#artist: 1102

[animepopheart]

★ 【1102】 「 ともだち // がんばれじなん 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[kwnblack]

-How much did you like seeing Sabo with suspenders in ch. 1102? -YES. ➡️Support me on RedBubble ! 🌸Instagram | Twitter | Facebook | Artstation | Steam🌸 ☕️ Dm me for commissions!  ☕️

[chitoge]

アビイロード　ABBEY ROAD | 1102

※Permission to upload this work was granted by the artist.

[rennebright]

1102 by mac_star [Twitter/X] ※Illustration shared with permission from the artist. If you like this artwork please support the artist by visiting the source.

[darkmistandodddreams]

Tagged by: @hurryupmerlin thanks. I haven't done one of these in a long time and I wanna (also I saw that picrew thing you also tagged me in but I didn't have the time to do it sorry, I appreciate the tag tho!)

Last song: I have no idea. i listened to a lot of the studying anime girl synthwave stream on youtube yesterday while working

Favorite color: So many, but dark green is always a fan favourite.

Last book: Spasspark by Brian Frank! Big big reccommendation if you can read german! Northern german small town horror, with big Stephen King vibes and my favourite three fucked up little queer friends.

Last movie: It's been ages since I watched a full movie. I really had to think about this one. I think it was a documentary about famous forgery artist Wolfgang Beltracchi

Last show: One Piece (I am almost caught up with the anime, holy shit! I thought the day would never come. On episode 1102 rn)

Sweet/spicy/savory: Savoury

Relationship status: Technically single, but I'm involved in some real lovely situationships atm

Last thing I googled: The name of that Beltracchi documentary. It's "Der Meisterfälscher"

Current obsession: Glad to report that I am not unreasonably obsessed with any one thing at the moment. If I had to name something it might be Epic the musical, but even that I am managing to stay kinda normal about

Looking forward to: Continuing my voice acting course this weekend! It's really really fun. And I have a kinky play date soon! Also I got a job as a movie extra again at the start of december and I'm looking forward to that!

NPT: If not for chickens post I would have no idea what that even means. i guess its Next Person Tag?? (EDIT: I found it! Apparently it's "no pressure tags"! Why would you not just write that out? Who knows these things?) anyway, tagging @bibliotheksbewohnerin @the-thorster @spatort and @tiny-steve if you wanna do it

[lord-bleed]

An idea had been floating around in my head since the day I made a drawing of the 3 different friezas.

I don't see much Cooler ART, so I thought, "since I've combined coolers from different "universes", how about we put them together?

(In a few days this post will be edited, the final ART is not 100% ready yet, I need to finish it on paper first😅)

First of all I would like to thank these 3 artists for all their incredible work.

So does the cooler multiverse exist?:

Extra:

This post will be edited soon after I finish the final paper drawing.

I still don't understand how drawings change so quickly from sketch to final ART, I need to learn how to paint digitak.

The first 3 coolers belong to the following artists:@theseawitch-1102 ,@amiz06-certified-b1mb0 and @girzapata6

[tsuri-chan]

Opening 58

Title: Unraveling Love ~Sukoshi no Yūki~

Artist: Mai Kuraki

Episodes: 1102-

Rating:

7/10 scenes of Ran

The visuals are beautiful, but at some moments it's also a bit boring. Other moments are really nice references to episodes and scenes of the story. The song is good, but probably not one of my favorite Mai Kuraki songs. I like that we've got many characters.

Watch it here!

[dcrewatch]

Detective Conan Rewatch: Episode 1102

Episode 1102: "The Akabeko and the Three Lucky Men”

Before watching this episode, on a scale of 1-10, how much are you looking forward to seeing it again?

5!

Favorite screencap:

Sonoko: "But the men in this episode aren't 'lucky' at all! It just referred to the kanji 'Fuku' in their names!"

Conan: "Take up your complaints with the Crunchyroll translators and just be thankful our show is getting official translations at all."

Favorite Moment:

I appreciate Conan's little history lesson. And akabeko toys are cute. :3

Least Favorite Moment:

Welp, add "strangled by loincloth" to the list of unusual deaths in this series. Also seeing a murderer drop his trousers before committing murder has to be the weirdest tonal whiplash we've seen for some time. ._.;

What’s one thing you noticed/realized about this episode that you hadn’t before?

The akabeko are explained by Conan in episode but I think it's a really neat little folk art toy. :3 Also I'm curious if the larger akabeko the artist produced are able to move their heads too or if she made them non-functional.

Catching up on your Kamen Yaiba reading, Conan?

On a scale of 1-10, how would you rate this episode?

