#Plotinism

[adrianasunderworld]

@mangacupcake

Wait, what if the plotline of the event is that the bowl cut boy is prejudiced against fae but obsessed with Malleus the same way Frollo was with Esmeralda? Even if he doesn't like it, Malleus is still one of the most rich and powerful people in Twisted Wonderland, and thus wants to use him in whatever plan he has?

[philippequeau]

L'Intelligence et le Jardin

“Plotin” Nous sommes une sorte de roi en son royaume, quand nous ‘régnons’ sur notre intelligence, ou quand nous le croyons. Mais régner sur elle, c’est d’abord se conformer à ses exigences, et lui obéir en quelque sorte. Piètre « roi » que celui qui se soumet si souvent à sa supposée servante. Cette obéissance à la fois royale et servile est d’une double nature. D’abord, nous obéissons à ses…

[thesithmom]

Drakin & CODm.

[dsirmtcom]

NC - Pierre Hadot, Plotin ou la simplicité du regard

NC - Pierre Hadot, Plotin ou la simplicité du regard #Philosophie #MardiCestPhilosophie #Contemplation #Plotin #Hadot #Antiquité

Notes contemplatives de lecture – Note contemplative n° 60 Aucune explication verbale ne remplace jamais la contemplation. Saint-Exupéry, Pilote de guerre. Notes de lecture [Les références au texte des Ennéades sont données sous la forme suivante : V 1, 12, 1 [;] V (numéro de l’Ennéade) ; 1 (numéro du traité dans l’Ennéade), 12 (numéro du chapitre du traité), 1 (numéro de la ligne du chapitre…

[theorizer-sleepyhead]

Now that I’ve finished episode 1 I can spend 20 minutes analyzing every plot detail to try to figure out how Solas is involved because of course he is 

[dandanjean]

Plotin

L’être humain doit être en éveil permanent pour répondre à l’appel divin qui se renouvelle à tout instant.  Héraclite * Dieu est là, présent à qui peut le toucher, absent pour qui en est incapable.  Plotin * Et pourtant, déjà auparavant, tu étais Tout, mais parce que, précisément, quelque chose s’était ajouté à toi en plus du Tout, tu étais devenu moindre que le Tout par cette addition même.…

[legendofmorons]

Memes/ culture moments the chain would like

Four

The owl house

Don't be suspicious no Don't be suspicious

Dr. Doofenshimrtz

Hyrule

Merry crisis, merry chrysler

Me checking the news by seeing what's trending on tumblr

Homer Simpson backing into the bush

Legend

Denial is a river in Egypt your husband is gay

Goncharov

What up I'm Jared I'm 19 and I never learned how to fucking read

Sky

And they were roommates

I almost dropped my croissant!

You get a car you get a car you get a car

Alex Hirsch voicing like half of gravity falls

Time

Road work ahead vine

When life gives you lemons vine (specifically the facss)

Twilight

Tom Holland's performance of umbrella

Tell your baby that I'm your baby

I hate country. But*

Warriors

We're going thotin plotin and trotin

Brittany spears and her snake performance

2010 Kesha (specifically bla bla bla)

It's so hard to be a single mom. Especially when you have no kids and are a male teenager

Wild

Bad luck brian

Fuck you flowers

Ah yes, me, my wife, and *insert comically large object*

The victoria secret song

Wind

Are you mesothelioma? Answer me!

You're my dad! Boogie woogie woogie

Is that weed I'm calling the police! / is that a police I'm calling the weed!

Tony the tiger x the grinch

[poppyflower-22]

F1 Fics 🏎️

Lando Norris. Part 2.

Oscar Piastri. Part 2.

Charles Leclerc. Part 2.

Max Verstappen. Part 2.

Arthur Leclerc

Plotinic F1 Diver.

[awkwardgamer1999]

Ok can someone explain to me why they decided to cut Nettles character and give her story to rhaena who already has her own story??? I can’t think of a logical reason for cutting out her character. It’s giving “we don’t want to introduce this black character who is actually important to the story” instead they rather waste their time with stupid plotines that had nothing to do with the story and I know you guys know who I’m talking about 👀 they could’ve kept rhaena’s story like the book where she enjoyed her time in the vale and she eventually hatched and bonded with morning. There was no need to change this characters story completely and erase someone else

[little-deth]

@plotin-red

[shuunnico]

Anything positive about the Prequels?

