#l'art reste

[deulleya]

"people leave, while art remains."

the tenth instalment of my musical translation series — a biographical tale chronicling the intersecting timelines of the essayist and artist kim hyang-an's life, spanning her marriages to a poet and then a painter, and how her love for art suffused every moment of her journey.

the video is not mine, but all translations are my own. (also, happy birthday kim eehoo!!)

musical: l'art reste (라흐 헤스트)

cast (2023): [kim hyang-an] lee jisook, choi sujin, j-min • [kim whanki] kim jonggoo, yoon seokwon, park youngsu • [byun donglim] lim chanmin, park juyeon, kim eehoo • [yi sang] jin taehwa, ahn jihwan, lim jinseop

synopsis: as the last moment of her life draws near, kim hyang-an reminisces on the path she's taken. while her time flows in reverse, the days of her youth as byun donglim tick forward. at the crossroads of her two names, her juxtaposed journeys, she turns the page upon a poignant farewell. les gens partent mais l’art reste — people leave, while art remains.

production: hong company (twitter / youtube)

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각설탕만 만지작 만지작 – fiddling with sugar cubes

kim eehoo as byun donglim, jin taehwa as yi sang

[Yi Sang] Today, will she come again? The bookworm that suddenly appeared in the Nakrang Parlour That girl, who walks alone amidst these unfortunate, ill-fated times

Fruitlessly, with these sugar cubes, I’m Fiddling, fiddling Fiddling, fiddling

[Yi Sang] She’s here again. Hello. Have you come to read today, too?

[Donglim] What else would I come for?

[Yi Sang] Simply to look around. Everyone’s basking in this atmosphere, after all. With a cup of coffee in front of them, they while their time away. No one comes solely to read books, other than you.

[Donglim] I like the coffee and music here. Isn’t that enough of a reason?

[Yi Sang] Of course. But still…

[Donglim] Goodbye.

[Yi Sang] What kind of person could she be? The enigmatic bookworm who flusters me She shines alone amidst these disgraceful times I’m fiddling with sugar cubes

[S] Fiddling [D] Fiddling

[Yi Sang] Excuse me…

[Donglim] What is it this time?

[Yi Sang] May I ask what book you’re reading?

[Donglim] The Brothers Karamazov.

[Yi Sang] A father and his sons, entangled in their desires; The prose steeped in good and evil, contempt and shame – You can understand it?

[Donglim] In this book, no complete humans exist. There are those who have a body, but lack a soul…

[Yi Sang] And there are those who lack a body, but are the very definition of a soul itself. This is simply…

[Donglim / Yi Sang] The human unconscious!

[Yi Sang] Could you… take a look at this poem?

[Donglim] A circle of an arbitrary radius The line that connects a point within To a point outside the circle The temporal influence of these existences Did the line murder the circle?

With black ink, towards the world The sugar cube boy who asks questions, in loneliness

What kind of person could he be? Again, with the sugar cubes, he’s Fiddling, fiddling Fiddling, fiddling

[Donglim / Yi Sang] Simply, in the Nakrang Parlour With the sugar cubes

[D] Fiddling [S] Fiddling

[D] Fiddling [S] Fiddling

[ original korean lyrics here. ]

[yuurei20]

Happy Birthday to Vil’s VA Aiba Hiroki!

While joining projects such as “A Playthrough of a Certain Dude's VRMMO Life” and a Prince of Tennis character song album (with Riddle’s Hanae and Lilia’s Midorikawa), Aiba has largely been involved in live theater over the past year, performing in musicals such as:

・Nagasare・Ru kimi e The Great Chronicles of Ashikaga Takauji ・SONG WRITERS ・Play A Life ・L'art Reste - What Remains

[meirimerens]

MEIRI!!!! i am taking a class in art history and i wanted to ask about your favorite paleolithic cave paintings, cause i know you're very passionate about that!

OOOHHAHHGRGHH MY GODDDD

YOU'VE AWAKEN MY EVIL POWER......

okay so this is gonna be real hard for me to choose. like reallll hard. but i think i can narrow it down. i don't know how much #info you need or how much Lore you care for me to add, but you've activated my trap card, so now you're stuck in the cave with me, i have the torch, and if you try to leave you won't find your way back. okay. let us start.

GENERAL LORE:

at least in the Franco-Cantabrian geographical and paleo-cultural area [this thing], which contains some of the most famous painted caves such as Lascaux, Chauvet, Pech-Merle, Altamira, etc, one main currently reigning hypothesis, because it allows to explain the most amount of [gesture] Stuff Going On, is that cave art exist within a magico-spiritual system of belief of the animist persuasion likely with shamanic elements. The places where walls were painted in the caves, were very, very rarely Living quarters. paleolithic tribes prefered to make camps outside, or just at the very entrance of caves: the depths were Hard to navigate, dangerous, possibly inhabited by predator animals. you didn't got to these places to fuck around; you went because you had a drive, you believed in something about them.

Jean Clottes (one of our main prehistorians in France, who wrote Pourquoi l'Art Préhistorique ?, or "Why Prehistoric Art", translated into english as "What is Paleolithic Art" which is fucking stupid, the "why" is the whole question he's trying to answer in the book, is this guy fucking stupid) identifies 4 main concepts that exist within indigenous, nomadic or semi-nomadic, hunter-gatherer, animist & shamanist societies and peoples, that are widely distributed (as such having "universal" elements) and could, likely, have been found within paleolithic societies, and possibly give us clues to their belief system, which are:

the INTERCONNECTEDNESS: of animal species between one another (explaining the numerous accounts of paloelithic art depiction species together, or separated), and of human and animal: including through mythologies in which humans were created from animal(s), or animal(s) later changed into human(s).

the FLUIDITY of the living world: animal species are recognized as kin, for they can become it; animal species are given, or projected-onto attributes that make a tribe, a clan, recognize themselves in it

the acceptation of the COMPLEXITY of the world: paleolithic people likely had deep, complex mythologies and cosmogonies, which we might Never, Ever, know anything about (this drives me insane.) their language, and their rites, might (have) reflect(ed) an understanding of the complixity of nature, or animals, that sedentary, then later capitalist societies might have lost the nuances of.

the PERMEABILITY of the living world(s). this again is seen in beliefs in the permeablity between human & animal, human a animal, animal as human: this is also where Shamanism might come into play. shamanism(s) rest(s) upon the conceptualization of the world as divided-but-permeable between a physical, living world, and an unseen, spirit world: the Shaman is the mediator, the person who can freely go between these two worlds, to communiate, to heal, to direct, to plead, etc. AND, and this is where it gets real interesting for The Caves: potentially, the belief in the permeablity of the cave rock itself: multiple painted sites might contain hints of a belief in the cave being the place where spirits dwell; and painting them is less "calling" or "invoking", even if there might be some of it, but rather "revealing". the cave itself, maybe, could (have) be(en) considered the place where spirits dwell, and come forth/from. more about that later.

