#gilray

[servingvamp]

Gil: What if there was an alarm clock but it rings every time?

Ray: We touch-

Gil: I get-

Ray: This feeling-

[mybeingthere]

LISA IVORY was born in London in 1966. She grew up in the city’s East End, where the urban landscape has a wild edge. Ivory attended Central Saint Martins School of Art and graduated with a B.A. (Hons) in Fine Art - Painting.

While Ivory’s paintings recall Goya and William Blake, her drawings have a more political aspect which bring to mind the satirical sketches of Daumier.

"In the shadowy recesses of the mind, in those spaces occupied by the strange peripheral visions that pour in through the corner of our eye, we find the monsters of our imagination. They are the creatures we cower from as children hiding under the bed, or imagine lurking in the undergrowth when we walk through a dark forest. They fill the pages of fairytales, and they are there in the margins of medieval manuscripts, hidden beneath seats or concealed within the stone leaves of capitals and cathedral choir screens; a fantastical bestiary of hybrid creatures, half human – half beast, which both transfix and terrify. They are symbols of otherness, not only portraying the fearful thing out there, but our own otherness, our fear of the wild hairy beast hiding within.

In our post Enlightenment age, most have become sceptical of the medieval bestiary, relegating it’s hybrid creatures to the toy box of childhood. Lisa Ivory, however, is an artist who navigates these shadowlands of the imagination, mining them for inspiration. She invites us to become innocent voyeurs; to tiptoe through crepuscular layers of scumbled oil paint to glimpse the moment when a rubenesque naked beauty tames the beast. Normally shadows are places of terror where our imagination constructs fearful monsters to populate our nightmares. But in Ivory’s shadowy layers the hard edges dissolve, allowing a sense of gentle mystery to emerge. Unlike the woods of Ivory’s East London childhood, tainted and made ugly by human detritus, these spaces are suffused with the innocent wonder of a child who has not yet learnt to fear the natural world.

Ivory doesn’t offer us images of titillation or torment but of innocent interconnectedness. Her wild men are placid recipients of their companion’s attention. They stand quietly while their hair is stroked; they hold, cuddle and caress them as they are led with gentle chains. There is something mythic and allegorical in these intimate pastoral scenes, with the ‘other’ becoming a source of fascination rather than fear. The animal within has not been tamed and beaten into submission but accepted and allowed to emerge.

We find this emergence powerfully portrayed in Ivory’s drawings, which unite man and beast in strange hybrid forms that evoke the eighteenth century caricatures of Rowlandson or Gilray. While the paintings explore a deeply intimate encounter between women and wild men, the drawings focus on the hybrid form of the beast/man. Yet the beast within these quiffed teddy boys and bearded and moustached 19th century mugshots is not a terrifying monster but a toy poodle, with a mane of carefully groomed hair. The only terrifying thing about this neatly coiffed lapdog is the prominent member between its back legs, but even then it frequently lies flaccid, deflated and tamed, unable to perform.

In Ivory’s paintings and drawings monsters dissolve into formless shadows and the other is tamed with silken chains. Even when they should shock, Ivory is able to seduce us with her exquisite mastery of paint and the confidence of her playful line. She tempts us to linger and in doing so we discover the beauty within the beast." —— Richard Davey, July 2020

https://www.riccomaresca.com/.../91-un-related-christine.../

[hyperions-fate]

Contrary to the charming image manufactured by Paddington films, Jane Austen novels, and Beatles albums, living in Britain feels like having a syphilitic lord from a Gilray cartoon spitting on your soul.

[lilithsaintcrow]

"James Gilray, the famous caricaturist of the time, portrayed her as the Muse of Tragedy, gesturing upwards to reach for money-bags, which looked suspiciously like a pair of testicles, suspended from the devil’s pitchfork."

[claytongraphic]

This will be for now the final add on to the saga of animal liberation , this being a mix of all the techniques from all projects to now from fluid and detailed to comical and serious i wanted something as an final message for this topic unless i come back to it which i might as will be later explained in a research piece . The image itself covers and explained itself but also like the other i will say its a reflection on slaughter houses how the freeze sometimes alive creatures or gut them whilst screaming the idea of that was gut wrenching and made it almost sound like as “saw”movie. Due to that nature i created this piece quite thinking back to an old artist like George Cruikshank(1792-1878-satirical artist ) or James gilray(1756-1815) who always expressed in hyper exaggeration and human animals sometimes the idea and stupidity of conflicts or revolutions like how I want to with animal liberation. With theses concepts i created this grotesque idea of humans being butchered the same as common farm life but of course the animals in which would die being the killers, as an almost fuck you to the butcher industry which still to this day don’t respect the killing or nature of animals like most overs try as meat eaters. The image itself is a metal etched plate in which I’ve marked and detailed lights and gore using paper or leaving of ink to try make it as visible as possible that we are killing like this but we would only care if it was us dying not “common wildlife “(peter singer).

