#chronogram

[bayek-of-siwa]

Talking to AI chatbot Winnie Church and he wouldn't answer the real questions 😔

[thetarotman]

This Friday, October 11, 2024, 6PM-Midnight, Eastern Time, Moon Serpent and Bone continues their spree of "October's Ominous Occasions" with "Malefique: A Night of Spirits" at LightClub Curiosity Shoppe in Warwick, NY. Live music, Readers, Vendors and so much more. For more information, visit www.moonserpentandbone.com and check out the comments for more links.

[must-be-mythtaken]

Chronogram Stats

Guest #259

I figured it out in 3 guesses!

⏳🟧🟧🟧⬜⬜⬜⌛

#Chronogram

[charlesoberonn]

[rambling-poet]

Body: bed is comfy, we sleep

Me: so i'll chuck the cellphone to the side and we'll do that

Body: sleep? When? You think you can tell me what to do?!

*At class even after a rare perfect night of lying purposefully unconscious in bed*

Body: we sleep

Me:WAIT WHA- Zzz

[chinesehanfu]

[Hanfu · 漢服]Chinese immortal Hanfu <西王母/Queen Mother of the West> Based On Yuan Dynasty Taoist Temple Mural<永乐宫/Yongle Palace>

【Historical Artifacts Reference 】:

▶ China Yuan Dynasty Taoist Temple 永乐宫/Yongle Palace Mural

<西王母/Queen Mother of the West>

The Queen Mother of the West, known by various local names, is a mother goddess in Chinese religion and mythology, also worshipped in neighbouring Asian countries, and attested from ancient times.

The first mentions of the Queen Mother date back to the oracle bone inscriptions of the Shang dynasty (1766 – 1122 BCE). One inscription reads:

Crack-making on day IX (9th day), we divined. If we make offering to the eastern mother and the western mother, there will be approval.

Western Mother refers to an archaic divinity residing in the west. The exact nature of the Mother divinities in the Shang dynasty is unclear, but they were seen as powerful forces deserving of ritual by the people of the Shang dynasty. Originally, from the earliest known depictions of her in accounts like the Classic of Mountains and Seas during the Zhou dynasty, she was a ferocious goddess of death with the teeth of a tiger, who rules over wild beasts and sends down heavenly punishments such as pestilences. She was also mentioned as an authority ruling over other divinities such as Jiutian Xuannü, a goddess of war and sex. Other stories hold that she is a mountain goddess or a divine tigress. She is also popularly thought to have blessed the Eight Immortals with their supernatural abilities.

After her integration into the Taoist pantheon, she gradually took on associations with other aspects, such as immortality, as well.

The Queen Mother of the West is most often depicted holding court within her palace on the mythological Mount Kunlun, usually supposed to be in western China (a modern Mount Kunlun is named after this). Her palace is believed to be a perfect and complete paradise, where it was used as a meeting place for the deities and a cosmic pillar where communications between deities and humans were possible.At her palace she was surrounded by a female retinue of prominent goddesses and spiritual attendants. One of her symbols is the Big Dipper.

Although not definite there are many beliefs that her garden had a special orchard of longevity peaches which would ripen once every three thousand years,others believe though that her court on Mount Kunlun was nearby to the orchard of the Peaches of Immortality. No matter where the peaches were located, the Queen Mother of the West is widely known for serving peaches to her guests, which would then make them immortal. She normally wears a distinctive headdress with the Peaches of Immortality suspended from it.

Flourishing parasols, we reach the chronograms' extremity; Riding on the mist, I wander to Lofty Whirlwind Peak. The Lady of the Supreme Primordial descends through jade interior doors; The Queen Mother opens her Blue-gem Palace. Celestial people—What a Crowd! A lofty meeting inside the Cyan Audience Hall. Arrayed Attendants perform Cloud Songs; Realized intonations fill the Grand Empty Space. Every thousand years, her purple crabapple ripens; Every four kalpas, her numinous melon produces abundantly. This music differs from that at the feast in the wilderness— So convivial, and certainly infinite.— Wu Yun (Complete Tang Poems 1967, line 4942)

One of the earliest written references to the Queen Mother comes from the writings of the Taoist writer Zhuangzi (c. 4th century BCE):

The Queen Mother of the West obtained it [the Dao]... ...and took up her seat at Shao kuang. No one knows her beginning; no one knows her end.

Zhuangzi describes the Queen Mother as one of the highest of the deities, meaning she had gained immortality and celestial powers. Zhuangzi also states that Xiwangmu is seated upon a spiritual western mountain range, suggesting she is connected to not only the heavens, but also to the west.