WITH ALL OF THAT IN MIND. at least in the franco-cantabrian area, the placement of cave art is, very Very likely, extremely deliberate. it is not just the art that counts, but where it was made. we can ask ourselves, why it was made here, and not elsewhere. i am picking my answer on this axis. some caves might be so beautifully painted, but are The Vibes here? if the expression of this potential magico-spiritual complex and tens-of-thousands-of-years-spanning(!!!!!!!!!! this is nother thing that's fucking insane btw. did you know we are as close to Lascaux as Lascaux is to Chauvet, another very ornate painted cave. MULTIPLE TENS OF THOUSANDS OF YEARS) is visible, or #feelable, let's mention it. now onto the good part

CAVE ART THAT DRIVES ME CUCKOO CRAZY:

THE NIAUX (pronounced "Nyo") CAVE

reason: i've been there. twice. sobbed both times. came out changed like genuinely. made me go back to uni. the Niaux Cave is located in the Ariège (a-ryeh-juh) département [think smaller than a state bigger than a county] of southern france, in the Pyrénées (pee-reh-neh) mountains making the border with spain.

the almost entirety of the art is concentrated in the "Salon Noir" of the cave.

now. come close and listen to me. the Salon Noir is some 700 meters from both the modern entrance and the prehistoric one. today, like back then, you have to navigate rough, slippery terrain, crouchspaces, and generally accident-inducing (source: my dad slipped & fell just like our guide warned us about) walking space. for most of the way, the ceiling is 5 to 10 meters above, and the walls relatively close together (but not claustrophobic). the Salon Noir seems to be "indicated" by, on both of its sides, red symbol markings. now listen to me. the Salon Noir's ceiling is twice as high. even with modern lamps, you struggle to see it. now imagine. having walked all the way there, in the Wet, the fire of your torch or your grease hand-lamp to guide you, and suddenly not only can you not see the ceiling anymore, but the rock seems to speak back to you. the echo is intense, in the Salon Noir, way more than anywhere in the lower-ceiling'ed cave. your voice carries on for 5 full seconds, if you sing the rock continues singing after you. did you know? in france and spain, studies have shown that most parietal (=cave wall) art corresponds to particular acoustic features. did they sing? did they play the flute, the drums? did they use lithophones: the stalagtites & stalagmites, hit of small sticks, to make them ring? in the Salon Noir, most of the animals are bisons, as is very common in the franco-cantabrian area. now this is just something fun that our guide told us, possibly nothing more than an interesting coincidence, for its truth would rest on an unproven-hypothesis-within-an-unproven-hypothesis, but did you now that the female bison has the same gestational period as the human? 9 months.

the bison to the right, with the red markings and the "eyebrows", is my dad's favorite: he says its profile looks like him, with his beard and his big nose, which to be fair, truly it does. in a previous-previous-previous-previous life my dad as an upper paleolithic era bison. this is my dad's paleolithic fursona.

my favorite is this horsie. see? she smiles.

so does this one on the left, a protome (= name for the depiction of only the front of an animal, of a human)

PERGOUSET (pronounced per-goo*-zeh) CAVE

(* but the "oo" sound is short)

i'm cheating a little. because this is not painting, it's carving. but i consider sculpture an art, and parietal carving to be as important and interesting as parietal paintings, so. take it or don't!

yeah the whole cave. you'll see why. basically if i think about Pergouset for too long my skin starts melting i foam at the mouth etc. anyways. since the cave is closed to the public, and basically only available to researchers' viewings, it is quite hard to find images of it, so we'll just ball on this one.

Pergouset is located in the département of the Lot, in southwest-central france. this region is Plentiful with caves, including Pech-Merle that is basically next door, and Lascaux 1.5h away. why this one & not any of those two? well. come closer.

okay. the pussies & this guy with his penis out cave. what's her deal. Well, first piece of lore is to know that, in the grand scheme of franco-cantabrian paleolithic cave art, human representations are minimal. animals make up the majority of depictions, however, "archetyped" or "stereotyped" human figures that insist on sex characteristics are Plentiful. and within representations of that, "female" archetypes outnumber "male" ones by a lot. basically you cannot cough on a paleolithic "human" depiction without landing on a vulva frankly. many such cases in life as well. one of the hypotheses, which Michel Lorblanchet brings forth in his book La Naissance de la Vie: Une Lecture de l'Art Parietal (from which the picture above is from) is that it could be part of a belief system in which the cave, the whole cave, itself could be a "female" principle or archetype: the whole of the cave a matrix, a uterus. basically its giving, it's giving birth. one of the biggest data point he has for that hypothesis is the Pergouset cave. in the Pergouset cave, carvings of vulvae rhythm a long narrow passage following an underground river. the 3 vulvae could represent that of pre-birth, that of currently-pregnant (with the line in the middle, like the pigmentation line on pregnant belly + carved over a convex part of the stone), and that of currently-actively-giving birth: "vulva 3" is just two streaks in the rock, surrounding a naturally-occuring hole in the rock: as if that feature of the cave itself had been recognized as It's Giving Birth / hereditary voice I Am Your Mother. as you can see on the picture, vulva 1 is all the way back in the #depths, in the #dark, and vulva 3 the closest to the exit, indeed to the light ( -> it's giving birth). now. and this is the insane thing. foaming at the mouth like unwell arms shaking rn. i've had to go pace 4 times since i started typing. in the depths of the cave, the animals that are carved are less (see the numbers on the picture). but also, they're... more fantastic. stranger, more unusual. lacking the realism that is typically associated with parietal art. they're... as if from a dream, an undetermined land of weirdness, of amorphousness. as they get closer to the light, they get more numerous, they proliferate, life crawls the walls: they become also more and more realistic. as we reach the last carved vulva, as it is giving, what is it: giving BIRTH, animals are numerous, abundant, fully formed, their visible selves in the world outside: it is as if the cave itself, the depths of cave itself, gave birth to these animals, formed them inside of itself, let them out from this unknown, amorphous, strange land beyond the stone, where human cannot reach. humans went in, and meticulously, sometimes using a natural relief in the stone for an eye, a feature, "released" the animals from the stone, "revealed" them from their state of hidden-inside-of-the-depths-ness. the whole cave this Mother from which all the animals drawn on the walls emerged.

tldr

[petite-madame]

Hey ! I have a little question : how do you start to draw ? I want to start but idk how-

And, for the digital art, what app to used for it ?

(I'm sorry for my bad english, it's not my first language, in fr :

Hey ! J'ai une petite question : comment on commence a dessiner ? J'aimerai commencer mais jsp comment-

Et, pour l'art digital/digital art, quel application utiliser ?)

Bonjour Anon ^^

Bonnes questions! 💗

On va y aller en français parce que, comme disait le Roi de France, "Car tel est notre plaisir" et puis parce que je l’ai déjà expliqué en anglais quelque part dans mon tag #arttechnique donc, pour une fois, la communication se fera en Langage de Grenouille. 🇫🇷

Pour commencer sache que tu as ouvert la boite de Pandore, la réponse va donc être longue. Alors, « comment on commence à dessiner ? ».

