#Abstract Clouds Ar

[citrineandrosmarin]

On the comparison of Athena and Ares

Book: Athena by Susan Deacy (Highy recommend)

"It has become a near-cliché to differentiate between Ares as the embodiment of war’s violent and chaotic aspects, and Athena as the goddess who orders and systemises it [...] It is possible to identify similarities between the two deities, however, that undermine these rather neat patterns, for in order to inspire menos, (‘strength’, ‘courage’ or ‘prowess’) Athena operates in ways that are resonant of Ares. She is a warmonger from the moment she is born shaking her armour and making her war cry [...] In the Iliad, Athena gets into the thick of battle [...] The extraordinary menos of Diomedes that dominates Book 5 is inspired by the goddess. At one point he displays such unbridled rage under Athena’s influence that no one, neither Greek nor Trojan, is able to discern who he is or even which side he is on as he ‘storm[s] up the plain like a winter torrent’."

"With Athena’s help, another of her favourites, Achilleus, also takes on an appearance that differs from the usual pattern of heroic conduct when she clothes him in the aegis, places a golden cloud around his head and makes fire blaze from him. He then utters a war cry and she adds her own to it and the results are extraordinary: ‘unutterable confusion’ ensues and the panic produces deaths through ‘friendly fire’: the only instance of this in the Iliad."

"Unlike Ares, Athena is able to distance herself from war and violence. In the Iliad, she arms herself for battle by removing the self-made dress that she had been wearing, and replacing it with weapons, most strikingly, the ‘terrible tasselled aegis’ which contains the personified abstractions Phobos (Fear), Eris (Strife), Alke (Strength), blood-chilling Ioke (Pursuit), and then, most of all ‘the head of the terrible monster the Gorgon, both fearful and awful to look on’. These abstractions become part of the spectacle she produces; but they are also detachable. Ares, meanwhile, has a more permanent kind of attachment with some of these figures: Phobos and Eris are even his relatives."

"The standard way of evaluating Athena’s interventions in war is too limiting. [...] The comparison brings out Athena’s particular manner of operation as a warrior, intervening to assist her favourites and able to inspire their displays of warrior power, while deriving her power from her weapons rather than some natural affinity with war of the kind exemplified by Ares."

[deathlessathanasia]

“It has become a near-cliché to differentiate between Ares as the embodiment of war’s violent and chaotic aspects, and Athena as the goddess who orders and systemises it through inventions like the chariot and the armed dance. In the nineteenth century, John Ruskin stated that Ares is ‘brutal muscular strength’ while Athena represents ‘the strength of young lives passed in pure air and swift exercise’ (1890: 49). The contrast has resurfaced in structuralist-influenced research with the differences between taken to reflect the ideals of Greek warfare (e.g. Daraki 1980). Ares has been said to stand for the kind of violent behaviour that warriors ought to avoid, while Athena represents war as warriors are supposed to fight it. Ares signals the hubris of the warrior who attempts to pit himself against the gods; Athena is the one who inspires menos (‘strength’, ‘courage’ or ‘prowess’).

It is possible to identify similarities between the two deities, however, that undermine these rather neat patterns, for in order to inspire menos, Athena operates in ways that are resonant of Ares. She is a warmonger from the moment she is born shaking her armour and making her war cry. She displays ferocity in the battle between the gods and giants, even flaying Pallas, and as we have seen, fashioning the aegis from his skin. . . . In the Iliad, Athena gets into the thick of battle to assist her favourites. The extraordinary menos of Diomedes that dominates Book 5 is inspired by the goddess (e.g. 5.1–8). At one point he displays such unbridled rage under Athena’s influence that no one, neither Greek nor Trojan, is able to discern who he is or even which side he is on as he ‘storm[s] up the plain like a winter torrent’ (87–8). This could not be more different from the usual pattern of battle in the epic, where warriors are aware of the identity and pedigree of their opponents. Indeed, Diomedes himself otherwise exhibits such self-control that he refrains from combat with the Trojan Glaukos because their ancestors were guest-friends (6.212–31). With Athena’s help, another of her favourites, Achilleus, also takes on an appearance that differs from the usual pattern of heroic conduct when she clothes him in the aegis, places a golden cloud around his head and makes fire blaze from him (18.203–18). He then utters a war cry and she adds her own to it and the results are extraordinary: ‘unutterable confusion’ ensues (218) and the panic produces deaths through ‘friendly fire’: the only instance of this in the Iliad.

With Athena’s ability to inspire such extreme warrior behaviour, it is her similarities with Ares that are brought to the fore. Indeed, the Iliad frequently describes the gods in comparable terms, even though their relationship is presented as less than amiable, witness for instance Ares’ complaint to Zeus about the favouritism shown to Athena. The shield of Achilles, for example, includes a representation of defenders of a town under siege sallying out led by Athena and Ares: ‘each golden, dressed in golden garments, beautiful and great in their armour’ (18.516–17). The shorter of the two Homeric Hymns to Athena (11.2–3) sums up the relationship. Athena is ‘terrible’ it says, ‘and with Ares she makes her business the works of war, the sack of cities and the shouting and the battle’.