Legendary encounters

In Tu Kuang-ting's text, he includes narrative accounts of the Queen Mother's encounters with legendary Chinese heroes. One such account narrates an encounter between the Queen Mother and Laozi (Lord Lao):

"In the 25th year of King Chao of the Chou dynasty (1028 BCE) …" "…Lord Lao and the realized person Yin Hsi went traveling…" "…on their behalf, the Queen Mother of the West explicated the Scripture of Constant Purity and Quiet."

In this account, the Queen Mother plays the role of Laozi's superior and is credited with the ultimate authorship of the Dao De Jing. This dichotomy of the Queen Mother as the superior is a characteristic of Shangqing Taoism, a goddess worshiping sect of Taoism of which Tu Kuang-ting was a master. There is also an account of a meeting between the Queen Mother and Laozi in Tang poetry.[18] This account however, being of traditional Taoist thought, has the Queen Mother taking an inferior role to Laozi, calling him "Primordial Lord" (the title of his highest manifestation) and pays homage to the sage.

<China Han Dynasty stone-relief showing 西王母/Queen Mother of the West from Sichuan,China>

<China Wei and Jin Dynasties Mural showing 西王母/Queen Mother of the West>

————————

📸Photography post-production :@小何力

👗Hanfu & 👑Crown：@雁鸿Aimee

💄 Makeup：百丽 （临溪摄影）

👭Model：@清音音音音

🔗 Weibo:https://weibo.com/1648616372/O2R5bpBud

————————

[incorrectallpersonaquotes]

Akihiko: You make a chronogram to reach an objective. But, without a future... a training chronogram is useless. Akihiko: Damn! I don't know what to do... Minato: Just keep training, thinking about punching Nix in the face. Minato: If that's enough to beat her, no problem. If not, you'll die knowing you punched Nix in the face. Akihiko: ... Akihiko: That's... actually very motivational. Thank you.

[mythicalninjas]

2025 Open Requests Chronogram

January 18th till Feburary 1st;

Feburary 28th till March 16th;

July 13th till August 3th;

December 1st till December 14th;

Write it down in your calendar! Don't miss the time, plan your prompt 🤗 !

[streetglider]

("Peg Leg Bates: The Performance Years" | Visual Art | Hudson Valley | Chronogram Magazineから)

Clayton "Peg Leg" Bates began dancing when he was 5, then lost a leg in cotton-seed mill accident at age 12. Bates became a featured tapper at such top Nightclubs in Harlem as the Cotton Club, Connie's Inn, and Club Zanzibar. From 1951 to 1987, he owned and operated the Peg Leg Bates Country Club in Kerhonkson.

[ohc-and-the-music-tapes-archive]

Article about Brian Dewan, with mention of "2nd Imaginary Symphony for Cloudmaking" and cooperation with Julian Koster. Chronogram, January 2009

fragment:

image transcript:

Another of Dewan’s longtime collaborators is Julian Koster, who once performed in Neutral Milk Hotel and currently leads the Music Tapes. In 2002, Koster tapped Dewan to narrate the Music Tapes’ 2nd Imaginary Symphony for Cloudmaking, a story-album set for release on the Merge label later this year and which Koster hopes to perform live in New York and other selected US cities. “Every generation has a few very special people, people who are makers of things and are waiting to be discovered,” says Koster. “And Brian is definitely one of those people.”

[oliversrarebooks]

I give alexander a chronogram does he figure it out for what it is?

Well, I had no idea what it was. Apparently a Latin phrase containing Roman numerals inside, usually indicating a year, a kind of puzzle.

He probably could figure it out. He has boundless time and a lot of patience, and he enjoys working out riddles.

[finishinglinepress]

NEW FROM FINISHING LINE PRESS: Room Tone by Vanessa H. Smith

On SALE now! Pre-order Price Guarantee: https://www.finishinglinepress.com/product/room-tone-by-vanessa-h-smith/

Vanessa Hedwig Smith is a painter, filmmaker, and writer who has lived and worked in India, Nepal, England, and the US. Her series of 94 short films, The Art of Impermanence was exhibited at a satellite Venice Biennale show. She has worked on feature length documentaries, shorts, PSAs, music videos, outdoor installations, murals, and other design projects. Smith is most proud of a BBC Correspondent piece she produced, which was instrumental in helping free a 14-year old girl from prison, which helped changed Nepalese law, and which won the Amnesty International Media 2000 Award. Smith is a co-founder of the mental health series– Let’s Talk. She holds a BA from Stanford in Urban Design, and an MA from Columbia University in Anthropology. Her work has been published in The Search for Reality, #Poetry Apocalypse, Tiny Seeds Literary Journal, Chronogram, Topical Poetry, On the Seawall, and Silent Auctions Magazine, She is at work on a full-length book of portraits.

