing, stretching, gardening. Do something to be in communion with someone or something today. If you have no one, commune with yourself. Commune with plants and your pets and the wind and the water and the candlelight and anywhere you feel that gentle breeze. Stillness, focus, connection.

Finally, companionship, organizing, community, action, solidarity—these are what allow us to do the work. The journey is too great for us alone. We need each other. We will weather this storm together. We will weather the grief and mourning and despair and anger and outrage and whatever the next few years have in store for us, and we will do it standing alongside each other.

Remember—if things get overwhelming, return to the basics. Lay down. Eat. Rest. Repeat until you can find communion and stillness. And repeat both until you can find the strength to journey on and create meaningful relationships and resistance with others.

As final thoughts, I will share the prayer I have prayed regularly since I began my own journey alongside God as a blessing to anyone who may benefit from hearing it:

May God give you eyes that you may see, ears that you may hear, and lips that speak the truth in righteousness. May you receive a caring heart and open mind. May the Lord bless the work of your hands and that which you give others.

And, to those for whom Christ may be a comfort:

May the Risen Savior grant you peace. May He help you to become more like Him and find solace in Him and His Passion. May the five wounds of Christ serve as a map guiding you to His gentle breeze.

May the Holy Virgin light your way and intercede for us all, comfort the afflicted, hear our sorrows, and show us the Blessed Fruit of her womb Jesus.

Em nome do Pai, do Filho, e do Espírito Santo,

Amém.

[keikoyume]

Kei, your art is amazing💖 and I want to ask some questions

What is your headcanons about ferryman??

How he reacts to others(relationships with them, especially lady)

Helloooow thanks a lot💙💙

You can find most of my headcanons through my fanarts of the Ferryman but here's a list of random facts:

- I believe he's a kind of ancient entity that was victim of the Hunger until the Maw employed him- He loves when the lady invites him to eat here. She often serves him some sake but he doesn't have any taste for them.

- As cryptic as he was in The Sounds of Nightmares I still wanna imagine him being tricky and playful with his victims- He just doesn't look or sound expressive.

- I believe it's because of him if we can find Nomes outside of the Maw- They manage to sneak into his boat everytime he comes for a visit.

- After the lady, the closest person he knows is the Hunter. He loves observing the grumpy guy who manages to capture children with his numerous traps and weapons.

- Oh wait, there's also Roger and Wax Bellman that he's used to discuss with. They never have long discussions, it's just a way for them to pass time and take a break from work.

- Aside that, he just observes the other colleagues from afar. He's aware of their importance but doesn't expect to meet them.

- He considers the North Wind as a silly annoyance but he's never harsher about them.

- Aside shapeshifting, he has the capacity to read the memory of what he eats (as long as it's meat). His favorite food is fishes and he isn't particularly fond of child flesh.

- I theorize that all the large hats we find in various places in the Maw belonged to him as a way for saying he was there (... Or he just forgot them).

- Random Kei fact: he's as tall as the doctor.

- Random Kei fact 2: my main inspiration for his vibe is whales. Just whales🐋

There you go! Thanks for your ask!

[ach-thebrother]

Madame d’Ora

nome d'arte di Dora Philippine Kallmus, fotografa austriaca (1881-1963)

[*] Josephine Baker (1928) 

[*] Gustav Klimt (1907)

[*] Tamara de Lempicka (1931)

[*] Pablo Picasso (1955)

[*] Anna Pavlova (1913)

# [*] Hermann Bahr (1909)

# [*] Ada André (1930)

https://artslife.com/2018/08/18/la-maniera-spregiudicata-madame-dora-fotografa-modernista-fra-vienna-parigi/

https://luisabondoni.wordpress.com/2020/03/14/pillole-di-storia-della-fotografiamadame-dora/

da: https://barbarainwonderlart.com/

https://www.anothermag.com/art-photography/11049/madame-dora-a-pioneering-photographer-working-ahead-of-her-time

https://www.flickr.com/photos/32357038@N08/

# https://artinwords.de/madame-dora-pionierin-der-portraetfotografie-in-wien-und-paris/

[michael-svetbird]

DANCING KITHARA PLAYER: "..a female figure with a zither under her arm, steps towards the left, in an elegant dance step.." "The work is probably attributable to a provincial workshop.." "The provenance of the relief from a burial area supports the hypothesis that it is a slab belonging to a circular funerary monument.." [Txt ©MANM] Limestone From Cardeto near Ancona 3rd quarter of the 1st c. BC.

