#inao

[indongphucaothun]

Thiết kế áo đồng phục ngày nay đã trở thành một trào lưu, mà ở đó có nhiều ý nghĩa đại diện cho một thương hiệu, doanh nghiệp, lớp học,… Logo trên áo cũng là một trong những yếu tố quan trọng để nhận diện. Có rất nhiều công nghệ để tạo nên logo trên áo đồng phục. Rất nhiều người băn khoăn có nên in logo áo đồng phục không. Hãy cùng Phục Đồng Uniform tìm câu trả lời nhé!

[megabbbmar]

フランス国立原産地名称機関(INAO) vol.12 商標_動画(embedded/playlist)

フランス国立原産地名称機関 動画 Séminaire INAO/INRAE sur les signes officiels d’identification de la qualité et de l’origine du 26 https://www.youtube.com/embed?listType=playlist&list=PLCrsmTd_AB7q19NYadW9ZlolxJFhEUjq0&v=G4-Gsm5bK_Q&layout=gallery%5B/embedyt%5D フランス国立原産地名称機関 フランス国立原産地名称機関(INAO) vol.11 商標_動画(embedded) À l’occasion de la reconduction de la convention générale de partenariat INRAE – INAO, les deux…

[heaven-is-in-your-arms-series]

Lakhon Nai performance of a scene from The Romance of Inao

Panji/Inao -- "Inao Exiting the Cave" -- Lakon Nai Dance Drama (Thailand)

[vintagejapanesebaseball]

Nomura and Inao

[diario-aprendizaje-irenegg]

Reto 1: ¿Conoces si existe algún plan de localización de ODS en tu Administración?

Como ya expliqué en la presentación, trabajo en el Ministerio de Derechos Sociales y Agenda 2030, por tanto, sería raro que en mi Ministerio no tuvieran un Plan de localización de ODS.

Lo consulte con la SG de Análisis y Estudios para la Agenda 2030. Me contestaron enseguida, enviándome la Guía de Localización para la Agenda 2030:

Se trata de una Guía muy completa y al mismo tiempo escrita de forma muy intuitiva, una estructura clara que se complementa con la ayuda de iconos y esquemas, que facilitan enormemente la asimilación del contenido.

A la hora de realizar el diagnóstico de esta Guía, nos proponéis varias preguntas. Voy a tratar de ir respondiendo a cada una de ellas:

¿Cuáles son las líneas estratégicas prioritarias frente a la Agenda 2030 y los ODS?

Bien, lo primero, primerísimo, que debemos destacar de esta Guía es su enfoque territorial, que toma como punto de partida el ámbito LOCAL y permite avanzar en su consecución a nivel provincial, autonómico, estatal y global, de “abajo hacia arriba”..

Partiendo de este punto clave, que es la implementación local de los ODS, es fundamental el desarrollo de una planificación.

De esta forma, las líneas estratégicas de esta guía se estructuran en 4 FASES diferenciadas:

Dentro de cada fase se especifican y concretan las acciones o pasos a realizar con las subfases:

Fase 1: Sentado las bases

1.1 Establecimiento del Punto Focal

1.2 Generación de conocimiento, interés y compromiso

Fase 2: Diagnóstico local

2.1. Análisis de contexto

2.2. Mapeo de actores

2.3. Análisis de capacidades técnico-administrativas y políticas

2.4. Análisis de políticas y recursos locales  

2.5. Identificación de brechas/desafíos

Fase 3: Definición del plan de localización

3.1. Presentación del Informe Diagnóstico

3.2. Priorización de ODS y sus metas globales

3.3. Determinación de metas locales e indicadores de seguimiento

3.4. Determinación de políticas complementarias y acciones para el cumplimiento de las metas locales propuestas

3.5. Revisión de la inclusión de aspectos transversales

3.6. Cooperación al desarrollo

Fase 4: Implementación y seguimiento

4.1. Implementación

4.2. Seguimiento

Estas subfases se describen, a modo de ficha, con una serie de iconos que pretenden facilitar la lectura e identificación de la información más relevante:

De esta forma, las líneas estratégicas quedan claramente definidas.

¿Cuáles son las principales fortalezas del plan?

En línea con las fases que explicaba en el cuestión anterior, esta Guía desarrolla una serie de mecanismos y procesos. Estos se integran de forma transversal para reforzar las distintas fases y permitir que el propio proceso en sí de localización sea un proceso de aprendizaje y creación de capacidades y alianzas con los actores no públicos locales como la sociedad civil, el sector privado y/o el ámbito académico.

