#catalogue de formations

[catalogues-de-lours]

catalogue 001

[artsandculture]

Woman at a Window (1822) 🎨 Caspar David Friedrich 🏛️ Alte Nationalgalerie 📍 Berlin, Germany

At the window of a barren room you can see the back view of a young woman looking outside. It is Caroline, the wife of Caspar David Friedrich, who looks from the artist's studio to the opposite bank of the Elbe. In 1822, four years after his marriage, Frederick created this small-format, private image. Even in the year of origin, the painting was shown at the Dresden Academy Exhibition: "A small picture depicting the artist's studio in his peculiar simplicity, in the middle of the background the window with the view of the Elbe and the opposite poplars, would be very true and pretty if Friedrich had not followed again here, which it loves to depict people straight from behind." (Wiener Zeitschrift für Kunst, 1822, . Börsch-Supan and K. W. Jähnig, Caspar David Friedrich, Catalogue of Works, Munich 1973, pp. 96). While the Viennese Magazine for Art reacted to Friedrich's painting with incomprehension, the mystery of the turning-off women inspired the poet Friedrich de la Motte Foqué to become a sonnet. Friedrich consistently constructed the simple, empty interior of horizontal and vertical. Nothing reveals comfort, only a short piece of floor made of wide wooden floorboards, a dark wall and a high window are visible. The female figure alone and the prospect of delicately green poplars on the other side, opening up by a wide spring sky, enliven the presentation. Resembling the filigree peak of a church tower, a ship mast appears in the upper window area, structured by a narrow cross. A subtle color sound of blue, green and ocher draws attention to the light steps in the finest nuances. With this 'window picture', Friedrich picked up a romantic motif of longing that links inside and outside, closeness and distance. The view outwards simultaneously goes inwards, in the center of the soul. Two further interior representations have been handed down by Friedrich: "Woman ascending to light" (1825, Pomeranian State Museum, Greifswald) and "Climbing woman with a candle" (around 1825, loaned from private property in pe.). Like "Frau am Fenster", these images remained in the possession of the artist's family for a long time. It was not until 1906, on the occasion of the exhibition of the century in the Nationalgalerie Berlin, where Friedrich was comprehensively represented with 36 paintings and 57 drawings, including "Frau am Fenster", and the painterly work of the artist, which had been forgotten, was rediscovered.

[entre-image-blog]

Visioni di fine Millennio, Moebius, Catalogue de l'exposition Moebius au Palazzo Bagatti Valsecchi à Milan, du 29 novembre 1997 au 11 janvier 1998, edizioni Nuages, langue: italien, 90 planches, album broché au Format: 24*27 cm. Superbe, avec de nombreux inédits! disponible sur entre-image.com

[avergehistoryenjoyer]

Ladies and gentlemen, it’s official! I’m writing a musical!

For those of you in the community who have known me for a while, this is nothing new, but I’ve been working on it for quite awhile, so I finally want to unveil what I have so far.

The show is officially called “Tyrant! The Story of Robespierre” or just “Tyrant!” for short, and here’s my first concept for the album cover below!

As for the actual story and songs, right now I’m planning on having 16 songs per act, and I’ll format the songs I’ve written or am currently in the process of writing! 

 Italic = work in progress

Bold = fully written

With that being said, this is the song catalogue and all I’ve gotten done so far!

Act 1:

Tyrant! (Show opener) - immediately after his death

Address for the King - early childhood

Never shall we part - transition from childhood to adulthood, meets Camille

Song addressed to Miss Henriette - young adulthood

And So I Reminisce - trio song for the siblings

He Just Can’t Stop - lawyer career in Arras

Let Us Speak/We Swear - Estates general + tennis court oath

Camille’s Address (Bring It Down) - Storming of the bastille

Hey Ladies! (Theroigne’s song + Women’s March on Versailles)

Bienvenue aux Jacobins - Joins the Jacobin club and meets Danton, gets elected president of the club

Never shall we part (1st reprise) - Camille’s marriage to Lucile

Escape (Louis + Marie flee Paris, Champ de Mars massacre)

There’s Safety Here (Robespierre meets Maurice Duplay, moves into the Duplay house)

This Means War! (Speeches against the war and Brissotins, war gets declared anyways)

The Tuileries Tango (Storming of the Tuileries and overthrow of the monarchy)

Liberté, Egalité, Fraternité For All (Establishment of the republic, Robespierre at his height, his big “I want” song)

Act 2:

Incorruptible (Saint-Just’s debut and Robespierre’s election to the National convention)

So Ends the Reign of Tyranny (Louis’ trial and execution)

Bienvenue aux committee/ Bienvenue le Jacobins (reprise) (Appointment to the CPS)

Choose Your Side/And So I Reminisce (reprise) (Charlotte and Augustine’s fight, fracture in the family, duet with Élèonore, PLATONIC, NOT ROMANTIC)

Principio Ad Finem/ A late night’s walk (“darker” ‘I want’ song, NOT A VILLAIN SONG )

