#norheim

[tommeraasx]

[tryingtobecoolarts]

Norheim starters!

Like my art? Commissions are open!

💐_________💐

Who will you choose? The kitten Pokémon; Fluffty. The lamb Pokémon; Baava. Or the cub Pokémon; Cubbly.

THE STARTERS ARE FINALLY DONE AHHHHHHH

I am a proud mama of these 3 and I love them very much.

Please, please, please, PLEASE, tell me which of the 3 you'd choose as you starter, it's for scientific reasons 👉👈

💐_________💐

[human-antithesis]

Hermit’s Lair https://t.me/Human_Antithesis

Mayhem - Deathcrush (EP) [August 16th, 1987] Country: Norway Genre: Black Metal

Lineup:

Sven-Erik Kristiansen A.K.A. Maniac - Vocals

Øystein Aarseth A.K.A. Euronymous (R.I.P. 1993) - Guitars

Jørn Stubberud A.K.A. Necrobutcher - Bass

Kjetil Manheim - Drums

Guest/Session:

Konrad Schnitzler (R.I.P. 2011) - Everything (Track 1)

Eirik Skyseth Norheim A.K.A. Messiah - Vocals (Tracks 4, 7, 8)

Tracklist:

Silvester Anfang - 01:56

Deathcrush - 03:33

Chainsaw Gutsfuck - 03:32

Witching Hour (Venom Cover) - 01:49

Necrolust - 03:37

(Weird) Manheim - 00:48

Pure Fucking Armageddon - 02:07

Outro - 01:14

[the-olympics-olympics]

Tom was named after Brazilian musician Tom Jobim, one of the writers of the song "The Girl from Ipanema" (along with Vinicius de Moraes, the namesake of Olympic mascot Vinicius). Vinicius's design represents Brazilian wildlife, combining "the agility of cats, sway of monkeys and grace of birds." The character's arms and legs can stretch unlimited distances. Vinicius's mission is "to spread joy throughout the world and celebrate the friendship that flourishes between people from all over the world" at the Olympic Games.

Sondre is based on the trolls depicted in Scandinavian folklore. The one-legged skiing troll was created as a result of a nationwide competition among schools, with the winning design handed in by Janne Solem. In a separate competition, the name “Sondre” was chosen for the Paralympic mascot as a reference to Sondre Norheim, one of the pioneers of modern skiing.

Sumi was the mascot for the 2010 Winter Paralympics. He is an animal guardian spirit with the wings of the mythical Thunderbird and legs of an American black bear who wears a killer whale-like hat in the artistic style of the Haida people.

[diceriadelluntore]

Undercover

Ho scoperto delle storie riguardo alle copertine censurate su cui davvero si potrebbe scrivere un bel saggio. C'è da dire che raramente la musica di qualità accompagna la decisione di una copertina controversa, che è specialità di alcuni genere su tutti, quasi come stereotipo. Tuttavia alcune sono così strane ed eccentriche che vale la pena raccontare un po':

Come accennato nella storia dei Rolling Stones, questa copertina dei Mamas & Papas fu censurata perchè si vedeva la tazza del water. La soluzione fu attaccare uno stickers in quella zona della foto.

La copertina del 1958 delle Chantels, le cui canzoni erano passate moltissimo dalle radio, fu ritenuta "scandalosa" poiché per la prima volta si vedevano 5 ragazze nere, le cantanti appunto. È vero che viviamo tempi brutti, ma qualcosa è migliorato.

Diamond Dogs di Bowie fu censurato perchè nel disegno di copertina, che riprende le tematiche del disco ispirato a La fattoria degli Animali, nel Bowie mezzo cane si vedevano i genitali. Nelle edizioni successive il disegno fu tagliato all'altezza del bacino di Bowie, perdendo totalmente il senso.

