#dan bridle

[thicctails]

I absolutely LOVE your Mythology Falls AU designs, but I’m curious on why you chose the ones that you did.

I'm so happy you like it! Let's go down the list, shall we?

Dipper: I love the Sphinx!Dipper from Nightrizer's take on Monster Falls, but I didn't want to go that route since these are supposed to be an original take on idea of everyone becoming creatures of myth and legend. The first reason I chose a Gryphon for our beloved Pine Tree because they represent traits like bravery, wisdom, and power. Obviously, Dipper isn't the strongest character in Gravity Falls, but when the chips are down, he isn't afraid to start beating the hell out of whatever is terrorizing him, no matter how much stronger they may be.

The second reason is because I wanted to do something with owls and cheetahs for Dipper. I chose the barn owl because their feathers actually do kinda resemble the colours I chose for Dipper's feathers, and also because they're my favourite species of owl. Both owls and cheetahs are nervous creatures with high pitched calls, which I think fits Dipper very well haha.

Mabel: While I like the idea of Mabel being some kind of water creature, I think her being a mermaid would cause quite a few issues with mobility. I went with a selkie because not only are baby seals fricken adorable (especially harp seals, which is what her coat is based on), but it also allows her to keep her iconic sweater look! Now she can be fashionable on land, and utterly adorable in the water. There's also the added risk of someone trying to take her coat, but when one of your Grunkle's is a dragon, and the other is a kelpie, most people get the hint not to try anything.

Grunkle Stan:

Haha, come on, you see it, right?

Really, though, while Stan may love money, and everyone assumes that he would be hoarding crisp dollar bills, his real horde is actually his house and all those within it. He loves his family more than life itself, and anyone who brings them harm is going to be getting a face full of flames. He's big, grumpy, and looks like he'd be nothing more than a dumb brute, but in reality he's a big softie who could outsmart most anyone who crossed him.

Ford: Kelpies look beautiful, friendly, and enticing, promising fun and adventure, if you only would come closer and climb atop their back. However, this is only a farce, and now you're being dragged down into the dark depths of a lake or river. While Ford wasn't drowning anyone as a human, he certainly dragged McGucket down a dark path, often bringing him into dangerous situations, and he almost did the same to Dipper, although not intentionally. However, they are not always bad, and if you can slip a bridle over a Kelpie's head and tame it for a time, they'll tirelessly help you with whatever you need.

They were also said to be shapeshifters, often taking the form of a man. Whether or not Ford will figure this out remains to be seen (hopefully no one sticks him in a cage and threatens to freeze him!)

Soos: The world's most perfect man deserves a nobel and revered creature. Qilins are gentle, benevolent protectors, and unlike unicorns, they really can see into someone's heart! I wanted Soos to have an overwhelmingly friendly and loved mythological form, so a Qilin seemed like a natural fit.

Wendy & McGucket: two North American cryptids, neither one having much to go on. I chose a Splintercat for Wendy, both because its a lumberjack legend, and because this lynx-like beast topples whole trees with ease by smashing into them which reminded me of Manly Dan, who is also a Splinter Cat.

As for poor old Fiddleford, I made him into a Glawackus because 1. tell me that name isn't something he'd say.

and 2. Glawackuses are said to have the ability to erase the memories of anyone who looks into their eyes. I made it so that the eye that is covered by his green eyeglass is safe to look into, while the other will cause memory loss.

[hellframe]

Henry Winter, flirting

The first day of his visit to Francis’s country house Richard had a little voyage with Henry and Camilla in a boat. And here we have this introduction to Henry’s habits:

“He had a habit, as I was later to discover, of trailing off into absorbed, didactic, entirely self-contained monologues, about whatever he happened to be interested in at the time"

Richard was wrong, of course. Henry’s monologues were not ‘entirely self-contained’, they had particular purpose — at least, two of them were an instrument of mild pressure on Camilla, including this one which Richard heard during their voyage:

"That day he was talking about Elizabeth and Leicester, I remember: the murdered wife, the royal barge, the queen on a white horse talking to the troops at Tilbury Fort, and Leicester and the Earl of Essex holding the bridle rein… Camilla, flushed and sleepy, trailed her hand in the water… It was many years later, and far away, when I came across this passage in The Waste Land: Elizabeth and Leicester beating oars…”

T. S. Eliot left notes for these lines of his poem, citing History of England:

Author of this letter, Alvaro de la Quadra, was a Spanish diplomat and Catholic clergyman, he apparently had a right to marry a couple. For many years Leicester was queen’s favourite and suitor for her hand, but she didn’t want to marry — didn’t want to share her power with anyone, and used her claimed virginity as a political asset. Eventually, Leicester got tired of waiting, and married another woman, which broke the queen's heart.

In view of these facts, the boat scene in TSH looks so ironic. Richard’s surname, Papen, means ‘priest, cleric’ in North German, and he also was a foreign figure in their group, like that Spanish bishop in England. However, Richard wasn't able to marry anyone.

I guess, in such a manner Henry was telling Camilla: "I’m ready to be with you right here, now. But don’t make me wait for too long". And Camilla was flushed, because she understood this reassurance mingled with warning.

Another instance of this mild pressure was quoting passages about Emma Bovary, whose chaotic love choices ruined her life: Sa pensée, sans but d'abord, vagabondait au hasard, comme sa levrette, qui faisait des cercles dans la campagne… “Her thoughts were wandering at first without any purpose” — could it mean "Camilla, make up your mind, or you’ll end up like madame Bovary''?

From Henry’s point these monologues were probably a sort of flirting, an indirect way to show romantic interest towards Camilla.

Come on, Henry, why spend so many words, when you can say Cubitum eamus?

[chic-a-gigot]

Le Petit écho de la mode, no. 21, vol. 12, 25 mai 1890, Paris. 13. Robe en veloutine brouillard et broderie pailletée d'acier. 15. Robe peau de soie violette de Parme et satin brodé de pensées. Ville de Paris / Bibliothèque Forney

(13.) Robe en veloutine brouillard avec broderie pailletée acier. — Robe princesse derrière, froncée à l’enfant devant sous un empiècement de broderie pailletée d’acier. Les plis gracieusement arrangés moulent la taille, formant paniers sur les côtés. Manches hautes très vagues retenues par des poignets brodés.