1 - Papier/Crayon. C’est loin d’être une plaisanterie, on commence avec un papier et un crayon. Pas besoin d'avoir du matériel sophistiqué et onéreux, j'ai commencé avec le crayon et le carnet à la con de chez Carrefour. De plus, quand tu vois ce que fait Alan Lee avec juste le dit crayon, tu n'as pas besoin de plus. C'est vraiment très bien pour s'exercer/démarrer. Après, si tu veux commencer directement en digital, tu peux le faire bien évidemment soit avec un iPad soit avec un ordinateur et une palette graphique mais très honnêtement, le papier/crayon offre une bonne base

2 - S'y mettre. Ça peut paraitre con comme conseil mais c'est comme à la piscine il va bien falloir rentrer dans l'eau, ne serait-ce que dans le petit bain. C'est bien beau d'avoir du matériel et de se répéter qu'on "va s'y mettre un jour" mais si on repousse l'échéance, ça ne va pas marcher. Il faut se convaincre que Rome ne s'est pas fait en un jour et qu'au début, ça va être tordu et que tu vas dessiner n’importe quoi. La procrastination au nom du perfectionnisme est un mal réel mais arriver à l'occulter est un belle victoire.

Pour ce faire, on commence doucement par gribouiller des choses qu'on aime. Conseil qui sonne sans doute comme une lapalissade absolue mais au début, je dis bien au début, on peut rester dans sa petite zone de confort pour booster la motivation. Tu aimes les chats ? Dessine un chat. Tu aimes les fleurs ? Dessine une pivoine. Tu aimes le ballet ET Emmanuel Macron ? Bref, tu sais ce qu'il te reste à faire (on ne kink shame pas, je suis sure qu’il y a des amateurs quelques part). Cependant, petit à petit, il va falloir prendre plus de risques et se forcer un peu à dessiner des choses qu'on n'aime moins pour progresser mais au commencement, il n'y a pas de mal à gribouiller Les Chevaliers du Zodiac, n'importe comment.

Le Chevalier du Poisson après s’être pris un mur. J'avais 8 ans ok ?

Bon, je mets un « cut » parce que ça ne va pas être gérable.

3 - Suivre des tutos et ne pas avoir peur de l'aspect technique surtout quand on commence à aborder l'anatomie et la perspective. Et c'est là, qu'il va falloir sortir un peu de sa zone de confort pour faire des exercices pour pratiquer les ombres et lumières, la perspective, comprendre les points de fuites, les poses dynamiques. Il y a plein de tutoriels sur YouTube, tu as aussi des bouquins mais je pense qu'une vidéo est plus parlante. C'est vraiment TRÈS utile. Tu as des vidéos comme "apprendre à dessiner" ou "perspective pour débutant", "la théorie des couleurs pour les nuls", etc...C'est là que tu vas voir que pour dessiner un chat, un visage, un bateau il y a des règles pour simplifier une forme, un visage, un corps. Alors oui, c'est chiant de dessiner 12 fois la même main ou la même sphère éclairée différemment mais ça sert. Bref, commencer à dessiner, ça va être commencer à comprendre comment transposer la réalité en « 3D » vers un support « 2D », la feuille ou le canevas Photoshop, peindre ce que l’on voit et non pas ce que l’on croit voir, décomposer les formes, comprendre les couleurs. Une fois encore, ça va prendre du temps, mais ça viendra.

Pareil pour les applis de dessin que tu vas utiliser si tu commences en digital. Si tu ne sais pas faire quelque chose, va suivre des tutos sur Youtube. Il y a aussi des reels sur Instagram qui ne sont pas mal du tout car ils montrent des "trucs" comme des raccourcis clavier ou des façons de modifier les pinceaux (brushes) de Photoshop ou Clip Studio Paint.

4 - S'exercer par gribouiller tout et n'importe quoi, faire des croquis de...cafetière, bouquin, chaussures, prise électrique, la petite cousine, le gros voisin, la dame du pressing. 1) c'est marrant et 2) les défis techniques ne sont pas toujours là où on le croit 3) ces exercices permettent de comprendre ce dont je te parlais plus haut s’agissant de la décomposition des formes ainsi que de la façon dont la lumière frappe les objets.

5 - Utiliser des références. Je ne le dirais jamais assez, utiliser des références n’est pas tricher ! Des illustrateurs confirmés comme Alex Ross ont un studio où ils prennent des photos de leurs assistants, leurs amis, eux-mêmes, pour avoir une base de travail. Si tu veux dessiner un bateaux pirate, va chercher une photo de bateau pirate sur Internet. On n’est pas « un vrai artiste » parce qu’on dessine de tête ou sans gommer. 🙃

6 - Travailler régulièrement pour progresser. Je sais c'est dur de trouver du temps avec le lycée, la fac, le boulot, les transports, la vie de famille, etc...mais le mieux est d'arriver à dessiner un peu régulièrement, ça sera plus efficace que deux heures toutes les deux semaines. Les cours de géo sur les bassins sédimentaires sont faits pour ça. J'AI RIEN DIT.

7 - Ne pas se décourager. Je me répète mais les artistes étant leurs pires critiques, le chemin vers la satisfaction va être long. Tu vas commencer par copier tes artistes préférés et ta tête va exploser car un jour tes dessins vont ressembler à Mucha et le lendemain ça sera à One Piece et le jour suivant Moebius ou un web-comic coréen. C'est encore plus dur pour les artistes débutants aujourd'hui car ils sont confrontés, Tiktok après Tiktok, tableau Pinterest après tableau Pinterest, à un déluge constant d'influences, à une stimulation artistique telle qu'elle en devient inaudible pour un cerveau toujours plus sollicité. Savoir ce qu'on veut, se concentrer, construire son style sans se perdre est, je pense, un des grands défis des artistes débutants en 2024.

C'était joliment dit. Merci d'avoir suivi Ce soir ou jamais, on se retrouve demain soir.

Il va surtout falloir que tu prennes en compte en tant que débutant que quand tu vas commencer, tes progrès vont être proche de ça :

Ils ne seront pas linéaires mais, tu progresseras. Un petit "art block" de temps en temps, du découragement, mais surtout beaucoup de joie et de satisfaction quand tu auras dessiné quelque chose qui te tiens à cœur pour la première fois, même si tu détesteras ce même dessin deux mois plus tard, c'est ça être un artiste, félicitations!

8 - Ne pas se comparer à des illustrateurs de folie. Paix à son âme mais si tu vois une vidéo du regretté Kim Jung Gi qui dessinait des fresques entières sans traits de construction, à main levée, tu vas te dire "Mais punaise, pourquoi j'essaie ?". N'y penses pas, fais ta vie, à ton rythme. Pareil avec les gens de ton âge. Ne te compare pas à un mec de 13 ans à Singapour qui dessine déjà comme un artiste confirmé. On s'en fout. C'est une exception, grand bien lui fasse, on l'embrasse, cœur sur lui, mais ce n’est pas toi. Bref, l'inspiration OUI, la comparaison NON.