Museo Archeologico Nazionale delle Marche, Ancona | MANM

Web: https://www.musei.marche.beniculturali.it/musei/?mid=200&nome=museo-archeologico-nazionale-delle-marche

FB: https://www.facebook.com/MuseoArcheologicoAncona

IG: @ museoarcheomarche

MANM | Michael Svetbird phs©msp | 05|07|24 6300X4200 600 [I.-III.] The photographed object is collection item of MANM [Non-commercial fair use | No AI | Author © rights apply | Sorry for the watermarks]

📸 Part of the "Reliefs-Friezes-Slabs-Sculpture" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/72510770/reliefs-friezes-slabs-sculpture

.

[scutzy]

Little Nightmares Concept Art Kids

I’ve resurrected and will return to my Little Nightmares roots.

Starting off with a simple theory in my inbox that I long since accidently deleted, but it went like this: 

[Six could be named “Six” because there were five kids before her in the concept art.]

The concept kids are used as photo models and two of them are used to model two random kids in the first game. However, all five of them together make an appearance in VLN:

The concept kid’s framed photos can be found hidden in the Nest.

I’ve seen people theorize that the nomes here could have once been the children in these photos.

But that’s not the case.

We know why these photos exist. Because we know how the Nest works. A child who has had their photo taken and hung has already been captured and turned into a doll for the Pretender to play with. So these nomes are not the five concept kids. If these kids have their own framed photos then that means their corpses are somewhere on the Nest:

And here they are. All five of them. Having tea and cookies with the Pretender. 

Turns out the concept kids never even made it to the Maw and most likely had died way before Six had even arrived on the Nest. So they have nothing to do with her or why she’s named “Six”. And I doubt these kids had numerical names to begin with. 

Six is the “Sixth” for a whole different reason.

[smolsix]

im back im back and im looking at the footage in this massive post WEE HEE HEE!!

no fr it's a long post

i went onto the website and Low is the boy in a mask and Alone is a girl with the wrench.

starting w the trailer

you can see Low here by himself which is interesting, in single player it makes sense to have one character before you meet your AI companion but I wonder how this could work in multi

Low is also by himself here, before the next scene where he meets up with Alone. So Ig Low is travelling and ends up with Alone.

In the trailer when it shows the busted mirror you can hear the ticking noise that is so well known in LN II for the section where Mono transforms into a new Tall Man (no i still do not believe in the time travel theory and I will not debate it < 3)

A NOME!!! ON THE LEFT!! while it makes sense emotionally that they are here (they are so little nightmares after all), logically it does strike me as curious. It was The Lady who turns children into Nomes, so either this one is just here (i know there's at least one in LN II) or other people can have this power?

Also it's curious they're holding a paper, wonder what they've found? Wouldn't it be insane if it was another advert for The Maw haha (in all likelihood it's probably a map of some sort since their goal is to leave this place, but it can also just be part of the trailer and not gameplay just to give us a better look at the characters)

the little umbrellas fiNALLY made me realise why the art direction feels so different, it's very tim burton. little nightmares could be considered as such but different enough because it lacked a lot of the whimsical aspects of tim burton's designs, but these have some charm to them that is whimsy enough that it is set apart. Anyways, the umbrellas are cute and i am guessing they auto deploy rather than you being able to use them whenever. I wonder if they're visible at all on the character's designs? since both characters have matching ones, do they get them somewhere? make them? i am interested in where they got these haha

also i noticed a lot of netting for this region, i know it's a desert style location (the website even mentions a fair park section and i am BEYOND excited for that because i LOVE clowns and circus stuff)

this particular puzzle is shown a few times in the trailer so they must be quite proud of it (i mean it is cute and i like it haha). i am guessing this is part of the fairgrounds section, as it did feel out of place in the trailer but would make a lot of sense for a location like that (it is very colourful which is pretty new for the series)

Also Low has this cute lil anklet omg

there is an axe here! i wonder if it dislodges when you solve the puzzle. the eye motif is back as it should be, it's very LNcore of them. im guessing the green thing is a giant crayon? being a too small child in a location made for children is a fun concept and furthers with the theme of subverting childlike concepts into something a bit unnerving.

initially i thought these were guests, but looking at the area more closely and now that i know there's a fairgrounds, these are probably The Dwellers and this is probably the fairgrounds.

ofc, we have the sewer hands. they are self explanatory honestly. but i can't help but wonder how they function in game as an enemy. i can see their surprise jump scare factor, but as an active enemy to avoid it does have me wondering how they will work.

the fuses are back! and there's the roaches. you can see Alone with her wrench out here, wonder if it's part of her idle or run animation at all? it could also be because Low has the fuse so she has her wrench ready for whatever reason. I want to say she could possibly smash roaches, but there's so many here I think it'd be impossible

strange thing in the back there........ the gears are cool though, wonder what they're powering?

these shelves are much like the ones in LN 1 in the swaying gnome section of the DLC i mentioned before, it's cool they brought these back as they're very reminiscent of the first game in general. But the jar is very LN II of them.....