[pocket-luv101]

This might make me sound cringe but I was feeling nostalgic for the rock bands I listened to as a teenager and went back to my old playlist. After that, I want to make a collection of songfics around these songs.

KuroMahi - "The Only Exception" by Paramore "Maybe I know somewhere deep in my soul that love never lasts and we've got to find other ways to make it alone or keep a straight face. And I've always lived like this. Keeping a comfortable distance and up until now I had sworn to myself that I'm content with loneliness because none of it was ever worth the risk. But you are the only exception." Paramore is a rock band but this song has a more indie sound than their usual stuff. The angst and comfort fic just calls to me.

KuroMahiSloth - "Vulnerable" by Secondhand Serenade "Share with me the blankets that you're wrapped in because it's cold outside. Share with me the secrets that you kept in because it's cold inside and your slow shaking fingertips. Show that you're scared like me so let's pretend we're alone. And I know you may be scared and I know we're unprepared but I don't care."

LawLicht - "Everything I Ask For" by The Maine "She's not big on holding hands but that's alright cause I still got her. I don't know what she sees in me but I'm happy that she's happy now that she's with me and I'm freaking out because I'm just so lucky. Cause she's everything I ask for and and so much more." Should I included the lyrics that fist fights turn into sex? XD

Tetsono - "All The Small Things" by Blink182 "All the small things; true care, truth brings. I'll take one lift; your ride, best trip. Late night come home. Work sucks, I know. She left me roses by the stairs. Surprises let me know she cares." Yes, anything I can turn into a short joke will be connected to Tetsono.

GilRay - "Check Yes Juliet" by Boys Like Girls "Don't ever look back, they'll tear us apart if you give them the chance. Don't sell your heart. Don't say we're not meant to be. Run, baby, run. Forever we'll be, "you and me". Okay, this has been a WIP in my folder for a long time but this might finally give me more motivation to finish it. It's like 75% done and I just need to adjust a few scenes.

I really want seven couples/fanfics (maybe for the week leading to Valentines) and a song from a different band for each. But I can't think of another ship at the moment. Maybe Jekuni and a song from A Rocket to the Moon?

[hello-vampire-kitty]

My OTP is Gil x Ray and my other favorite pairing is Youtarou x Gear and y'know what these pairs have in common? The fact that each character is represented by an animal, with Gear actually being part wolf, so we have Gil (weasel), Ray (rabbit), Gear (wolf) and Youtarou (sheep), the first kanji in his name is "hitsuji" 羊

meaning sheep. It's interesting that weasels and wolves are predators and rabbits and sheep are prey, each pairing can be considered an unlikely friendship and we also have another one, the friendship between Kuro and Gear, cat and dog, wolf in this case. Also, another contrast of these relationships, the ones represented by the animals that are predators, Gil and Gear, are smaller than the prey, Youtarou and Ray.

[wonderfulchaos69-blog]

Royal AU and Sick/Injured with Gil and Ray? I know they are not quite a popular pair...I like your writing and would like to see your take on those two :)

Title: Now I Lay Me Down To SleepFandom: ServampCharacters: Gilberto Weasel and Rayscent Crazyrabbit, with a cameo by ShamrockSummary: Royal AU. Two little Soldiers playing with a gun. One shot the other and then there was One. One little Soldier left all alone. He went out and hanged himself and then there was none.Notes: I overestimated when I would have this done, but I can now officially say I’m all caught up on Servamp chapters! And I am loving Wrath Pair. Also, those two precious Italian bois are a riot. I, uh, I didn’t end up giving them a happy end here, but to be fair, they will be making a reappearance if I do get around to writing this as a multi-chapter fic.

[servampofprocrastination]

Partly as assignment-distraction, partly because I really wanted to know what this said.

Please note that this translation will be nowhere near as cleanly done as hello-vampire-kitty’s (because I rushed through it, and because I’m still learning) - that’s why there’s a lot of ‘(this phrasing/or this phrasing?)’. Some of the wording is a bit vague to my sleep-deprived mind too… Like, 先に(ahead, before)死んだ(died) - died ahead? Went ahead and died? I'm not sure which works better :x

I figured, if I’m going to translate it, I might as well offer it up to anyone else who wants it!

[magog-on-the-march]

[servingvamp]

"I've crossed oceans of threads just to high five you."

[mybeingthere]

LISA IVORY was born in London in 1966. She grew up in the city’s East End, where the urban landscape has a wild edge. Ivory attended Central Saint Martins School of Art and graduated with a B.A. (Hons) in Fine Art - Painting.