(13.) Fog veloutine dress with steel sequin embroidery. — Princess dress at the back, gathered at the child's front under a yoke of steel glitter embroidery. The gracefully arranged pleats hug the waist, forming baskets on the sides. Very vague high sleeves held in place by embroidered cuffs.

Matériaux: 16 mètres de veloutine.

—

(15.) Robe en peau de soie violette de Parme et satin brodé de pensées. — Robe unie devant d’une venue avec le corsage, tunique sans manche en broché formant veste devant, deux panneaux de côtés desquels sort la traîne unie. Une guirlande brodée dans le satin entoure le corsage et la pointe de la basque. Manche unie froncée à l’épaule. Petite passe de velours pensée dans les cheveux, touffe sur le sommet du chapeau. Bride pensée.

(15.) Dress in Parma purple silk skin and satin embroidered with pansies. — Plain front dress with bodice, sleeveless tunic in brocade forming a jacket in front, two side panels from which the plain train emerges. A garland embroidered in satin surrounds the bodice and the tip of the basque. Plain sleeve gathered at the shoulder. Small pass of velvet thought in the hair, tuft on the top of the hat. Thought bridle.

Matériaux: 14 mètres peau de soie, 5 mètres broché.

[acommonloon]

A short time ago a guy named Bob opened a new establishment in Louisville. It’s in an old church on Market St in an area referred to as Nulu or New Louisville. Go figure.

Today, I stopped by. It was good. Expensive but I enjoyed it. To begin, they served me a drink that was syrupy sweet. I ordered a shot of their rye, which I correctly guessed was Alberta, and they brought it to me in a glass that was still hot from the dishwasher. lol, that was novel but still didn’t bother me. The bartender Dan made me a penicillin, off menu. He had to go to the basement to fetch the Scotch but it was a tasty drink. Turns out he has his on own whiskey brand called Bridle and Bit. I will look into it.

[thesinglesjukebox]

CHRIS STAPLETON - "WHITE HORSE"

Sounds like "horny songs for heterosexual American couples" are having their moment! Here's the second one this week.

[5.67]

Thomas Inskeep: Far too many of Stapleton's singles have been too sleepy for my taste, slow-burning to the point of becoming self-extinguishing fires. But on "White Horse" he sounds antsy and uh-uh-urgent, like he means it, maaaaan. This is what I've always wanted from Stapleton; there's never been a question of his prowess as either a songwriter or a singer, but "White Horse" has a hard country-rock energy to it, and just (sorry) burns. His best single in eons. [8]

Nortey Dowuona: Chris has a bellow of a voice. If you randomly hand a mic to him standing up, he can turn the joint out. It's a rarity in the world of high-profile country to have bellowers such as Stapleton who can be gentle and wistful as quickly as they can be passionate and gnarled, but it's a welcome time to have him. The problem with this Grammy-winning song is that he is too stuck on that bellow, stretching it so far he can't take it in another direction once he hits the high notes in the chorus. You feel him strain in the last one: keening and screaming, but not yet breaking through. The guitar licks during the intro feel gentle and wispy, like dandelions for him to trample upon. But the guitar riff -- that chugs below his voice before the drums during the first verse, echoes behind him during the post-chorus, then kicks in at the outro -- is so powerful. He has to raise his voice higher and louder to not be stopped before he can gallop further. So when he really wails at the last one and growls the title at each post-chorus, it never truly kicks you in the chest the way it should. And the lyrics -- written alongside Dan Wilson, co-writer/producer of "Someone Like You" -- aren't distinct or heart-rending enough. You feel the guilt, fear, and despair in Chris's voice, but that's a given -- the lyrics don't grip onto you, and you slip off Stapleton's strong back. The words "If that's the kind of love you want to wait for / Hold on tight, girl, I ain't there yet" should hit you in the heart, but they feel noncommital, a half-assed explanation that doesn't feel as deep as the howl says it is. It feels like he's chosen to ride up to another woman's fence post with the white stallion she asked for, beard trimmed but not cut, his saddle built for two. Maybe he already has chosen a white horse -- let him ride off on his American saddlebred. He needs to feed the American cream draft bridled to Morgane's fence. [8]

Katherine St. Asaph: The song is solid. Really, it is. Couldn't have been sung better. But the first few seconds, up until the second line, had me primed for something like Mazzy Star doing Liz Fraser's "This Love," slow-burning and immaculate. When the Southern-rock machismo arrives I still just want that. [4]

John S. Quinn-Puerta: I know Stapleton can build a song from the ground up, but the foundation feels half-formed here. There's an emptiness to the bombast, a missing element that makes the structure feel closer to an empty freshman dorm than a lovingly decorated living space. Maybe a bridge would help, but I'm still left thinking, "Is that it?" [5]

Joshua Minsoo Kim: The intro is promising: all moody buildup and slamming drums before Stapleton pares it back down again. Strangely, he betrays all sense of dynamics for loud guitar and louder shouting. That damn snare drum feels so out of place, just cutting through the noise in the name of something epic. Where’s the nuance of a John Wayne performance? [3]

Alfred Soto: Do I hear "Wanted Dead or Alive" in that ersatz spooky acoustic intro? I do. Then Chris Stapleton's brontosaurus vocals stomp all over the thing with greater force than the damn drums. To look for subtlety in a Stapleton performance is like asking Nicolas Cage for restraint, but would this palooka have a hair of Cage's gonzo spirit. [3]

Taylor Alatorre: The more Chris Stapleton seems content to be known simply as "that guy with the voice," the less interested I become. And it feels especially like overkill to hear that burly titan of a voice going to town on what is essentially a late '90s alt-rock track. Like bagging a squirrel with a shotgun slug, he belts out his lonesome troubadour bromides over a slightly hardened echo of Fastball's All the Pain Money Can Buy, while the steady hand of Dan Wilson waits in the wings, ready to fence in any wilder impulses that may still be around somewhere. If Stapleton wants to inhabit the middle of the road more permanently, he should own up to that desire instead of trying to convince us he's still riding along its untamed fringes. [5]