Ian McDiarmid, Liam Neeson, Sir Christopher Lee and Ewan McGregor were very fun and were acting well for most of those movies.

The lightsaber fights required the actors to actually practice and learn the routines, leading to cleaner, smoother choreography.

The podracing section of Episode 1 was pretty great and a lot of fun.

The worldbuilding contributed to the sense of a greater galaxy. It expanded the universe in a pretty big way. There were way more aliens, for example.

They didn't go too overboard with The Force and keep it grounded in the general field of 'telepathy' and 'telekinesis'. The Force powers were used more, but they never got so overpowered that they dominated the fights.

All four villains had absolute banger designs, regardless of their character (or lack thereof).

They weren't afraid of showing lightsaber damage, like cutting off heads and limbs.

The music was all pretty great. There are some amazing and iconic songs in the prequels.

The Prequels are great as a concept and, overall, the plot and themes are actually good. The problem was the execution. If Lucas been an executive producer and relinquished some control (particularly the writing, dialogue and pacing) and didn't rely on CGI so much, it could have been an excellent addition to the series.

Like, it's not hard to imagine a world where the Prequels were just as good, if not better, than the OT. Better dialogue, some changes to the focus of the movies, but keeping the overall plotine. It's not hard to imagine a rewrite of the Prequels that's top quality.

I have a lot of criticism for the Prequels, but it isn't all bad.

[philippequeau]

L’être autre

“Être autre” ©Philippe Quéau (Art Κέω) 2024 Pour Platon, Dieu est l’« Intelligible » ; selon Aristote, il est la « Première » des causes ; pour Descartes, il est l’« Infini », et pour Hegel, l’« Absolu ». Tous ces adjectifs qualificatifs tentent de saisir positivement l’essence du divin, ou l’un de ses aspects. Mais Plotin, quant à lui, est plus négatif, plus radical. Il juge nécessaire une…

[mask131]

The myth of Apollo (4)

As with Dionysos previously (see here), the Dictionnary of Literary Myths of Pierre Brunel offers two different articles about Apollo. Here is the loose (but free !) translation of the second one, « Apollon, the mythical sun ».

APOLLO, THE MYTHICAL SUN

Pontus of Tyard wrote in 1552: “Of all the poetic gods, Apollo is the one that has been the most disguised by the fables and the etymologies of his name.” The mythical figure of Apollo, which has been turned in Western literature as one of the most conventional figures there can be, was considered by ancient mythographers as an extremely complex character, because he was given many names and many properties. Apollo is first and foremost an universal archetype of the Divine, of which literature kept – alternatively as much as indiscriminately – three main names: Apollo(n), Phoebus, Sun. The chronological evolution of the god allows us to isolate and separate the solar god (as a symbol) from his mythological adventures, since the solar Apollo is more present within poetry than within legends.

I/ The names of the Sun

In the Platonic tradition, all the way to the end of the Renaissance, numerous significant and diverse etymologies were invented for Apollo, all reflecting the various functions of the solar god. Within the name Apollo(n), interprets can read as much an idea of destruction as an idea of freeing (from the verb “luô”, to untie) or purification (from the verb “louô”, to clean). This reflects the “drying” effects of the sun, which can be negative or positive – and thus is a survival of the ambiguity of the archaic god.

The interpretations found within the “Cratylus” (see the previous part of “The myth of Apollo”, “The Antique Apollo) allow us to define the four main attributes of the god: medicine, divination (both seen as manifestations of “purification”), music and the art of shooting with a bow. The name Phoebus has been associated by Isidor of Sevilla with the endless youth of the ephebe (e-phoebus), while Cartari (in 1556) linked it to the vital light (phôs, light, bios, vie). For Platon, the name of “Sun” within Ancient Greek meant he who “nuances” the colors (“helios”, the sun in Greek, derived from “aïoleïn”, to nuance) ; and all the ulterior commentators assimilated it with the Latin “Sol”, tied to the adjective “Solus” (the sole, the unique, the lonely), a link which can be found in the neo-Latin languages (in French “soleil” and “seul”, for example). Cartari, who was follow the works of Plotin and Macrobe, linked this precise etymology to the Greek name of Apollo that he translated as “he who is not multiple” (“a” as a privative + “polu”, many) – highlighting again the important idea of unity within the idea of the sun-god.