4, although "strangled by loincloth" will stick out in my mind as an unusual cause of death for sure.

Celebrate it!

Here’s a (not exactly) summary haiku:

Modern artist killed

At opening of art show

Left dying message

Next Episode: Episode 1103

Previous Episode: Episode 1101

[the-witcher-parks]

Transcendent Enigma by Souv Boa par Souv Boa Via Flickr : maps.secondlife.com/secondlife/Le%20Ranch/165/114/1102 To bring "Transcendent Enigma" to life, I used a mixed-media technique that combines different artistic approaches. The creative process begins by capturing scenes, elements, or characters in Second Life, providing a basic sketch for my artistic exploration. From there, I draw and sketch meticulously, breathing life into the initial composition. Through the use of materials carefully created or chosen by cutting out elements from other digital media, I incorporate additional layers of meaning and symbolism into my drawing to amplify the visual impact and attempt, as best I can, to create a multi-sensory experience. Throughout the creative process, I meticulously retouched and adjusted the composition, colors, shadows, luminosity, and textures, ensuring that each element resonated with my artistic vision. Using computer graphic painting tools, I give the work its final form, adding the finishing touches that evoke the desired emotions and atmosphere. "Transcendent Enigma," in my messy creative process, reflects my deep exploration and questioning of spiritual and philosophical themes. It's also an invitation to a transformative journey, unveiling the mysteries of existence and engaging in a contemplative search for meaning.

[nx08h63bitchyobservationnerd]

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[laptopcamper]

Guzzu Bento-ya, 1102 Lawrence St, Los Angeles (Arts District), CA 90021, Score: 46/50

Guzzu Bento-ya, aka Tokyo Deli Café, must make the prettiest bento boxes in LA. The food looks too pretty to eat.

Score: 46/50

Food: 5/5 –  Choose from deluxe bento boxes (the protein is cooked to order), katsu sandos, stews, salads, donburi rice bowls, etc. Everything is made with love and is simple and for the most part, healthy. You’ll be amazed by the pickles and little salads in your bento box. Proteins are cooked to order.

Coffee: 4/5 – For drinks, they have espresso drinks, drip coffee, tea, matcha, and fruity drinks. The fruit drink seemed watered down to me, but I did ask for it to be less sweet.

Wi-fi: 5/5 – Free, unlimited, secure. The password is posted at the register. The wi-fi worked great.

Ambiance: 5/5 – Reminds me of a café you’d see in Japan. Very cute Japanese art on the walls and framed pictures of bento makers in Japan, I presume, and their bento boxes. The large communal table has a planter with an artsy, cutesy Totoro display. They also provide books for you to browse and show Japanese anime projected on the wall.

Noise: 4/5 – Quiet, the Japanese music is upbeat

Plugs: 5/5 – Quite a few

Parking: 4/5 – Street parking has been easy to find but the area is industrial with a lot of homeless people. It’s dirty and scary. But I think you can park as long as you want.

Comfort: 4/5 – Some chairs are padded, some are not. It’s dark inside and the AC isn’t strong enough

Bathroom: 5/5 – Two gender-neutral restrooms, code is posted by the register

Art: 5/5 – Japanese artists, very cute

Tips: Online ordering is available on their website. Help yourself to complimentary cold water. Cash is not accepted

“Laptop Campers Unite!”

[animepopheart]

★ 【1102】 「 すとっぷ 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[quattrofolds]

Quattrofolds | Notes on Colours / Catatan Tentang Warna

Short Digest: 

The Science of Color Perception https://www.youtube.com/watch?v=poL7nDmqjmk&ab_channel=CalderRuhlHansen 

Neuroscientist Answers Illusion Questions From Twitter | Tech Support https://www.youtube.com/watch?v=CNeaQlA45cY&pp=ygUTd2lyZWQgdGVjaCBzdXBwb3J0IA%3D%3D 

What Colour Is This Dress? (SOLVED with SCIENCE) https://www.youtube.com/watch?v=AskAQwOBvhc&pp=ygUSc2NpZW5jZSBvZiBjb2xvdXJz 

For Nerds

Linguistic relativity and the color naming debate: https://en.wikipedia.org/wiki/Linguistic_relativity_and_the_color_naming_debate 

blue green distinction in language: https://en.wikipedia.org/wiki/Blue%E2%80%93green_distinction_in_language 

MIT | How “blue” and “green” appeared in a language that didn’t have words for them: https://news.mit.edu/2023/how-blue-and-green-appeared-language-1102 

Concepts Are Restructured During Language Contact: The Birth of Blue and Other Color Concepts in Tsimane’-Spanish Bilinguals https://doi.org/10.1177/09567976231199742