Proceso de COMUNICACIÓN para poner en valor el proceso de localización

Proceso de PARTICIPACIÓN, DIÁLOGO Y ALIANZAS

Procesos de GENERACIÓN DE CAPACIDADES en los diferentes actores locales públicos y privados.

Estos procesos y mecanismos se concretan en una serie de acciones especificas que e realizan de forma independiente y paralela al desarrollo de las fases.

Ej: presupuestos participativos (dentro del Proceso de participación, diálogo y alianzas)

Mecanismo de GOBERNANZA

Mecanismo de MOVILIZACIÓN DE RECURSOS

Mecanismo de COMPRA PÚBLICA SOSTENIBLE

¿Crees que este plan de localización de ODS puede mejorar la alineación interna de tu Administración?

Confieso que he tenido que buscar que quiere decir "alineación interna". Creo que es, algo así como, la gestión integrada que se lleva a cabo para conseguir el objetivo de la comunicación interna.

Lo mejor de esta guía es su magnifica estructura, que permite, exactamente lo que explica la introducción: implementar los ODS en un ámbito territorial, de más a menos local. Es decir, esta estructura se basa en 4 fases muy genéricas, que se desarrollan en subfases y finalmente se definen en acciones muy concretas. Lo mismo ocurre con los "Procesos" y "Mecanismos" de implementación transversal, empiezan siendo objetivos muy genéricos para ir concretándose en actuaciones específicas.

Esta forma de estructurarse, de lo más genérico a lo más concreto. Permite que tanto mi Ministerio como cualquier otra administración pueda tomar esta Guía como manual, partiendo de una premisas muy generales y concretándose en acciones que pueden implementarse en cada administración. Es por tanto, que lo considero una herramienta magnífica para mejorar la alineación interna.

Y aquí finaliza el diagnóstico de la Guía para la localización de la Agenda 2030, del Ministerio de Derechos Sociales y Agenda 2030.

[morose-marble]

I can't stop thinking about Khem and his relationship to sex as power and where it lies in relation to his own experience of sexuality. I also can't stop writing rambly, unstructured nonsense.

As we know, there's no explicit indication as to how Khem identifies sexuality-wise, other than subtle hints that Chatra's positive attention pleases him somehow (the repeating of 'you did a good job today', the very slight smile and perplexed pause at Chatra's admission that he just wanted to spend time with him, and finally, his frankly reckless trust in Chatra in the tree). And of course, 19th century understanding of 'sexual identity' as a character trait was different from the present.

I would have been interested in seeing more of Khem's perspective of his own sexual identity, considering that there was a scene that addressed homophobia directly. The fight that broke out was essentially used as a plot device to get him alone with Chatra, so I'm intrigued as to why they chose to emphasise homophobic rhetoric, when it seems that it isn't really presented as the issue. In Khem's case, class always trumps everything else.

All instances of Khem's sexuality we see are completely predicated on exploitation, with no suggestion at all as to what Khem's experience is beyond that. He has sympathy for the courtesans, because he understands what it is like to be reduced to the value of the pleasure to be derived from one's body. The first encounter with Phraya Wichiendej and the Inao performance, combined with the opening scene of the film, establish (to me at least) that he is practiced at recognising men's desire to 'have' him in a sexual sense, but perhaps more importantly, to exact class-facilitated power over him (he isn't really in a position to refuse). The way he smiles up at Wichiendej upon greeting him, the tone of voice he uses, come off as deliberately deferential in a way he has learned strokes the egos of men who see him as lesser. He recognises that it is the only tool for security or potential advancement he has in that particular kind of social situation. Tragically, the delivery of his lines during their meeting also holds a sliver of tenacious hope for the compliments to really only be for his efforts and not a veiled assertion of dominance ("you please me and I have all the power I need to make you do what I want"). And who knows, this may well have been the case, as we aren't shown Wichiendej pursuing Khem in any way after the Inao performance. We get the flashback montage of Khem's history of being sexually exploited by what appear to be men and a woman. So, again, the sex part of this exploitation is primarily about power, to reaally drive home that Khem has never had agency over his body or in his life. It is his base trauma.

The fight is Khem being slut shamed to compound on the humiliation he already feels from having received a thorough and public dressing down from Kru Phikun. And to add insult to injury, not only is he a slut, he's potentially 'a gay slut' (D.E.B.S? anyone?). He's understandably frustrated and angry, because he has had no choice in the matter, like, ever. What we don't know, is how he feels about the accusation regarding the gay part.