But there is always a degree of difference. Homeric heroes become the ‘equal of Ares’ in the thick of battle. When Athena intervenes it is intimacy rather than identification that is produced. She is the deity who leads the warrior by the hand (4.541–2) in a way that one could not imagine Ares doing.

Moreover, unlike Ares, Athena is able to distance herself from war and violence. In the Iliad (5.733ff.), she arms herself for battle by removing the self-made dress that she had been wearing, and replacing it with weapons, most strikingly, the ‘terrible tasselled aegis’ which contains the personified abstractions Phobos (Fear), Eris (Strife), Alke (Strength), blood-chilling Ioke (Pursuit), and then, most of all ‘the head of the terrible monster the Gorgon, both fearful and awful to look on’. These abstractions become part of the spectacle she produces; but they are also detachable. Ares, meanwhile, has a more permanent kind of attachment with some of these figures: Phobos and Eris are even his relatives, since he is identified as the father of the former (e.g. Iliad 13.299), and the brother of the latter (Iliad 4.441). Perhaps what we have here is a contrast between armour and natural forces. The opposition between the deities is not so much between war as a cosmic, destructive force and ‘civilised warfare’ as between natural power and weaponry. It is Athena’s weapons coupled with her frenzied cry and blazing eyes that make her a deity of war and she possesses power that she could either use or turn off. Ares, meanwhile, is more closely identified with his warlike power, as may be exemplified by the description of the two gods in the Hesiodic Shield of Herakles (191–200). ‘There’, the poem recounts, ‘was baneful Ares the spoil-wearer himself. In his hands he held a spear and he was urging on his foot-soldier, and he was red with blood’. ‘There, too’, the poem continues, ‘was the daughter of Zeus, bringer of spoil [ageleie¯], Tritogeneia. She seemed as though she intended to arm herself for battle, since she held a spear in her hand, and a golden helmet, and the aegis about her shoulders.’ In certain respects, they are described in comparable terms. Ares is the ‘spoil-wearer’ and Athena the ‘bringer of spoil’, but while Ares is covered in blood, Athena is clothed in armour. Ares is little more than the god of war. Athena is warlike when she needs to be, but she is much more besides.”

 - Susan Deacy, Athena

[tenderlysharpmidain]

surealism, 90's Chola entering a metaverse, photo realistic, sharp, hyper detailed, intricate details,abstract clouds in the sky, hyper realistic, 8k, --ar 2:3 --v 4 --q 2

rio

midjourney

[chicago-geniza]

Going under a cut bc it's just navel-gazing to think things through for myself, not meant to Say anything or make a meaningful Statement about anything beyond the space of my own head

Am still in migraine postdrome so not the most articulate but tl;dr is. Hm. Thinking about imagined communities a lot, affective response to tragedy, solidarity in practice for those with whom you have common cause and share political struggle but would not otherwise break bread or to whom you would not give the time of day under other circumstances. Empathy as barometer of political proximity in Anglophone discursive space since the 2010s. Have one degree of social separation from a trans man killed in Colorado and a volunteer killed in Kyiv this week. Both were, strangely, childhood friends of longtime online friendly acquaintances. I feel very detached, as though floating in frigid water under a thick layer of ice, translucent but not, the way frosted glass is made to look breathed-on for selective opacity, the illusion of privacy, interiors suggested only by silhouette, all light and shadow, muted. In Polish it's called "matte mirror finish," Wierzyński used the phrase to describe the mirror between worlds clouding over when Stefania died, passing through the glass in pursuit of a distant obraz. Friend and I have talked about this, how we don't feel connected to communities in the abstract, both and neither. And almost resentment that you are expected, in draught, to tap a parched well of grief for people you didn't know just because the fascists are coming for you too, just because you had this thing in common, this target sutured onto your forehead. You can be in solidarity without grief, I have to hope. I have been thinking of these two men together a lot, though, the way their deaths are discussed, the way they are memorialized as representative of campaigns to kill the groups for which they became posthumous metonyms. One killed on TDoV, remembered as brave & smart & proud, photo circulating that shows top surgery scars; other remembered as someone who "was going to be the Ukrainian Remarque," eligible for Russian and Ukrainian citizenship but chose Ukrainian, though still wrote in Russian, and above all loved his home city; this is not leading to anything coherent I just. Man I'm sad. And always am getting news updates from multiple places in multiple languages, and all I can do is try to think about language and social relations, try to make sense of it. I am more afraid of those close to me dying than my own death, and was broken up about the murder of that trans woman from Vermont who was friends with my high school friends. But there are so many shootings. The war is still ongoing, I'm getting constant urgent translation requests for refugees, so many people I know are now refugees, my city's Russian-language fb group is getting desperate requests from conscripts for green card marriages, the Ukr & Polish fb groups are heartbreaking, I just. It feels inevitable that something will happen here, also have one degree of separation from people in the Tree of Life congregation & people at the 4th parade in the suburbs, but I can't. Do this public mourning, I don't feel it, I'm numb to it. How do we organize community defense that is NOT cops. Everyone says queers arm yourselves well what about buy queers bulletproof vests, a gun won't stop an AR-15 unless you disarm or disable the shooter before they open fire. I just. I feel like ice and also like I am under ice. I'm not directly affected but it's always a friend of a friend or their partner or family member, and it's circling closer but never quite here. I'm angry I think, and very numb, and cold.