II/ Main attributes

The mythographers of Renaissance made a very useful synthesis work that offers us in their roughly definitive state the various interpretations of the myth of Apollo, compiling together the commentaries from Antiquity, the interpretations from the Middle-Ages, as well as the point of view of some Oriental civilizations. Within his “Images of the Gods” (1556), Cartari divides the solar myth in a series of elements linked together as part of a long allegorical chain:

1) The sun represents at first, in the diversity and universality of its effects, an archetype of the Divinity. The Assyrians assimilated it to Jupiter as the soul of the world (because through all the other gods, it was always him who was evoked). As such Macrobe noted in his “Saturnals” that all theology always returned to the worship of the sun.

2) As a symbol of eternal youth, as the allegory of the always-new day, of the always-resurrecting light, Apollo is depicted as beardless (except for the Assyrians) and is associated with Dionysos.

3) Because of its central position within the Universe, it is called “heart of the heaven”, by analogy with the vital function of this “pulsing” organ within the human body. The sun is the source of light that communicates their movements to the other astral bodies. It is why Apollo is sitting in the middle of the nine Muses, allegories of the nine celestial sepheres, and with them he embodies the Harmony and the Universe, as a symbol of “symmetry and concordance” (according to Tyard). As such the Music of the Spheres, that R. Lulle will represent through the “Great Lyre of the Universe”, is reflected in Apollon’s association with Music and Poetry (Poetry which was originally simply the art of singing).

4) The rays of the sun are depicted by the arrows of Apollo (just like by those of his sister Diana). They can penetrate the very core of the earth – it is why there is an archaic tradition according to which Apollo is a chthonian or infernal god (and can sometimes be called Hecate, since the primitive gods were without genders).

5) It is due to the purgative and drying effects of his rays that Apollo is also the god of medicine. Mythographers tie this function of the god to the fable of the snake Python killed by Apollo soon after his birth: they assimilated Python to the mythical Flood, as a principal of morbid humidity wrapped around the earth.

6) The attribution of the laurel to Apollo, and the fable of Daphne, are explained by the medicinal virtue of the plant, the always-green plant that never rots, and that the mythographers saw as a symbol of Health. The laurel is also tied to the alchemical symbolism of Humidity, because Daphne was metamorphosed thanks to the intervention of her father, a river-god.

7) Finally, Apollo is the god of divination, because he is the eye of the sky, he sees all and he reveals all secrets (hence why in mythology Apollo was the one who denounced the adulterine love of Venus and Mars). He has the role, within the Universe, of the eye within the human body – he is the “spy of the intellect”, the “censor” or the “rector”, and his eminent position makes him a sign of omnipotence. Cartari described a hieroglyph that designated the sun as a scepter surmounted by an eye – which would identify the mythical sun with the idea of royalty.

Such a synthesis – within which each of the god’s main attributes were defined and linked together – as the interpretative model which was used as a basis for all ulterior poetry. For example take Du Bartas: in his “Sepmaine ou Création du Monde », in 1578, the sun, which is not a god anymore but a mere « ornament of the sky », is always designated by metonymy through a series of names that resume all the attributes of the solar god in his cosmic function: Phoebus with gold hair, the blond Titan, the Torch of Laton, the Archer, Apollo giver-of-souls, the Fountain of Heat, the Life of the Universe, Giver-of-honors, King of the Sky, Eye of the Day, Censor, Torch of Delph, Torch of Delos, he who “makes the face of the world young again”. In a parallel way, from Cartari’s work, the different aspects of the character will be slowly simplified until he simply becomes the god of Poetry, crowned with both sunrays and laurel leaves, sitting among the Muses on top of mount Parnassus, always holding his lyre (which can sometimes represent him in his entirety), distilling the poetic inspiration under the shape of the Hippocrene spring (created from Pegasus’ hoof), a spring that Ronsard will describe as “the fountain of verses”.