Jacob Satter: Stapleton's near-strangulated sense of urgency wants to goad this country rock potboiler to higher stakes, but the climb feels bathetic and top-heavy. Where's the levels and the drama?  Where's the variety? Good lord, where's the bass? Grammy win notwithstanding, I daresay you can put "White Horse" side-by-side with a similarly structured but more ambitious shitkicker of a tune (say, Ashley McBryde's lesser-heard "Blackout Betty") and prove it hardly outstanding in its field. [5]

Ian Mathers: I am absolutely not used to singers following up florid descriptions of the kind of love the Other wants with "Hold on tight, girl, I ain't there yet." And I am always a sucker for songs that nail specific emotions or moments that feel underserved in the broader corpus of song. It helps (for me) that this is definitely country rock and not whatever they're calling what Morgan Wallen plays. The sound is a little generic but the lyrics are specific enough to make up for it. [7]

Michael Hong: Stapleton only promises "not yet" on "White Horse," never revealing how much he's putting in. The parts where he falls quiet and the electric guitar sings sound like one more rodeo -- not the last, who knows when that'll be. It sounds like a thrilling dance so you wait anyway, hoping you'll be the cowboy's next adventure. [6]

Leah Isobel: I think what makes "White Horse" work for me is its evident sense of play-acting; its cheeseball Southern-rock framing and Chris Stapleton's living signifier of a voice automatically put quote marks around the whole song. From there, all kinds of interpretations can enter, each one sillier and more joyful than the last. Personally, I think this is actually a song about fucking and the white horse in question is [redacted] [8]

Jacob Sujin Kuppermann: Look: all I know is that moms love this guy. I'm starting to see the appeal as well; while the hilariously overdriven guitars and Stapleton's howl imply dashing romance and bombastic gesture, the lyrics are more interestingly ambivalent, full of moderated expectations and hints of regret. At worst I could see this soundtracking fancams for historical epics; at best I can pretend it's an ode to one of the world's oldest surviving chalk figures. ALSO WAIT I JUST REALIZED THE MELODY HERE REMINDS ME OF "PONY" HOW DEEP DOES THE HORSE SONG RABBIT HOLE GO? [6]

[Read, comment and vote on The Singles Jukebox ]

[antoine-chaussure]

“The Cloud of Unknowing”

James Bridle

J’ai découvert cet œuvre et j’aimerais la partager avec vous car c’est littéralement l’œuvre qui m’as le plus touché et m’a fait beaucoup réfléchir. Elle traite un sujet qui nous concerne tous. Chaque personne devrait comprendre et réfléchir à sujet.

Ce dont j’aimerais vous parler ces l’incroyable œuvre de James Bridle, qui est une œuvre conceptuelle et critique qui traite des infrastructures cachées de l’ère numérique, en particulier les systèmes de stockage et de gestion des données, appelés “le Cloud”.

Pour rappel le cloud est un espace qui stock nos données, il est devenu le lieux où l’on stocke nos documents, nos souvenirs, nos vie.

Mais quand est il réellement? Qui contrôle les données ? Où sont-elles stockées ?

James Bridle viens nous questionner sur des sujets au quel personne ne pense mais tout le monde connaît et utilise ces cloud qui semble insignifiant.

Je ne suis pas parvenu à trouver des images de ces expositions pour illustrer mes propos mais il l’explique lui même dans une vidéo qui est tellement intéressante.

Bridle dans son exposition cherche à rendre visible cette infrastructure invisible. Il dénonce comment les géants de la technologie, comme Amazon Web Services, Google et Microsoft, utilisent l’idée du “Cloud” pour masquer la centralisation et le contrôle de nos données, ainsi que l’impact écologique de ces systèmes.

James critique l’idée que nos données sont “immatérielles”, alors qu’elles nécessitent une infrastructure physique intensive.

Le projet montre à quel point la plupart des gens sont déconnectés de la réalité physique de la technologie qu’ils utilisent tous les jours.

Il obligent le spectateur à réfléchir sur sa propre utilisation du Cloud et sur les implications éthiques et écologiques.

Il utilise beaucoup de médium différents lors de ces expositions, comme la vidéo, la photo, le traitement des données, cartographie interactive etc.

Il nous montre en temps réel les mouvements des données ou les connexions des serveurs autour du monde, créant une visualisation hypnotique en manipulant les données pour découvrir les liens entre différentes parties du monde numérique.

Ses expositions traduisent des données invisibles en expériences visuelles captiventes, permettant aux spectateurs de réfléchir sur leur rôle dans ce système globalisé.

J’adore cette idée de remise en question de personnes qui utilise le cloud sans même avoir la moindre idée de ce que c’est vraiment et quelles sont les côté caché de cette technologie.

Je pourrais écrire beaucoup de pages à ce sujet mais je vous invite à vous intéresser car c’est une problématique qui nous touche tous et toutes particulièrement.

Si vous êtes intéressés, cette audio ultra intéressant c’est James qui l’as fait écouter le.

[muskokafarm]

Breaking Horses at Muskoka Farm

The thoroughbred industry is a major contributor to Australia’s regional economy. Horse breaking is an important part of preparing racehorses to become comfortable in bridles and saddles, which prevents behavioural problems down the track.

Located near Gunderman, Muskoka Farm is a world class facility that offers breaking, spelling and agistment. This 280-acre complex features five stable barns with 58 stables, a two-kilometer crusher dust track, 27 day yards and 10 large spelling paddocks. It also includes a high speed treadmill and private jetty/pontoon. To know more about Pre Training, visit the Muskoka Farm website or call (02)45663106.

Located in Gunderman, Muskoka Farm is surrounded by natural bushland and national parks and is one of the world’s best horse spelling and training facilities. Its 280 acres provide the perfect location for fine-tuning the science of race horse care. The facility offers breaking, pre-training, spelling and agistment services for thoroughbred horses.

The Thoroughbred industry makes a significant contribution to Australia’s regional economy and supports thousands of jobs. One of the most important aspects of the industry is horse breaking, which prepares racehorses for a bridle and saddle. Getting this process right helps prevent behavioural problems down the line.

The property features five stable barns with 58 stables, 27 day yards and 10 large, fully-fenced spelling yards. It also has a private jetty/pontoon, outdoor pool and two bedroom guest house. Inglis Rural Property is handling the sale of this unique, one-of-a-kind property.