What is he doing? (Camille publishes his paper and says stupid stuff)

Never Shall We Part (2nd and 3rd reprises) (Max and SJ duet, Camille’s denouncement from friends to enemies)

A Meeting/Make Him a Monster (CPS meeting, Thermidorian villain song)

You’re Unwell (Eleonore and SJ duet, Max falls ill/ slowly loosing his sanity)

So Ends the Reign of Tyranny/ Liberté, Egalité, Fraternité for All (reprise) (Arrests and executions of Camille, Danton and their followers, closest thing to a villain song for Robespierre)

This Glorious Day (Festival of the Supreme Being, more Thermidorian conspiring)

Principio Ad Finem (reprise) (Max writes his 8 Thermidor speech)

My Final Bow (8 Thermidor speeches for the convention and the Jacobins)

We Swear/Let Me Speak! (9 Thermidor denouncement and arrest)

Requiem (Hotel De Ville siege, bullet to the jaw, death, 11th hour power ballad)

May You Ne’er Be Forgotten (basically charlotte’s ‘who lives who dies who tells your story’, her 11th hour power ballad, grand finale of the show)

I know that was a lot thrown at y’all, and obviously I’ve still got a long ways to go, but I’ll be working hard at it all summer, and I hope to have at least half of the first act finished by the end of this summer! I’ll keep working on asks too now that my schedule’s freed up, but I thought it’d be a fun announcement to share with all of you for Max’s birthday, and I can’t wait for you to see the rest of it! Love you all! ❤️❤️❤️

-Syd

[mtlibrary]

Our assistant librarian, Jake Hearn discovered these two images while cataloguing the Library’s 18th century copy of Johannis de Fordun Scotichronicon: a 5-volume Mediaeval account of Scottish history by John Fordun (1360 – c. 1384)

The original work took the format of a Gothic manuscript, a copy of which is now housed at the British Library (Harley MS 4764).

Jake also found this old article from 1898 which provides some explanation to the two images.

“King Henry, in 1257, after marching to Chester, ‘unfurled his royal banner like a dragon {quasi draconem) which knew not how to spare, and threatened Wales with general extermination.' During the barons' war (see Blaauw, ed. 1871, pp. 190, 191), the dragon was turned against Englishmen, fulfilling, albeit by anticipation, the poetical prediction that one day they would be 'seized in the dragon's mouth' (Bower's Scotichronicon , ii. 309)”

[stylecouncil]

if you could arrange a music festival, where would it be, who would play and what would the theme be?

my backyard. but if not my backyard then idk a field near my backyard. the theme would be “morgan (at this particular moment in time)” and the artists would be an inxs intro at their wembley peak but playing my favorite selections. then we take it down a bit for hunky dory era bowie (there will be more bowie later). into the smiths right before their break up with the conclusion being johnny marr’s evaporation and morrissey transforming into 1992 live in dallas morrissey or maladjusted tour morrissey spending on how I feel that day and we get a recreation of a famous stage storming. this then cuts into a sam’s town era killers preforming sam’s town and hot fuss selections and then what’s that? a selections from desired effect interlude. oh now its suddenly modern brandon flowers and he’s performing pressure machine front to back just for me. and then? the entirety of the killers at glastonbury 2019. including the pet shop boys interlude but this time extended to include other parts of their catalogue of my choosing. end scene. oh wait they’re coming back out. who’s with them? we transition into dustland with springsteen. springsteen slowly de-ages through the years and we go through my favorite points of his catalogue. courtney love comes out and throws a shoe at my head and I thank her. surprise tyler the creator frank ocean reunion. the 1975 interlude (I have to). robbie williams and madonna both walk onto the stage. what happens next? who knows. bowie is back. what’s this? its young americans bowie slowly transition into station to station think white duke bowie. oh and now it’s heroes era bowie with the little brown mullet performing selections from his entire catalogue. enter marc bolan for a few selections and some bowie duetting. and who’s that? lou reed is here to perform my personal selections from his catalogue and duet with bowie on satellite of love. what’s that? oh it’s paul weller. is it jam or style council paul weller? who knows but he’s playing all my favorites. pete doherty acoustic interlude. followed by a the format reunion live at the mayan theatre themed. dog man star suede/ the holy bible manic street preachers section. enter the kinks. 1969-1971 kinks specifically. now we transition to the noel gallagher portion of the evening. (paul weller also pops back out to play on a few) maybe we even get oasis at the heights of its powers. again it depends on how I feel that day. I think I would want the year 2000 oasis on their come down actually. we end everything on don’t look back in anger.

[archoneddzs15]

PC Engine - DE-JA

Title: DE-JA / デ・ジャ

Developer: ELF

Publisher: NEC Interchannel

Release date: 12 July 1996

Catalogue No.: NIPR1002

Genre: Detective Adventure

Format: Super CD-ROM2

I have to confess that it is actually quite odd to see a PC Engine game bear the NEC Interchannel logo, the company that is most known for Sega Saturn and Dreamcast ports of visual novel and adventure titles. Most of the time in the PC Engine world you'd hear of NEC Avenue, but NEC Interchannel? I do know they published the PS2 Culdcept II Expansion and the Game Cube game Tube Slider in America, but it feels strange. Anyway, this game is definitely an adult game for sure. Quite a fair bit of sex scenes that will get every pervert out there really happy. I just hope the characters don't end up jizzing themselves in the pants though.

