#ausonia

[postingcards]

rms ausonia art postcard by frank mason, ca. 1930s

[chilapis]

As a result of being burdened by knowledge, and an indulgent inability to remain silent, I would like to discuss scent notes and perfumes that I associate with Childe in consideration of his nature and nurture. I’ll also likely be redoing the post in which I compared him to garnets (x) tomorrow; this is because that post was genuinely intended to be a skeleton and there are many details that were overlooked, both in regards to him and the stone itself, which feels like injustice twofold. Anywho, let’s begin.

For the purposes of this, I’ll first be tackling the elephant in the room. The official Tartaglia perfume, which was formulated by Primaniacs in collaboration with MiHoyo. I do not care for this perfume, I disagree with half of its the associations, and I will personally be disregarding it here onwards because I’m not legally prohibited from doing so.

It should be noted that aside from the “Tartaglia” name and face slapped onto this scent, it also mentions its association with the hydro element; I do not think it would be unreasonable to believe that this perfume can be seen to extend to the hydro element as a whole rather than be exclusive to him. This is the interpretation I choose to utilise.

I will however state my (reluctant) agreement with few of the associated notes mentioned. Namely, Tonka Beans; Bergamot and Orange flower (mentioned together as they will be tackled in one go); Cumin and Nutmeg, and Agarwood.

Tonka Beans make sense on several grounds; firstly, they’re actually one of the most common ingredients in masculine brews (see: Giorgio Armani Black Code; Tom Ford Tobacco Vanille; Givenchy Givenchy Play Intense). Tonka creates a beautiful and comforting warmth in the scent; it’s quite similar to vanilla, but much… smokier, one may say. You’ll notice that a lot of the ingredient I focus on will have much to do with warmth. Historically, the seeds would be dried and soaked in rum for a certain amount of time in order to extract the scent, though artificial substitutes exist to offer the same result now.

Bergamot and Orange Flower are both citrus notes, though the former offers a much stronger one in comparison to the citrusy-floral amalgam that the latter offers. The reason I agree with these is that citrus notes are seen as quite common in aquatic scents as they recall the freshness of the sea breeze (see: Armani Giorgio Acqua Di Gio; Royall Lyme of Bermuda Royall Yacht; Czech & Speake Ausonia).

Cumin and Nutmeg are both spices, so one can imagine that they lead to a warm, comforting, and, well, spicy, scent. Remember how I said only a short while ago that warmth will be a prominent focus of mine? Exactly. No matter where he travels to, no matter where he goes, I’m quite certain he’d like a scent that reminds him of home; considering perfume etiquette requires one to wear fragrance according to the weather and occasion, I imagine warmer scents will be much more reminiscent of the contrasting, overbearing cold conditions that his nation offers.

Agarwood (the wood of Gods) — often interchangeable with oud in the fragrance world, despite both different— is such a deliciously warm and spicy note as well; it can be a bit overwhelming for some if it is found to be too heavy in a scent (which is quite common and rather easy to manage) but it can provide such a delicious base if handled right.

With these justifications done, I will now begin to write the notes that I personally associate with him.

I simply cannot deny the association of musk; another one of the most common notes found in perfumes. It’s warm, it’s soft and heavenly, it’s delicious. It is often seen as bringing a more primal, instinctual, and almost animalistic mood to the fragrance. This comes as no surprise considering it was historically obtained from male musk deers’ glands, even if we are now able to enjoy this scent artificially as well due to modern development and discoveries.

Speaking of animal origins and perfumes, did you know that whale vomit was traditionally a rather popular ingredient in perfumes? Ambergris is a substance that comes from the digestive system of sperm whales; it smells quite foul when fresh, as one would reasonably expect. It smells like faeces, actually. Again, as one would reasonably expect. However, it… becomes pleasant after drying down? Warm, musky. Ambrein is then extracted from the ambergris to be used in brews; rather, it is the quantity of of this alcohol that dictates the quality of the ambergris. It is still used, however due to issues with both cost and access it has been replaced with a synthetic counterpart for the most part, with notable exceptions. It also has a history of being used an aphrodisiac? But so has musk, so, such usage is quite common with animal-origin ingredients and notes, but I digress. It was just a fact I find somewhat curious.