[sandimexicola]

Post-apocalyptic survivor's hurt

Midjourney prompt: rotting zombies in the mud:: In the sky, white clouds form an abstract shape resembling "Jun", with some light gray and dark grey clouds in the background. The photo was taken at noon on wrap up day using an iPhone 8 camera. It is a low-angle shot taken from above. --ar 3:4 --style raw-1Kri69Jol3l0kxaDOw5sKf0wI --v 5.2 --chaos 37 --s 750

[teczek01]

How Samsung Galaxy Tabs Supercharge Your Education in the Digital Age

The digital age has revolutionized schooling, presenting a plethora of interactive resources and fostering an extra enticing mastering experience.  But how can you harness this ability and create a dynamic studying environment? Look no further than the Samsung Galaxy Tab!  These versatile pills are extra than just entertainment devices; they're powerful equipment which can rework the manner you analyze.

1. Interactive Learning at Your Fingertips:

Samsung Galaxy Tabs come preloaded with academic apps and provide entry to countless others at the Google Play Store.  These apps cater to all ages and mastering styles, bringing textbooks to existence with:

Augmented Reality (AR): Visualize complicated concepts in three-D areas, making abstract ideas extra tangible and attractive.

Interactive simulations: Immerse yourself in historical occasions, behavior virtual experiments, or discover medical phenomena thru interactive simulations.

Gamification: Turn gaining knowledge into an amusing and profitable revel in with apps that use sport mechanics like factors, badges, and leaderboards to motivate and beef up ideas.

2. Enhanced Note-Taking and Organization:

The S Pen, available on pick fashions, lets in for a herbal and intuitive word-taking revel in.  Jot down key points, annotate diagrams, or even comic strip thoughts at once on PDFs and on-line articles.  Built-in organisation apps hold your notes, assignments, and research materials well categorized for clean get entry to and revision.

3. A Mobile Library in Your Backpack:

Ditch the cumbersome textbooks!  E-readers to your Samsung Galaxy Tab can help you carry a whole library in your backpack.  Highlight crucial passages, take digital notes, or even look up unexpected phrases inside the text with built-in dictionaries.  Many educational journals and educational sources additionally provide mobile-friendly versions available on your tablet.

4. Collaboration Made Easy:

Group tasks grow to be a breeze with the collaborative features of Samsung Galaxy Tabs.  Utilize cloud-based apps like Google Drive or Microsoft OneDrive to paintings on files, presentations, or spreadsheets simultaneously with classmates, despite the fact that they may be not within the same bodily region.  Real-time editing and communication tools make certain every body stays on the same page.

5. A Gateway to Online Learning:

The virtual age gives a sizable array of on-line gaining knowledge of sources, from interactive courses and video lectures to instructional podcasts and webinars.  Your Samsung Galaxy Tab permits you to get entry to those resources anytime, anywhere. Whether you are catching up on neglected lectures, supplementing school room learning, or exploring a brand new topic to your very own, the opportunities are endless.

Making Learning Affordable:

While the brand new Samsung Galaxy Tabs boast modern-day features,  exploring refurbished samsung tablets or pre-owned options can be a financially-pleasant manner to enjoy the studying benefits.  You can also consider to Buy samsung tab A7,  a greater low-cost tablet inside the Galaxy Tab lineup. Remember, official shops offer Samsung Galaxy tab online regularly have deals and promotions, making these effective learning tools greater reachable.

The Takeaway:

Samsung Galaxy Tabs are extra than just enjoyment gadgets. They're effective gear that can remodel the manner you research. With their interactive features, more desirable word-taking abilities, and access to a sizable array of educational sources, they empower you to become a more engaged and effective learner in the virtual age. So, ditch the cumbersome textbooks, embody the interactive international of learning, and release your instructional capacity with a Samsung Galaxy Tab!

[julie-prieur1]

Ethereal Geometry : the Mystical Tapestry of Mathematical Beauty

Ethereal Geometry is a captivating and mesmerizing intersection where the rigor and precision of mathematics converge with the boundless realm of artistic expression. At its core, this concept delves into the exploration and representation of geometric patterns that transcend the purely analytical, giving rise to an aesthetic language that captivates the imagination and transcends the conventional boundaries between mathematics and art.

In the realm of Ethereal Geometry, geometric forms cease to be mere mathematical constructs; they become conduits for emotional resonance and transcendence. Artists navigating this ethereal space discover within the lines, shapes, and structures an inherent harmony that goes beyond the tangible and ventures into the sublime. The interplay of these geometric elements, bathed in light and shadow, elevates the ordinary into the extraordinary, creating an ethereal quality that transcends the confines of traditional artistic representations.

Geometry, with its ancient roots in mathematical principles, finds a new life in the realm of the ethereal. Circles, triangles, squares, and more complex polyhedra become not only visual elements but also symbols rich with cultural, spiritual, and metaphysical significance. The precision and orderliness of geometric patterns, when infused with an ethereal touch, evoke a sense of mystery and wonder, inviting observers to explore the beauty hidden within the mathematical framework.

This captivating intersection allows artists to transcend the limitations of conventional artistic mediums, unlocking a world where geometry becomes a means of communication beyond language. Ethereal Geometry is about more than symmetry and proportion; it is a journey into the numinous, where the language of mathematics whispers secrets of the cosmos, and artists translate these secrets into visual poetry.