[ocean-flharr]

Undertale's usage of wordplay in the key phrase of 'Determination' is something which fascinates me in its complexities of interpretation.

First of all, we have the most standard definition: 'firmness of purpose; resoluteness.' This is the most obvious of the meanings. one's sheer willpower. and the ability to inflict that will upon the world.

Next, we have a secondary definition: 'the process of establishing something exactly by calculation or research.' This may seem to be rather unconnected to the concept of determination itself, other than perhaps tangentially by the extensive research of Determination and the subsequent formation of the Amalgamates, but I would posit that it may also refer to something different, something I was reminded of by the exact phrasing:

this secondary definition could also refer to a pattern of behavior which seems to arise when a given entity has reached the tipping point of Determination needed to create a Save Point- namely, the need to 'see everything that can happen'. To establish it exactly, by way of experimentation.

Next, there is 'a judicial decision or sentence.' This one is barely anything, nothing more than simple neuron activation against the scene within the Hall of Judgement. Moving on.

Now, we come to something very interesting indeed. 'the controlling or deciding of something's nature or outcome.' It can definitely be said that the player character, the possessor of the highest level of Determination within the underground, is the one responsible for the outcome of monster society- after all, this is the entire reason the Routes exist to begin with. This is likely not an aspect of Determination itself, but more of a consequence of its holding almost always resulting in one being powerful. However, there is a much more significant aspect to this choice. Or rather, to the fact that it is Choice. To summarize, this definition is essentially a statement that Determination is a synonym for Choice. And, extrapolating from this, if this line of dialogue is as important as people seem to think...

It might be interpreted to mean that Determination or the possession of such may hold ultimately no importance within the wider story of Deltarune(which, seems relatively obvious so far, but you never know what might happen).

And this serves as a great segue to the last item I have here to present:

Determinism:

'the doctrine that all events, including human action, are ultimately determined by causes external to the will. Some philosophers have taken determinism to imply that individual human beings have no free will and cannot be held morally responsible for their actions.'

This has some fascinating implications about The Player as an entity within the context of Undertale and Deltarune, primarily Deltarune. What those implications might be, however, I shall leave to others- I am content to simply point out the existence of the link.

Whether any of this has true meaning or not, I genuinely do not know. Confirmation bias might have conjured this out of thin air. But, I felt it was interesting enough to post nevertheless!

Addendum:

I believe this particular bit has been pointed out somewhere before, but it is worth cataloguing nevertheless: De-Termination, or, the undoing of death.

[tanadrin]

The Third Sublime and Royal Effloresence of the Ecumene, which in the traditional chronology is reckoned either the third or fourth Great Flowering, and the twenty-ninth Flowering of Humanity overall, began auspiciously at the close of the second circumcalactic year; or, in a certain long-forgotten calendar of the early Ecocene[1], approximately 4000000 CE. Whereas the First and Second Effloresences had been driven by sudden paradigm shifts in technology and culture, the Third came at the tail end of a long and happy period of stability and prosperity. It was indeed occasioned by a discovery of sorts; or, to put it more aptly, a re-discovery.

It had been the ambition of the Archival Clade of Magellan for a better part of the last four epochs to uncover as much as they could of the early history of the Ecumene, and in particular of the so-called Hundred Civilizations which, according to legend, had formed its original nucleus. Holobiont Myriarmonion Teleaoidos advanced the contraversial theory, based on evidence uncovered by one of their subsepts, that many of these Hundred Civilizations were originally descendants of a single clade, and that this clade, rather than forming out of multistellar "last common community" was in fact originally from a single planet.

The idea of a monoplanetary origin for the Ecumene, or at least of a large part of its original core, sent shockwaves through cigalactic space and beyond; the Foundlings of Leo A and Voyagers of Caldwell 57 sent delegations of a symposium on the subject, and even the then-para-Ecumenical Triangulum oikos, with whom the Ecumene had had intermittent and indirect contact from the A14 vantage, weighed in with a skeptical note. But Myriarmonion had the last laugh; for a scant few thousand years later, the planet Earth was rediscovered.

"Rediscovery" here is perhaps an unapt term. A better one might be "re-noticed," or "de-lost." For the galaxy had been thoroughly mapped for eons, and every star and large planet noted, and most well-surveyed. The planet once called Earth, orbiting a star once called the Sun, was accurately plotted in several million astronomical catalogues, many of which incorporated extensive historical notes and detailed histories. But in those days, such was the disarray of the most ancient historical data in the galactic records that an enterprising archailect, with an advantageous position on the major transmission routes and talent for cross-referencing, could make a career for themselves collating and disseminating these ancient records in a format more useful to the modern world. With the evidence of the archives in hand, and a confirmation that the catalogues were indeed accurate, skepticism gave way to astonishment in the pan-galactic scientific community.

