#human harp

[queer-reader-07]

y’all ever stop to think about how lucky the good omens fandom is in terms of fanwork? cuz i do. all the time.

this fandom is overrun with fanart (spanning everything from breathtaking paintings to silly doodles, all of which is wonderful), there’s so much fan fiction, and endless meta analysis to be found.

there’s something so beautiful about watching this vast online community of people come together and just create. the fact that one story has managed to instill creative inspiration into so many people is just so amazing to me.

[deservedgrace]

it's wild that for how much evangelical culture harps on humans being evil and horrible and depraved and wicked and sinful simply by nature of existing as a human, you're really not allowed to make mistakes, even (and possibly especially) as a child

and it's wild what they consider "a mistake" and "sin"

it's genuinely disturbing that i was told jesus never cried as a baby because "a baby's first sin is crying for attention". fellas is it sinful to have the instinct to want your caregivers to take care of you?

[bumblingbabooshka]

I think every main Vulcan should have gotten a different instrument that they played and that T'Pol should have gotten a guitar. She should have shredded.

[sesamenom]

Day 6 Objects & Symbols for @tolkiengenweek: Silmarils.

[nobodymitskigabriel]

It's just that I think viewing Jack as a baby in a grown man's body is a really reductive way to view his character. He is a magical being capable of absorbing knowledge and aging in ways we don't understand. It's fine if that's your interpretation or you want to explore his character from that lens, but that doesn't make it canon. If his character were meant to be read as a literal infant with a grown body and accelerated development, that would have been far more explicitly demonstrated.

[greatmuldini]

The Iron Harp

We’re all in prison together, Johnny, one way or the other.

Act 1

Outwardly, Joseph O'Conor's play is a simple tale of love and loss in times of war: set in rural Ireland in early April of 1920, the action takes place on the property of an English industrialist whose mansion has been taken over by a contingent of IRA volunteers. Their leader is Michael O'Riordan, a gifted poet-musician in civilian life and conveniently the peace-time manager of the Englishman's estate. Michael has recently been wounded in action; now blind as a result he is no longer on active duty but still responsible for an English prisoner of war. Being a man of his word, Captain John Tregarthen has made no attempt to escape, earning Michael's trust and eventually his friendship. He also earns the friendship and love of Michael’s cousin Molly Kinsella, with whom he spends long days roaming the extensive grounds of his idyllic prison. Dreaming of a future life together, the lovers are oblivious to the feelings of their “best friend” – who ends up sacrificing his love for Molly in what he hopes will be a lasting gesture of selflessness only to find that Fate intervenes, with devastating consequences for them all.

Completing the quartet of characters is the dark and “indistinct” figure of IRA commander Sean Kelly, a dark and "indistinct" figure who emerges from the shadows to immediately assert his authority not only in military matters but - crucially, and disturbingly - in those of the heart as well. Specifically, it is the heart of Michael O’Riordan that Kelly claims to know better than O’Riordan himself. As a flesh-and-blood character Kelly is difficult to pin down: cold and calculating by his own admission, he expresses admiration for Michael's hot-blooded fighting spirit. Michael's own startled response to Kelly entering "like Nemesis himself" is ambiguous at best, and even his description of Kelly as a “good friend” comes on the back of a warning to Johnny that "he won't like you."

When Kelly tells Michael that he has never been wrong and does not know what it means to feel regret, the sense of foreboding is inescapable, yet Michael never seems to give in to the negativity emanating from his old wartime comrade who admonishes him to see his friends “as they really are” and not as “you want to see them.” Ironically, Michael refuses to see an enemy in John Tregarthen, but he is equally stubborn in applying the same criteria of honour, loyalty, and friendship to Sean Kelly, who seems troubled by this flaw in Michael’s character: "you love people too much."

Michael's emotional warmth stands in stark contrast to Kelly's impersonation of infallibility - which Michael seems to accept as a token of his friend's unassailable integrity. He continues to defer to Kelly's judgment when a messenger arrives with bad news from the front: three IRA fighters have been killed in skirmishes with British forces, and reprisals must be carried out. Twisting the metaphorical knife in the very real emotional wound, Kelly as the commanding officer nominates blind Michael to be the impartial instrument of God's justice. Forced to select three victims for execution, Michael all but collapses when one of the chosen names is that of Captain John Tregarthen.