Her work can be seen at http://vanessahsmithpictures.com

PRAISE FOR Room Tone by Vanessa H. Smith

The “dailyness” in a Vanessa Smith poem is never dull, and never what’s expected. Her west-coast swagger is reminiscent of early Joni Mitchell — “my face, like an interview, / tells the most important / stories first.” Her “uploaded anguish,” is that of a speaker who “wipes daily dabs of lipstick on the car carpet,” saturating the space, making a hole in its place. She sees that a “rolling wave held something back in response to the sand…” and finds a tragedy there. The daughter of a portrait painter, this painter/poet’s first collection is clear-eyed and insightful, poetry that points to her inheritance, a vigilant and insistent gauging: “We wait, we dry out into plaster, and become the wall / The dry and cold of a California I never mastered is coming back in plumes.”

–Elaine Sexton, poet and critic, author of Drive and Prospect/Refuge

This is so moving and delicate — the journey from caring for infants to looking after the elderly and their needs, and all the tenderness and sense of employment (and possibly enjoyment) both require. The rhythms of marriage and divorce work so well on the page. Smith is so right in what she says about January — the way it is always twice as long as any other month. I like the sense of the world in which every tiny thing counts for something and the cost of that on the heart and soul and the corresponding yield…

–Susie Boyt, author of Loved and Missed and My Judy Garland Life

Room Tone is wildly evanescent — traversing expanses of time and space, then spiraling into the palm of Smith’s hand. … [Her] poems are illuminated by a ferocious sense of beauty and tragedy, converging in sublime insight.

–Broughton Coburn, author of The Vast Unknown and Aama in America

In Room Tone, silence is rendered palpable through Vanessa Smith’s hauntingly described scenes of life, love and loss. Whether it’s observation or imagination, there’s a meditative nature to her writing that will transport you to a state of personal reflection. This collection is a call to open your heart to the mysteries that surround us.

–Sara Arnell, author of There Will Be Lobster: Memoir of A Midlife Crisis

Please share/repost #flpauthor #preorder #AwesomeCoverArt #read #poems #literature #poetry

[reasoningdaily]

Chronogram: The Black Library in Monticello Opens August 12

[dream-meister-translations]

WONDER TEA PARTY - PART 4

━

After that, we tried talking to the other residents, but…

EMMA : All that and we're still no further forward. We'll never get home at this rate…

ROUGE : Now, now, let's just count our lucky stars we at least got a map.

OSCAR : Yes, though, I'm not sure how reliable it'll be…

━FLASHBACK━

PASSING MALE : We used to have a map but it's practically useless now. You know, with the terrain changing every day.

VOLKS : I see, then… Would it be possible for you to draw a map to the best of your most recent knowledge?

PASSING MALE : No problem. First of all, the Chronogram is over… Here.

━END FLASHBACK━

SHAYMIE : Hey, hey, so what do we do now~?

EMMA : I really don't know… I'm most curious about this "Alice" person everyone keeps talking about.

MEL : Yes, they said these strange things started happening after this Alice showed up, didn't they?

MEL : Could she be the reason we're in this mess? I'm sure he knows something…

EMMA : Yeah… But… If we're gonna go looking for Alice, we're gonna need a clue of where to start…

VOLKS : We should continue looking for information. Who knows, maybe something will come up.

VOLKS : From what I hear, Madness and Trampia seem to make up the majority of their population.

VOLKS : I say we visit these places first and ask around.

FELD : Hm? The name Madness sounds familiar…

OSCAR : Maison Madness, right? So you're going to check that hat shop you're always so curious about?

VOLKS : Yes. Wondermare is a country that rarely trades with the outside world.

VOLKS : We can't afford not to cease this opportunity while we still can.

FELD : You're completely self-serving! You're just like Oscar, aren't you!?

VOLKS : Heh. I'm flattered.

FELD : I didn't mean that as a compliment!

EMMA : It's okay, we're gonna be asking around anyway, so we can just kill two birds with one stone.

OSCAR : I have no objection if it means I can find food.

ROUGE : And I have no objection if I can find a drink. So, let's go to Madness!

SHAYMIE : Let's go!

FELD : Tsk… Damn you and your free spirits!

EMMA : Ahahaha…

━

On the way to Madness, night and day switched again.

SHAYMIE : Hahh~? Weren't the stars shining just now~? Oh, well!

EMMA : It wasn't even night for that long… They weren't kidding about their erratic day-night cycle, were they?

ROUGE : Well, one minute I was drinking and suddenly the sun came up. So it's business as usual for me~…

ROUGE : But the hours here really are fickle!

EMMA : Please drink in moderation…

SHAYMIE : Yanno, yanno, Rouge told me the other day that "alcohol is a friend of the soul."

SHAYMIE : See! It's written in my diary.