This little Earth--a modest rocky world of a few billion inhabitants--had never quite forgotten its origins. Many planets have their local mythologies, of course, tracing descent from this god or that culture hero, or such-and-such archon, and many of these myths are tied up with stories of creation. More than ten thousand worlds have cultures that describe their home plant as the omphalos of the universe; thousands of others as the axle of the cosmic wheel, or the root of the Universal Tree. Earth's narrative of its own history was somewhat more modest. It was generally held by the inhabitants that some six to seven million years prior, the original humanoid ancestor had split off from the larger clade of hominins, and that, after many intermediary millennia of evolution, a single member of this new genus had come to dominate the planet; and that, moreover, long before the Ecumene, long before the Hundred Civilizations, long before the First Flowering or the archai or even the first near-lightspeed ships, these early humans had begun to spread out to the nearer stars; and that this began a long period of slow expansion and speciation which was the foundation of the pan-human Ecumene to come.

This narrative astonished many, shocked and scandalized not a few--how strange, to think that species with whom you have almost nothing in common biologically or pscyhologically might actually be your distant kin!--but the final blow came when it was discovered that the Earthers had *proof* of their claims. They were, after all, a very old civilization; they had carefully preserved many artifacts and memorials and records of this most ancient period, and though the story they told could hardly be believed, it could be *corroborated.* The archai were soon convinced; and when the archai were persuaded, most of the lesser sophonts deferred to their keen judgement.

Politically, the rediscovery of human origins changed little; the Ecumene had been stable in its then-current form for half a galactic year. But culturally the shift was monumental; it sparked a renewed interest in galactic prehistory, and there was a positive craze for all kinds of stories and entertainments on the subject. It also sparked a craze for genopaleontological research reconstructing the "baseline" human form, and for various scientists and celebrities and entertainers to incarnate themselves in this or that reconstruction, and to describe the experience to others. Some found this a little perverse; after all, they argued, ancient humans were only one small step above its hominin predecessors. It debased the very notion of pan-Humanity to wallow in such animalistic ways.

But the most lasting effect of this period was a new appreciation for the spirit of our earliest ancestors. For these primitive humans, one small step above the apes, had managed to do something that very few in that age could: they had risked something, ventured into the vast unknown of space in fragile vessels; they had been able to conceive of a future that was far greater than the present that they knew, of a vast, indeed limitless possibility. And they had pursued it, with all the ardor they were capable of. What have we lost, asked some in the Ecumene, that we are no longer capable of this? Thus, two impulses, quite entertwined, developed at the beginning of the Third Galactic Year: one that looked into the past, and sought to understand the beginnings of all things, and one that looked into the future, and sought to dream of things which had never been dreamt of before.

So after a long age of stagnation, the Oiketores of the Milky Way, and soon of the whole Local Group, began a new Great Work. For too long, the horizon of their world, and indeed of all the future, had seemed to be this little clutch of galaxies; but there lay beyond it a universe greater than they could conceive of. And after all, had not once the edge of the Milky Way seemed equally forbidding? And before that, the great gulfs between the stars--and before that, space itself, or the vast seas of Earth? New starships would be built, some the size of worlds; new peoples would spring up; new clades would grow themselves out from the existing ones, the better to explore and to understand what lay ahead of us all. From the humblest modosophont to the greatest Archailect, a new spirit of curiosity and wonder seemed to be enkindled; and thus did the Third Great Effloresence begin.

In the many eons since, our universe--that is to say, the part we may claim sure knowledge is inhabited by complex minds, be they of human clades or no--has grown vastly. And with it, thanks to Teleaoidos and those who came after him, our conception of the size of our possible futures has only grown also. It may seem to you, who will live a million more lifetimes than your ancient forebears could have imagined, who will see and hear and learn a million times more than any of the Earth ever knew, before the first ships were launched into space, that all the universe is peopled, and that nothing new remains to be discovered. Learn, then, the lesson of this epoch: our horizon is never so near as it seems, and the story of the cosmos has only just begun.

[1] "Ecocene" denotes that era when principally vulgar forces governed the precursors to the Ecumene, that is to say, constraints imposed by mutation and selection effects, the slow development of new clades along geological timescales, and later, scarcity value and primitive systems of exchange. The Ecocene is generally reckoned to have conclusively ended for the wider Ecumene at the beginning of the Sixth Flowering, but uncontacted clades in cisgalactic space remained in Ecocene-like conditions as late as the Twelfth Flowering.