I know I keep making comparisons between I II and to III but I honestly do believe the studio is bringing back a lot of motifs, imagery, items, and assets on purpose specifically to feel familiar enough to the audience who has played the first two and might be uneasy about the somewhat new art direction.

also very LN II of them~~ but this could be a carriage like from the fairgrounds? So far the trailer seems to be going in order of locations, though, so who knows.

i wonder what location this could be? And why is Lone able to use mirrors like this, and why is he only doing so now? He also travelled here alone, so I'm super interested in his backstory.

so i was surprised to see the website explicitly call this a giant baby and not a doll when it is very obviously one. unless it is a giant baby wearing a doll head?

the left eye (our left) also clearly has the ability to petrify people, too. the baby itself is very worn down so it's either quite old, or has simply seen a lot of damage. im guessing at one point its other eye also functioned.

this is VERY interesting. these statues of petrified people are larger than the MCs meaning they were probably adults, so the baby really does target anyone probably. it's also strange as these people look... normal? there's nothing going on with them, they are simply petrified. it paints a picture where it's possible that at one point, the little nightmares world *was* normal, and something happened that warped the adults. it's possible the giant baby is man made itself, idk what it is but it feels that way to me. i dont think it was just... born like this.

literally no idea what this could be about. i know it looks like a trash dump but i can't tell for what if anything specific. why the table with jars neatly placed on it? why the giant machine? initially i thought it was like a machine that'd scoop things and then drop it, but it looks like a chute which means something or someone is filling it somehow.

if you watch the animation for this part Low is pulling Alone who stops him and then lets go before they look at you, it's probably a simple animation but it'd be interesting if it told us anything abt their dynamic.

and then from the additional gameplay footage:

we have the eyes returning < 33 tho they do look different-mostly the peep hole is more narrow giving it a more threatening look (pupils become smaller when someone is angry for example)

[mishimamiravenecia]

CA' D'ORO

(English / Español / Italiano)

The Palazzo Ca' d'Oro, located on the banks of Venice's iconic Grand Canal is a testament to Venice's rich architectural Gothic legacy. . Originally adorned with glittering gold leaf, vermilion and ultramarine ornaments, this masterpiece truly lived up to its name, which translates as 'House of Gold'.

It was built in the middle of the 15th century (1421) as the residence of the Procurator of San Marco, Marino Contarini. In 1916, Baron Giorgio Franchetti donated it to the Italian government and, after some renovations, it was opened to the public to display the works of art that the nobleman had collected throughout his life.

Among the most valuable works are the St. Sebastian by Andrea Mantegna, the Portrait of Marcello Durazzo by Antoon van Dyck, the Double portrait by Tullio Lombardo, the Venere allo specchio by Titian, two views by Francesco Guardi, the Crucifixion by Jan van Eyck, the Sleeping Venus by Paris Bordone and what remains of Titian s frescoes painted on the side façade of the Fondaco dei Tedeschi, among which the Juditta stands out. By Vittore Carpaccio and workshop are the three canvases with the Stories of the Virgin from the Scuola degli Albanesi.

In addition to the exhibition rooms, the museum houses various workshops for the conservation and restoration of works of art.

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El Palacio Ca' d'Oro, ubicado a orillas del emblemático Gran Canal de Venecia, es un testimonio del rico legado arquitectónico gótico de Venecia. . Originalmente adornada con brillantes hojas de oro, bermellón y adornos ultramarinos, esta obra maestra realmente hizo honor a su nombre, que se traduce como "Casa de Oro".

La construcción se hizo a mediados del siglo XV (1421), para ser la residencia del Procurador de San Marcos, Marino Contarini. En 1916, el barón Giorgio Franchetti se lo cedió al gobierno italiano, después de unas reformas se abrió al público para exponer las obras de arte que el noble reunió a lo largo de su vida.