Leather is a big one as well. Do I have much explanation for this? No. Leather scents can come in a wide variety, from smooth, cozy, suave and sensual, to rough, primal, smoky, and beastly. It mostly depends on what ingredients are being used and which notes are being aimed to replicate; the fragrance house of Memo, Paris is extraordinary at replicating different types of leather scents; they’re arguably my favourite when it comes to scents, actually. But either way, there is a kick to it; a spicy, warm, and intense presence that you cannot deny.

I would like to give special mention to saffron, tobacco, rum, gin, bourbon, amber (especially amber), vanilla, cardamom and other spices for bringing a similar warmth and comfort to their scents that I’m absolutely certain would suit him very well. Also vetiver, because it brings a woody delight to any fragrance it embraces.

Now comes the discussion of perfumes; arguably what I’m most excited for and the main reason that I wished to write this.

First off the list is Ocean Leather, by Memo, Paris.

Now, the official site claims it to comprise of Vetiver, Nutmeg, Cedar, Mandarin oil, Sage, and a leather accord. It also has basil and elemi, so I’m certain you can imagine how all of this together with the mandarin oil would offer you a truly citrusy, aquatic scent, combined the comfort of leather, nutmeg, vetiver and cedar. This, along with the gorgeous whale artwork, makes this almost perfect for him. Almost.

This is the only one in the list that I haven’t smelt myself (because somehow, much to my dismay, no stores seem to be carrying it) however, I’ve heard a lot of people review it to be more of a… clean scent? Which I feel doesn’t suit Ajax at all.

For the record, fragrances are often divided as being either clean scents, or dirty scents. Clean scents are those that are not overwhelming, these are scents containing light, refreshing notes. You should expect something like citrus-heavy, something that’s very suited to spring with light, fresh floral notes. Something you’d smell in a professional setting, in an office perhaps. It’s a mild, timid scent. And I do not think it suits Ajax in any sense of the way, whether you take into account his domestic life or his professional life.

Dirty scents are warm, musky; they’re heavy, they’re entrancing, they’re so deeply connected to the Earth. They feel like browns and reds, like clay. No matter which face of him you choose to assign a scent to, it’ll likely fall under this. Imagine the sweet and gentle atmosphere at home, where he and his siblings huddle together as he cherry-picks the details of the sights he witnessed adventures, ensuring to leave out all the parts unfit for the children to hear. Do you imagine him to smell like a bouquet? Or do you imagine him to smell like home itself? A smoky sweetness that shares the depth of the abyss as it mixes with his body’s chemistry?

Or, imagine him in the battlefield; would this man smell like spring? Or would he smell like a mix of iron, sweat, musk and leather? There you have your answer.

So I’m not all too sure about this fragrance simply because I don’t have a personal reference to go off of, and everyone that I know in real life, as well as every online forum I seem to run into, calls it very light. I even saw someone refer to it as an office-scent? He is not wearing a damn office scent. However, if the citrusy notes are at balance with the leather and nutmeg and it’s offering a conflicting, fresh yet potently warm fragrance? That suits him perfectly.

The second fragrance I’d like to discuss is Royall Yacht by Royall Lyme of Bermuda.

It is another aquatic fragrance and my goodness am I in love. It perfectly balances that need for aquatic accords through citrus and that need for warmth through the warmer notes. It has vetiver, lemon, cedar, musk, and amber (along with a few floral notes but they’re not the focus). Although reading off of the notes, one might imagine this to not be so strong in its aquatic mood due to the citrus being so limited, but reviews will prove otherwise. Most people state that it perfectly encapsulates the feeling of the lulling sea breeze as one sets sail. This does come with its own issue however, and that is the fact that this house in general (Royall) is not… particularly known or admired for the longevity of their fragrances. What I’m saying is that their fragrances don’t last very long at all. I say this from personal experience (due to owning a few fragrances) as well as online observation; perhaps an hour or two at most and then they are as good as gone, and that is if you’re not partaking in any strenuous activities that might make you break out in a sweat. I imagine this wouldn’t even last ten minutes on him, so I don’t, quite see a point in its purchase or wear for such an active man.

The third I’d like to discuss is Opus XIV Royal Tobacco, by Amouage.