Taking a young horse from an animal that bucks at the sight of a bridle to one that can carry and obey a rider takes a rare skill set. That’s the task of trainers like Toby Pracey who uses violence-free methods to break in horses. He has broken in countless group 1 winners, including Dan Excel and Redzel. He’s also a specialist in barrier training, desensitizing horses to cold metal and noise.

Located near Wisemans Ferry, Muskoka Farm is a world class pre-training facility. It offers breaking, spelling and agistment as well as being a registered AQIS quarantine operation. This 280-acre property is surrounded by national parks and natural bushland and is the perfect environment to tailor care to match the physiology of race horses. It features a 2.4 kilometre crusher dust track and straight as well as an arena & round yard and 10 large spelling paddocks. The pristine complex is close to Gosford, Wisemans Ferry and about 80 minutes from Sydney’s major racetracks.

The 280-acre Muskoka Farm has housed many a splurge-worthy thoroughbred, and is renowned as one of the world’s best pre-training facilities. In fact, some of the horses that have been broken in or trained here have gone on to win races around the globe.

Geography drove history in the Muskoka area, as the lake chains and ubiquitous rocks made the land hard to penetrate. Even though it was well suited to hunting and trapping, early settlers found that the soil was too dense for farming.

Today, the rich natural environment and robust ecological diversity that is the foundation of a healthy economic economy in Muskoka are at risk. The District of Muskoka is working with its thirteen municipalities (Mayor, Chair and Reeve) and other community stakeholders to develop a plan for protecting our unique environment. Among the activities underway is an open community-based Listening Session to take place on May 30th. Click here to learn more.

Located near Gunderman in New South Wales, Muskoka Farm is one of the country's most respected pre training facilities. The 280 acre property is surrounded by national parks and natural bushland, making it an ideal location for fine-tuning care to match the physiology of race horses. The facility has world class capacity for breaking, pre-training, spelling and agistment. It also has a private jetty/pontoon, outdoor pool, five stable barns and two bedroom guest house.

The training program at Muskoka Farm is geared towards teaching racehorses to be comfortable in their bridles and saddles. The trainers use violence-free methods to break the young horses and teach them the basics of horse racing. This is especially important for avoiding behavioural problems in the future. To know more about Pre Training, visit the Muskoka Farm website or call (02)45663106.

The facilities at Muskoka Farm are incredibly impressive, including a 2.4-kilometre crusher dust track and high speed treadmill. It's a great place for top flight thoroughbreds to get a head start on their racing career.

[nouveau-blog]

Quand Big Brother inspire l'Art Numérique

"1984" Inspire l'Art Numérique : Exploration des Thèmes de Surveillance et de Résistance

Le monde décrit par George Orwell dans son roman "1984" révèle une société terrifiante où la surveillance omniprésente et la manipulation de l'information sont utilisées comme outils de contrôle. Alors que nous sommes confrontés à des défis similaires dans notre propre société, des artistes numériques contemporains ont pris le relais pour explorer ces thèmes complexes à travers leur art. On se demande donc :

Comment les artistes contemporains utilisent-ils leur art pour explorer les thèmes de surveillance et de résistance, tels que présentés dans le roman dystopique "1984" de George Orwell, et comment ces œuvres résonnent-elles avec notre réalité moderne ?

1. La Surveillance Comme Outil de Contrôle

Dans "1984", la surveillance est utilisée par le gouvernement pour maintenir son pouvoir sur la population. Cette thématique résonne fortement dans notre société actuelle, où la technologie de surveillance devient de plus en plus sophistiquée. Un exemple frappant est celui de **Trevor Paglen**. Son œuvre "The Other Night Sky" cartographie les satellites gouvernementaux secrets, révélant ainsi l'étendue de la surveillance dans notre ciel. Cette installation immersive invite les spectateurs à réfléchir sur l'invisibilité de la surveillance qui nous entoure.

2. Manipulation de la Réalité et Dissimulation de la Vérité

La manipulation de la réalité et la dissimulation de la vérité sont des éléments clés de "1984". Dans notre ère numérique, ces concepts prennent une nouvelle dimension. L'épisode "Haine virtuelle" de la série "Black Mirror" offre un aperçu saisissant des dangers de la manipulation de l'information et de la réalité augmentée. **James Bridle** explore également ces thèmes, mettant en lumière les risques de la désinformation et de la manipulation numérique dans ses œuvres. Son projet "Dronestagram" utilise des images satellites pour révéler les lieux de frappes de drones, mettant en lumière la dissimulation de la vérité dans un monde hyper-connecté.

3. Expression Individuelle et Résistance

Malgré la répression dans "1984", le protagoniste Winston Smith cherche à préserver son intégrité et son autonomie. Dans notre société actuelle, où la surveillance est omniprésente, l'expression individuelle devient un acte de résistance. L'œuvre "How Not to Be Seen" de **Hito Steyerl** incite les spectateurs à réfléchir sur leur propre rapport à la surveillance et à la visibilité en ligne, offrant ainsi une perspective critique sur notre société numérique. Cette installation interactive encourage les participants à explorer les moyens de rester invisibles dans un monde où la visibilité est souvent synonyme de vulnérabilité.

En explorant ces thèmes à travers l'art numérique, ces artistes offrent des perspectives profondes sur les enjeux contemporains de la surveillance et de la résistance. Leur travail rappelle aux spectateurs l'importance de la vigilance et de la résistance contre les abus de pouvoir, tout en offrant des espaces de réflexion et d'expression dans un monde de plus en plus surveillé et contrôlé.

À travers leurs œuvres, ces artistes continuent le dialogue entre la fiction dystopique de "1984" et notre réalité numérique, offrant ainsi des réflexions critiques sur notre société moderne.

Gachi Anissa

[jackwatkinson]

MAKING OF: Atoms for Peace - "Before Your Very Eyes" from Andrew Thomas Huang on Vimeo.

