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fantasblog · 2 years ago

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Have some human paldea and Darik (fell version of paldea)-

Paldea (duelette shipchild) and Darik (dudik shipchild) by me

Art by me

#paldea sans #palette roller #palette x due #duelette #dudik #shipchild #fanchild #undertale fanchild #undertale au #human au #due x pallete #utmv #undertale multiverse

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petitepluiedemai · 5 months ago

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Eliot Dudik

#Eliot Dudik

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david-goldrock · 5 months ago

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This one time, I was in an argument on theology, and the other person asked for evidence on something, don't remember what, I linked this song instead, and the ensuing confusion was hilarious. I just linked it cuz it's a good song, and I thought it'd be funny (it was). It took a while before we got back on track, and I gave the proof he wanted, but now I would really like it translated so I can show him the meaning of the song. If you don't mind, I'd appreciate it!

https://www.youtube.com/watch?v=RpIrmzWhPAg

The Ammunition Hill

This song is about the battle over the ammunition hill in north Jerusalem: a military base by the Brits which was controlled at the time by the Jordanians. The battle took place during the 6-day warץ

From Wikipedia:

A decision was taken by the Israeli Jerusalem Command, under General Uzi Narkis, to forgo an aerial attack on the hill due to its proximity to civilian areas. Instead an artillery barrage was to be focused on the police post, followed by a ground attack using an enlarged paratroop company.

The size of the Israeli assault force was based on incorrect intelligence, which detailed the hill as being defended by a single platoon. When the ground assault began, the police academy was discovered to be empty of Jordanian troops, as they had taken shelter from the barrage in the bunker system of the hill, thereby enlarging the force defending the hill to one equal in size to the assault force rather than 1/3 of its size, as had been anticipated by Israeli Central Command

youtube

[opening] It was the second day of the war in Jerusalem The horizon paled in the east, we were in the midst of the battle on The Ammunition Hill We fought there for three hours A stubborn, deadly battle was fought, the Jordanians fought stubbornly It was an unusually fortified destination At a certain stage of the fighting, I had only four soldiers remaining with me We went up there with a force of two companies I didn't know where the others were because the connection with Dudik the Company Commander was severed at the beginning of the battle At that moment I thought they were all killed

[Verse 1] At 2, 2:30 We went through the rocky ground To the field of fire and the mines Of the Ammunition Hill

[Verse 2] In front of fortified bunkers And mortars - 120 A hundred and then some guys On the Ammunition Hill

[Verse 3] The column of dawn had not yet risen Half a company laid in blood But we have been there already In the Ammunition Hill

[Verse 4] Between the fences and the mines We only left the medics And ran without a sense (I think this means in Ecstasy) Towards the Ammunition Hill

[Bridge] At that moment a grenade was thrown from outside, miraculously we were not hit I feared that the Jordanians would throw more grenades Someone had to go upstairs and watch I didn't have time to ask who was volunteering, I sent Eitan Eitan did not hesitate for a moment, went upstairs and started to operate the machine gun Sometimes he would pass me and I had to yell at him to stay in my line That's how we went about thirty meters Eitan was covering from above, and we purified the bunkers from the inside Until he was hit in his head and fell inside

[Verse 5] We went down to the tunnels To the niches and the rails And to the death of the burrows Of the Ammunition Hill

[Verse 6] And no man asked where He who walked in front fell There was needed a lot of luck On the Ammunition Hill

[Verse 7] He who fell was dragged to the back So that he wouldn't hinder pass Until the next one fell On the Ammunition Hill

[Verse 8] Maybe we were lions But anyone who still wanted to live Must not have been On the Ammunition Hill

[Bridge] We decided to try to blow up their bunker with a bazooka The bazooka made some scratches to the concrete, we decided to try an explosive I waited above them until the guy with the explosive came back He would throw them at me, package by package, and I would place the packages one by one at the entrance to their bunker They had a method - first they threw a grenade, then they fired a bunch, then they rested So between a bundle and a grenade, I would go to the entrance of their bunker and put the explosive there I set off the explosive and got as far away as I could I had four meters to maneuver, because there were legionnaires behind me as well I don't know why I got a commendation, I just wanted to get home safely

[Verse 9] At 7, 7:20 To the police officer school They packed up all of those who remained From the Ammunition Hill

[Verse 10] Smoke rose up from the Hill The sun in the east rose higher We returned 7 to the city From the Ammunition Hill

[Verse 11] We returned 7 to the city Smoke rose up from the Hill The sun in the east rose higher On the Ammunition Hill

[Verse 12] About fortified bunkers And about our brothers the men (also maybe the greats) Who remained there, 20-years-olds On the Ammunition Hill

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secondlifep · 1 month ago

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The “Paradise Road” series by Eliot Dudik takes you on a journey on eponymous roads.

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sarvichi · 3 months ago

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Artist Research post

Eliot Dudik is a photographer and book maker, and whose work reflects grappling, until today, in spheral exploration in the many and complex extant connections between a landscape, a culture, a memory, and history. Often, his projects showcased the American South and the many complex narrations and identities that pervade it. The result is thorough and evocative duplicity within the photographic mediums he employs; specifically, the large format camera, which enables creation of images that possess extraordinary detail and clarity. Thus, this technique allows one to deal deeply with textures and subtleties in each frame, evocatively connecting the audience to the subject.

In "Road Ends in Water" (2010), he demonstrates everything from mixed with doors open outside to putting in coming through since it tramps through the extravaganza-in-the-air-live swamps, dirt roads, grizzled porchways, and dilapidated churches in South Carolina Lowcountry. These lush photographs are used in the series to address a part of a realistic place, immersing people within the landscapes and the histories they allude to. They are characterized by the touch of precision and clarity-the tactile where one would almost beable to feel the textures in the artifice.

His photobooks suffused in artistic expression and the love for the craft are a testimony to elongation as Dudik is in collection, published, self-published, or hand-constructed many editions over the years that started with "Road Ends in Water." The dedication complements his photographic practice through a solid form through which audiences may engage in his work.

As an educator, Dudik is an Associate Teaching Professor of Art at the College of William & Mary in Williamsburg, Virginia, focusing on the area of photography. As evidence of high achievement, his membership in this academic community underscores his personal presence and efforts to promote deeper appreciation of photographic arts, particularly in their cultural significance.

What Eliot Dudik's art does to me is capture the very seamless relationship between people and nature. He creates images that are effortlessly beautiful reflections of both the environment and the lives that mingle with it, which, I understand, is very hard work because achieving such balance is never an easy task. In my own photography, I'm often finding that the presence of a human being converses with the natural world in a meaningful way, and either the environment elopes with it in the frame or that presence seems to be misplaced like it was put there and never was purely natural.

It makes the relationship feel real and alive; that is what makes it so inspirational and intimidating at the same time. When viewing his work, you take a feeling of history and relationship into the image: the landscape is more than just a backdrop, it is participating in their story. This is something I really struggle to replicate. The way he renders the subtleties of human trace in the natural spaces without overwhelming essence itself seems something that would involve both technical mastery and an intuitive understanding of storytelling.