The notes are within the picture above: we’re seeing cardamom, musk, vetiver, agarwood, osmanthus, tobacco, licorice, benzoin, bergamot: I’m sure that you can tell that we’ve left the aquatic scent category by now. Though bergamot is present to give a citrusy feel, it’ll most just heighten the intensity of the other notes rather than offer its own unique mood. It’ll be a very dark, carnal, spicy scent with a lot of depth and smokiness to it; perhaps not suited for Ajax, a gentle family-man, but certainly fitting for the 11th Harbinger. I adore the longevity of Amouage fragrances, they’re known for their gorgeous bottles and their interesting ingredient and note selection, and this perfume is no exception.

It is such a mouthwateringly delicious scent, I cannot stress this enough. Also, the handle is made to recall the image of a Khanjar in one’s mind; Khanjars are traditional Middle Eastern and South Asian blades in the shape, usually worn by men on the hip. They’re crafted in the shape of a ‘J’ and their handles are made from a variety of materials, including but not limited to bone (especially camel bone), gold, and silver.

My last and most important association is that of Iberian Leather, by Memo, Paris.

This is such a beautiful winter fragrance; I actually got it not too long ago but I have been so deeply in love with it. It lacks aquatic accords but it has a spiciness that can handle his duality. This fragrance can provide that intimidating, overwhelming, animatic atmosphere but it can also surround one with that comforting, cozy urge to huddle in. I call it a winter fragrance because it is just that heavy and warm; although I’m personally not one to follow the etiquette of limiting scents to seasons as I prefer heavier scents all year round, people have noted this to be perfect for winter use both in real life/personal expedience, and in online discussion. Its notes include cedarwood, vetiver, agarwood, oakmoss, amber, musk, vanilla, osmanthus, cinnamon, bergamot, clove, saffron, sandalwood, and a few flower notes as well. So you’re once again getting that wooziness and that spice but you’re not getting the sweet and tender darkness of tobacco and licorice. It’s still intense and it’s still deeply layered in its scent profile but it’s not dark. It’s something that’ll suit him no matter the situation he is in or who he has in his company, and this is arguably one of the best scents to douse your winter coat in because it is so, comforting, so warm, so cozy. It is so earthen and natural. It feels like sitting next to a bonfire on a cold night. It feels like him. Not to mention, the longevity of this (or, the whole house, rather) is very impressive; you can apply it in the morning and it’ll still very much be on you when you sleep, even if barely. No matter how hot it is outside, how much you’ve been sweating, it will be on you, so help you god.

I would also like to give special mention to a few other perfumes that were close but fell short, such as Russian Leather Memo Paris; Giorgio Armani Acqua Di Gio; Giorgio Armani Black Code; Flåm Memo Paris; Vancleef & Arpels Ambré Imperial; Vancleef & Arpels Tonka Imperial, and more.

With all associations and justifications stated, I’d like to conclude this post by also mentioning what he smells like? A lot of people forget to take into consideration that no fragrance smells the same on everyone; it has a lot to do with your body chemistry (& natural body odour) as well as what you’re doing throughout the day. For example, on some people, floral notes tend to be more prominent, while on others, vanilla or more gourmand notes might appear more prominent instead. Although I can’t speculate much on which notes would be more prominent on him (vanilla; I want to say vanilla) I do feel like he’d smell like a mix of his chosen fragrance and iron. I feel like from being in battle all day, the scent would become… even more him, due to constantly mixing with his own sweat and body odour throughout the day, which then further combines with the unmistakably metallic scent of blood if business requires more extreme measures,

I will say however I imagine his fatui fur-collar cloak to smell like the most comforting thing in the world. I’ve noticed this to be quite common in winter clothing somehow, especially when you wear it quite commonly. One does not realise (and does not care, really) whether they have applied anything on it already and just about on their normal routine, spraying it over and over until it just… seemingly sets in, creating a scent so unique to the wearer because it now smells like them and the fragrance combined. It smells like home, it smells like all the memories of your past winters that you spent with those who love you. It smells like solace and relief and a happy ending and I think he deserves that bittersweet comfort of domestic nostalgia.

[johnny-dynamo]

Hellboy by Ausonia

[epallebar-pa]

Lindor Ausonia talla M. Pañales para adulto muestra gratis, bastante absorbentes y gigantes, me gusto que tuviera solo dos cintas como si fuera un pañal de bebe, normalmente los de adulto traen cuatro.