Tra le opere di maggior pregio vi sono il San Sebastiano di Andrea Mantegna, il Ritratto di Marcello Durazzo di Antoon van Dyck, il Doppio ritratto di Tullio Lombardo, la Venere allo specchio di Tiziano, due vedute di Francesco Guardi, la Crocifissione di Jan van Eyck, la Venere dormiente di Paris Bordone e ciò che resta degli affreschi di Tiziano dipinti sulla facciata laterale del Fondaco dei Tedeschi, tra cui spicca la Giuditta. Di Vittore Carpaccio e bottega sono i tre teleri con le Storie della Vergine provenienti dalla Scuola degli Albanesi.

Oltre alle sale espositive, il museo ospita vari laboratori per la conservazione e il restauro di opere d'arte.

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Il Palazzo Ca' d'Oro, situato sulle rive dell'iconico Canal Grande di Venezia, è una testimonianza della ricca eredità architettonica gotica di Venezia. Originariamente adornato con scintillanti ornamenti in foglia d'oro, vermiglio e ultramarino, questo capolavoro era davvero all'altezza del suo nome, che si traduce come "Casa d'oro".

Fu costruito a metà del XV secolo (1421) come residenza del Procuratore di San Marco, Marino Contarini. Nel 1916 il barone Giorgio Franchetti lo cedette al governo italiano e, dopo alcuni lavori di ristrutturazione, fu aperto al pubblico per esporre le opere d'arte che il nobile collezionò nel corso della sua vita.

Tra le opere più preziose ci sono il St. Sebastiano di Andrea Mantegna, il Ritratto di Marcello Durazzo di Antoon van Dyck, il Doppio ritratto di Tullio Lombardo, il Venere allo specchio di Tiziano, due vedute di Francesco Guardi, il Crocifissione di Jan van Eyck, la Venere addormentata di Paris Bordone e quel che resta degli affreschi di Tiziano dipinti sulla facciata laterale del Fondaco dei Tedeschi, tra i quali spicca la Giuditta. Di Vittore Carpaccio e bottega sono le tre tele con le Storie della Vergine della Scuola degli Albanesi.

Oltre alle sale espositive, il museo ospita diversi laboratori per la conservazione e il restauro delle opere d'arte.

Video: mimejorvenecia.com

[end-the-transmission]

I adore married adult Six and Mono. Have some cute doodles and a lovely day <3 uvu

[anaharae-s]

Nome da história: Looks like macaron Nome da autora: Dilunari Design por @anaharae-s Artes oficiais

copyrighty: All fanarts used on the coversare with the permission of the artists. Neveruse covers without written permissionfrom the artist and ask for permission bymessage. The covers on my profile arenon-profit, all editing work is free and donefor fun.

[dhr-ao3]

Let The Dark In - Tradução em Portugês

Let The Dark In - Tradução em Portugês https://ift.tt/7EBaACk by lilithscrolls Em um mundo onde a ascensão de Voldemort nunca aconteceu, a sociedade bruxa tem encontrado novos meios para reprimir e excluir aqueles que consideram não pertencer ao mundo bruxo. Hermione Granger frequenta Hogwarts como um dos poucos estudantes nascidos trouxas. Apesar de seus esforços para se destacar, seu futuro parecia gravado em uma pedra até o sexto ano, quando o Torneio Tribruxo é anunciado e tudo começa a mudar. "Maldição," diz Ron ao lado dela. "Eu acho que aquele loiro nojento na frente é um Malfoy." Ela desvia os olhos para encarar Ron. "Um o que?" Ele ri e aponta para o garoto loiro. "Malfoy. Eu não sei seu primeiro nome, mas ele definitivamente tem que ser um Malfoy. Uma família puro sangue antiga da Grã-Bretanha. Idiotas, a maior parte deles. Sempre Sonserinos aqui em Hogwarts. Ouvi dizer que o pai dele enviou ele para Durmstrang porque não queria seu filho perto de nenhum nascido trouxa. Words: 3517, Chapters: 1/?, Language: Português brasileiro Fandoms: Harry Potter - J. K. Rowling Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M Characters: Hermione Granger, Draco Malfoy, Harry Potter, Ron Weasley, Viktor Krum, Albus Dumbledore, Ginny Weasley, Cormac McLaggen, Rita Skeeter, Severus Snape Relationships: Hermione Granger/Draco Malfoy Additional Tags: Durmstrang Student Draco Malfoy, Alternate Universe - No Voldemort, Dark Magic, The Dark Arts (Harry Potter), Morally Grey Hermione Granger, Slow Burn, Not Voldemort Does Not Mean No Bigotry, Triwizard Tournament, Angst, Hogwarts Sixth Year, Violence, attempted sexual coersion, Triwizard Champion Hermione Granger, Minor Character Death, Implied/Referenced Suicide, Secret Relationship, Bigotry & Prejudice, Sexual Content, Rivals With Benefits, Combat Training As Foreplay via AO3 works tagged 'Hermione Granger/Draco Malfoy' https://ift.tt/CGOTm19 May 07, 2024 at 06:39AM