In essence, Ethereal Geometry serves as a bridge, connecting the logical and the abstract, the tangible and the transcendent. It transforms the rigid nature of mathematical structures into a fluid and dynamic artistic language that engages the senses and sparks the imagination. It invites both creator and observer to ponder the profound connections between the patterns that shape our understanding of the world and the ephemeral beauty that transcends the constraints of the material realm.

Examples of Some prompt I created with this Ethereal Geometry Token :

Prompt 1 : generate an image of wave against a lighthouse, ethereal geometry style, black background, dark reflective surfaces, inverted colors, shivering light, creating dynamic patterns, digital art style, — ar 4:3

Prompt 2 : generate an image of legendary ship that sails the shadowy seas, bound by a ghostly red glow, eerie, ethereal geometry, neon red to blue tye and dye hues

Variation 1 : double masking desert, warm, ultra minimalist artwork, camel, savana, night sky, stars, mixed media, sandstorm and dark cloud, negative space, ethereal white-golden-silver geometry, inspired by Dan Hillier

Variation 2 : giant wave against a lighthouse, ethereal geometry style, black background, dark reflective surfaces, black and white ultra contrasted, shivering light, creating dynamic patterns, spider web material, digital art style, — ar 4:3

Variation 3 : wave of sand crashing on a Moroccan city, ethereal geometry style, black background, dark reflective surfaces, Yellow-brown-black-orange, minimalist ultra contrasted, shivering light, creating dynamic patterns, digital art style, — ar 4:3

Variation 4 : wave of mud, vines and wild vegetals elements waving through a luxuriante rainforest, ethereal geometry style, black background, dark reflective surfaces, earthy colors, minimalist ultra contrasted, shivering light, creating dynamic patterns, digital art style, — ar 4:3

[govindhtech]

Software-Defined Vehicles: Automotive Advancements

Software-Defined Vehicles Explained

A growing number of customers now anticipate receiving the same level of experience from their cars as they do from other smart gadgets. They want a car that can run its operations, add features, and enable new ones mostly or totally through software. They want complete integration into their digital life.

The demand for sophisticated features in cars is rising, which is being fueled by stricter auto safety laws, more money being spent on R&D, and improved connectivity and navigation. However, what really constitutes an Software-Defined Vehicles, and what is the architecture that underpins the vehicle to offer automation, personalization, and connectivity?

The SDV condensed

In an Software-Defined Vehicles, the car acts as the technological cornerstone for next advancements, a command center for gathering and arranging enormous amounts of data, utilizing AI to gain insights, and automating deliberate actions. By separating software from hardware, the Software-Defined Vehicles enables constant communication, automation or autonomy, and updates and upgrades. It engages with its surroundings, picks up knowledge, and backs service-oriented business models. Onboard electronics develop at the same time from standalone electronic control units to high-performance computers with improved integration and performance.

The Software-Defined Vehicles architecture up close

The layer of infrastructure

In addition to the vehicle, this layer also consists of numerous OEM backend systems, roadside devices, telco equipment, smart city systems, and other such components. All of these components are a part of a cycle wherein vehicle data is utilized for services, development, and operation. Over-the-air updates are used to install new software on automobiles based on insights gleaned from this data.

The platform layer of the hybrid cloud

According to the IBM strategy, a unified platform built on Linux and Kubernetes extends from the car to the edge of the backend system. Red Hat Enterprise Linux and Red Hat Openshift enable it, enabling flexible software distribution in the form of software containers in line with the “build once, deploy anywhere” philosophy. Before the software is simply installed into the infrastructure or vehicle, it might be designed and tested in the backend. This all adds up to an incredible level of versatility.

Better maintainability and portability of software are achieved through standardization through abstraction of application software in the form of containers, which boosts developer productivity. The IBM Embedded Automotive Platform, a Java runtime designed for in-vehicle use, and the IBM Edge Application Manager, which enables OEMs to scale and operate edge solutions autonomously, round out the hybrid cloud strategy.

The platform layer of the hybrid cloud

AI models have long been crucial to the operation of car systems like ADAS/AD. To produce safer and more customized cars, several OEMs, like Honda, use AI for knowledge management. AI is now being used in cybersecurity to examine incoming security events and incidents, as well as in telematics data analysis to obtain insights into driving experiences, with regard to vehicle operation.

These days, generative AI can produce software source code, architecture models, and test cases autonomously, which can significantly improve Software-Defined Vehicles development and operation. To handle different optimized foundation models for each use case, create custom-specific foundation models based on customer proprietary standards, and prevent engineering data from being included into publicly available open source foundation models that rivals might exploit, an AI and data platform like IBM Watsonx is needed. Furthermore, OEMs can maximize the deployment and utilization of AI models in edge devices, like cars, thanks to solutions like IBM Distributed AI API.

The layer of security

OEMs are progressively using a zero-trust cybersecurity framework to combat external and internal threats in corporate, in-vehicle, and development contexts. The Vehicle Security Operation Center, which uses IBM Security QRadar Suite for threat detection and security orchestration, automation, and response, is a key component of vehicle security.