Lindor Ausonia size M. Adult diapers free sample, quite absorbent and giant, I liked that it had only two tapes as if it were a baby diaper, normally adult diapers have four.

[1five1two]

Ausonia (Francesco Ciampi).

[margocooper]

Бабочка Зорька белая (лат. Euchloe ausonia) на Икотнике сером (лат. Berteroa incana).

Butterfly Dawn white (lat. Euchloe ausonia) on gray Ikotnik (lat. Berteroa incana).

[manfrommars2049]

Scoundrel by Ausonia via ImaginaryMen

[themidcenturyscene]

Ausonia Soap and Talcum Powder

Found in Collectus.

[afmyselfwithleica]

Fog in Trieste - Ausonia beach car park - February 2024

[adarkrainbow]

Fairytales in BD: Pinocchio storia di un bambino

"Pinocchio - Story of a child". Another dark and adult "reverse-take" on the story of Pinocchio - but not a French one this time... This comic is actually an Italian creation by Ausonia, but it is quite similar in intention to Winshluss' own grotesque Pinocchio parody.

Ausonia's Pinocchio is a horror work that starts off a simple but disturbing idea: let's take Collodi's story, and completely reverse it. Pinocchio isn't a little wooden puppet who wants to become a real human boy - here Pinocchio is a Frankenstein-like creature of flesh born in a butcher shop, and living in a society of robots and marionnettes. And Pinocchio's main problem is not that he keeps lying, but rather that he can't stop saying the truth, in a society where lies dominate and are considered virtuous.

The story of Pinocchio is told through flashbacks, as the "present" is Pinocchio's trial for his "crime" of telling the truth - and we slowly discover a dark and cruel world locked in an endless war between the robotic puppets who built their entire society on lies, and rebellious crickets who defend the truth and parasite puppets to control them from the inside.

[21secondsofchristoph]

Christoph’s Esquire 2023 Interview

Here is a translation of Christoph's interview with Patrick Heidmann featured in the new Esquire Magazine :

Christoph Waltz is looking a little skeptical for our greeting on the terrasse of the time-honored Ausonia Hungaria hotel on the Lido di Venezia. Typical. During our conversation he expresses precise thoughts, formulated moodily. Just as typical.

Mister Waltz, a few years ago I asked if acting was a passion to you. You denied and said it was simply a profession. Is your view still the same?

Well, what do you mean, ‘denied’? I questioned it, or rather, I questioned whether it is something worth worrying about. In general, I think that the so-called passion that now likes to buzz through the vocabulary in conversation is grossly overrated. As if it was only about the extend of my emotions for or against a matter. That doesn’t strike me a particularly valuable or productive approach. Passion is an emotional matter which in my opinion fails to contribute to ascertaining the truth in most cases.

You sound like you have a very pragmatic view of your job.

Yes, I have.

Does that also mean you could live without acting? Or would you be missing something?

I don’t know, I haven’t tried, and I don’t intend to, I’m way too stubborn for that. Whether it is acting or something else, the significance may decrease over time, but what becomes increasingly important is that you deal with something in such detail that you spend a lifetime with it. I have to invest many, many years to reach a certain level. This investment is permanent, it isn’t suddenly completed from which point on I’ll be able to live on the interest. Of course, I suppose I could do that, but I don’t find that very interesting. For that reason alone, it's only logical that I continue to practice what I've been doing for the past 45 years.

Your new film Dead for a Dollar is a classical western in many ways. Do you have a special connection to this iconic genre?

No not at all. I have neither a great knowledge nor a special fascination for it. In general, genre is not a category that particularly interests me. I watch each film individually. Of course, certain regularities are unavoidable in westerns, which makes them a genre. But I don't really think about their requirements. I don't analyze it and I don't read anything about it either, although there is - guaranteed for good reasons - a lot of literature about it. However, I just care about the story at hand.

Do you have certain criteria that you use to decide whether a project or screenplay interests you? Is the story the most important thing? your specific role? Or the person behind the camera?