Directed by Andrew Thomas Huang andrewthomashuang.com facebook.com/AndrewThomasHuang twitter.com/Andrew_T_Huang/

Producers: Brian Welsh & Matt Marsh Executive Producer: Tamsin Glasson

Director of Photography: Laura Merians Production Designer: Rebecca Stillman Hair & Makeup Artist: Olive Meyer Production Supervisor: Lauren Simpson

1st AC: Robby Hart 2nd AC/DIT: Daniel Wurschl Camera PA: Rebecca Carpenter Gaffer: Jamie Davis Key Grip: Mark Hyde Jib Operator: Stephen Winders

Art Director: Adrian Romo Makeup Assistant: Tina Martinez Stop Motion Animator: Eileen Kohlhepp

Art Department Artists: Emily Franz Jody Hughes Nancy Jean Tucker Jeff Knowlton Jenn Rose Chris Swanson Amanda Tasse

Production Assistant: Brian Steffen

POST PRODUCTION & VFX:

Visual Effects Supervisor: R James Healy Lead CG Lighter: Carlos Diego Lead Compositor: Andrew Thomas Huang Lead CG Modeler: Lucas Cuenca

Compositors: Leo Bridle Mathias Cadyck Elisa Ciocca Alix Fizet Jonathan Gallagher Duncan Gist Sami Guellaï Stefano Lari Adriano Vessichelli

CG Technical Directors: Mathias Cadyck Gianmarco Colalongo Gareth Ermisz Sami Guellaï Tim Jenkinson Simon Renaud Johannes Sambs

CG Tracking: Grant Hewlett Dan Newlands Natalie Rocks

Behind-the-Scenes Crew: On Set Photographers: Chris Sinclair & Leandro Santini Editor: Leandro Santini

Visual Effects created at Blinkink Studios Head of Production: Josephine Gallagher

Color Correction by The Mill Colorist: James Bamford Mill Producer: Cath Short

Props Workshop provided by Screen Novelties

Sound Stage provided by Milk Studios

Special Thanks to: Blinkink Studios Screen Novelties: Chris Finnegan, Seamus Walsh & Mark Caballero Logan Schneider The Mill Milk Studios & LEGS Media: Mazdack Rassi, Shaun Murdock, Adam Joseph & Tom Berendsen

A Colonel Blimp & Good Company Production

Video Commissioner: Phil Lee Record Label: XL Recordings

[une-touille-en-vadrouille]

Et comme promis, le billet d'aujourd'hui !

La météo n'est malheureusement pas meilleure qu'hier, c'est donc petit dej sous la pluie.

Je réalise en plus que mon adaptateur USB allumé cigare ne fonctionne que de façon très intermittente, je fais donc 30min de trajet vers Christchurch (où j'étais hier) pour en racheter un, espérant que le problème vient de là et pas de la voiture ...

Fort heureusement pour moi, c'était bien un problème de matériel, mon téléphone peut donc remonter ses 4% de batterie restante... Gloups ! (Bon, j'avais quand même une batterie portable pleine dans la poche, mais ça n'aurait pas été pratique pour la suite du voyage)

Je pars en direction du Bridle path walk, censé m'offrir un joli panorama de la région... Eh bien, c'est un échec ! Je finis carrément par traverser un nuage, ce qui n'augmente pas ma visibilité de façon significative...

Au lieu de partir sur une deuxième balade à panorama dans les hauteurs, qui s'annonce à peu près aussi pertinente que celle ci, je pars donc plutôt me rapprocher du littoral ! Je mange donc près d'une plage où la mer s'est retirée, laissant le passage à des centaines de petits crabes qui se carapatent dès que je m'approche, c'est très mignon :3

Je longe ensuite la côte, puis part sur une route de terre battue dans les hauteurs, c'est tellement dommage que les montagnes soient toutes masquées ! Le peu que j'en vois est splendide, ça a tout un fait un air de massif central. Certains versants sont tout jaunes, il y a visiblement au moins une fleur qui apprécie l'arrivée de l'hiver !

Je commence ensuite une balade en bord de bras de mer, 8km, tranquille. L'eau est d'un turquoise magnifique qui rend très mal sur ces photos, c'est assez impressionnant, surtout que le soleil brille toujours par son absence. Je ne sais pas ce qui peut causer cette couleur.

Alors que je commence à trouver le temps un peu long, je réalise sur la carte que c'est l'aller qui fait 8km, je n'ai pour le coup pas le temps d'en faire 16! Quelle idée de mettre la moitié des infos sur le panneau aussi ... (Ils mettaient 1-2h, motivés les gars)

Tant pis, je n'irai pas jusqu'à la pointe, je repasse dans les prés pleins de moutons et retourne sur mes pas. M'attend ensuite une demi heure de voiture dans un brouillard à couper au couteau (décidément, quel temps charmant), et je suis au camping, avec des jolies lueurs du soir !

Dans ce camping, le Graal ... Une douche chaude !! 2$ les 4 minutes, c'est millimétré, mais qu'est ce que ça fait du bieeeeeeeeeen 🥰

[petnews2day]

Incredible Mother from Carmarthenshire fully funds anti-poaching dog deployed to Africa to save rhino, in memory of her late son Daniel who tragically died from bone cancer.

New Post has been published on https://petn.ws/Aa2r9

Incredible Mother from Carmarthenshire fully funds anti-poaching dog deployed to Africa to save rhino, in memory of her late son Daniel who tragically died from bone cancer.

A heartbroken mother from Carmarthenshire, Caroline Bridle, who lost her son Daniel to bone cancer at only 18 years old has honoured his memory by raising funds by holding weekly bingo sessions to fully fund an anti-poaching dog from Dogs 4 Wildlife and fly him out to Africa to save endangered rhinos. Anti-poaching dog Dan, who […]

See full article at https://petn.ws/Aa2r9 #DogNews

[eurovision-del]

Malta are one of the many countries selecting their Eurovision act this Saturday! I listened to all the snippets when they were first released, then decided I’d wait until after all the live shows were done and the semi-finalists were announced before ranking them – 40 songs is a lot to go through after all!

The Busker – Dance (Our Own Party)

Cheryl – La La Land

Giada – I Depend on You

Nathan – Creeping Walls

Greta Tude – Sound of My Stilettos

Christian Arding – Eku Ċar

Brooke – Checkmate

Eliana Gomez Blanco – Guess What

Maxine Pace – Alone

Geo Debono – The Mirror

Bradley Debono – Blackout

Andre' – Broken Hill

Fabrizio Faniello – Try To Be Better

Ryan Hili – In the Silence

Mikhail – Leħen Fiċ-Ċpar

Dario Bezzina – Bridle Road

Dan – It’ll Be OK

Ian – On My Own

Matt Blxck – UP.