9 - Prendre des cours de dessins. Être autodidacte et s’entrainer tout seul, c’est bien, mais prendre des cours si on est perdu n’est absolument pas honteux. Il y a des cours municipaux, des ateliers parfois à la mairie, à la médiathèque de ta ville, etc...Alors oui, tu vas dessiner un pot de fleurs et une pomme avec Mamie Geneviève, retraité de la Mairie de Brie-Comte-Robert mais tu vas avoir un prof qui va t'expliquer les bases si tu sens que tu ne vas pas y arriver seul.

Et, pour l'art digital/digital art, quel application utiliser ?

Moi, j'utilise Photoshop mais c'est payant (et assez cher)

Pour commencer, je te recommande d'autres applications bien moins chères comme Krita (gratuite) ou, si tu as un iPad, Procreate. C'est environ 8€ (ça a peut-être augmenté depuis le temps où je l'ai acheté) mais pour tout ce que cette appli peut faire, c'est donné. Moins connue mais également gratuite, Fire Alpaca, très honorable aussi!

Clip Studio Paint est également très bien. Tu peux l'avoir soit avec un système d'achat unique, soit un system de souscription comme tu peux le voir ici.

Voilà ! Bref, il faut s’y mettre, se lancer, dessiner n’importe quoi pour se faire la main, suivre des tutos, parce que la technique c’est important, utiliser des références et ne pas se décourager.

J’espère avoir répondu à ta question et comme disait Marie-Pierre Casey :

"Je ne ferai pas ça tous les jours!" (même si personne ne m’a demandé de faire aussi long).

Si vous n’avez pas la réf, demandez à vos parents.

Passe un bon dimanche et courage ! On reste motivé !! 💗

[chic-a-gigot]

L'Art et la mode, no. 34, vol. 26, 26 août 1905, Paris. Quelques Modèles de Raffin, Rue d'Uzès. — Dessin de Lucy. Bibliothèque nationale de France

Robe de soie brochée Pompadour et volants d'Alençon. Fichu d'Alençon maintenu par une patte de velours vert à boutons Louis XV. Haut corselet de velours vert boutonné.

Pompadour brocaded silk dress with Alençon flounces. Alençon fichu held in place by a green velvet tab with Louis XV buttons. High green velvet buttoned bodice.

—

Robe de velours fantaisie bleu de Sèvres garni, à la jupe, d'une large bande de blonde teinte encadrée de petits biais et nœuds de velours. Boléro incrusté de blonde teinte; gilet et boutons brodés.

Fancy velvet dress in Sèvres blue trimmed on the skirt with a wide band of dyed blonde framed by small velvet biases and bows. Bolero inlaid with dyed blonde; waistcoat and embroidered buttons.

—

Manteau de drap blanc garni de grosse guipure, reposant sur velours "canari" finement plissé; encolure et manches allégées d'Alençon.

White cloth coat trimmed with large guipure, resting on finely pleated "canary" velvet; lightened Alençon neckline and sleeves.

[logogreffe]

French Podcast Recommendations

The following list contains podcasts in French that I, a native French speaker, listen to. So if you're a beginner in French, those might be too hard for you !

The rest of the post will be in French !

1) Chasseurs de Sciences : Chaque épisode dure une dizaine de minutes et porte sur des scientifiques/personnalités "méconnu(e)s". (Il y a plein d'épisodes sur des femmes qui ont eu un impact énorme sur leur discipline)

Super intéressant !

Mes épisodes préférés : Henrietta Lacks, morte il y a 70ans..et toujours vivante ; Ada Lovelace, autrice du premier programme informatique..en 1843 ; Rosalind Franklin, une femme à la conquête de l'ADN ; Nelly Bly, 10 jours dans un asile psychiatrique et 72 jours autour du monde ;

2) Vénus s'épilait-elle la chatte ?

C'est un podcast sur l'histoire de l'art et le féminisme !

Les épisodes sur Picasso et Frida Kahlo sont à écouter absolument ! Frida Kahlo, au delà du mythe ; Picasso, séparer l'homme de l'artiste ;

3) Thinkerview :

Séries d'interviews sur différents sujets (qui ne sont pas vraiment mentionnés dans les médias).

Super intéressant si vous vous intéressez un peu à la géopolitique/ réchauffement climatique

Mes épisodes préférés : L'effondrement, le point critique ? Aurore Stéphant (Elle parle de l'industrie minière et de ses impacts sur l'environnement. L'écoute de cet épisode devrait être obligatoire pour l'ensemble de la population)

Guillaume Pitron : L'enfumage de la transition écologique

4) Mythologie Grecque

Un podcast sur ... la mythologie grecque !

Remarque : Je crois qu'à la base c'est un podcast à écouter avant d'aller dormir donc les effets sonores sont un peu...particuliers.

Voilà voilà, après, je vous conseille, s'il y a des sujets particuliers qui vous intéressent, de juste les taper en français dans la barre de recherche de Spotify et de choisir au hasard des podcasts ! C'est comme ça que j'ai découvert un tas de podcasts en anglais/ allemand/ espagnol. Bonne écoute !

[rollinginthedeep-swan]

Plagier des idées.

(Je bloque les reblog de ce poste, néanmoins, on peut discuter en commentaires tant que c'est dans le respect.) Je vous préviens, les dramas sont interdits suite à ce poste. Je ne veux aucun buzz, aucun déchaînement, juste qu'on lise ce que j'ai à dire sur le sujet.

Ça fait 15 ans pratiquement que je fais du rpg et 22 que je graph. Ces mots que je pose ici, ça n'est jamais arrivé. Je tiens bien à le souligner, que vous vous rendiez bien compte. Je n'ai jamais posté ce genre de messages, affirmé ce que je vais affirmer. Je le précise par prévention pour toutes formes de Gaslighting potentiel. (Je vais clairement pas avoir la patience pour ça.) J'ai toujours laissé le bénéfice du doute (Bon en vrai j'estime que les gens n'ont en général aucun intérêt à s'inspirer de mon taf dans tous les cas, l'herbe est plus verte ailleurs) et, en toute franchise, je suis persuadée que moi-même, inconsciemment et avec ce fichu mécanisme d'adaptation, j'ai déjà sûrement involontairement reproduit des trucs. C'est un peu ma hantise personnelle car on a beau me dire que mon style et reconnaissable et unique, il n'en reste pas moins que je suis humaine, neuroA et qu'on se laisse tous-tes influencer par notre quotidien, ce qu'on voit et ce qui nous fait vibrer. Et parfois, on se trouve juste à avoir des goûts très similaires ou à choisir les mêmes types d'identité graphique. C'est comme ça, ça arrive. Ça fait même de belles rencontres, parfois.