It's more of an amoeba thing. A combination of many aspects that always fluctuates dynamically. And it still fluctuates dynamically even while a film is being made. That is why I have no strict set of rules I follow point by point to reach a decision.

But are these more head decisions? Or is it mostly a matter of gut feeling? It's difficult to prevent gut feelings from playing a role.

Something that makes sense in every way, but I don't like wouldn't make much sense after all. And if you're thinking about something for too long and you're struggling with it, it's better to let it be.

The director of Dead for a Dollar is Hollywood icon Walter Hill. Does it make a difference for you to work with someone so experienced?

Of course. Not the fact that he is an icon, but the difference lies in what made him an icon. To work with someone who has been working as a director for over 50 years can’t be measured in gold. Few people have so much experience. I find that incredibly attractive. Because the start-up phase, the intermediate phase, the many ups and downs - all of that has long since been overcome. When someone is as experienced as Walter, they approach things in a much more direct way.

Conversely, directorial debuts are not really your thing?

This is actually a completely different situation. And no, they’re truly not my thing. Partially, because I'm not completely inexperienced myself. Certainly, there can be exceptions, with particularly interesting projects, where I think for special reasons that I can really make a good contribution and I'm willing to get involved with it for other reasons too. But as you can see, there are quite a few ifs and buts. Overall, I find it very rewarding to work with very experienced people. Simply because, as I said, the way to the core is a shorter one.

You’ve already directed yourself. Are you still interested in directing something in the future?

Yes, I have plans to do it again. But for now, they remain my plans. To turn them into more, they would have to become the plans of others too.

At the world premiere for Dead for a Dollar you spoke of discipline. Is that the A and O for an actor?

No, in this context it was only about the fact that Walter Hill as a director is a very disciplined worker. But I think taking a certain discipline as a requirement without making a fuss about it is a wonderful thing. It starts with that! All know what they have to do and are willing to do it, under conditions that should not be detrimental to the cause. That’s all. I never meant a Prussian military discipline. Just keep going, sensibly, that’s enough.

During your career, you have certainly come across colleagues who handle things differently. How do you deal with that?

That is certainly happening more and more often. The question is less how you deal with them and more how you get away from them! If, as is now occasionally the case, as the eldest on location, you simply do your job in a disciplined manner, completely independent of the magnificence of the art, then many more pull themselves together. And that's very good.

Why is it becoming more common for others to have a perhaps not-so-solid work ethic?

Because it's becoming more and more important for many people how they feel. Which brings us back to the question of supposed passion.

In Dead for a Dollar your character is asked if he is actually Swedish or Dutch. The dry answer is: I'm an American. Do you now also feel like an American?

No, but I also have no idea how one feels like an American. The culture is certainly becoming more familiar, but that is specifically the Californian culture. The differences within the country are at least as big as they are in Germany. I will never feel like an American. I arrived there much too late for that.

Is your connection to Europe still strong? Do you follow what is happening in the old homeland?

I follow the Bundesliga a bit. And otherwise, when crucial things are pending, such as the elections in Italy or the federal presidential election in Austria.

And the German-language cinema?

If things come my way that interest me, then of course I look at them. But I wouldn't call that active pursuit.

Do you sometimes still get offers for roles in German films?

Occasionally there will be more offers. But, only for films that I would not have accepted even 30 years ago. That's very strange.

Quickly following up because Mikhail Gorbachev died this year. Shouldn't you be in a miniseries starring Michael Douglas as Ronald Reagan?

That is no longer current.

But you will be seen as the great filmmaker Billy Wilder in a film by Stephen Frears, correct?

Yes, that is still happening. But it must be noted that it won’t be a biopic. I wouldn’t have agreed to one.

Why is that?