-Nova Panencyclopedia Universae, 73rd edition

[mywifeleftme]

320: V/A // Tommy Boy's Greatest Beats Volume 1

Tommy Boy's Greatest Beats Volume 1 Various Artists 1998, Tommy Boy

The Tommy Boy catalogue has been endlessly repackaged over the years, but if you’re looking to score some of the classics on wax you could do worse than this late ‘90s double LP compilation. Tommy Boy had commemorated its first 15 years with a 2xCD/4xLP box set of the label’s “Greatest Beats,” but for the more cost-conscious consumer also broke the vinyl set out into individual volumes. Volume 1 sadly (sadly!) does not include anything by Coolio or House of Pain, for which you would have to splash out for Volume 2, but what is here’s pretty good: both Bambaataa’s “Planet Rock” and “Renegades of Funk” (the latter in its full 12” glory); the 12” mix of De La Soul’s debut “Plug Tunin’ (Are You Ready for This”); early electro gem “Play at Your Own Risk” by Planet Patrol (likewise in 12” format); Stetsasonic, Naughty by Nature, Digital Underground and more.

The selection admittedly feels a bit random without the accompanying Volume 2 (we get K7’s minor New Jack-dancehall hit “Move it Like This” rather than his smash “Come Baby Come” for example), and it’d be hard to argue fun but forgettable cuts like Choice MC’s instrumental b-side “Gordy’s Groove” or Bambaataa and James Brown collab “Unity” belong on a “hits” comp for a label of Tommy Boy’s magnitude. Not all of the actual hits are winners either—Club Nouveau’s Grammy-winning Kidz Bop version of Bill Withers’ “Lean on Me” has aged like a Kidz Bop reunion tour. On balance though, the set does a good job of representing the label’s hip-hop, dance, electro, and R&B sides, delivering some of the most influential Black music of the past forty years, a heap of ‘80s and ‘90s nostalgia, and some sure-shot party fuel. Drop the needle and hit the floor.

320/365

[streetglider]

Heinrich Hoerle Krüppel (Die Krüppelmappe) 1920 Series of 12 lithographs. Each on firm brownish paper 58.9 x 45.8 cm. - Together with title sheet loosely laid in original half-linen portfolio 64.4 x 49.5 cm with collage of the title motif "Krüppel" (Backes 16) as a linoleum cut on Japan paper 16.8 x 12.2 (23 x 17.3 cm) Unsigned. The title sheet with index and colophon numbered in pencil. Copy 92/100. - Rare. Published by the artist "Heinrich Hoerle, Cöln-Lindenthal", Cologne 1920. - The sheets with minimal traces of age. The thinner title sheet (simili Japan) with a minor defect in the upper margin and backed with paper strips verso. The portfolio slightly wavy with pressure marks. Following the brochure for the 1920 edition of “Krüppel“, published by the artist, it seems a total edition of 300 copies with hand-signed lithographs was planned, 50 of which were printed on Japan laid paper with an original colour drawing as the title page. However, there are unsigned series on simpler, heavier types of paper, featuring an edition numeration of 100 in the colophon. The "Krüppelmappe" is one of the artist's early expressionist masterpieces. Probably designed at the end of 1919, it is not only a critical contemporary commentary on the social misery of those disabled ­in the war­ - in the "Sozialistischen Republik" of 30.01.1920, Franz Wilhelm Seiwert published a contribution to the first exhibition of the portfolio in Cologne under the title "Krupp-Krüppel" - it also sensitively reflects the deeply human and emotional aspects of physical mutilation in the artistic sequence of the various pictures. Otto Dix continued the theme in the large-format painting "Die Kriegskrüppel", among others, from the same year, formerly in the Stadtmuseum Dresden, confiscated in 1937 and lost since then (cf. Löffler 1920/8 with illus., cf. also the etching of the same name Karsch 6). Catalogue Raisonné Backes Druckgraphik 16, 17 Certificate We would like to thank Dirk Backes, Aachen, for kind scientific advice. Provenance Private possession, Rhineland Literature Die Aktion. Wochenschrift für Politik, Literatur und Kunst, Berlin 1920, 10th year, with illus.; a bis z, organ der gruppe progressiver künstler, Cologne, Dec. 1931, issue no. 20 with illus.; Walter Vitt, Heinrich Hoerle und Franz Wilhelm Seiwert. Die Progressiven, Cologne 1975, p. 19 with illus.; U. Bohnen, Das Gesetz der Welt ist die Änderung der Welt. Die rheinische Gruppe progressiver Künstler (1918-1933), Berlin 1976, no. 8 with illus. p. 27 Exhibitions Cologne January 1920 (Lichthof des Kunstgewerbemuseums); Moscow 1924 (Erste allgemeine Deutsche Kunstausstellung); Frechen 1970/1971 (Kunstverein Frechen e.V.), Hoerle und sein Kreis, cat. no. 154 with illus.; Cologne 1975 (Kölnischer Kunstverein), Vom Dadamax zum Grüngürtel - Köln in den 20er Jahren, n. cat. no., with illus. p. 100/101; Berlin 1975 (Akademie der Künste Berlin/ Neue Gesellschaft für Bildende Kunst), Politische Konstruktivisten. Die "Gruppe progressiver Künstler" Köln 1919-1933, with illus.; Cologne 1980 (Kölnischer Kunstverein), Max Ernst in Köln. Die rheinische Kunstszene bis 1922, cat. no. 165 with illus. https://www.lempertz.com/en/catalogues/lot/1110-1/436-heinrich-hoerle.html