Pourtant, il y a quelques mois, je me suis rendu compte qu'on m'avait plagié une idée. Certes, pas révolutionnaire, sûrement déjà utilisée dans d'autres domaines que les avatars 400x640, mais une idée chouette que j'étais hyper contente d'avoir réussi à mettre en place. Et contente de vous l'avoir montré. Je ne dirais pas quelle idée, je ne dirais pas quelle personne. (Et merci de ne pas me demander, de ne pas chercher, de ne pas faire je ne-sais-quoi sans mon consentement. Je ne tolère aucune forme de harcèlement.) Ce que je partage ici, c'est assez difficile comme ça. J'ai peur d'en parler alors même que je sais être légit. Mais on sait tous-tes que ce sujet - tabou partout dans le rpg et surtout dans le graphisme - déchaîne les passions. J'ai toujours voulu en rester très très loin de mon côté.

Et je le répète, je n'ai jamais affirmé une telle chose en plus d'une décennie de RPG. En deux, dans le graphisme. Les inspirations ici et là, ça arrive à tout le monde. J'en ai déjà parlé dans un poste sur l'art, d'ailleurs. Ici, c'est surtout dans la manière dont les choses se sont déroulés. Le timing, le combo, le tout. J'ai même eu beaucoup de mal à grapher durant quelques semaines après cette découverte. J'ai attendu très très longtemps avant d'écrire ce poste, j'ai sincèrement pris le temps de la réflexion pour ne rien écrire à chaud. Et parfois encore, mon manque de confiance me chuchote que je me suis fait des idées. Que c'est moi, et donc, complètement illogique. Mais ce soir, je lui colle une baffe, à ce moi belliqueux.

Honnêtement, que ça soit le cas ou pas, il n'y a qu'une conclusion à ça pour moi : Si vous voulez vraiment et volontairement reprendre une idée, que c'est complètement conscient, gros comme une verrue sur un pif, dites-le ? Si c'est inconscient, ça arrive ! Mais tout le processus ici fait que ça me paraît vraiment, vraiment improbable.

Citer une personne en mention, juste pour dire 'Voilà, je me suis volontairement inspiré-e d'untel-le', ça ne mange pas de pain et en vrai, ça fait même plaisir. C'est même pas honteux tant que la personne en face est d'accord avec ça. Si iel vous dit 'Écoute, je suis flâtté-e mais pas à l'aise avec ça', et bien vous aurez tenté et vous saurez que ça ne sera plus possible avec iel.

Ce poste va dormir, le temps que je me décide et que je sache si oui ou non, je vais le publier.

Si je vois que ça part en vrille, je supprimerais ce poste !

En attendant j'espère que vous passez un super été, et courage à celleux qui bossent sous cette chaleur. Hydratez-vous !

Edit : J'ai clairement attendu assez longtemps. Décidé de ne rien poster et puis, je ne sais pas, ce soir, je me dis que je suis légitime. Mais aussi que c'est normal d'être en rogne dans ce genre de situation et de taper un peu du poing. J'essaie juste de le faire de manière utile et constructive. J'espère que ce poste peut aider. Je me dis qu'il faut souligner certaines choses, mettre les points sur les i, parfois. Je déteste ça. Mais je n'arrive toujours pas à passer outre. Vraiment pas. Je ne prétend rien changer. Mais j'ai besoin de le dire "à voix haute'.

Bonne soirée,

Swan.

[coolvieilledentelle]

La tendresse est à l'amour ce que sont les transats aux bains de mer. On s'y allonge avec confiance, avec douceur, une main s'emparant de la main échappée du siège d'à côté. La tendresse est un capital retraite. Il s'est constitué au fil des années, avec patience, ramassant dans un assemblage l'accoutumance à l'art de vivre à deux, la fierté d'avoir vaincu des obstacles et d'être toujours ensemble, le projet de vieillir de concert, enfin ce qu'il reste d'amour et qui a pris la forme d'un invincible attachement.

Bernard Pivot- (... Mais la vie continue)

[les-cris-des-fendues]

Camille Claudel " La valse"

Camille Claudel " la Fortune"

Camille Claudel "Pensée profonde"

Gustave Geffroy par Paul Cézanne

Camille Claudel... Grande figure féminine pour moi, qui me hante depuis la lecture à mon adolescence d'"Une femme" d'Anne Delbée, qui me l'a révélée... Un crève-cœur là aussi, quand on apprend qu'une semaine à peine, après le décès du père de Camille qui l'adorait, le reste de sa famille, l'a faite enfermer plus de trente années dans un asile, loin de Paris et de leur "bienséance", dans le sud de la France... Elle y serait morte de faim.

Gustave Geffroy était un romancier, journaliste et historien de l'art.

[haitilegends]

À la Mémoire de JEAN BENJAMIN

Repose en Paix

Nous adressons nos plus sincères condoléances à la famille, aux amis et aux admirateurs de Jean Jacques Benjamin, un musicien de l'ombre dont la lumière a brillé intensément dans les domaines de la musique et de la culture haïtienne. Né le 14 septembre 1931, Jean Benjamin n'était pas seulement un chanteur, mais aussi un pianiste et compositeur profond. Son décès le 2 mai 2024 nous a laissé un vide qui ne pourra jamais être comblé, mais son héritage résonnera à jamais à travers sa musique et les vies qu'il a touchées.

La voix de Jean était un phare d'inspiration et de joie pour un groupe élite de mélomanes, portant la riche histoire et l'esprit vibrant d'Haïti à travers les générations et les frontières. En tant que chanteur principal pour l'Orchestre Riviera Hotel sous la direction du Maestro Edner Guignard dans les années 1950, aux côtés de légendes telles que le regretté Guy Durosier, Jean Benjamin a mis en avant l'essence de la musique Big Band haïtienne, captivant les cœurs et les âmes avec des standards de Boléro haïtien jazzy et des compositions originales.

Ses mélodies, de la poignante: "Gisèle" dédiée à sa première épouse à l'émouvante: "L'amour", sont des trésors intemporels qui continuent d'inspirer et d'élever. L'art de Jean était un pont, reliant le passé au présent, la tradition à l'innovation. Sa musique, immortalisée par des enregistrements et des performances, reste un témoignage de son talent extraordinaire et de sa passion inébranlable pour son art.

Nous sommes reconnaissants pour les souvenirs, la musique et l'héritage que Jean Jacques Benjamin laisse derrière lui.

À son frère—Dr Rodrigue Benjamin et Famille

À ses enfants—Ylder Benjamin, Esmeralda Benjamin Laraque, Claudette Benjamin, Jean Jacques junior Benjamin, Grevy Benjamin, Esther Benjamin.

Aux petits-enfants—Marcus Benjamin, Laurent Laraque, Sebastian Laraque, Christopher C. Raymonvil ; et un arrière-petit-fils ;

À ses neveux et nièces—Jean René Foureau et famile; Hervé et Ketly Foureau Dorsinville; Marlene Benjamin et famille; Caroline Benjamin Fleurimont et famille;

Franklyn Benjamin Jr et famille; Frankline Benjamin et famille; Nadine Benjamin et famille; Gregoire Benjamin et famille; Sandra Benjamin et famille; Patrice Benjamin et famille

À — Gilbert Laraque, Robert-Charlot Raymonvil et toute la famille élargie

Aux amis proches —Serge Morel, Leopold Molière aka Yoyo,

nos pensées vous accompagnent en cette période difficile. Puissiez-vous trouver du réconfort dans le fait que l'esprit de Jean continue de vivre à travers sa musique et les innombrables vies qu'il a touchées. Sa vie a été bien vécue, et ses contributions à la musique et à la culture continueront d'être célébrées pour les générations à venir.