III/ The philosophical Sun

Symbol of the Philosophical Gold in the alchemical tradition, uniting the fundamental opposites that are the fire and the water, the dry and the wet ; or a symbol of the divine creative soul within Orphism and Pythagorism, the go of Poetry s the very image of all creation within the Neoplatonic literature, in which Apollo with his lyre is always associated to his “mortal double”, Orpheus. Within the Renaissance, Apollo was the god who inspired the “Poetic Fury”, without which the lyrical production cannot be: it is under his influence that (according to Ronsard’s Hymn to Autumn) the spirit can “penetrate the secret of the heavens” and the soul “rise among the gods”. It is under the sign of Apollo that the soul finds back its celestial origin through the effects of the divine enthusiasm (from the Greek “theos”, god): this is the Orphic origin of poetry. For Ronsard and the poets of La Pléiade, the “inspired Poet” is both the “prophet” and the “priest” of Apollo (hence why in the 16th century it was believed that the Sibyls and the oracles were exceptional poets).

This Neoplatonic interpretation of the myth, which confuses the two main attributes of the god, prediction and lyrical art, this same tradition that shaped the image of Apollo we have today, relies on the commentary by Marsile Ficin of “The Symposium”, which divines four different divine “furies”, associated with four patron-deities. First is the highest, the poetic fury, which is caused by the Muses ; second is the “mystery fury” or the sacerdotal fury, which proceeds from Dionysos  ; third is the prophetic fury, given by Apollo ; fourth is love, and it originates from Venus. Despite the distinction marked within this text between the Muses and Apollo, poets usually invoke indifferently one or the other – the god understood as the “universal principle” and the Muses as allegories that represent the individual repartitions of the poetic virtues. It should be noted that within the Neoplatonic context, Apollo is not opposed to Dionysos – rather their functions are complementary. The god of divination, who is also the god of the penetration of divine secrets, forms a couple with the god who initiates humans to the divine Mysteries ; it is to the point that they are called “brothers” by Pontus of Tyard, who explains the epithet of “Delphic Apollo” by a fake etymology “adelphos”, “brother”, for the “fraternity considered between Denys (Dionysos) and Apollo”.

For the Neoplatonicians, if Apollo is one of the poles of the duality of the world, he is rather opposed as the One, as the universal principle, to Diana, who embodies Nature – that is to say the Multiple. According to the Platonic idea taken back by Giordano Bruno in “Eroici Furori” (1585), the Nature (Diane) is the mirror of the God (Apollo). Apollo is the absolute light whose essence must be hidden, who blinds and kills those that see it directly, and thus he can only be perceived through his reflection. A variation of this idea, developed by Léon Hébreu in 1535) made Apollo the “simulacrum of the divine Intellect”, while the Moon was the “simulacrum of the soul of the World” and acted as an intermediary between the divine plane (the intelligible world) and the corporal plane (the sensible world). This conception has been very influential in term of literary posterity, because it means in a very explicit way, that the sight is a sense that must be valorized: the sensitive vision, the one of the eye, is to be identified with the intellectual vision, the one that allows thanks to the spirituality of the light to distinguish the beautiful from the ugly and the good from the evil. The supremacy of the eye above all other senses will be abundantly developed, in poetic and metaphorical ways, from the 16th to the 17th centuries. Even within the anatomical descriptions of the baroque poets, the eye appears as an intermediary between the sensible and intelligible world, as a double of the Sun, whose light shines upon the minds as much as upon the bodies.

[seasonschange32]

I'm trying to watch Athena P lore videos because god are they entertaining and so funny. But here's some shows/movies I would love a lore deep dive on and why:

Inspector gadget reboot - the 'romance' between penny and Talon was so confusing yet endearing. Also, loving how chief Quimby just Disguises himself just to give gadget a misson

Total drama - not only was it a huge fan of gross out humor and has our overlord chris mclain, it literally introduced me to the ' bad boy x good girl' trope before ripping it out and taking a character ( who was literally perfect with another) and forcing them together due to aesthetics.