While Ivory’s paintings recall Goya and William Blake, her drawings have a more political aspect which bring to mind the satirical sketches of Daumier.

"In the shadowy recesses of the mind, in those spaces occupied by the strange peripheral visions that pour in through the corner of our eye, we find the monsters of our imagination. They are the creatures we cower from as children hiding under the bed, or imagine lurking in the undergrowth when we walk through a dark forest. They fill the pages of fairytales, and they are there in the margins of medieval manuscripts, hidden beneath seats or concealed within the stone leaves of capitals and cathedral choir screens; a fantastical bestiary of hybrid creatures, half human – half beast, which both transfix and terrify. They are symbols of otherness, not only portraying the fearful thing out there, but our own otherness, our fear of the wild hairy beast hiding within.

In our post Enlightenment age, most have become sceptical of the medieval bestiary, relegating it’s hybrid creatures to the toy box of childhood. Lisa Ivory, however, is an artist who navigates these shadowlands of the imagination, mining them for inspiration. She invites us to become innocent voyeurs; to tiptoe through crepuscular layers of scumbled oil paint to glimpse the moment when a rubenesque naked beauty tames the beast. Normally shadows are places of terror where our imagination constructs fearful monsters to populate our nightmares. But in Ivory’s shadowy layers the hard edges dissolve, allowing a sense of gentle mystery to emerge. Unlike the woods of Ivory’s East London childhood, tainted and made ugly by human detritus, these spaces are suffused with the innocent wonder of a child who has not yet learnt to fear the natural world.

Ivory doesn’t offer us images of titillation or torment but of innocent interconnectedness. Her wild men are placid recipients of their companion’s attention. They stand quietly while their hair is stroked; they hold, cuddle and caress them as they are led with gentle chains. There is something mythic and allegorical in these intimate pastoral scenes, with the ‘other’ becoming a source of fascination rather than fear. The animal within has not been tamed and beaten into submission but accepted and allowed to emerge.

We find this emergence powerfully portrayed in Ivory’s drawings, which unite man and beast in strange hybrid forms that evoke the eighteenth century caricatures of Rowlandson or Gilray. While the paintings explore a deeply intimate encounter between women and wild men, the drawings focus on the hybrid form of the beast/man. Yet the beast within these quiffed teddy boys and bearded and moustached 19th century mugshots is not a terrifying monster but a toy poodle, with a mane of carefully groomed hair. The only terrifying thing about this neatly coiffed lapdog is the prominent member between its back legs, but even then it frequently lies flaccid, deflated and tamed, unable to perform.

In Ivory’s paintings and drawings monsters dissolve into formless shadows and the other is tamed with silken chains. Even when they should shock, Ivory is able to seduce us with her exquisite mastery of paint and the confidence of her playful line. She tempts us to linger and in doing so we discover the beauty within the beast." —— Richard Davey, July 2020

https://www.riccomaresca.com/.../91-un-related-christine.../

[creativenicocorner]

Otto and Strickler in a bar in the 1800′s snickering together with political cartoonist James Gillray and his false depictions of Napoleon being short:  Brilliant! Genius! Cheers!

Strickler complaining to Otto in the  2010′s after school, at a bar, after having to explain for the 122343432098290 time Napoleon wasn’t actually short:  The joke went too far. 

[vita-player]

Stewart Gilray, Just Add Water founder, passes away aged 51

Stewart Gilray, Just Add Water founder, passes away aged 51

It is with great sadness that we have to report that Stewart Gilray, founder of development studio Just Add Water, has passed away at the age of 51. Having worked in the industry for most of his life, initially as a programmer in the 8-bit and 16-bit era for major studios such as Core Design, Bullfrog, Psygnosis and many more. He went on to start Just Add Water in 2006, who specialised in PC and…

[northernmariette]

What ailed Napoleon after his Coronation?

Still from the same book from which I posted the extract about Napoleon’s death, here is some more concerning Napoleon’s health:

In 1805 Napoleon, crowned Emperor on 2 December 1804, was thirty-six years of age. From now on he started to deteriorate, both physically and mentally. This fairly rapid change was noticed by all those in close contact with him. He began to fill out, developing a paunch. His thin face became rounded and his neck thickened. The long straggling hair receded from his forehead, grew sparser and finer in texture. His skin was softer and his hands, once long and ‘beautiful’ (although dirty), were covered with fatty tissue and so gave the appearance of being small and pudgy. The lean, haggard Corsican Ogre of the James Gilray caricatures changed into the better-known stocky little Napoleon of school history-book pictures.