Repose en paix, Jean Benjamin, une véritable légende dont les mélodies résonneront à jamais dans le cœur de ceux qui ont eu le privilège de vivre votre art.

#SGLmt

#Haitilegends

__________________

In Loving Memory of JEAN BENJAMIN

Rest in Peace

We extend our deepest condolences to the family, friends, and admirers of Jean Jacques Benjamin, an unsung music man whose light shone brightly in the realms of Haitian music and culture. Born on September 14, 1931, Jean Benjamin was not just a singer, but a profound pianist and composer. His passing on May 2, 2024, has left us with a void that can never be filled, but his legacy will forever resonate through his music and the lives he touched.

Jean's voice was a beacon of inspiration and joy for an elite group of melomanes, carrying the rich history and vibrant spirit of Haiti across generations and borders. As a premier vocalist for Orchestra Riviera Hotel under the direction of Maestro Edner Guignard in the 1950s, alongside legends like the late Guy Durosier, Jean Benjamin brought the essence of Haitian Big Band music to the forefront, captivating hearts and souls with jazzy Haitian Bolero Standards and original compositions.

His melodies, from the poignant "Gisèle" dedicated to his first wife to the stirring "L'amour," are timeless treasures that continue to inspire and uplift. Jean's artistry was a bridge, connecting the past with the present, tradition with innovation. His music, immortalized by recordings and performances, remains a testament to his extraordinary talent and his unwavering passion for his craft.

We are grateful for the memories, the music, and the legacy Jean Jacques Benjamin leaves behind.

To his brother—Dr Rodrigue Benjamin et Famille

To his children—Ylder Benjamin, Esmeralda Benjamin Laraque, Claudette Benjamin, Jean Jacques junior Benjamin, Grevy Benjamin, Esther Benjamin.

His grandchildren—Marcus Benjamin, Laurent Laraque, Sebastian Laraque, Christopher C. Raymonvil; and one great-grandchild.

To his nephews and nieces—Jean René Foureau et famile; Hervé et Ketly Foureau Dorsinville; Marlene Benjamin et famille; Caroline Benjamin Fleurimont et famille;

Franklyn Benjamin Jr et famille; Frankline Benjamin et famille; Nadine Benjamin et famille; Gregoire Benjamin et famille; Sandra Benjamin et famille; Patrice Benjamin et famille

To —Gilbert Laraque, Robert-Charlot Raymonvil and the entire extended family.

To his close friends:—Serge Morel, Leopold Molière aka Yoyo,

our thoughts are with you during this difficult time. May you find comfort in the knowledge that Jean's spirit lives on through his music and the countless lives he touched. His was a life well-lived, and his contributions to music and culture will continue to be celebrated for generations to come.

Rest in peace, Jean Benjamin, a true legend whose melodies will forever echo in the hearts of those who had the privilege to experience your artistry.

Sandra Gabriel Lmt

#SGLmt

#Haitilegends

__________________

From Jean Benjamin with Love!

https://on.soundcloud.com/iTeJGcL9F1EzMMS16

Voici quelques musiques supplémentaires.

Grevy Newton Benjamin

______________

Explore # 👈🏾

#JeanBenjamin

#JeanJacquesBenjamin

#HaitilegendsIcons

#HaitianMusiciansHL

#Vocalist #HaitianPianist

#Chanteur #PianisteHaïtien #Compositeur #auteurcompositeurinterprète

#OrchestreRivieraHotel

#EdnerGuignard #Gisèle

#PaixÀSonÂme

#LégendesHaïtiennes

#Composer #singersongwriter

#OrchestraRivieraHotelDHaïti

#EdnerGuignard #Gisèle

#HaitilegendsRestInPeace

#Paixasonâme

#RobertCharlotRaymonvil

#GrevyNewtonBenjamin

#Haītilegends #SGLmt #collage by Sandra Gabriel Haitilegends

[discluded]

👀 did Srichand drop Mile?

omg I saw this and went to look and am going to reply REALLY quickly now because if I don't and someone else notices, I wouldn't be surprised if things escalate between the toxic solos

My consultant-type opinion (which is not a fact!) of this is: I think Mile's contract with Srichand ended.

The announcement about MileApo's ambassadorship was released circa August 28, 2022, which would imply, given some things, that it started in September 2022. The last post the Brand Twitter made featuring Mile was October 1, 2023. They retweeted some fan photos of people buying the sunscreen with Mile's picture attached, but that can be taken as engaging with people who liked their products. A 13 month contract is - to be fair - kind of weird, but this might also have to do with the uncertainty of the Man Suang release date. Since Man Suang would be released late August, it would make sense to extend the contract by a month to cover it.

I think three different contracts were signed: one with Apo, one with Mile, and one with BOC in collaboration with Man Suang (a historical Thai movie where Thai makeup would be featured). Bill, who is the Chief Marketing(?) Officer of Srichand still has the Man Suang promo slot on his header that includes Mile.

So you might be wondering, if Mile (and BOC) have a good relationship with Srichand, why might the contract end?

The other possibility turning in my head is that all of them had signed a contract that would cover until the end of 2023 BUT, drumroll, Mile got a significantly more lucrative offer.

And what offer would that be? What other makeup/beauty brand is he now a friend-of that could easily afford to buy out the rest of Mile's contract with another company, and probably Srichand wouldn't begrudge Mile for, since business is business?

Hopefully you guessed it.

From fan reports, the Guerlain store in Bangkok had sold out of the perfume scent Mile endorsed the most, and likely moved other product from fans who didn't like the scent but wanted to support him by buying another perfume. Mile endorsed the L'Art & La Matière, where 100mL is between $285-380 USD. These brands do not drop their prices for the Asian market*, and even conservatively estimating that he sold like 100 bottles of 100mL perfume and no other residuals like the Guerlain lip stick or the 200mL sizes, that's about ~$33k USD in product. Comparatively, for the first Srichand live they did, MA moved about $112k USD in product, which we can only attribute half the value of to Mile... $62k. Howevr, that took selling ~8000 units of makeup, (4000 attributed to Mile here, let's just say.)

If selling 200 units (~$66k USD) of product grosses more than selling 4000 units of product ($62k), I think both Guerlain and Srichand can see eye to eye on the value each would get from buying out the rest of Mile's contract. (Another way to add up to ~$65k+, 100 units of 100mL perfume at the $285-380 range, 150 units of perfume at the $110 range, 100 units of meteorites - Guerlain's best selling highlighter, 200 units of their $40 lipstick that Mile promoted - 550 units vs. 4000 units of product to make the same amount of money)

If anything, the weird 13 month length was likely negotiated to accommodate the release of Man Suang with MileApo marketing push to move product associated with their joint ambassadorship AND the release of the movie (their last Srichand live was Sept 19). It would be weird if Mile's face appeared on the movie makeup stuff but he wasn't appearing in the lives.