Richard Nelson’s Exercise sheets, inspired from Interaction of Color https://dicknelsoncolor.com/wp-content/uploads/2012/05/Interaction_of_Color.pdf 

Artist and contemporary experiments with colors:

Khan Academy | Josef Albers’ homage to the squares https://www.khanacademy.org/humanities/art-1010/post-war-american-art/postwar-abstract-art/a/albers-homage-to-the-square 

Artsy | How Mark Rothko Unlocked the Emotional Power of Color https://www.artsy.net/article/artsy-editorial-mark-rothko-unlocked-emotional-power-color 

Kunstmuseum | Dan Flavin: Dedications in Lights https://kunstmuseumbasel.ch/en/exhibitions/2024/dan-flavin 

PACE | James Turrel https://www.pacegallery.com/artists/james-turrell/ 

ACMI | Winter Exhibition ‘Light’ https://www.acmi.net.au/stories-and-ideas/light-works-from-tates-collection/ 

Josef Albers, ‘Fuge’ (1925) https://sammlungonline.kunstmuseumbasel.ch/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=2049&viewType=detailView

[souvboa]

Transcendent Enigma by Souv Boa by Souv Boa Via Flickr: maps.secondlife.com/secondlife/Le%20Ranch/165/114/1102 To bring "Transcendent Enigma" to life, I used a mixed-media technique that combines different artistic approaches. The creative process begins by capturing scenes, elements, or characters in Second Life, providing a basic sketch for my artistic exploration. From there, I draw and sketch meticulously, breathing life into the initial composition. Through the use of materials carefully created or chosen by cutting out elements from other digital media, I incorporate additional layers of meaning and symbolism into my drawing to amplify the visual impact and attempt, as best I can, to create a multi-sensory experience. Throughout the creative process, I meticulously retouched and adjusted the composition, colors, shadows, luminosity, and textures, ensuring that each element resonated with my artistic vision. Using computer graphic painting tools, I give the work its final form, adding the finishing touches that evoke the desired emotions and atmosphere. "Transcendent Enigma," in my messy creative process, reflects my deep exploration and questioning of spiritual and philosophical themes. It's also an invitation to a transformative journey, unveiling the mysteries of existence and engaging in a contemplative search for meaning.

[meshadoxtator]

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[dwellordream]

Women and literature: letters, prayers and poems

“Women participated in personal relationships with churchmen. For example, Eva Crispin (d. 1099), who retired to the abbey of Le Bec, treated the brother of Gilbert Crispin as her spiritual son. A relationship such as this probably involved spiritual guidance and counselling as well as practical advice and support. Margaret, Queen of Scotland, adopted Lanfranc as her ‘spiritual father’ c. 1070–89, 7 and Lanfranc wrote to her to express his joy at accepting the role. Queen Margaret had requested Lanfranc to send her some monks; in his letter he states that he was sending three, who were, in effect, on loan. 

The monks, he states, are ‘really indispensable’ in his church, and this statement, no doubt, served to flatter the queen, since he had sent her men of ability. Further, if she was willing, he wanted them returned at a later date. They were clearly to give her practical support and advice concerning her establishment of Holy Trinity, Dunfermline. Thus a spiritual relationship could take a very practical form. The patronage of the church was intrinsic to aristocratic culture, and royal women were often involved in patronage of not only the fabric of the buildings through grants of land and emoluments but also interior furnishings, books and relics.

For example, Countess Judith of Flanders presented a fine crucifix to Durham and sacred relics and objects of art to the abbey of Weingarten, including a relic of the holy blood that she had inherited from her father. Queen Matilda, the wife of the Conqueror, gave a richly decorated chasuble to the monks of Saint-Évroul, and Adeline, the wife of Roger of Beaumont, gave them an ‘alb richly ornamented with orphrey’. Queen Matilda, the wife of Henry I, established an Augustinian house of canons, patronised other religious institutions and made personal gifts of bronze candlesticks to Hildebart of Lavardin and Cluny. She provided Chartres with two bells and Westminster Abbey with liturgical garments.

Queen Matilda received a letter and prayer composed for her by Bishop Herbert Losinga of Norwich in 1118. The prayer to St John is a lyrical plea for healing and health, for the saint to act as an intercessor for the forgiveness of sins and for Matilda to be given to the protection of the Virgin Mary. Given that Matilda died in May 1118, it is possible that the prayer was composed for her in the context of illness. The choice for the direction of this prayer is interesting, since St John was a virgin, and this is stressed within the prayer. The virgin John was a suitable intercessor with the supreme Virgin – the Virgin Mary. 