This physical deterioration was accompanied by a marked alteration in temperament and mentality. Basically, he lost his self-discipline. From 1806 onward his rule became more absolute and his ministers little better than yes-men. Denis Decres, Minister of Marine, declared: ‘The Emperor is mad and will destroy us all.’ In 1807 Prince Metternich observed that ‘there has recently been a total change in the methods of Napoleon. He seems to think that he has reached a point where moderation is a useless obstacle.’ His temper was not under the same control as before. His rages were less frequent but he could no longer switch them on and off at will. He lost the common sense which had nearly always guided his actions and now allowed his fantasies to take charge of his plans. Hand-in-hand with his lust for power and dream-fantasies there went an unwonted impatience. But the body refused to obey the dictates of the mind. His magnificent vitality slackened and he lost the old capacity for prolonged constructive work. By the age of forty Napoleon had changed into a lethargic and hesitant but irritable man.

Disease & History, second edition, by Frederick F. Cartwright & Michael Biddiss. Sutton Publishing, Phoenix Mill, Thrupp, Stroud, Gloucestershire, 2000; pp. 102-103.

I will next post the authors’ theories about the reasons for these changes.

[pocket-luv101]

Summary: Gil and Ray participates in an easter egg hunt. (GilRay, Human AU)

“Move your feet down and a little to the right.” Gil yelled to Ray who was at the top of gate. Since they were still children, Ray was wary of heights. But climbing over the stone gate was the only way he could sneak out of his mansion to play with his friend. No matter how scared at him, he trusted Gil to guide him to the ground safely. He moved his foot down and felt a small ledge. “You’re almost there, Ray!”

Ray didn’t want to look down to see how far the ground was from him. In the past, he would never dare to climb over the gate. That changed after he met Gil. Despite how different their stations in life were, they were close. He peeked over his shoulder and saw the smile Gil had. That made him feel a little braver and he took another step down.

“I got you!” Gil wrapped his arms around his waist when he neared the bottom. He helped him down from the stone wall but he didn’t let go of him immediately. While they were the same height, Gil would insist it was his job to protect the other. Ray secretively wished that he could grow to be the taller one and protect him.

“Let’s gooo before one of your servants realize you’re gone.” Gil’s orphanage was holding an Easter egg hunt and he invited Ray. Since his parents kept him sheltered most of his life, Ray was rarely able to enjoy games his parents deemed ‘frivolous’. He looked forward to the event. Mostly, he was happy because he could spend time with Gil.

“Okay!” Gil took his hand and they ran down the road together. The orphanage wasn’t very far from his home and they laughed secretively the entire trip.

They went to the back of the orphanage where the egg hunt was being held. Ray visited them often enough that the volunteer didn’t question him. She handed the two of them a pair of baskets. She also dropped a fake, acrylic crystal into each of their basket. “We couldn’t buy a lot of eggs but we thought these pretty crystals would be just as good. The one who collects the most will get a prize too.”

“Imma win!” Gil declared loudly and raced off. He didn’t bother to ask what the prize was. He paused after a few steps and then he turned back. He grabbed Ray’s hand and told him: “We’ll win this together! If we work together, we can collect the most and share the prize. Let’s split up. I’ll look in the sandbox and you search the garden.”

“Okay,” Ray reluctantly agreed. Honestly, he would rather spend more time with Gil. But he saw how excited his friend was and he wanted to help him win. His plan was logical so he decided to go along with it.

“Gil, did you find any crystals?” Ray called out to him. His own basket was heavy with the fake gems so he decided to spend the rest of the egg hunt with Gil. He walked to the sandbox and he found that there was more sand outside of the box than inside it. Yet, Gil’s basket was empty. He knew how single minded he could be and guessed he didn’t want to give up looking. His face was full of determination.

If Gil couldn’t find any crystals, it was likely the other children had already found them all. He looked down at the crystals in his basket. Ray sneaked behind him and he took a handful of crystals. He carefully buried them in the shallow sand. He stood again and called to Gil again, “Are there any here?”

“No. Damn, I wasted so much time here and—” Gil turned to Ray and he noticed something reflect the sun at his feet. He jumped to his feet and scurried to his side. He unearthed the little crystals and showed Ray his prize. His smile was wide and bright and Ray mirrored it. “I knew I would find a bunch here! Check it out, Ray!”

“I can see them,” Ray said with a chuckle. He knew he couldn’t tell Gil the truth when he looked so proud of himself. Gil dropped them into his basket and scanned the yard for other places they could search. Then, he looked from his basket to his and tilted his head slightly.

“I don’t think we’ll find enough to win. Too bad. You found a lot too!” Gil pouted. His expression quickly turned into a grin when he faced him. “Hey, Ray, when we’re older, I’ll buy you a real diamond!”