OEMs must also encrypt all conversations that take place inside of cars as well as outside of them. The IBM Enterprise Key Management Foundation can help with this. Last but not least, IBM Security X-Force Red offers specialized automobile testing services.

The layer of AI products

Agile software development in a contemporary CI/CD environment is made possible for the automotive industry by a contemporary development platform like IBM Engineering Lifecycle Management. It offers model-based system engineering and testing, traceable requirements engineering, data-driven insights application, collaboration facilitation, complexity management for products, and compliance assurance. Moreover, Watsonx platforms facilitate AI engineering, which makes customized client experiences possible.

As seen in this Continental case study, engineering data management solutions assist clients in organizing the vast amounts of data required for the development of autonomous driving. Automation and orchestration of network operations are made possible by intelligent platforms such as IBM Cloud Pak for Network Automation. This is especially important for Telcos in the infrastructure. Manufacturers can develop their connected car use cases with the assistance of IBM Connected car Insight on the backend.

Additionally,Software-Defined Vehicles need a wide range of specialized technologies from several suppliers, which is why ecosystem cooperation is crucial to the SDV design.

In the end, each element of the architecture has a distinct function in guaranteeing the optimal experience for both drivers and passengers, thereby establishing the Software-Defined Vehicles as the next development in the automotive sector.

Read more on Govindhtech.com

[marketsizereports]

An Overview of the Cloud Computing Market: Trends and Insights

The cloud computing market is a rapidly evolving and dynamic sector of the technology industry. It encompasses a wide range of services and solutions that are delivered over the internet, enabling organizations to access computing resources, store data, and run applications without the need for on-premises hardware and infrastructure.

Fetch Sample PDF for Segment-Specific Revenues and Shares, Download a Free Report Sample

Here is an overview of the cloud computing market, along with key trends and insights:

Market Overview:

Market Size and Growth: The cloud computing market has experienced significant growth over the past decade. It is projected to continue expanding, with increasing adoption across various industries and regions.

Key Service Models:

Infrastructure as a Service (IaaS): Offers virtualized computing resources such as virtual machines, storage, and networking.

Platform as a Service (PaaS): Provides a platform for developers to build, deploy, and manage applications.

Software as a Service (SaaS): Delivers software applications over the internet on a subscription basis.

Deployment Models:

Public Cloud: Services are hosted and managed by a third-party cloud provider and are accessible over the internet.

Private Cloud: Cloud resources are dedicated to a single organization, offering greater control and security.

Hybrid Cloud: Combines elements of both public and private clouds, allowing data and applications to move between them.

Key Trends and Insights:

Hybrid and Multicloud Adoption: Many organizations are adopting hybrid and multicloud strategies to leverage the strengths of multiple cloud providers. This approach allows flexibility, resilience, and the ability to choose the best cloud for specific workloads.

Edge Computing: The growth of edge computing involves processing data closer to the source, reducing latency and supporting real-time applications. Cloud providers are extending their services to the edge to facilitate this trend.

Serverless Computing: Serverless or Function as a Service (FaaS) is becoming more popular for building and deploying applications. It abstracts server management, allowing developers to focus solely on code and reducing operational overhead.

Artificial Intelligence and Machine Learning (AI/ML): Cloud providers are investing in AI and ML services, making it easier for organizations to develop AI-driven applications, analyze data, and leverage machine learning capabilities.

Containers and Kubernetes: Containerization and orchestration with Kubernetes have gained traction. Containers offer consistency and portability, while Kubernetes simplifies container management and scaling.

Data Analytics and Big Data: Cloud platforms provide robust data analytics and big data solutions, enabling organizations to process and analyze large datasets for insights and decision-making.

Security and Compliance: Security and compliance remain top priorities for organizations moving to the cloud. Cloud providers are enhancing security features, encryption, and compliance certifications to address these concerns.

Sustainability and Green Cloud Initiatives: Sustainability is a growing concern, leading to green cloud initiatives that aim to reduce the environmental impact of data centers through energy efficiency and renewable energy usage.

Server Chip Innovation: Cloud providers are designing custom server chips to improve performance and energy efficiency. This innovation reduces reliance on traditional chip manufacturers.

Global Expansion: Cloud providers are expanding their data center presence in new geographic regions, ensuring data residency compliance and low-latency access for customers.

Data Management and Governance: Effective data management, governance, and data integration are becoming increasingly important, given the volume and variety of data being processed in the cloud.

Cost Management: Cost optimization and governance tools are in demand as organizations seek to manage cloud expenditures efficiently.

The cloud computing market is expected to continue evolving with advancements in technology, the introduction of new services, and changes in user requirements. Organizations must stay informed about these trends and leverage cloud solutions that align with their strategic goals.