We don't get to see him as a sexual being on his own terms, he doesn't do any explicit desiring at any point in the narrative. So, the question is, how are we to interpret Khem's reaction to the disparaging of sexual conduct between men specifically? That's a big part of the argument, even to the point of surpassing the accusation that he is performing sexual favours in general. In fact, his assailant makes sure to let him know that he thinks performing gay sex acts for profit is worse than being a female sex worker in man suang, because gayness is particularly disgusting. Khem demands to know who presented the claim and whether they have proof, and he does it in a defensive, aggressive manner, and understandably so. Rather than commenting on the gay part of the accusation further than denying it, he chooses to openly defend the courtesans, effectively aligning himself with them, negating any discussion of the gender specificity of the accusation, but implicitly confirming the sexual favours part.

Does he recognise himself as experiencing desire for men? Or anyone, for that matter? Can he, when the primary association he is shown to have with sex is power-driven transactionality, instead of pleasure? Clearly this has been going on for a long time, but how long exactly? How has this impacted his perspective on sex and sexuality?

I was actually quite surprised how much time they devoted to establishing this part of Khem's character, without it playing a more pivotal role in the plot as the story advanced. I was sure at the Inao performance that Wichiendej would be built up as some kind of lech whose downfall would lie in his classist underestimation of Khem as a person, clouded as he would have been, with lust and a sense of superiority.

That leaves it to be simply a building block of Khem's character background, with the purpose to elicit sympathy in the viewer and contribute to world-building. But how does he feel? What does he think??

I know that Apo mentioned in an interview that Khem is some flavour of alphabet soup (not sure how specific he was tho), but within the narrative, they leave us guessing on multiple levels.

My fanfic fantasy for this whole thing is Khem finally being given a chance to get to know himself and have agency in choosing what he wants. Emancipate the lad!!!

[nattaphum]

Today has been a very important day for the future of Man Suang 🙏🏻

1. Pond’s story

Translation

Schedule:

"A meeting to introduce the movie Man Suang to the Ministry of Culture 11am - 1pm”

Pond’s comment:

Thank you a lot to the Ministry of Culture's team for praising and being ready to support "Man Suang" and to be interested in a new concept that we're trying so hard to make. Seeing this, Man Suang is definitely able to go far.

2. The meeting:

3. Kobkarn Wattanavrangkul’s comment on FB

(Former Thai politician who served as Minister of Tourism and Sports)

Translation:

When Khun Nakrob Moonmanas (executive producer and the person who made the movie poster) showed me the clip of the movie “Man Suang”, of which he is overseeing the arts, I knew right away that I had to help to support it. Hence, i brought the team that produces the Thai movie Man Suang to meet Khun Wannasiri Morakul (the consultant of the Ministry of Culture) and the producer in charge of the movie, to receive advice on releasing and promoting the movie at an international level because it’s a film that’s exquisitely made, with the directors and actors all talented, promoting Thai arts and the costumes of Khon (masked danced), of the “Inao” (a Thai epic story adapted from the Panji tales) that is extremely beautiful. If this movie is released internationally, from Beijing, Cannes or Tokyo Film Festival, and Busan, South Korea, I am confident that the reputation of Thai movies will become a “Soft Power” creating the love of Thailand, promote Thailand, Thai history, Thai arts and tradition, Thainess, Thai people to be known more broadly.

4. Pond’s story

Translation:

We used our own capital to do our best for all parties. We used our determination and sincerity to meet with the higher-ups and ask for support rather than ask for funding from The Thai government because what we want the Thai government to support is something money can't buy. If we could buy it, we would buy it already no hesitation hahaha. When there are higher-ups involved, we can promote the movie to go out globally too. A new thai beauty like “ Mansuang” is going to reach the hearts of people all over the world. Excitedly waiting.

Foon8176 provided a list of the current year’s dates of the most famous film festivals:

🙏🏻🙏🏻🙏🏻🙏🏻

[recentadultburnout]

My Marvellous Dream Is You ฝันรักห้วงนิทรา

Dawan ดาหวัน

It comes from a name from Inao, a Thai literature adapted from the Panji tales. I'm not sure about the actual meaning of the word.

Khimhan คิมหันต์

Summer

Dokrak ดอกรัก

crown flower(Calotropis giantea), kind of decorative pattern

Rak-รัก-love

Samorn สมร

beautiful woman, beloved beautiful woman, war, battle, fighting

Mali มะลิ

Jasminum sambac

Mawin มาวิน

To win, first (Not a This word)

Not a This word

Jessie เจสซี่

Pat แพท

Toon ตูน

Minnie มินนี่

Pam แพม

Index

[discluded]

some people think the new mileapo movie would not be a love story 💀💀💀💀 have they confirmed that it's a love story tho?