Herbert, when composing the prayer, would have carefully selected appropriate imagery befitting a queen. The fruit of Queen Matilda’s artistic and literary connections, the letters and literature which survive, served to ‘create an aura of legitimacy and prestige’ in her position as queen. Spiritual counsel could be an important part of the relationship between leading churchmen and important political women such as the queen, or powerful countesses. The relationship between important noblewomen and clerics thus stimulated the production of letters and spiritual texts. 

A critical re-evaluation of these texts could begin to trace the developing discourse of twelfth-century female spirituality in the particular context of prescriptive spirituality for the recipient in her public role as queen. The cultivation of a spiritual relationship could yield political dividends and it could thus be used to influence political events of significance. Thus spiritual relationships were an expression of aristocratic social cohesiveness and a route whereby women could exert power. 

An impressive illustration of these themes is provided by Adela of Blois, the daughter of William the Conqueror, and Matilda, who married Stephen count of Blois (d. 1102). Adela was a keen patron of the arts. As Elisabeth van Houts pointed out, she was a patron of the poet Godfrey of Rheims, who, in 1080–5, wrote to Adela praising her as a regia virgo, a royal virgin. Godfrey wrote that it was God’s will that William had been successful at Hastings, since Adela was then born the daughter of a king instead of a duke.

Hugh of Fleury dedicated his Historia Ecclesiastica to her. He praised her for her literacy, generosity and intelligence. Adela had also received the Flowers of Psalms and seven prayers selected by Anselm at her request. He also sent some prayers that he had composed for her. These were a decisive break with previous traditions in personal prayer, and marked a significant step in the development of the Anselmian revolution in the composition of texts for personal devotion. He also included advice on how to meditate.

The relationship between Adela and Anselm was of both a political and a spiritual, personal nature. Eadmer reveals that it was Adela who played a pivotal role in resolving a dispute between her brother Henry and Anselm in 1105 at the height of the conflict between them. Eadmer informs us that she sent to Anselm to tell him that she was ill and he  diverted to minister to her. She was appalled to hear that her brother was about to be excommunicated and arranged a meeting between Anselm and Henry at which they resolved their differences for good.

Her illness was probably a pretext to divert Anselm to her court, where she could influence him. Adela was a peacemaker in the dispute between her brother and the exiled archbishop of Canterbury, and arguably she acted to care for her brother’s soul in a familial context. However, the resolution of the dispute is also of political significance, and here Adela’s actions assume a wider context, since she used her informal influence, which was strengthened through a spiritual relationship, to resolve a political dispute. 

There is a further dimension to the fact that Anselm diverted to see Adela on hearing that she was ill. Evidently his role as a spiritual adviser involved an obligation for the care of her soul to attend her in the case of serious illness to prepare Adela for death. This network of spiritual guidance and social intercourse was normal and part of the culture of aristocratic and noble women – indeed, the women of the Conqueror’s family were particularly prominent as patrons.

Adela attracted the attention of important clergy who were keen to foster relations with her. For example, Baudri abbot of Bourgueil (1079–1130) wrote a poem of 1,367 lines for Adela which describes the furnishings and rich decorations of her hall and bedchamber. It used to be thought that the rich visual imagery and the detail in his descriptions were suggestive of a personal relationship between Adela and Baudri, and that he might have visited her palace.

However, Shirley Ann Brown and Michael Herren have cast doubt on this assumption in their comparison of the Bayeux Tapestry itself with the descriptions of the tapestry which Baudri purports to have seen hanging in Adela’s chamber, which historians have assumed was the Bayeux Tapestry. Whether or not Baudri visited Adela, the poem is significant, since it illustrates what an important abbot thought was a suitably flattering description to offer an important woman, as well as providing clues about the material culture of an aristocratic secular woman. 

It also illustrates the range of cultural influences in northern France, and significantly Baudri emphasised the role of Adela in the design and creation of tapestries. Firstly, he described a role which women of Adela’s status undertook, that is, to oversee and direct the women who made cloth and designed tapestry, and, secondly, he flattered her artistic skills. Baudri’s relationship with Adela was not unique: he wrote poetry and obituaries for other women, although none of such length and detail as those to Adela. 

He wrote to Adela’s sister, Cecilia, a nun at Holy Trinity, Caen, as well as to a certain Agnes, a Lady Emma and Beatrice. He also wrote to Constance, his spiritual daughter, who had received her education at the convent of Le Ronceray in Angers, and who replied to his poetry. He composed poetry for Muriel, who was likewise at Le Ronceray and from whom he received poetry in return. Anselm was therefore not alone in the way that he fostered relationships with powerful women. 