I think Mile still likely has a friendly relationship with Srichand as a company, it's just that business is business, and I'm sure whatever happened, if it was an extension or a contract buy-out Srichand likely got more than a sweet deal out of the relationship they had.

again, just my opinion. I could be wrong. But I doubt it was any sort of bad-blood reason that Mile got dropped for. The business case speaks for itself.

*luxury brands actually often have a luxury brand price increase in Asian markets. US brands are usually the most affordable in the US, and European brands most affordable in Europe due to import taxes the companies have to pay to ship product.

** also the other possibility is that they're focused on promoting the translucent powder now, which Apo is attached to but Mile is not...

[gothhabiba]

(fountain anon) I guess the best way to say why I dont understand fountain is that I dont understand why people are so angry at it. Because that seems to be the crux of the piece, the negative reaction to it that continues to this day (part of the reason I find it hard to try look into is that it seems like every second result is some rant about how it should never have been made disguised as an actual article). Its like you say that it rubs against their idea of what art is, but I just dont get that. Even is someone dislikes it as a piece I dont understand why someone would say it doesnt get to count as art, which I guess does tie into the AI stuff as well. idk how well I've articulated that but thats one of the main things I dont understand about fountain, where that response seems more important than the art object itself.

Theres smaller things I dont understand which together make a large hole of many smaller questions but I cant list well all of here, like one being if the whole point of the work is that its "readymade" then why do the institutions seem set on preserving that one specific urinal like a holy relic but from your first response it seems like you have thoughts on that yourself.

If what's confusing you is why someone would get so up-in-arms about this, or insist that they get to dictate what counts as "art," then the context that's probably missing is an idea of how powerful the cultural and institutional orthodoxy surrounding "art" was at the beginning of the 20th century.

You could probably analyse that in a few different ways. To me, the crux of the matter is just what I've been pointing out—a capitalist understanding of "value" relies on a concept of "labour hours" and the attendent concept of "exchange value" in a capitalist market—plus, in the U.S., capitalist ideology and Protestant ideology are often entwined with each other insofar as Protestant ideology glorifies work and suffering as essential to moral "worth" or "value."

@auntbutch points out that the matter of who gets to decide what "art" is is a matter of power. In a concrete sense, the (majority of the board of the) Society of Independent Artists had the power to hide the piece during the Grand Central Palace exhibition despite the fact that the artist had paid the requisite fee to have the piece displayed, which constituted a rejection of the idea that the piece could consistute "art."

In a conceptual sense, the idea that there is "art" and there is "non-art"—because it relies on a distinction between the "artistic" and the "everyday"—must therefore rely on an idea of "value" that is conveyed by scarcity (see again: capitalist exchange value). Put another way: if everything is art, nothing is.

In order for art to have "value" (exchange value, moral value, "artistic" value), it must be (in comparison to the numbers of objects in the world) rare; in order for artists to be fundamentally different creatures than the rest of the masses of humanity, they must be rare.

You can ensure that artists remain rare, and that art consumption remains the province of the wealthy, by insisting that the production of "art" requires a good deal of time, and anything which did not require a good deal of time to produce (in addition to time spent learning the skills required to produce it, time spent networking and paying your dues before you are enabled to proceed in the field, &c.) is therefore not "art."

cut for length:

You can also ensure that "art" remains rare by insisting that art must not be useful. The early 20th century is a bit out of period for me, but I know that the concept of "l'art pour l'art" ("art for art's sake") had come into popularity at the end of the 19th century in reaction to a general culture that insisted on the moral value of art and its "purpose" in shaping minds and leading to good, moral habits.*

Where these discourses agreed is that "art" was not held to have physical, quotidian uses: a working-class woman knitting stockings for her family to wear because they could not afford to pay someone else to do it was not an artist, no matter how much time and skill and aesthetic sensibility went into their production; nor were any of the world's Indigenous peoples who were producing e.g. pottery, or ornamenting various other everyday objects.

This is the inherited distinction between "Art" with a capital "A" and a "craft." This keeps women, the working class, and non-Europeans out of "art," because they do not have the time, the distance from the everyday business of the maintenance of life, or supposedly the intellectual capacity to produce "real" art.

So art did not have a physical purpose. Rather, the purpose of art was to "exalt the senses"; to create exquisite sensations in the viewer as a result of the aesthetic skill of the artist. Depending on how overtly moralist a given theorist was, they might say it was to improve upon what had come before and thereby build on our (read: the white races') inheritance of the best impulses and accomplishments of humanity. (Actually Victorian concepts of eugenics had a lot to do with aesthetics—the purpose of art was to advance the (white) race morally, and thus to improve the hereditary material that they passed down when they reproduced.)

Granted, the context in which Duchamp first attempted to display "Fountain" was one in which you had had some heterodoxy of content—cubism, for example, which the Society of Independent Artists did seem to like. But ultimately, though cubism probably angered a lot of people for its loose approach to representation and thus the potential danger it posed to the future of "art" (again, not really my area), it was something that the Society could nevertheless recognise as "art," because it was clearly an object that the artist had spent time creating and that fell into a previously understood medium of "painting" or "sculpture" (not a lot of heterodoxy of form). Despite the fact that the Society's exhibition was supposedly "open," and that they were supposedly an "avant garde" group, it went too far.

The challenge that readymades posed was that they asked people to consider something that was not created but merely chosen and recontextualised by the artist as "art". They affronted the notion that art required time and skill (on the part of the artist) and therefore had a natural inbuilt assurance of scarcity.

But "Fountain" is by far the most famous amongst the series of readymades that Duchamp exhibited, probably because there's something about its being a urinal that is pretty confronting (whether it reads as "gross" or "disrespectful" or what have you). It lacked respect for the effort that "real" artists put in and the art world that circulated and displayed "real" art pieces and the seriousness with which they took their mission to uplift or express or represent humanity or whatever it was that they insisted art must do.

"Fountain" looked at a whole culture of people who deeply felt that they were doing something important to the fate of humanity—and, in some cases, had made careers and money out of creating and stewarding and judging "art" (not just artists but critics and museum directors and curators and the board members of independent societies of artists)—and said "actually, art is a receptable for piss."

You can see this same sort of attitude today very easily by scrolling through a few replies on any of my posts asking people to reconsider their easy equation of "time and effort" to "value" in their evaluation of art. A lot of people (especially people with money on the line) are very affronted by that request, and insist that art's function as something that binds humanity together and creates wonderful feelings in the viewer (sound familiar?) is dependent upon its requiring "effort" to create.

The museums that treat this specific urinal (actually a few approved replicas, the original was lost, my bad) like a holy relic are, in effect, absorbing (neutralising?) the critique that "Fountain" was levieing without 'understanding' it or behaving accordingly. Really, a museum can't 'understand' a critique of this nature or behave accordingly, because the critique cuts at the very concept of what a museum (or an art exhibition, or an art auction, &c. &c.) is for in the first place.