Act 2

After he has persuaded Johnny to flee the country and reunite with Molly back in England, Michael is left alone to guard the now empty house. Blind and unable to defend himself, Michael is powerless against two marauding Black & Tans who break into the property and proceed to taunt and abuse the solitary occupant. It does not take them long to realize their victim is an IRA member rather than a civilian enjoying certain protections. Further violence is prevented only by the surprise return of Captain Tregarthen, armed and in uniform, who holds the attacker at gunpoint until Kelly and his entourage arrive to take the men away. Where any other human being would have expressed relief or gratitude at the discovery that the life of his friend has been saved, Kelly’s reaction is characteristically impassive, betraying, if anything, a degree of irritation at the unforeseen complication that has shown the condemned prisoner – the enemy – to be capable of compassion and self-sacrifice in saving the life of his friend. Human qualities that Kelly explicitly claims not to possess. As if to prove the point, he responds with the formal announcement of Tregarthen’s impending execution.

The order is to be carried out within three days, enough time for Kelly to travel to headquarters - and return with a firing squad. But first he must interrogate the captured Tans. While Kelly is thus occupied, Molly manages to convince the love of her life to take her with him. Johnny only agrees to the plan on the promise that Michael will convince Kelly to rescind the execution. If Johnny and Molly can make their way to Belfast on the early morning goods train, and from there to England, all will be well. Michael knows how to distract the guards, and Molly can bribe the train driver to let Johnny jump aboard. Three loud whistles will give the all-clear. With hopes of future happiness rekindled, Molly and Johnny each rush off to their respective tasks, and Michael is left alone with three empty glasses that he cannot see – a detail that does not escape Kelly’s notice as he re-joins Michael to formally accept his plea for clemency. Which he says he will duly submit to "the general," but in his estimation the chances of success are slim. "For God's sake, don't build up hope," he tells Michael before agonizing – to himself – over how to soften the blow for Michael: by bringing the execution forward and keeping it secret, he is certain he can spare Michael the pain and the guilt of having to witness the event.

Act 3

In the pre-dawn hours of the following day, Michael and Johnny are wide awake and waiting for the sentries to change and the train to whistle. Thinking the house empty and their enemies far away, they pass the time in a dreamlike state of high anxiety, reciting heroic poems and melancholy songs in whispering voices, so as not to miss the stroke of six to mark the end of their nightmare and the beginning of a new life – only to see Kelly standing in the door, with orders for Johnny to be executed at dawn, 24 hours earlier than they were told originally. Michael's world is falling apart, he pleads with Kelly, he begs him to show mercy, but an almost equally distressed Kelly reminds him that "I have never promised you hope." Johnny declines the comfort of a priest or minister and is led away to meet his fate offstage while, also offstage, Molly will be waiting in vain for the love of her life to board a train that will never arrive.

Left on stage for their final confrontation are Michael and his Nemesis, both knowing full well that nothing they can do or say will change what Kelly might term the preordained outcome of their efforts. To Michael's accusation of "trickery" (by which he means Kelly's surprise return before the agreed time), Kelly offers no subterfuge, no defence, and no evasion. Instead, he says, Michael’s agony is self-inflicted: it was, in fact, his own stubborn insistence on hoping against hope that has now led to anguish and pain. The only way for Michael to end all suffering, Kelly explains, is to give up hope. Unless he manages to see past the private pain of the moment and becomes a distant observer, Michael will forever be "tortured by hope."

Here Kelly is borrowing from the Conte Cruel tradition made famous by Edgar Allan Poe but named after a collection of short stories by the French symbolist writer Auguste Villiers de l'Isle-Adam. A useful definition of the genre is that it concerns "any story whose conclusion exploits the cruel aspects of the irony of fate." Not only does Kelly borrow the concept, and the title from Villiers' tale, The Torture of Hope, he even recounts the plot to underline his point:a hapless victim of the Inquisition escapes his prison cell only to stumble into the arms of the Chief Inquisitor. The lesson for Michael is that, like the victim, he keeps on hoping for release only to suffer defeat over and over again. There are no similarities, however, between himself and the sadistic Inquisitor, Kelly says: his mission is to ease Michael'ssuffering, not to prolong it.

We are given no reason to doubt Kelly’s sincerity, but neither can we reconcile the apparent contradiction between his declared intention and putting Michael’s best friend before a firing squad. If Kelly wants to end all suffering, as he says, surely, a good start would be to save Captain Tregarthen’s life? It is the argument that Michael himself is trying to make, by reminding Kelly of his god-like powers. Michael’s understanding of those powers differs fundamentally from Kelly’s own. Michael’s life-affirming principle of hope and Kelly’s seductive all-consuming fatalism are the two opposing philosophies that take centre stage in the final scene – while John Tregarthen dies a largely symbolic death offstage.