*MUFFLES SCREAMS* I wrote the entire reply and it got swallowed by Tumblr. This is the 5th time I've made this mistake because I am a FOOLE (though more likely it's because tumblr's editor sucks). Anyway, here we go again.

Formally, the film's genre is historical. And its working title is #ThaiPeriodMovie while they tease us about the movie title.

However, several things stood out to me in the way this film has been discussed (potential spoilers, but mostly fan theory!)

Here's Apo speaking about how the film came about at Kis x Farger and how Pond contextualized Mile's role in the film. Please note the conjecture is one of the translator's theories, not what was explicitly said. But the part about Mile was what was said 🤗

Pond then came up with the idea that it would be so gorgeous if Apo could perform a Thai dance. Pond also said that Mile has a personality that goes well with Apo* so together they should make a movie that celebrates Thai culture.

[*they may be a couple lead in their movie]

Also, this LGBTQ Thai youtuber was able to identify cultural details in just the short trailer. He starts talking about some of the important details around 6:27 (which I am not retyping again)

Basically, he was able to identify that Apo was performing a Lakhon Nai, which is performed in the royal court and traditionally only had female dancers even for male roles.

However, he noted that because Apo was a male dancer in the royal court, the movie likely takes place in the period of King Rama IV-V, which was most likely validated by BOC's production staff recently!

He also theorized that Apo and Bas were were performing Inao (Punji), which is a Lakhon Nai epic that had queer elements. I can't find a good English source about this epic, so watch the video to learn what he has to say about the story.

He mentioned the possibility that in the movie, there might the duality with a reflection of Apo's character having a stage life in an epic with a queer story while the character's real life is embroiled in a love affair with the handsome Taphon player 😝

Actually, I was rewatching the Leslie Cheung and Hong Kong LGBT Cinema video essay a couple of weeks back and this part really stood out to me as what they might be trying to do with this film.

The film cleverly ties homosexuality to traditional Chinese art, making an, at the time, unfamiliar topic much more approachable to a Chinese audience, allowing the audience to feel the loss, pain, and persecution LGBT people had been feeling.

But its contribution to inclusivity is, perhaps, even more direct than that. The casting of Leslie Cheung in the role creates this feeling that we aren't looking at a fictional character, we are facing the real struggle of Leslie Cheung. Leslie was sympathetic, so his characters, and by extention LGBT people, were sympathetic.

Anyway, this is all speculation! I want to point out again that historical LGBTQ films don't need to have a romantic plot, AND even if a romance between characters occur it's often interwoven with the characters' other struggles and drama/tragedy of the period. Don't expect KPTS episode 8 😭

I'm less bothered by whether or not Mile and Apo's characters will be queer than the fact that so many people are openly dismissing that they can't be queer in the film because it's a historical film (what). As @cookiedoughfiesta mentioned to me, some idiots have said that they can't be gay because it's a historical film and gay people didn't exist then (THE IRONY OF SUFFERING HOMOPHOBES EVERY DAY IN THIS FANDOM 💀💀💀)

[stoookes]

Hi there, I know youre in the omegaverse mode and love that for you and us as readers , just wondering about AOMM and if they’ll be an update on it in the near future? No pressure 💜

Well my lovely little anonny, you'll be very pleased to know that, yes, that is still being worked on in the background. I'm too in love with Ben Stokes (seriously, this might actually be a problem) so his chapters keep growing and I'm really excited where Ch7 has headed.

So yes, it and plenty of other updates are coming, but Ch7 is gonna be a beefy one again (hopefully a good thing!)

I have a sad Stoot you can all thank @ginerva-mollyweasley for now in the works, along with a J2 Roottler that I've been working on forever, a Storgan that I'm desperate to get my teeth into, completing OWAN, Stuart's retirement piece that NEEDS to go live before Jimmy retires and still 12 advent fics that I WILL write before we get to Christmas 2024.

PLus a whole host of other little plans but they're not quite on the radar yet :P

I'm in a bit of a flow with overse which is why it's getting such frequent updates (and everyone seems to be all over it which inspires me to keep going) but do not fear, everything else is still being worked on and will get updated - hopefully - soon!