Mark Anthony Bartolo – Tears

Stefan – Heartbreaker

Dominic and Anna – Whatever Wind May Blow

Klinsmann – Piranha

Chris Grech – Indescribable

Even cut down from the original 40 songs, this was still a slog to get though. A lot of the songs frustrated me or were just dull which didn’t put me in a great mood for listening to whatever came next. However, there were a couple of bright points here and there.

My standout was Dance (Our Own Party), which is easily the catchiest and most distinct sounding song here. That beat is so funky and the sax line is great. I like the delivery and performance from the lead singer, it’s cool but also has a slightly awkward, relatable quality to it. This is definitely the entry I had the most fun with!

I also really liked Cheryl’s La La Land, which, being a rock song, was always going to catch my attention. The verses build the energy well, and although I don’t think the chorus quite delivers the intensity I was hoping for, it’s still good. It might not be the most hard-hitting rock track, but Cheryl is a good vocalist and confident performer, and I had a good time with this one.

Giada really impressed me with her vocals, I Depend On You is a pretty average song, but she really elevated it with her performance. If Malta wants to play their game of selecting an artist then giving them a completely new song, she’d be a great option! On the opposite end of things, I enjoyed Creeping Walls with its dark pop sound, but felt Nathan’s performance could have been a little stronger. It’s got a lot of potential though!

I’d love to see all four of these songs in the final, but I’ll be rooting for The Busker to win the whole thing! I reckon Malta will struggle to qualify again this year no matter what they pick, but they’re the act I think have the best chance. It’s hard to predict what any of these songs might look like with proper staging, but since they were already entertaining just by themselves I’m optimistic they could put on a good show at Eurovision, hopefully with this song!

[littleeyesofpallas]

Shihouin[四楓院] Chika[千日]

Shi[四]: "4"

Hou[楓]: "Maple(tree)"

In[院]: "Temple/House(of governmetn)/Institution"

Chi[千]: "1,000"

Ka[日]: "(The)Sun"/"Day"

Given the naming pattern with Yoruichi and Yuushirou reading "Night 1" and "Night 4 Son", it would follow that Chika's name here reads as "1000 Days" or "1000th Day" A curious notion when the Shihouin crest has a moon on it, which was obviously where the night motif in the later heirs came from. Is Chika a blacksheep of the family for not having a night name? Or did the Shihouin change their motif at some point from day/sun to night/moon?

And very noticeably he's wearing what looks like a chinese style of lamellar belt(it's hard to say when there isn't an accompanying suit of armor to go with it) but it evokes to me a lot of Ming dynasty period pieces(or alternatively very anime-ass Romance of the Three Kingdoms designs) and incidentally Journey To The West was written in the Ming Dynasty, and combined with his complexion and his distinctive Xiangyun[祥云]:"auspicious clouds" scarf (and of course my ongoing crackpot theory about there being an unspoken theme of pre-Japanese Buddhism underlying the foundation of Soul Society) makes me think he's specifically Indian but having travelled East across China(or whatever the Soul Society equivalents are)

Izuhara[嚴原] Kinroku[金勒]

Izu[嚴]: "Strict/Stern"

Hara[原]: "Plain/Field/Wilderness"

Kin[金]: "Gold"

Roku[勒]: "Bit/Bridle(like a horse's)"

Makes him sound like a wild stallion type who was only tamed by being bribed with wealth and luxury. At first glance I had pegged him for a cold corporate or medical type, but looking at him again he has a certain yakuza look about him too. Less an overt thug and more a grifter, a penny pincher, a coldblooded loan shark type, and this name seems to vibe with that. It's hard to tell but it looks like he has the archetypal yakuza/laborer bellywarmer like Tetsuzaemon did too.

Shijima[志島] Chikiri[知霧]

Shi[志]: "Will/Resolution/Ambition"

Jima[島]: "Island"

Chi[知]: "Wisdom/jnana"

Kiri[霧]: "Mist/Fog/Haze"

Same root word Shi[志] as in the Shiba family and in Okikiba Genshiro's given name. Weird that all three of these are associated with the water; waves/ripples, islands, and distant waters.

The given name is fun because it seems to describe him as wise but in a hazy way, his wisdom is obscured or unclear; whether that means it's unclear to others, or even to him isn't clear. Either one seems to fit his kind of disheveled appearance.

Now that we can see him properly, he kind of reminds me of Wonderweiss.

Obana[尾花] Danjirou[彈児郎]

O[尾]: "Tail"

Bana[花]: "flower"

Dan[彈]: "Bullet/Pellet/(musket)Ball"

Ji[児]: "newborn baby"

Rou[郎]: "son"

On the one hand the compound [尾花] appears to refer to "(ear of) Japanese pampas grass" which is also known as the Chinese Silver Grass. But it's also part of the compound [鸟尾花] refering to the Crossandra infundibuliformis, the Firecracker Flower. And also [鸢尾花] referring to irises in general. Since, as the 5th division captain, he's not the one with an iris insignia, I'm going to go with the silver grass reference. It does evoke a certain rugged and pastoral landscape that seems to suit the rustic almost hick-ish vibe he has going on.

As for Bullet baby.... I have no idea what to make of it...

Saitou[齊藤] Furofushi[不老不死]

[齊]: "...-Like/as if..."

[藤]: "Wisteria"

[不老]: "No grow old"

[不死]: "No die"

"Wisteria-like" has obvious evocations in her hair color and pigtails. The given name all together is actually a phrase meaning "immortality/perpetual youth." Pretty straight forward.

Shigyou[執行] Nobutsuna[乃武綱]

Shigyou[執行]: "execution/enforcment"/"executive/executor"*

No[乃]: "<possessive indicator>"

Bu[武]: "Military/Martial"

Tsuna[綱]: "Cord/Rope"

*can also refer to a "lead monk performing various tasks in a (buddhist)temple" although his overall appearance is anything but monk-like; certainly there are other captains here that would suit that reading better. So, the "rope or military enforcement."