Eadmer reveals that on one journey Anselm was delayed and entertained by Countess Ida of Boulogne, when he ‘conferred’ with her. According to Sally Vaughn, Ida was his ‘closest and most intimate confidante, student, spiritual daughter and political ally’, with whom he corresponded until his death. Powerful women were worth cultivating: Matilda countess of Tuscany provided him with an escort whilst he was passing through her lands on his way from Rome in 1104. 

Anselm afterwards sent her a complete copy of his Prayers and Meditations which was made and illustrated for her at Canterbury: a step which again confirmed the shift from private meditation to public consumption of his devotional literature. Wilmart argues that the letters and prayers date from c. 1104, and that Anselm praised Matilda for her prudence; he informed her that her people had taken him on a short safe route, and he praised her for her religious patronage and urged her to take the veil when the moment of death arrived. 

This is good evidence of the importance of the involvement of a secular noble woman in cross-cultural exchanges, and shows Matilda’s importance in her cultural, religious and political activities. It is also worthy of note that Anselm urged her to take the veil only at the moment of death, not before. Other churchmen dispensed spiritual advice to women throughout the twelfth century, for example through the medium of hagiography. 

The study of Vitae has been an area of increased scholarly interest, and the meaning of saints and saints’ cults has likewise received considerable attention, as has women’s mysticism and spirituality. Despite the hagiographic convention and the Christian didactic purpose of saints’ lives, they are valuable sources which can be used to study aspects of noblewomen and power in twelfth-century society, although such a project has its own methodological difficulties. 

Indeed, Jocelyn Wogan-Browne discussed three female-authored twelfth-century Vitae and showed the specific problems inherent in recovering women’s experience from hagiographic sources. The twelfth-century Vita of Christina of Markyate has been studied for its value as a source for twelfth-century female religious. Thomas Head, however, analysed the Life in terms of the socio-cultural contexts of twelfth-century developing notions of marriage. He stressed the power of Christina to seize control over her own life to become ‘a primary actor in the drama of her own salvation’. 

Her difficult adolescence where she was in fear of marriage is a topos typical in Vitae of female saints. Yet the female life cycle can be seen as paramount in defining Christina’s options, since Christina became secure in her vocation only once her childbearing years were over. Other Vitae confirm that social and spiritual relationships were important forms of male–female interaction and collaboration. 

The Life of St Hugh of Lincoln by Adam of Eynsham was written as part of the campaign for Hugh’s canonisation. It depicts a courtly political bishop attending to the spiritual needs of his flock, including, for example, ‘devout matrons’ and the bereaved Queen Berengaria following the death of Richard I, and adjudicating in cases of adultery. More interestingly, women’s voices can be detected as witnesses to his sanctity. 

A significant number of those who testified to miracle cures were women; of twenty-nine individuals who are listed as having been cured of some affliction by miracles eighteen were women. In this respect this 2:1 pattern of imbalance in women : men miracle cures is a phenomenon that applies to other twelfth-century saints. Women’s testimony and role as sources of information on the saint are therefore one way in which they could influence the shape and content of the text. 

Georges Whalen has shown that in Goscelin’s Life of Edith statements of women’s theological equality in Christ were employed where women were the majority of witnesses to allay fears about the validity of female witnesses. No such statements were required for male witnesses. Women were prominent as witnesses, and thus in the creation of social memory, in John of Ford’s Life of Wulfric of Haslebury, a parish priest turned anchorite in rural Somerset who died in 1154. These witnesses included women from the nobility, five local anchoresses and village women.

The Life also depicts social interaction between the anchorite and women, as well as spiritual advice and relationships. The dispensation of spiritual advice could be achieved through social/spiritual interaction, and also through letters. Peter of Blois wrote to the archdeacon of Picardy that his niece Alice should not be forced to become a nun, but in a later letter to her he congratulated her on her choice of vocation.

In the mid-twelfth century Amice countess of Leicester received a letter from Gilbert Foliot. Writing c. 1163–68, he apologises for being unable to visit her, owing to his duties and obligations, and states that he ought to have written to her before. Gilbert Foliot was also in correspondence with her husband Earl Robert (II) of Leicester (d. 1168) in the same period, which suggests that the extant letters were sent together but were intended for each individual separately. These socially exclusive circles of friendship, cultivated through spiritual relationships, reinforced aristocratic and noble social and political cohesion. Noblewomen, as part of the landed élite, actively participated in such relationships.”

- Susan M. Johns, “Patronage and Power.” in Noblewomen, Aristocracy and Power in the Twelfth-Century Anglo-Norman Realm