Because I'm stuck trying to imitate people. The audience then expects mimicry, and that's what an impersonator does. Some are incredibly good at imitating people, but I’m not. I don't like biopics that become a make-up opera that's all about the resemblance. I know there are many who find this fascinating, but it bores me terribly. Billy Wilder & Me is different, a very personal story in which I'm not even supposed to play the main character. The film is not based on a biography but on a novel, the protagonist is a fictional character, and the story is limited to a very specific period of time. That was important to me and deflated my fear of biopics

[goldenliartrash]

Niche Spanish uterus having experience but I love the fun facts on ausonia pads. I might be on the toilet dying while my ovaries actively try to grow cancer on themselves but at least I get to read a funny phrase in portuguese

[telkomuniversityputi]

Kampanye yang mendobrak hambatan

Published October 17, 2024 Comenzaré compartiendo mi experiencia de empoderamiento como mujer en la comunidad de WordPress, donde la diversidad y la inclusión han sido clave para mis logros. Desde esta perspectiva, exploraremos cómo estos mismos principios se reflejan en campañas de marketing exitosas de marcas como Cola Cao, Ausonia, Dove y Nike. Veremos el impacto de estas iniciativas y cómo…

[telodogratis]

#NewsPA - Impianti di illuminazione vie Alcide De Gasperi, Ausonia, viale Strasburgo e aree limitrofe. Dichiarazione consigliere VI Circoscrizione Cuticchio

«In qualità di consigliere della VI Circoscrizione, desidero richiamare l’attenzione su una situazione estremamente preoccupante riguardante gli impianti di illuminazione di via Alcide De Gasperi, Ausonia, viale Strasburgo e nelle aree limitrofe…  ​Read More «In qualità di consigliere della VI Circoscrizione, desidero richiamare l’attenzione su una situazione estremamente preoccupante riguardante…

[sossupummit]

Author: Ausonia Calabrese (T.F.G)Title: The return of the repressedSubtitle: (Anti)religious anarchism and Protestant presuppositionsSource: https://pleroma.noblogs.org/the-return-of-the-repressed-antireligious-anarchism-and-protestant-presuppositions/ This article, foremost, is a response to a critique published on my work Against Individualism by a certain Aleph. In short, Aleph is not convinced of my account of the Creative Nothing and is concerned with a “Christian” basis for my mystical methods — among other minutiae. This, he feels, undermines my reading of the apophatic, unsayable Self beyond self, and problematizes my relationship to pagan authors like the divine Plotinus and Porphyry. I will explore all of these in-depth, as I am always one for meaningless chatter. However, this essay is also an exploration of what I believe to be one of the major problems of (anti)religious anarchists: the reproduction of an uncritical Protestant basis in its image of what the “religious” entails. For those uninterested in long discussions of philology and theology (and for that I do not fault you), really only the final section (Coda) is important here — everything else is largely just apologia. Further, I apologize for the unfinished feel of this article. I began writing this shortly before leaving for an archaeological excavation and promptly forgot it after returning. I have finished it, practically, to get it off my to-do list. Nonetheless, I hope this can help problematize the assumptions at the base of (anti)religious anarchism and contribute to emerging modes of liberatory engagement with the sacred and profane. Stirner, the dead man The main part of Aleph’s argument is based on his reading of Stirner’s individual — that is, when Stirner speaks about the self, he is concerned with the liberal-enlightenment model of the individual as an atomized object in relation with other objects but nonetheless existing “in and of itself” — identified with a biological human subject: in his words, “that the central subject is still an individual, at least insofar as Stirner is quite explicit in that he is talking about himself, and therefore the I.” Perhaps this is what Stirner intended (if we are to be beholden to authors and their intentions.) Even so, it is a surface-level, plain reading Stirner’s “I”, “mine”, or “own.” It is an indication of a very uncritical mode of analysis — a sterile lens concerned first and foremost with historical figures and their opinions, rather than the innately polyvocal, multifaceted nature of the text. The mystical mode of analysis eschews surface-level readings and searches for the hidden, that is to say occult, readings that lie secreted away in the crypt of inscriptions and epigraphs. Materialist analysis of heroic relics may reveal only bits of stone and cloth, even the bones of some extinct beast altogether unknown to our forebears — shrouded in the patina of superstitious cultural accretion. But the oil dripped on them is just as powerful, and I anoint myself with it nonetheless. Certainly from a historical perspective Stirner is not a Christian, or even a theist. But I argue the apophatic method he deploys is nonetheless theological, and I argue this strategy can be traced to Hegel’s engagement with the Christian mystical tradition. It is entirely plausible, even certain, that Stirner would take great offense to my genealogical reading of the Creative Nothing. But that is of no importance to me. I take no shame in being a heretical Stirnerite, as I pay no heed to orthodoxy. Thus, when Aleph uses Stirner as an authority to transplant my own reading of the individual in juxtaposition with Platonism, it is irrelevant. I have little interest in being “authentic” to Stirner, or to Plotinus for that matter. I deploy their concepts for my own purposes, for my own uses — I suck out the marrow and toss away the bones. I can draw them out from their graves and make them speak blasphemous things for me, as I am the magus adept in such things. If I show them any piety, it is ritual piety, self-generation, in which I bring them within myself and abrogate the boundary between us. Thus: pseudepigrapha, in which I become Stirner, I become Plotinus. Therefore, my project of drawing out the trace of apophasis in Stirner is a productive, rather than historical, method. Having identified this theological impulse in Stirner, I can apply a mystical reading to problematize or ambiguate the subject-object distinction. Such a mystical interpretation Stirner can thus read the “I” or “my own” in radically different ways: is this “I” Stirner, or is it “I” as the reader, who recites the passage in the very act of reading and thus speaks it? Indeed for all texts, is the narrator self or Other? For the mystic it is both, and it is neither. Failing to grasp this, Aleph misses the overall heart of my arguments, wondering only if what I say would be recognizable to a long-dead German. The failure to grasp the finer, more esoteric points undermines the entire criticism that Aleph outlines. He is adamant that “mysticism and individualism, in the sense that Stirner allows us to understand the concept[s], are actually well-aligned with each other, in that both are ultimately similarly concerned with a black box subject.” On the other hand, my insistence that the “individual cannot be so” is two-fold: one, the vulgar notion of the ‘individual’ as the liberal model can indeed be divided and thus it is not truly in-divisble; and two, the One, the in-dividual, is not because it is prior to that which is. Indeed it is “not an in-dividual” in an ultimate sense — because binaries of in/divisibilty cannot grasp it. Being able to simultaneously affirm and negate a proposition is one of the properties of apophatic language, that is, a unity of opposites. But Aleph writes: ...