(The random 3rd division guy with the "Winter Whistle" sword was named Taketsuna[武綱])

Katori[鹿取] Batsuunsai[抜雲齋]

Ka[鹿]: "Deer"

Toribatsu[取抜]: "Drain/Extract"

Un'[雲]: "Cloud"

Sai[齋]: "<indicates a penname>"

Ok, first of all... "Deer Extraction"??? And then her given name is either "Penname: Cloud" or if taken together [雲齋]: "cotten drill" as in the twill weave fabric used for things like khakis?? But that feels like a weird way to go. She is quite bookish looking (i mean... as if she can avoid it in the proximity of Nanao and Risa...) so perhaps she's an author on the side? Hence the penname. But as for the deer collecting... it feels like a weird way to phrase it, but I'm assume it's trying to conjure a disney princess-like scene of her attracting deer to her to show her purity and trustworthiness? Maybe???

Also she has a distinctive, Zhōngguó jié[中國結]: "Chinese knot" ornament at the end of her naginata(?) which wasn't shown in the poster. Although the coloration on this sheet is oddly gold rather than the more typical red. What is probably the most common and recognizable design is the Pán zhǎng jié[盤長結], sometimes called an "endless knot" or "eternal knot" and is used to represent various Buddhist virtues.

[edit]: so i changed the split on the first and last name according to what seems like the confirmed canon, but I stand by "batsuunsai" sounding extremely weird.

Kumoi[久面井] Entetsu[煙鐵]

Ku[久]: "A long time"

Mo[面]: "Face/Mask/Surface"

I[井]: "Well(water source/hole in the ground)"

En'[煙]: "Smoke"

Tetsu[鐵]: "Iron"

He sounds and looks very much like a jailer/torturer, not unlike some vibes Urahara's backstory gave off. Kumoi's zanpakuou is also a Tiěbiān[鐵鞭], a sectioned iron rod, part of a broader family of weapons/tools all called "iron whips."

Interestingly it's the same type of weapon Sui-feng's bankai, Jakuhou Raikouben[雀蜂雷公鞭], is named after.

Outokawa[王途川] Furuoki[雨緒紀]

Ou[王]: "King"

To[途]: "Road/Way"

Kawa[川]: "River"

Furu[雨]: "Rain"

O[緒]: "Cord/String(of an instrument)"

Ki[紀]: "Era/Period(of time)" or "Rule/(Written)Record"

"King's Way River" is a very pompous sounding family name... Interestingly the name Furuoki uses the kanji [雨] for rain, but is pronounced here like furu[降る] which is the verb for "to fall" referring specifically to rain or snow. The "Era of Rain(fall) String." It might be a stretch but I want to interpret that as the lines of rain falling being equated to the string of an instrument, and by proxy comparing the sound of rain fall as music.

But alternatively it could be another play into Kubo's on-again-off-again rain symbolism. Sometimes it's Ichigo's depression, sometimes it's Uryuu's legacy as the last Quincy, sometimes it's Orihime making confusing statements about joining earth and heaven, in direct contradiction to her Tanabata namesake... Is it "The Rule of Rainfall" as in the downpour comes eventually no matter how you run from it? Or as in, heaven and earth are joined eventually if your just wait? Or as in heavens will be clouded over and separated eventually? Or as in, relief comes eventually and even the worst drought can't last forever?

Zenjouji[善定寺] Uhin[有嬪]

Zen'[善]:"Virtue/Goodness/Good deeds

Jou[定]: "certainty/reality/samadhi"

Ji[寺]: "temple"

U[有]: "bhava/becoming/existence"

Hin'[嬪]: "court lady/virtuous woman/concubine"

So I can't quite tell if Kubo's just leaning into the on'yomi here, or if he's specifically aiming for a Chinese reading. I want to say On'yomi, but it is fairly close to the Chinese reading Shàndìngsìyǒ[善定寺] upín[有嬪] it's just the dìng[定] vs jou[定] throwing a wrench in it. And I'm hung up on Jiuhin's name sounding Chinese because with the mandarin style collared shirt and the fact that he has... for some reason two... queue... it all points to a distinctly Chinese influence in the design.

Arguably the face paint could also be pulled erroneously from the broader aesthetic of Chinese opera --as in maybe Kubo was going for a Chinese opera inspired look, but what's here definitely isn't accurate to the style-- but it feels very in line with Kubo's own funky sensibilities either way.

Sakahone[逆骨] Saizou[才藏]

Saka[逆]: "Reverse"

Hone[骨]: "Bone"

Sai[才]:"Talent/Ability"

Zou[藏]: "Hidden"

....the idea that this decrepit old man is named "Reverse Bones" as if he's like that because his bones are just "wrong" is for some reason hilarious and horrifying to me. "Hidden Talent" seems self-explanatory given he looks like he should barely be able to move, let alone fight or kill a person.

[muskokafarm]

Muskoka Farm Pre Training

The thoroughbred industry makes a significant contribution to Australia’s regional economy, supporting thousands of jobs. One crucial aspect is horse breaking, which prepares racehorses to be comfortable in bridles and saddles, helping prevent behavioural problems later on.

Located near Gunderman, Muskoka Farm is a world class spelling and pre-training complex surrounded by national parks and natural bushland. The one-of-a-kind facility offers breaking/pre training, spelling and agistment services. It includes a five stable barns, a 2.8 kilometer crusher dust track, 27 day yards and 10 large fully-fenced paddocks. To know more about Pre Training, visit the Muskoka Farm website or call (02)45663106.

The equine team at Muskoka Farm is highly trained and experienced. They use violence-free methods to teach the horses how to carry and obey a rider. They also regularly update their care routines so that they can tailor them to the needs of each horse.

Located in Gunderman, New South Wales, the facility is surrounded by national parks and natural bushland. The 280-acre property offers breaking, pre training, spelling and agistment services. The facility is also home to a 2.4-kilometer crusher dust track and 10 large, fully fenced paddocks. In addition, it has a helipad, a private jetty/ponton and a two-bedroom guest house.