[chatterjust]

Artrage 5 custom brushes download

#Artrage 5 custom brushes download install

#Artrage 5 custom brushes download full

#Artrage 5 custom brushes download for windows 10

#Artrage 5 custom brushes download android

Decorate with gold leaf, silver foil, and other metallic colors. Paint with oils, sketch with pencils, sprinkle glitter, and more. Click the download link for your operating system to download the ArtRage installer. Flame Painter is a unique paint program, drawing software that lets you create original paintings with procedural brushes. Simple, stylish, powerful painting with natural tools in a creative environment. After you complete your purchase of ArtRage from our online store, you should see download links displayed for Windows and OS X. Simple, stylish and powerful painting program. ArtRage is designed to present the most powerful painting technology inside an environment that promotes creativity. It has more file import/export formats, and more new features than you can shake a stick at. Now ArtRage 5 includes powerful masking and ruler tools, with layer transformations, layer goups, precise pencils and smooth blenders. You can paint with thinned oils, use wet or dry markers, soften your pencil and control the hardness of the crayon, and much more. All of the tools can be adjusted to give different effects. Thick paint smears and blends, pencils and chalks smudge, and markers work just like they do in the real world. Each of the tools in ArtRage is designed to work like its real world counterpart (minus the smell of paint thinners, and that piece of glitter you just cant get out of the carpet). Graphics tablet pressure and tilt are supported, as well as multi-monitor systems. Custom color-sets and precise color-pickers are available. For the professional user, ArtRage also offers multiple Layers with Photoshop Blend modes for painting, and layered PSD document import and export so you can easily use it alongside your existing tools. You can rotate the canvas to how it's most comfortable to paint, zoom in to paint detail, zoom out to see your entire masterpiece. The user-interface is easy and inspiring to use, and even gets out of your way while you're working. You can even load in your photos as overlayed Tracing Images or pin them to your canvas as references to help you recreate them as paintings.

#Artrage 5 custom brushes download install

To install simply download the ARPACK file and double click it, follow instructions on screen. A set of Photoshop/Painter style brushes to be used only on ArtRage (3.5.0 or later). I use only Oil Brush in AR most of the time. Decorate with gold leaf, silver foil, and other metallic colors. Photoshop works easier for that purpose and 2. You can paint with thick smeared oils or thinned oil glazes, sketch with pencils, sprinkle glitter, airbrush in soft features, and more. To use this software on your PC, you need to pay $29.90 for the ArtRage Lite plan.ArtRage, the easy to use, stylish painting package that lets you get painting from the moment you open it up.

#Artrage 5 custom brushes download android

This version of the software was created for iOS and Android devices. If you want to create drawing on the go, you can download ArtRage Vitae Mobile for $4.99. Creative Commons Attribution 3.0 License. This trial version allows you to learn more about the functionality of the software without paying a dime.Īdobe often offers various Adobe Creative Cloud discounts, so make sure to visit the official website regularly if you want to purchase this software at an affordable price.ĪrtRage offers two payment options. 6 abstract textures for the Artrage 5 custom brush free for any kind of use. Wolfgang's brushes look very tasty too, I'm off to play with them now.

#Artrage 5 custom brushes download for windows 10

However, you can download Adobe Photoshop free for Windows 10 or Mac. So far it's Boxy (who created half the default brushes in AR5 and is now selling some seriously good texture brushes) and wschweizer (who is specialising in really nice free ink brushes). If you don’t know which software to choose, ArtRage or Photoshop, keep in mind that the former doesn’t have a trial version. Besides, you can purchase the All Apps Plan that allows you to use 20 programs for $52.99 per month. If you opt for the Photography Plan, you will need to pay only $9.99 a month.

#Artrage 5 custom brushes download full

To get the full version, you need to pay $20.99 per month. You can also buy a standalone version of the software. Photoshop uses a subscription-based model, which means that you can use it as a part of Creative Cloud.

[deathlessathanasia]

“But this is the very meaning of the name Ares, the "Destroyer," a name derived from an ancient abstract noun denoting the throng of battle. The god Ares is the god War, rather than the god of war, a dark personification of manslaughter and murderous battle whose companions are Φοβος and Δειμος, "Fear" and "Terror." Fierce and insatiable, Ares was unloved by his own father, by most other gods, as well as by most ancient Greeks, who rarely honored him with a temple cult or sacrificed to him except while waging war. In fact, one of the only places where Ares is often referred to with respect, as well as fear, is in the numerous inscriptions that accompanied the grave markers of those who fell in battle, as in the eloquent epigram of the famous funerary kouros found in Attica at Anavyssos: "Stay and mourn at the monument for the dead Kroisos whom violent Ares destroyed, fighting in the front rank."

Ares' status as one of the twelve Olympian gods is owed almost entirely to Homer, who is also responsible for most of what little mythology we have concerning the god War. The poet, however, was no friend to Ares. In the Iliad, for example, he repeatedly presents the war god to great disadvantage, in contrast to the beloved Athena. In the Theomachy (II. 20.48-53), when the goddess lets forth a great battle cry on the Greek side, she is answered by Ares in the form of a dark storm cloud bellowing forth from the Trojan citadel and from the banks of the river Simoeis. In Iliad 15.110-142, the god Ares, sworn to avenge his dead son Askalaphos, is rebuked by Athena, who takes away his armor and forces him to sit quietly in a chair. Later, in Iliad 21.391-433, Athena and Ares clash in the battle of the gods. Ares hurls his spear in vain against Athena's aegis, which yields not even to the thunderbolt of Zeus, and the goddess answers with a stone to his neck, causing him to measure seven hundred (Greek) feet in the dust. For Homer, Ares embodies all that is most hateful in war, while the glory of victory is reserved instead for the mighty Athena Areia. This Homeric polarity between Ares and Athena is also reflected on an unusual black-figured amphora in Richmond, dated ca. 500 B.C. and attributed to the Diosphos Painter, that highlights only the two fiully armed, warlike deities in a powerful centrifugal composition. Here the viewer is invited to compare Ares and Athena and to contemplate their different emphases. Violent Ares surely strikes an aggressive pose with spear raised. He moves energetically to the left, but his face is obscured by his shield and is therefore left to the viewer's imagination. Athena also assumes a combative posture with her protective aegis fully extended and her spear raised. An impressive figure wearing an Attic helmet that reveals her face, she strides confidently to the right-the direction of movement in Greek battle scenes that is usually associated with the victorious..”