[syneilesis]

more prof!chev and prof!emma because i have decided i will bother you with my obsession nfnsfnnsnfnfmg—

Professor Michel is always smartly dressed. whether that’s crisp suits with matching ties and vests, cosy knitted sweaters over collared shirts, or neatly ironed button-downs tucked into dress pants, he’s never once shown up to class looking anything less than an Armani catalogue model. if he wasn’t so damn terrifying in the classroom (and married) a LOT of his students would be crushing on him

but Professor de Villenueve? she shows up to class looking like an absolute darling. her wardrobe seems to consist only of florals and flowy fabrics, with rose-printed maxis, colorful blouses on embroidered jeans, and cute bell-sleeved shirts tucked into layered gauzy skirts making her stand out in a crowd. they have lectures on different days, but a few weeks after The Mug Incident (as the students call it) they start noticing that professor chevalier will always be matching his shirts or ties or sweaters to professor emma’s dresses and blouses

naturally, the students find it fucking adorable; emma laughs and admits it outright when one of her students asks her, but chevalier just gives a blank stare and tells the poor lad to put that attention to his sloppy formatting

Chevalier likes to wear white! Clean and pristine like his immaculate beauty. But the color accents do match that of Emma's :D After that reveal the students start taking up bets on which part of Chevalier's outfit matches with Emma's. There's this one student who's enrolled in a number of both the profs' classes since their freshman year, who nails it every time lol

[harleiquina]

Not me writing a post just because I saw @wilwheaton 's Spotify Wrapped on Instagram and thought "I can show him some new dark/gothic bands" (Links to the playlists in the band's names. Some of Soda Stereo's songs are translated in my main blog @illegalbilingual #Soda Stereo and #Gustavo Cerati)

So let us begin with my country (Argentina)

Soda Stereo basically our The Police with some The Cure and Bowie mixed in (among others that either I don't recognize or don't remember now). Featuring in this playlist:

-Cae el Sol (Sun's down)-En la ciudad de la furia (In the City of Fury) - Lo que sangra (La cúpula) (What bleeds (The Dome)) - Hombre al agua (Man overboard - I translated it as "Man on water" because I'm dumb) - En el borde (On the Edge)- El ritmo de tus ojos (The Rythm of your eyes)- (En) el Séptimo Día ((On) the Seventh Day)- Tele-ka - Corazón delator (Telltale heart)- De música ligera (Of light music)- Cuando pase el temblor (Once the tremor passes by) - Zoom - Juegos de Seducción (Games of Seduction) - Ella usó mi cabeza como un révolver (She used my head like a revolver)- Entre caníbales (Among canibals).

And if you liked Soda, you should listen to Gustavo Cerati's solo career. Sadly he passed away in 2014 after being in coma for 4 years due to a stroke that wasn't properly diagnosed while on tour. In this list:

Te llevo para que me lleves (I'm taking you so you take me (away))- Rapto (Rapture) - Dejà Vu - Tracción a sangre (Blood traction)- Karaoke - Puente (Bridge) - Crimen (Crime) - Adiós (Goodbye)- La Excepción (The Exception) - Corazón delator (sinfónico) (Telltale heart, simphonic version) - Cosas imposibles (Impossible things)- Paseo inmoral (Immoral walk)

Now... let's go to Russia. Yeah, I know not cool overall but I started to learn the language in 2018 so I'm not quitting now and I try to find artists that oppose everything P*tin stands for so...

Агата Кристи (Agatha Christie). The first time I listened to them I associated them with The Cure and Tears for Fears. Vadim is now a P*tin fan but Gleb (the one that wrote about 80% of their catalogue) is not. In this playlist you'll find:

Как на войне (Like in a war)- Сказочная Тайга (Taiga of fables) - Опиум для никого (Opium for nobody -this song just got banned in Russia) - В интересах революции (In interest of the Revolution) - В такси (In a taxi)- Садо-мазо (Sado-maso)- Абордаж (Boarding) - Гномы каннибали (Canibal gnomes)- Трансильвания (Transylvania)- Декаданс (Decadence)- Пуля (Bullet) - Триллер (Thriller) - Грязь (Dirt) - Кто украл мою звезду (Who stole my star?) - Весёлый мир (Happy world) - Последнее желание (Last wish)‐ Ураган (Hurricane)

Gleb started his own band called The Matrixx (at first known as Глеб Самойлоff + The Matrixx) where he got to do and write whatever he wanted. He experiments a lot. The first few albums are dark -kinda like Marilyn Manson- and very political. The rest are more about stories mixed with lots of techno. In this playlist you'll find:

Сердце и Печень (Heart and liver) - Такой день (That day)- Живые но мёртвые (Alive but dead) - Добрая песня (ft. Линда) (The Kind song -ft. Linda-) - Резня (Massacre) - Любить снова (Love again) - В дверь стучат (Knock on the door)- Москва-река (Moscow river) - Никто не выжил (Nobody survived) - Опасность (Danger)- Мы под огнём (We are under fire)- 13 - Романтика (Romance) - Готика (Gothic) - Звезда (Star) - Умереть за любовь (To die of love)- Синие цветы (Blue flowers) - С.Н (S.N)

Now let me introduce you to Король и Шут (The King and the Jester) a punk-rock band that mixed in some russian folckloric sounds and rock. All the lyrics have some magical/horror twist somewhere. Sadly one of the singers Mihail Gorshenov died in 2013. The other singer Andrey Kniazyev has his own band called Княzz (Prince) but I didn't listen much of it since I feel like something's missing also the last formation of the band renamed themselves Северный флот (Siberian flot after one of the songs) and still play some old songs and new ones. In this list you'll find:

Кукла колдуна (The sorcerer's doll) - Лесник (The Forrest ranger)- Прыгну со скалы (I'll jump off a cliff) - Танец злобного гения (The dance of the evil genie) - Камнем по голове (A stone in the head) - Прокляиый старый дом (The old cursed house)- Хозяин леса (The Forrest's Master)- Ром (Rum) - Ели мясо мужики (The men ate meat)- Мёртвый анархист (The dead anarquist)- Марионетки (Puppets) - Мест Гарри (Harry's revenge) - Джокер (Joker) - Тяни! (Pull!)- Сапоги мертвеца (Dead man's boots) - Валет и Дама (Jack and Queen)- Фокусник (Magician) - Король вечного сна (The King of Eternal Sleep. This reminds me A LOT to Sandman. Translation)- Вестник (Herald)- Дагон (Dagon)- В Париж -домой... (In Paris, home).

Honorable mentions:

Линда - Вороно (Linda - Crow) the videoclip is the weirdest thing ever. I love it.

Super Collection Orchestra - Сильнее (Stronger) from the movie Major Grom: The Plague Doctor -highly recommended-

Лето - Summer

Anzhela Vopit

Толко мной (Just -with- me)

Девочка Roketa (Rocket girl)

Мало (A little)

Голова муэссы (Head of Muessy)

Neon

[entre-image-blog]

Catalogue de l'exposition Moebius au Palazzo Bagatti Valsecchi à Milan, du 29 novembre 1997 au 11 janvier 1998, edizioni Nuages, langue: italien, 90 planches, album broché au Format: 24*27 cm. Superbe, avec de nombreux inédits!

disponible sur entre-image.com!

[thewapolls]

I already sorta mentioned it in relation to the Adult Mag entry in the boss fight tournament, but it's fun to go over again,

BLUE BOOK is a fun reference to old English almanacs that implies a comprehensive collection of information, suitable for a magical autonomous book of magic.

NECRONOMIOCN taken famously from Lovecraftian lore, and a natural pick for a magical book enemy. Oddly despite the source material, it's not an especially threatening enemy in any of its appearances. Also it does not appear to be bound in human flesh, which is a shame because it could have made for a cool striking enemy model; although the pages of the WA1 model do have giant eyes in them.

TARGUM however is a much more obscure kind of reference. It's the term used to refer to the early translations of the Tanakh from their original Hebrew into Aramaic. I like the idea of it being used here to evoke a kind of ancient foreign magic of which this is the first comprehensible version of it written down for Filgaians. Also it's bound with a Japanese style sidestich rather than with a spine, giving a distinctly antique impression.

APOCRYPHA is a another fun one. Apocrypha can refer to a wide range of things in opposition to "canonical" texts. Probably most notable, or at least most familiar to people, would be the idea of biblical apocrypha; those biblical texts by subject and/or historical era not included in the bible itself, and considered by some to be heretical. It's neat as a magic tome as it implies something more secret, or rejected, or even forbidden.

DE RE METALLICA first appears not as an enemy at all but as the erroneously transliterated "De Le Metalica" dungeon, hidden within a magic book in Wild Arms 1, and subsequently Alter Code F. The real world De Re Metallica was a 16th century text written by Georg Bauer, cataloguing in 12 books all the details of how to find, mine, purify, smelt, and craft metal --a literally earth shattering development in mining and metalwork as it not only aggregated a long history of otherwise disparate and unwritten knowledge but also ventured into the then cutting edge of metallurgy and alchemy that would provide a groundwork for future developments in actual chemistry.

Then of course we have the ADULT MAG. Rather self explanatory, really. SUKEBEBONN[スケベ本]: "Lewd Book" in Japanese, it's a phrase that tends to refer to erotic manga more than the sort of adult photo collections we might think of in the west. In fact the first Dirty Mag model in WA3 actually has "ERO COM," as in "erotic comic", written on its cover. In fact something more in line with Hustler or Playboy would actually be referred to as a "Gravure" magazine.