Tutto lo conosciamo così, ma all'inizio si doveva chiamare e presentare così

La prima copertina di uno dei grandi successi dei Bon Jovi era così

ma essendo criticata fu trasformata in così

Il primo disco del famoso gruppo Dio era così

e fu censurata in diversi paesi, spingendo il gruppo a cambiare leggermente il disegno di Murray, la loro mascotte demoniaca, che tiene il prete con le catene non spezzate fuori dall'acqua.

Ho visto copertine orripilanti, una dove il titolo dell'album è scritto sul pene del batterista (Death Grips – No Love Deep Web), esperimenti sulle feci, quelle che hanno riferimenti religiosi (soprattutto alla crocifissione del Cristo) ma ne ho scelto tre, in un ipotetico podio di assurdità.

Terzo Posto: NoFx, Heavy Petting Zoo, 1996. Ritirata per pornografia zoofila in molti paesi del mondo, il gruppo punk dei NoFX decise di ristampare il cd del vinile con quest'altra copertina (senza parole...)

Secondo Posto: qualsiasi copertina dei Cannibal Corpse, che detengono il record mondiale di denunce, querele e divieti sia per i loro lavori, sia intesi come copertine sia come testi delle "canzoni" (una sorta di rumore primordiale dove si parla di mutilazioni, sesso violento, misoginia e così via). In molti paesi non posso suonare dal vivo. Per dare un'idea, ne lascio uno, una delle meno cruente

Primo Posto Mayhem, Dawn of the Black Hearts, 1995. Io non la conoscevo prima della mia idea sulle copertina controverse e censurate (e per certi versi era meglio così), ma questa storia è al limite dell'assurdo. I Mayhem sono una band death metal norvegese. Si formano a metà anni '80, composti dal bassista Jørn Stubberud, detto Necrobutcher, il batterista Manheim, a cui si aggiunse il chitarrista Euronymous, e il cantante Eirik Norheim detto Messiah. Messiah se ne va, e viene sostituito da Per Yngve Ohlin, uno svedese che si soprannomina Dead. Per capire che tipo è, dico solo che per dimostrare che non fosse un umano e che nelle sue vene non scorresse davvero sangue, in un concerto a Jessheim, Dead ruppe una bottiglia e, come aveva promesso all'inizio del concerto, per fomentare la tensione si tagliò varie parti del corpo sanguinando sul palco. Al termine del concerto, il cantante svenne per l'ingente perdita di sangue e fu portato immediatamente all'ospedale, riuscendo tuttavia a sopravvivere. Non pago, l'8 aprile del 1991 il cantante, che soffriva di una diagnosticata depressione, si tolse la vita tagliandosi la gola e le vene dei polsi e sparandosi poi un colpo di fucile alla testa lasciando un biglietto "scusate per il sangue" e un foglietto con il testo di una canzone intitolata Life Eternal. Fin qui, nonostante i particolari orribili, niente che non sia già successo. Ma a questo punto arriva l'assurdo: si ipotizza che Euronymous, prima persona a rientrare trovando il corpo del suicida, avesse preso frammenti del cranio di Dead, regalandone in seguito alcuni ad altri musicisti dello scenario del black metal, e che fece delle fotografie del corpo martoriato di Dead (entrambi i fatti appurati dalla magistratura norvegese, ma sull'accaduto esistono incredibili ulteriori dicerie). A questo punto c'è da raccontare un doppio binario di fatti: delle foto fatte da Euronymous si seppe solo dopo che quest'ultimo fu ucciso a pugnalate (26) da Varg Vikernes, il bassista che preso il posto di Necrobutcher, che abbandonò i Mayhem disgustato da quello che aveva fatto Euronymous (anche i death metallari hanno una coscienza). Infatti il disco, che uscirà nel 1995, pubblicando un live tenuto a Sarpsborg nel 1990 e a Ski in Norvegia nel 1986 fu pubblicato in maniera quasi clandestina da Mauricio "Bull Metal" Montoya, proprietario della Warmaster Records in Colombia nonché leader della band death metal Masacre il quale, avendo una corrispondenza di penna con Euronymous all'epoca del suicidio, ebbe come regalo una delle polaroid del corpo di Dead, scattate dal nostro eroe al morto per farne una copertina di un disco della band. Di conseguenza, visto il mito sinistro, il disco è uno dei più conosciuti di sempre, nonostante fisicamente ne esistano poche centinaia di copie in vinile, e uno dei bootleg più copiati nella storia del genere. Non so se sia il karma ma lo stesso Bull Metal si suicidò quasi nella stessa maniera di Dead.