- Interlaced Fingers and Knotted Limbs: The Hostile Posture of Quarrelsome Ares on the Parthenon Frieze, Ann M. Nicgorski

[design-pine]

#Abstract # Clouds Art Print by General Design Studio http://buff.ly/2m0cXMN @society6 #society6 #designpine #patternhappy #patternlover #artlover #artgifts #clothworks #fabric #helendardik #pattern #textile #fabriccollection #floralpattern #screenprinting #fashion #designs # http://ift.tt/2mvOHR3

[theframelines]

B&W0243 by pixfineart

[myafterlifeisbetterthenyours]

Vox and Angel seperately with Yandere S/O who is member of one of demons Ars Goetia (but not related to Stolas) who after noticing some bruises from abuse that they undergone confronts Valentino demanding him to leave Vox/ Angel alone scaring him just like Stolas in episode 6 with his demonic form. Of course If you have a time for doing this

With a Yandere Goetia Reader

Vox

Youd long since accepted Vox's need to work.

Sure, you'd gladly keep him by your side, never to leave your sight as to ensure his absolute safety at all times.

But he was a restless sort and regardless, you had your ways.

Such as the extensive network of demons and shadows that watched him every second of everyday.

You'd be in one of your art studio.

One of the perks of being royalty, you got to live in giant manors, painting a great portrait of your beloved TV demon. It'd become a favourite hobby of yours.

Youd just moved onto a more abstract style of painting, your beloved plasma screen demon just loving your works, always happy to see your art of him.

It'd be as you painted your piece, adding some of the finer details, that you'd suddenly hear the manor door slammed, angry footstep moving towards your room.

You know those footsteps. Size 10 Hellivian short heeled dress shoes, a custom pair you'd had made up for him. Your boo only getting the best.

Hearing your bedroom door slam, you quickly put down your brush, throwing off the apron and seeking out your Media Mogul.

Youd find him in your bedroom, stood at the base of your shared bed, turned away, arms crossed.

You approached him slowly, expecting him to be in a mood.

Youd begin humming your song.

The song you made sure reminded him of only good times. The song that played on your first date.

Moving forwards, you'd gently reach out. He didn't pull away, he knew better.

He knew he didn't need to.

Youd turn him around, expecting to see the pouting, or grumpy face of your Voxy.

But that's not what you saw.

Instead, you found your dearest television headed darling... cracked.

There was two large cracks branching out from a chip in the side of his head.

...

...

The first thing you did was take a deep, deep breath.

Then another deep breath.

Then, another.

Reaching out, you'd gently touch the chip in his face, his screen slowly healing before the demon was completely back to normal.

He didn't look at you, even as you stroked his face.

Youd calmly ask what had happened, and when he didn't answer, you'd turn his head, turning his face to yours before asking again firmly, wanting to know what had happened.

Vox hesitated, before telling you how he and Val had had a disagreement, vox unwilling to stand down and... well, Val didn't like that.

So he'd struck him, to "teach him a lesson", so Vox had run here, not knowing what to do.

Youd just pull him close, before planting a deep kiss on his strange lips, the demon kissed you back.

Youd lead him to the bathroom, using your powers to instantly run a nice hot bath.

You'd bath together, playing, nuzzling, you doing your absolute best to make him forget his awful day.

And after a little steamy time in bed, you'd have him off to sleep, while you just sat there, staring down at your beloved. And while you always enjoyed your time together, all this time, you'd been holding in an overwhelming fury.

So, putting up some wards, and assigning guards to your room, you made your way to the studio.

Of course you stopped momentarily, manifesting the shadow you'd assigned to your beloved, destroying him in the most painful, corrupted way possible for not informing you of your S/O being abused.

Youd make it to the studio, making it inside without harassment.

Youd find Valentino, and would corner him.

Youd tell him harshly, to never touch your love again, and if he did, well...

Youd become a monster, a veritable great cloud of demonic energy making sure he knew just how easily you could kill him if he ever so much as raised a finger towards Vox again.

So, after leaving Val to change his pants, you returned to your Darling, sliding into bed, the TV demon instantly nuzzling into your form.

After that you had an eye on every interaction he and Val had, Val not daring to so much as raise his voice to your S/O. You assigning several... dozen, shadows to watch the studio.

You knew every move, every interaction. And you knew he was safe, and happy, all you could want from the demon.

Angel Dust

You were hard at work, a rare frase for any Goetia to say in earnest.

You were finishing up the finishing touches for a club you were building for your darling Angel.