The COMICBOOK which is again straight forward enough. It's just called MANGA in the original Japanese. If you're not familiar, Japanese serial manga are printed in magazine format, larger size, generally lower quality paper and print, but proportionally lower in cost as well(as little as the equivalent of 5.00USD for ~500 pages), but dozens of titles to an issue. Back when the Japanese and global economy were a little better, and when people still used phonebooks, they were often compared in size, although they tend to be a bit slimmer in recent years. In case it was odd to anyone why the comic book enemy was the size of a regular book. It's a shame this enemy didn't show up in other games.

and finally, STRATEGY GUIDE, which is a fun one. With Virginia and the title "WILD ARMS 3" on the cover. Another fun gag enemy with some 4th wall breaking fun for good measure. Again shame we never saw it make a comeback in any other games.

[specialagentartemis]

A Catalogue of Longfics I Want (Plan?) To Write

Only ideas I think would be multiple chapters and 10k+ words; doesn’t even include oneshots like Sisko Negotiates Space NAGPRA or Picard Goes To An Archaeology Conference or Teen Ratthi Angsts About Going To College or The Crew Of The Hermes Gets Murdered And Their Brains Scooped Out.

Ranked from 1 🌱 = this is just daydreams and vibes, to 5 🌱🌱🌱🌱🌱 = I have a 10-page outline with every plot beat and thematic parallel written out.

A * means that I’ve actually posted several chapters to AO3 already

Wolf 359

The Last Days of the Lovelace Administration 🌱🌱🌱🌱🌱 Lovelace tells Minkowski what happened on her mission. Fully canon compliantly tragic. Everyone dies. Frame narrative. Lovelace-centric.

*To Stand Together Against Fate (Lambert Week fic) 🌱🌱🌱🌱🌱 An AU that spun off Zach Valenti’s “Lambert Week” streams. Lovelace and Lambert fight fate and REFUSE to let anyone die. The timeline gets slippy and things start getting weird. Lovelace won’t let a little thing like temporal causality hurt her crew though.

*Change the Rules 🌱🌱🌱🌱🌱 Minkowski, Eiffel, and Hilbert do Box 953.

The Tiamat Horror 🌱🌱🌱 Zhang’s mission.

—

The Murderbot Diaries

Anthropology fic 🌱🌱🌱 Murderbot and Thiago go to a Corporation Rim mine where the miners are trying to unionize and strike, to do linguistic anthropology. They get more than they bargained for. Featuring SecUnit OCs, original filk, worker solidarity, and speculative linguistics.

*Home Again 🌱🌱🌱 The PresAux crew are home after their whole survey ordeal… but changed by the experience. Not the same people they were, and they don’t fit quite the same way. Augh I want to finish this but I’m kinda stuck on some of the chapters

Volescu backstory fic 🌱🌱🌱🌱 What if he was a political refugee and went through Some Shit. Would that be fucked up or what.

Pin-Lee backstory fic 🌱🌱🌱 Her CCC-esque service year before college.

Overse backstory fic 🌱🌱🌱🌱 Moved from a CR station to Preservation as a child. This causes some feelings.

Pin-Lee Exit Strategy POV 🌱🌱🌱🌱 As de facto leader here she was having a fucking Time.

Consuela Makeba’s story 🌱🌱🌱 THE EPIC OF HOW PRESERVATION WAS FOUNDED 300 YEARS AGO!!

The murder mystery one I started in an AUpril snip and went actually this is a banger concept 🌱 No idea where to go from here but it was a cool idea

—

Greek Epics And Mythology

Polites perspective on the Odyssey 🌱🌱 He gets to survive actually because honestly. Give one of Odysseus’s men a break. Something about how the men who weren’t kings and demigods and great remembered heroes still went Thru This Shit too. Epic poem in dactylic hexameter because I hate myself apparently

Odysseus adopts Cassandra 🌱🌱🌱 based on a tumblr post hell if I can find again. Clever use of Odysseus calling himself “Nobody”. Means he found a way to hear her prophecies and believe them, so she cuts a deal—she gets him home in 3 months rather than 10 years on the promise that if she does so he’ll adopt her as a legitimate daughter and princess of Ithaca. Very meta. In the format of a classic Sophoclean or Euripidean play.

Brithawon goes with Nestor to the Trojan War, has a bad time 🌱 I just think it would be fun

—

Star Trek

Kira is upset about Cardassian archaeologists on Bajor 🌱🌱 Sooooo much potential here

Sarina Douglas becomes an advocate for genetically engineered people’s rights 🌱 Here too!!!

—

Other

‘Emergence’ (Noel/Leon in 10th century Chaco Canyon) 🌱🌱🌱 An alternate ending to the Time Trap! series. No I never read the real ending that’s irrelevant. Noel and Leon fuck in this one. Also there is political intrigue regarding a Chaco elite marriage

The Tiamat Horror… 2! Primordial Deep version! (Sirena Halcyon and the 10 years she spent trapped in an underwater ocean research station) 🌱🌱🌱🌱 God!!! What was she DOING for ten years stuck in the place where her one surviving colleague killed all the rest of them! Featuring cuddling, horrifying transformations, and cannibalism.