Also I hope you realise that there are three other POV fics and an AU planned for the INAO series so I'm nowhere near done with that story :P

[nocturnus33]

Josan wrote some of my favourite fics; the ones I often turn to when I want comfort. Josan's novels were written at the turn of this century. They belong to the first era of Harry Potter fandom; they were first published in Angles Fire, then in LiveJournal, and some of them are inAO# thanks to the Open Doors programme.

I chose the idea of a wall to remember some entrances to the Wizarding World. I placed the cauldrons as a nod to Snape, the central character in all of Josan's novellas.

I added by way of foreword an old Livejournal community entry discussing Josan's curious writing style. Not only are there interesting comments in it, but it's a way of showing in the physical book that fandom is a community of readers and writers; also, that Josan's novels have been beloved not only by this bookbinder.

The endspapers are plain dark brown, without any design. The Snape of Josan's stories is austere, and I wanted the book to convey that. There are several things I've done for the first time in this book: It's the first time I've done a book this big and in two volumes. I have never embroidered the headpieces before. Nor had I ever tried htv on canvas, never had I combined drawing and lettering; even less in two colours (although this was small, see the cauldron on the book's spine).

[megabbbmar]

フランス国立原産地名称機関(INAO) vol.9 商標_動画(embedded)

INAO video 1.Les SIQO face aux attentes sociétales : l’INAO organise 9 rencontres régionales avec les ODG、1:34 Continue reading Untitled

[jessiereyna]

✿ Posedump ✿

♡ Posedump: My Girls Static Pose {Mainstore}

→ Includes one static pose (no props included)

📍Posedump Mainstore: https://maps.secondlife.com/secondlife/Inao/141/168/389

📍Posedump Marketplace: https://marketplace.secondlife.com/stores/227634

[thaifanfests]

You Think I'm Pretty? by Now_Sleeps_The_Crimson_Petal

Fandom: แมนสรวง | Man Suang (2023)

Tags: Teen And Up Audiences, Chat/Khem, Mutual Pining, festival date, Canon Compliant, Missing Scene, set just before khem performs inao, oblivious fools, Fluff, Light Angst, Songkran, Historical, Historical References, a lot of feelings are being had, brief reference to khem's previous sex work, Khem and Chatra are cat dads, oh no he's cute, I may be on a mission but there is still time to flirt, SongkranFest2024

Author's summary:

Khem and Chatra celebrate Songkran together. Just something short and sweet to celebrate the upcoming Songkran festival. I imagine it happens during the month Khem is training to perform Inao, probably just before the event.

🌸 What's SongkranFest2024? 🌸 Guidelines 🌸 Prompts 🌸 Discord & Carrd 🌸

[morose-marble]

Okay i bought the netflix and vpn:d myself to Japan to see man suang two hours ahead my country's release and boy have I seen it

MY INITIAL (spoilery and critical) THOTS UNDER THE CUT

Okay, she's a bit chaotic! Could it have been a better film? Sure. Did I enjoy it still? Absolutely!

Critiques:

- pacing and tone a bit clumsy

- writing and visual storytelling also a bit lacking in the sense that some emotional beats in scenes are abrupt and feel strange, resulting in a large part of the film feeling rushed

- the use of music is very heavy-handed and occasionally tonally overbearing, taking some oomph out of dramatic moments and vice versa

- the climax of the plot falls a tad flat, again because of the pacing issue

- Something that contributes to the rushed feeling, is the editing lacking rhythm, occasionally. Some of the cuts are a bit too fast, and some a tad slow, in ways that feel a little incongruous with the emotional centre of the scenes

- Some small things felt under-explained, like the things triggering Wan's ptsd reaction from the trauma of his sister's rape and death

Positives:

- The glimpses of character backstory we get for Khem and Wan feel a little shallow, because we don't get to really sit in the emotional impact that these events had on the characters aside from a couple scenes. They don't feel fully incorporated into the characters to me

- I feel like Khem's trauma could have been made more meaningful if they actually had him pursue Wichien as a patron, which they set up but didn't really follow through

- Really beautiful colour grading!

- Tong and Bas shine in this, Tong is really great at expressing subtle emotions and Bas manages to be really heart-rending at moments

- Apo does really well with the dancing, he's mesmerising to watch, especially during the Inao performance. Captivating!

- Mile has really stepped up his acting game!

- The film gets better toward the end, rather than the other way round

-I loved Khem's introduction at the beginning! Great way to establish the main character, his position in his surroundings and his aspirations

All in all, I had a good time, and will be revisiting the film! More at nine