It was a gift for your one year anniversary, and a way you could ensure he kept up his side of your deal.

When you'd first gotten into a relationship, you'd made a deal that he could work for Valentino for one year, the Spider not quite bold enough to leave at the time. Your agreement ensuring a set period before you'd take him out of there, and you knew the spider was anxious over what he'd do after leaving.

So, you had this club built for him, the whole place practically a temple, A Fortress, to your most precious of possessions, staffed by specialists.

Youd used the past 12 months well, learning all the things he loved in a club, the club a collage of Angels favourite features.

But the club was more then just a bar and some stages. There was a fully fledge studio below the place, you intending for Angel to start making his own films.

As a director.

It was already killing you to let any other man touch him. But you weren't stupid, Angel was a delicate creature, easily scared off my overbearing figures. You had to ease him into the idea of monogamy, even if that meant using less then traditional means.

So, I was working on some of the finer details of the club. I'd been matching Angel's ascetic in every regard, the club awash in pink neon spider webs.

It was a real eye catcher. You hoping he loved it.

I had just signed off on the chairs to be used at the bar, when I was informed Angel Had arrived home, I using a ried and true spell of my powers to appear at my manor, finding the building empty.

I'd search until I found the spider in our bedroom, the effeminate man curled up on the bed, room dark.

So I'd glide across the room, slipping onto the bed, and while another might not have been able to see on the dark, something the spider was likely counting on... to hide the large bruise developing on his cheek.

I'd pull him close, asking him calmly what had happened.

He'd been ordered to fuck some guy for Val and he'd... refused.

He didn't want to cheat on you anymore. He wasn't gonna sleep with anyone, and Val... didn't like that.

Hearing that made you swell with joy, you of course keeping composed, holding the man close as he slowly broke into tears, you holding him close as he had a break down.

Youd hold him close, gently stroking his hair, comforting him until he'd drift off to sleep, all comfy in bed.

And so, with your darling spider asleep, you descended upon the porn studio like the fucking Wrath of God.

You slaughtered all in your way, leaving no one in the studio alive.

Youd kill Vox instantly upon seeing him.

And Val... you made him regret ever touching your Angel. You made him suffer for abusing your beloved.

You left the studio with a happy little humm and a string in your step. You made it home quickly, washing off the blood from your body, slipping into bed and holding the Spider close.

Thanking Lucifer for your single joy in this hellscape.

The next day you'd show him his club, the Spider absolutely gushing, thanking you profusely, you just happy to see the Spider happy.

You'd do anything for your Spider, conquering Heaven and Hell if it so much as bring a smile to his face, anything to make your Angel smile.

[tenderlysharpmidain]

Prompt: samurai warrior with katana sword : ukio-e : traditional japanese woodcut : old japanese prints : smoke : dark clouds : high realistic details : abstract : Hokusai style : Kunisada style --ar 30:45 - Upscaled by @Parsec

midjourney

[gagosiangallery]

Robert Therrien on galleryplatform.la

July 22, 2021

ROBERT THERRIEN

August 5–18, 2021 galleryplatform.la ________ I see my work as fairly self-contained, almost circular. If you tried to graph it in a linear way, it wouldn’t work. There are too many references going backwards. The work is a little like a spiral because a spiral goes forward and then circles back on itself, then passes itself again. —Robert Therrien Gagosian is pleased to present seven works on paper by Robert Therrien (1947–2019) for galleryplatform.la. They will be featured simultaneously on gagosian.com. Over the course of the four decades of his career, Therrien drew repeatedly on the operation of memory and the texture of everyday life to produce a singular body of objects and images infused with a quality of the surreal. Best known for creating oversize sculptures of tables, chairs, dishes, and other household items, he was fascinated by the visual and conceptual effects of dramatic shifts in scale and context. From the 2000s onward, Therrien’s work also reveals influences and preoccupations including childhood mythology and period-specific design. It represents, too, an extended investigation of “figure-ground play,” wherein an image may signify several divergent things at once, to differing degrees of visibility. In addition to sculptures and photographs, Therrien produced an extensive body of work on paper, which conveys a similar fantastical wit. Made using bleach, dye, customized stencils, and other mediums, these delicate drawings, prints, and mixed-media works often incorporate macabre motifs such as gallows and black clouds, suggesting a fascination with folklore beyond the elusive magical potential of ordinary things. Usually shown in silhouette or outline and isolated at the center of the page, these totemic images further elaborate Therrien’s interest in the relationship between objects and space. Among the featured works are depictions of a devil, an oilcan, a head encircled by a halo, and the legs of a girl emerging from a body of water. These were created using various materials including colored pencil, graphite, laundry marker, and tempera. Two compositions incorporate abstract elements—one depicting Therrien’s enigmatic character Joyce in outline surrounded by a cluster of ink marks, the other a constellation of colored dots. In each case, Therrien invests an outwardly simple theme with magnetic ambiguity, conveying his admiration for the stylized look of early Hollywood cartoons to transform familiar icons into evocative symbols. _____ Robert Therrien, No title (drowning or diving girl), 2009, ink, graphite, and spray paint on paper, 16 1/2 × 13 1/8 inches (41.9 × 33.3 cm) © Robert Therrien/Artists Rights Society (ARS), New York. Photo: Joshua White