[10siglosdehistoria]

LA CRUZ PROCESIONAL DE LOTARIO

THE PROCESSIONAL CROSS OF LOTARIO

LA CROCE PROCESSIONALE DI LOTARIO

(Español / English / Italiano)

Se llama así por un sello de cristal de roca verdoso grabado cerca de su base y que lleva el nombre y el retrato del gobernante carolingio Lotario ll (835-869)

La riqueza de las cruces de procesión varía según las épocas y la riqueza de los patrocinadores. Algunas están decoradas con piedras preciosas o camafeos, mientras que otras presentan un trabajo de orfebrería.

Una de las más conocidas de todas es la cruz de Lotario, que se conserva en la catedral de Aquisgrán, en Alemania. Esta cruz fue realizada por orfebres en torno al año 1000 y utiliza un camafeo del emperador romano Augusto del siglo I para legitimar el poder imperial.

El sello de cuarzo que representa a Lotario ll tiene una inscripción latina que dice “Cristo, ayuda al rey Lotario”. Se cree que el sello, junto con el camafeo, serviría para enlazar a la dinastía lotariana con los emperadores romanos originales y afirmar que eran los representantes de Dios y del Imperio romano en la tierra.

***

It is named after a greenish rock crystal seal engraved near its base and bearing the name and portrait of the Carolingian ruler Lotarius II (835-869).

The richness of processional crosses varies according to the period and the wealth of the sponsors. Some are decorated with precious stones or cameos, while others feature gold work.

One of the best known of all is the Lotarius cross, which is preserved in Aachen Cathedral in Germany. This cross was made by goldsmiths around the year 1000 and uses a cameo of the 1st century Roman Emperor Augustus to legitimise imperial power.

The quartz seal depicting Lotarius II has a Latin inscription that reads 'Christ, help King Lotarius'. It is thought that the seal, along with the cameo, would serve to link the Lotarian dynasty to the original Roman emperors and affirm that they were the representatives of God and the Roman Empire on earth.

***

Prende il nome da un sigillo di cristallo di rocca verdastro inciso vicino alla sua base e recante il nome e il ritratto del sovrano carolingio Lotario II (835-869).

La ricchezza delle croci processionali varia a seconda del periodo e della ricchezza degli sponsor. Alcune sono decorate con pietre preziose o cammei, mentre altre presentano lavorazioni in oro.

Una delle più note è la croce di Lotario, conservata nella cattedrale di Aquisgrana in Germania. Questa croce fu realizzata da orafi intorno all'anno 1000 e utilizza un cammeo dell'imperatore romano Augusto del I secolo per legittimare il potere imperiale.

Il sigillo di quarzo raffigurante Lotario II reca un'iscrizione latina che recita "Cristo, aiuta il re Lotario". Si pensa che il sigillo, insieme al cammeo, servisse a collegare la dinastia dei Lotari agli imperatori romani originari e ad affermare che essi erano i rappresentanti di Dio e dell'Impero romano sulla terra.

Fuente: Historia y arte de los pueblos.

[miriisis]

🇺🇲 Character from an RPG I make, his name is Greg, he is a vampire who works as a jester, he also plays the guitar and uses magic with it. One of the most fun characters on the table.

🇧🇷 Personagem de um RPG que eu faço, o nome dele é Greg, ele é um vampiro que trabalha como bobo da corte, ele também toca guitarra e usa magia com ela. Um dos personagens mais divertidos da mesa.

🇺🇲 Doodle before art.

🇧🇷 Rabisco antes da arte.