Transformers: robots in Disguise ( 2015) or Transformers prime - two shows that have fanbases debating ( seriously), each saying why each respective show is better. But other than that, both are fine for what they are and gave me two crushes that I hold dearly.

Mia and me - a fairy show that's not only animated but live action? With the main character having an ability to talk to unicorns? And with one of her bullies DISCOVERING HER SECRET LIFE??

Ben and hollies little kingdom - super wholesome and I love how the humans coinside with the fairies

Max and ruby - there's a tiktoker who made a whole series on why ruby was annoying. Need I say more?

Trollhunters and the spin off 3below - honestly from what I remember, I loved the stakes of the show and how cool the Armour the main character had. Regarding the spin off, loving how the bully I think was into the alien girl

Max steel ( not the 2000s one. sorry) - Max having to come up with the most unbelievable excuses as to why he has to go is cliche but also kind of funny? And the fact that the company Max's dad works for has lore as well is kind of interesting

Dino squad - I actually remembered this show through a cringe compilation of all things and had to add it. From the theme song, to the plotines, to the fact that I had a crush on Laruzo even though he was obviously queer coded ( his Dino form was cool though)

Jem and the holograms - the I am a giant song from the misfits lives in my head rent free. Also, jem practicing trying to reveal to that one guy only from him to yell at her is funny to me

Lolirock - same with jem as revolution is iconic as well as the villians. Plus, why is was eventually taken off

The tinker bell movies - forgot I was supposed to mention movies as well ( sorry). But I love them and how the fairies each have their own abilities ( as well as different kinds). From pirate fairies to winter fairies, it's really cool.

Barbie: a fashion fairytale - I love all barbie movies equally but this...this just takes the cake. What other movie will you see ken making a child cry, fairies with attitude, rotting dresses, and a roller skating aunt?

Zoom (2015) - the trailer showing a scene of the main character and her character arguing is honestly what made me want to watch it ( I haven't but I'm planning on it)

Super hero squad - kid me was laughing my butt off when falcon married his bird. So...

The little prince movie - I didn't even read the book but when I saw that the old man had died, I was emotionally devastated, especially after listening to all his stories which inspired the main character to go find the prince UGHHH

The book of life - is it cliche? Yes. Is it like coco? Yes. Do I like that in the end, the main boy has to sing a guitar version of creep to calm down a bull? Absolutely yes!

Epic - josh hutcherson, beyonce, Amanda Seyfried, Johnny knoxville, an enemies to lovers storyline, a snail, a royal guard having a love for the queen, the enemies being bugs, and ANDD a nerdy dad. That's it.

Rise of the guardians - I absolutely love it followed jack and his arc of being seen and when he finally is, the kid and him are just so excited! Also, the fact that a lot of people are simping for the Easter bunny is a testament to how many people will call anyone sexy.

Daniel spellbound - wanted to add this because there's an awesome creator ( cough cough @bonkalore) who's made an amazing au out of this show and I wanted to see what you thought of it and your theories

Bonus options ( just random one's I think could fit): the rainbow fairies series, Lego friends, the complicated life of Claudia Christina Cortez, sonic underground, drama or sisters ( but any book by rainia would be great), Junie b Jones, stoked, barney, goddess girls, glitter force ( that's what I remember it as), invisible sister, a monster in Paris, Maya and miguel, and Martha)

If you want anymore, let me know!

[dyaz-stories]

With the latest chapter out, what are your thoughts on it? Other than how they mentioned Gojo. I remember hearing something about a faceless(hidden) character that kind of looks like Kenjaku/Geto at the end.

Spoiler-free opinion is that I generally enjoyed the chapter! It's very in line with what to expect from a shonen epilogue. That's what I thought we were going to get immediately post-Sukuna defeat, mostly because that's usually how that goes.

We're starting to close the curtains on the characters, we see that life goes on, what's changed, etc. It's cute, it's a sweet farewell to the characters. I don't care about some of the ones we see in the chapter, but I love most of them, so I'm happy about that! I'm still really upset with the way Gojo is handled, so I'm going to get a little more in depth with all that under the cut.