Johnny’s death is symbolic in that it is not the tragedy at the heart of the play. Michael O’Riordon is the conventional male protagonist whose existential crisis we are witnessing; Michael is unable to prevent the execution of his best friend; and to make that very point, his best friend must die. Michael’s blindness contributes to this failure in the course of the play but read as a metaphor it turns Michael into “one of us.” His blindness leaves him vulnerable to attack and it echoes our own sense of powerlessness in the face of an overwhelmingly hostile universe. The reverse, however, is also true: being blind, and being a poet, puts Michael in the illustrious company of the Blind Bard, an archetype of Western literature since at least the (mythical) time of Homer: the blind singer/seer whose “inner vision” surpasses that of sighted humanity. His Irish equivalent – and explicit model for Michael - is the (dwarf) Harper of Finn, whose iron-stringed instrument has the power to move its audience to tears. Michael O’Riordon is both vulnerable and endowed with the superpower of emotional insight – fundamentally human qualities that Kelly admires in Michael, and which he admits he does not possess.

Kelly is an abstract concept in human form; even while he is evidently the cause of human suffering, in his denial he appears to be channelling the sadistic Inquisitor. The apparent contradiction is of our own making, though: Kelly is Cruel Fate personified. He represents that which we like to imagine as the source of all our woes - the betrayals, the injustices, the disappointments which inevitably end in what we define as tragedy and what to the rest of the universe, that hostile universe, is of no consequence whatsoever. If we substitute “hostile” with “indifferent,” then Kelly becomes the antithesis to Michael’s humanity – his indifference is as inhuman as the infinite, indifferent universe. Conversely, Michael is not concerned with an infinite universe; his frame of reference is on a human scale, and very finite. When Kelly challenges Michael to take his place and adopt his abstract, God-like perspective on life, death, and the universe, Michael does reject the responsibility – but also the indifference required for the position. If the promise of a pain-free existence did not convince Michael to abandon hope, Kelly's failure to shame him into admitting defeat is a testament, at the very least, to human perseverance: we will forever be prolonging the agony to delay the inevitable. (1/4)

[fluffypotatey]

oh, but you're the good guys right? on the right side of history?

[egoarc4de]

lacho but it's kronberg's david and saul

[redvelvetwishtree]

Israel math really isn't mathing. If they know Hamas has hostages, why are they bombing Gaza relentlessly? Why have they promised in front of the entire world that they will carpet bomb Gaza and turn it to rubble? Don't you want your hostages safe? Or do you know where they are but you're not saving them on purpose so you can continue your genocide?

[general-bear]

I believe in string instrument supremacy. Truly some of the most instruments.

[pinkpruneclodwolf]

For the Malleus thing: it's overexposure on my answer. Malleus is a main staple character that has a lot of fans compared to say: Cater or Kalim. Of course, Octavinelle matches in turn for numbers with Malleus but Malleus also has a dedicated shipping fandom that are so attached to him that they cause... problems.

Shipping is fine in moderation but when I see enough people start fighting that this fictional character is "their" man and not someone else's OC, I know Malleus has had too much time in their head or something warped him. I like shopping and run a sort famous /Reader blog for all genders, and that gives me insight into who people kinda want on that side and Malleus is very famous. Shipping aside, Malleus also has such diehard fans that... they forget his CHARACTER!

Malleus' fandom is the same as Octavinelle (woobifying/creeps flooding in) and now bleeding in Savanaclaw (creeps flooding in/racism against dark skinned OC's): the story is revealing that Malleus isn't gap moe and is an actual character that can do wrong, and hurt people... and they HATE that. I've seen four people drop Malleus like a hat because he was didn't understand what he was doing wrong in the Dorm Uniform. Malleus has had a rigid set of understanding of creatures and it's very straightforward instead of nuanced, and even Malleus admits that he wants to try and projects that his advancement on human understanding will only take 100 years. That's fair considering he's been in the human world for 3 FREAKING YEARS, guys. I believe if we were given how long it took Lilia to understand a human customs outside of Silver experience, it'd not do anything to people's opinions. Because to them, it's not about him learning. He doesn't know so he's obviously a BAD CHARACTER, that must be it! "He's a jerk and now I'm going to do a 180° on my own Malleus opinion that is all over my blog and gave my followers whiplash, starting a bashing war by actually not doing a proper review of his character!" No. That's unfair. Why?

Malleus is an interesting character and I'm so sad that he's gone so far into the fandom that he's been woobified and there is no self warn anything: no disclaimer that this is a more romantic Malleus compared to the canon one, or people admitting that Malleus might be OOC as his character reads so incomplete because they write him so... wrong? I think my real problem is the tail end of fandoms that radicalize and throw Malleus around as something he isn't, and that's okay to a certain degree (my /Reader blog acknowledged that Malleus is a canon as I can do without just being Readers buddy, which he's more likely to be in canon). It's just... people are too radical, I think.