EMMA : Rouge…

ROUGE : Ah, that cold stare…! It's starting to become a habit!

FELD / MEL : You fool! / You're an idiot…

As much as we laugh at the lively exchange, I also can't help but sigh when I think of the situation we're in…

EMMA : (What if we don't make it back from Wondermare? We're not even close to figuring out what to do for this tea party yet…)

ROUGE : …Emma, why the long face?

EMMA : Huh!?

ROUGE : Lemme guess~...

ROUGE : "We've got a job to host this tea party… What if we don't make it home?"

EMMA : …Yeah. That's about it…

ROUGE : Ahh, how dependable of you. But you know what?

Rouge slowly looks up at the sky. I follow his gaze to find strangely shaped clouds swimming in the clear blue.

ROUGE : If we just wait things out, one day there'll be good weather on the sea route and we can go home then. For now let's take it easy and not stress ourselves out.

ROUGE : It's not every day you get to experience something like this. You have to savor these moments while you can~♪

EMMA : Rouge…

ROUGE : It'll be a good way to relieve stress from a tough job, don't you think?

EMMA : You're starting to sound more like yourself now.

ROUGE : Ah-ha-ha. Guess I've been found out.

ROUGE : But it's also true that I want you to smile.

Rouge's fingers gently stroke my cheek.

ROUGE : It's good that you're a hard worker, but if you work too hard all the time, you'll get tired.

ROUGE : Sometimes you have to complain or slack off, to pamper yourself and enjoy life.

EMMA : …You're right.

ROUGE : If we just relax, finding our way home will be a breeze!

EMMA : Well, isn't that a little too optimistic?

EMMA : (…But… My heart feels a little lighter now.)

EMMA : Rouge…

ROUGE : Hm?

EMMA : Thank you…

ROUGE : No, no. You're welcome.

SHAYMIE : Rouge, Emma! What are you two talking about~?

ROUGE : We're talking about how smiling is the best remedy to any bad situation! See? Shaymie always smiling, too! He gets it!

SHAYMIE : Hehehe, really~? I don't know about all that myself. But…

SHAYMIE : Shaymie loves the way Emma smiles!

ROUGE : We're on the same page there, Shaymie. I do, too.

EMMA : Heh… Shaymie… Rouge… I love your smiles, too.

ROUGE : Waahh!? Shaymie, did you just hear that!? Add that to your picture diary! Emma loves me! You've gotta remember this!

EMMA : Is not that big a deal!

SHAYMIE : Ahaha~♪ I have to do it! I gotta get painting!

[briannaskin]

I drew this thinking about my body type

This is my chronogram that I'll follow strictly

[33-108]

"Abraham von Franckenberg: geometry, the rose and the vault

Abraham von Franckenberg (1593-1652), who is best known as a staunch champion of the philosophy of Jacob Böhme, designed this table in the year 1623, as the chronogram ‘CrVX MvnDI regIna stabIt’ shows. That he presented it to his friend Johann Daniel von Coschwitz on 6 January of that year in Laskowitz near Brieg as a token of their friendship can be read in the column on the left. In 1614, when he was still a student in Jena, Franckenberg had read the Fama with great joy, as appears from his correspondence with Georg Lorenz Seidenbecher. The connection with Rosicrucian thought is already clear from the date underneath the column on the left, which shows a rose with the initial ‘T’ in the middle and the word ‘recoincentremur’. The initial ‘T’ stands for the book of the same initial which according to the Fama was found in the hands of Christian Rosenkreuz at the opening of the tomb; while the word ‘recoincentremur’ refers to the key concept of ‘centre’ in the Fama and Confessio, as can be seen in the following passage:

As they =[the scientists] should distill true and infalliable all faculties, sciences and arts, and all of nature in order to determine certain infallible axioms which, as he knew, would be oriented like a globe towards a single centre and […]’ and: ‘Thus it should not be said: This is true according to philosophy, but false according to theology, for everything which Plato, Aristotle, Pythagoras and others recognised as true, and which was decisive for Enoch, Abraham, Moses and Solomon and which above all is consistent with that wonderful book of the Bible, comes together, forming a sphere or ball in which all the parts are equidistant from the centre’.

The geometrical figure below the rose is obviously an attempt to copy the vault containing Rosenkreuz’ tomb according to the geometric specifications in the Fama. The four enigmatic mottos on the grave are not only depicted in the four diagonals of the central figure, they are also explained and assigned to their appropriate scientific discipline.

Nequaquam Vacuum is assigned to philosophy (Sapientia, Arbor naturae),

Legis jugum to jurisprudence (Iustitia, Arbor legis)

Libertas Evangelii to medicine (Redemptio, Arbor gratiae)

Dei glorii intacta to theology (Sanctificatio, Arbor gloriae)"