We conclude really quickly on Tengen but it's not super clear to me what's going on, nor do I care too much to be frank. We do see Gakuganji telling Utahime and Nitta 'not to worry' because they're still young, so that's a definite shift from the beginning of the manga — less urgency, less responsibility on their sole shoulders, the cycle is broken, all of that.

(peep the really cute panel of Noritoshi with his family — he wasn't my favorite but I thought that was sweet. He's no longer chained to his clan, yet another change from the beginning of the manga.)

Then we close a few plotines with characters I, honestly, didn't care for (the mangaka Hakari fought with, Yuuji's acquaintance who used to be a bully, the sumo/samurai that helped Maki have her awakening), but there is an interesting line about how they've gone public with the existence of curses.

So things have changed, and with the public knowing about it, maybe a future where humans learn to channel their cursed energy, like Yuki Tsukumo hoped for, is an option? There's hope.

(It is quite random since we hadn't heard about that before, but I can accept something like that because clearly a lot of weird stuff had happened and there needed to be some explanation for the non-sorcerers)

I like the Megumi and Angel interactions we get — she was always an interesting character to me and I wish we'd seen more of her. I also like the idea of characters deciding to help each other out. It seems that Megumi does it partially out of guilt, which I'm not a huge fan of, but supporting a character who's lost an arm in battle feels, again, like an evolution from the start of the manga. She's not going to be left to fend for herself like Geto was, and isn't that a great thing?

And I like that the chapter ends up with them taking up a new mission — we know that curses couldn't disappear, so life goes on. Yuuji goes back to helping people, like he's always wanted to do, and honestly I'm quite happy with that. There wasn't a permanent solution to curses unless people were willing to commit a genocide, but there were ways of making things easier. Because non-sorcerers know about curses, they can reach out directly to sorcerers before anyone dies (...well we'll see about that next chapter, but that's what it looks like), which should in turn limit curses' opportunity to get super strong undetected. Ijichi actually starts by talking about a "victim", but then we see everyone's okay and they take the cursed person to get a physical, so they should be fine. Lots of evolution shown in the chapter!

(the trio back togetherrrrr, they're so cute!)

Now, to the things I wasn't a fan of.

Like you said, there is something about Kenjaku. I don't know if you'd read this plotline, but there was this character, Fumihiko Takaba, who was this unfunny comedian. He's the one who fights Kenjaku and distracts him enough for Yuuta to kill him without too much of a struggle. Kenjaku has this whole thing about how this was the first time he'd had this much fun in centuries, being in a 'comedic duo' with that guy. Now it was a really weird couple of chapters, and it looks like he gets someone to join his duo. We don't see his face, but yeah, it looks like Kenjaku in Geto's body.

Now I don't think that's him but it is imo something about... idk, reincarnation, cosmisc alignment, whatever. I'm pretty indifferent to that — I didn't care about that guy nor about Kenjaku. However, to see both of them get a closure that I don't feel we've gotten for Gojo kills me. At this point I feel confident that Gege feels the airport scene was all the closure needed, and I just... yeah I just disagree.

The chapter actually opens on a gravestone — Tsumiki's. Shoko and Megumi are there, paying their respects. But we don't see a headstone for Gojo or a funeral of any king, which I'd been hoping for if it's because he's alive I'll eat literally all of my words but at this point I think there's a 0% chance of that

In fact, we're told that Shoko dealt with Tsumiki's remains, which were cremated. And then this.

...I'm just tired of this at this point. When I was reading the manga, I was talking to a friend and said that it didn't feel like anyone liked Gojo. People can have respect for him, admire him, hate him, etc. but it never felt like anyone liked him. Even the characters that I think would have had the better chance of having some reaction to him (Shoko, Yuuji, Yuta, Megumi), from what we see, just... didn't care for him that much, you know? [I think there are solid arguments against that and I know for sure that's not how I'm going to write them, but imo that is what we are seeing play out at the moment] So, in turn, it's making me feel silly for caring as much as I do. It just... feels like he never mattered. He's been erased from the narrative, and I hate it.

The scene ends with Shoko throwing away her cigarette. It probably has a lot of symbolical significance — we know that she stopped smoking in high school and picked it up again in Shibuya because she was nostalgic of her high school days.

I guess this means those days are fully behind her now. Because there's no one left.