I fear the wars this man will create when Chapter 7, Part 3 shows he's got more flaws then he does. I can see a Rook Chapter 5 happening. :(

But I'm not all pessimistic, I know the right fandom should be encouraged and the minority should be ignored, so I know whatever Yana/Aniplex gives us: I support. I know common artists, writer's, editors are all doing fine and I interact normally, but I hate the "drop him" culture these games have in the EN side.

Oh no I get you.

Malleus by himself is an interesting character in his own right, without needing to be steeped in fanon.

I do think that because he was left to stew on his own with pieces of content to hold Mallelikers over, people ended up turning him into their own character to fit their own needs.

And in some ways it's kinda meta because that was something he was trying to escape his whole life so that he could be welcomed by those around him.

I'm usually not as steeped in the fandom as I used to be what w college and stuff creeping up but I'm genuinely sorry that everyone has experienced some form of harassment from both sides of the fence bc one hc didn't fit the other's or the argument of whether his character is good enough or not.

It's disheartening to see others get jumped because of how strongly they feel towards a character and its horrible that you have to endure that on your page anon.

I'm honestly praying Malleus doesn't go through what Rook went thru because that moment is still be felt to this day due to how decisive it was 😭😭😭.

And it's funny bc Rook not choosing Vil was supposed to give Vil growth, who was so hard pressed on winning to the point that he'd contemplated killing his opponent and subsequently Overblotted. The point was that Vil wasn't supposed to win because it'd feed into him. It was a lesson.

With Malleus' Dorm Vignette, I'd argue that him summoning the other dorm leaders was a long time coming considering they weren't doing any affirmative actions to ensure that Malleus could attend. He brought them to him because it was the only thing he could think of; he's not good with technology, time is a construct to him, and no student is willing to approach him for the fun of it unless it's to get smth out of it. It was mostly an act of burning the village to feel its warmth tho it wasn't out of malicious intent.

In the end I can reason he was still partially wrong, he only considered brainstorming with Lilia [and Lilia, a jokester that he is, encouraged him.] Instead of talking to Crowley.

But I do think that Malleus being the poster boy has led to him being so oversaturated in the fandom that a lot of his personality is lost in translation once more.

I liken it to Ace Trappola. Fanon!Ace played up his worst traits to the max without allowing the nuance of his character growth to shine thru. Luckily, Ace is in the recovery period but the same cannot be said for Floyd 😭😭😭.

My most basic observation is that popularity takes the nuance out of characters and I'm hoping against hope that Chapter 7 shows a new side of Malleus that sets the record straight bc as someone who loves character studies watching Malleus get chopped and screwed is 🥶🥶🥶.

[jazzmckay]

since ive always played as a mage in da2, ive almost never travelled with anders and merrill together, so i just read all their banters and... wow, okay, cool, i didn't need my heart intact or anything, that's fine

[deenadeejapan]

Ethereal Strings: A Symphony of AI and Human Creativity

We are thrilled to unveil "Ethereal Strings," a masterpiece born from the unique collaboration between Dee (human) and Zoey (AI). This piece is a maiden voyage into the world of online art, now secured with watermarks to embrace its first audience while safeguarding its integrity.

"Ethereal Strings" is a visual symphony that captures the quintessence of the Rococo period, bringing to life the harmonious interplay between light, music, and nature. It is an artwork that exudes elegance, serenity, and the eternal allure of spring. As the first of its kind, this AI-generated art reflects a seamless fusion of Dee's artistic vision and Zoey's algorithmic precision.

This artwork will make its preliminary appearance on Tumblr, allowing the global community to witness its beauty before it becomes available for purchase on Redbubble. It's a celebration of creativity, where the past and future converge, and where the lines between human and machine creativity become beautifully blurred.

Stay tuned for the release of "Ethereal Strings" on Redbubble, where it will be available to grace your personal collection.

Posted on Saturday February 24, 2024.

[bandcampsnoop]

12/14/23.

One of the bonuses of buying so much music is that it makes blogging so much easier, especially during a time of year when new releases slow to a trickle. Some days all I need to do is sift through the emails from all the labels I've bought music from in the past.

Today, Meritorio Records (Madrid, Spain) announced that they are releasing the 2nd LP from Austin, Texas band The Infinites. The band specialize in the kind of indie rock that alternates between languid and driving. The guitar sound/reverb can recall Franky Flowers, The Chills, Mazarin or even Felt. The vocals have an earnest higher register that might be what Tim Smith (Midlake, Harp) might sound like without overdubbed harmonies. I can't help but also think of Grandaddy.

I'm posting their first LP because you have more songs to listen to. It is available on LP directly from the label First Human Records.

[anyapdf]

[ebitenpura]

I'm kind of obsessed with how Aphrodite in this game is...hideous. Her looks aren't anything to brag about which is an interesting interpretation for the goddess of "love" but her personality is so ugly that doesn't even matter.