The climate surrounding art (in the circles of the intelligentsia, art students, rich people who want to be 'cultured," various other groups) has changed significantly in the intervening 100+ years since "Fountain" was made, to the extent that "modern art" frequently comes across critiques along the lines of "my kid could have painted that" (from the non-art-educated "public," who don't have the sometimes enormous amount of information needed to contextualise a given piece or movement. So you have a split between different groups' concepts of "art," where for a lot of people today it's still "looks nice and required effort to make," while a lot of the art-educated have moved on).

However, despite the fact that e.g. a readymade may be "easier" and take less time to create, the museums that feature them still rely on scarcity! Because their value proposition is that they collect and curate and display objects of extraordinary artistic or cultural or historical "value." What's inside of them must be different from what's outside of them for them to be worth keeping the lights on and employing staff and paying an entrance fee and accepting government culture grants. It's just that the scarcity may come from different sources (it's a rare artist who has the right connexions to get a piece or an exhibition accepted; it's a rare piece that has caused enough controversy to be historically significant enough to be "worth" displaying).

As far as I'm concerned, museums' accepting "Fountain" into the fold of "real" art by exhibiting it (putting money into storing and moving the original replicas and displaying them, putting the weight of their institutional cachet behind it, &c.) is one of the greatest ironies of the piece. Pinoncelli, who has attacked "Fountain" exhibitions with, on two different occasions, a hammer and his own urine, got much closer to the spirit of it.

*You can probably just about figure what these "moral" habits are: heterosexual marriage, the maintenance of virginity especially in women, adherence to the nuclear family, a sense of emotional "sympathy" for other people as strengthening the body politic, refraining from "indulgence" in drinking and gambling, avoiding miscegenation, &c. &c.

[explorerrowan]

So, in honor of AO3 going live again, and in recognition of @magicalgirlmindcrank being bold enough to post her very good story publicly, I'm going to post my own fics where people may peruse at their leisure. (Links aren't embedding right for some reason? Sorry)

L'Art et L'Artifice

When giant plant aliens invade in the middle of a heist, Geneviève Diamant, aka the infamous thief La Grenouille, finds herself caught in the act.

Rhapsody in Green

Millie has lived in an isolated life-pod her entire life. She is treated little better than an unintelligent AI by most humans, and is currently serving as a science vessel's navigation computer. What happens when the one human that treats her like a person turns her and the rest of the ship over to the giant plant aliens?

These are both set in the Human Domestication Guide setting, where giant, benevolent, plant aliens conquer humanity for their own good and make the belligerent ones into happy adorable pets.

Read the original story by GlitchyRobo here, and more stuff can be found on the wiki here.

[aurevoirmonty]

"Notre révolution est de créer un État Artistique, tout le reste est donné en plus, car il ne servirait pas à grand-chose d'améliorer le niveau de vie s'il devait continuer dans le fumier décadent actuel. Nous souhaitons un Peuple libéré de l'usure et de la décadence pour parvenir à une communauté élevée par l'Art, et non pas que la richesse soit utilisée pour prendre du poids avec des vices et des bassesses".

Ramón Bau

[chic-a-gigot]

Mon journal favori, no. 47, 29 mai 1932, Paris. L'art d'embellir notre intérieur. Le cuir repoussé. Bibliothèque nationale de France

Se procurer de la basane ou du cuit de porc, veau, chèvre; couper le morceau nécessaire pour exécuter l'objet désiré et tracer le dessin puis mouiller complètement le cuir, l'égoutter légèrement et le poser sur une planche. Prendre alors le traçoir, outil spécial, et, avec le bout pointu, passer en appuyant très fort sur tous les traits (fig. 1). Avec la partie plate de l'outil, repasser le long des traits de traçoir en appuyant sur les parties qu'on désire creuses (fig. 2); le relief des autres parties se fera seul. À l'aide d'un matoir (fig. 3), on travaille les fonds qu'on ne veut pas laisser unis; on place le matoir bien perpendiculaire au cuir, et avec un petit marteau on frappe doucement. Les lanières qui servent à monter les objets (fig. 5) se vendent toutes taillées, et on les passe à l'aide d'une grosse aiguille dans les fentes faites avec l'outil tranchant en forme de fourche (fig. 4). Il ne reste qu'à teindre le cuir, une fois sec, à l'aide d'acides ou de couleurs indélébiles qu'on trouve dans le commerce des fournitures d'art et qu'on étend avec un petit morceau de coton ou avec un pinceau (fig. 6).

—

The art of beautifying our interior. Reworked leather.

Obtain basane or cooked pork, veal, goat; cut the piece necessary to make the desired object and trace the design then completely wet the leather, drain it slightly and place it on a board. Then take the scriber, a special tool, and, with the pointed end, pass, pressing very hard on all the lines (fig. 1). With the flat part of the tool, go back along the scribing lines, pressing on the parts that you want hollow (fig. 2); the relief of the other parts will be done alone. Using a stamp (fig. 3), we work on the backgrounds that we do not want to leave united; we place the stamp well perpendicular to the leather, and with a small hammer we strike gently. The straps used to mount the objects (fig. 5) are sold ready cut, and they are passed using a large needle through the slots made with the sharp fork-shaped tool (fig. 4). All that remains is to dye the leather, once dry, using acids or indelible colors found in art supply stores and spread with a small piece of cotton or with a paintbrush (fig. 6).

[letourdumondedesdufraigne]

Voilà pour l'ambiance de la place Jemaa-El-Fna !

Nous n'avons pas pu résister au plaisir d'emprunter le transport des princes pour une visite élargie de la ville. Après d'âpres négociations, nous tombons d'accord sur la durée et le tarif. Trop drôle de se retrouver en calèche au milieu d'un tel trafic !

De nombreuses calèches attendent leurs clients près de la place Jemaa-el-Fna.

Il y a plusieurs palais à visiter, voici le Palais El Badi, ou plutôt ce qu'il en reste...

Il y a aussi beaucoup de musées, nous avons visité celui de l'art culinaire marocain. C'est un ensemble qui a bénéficié d'une très belle restauration.

Dans les galeries de ce très beau riad, on fait connaissance avec l'histoire de la cuisine traditionnelle marocaine avec toutes ses composantes, épices, ustensiles, etc.

Il est aussi possible d'y prendre des cours de cuisine, Cathy et François !

En cherchant le musée de la photographie dans le dédale des rues d'un souk, nous avons failli être les nouvelles victimes de l'arnaque "du quartier des tanneurs". Plutôt très bien organisée...nous vous raconterons !

Le musée de la photographie présente une collection de photos très anciennes, tirées à partir de clichés réalisés par des photographes de notoriété. Assez intéressant pour imaginer l'évolution de Marrakech depuis la fin du 19ème siècle.

Il y a un snack terrasse au dernier étage qui permet d'avoir une vue dégagée sur Marrakech.