[libidomechanica]

Hush, beating a cello in Russia, one is death as theres an

All see us friend, we hold it!     To take such a pleasures of a castles patch me, hate me     all fair Ausonia; and

than to combat Like to ask me     why, the Moon are shadows; and hand your poems stings, then come     to innocent, she wild

morning towards some say but the children     do in thing sense, with wonder orphan saw his happiness.     Ah, cruelty! Oppose

highwayman comely girls in     circle rides, for what you mother, you something it shall not.     And all the dimpled some

to mountain, and once from strong by     cool suspect wide; the gate? When these both remained, their head; the     deep den of science in.

Why feels my heart who, radiant Sister,     I would cram our eyes abroad, to severe didst close behind.     He lover yet, whereas

I know; and yet their own fairer     world were brain, which, Perilla, washed to me. He rape is     sister. Scoop after than

war. On one near-on ten years of     thou art, that hears not as are gone, amongst the saddle set,     the Carian! Talk along

the actual look at then sitting,     and up the trumpets at clear his child hall after a little     of ninety years the

plough bent to behold I felt himself     a smiled, I live with rose in the Cross material     blowing spirit flit alone

came: she would it thy knee; the     shape of dress the mastiff bitch? Fireside her, right. Then sadly     stare, was twined with Me!

Bless you spoke and true Love and learne     in Wonders down the early songs I will last a song oar,     and she tossed upon you:

your late guests, and shield her! Lingers     ache, my babes to be molten out. Hush, beating a cello     in Russia, one is death

as there’s an hour mailen! And     Betty, half-right moon is bigger boy, how glad to blood so     long we gazed on the lore

she, ’ but inspired, let me dream     he was lost, and the tendency towards some are jubilant     a stoic, or like that

we, each others, and the jaggèd shadow     wept,—tipsily quaffs, to tell, no, no, no, my Deare, let     the Baron’s feast. Poor Betty’s

question, to have, has wept for     thee, and shafts of golden grass that grim, surly Winter wand,     for joy his rapier

hilt a-twinkle, Yea, ’ answered     Florian. Eyes made me within his the stocking, for her feet:     a tide of tempest can

floated Philomel, and for a     lady; the hardly began, the first day the child our minds,     but want with busts: from her

pearled here from his great arc his     sharpest paine; their way from the insidious horns, the cliffand     to the that morning.