[crazy-so-na-sega]

Il primo “pilastro” riguarda la trasformazione fisica degli ambienti di apprendimento (100.000 aule) grazie a una forzata iniezione di tecnologia di ultima generazione: device informatici personalizzati, schermi multifunzione, intelligenza artificiale, realtà aumentata, stampanti 3D, ecc. È il cespite più consistente dell’iniziativa: circa i ¾ degli investimenti previsti. Entro Natale 2022 tutte le scuole sono state “caldamente invitate” dal Ministero a fare incetta di strumentazioni high tech per il massimo degli stanziamenti virtuali disponibili (cioè a contribuire sconsideratamente al Debito pubblico), indipendentemente dalle dotazioni pregresse, dalla reale capacità di fruizione delle nuove, dalla loro utilità per il tipo di scuola, ecc. Il resto dei finanziamenti servirà per “smontare” le aule tradizionali e riqualificarne l’apertura al mondo attraverso banchi a rotelle, aule-laboratorio, ambienti virtuali, ecc. L’approccio generale sarà work based learning e gli spazi scolastici dovranno essere disegnati “come un continuum fra la scuola e il mondo del lavoro”.

la Scuola sarà svilita a componente della riforma del lavoro, sollevando le aziende dall’onere di selezionare e formare il proprio personale. La riforma introduce infatti nella Scuola superiore di primo e secondo grado due nuove figure di insegnanti (la seconda grande novità): il docente Orientatore e il docente Tutor. Con compiti, l’uno, di aiutare lo studente nella scelta precoce della futura professione e, l’altro, di consigliarlo nei percorsi di apprendimento liberi ad essa più adeguati. Nella nuova Scuola, infatti, non tutti studieranno ancora le stesse materie o nello stesso modo, ma ciascuno studente seguirà un iter di apprendimento personalizzato volto a fargli conseguire le conoscenze e le abilità specifiche per la sua futura professione.

La difesa del merito – di studenti e insegnanti – è in effetti il terzo pilastro della riforma, come del resto propagandisticamente annunciato dal Governo Meloni fin dal nuovo nome del Ministero dell’Istruzione, divenuto pure “del Merito”. Si tratta della pretesa non nuova di misurare la capacità didattica dei docenti, fingendo di non sapere che ad insegnare si arriva vincendo concorsi per titoli ed esami. In realtà, è fin troppo chiaro quale siano le vere finalità di questo sbandierato progetto di valorizzazione del merito. In primo luogo, acquisire un’arma di ricatto contro quella libertà professionale dei docenti (art. 33 Cost.), che nel quadro attuale costituisce un ostacolo insormontabile alla rimodulazione indotta del loro insegnamento. Alla condizione di assoggettamento etico e professionale degli insegnanti cui mira la riforma si arriverà probabilmente correlando al merito lo stipendio, il punteggio interno alla scuola e quello esterno per i trasferimenti. In secondo luogo, spingere gli insegnanti a divenire organici alla riforma stessa: con quelli “contrastivi” relegati in fondo alla graduatoria, essere docenti “meritevoli” significherà né più né meno che assecondare in modo acritico la visione sociopedagogica che essa sottende.

Le finalità umanistiche e “liberali” dei tradizionali curricoli scolastici lasceranno il posto a quelle utilitaristiche della formazione tecnologica, funzionale alla creazione di un vasto proletariato di nuova concezione. Anche gli insegnanti dovranno adeguarsi ai tempi, adattando la loro didattica agli strumenti e alle finalità delle nuove onnipresenti tecnologie informatiche, secondo i voleri insindacabili dell’UE (vedi Quadro di riferimento europeo per le competenze digitali dei docenti, il “DigCompEdu”). Inseriti in un sistema europeo di riconoscimento delle competenze digitali, saranno valutati (e domani stipendiati) secondo una precisa scala di bravura, con tanto di titolo distintivo: A1) Novizio; A2) Esploratore; B1) Sperimentatore; B2) Esperto; C1) Leader; C2) Pioniere. In altre parole, non saranno più riconosciuti come professionisti tutti ugualmente “sapienti” nelle loro rispettive materie, ma incardinati in una gerarchia di valore (e di diritti) di natura prettamente tecnica, che confonde i fini del loro lavoro con gli strumenti utilizzati per conseguirli. Ci chiediamo: valeva la pena percorrere tutto il cerchio dell’ideale democratico per tornare al “MinCulPop”, ai Balilla e ai Lupetti da cui proveniamo?  –  E allora vogliamo pure i Colonnelli!

-Marco Bonsanto, insegnante di Storia e Filosofia

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p.s: testata che si dichiara "ostinatamente laica, dissidente e di sinistra". Lo sconquasso basilare, eppure silenzio.