The thoroughbred industry makes a significant contribution to Australia’s regional economy and supports thousands of jobs. The horse breaking process is an important part of this industry, and it is essential to prepare racehorses for life in the bridle and saddle. Using violence-free methods, the team at Muskoka Farm teaches horses how to behave under a bridle and saddle, preventing behavioural issues later in their careers.

The thoroughbred industry makes a huge contribution to Australia’s regional economy, with stallion fees and sales profits supporting thousands of jobs. However, the industry isn’t without its challenges. One of the most critical aspects is horse breaking, which prepares racehorses to be comfortable in bridles and saddles. This is often done by a highly skilled professional to prevent behavioural problems later on.

The equine team at Muskoka Farm is headed by top-class trainer Toby Pracey, who uses violence-free methods to break in horses. He has a proven track record, including group 1 winners Dan Excel and Redzel. He also specializes in barrier training, which desensitizes horses to cold metal and noise.

The 280-acre facility near Wisemans Ferry on the Hawkesbury River offers breaking/pre-training, spelling and agistment services. It is surrounded by national parks and natural bushland. Its state-of-the-art facilities include five stable barns, a two-bedroom guest house, 27 day yards, a private jetty/pontoon and an outdoor pool.

The thoroughbred industry makes a significant contribution to Australia’s regional economy, with stallion fees and sales profits supporting thousands of jobs. One crucial aspect of the industry is horse breaking, which prepares racehorses to be comfortable in bridles and saddles. This process is typically done by a professional and can help prevent behavioural problems later on.

Located near Wisemans Ferry, New South Wales, Muskoka Farm is one of the country’s most prestigious complexes for horse training. Its 280 acres offer world class capacity for breaking, pre-training, spelling, and agistment. The facility is surrounded by national parks and natural bushland, and includes a private jetty/pontoon, large outdoor pool, and two-bedroom guest house.

The facility’s equine team is led by top-class trainer Toby Pracey, who uses violence-free methods to break in horses. He has also trained a number of group 1 winners, including Dan Excel and Redzel. In addition, he has extensive experience with barrier training, which is used to desensitize horses to cold metal and noise.

Located near Gunderman in New South Wales, Muskoka Farm horse training NSW offers world class capacity for breaking, pre-training, spelling, and agistment. Its 280-acre property is surrounded by national parks and natural bushland, which provides an ideal setting for fine-tuning care to match the physiology of race horses. The one-of-a-kind complex also features a 2.4-kilometer crusher dust track, two-kilometer grass track for pace work, and 10 large, fully-fenced paddocks.

The facility is owned by Bob and Wendy Lapointe, who have built it into a leading spelling and pre-training complex. Their clients include high-profile trainers like Natalie Jarvis, who has produced impressive winners such as Tainted Affair and Queen of Manhattan. To know more about Pre Training, visit the Muskoka Farm website or call (02)45663106.

The farm is renowned for its ability to keep horses in top form before making the long journey to Hong Kong. It also has a 24-hour helipad, a swimming pool, and a two-bedroom guest house. The facilities are managed by Toby Pracey, a world-class horse breaker with an extensive list of clients.

[microcosme11]

De Comeau was an old schoolfellow of Napoleon at Brienne and in Paris, but he remained a Royalist and emigrated, fighting with forces opposed to the revolutionary government. Eventually he was in Bavaria which allied itself to France and he was ordered to bring ammunition to the French HQ. He was summoned by Napoleon.

Ses victoires, ses actions, la mort surtout du duc d'Enghien occupaient désagréablement mon cœur et mon esprit. Je suis tombé des nues lorsque, dans le costume le plus simple, je n'ai trouvé en lui vis-à-vis de moi que le ton, les manières d'un camarade aimé, estimé, retrouvant avec plaisir celui dont il est séparé depuis quelque temps par des causes émanant de notre commune profession, le service militaire. Il était à cheval, avec sa capote grise, au milieu de son brillant état-major. Je portais le grand uniforme bavarois, avec l'écharpe en sautoir. Comme je m'approchais, un factionnaire arme son fusil et me couche en joue. L'Empereur se sépare de sa suite et vient vivement à moi. Il met pied à terre et s'assied sur une borne en tenant son cheval; je m'approche aussitôt et veux le lui tenir, mais il me dit : «Laissez, laissez, ce n'est pas votre affaire. » Un chasseur arrive au galop ; Napoléon lui jette sa bride et lui fait signe de s'éloigner. J'étais ému, mais je rappelais mes sens pour que cette émotion ne put être attribuée à ce factionnaire qui venait de me coucher en joue. Napoléon me regardait fixement: — « Ah! vous voilà? Je vous ai demandé depuis Strasbourg. Non seulement je vous connais, mais je vous ai connu. C'est vous, qui, à Besançon, à la table des lieutenants, avez jeté ma serviette au milieu de la table en disant au domestique que vous ne vouliez pas être à côté d'un officier qui allait au club ! Voilà une vieille affaire qu'il faut vider aujourd'hui. »

---

His victories, his actions, especially the death of the Duke of Enghien, disagreeably occupied my heart and my mind. I fell from the clouds when, in the simplest costume, I found vis-à-vis with him only the tone, the manners of a beloved comrade, esteemed, finding with pleasure one from whom he has been separated for some time by our common profession, the military service. He was on horseback, with his grey coat, in the middle of his brilliant staff. I wore the grand Bavarian uniform, with the long-necked scarf. As I approached, a sentry armed his rifle and aimed at me. The Emperor separated himself from his suite and came swiftly to me. He set foot on the ground and sat on a post holding his horse; I immediately approached him and wanted to take it, but he told me: "Leave it, leave it, it’s not your job." A chausseur arrived at a gallop; Napoleon threw his bridle to him and signaled him to go away. I was moved, but I recalled my senses so that this emotion could not be attributed to the sentry who’d just aimed at me. Napoleon stared at me: “Oh! You’re here? I’ve asked for you since Strasbourg. Not only do I know you, I knew you. It is you, who, in Besançon, at the lieutenants' table, threw my napkin in the middle of the table. telling the servant that you did not want to be next to an officer who went to the club! This is an old case that needs to be cleared up today.”

— Souvenirs des guerres d'Allemagne pendant la Révolution et l'Empire par le baron de Comeau.