Per chi se la sente, la copertina è questa

[solhrafn]

Les restes d'hier devant le feu avec le café qui passe sur le grill en portant mon nouveau manteau Norheim. Je suis seul dehors. Hello, j'ai sept ans.

V est restée près de moi tant qu'il y avait des flammes mais B n'a fait que regarder trente secondes à travers la vitre. Décevant. A mon avis dans quelques années V sera ma partenaire de trekking, plutôt que B.

[drunkenskunk]

I woke up just a little after midnight this morning, and the Basil Poledouris soundtrack from the 1982 classic Conan The Barbarian was playing in my head.

So... I decided to reread my collection of the old Conan stories by Robert Howard.

It has me feeling a strange mixture of emotions.

I am struck by a pensive melancholy, and yet I sense a great violence welling up within me; a surge of bloodlust, of boiling blood flowing through my veins, calling for release... yet tempered by the terrible weight of knowledge that I am shackled by the chains of civilization, and with nerves so deadened by that foul beast, Depression.

I yearn for a thing that never was.

Even now, the visions fade from my mind... ghostly after-images dancing across my eyes are all that remain of things which were once so crystal clear. Coward that I am, I shall never possess the strength to reach out and claim the destiny I have desired all my life...

. . .

"I have known many gods. He who denies them is as blind as he who trusts them too deeply. I seek not beyond death. It may be the blackness averred by the Nemedian skeptics, or Crom's realm of ice and cloud, or the snowy plains and vaulted halls of the Norheimer's Valhalla. I know not, nor do I care. Let me live deep while I live; let me know the rich juices of red meat and stinging wine on my palate, the hot embrace of white arms, the mad exultation of battle when the blue blades flame and crimson, and I am content. Let teachers and philosophers brood over questions of reality and illusion. I know this: if life is illusion, then I am no less an illusion, and being thus, the illusion is real to me. I live, I burn with life, I love, I slay, and am content."

[realmadridnews]

Sporting Lisbon Femenino - Real Madrid Femenino 1:2

scorers: 0:1, Athenea 11'

1:1, Andreia Bravo (p) 45+4'

1:2, Leupolz 90+6'

Sporting Lisbon Femenino: Saebert; Alicia Correia, Norheim, Eaton-Collins, Borges; Andreia Bravo (77' Pinto), Neto, Brenda Perez, Diana Silva (71' Galabadaarachchi); Raphino (59' Capeta), Encarnacao (77' Maisa Correia)

Real Madrid Femenino: Misa; Oihane Hernandez, Lakrar, Mendez, Camona; Leupolz, Toletti (79' Abelleira), Angeldal (59' Navarro); Athenea (87' Feller), Weir, Redondo (59' Bruun)

yellow cards: Raphino, Borges - Misa, Carmona, Moller

[newbellevouxhq]

The following applications have been accepted! Please send in your blog within 48 hours of opening and check out our checklist.

Katrine Norheim (Olivia Cooke penned by Starlight)

[kultofathena]

View this post on Instagram

A post shared by Kult Of Athena | Swords & Armor (@kult_of_athena)

The Dussack is a sidearm originating in the early 16 th century, and it was first mentioned in the manuscript ‘Ergrundung Ritterlicher Kunst der Fechterey’ written by a fencing master Andre Paurñfeyndt in 1516. It has soon become a standard part of fencing treatments, where they are usually shown as made out of wood (for practicing purposes).

The actual weapon is defined by a now often curved blade, a knucklebow and protection for the back of the hand. The dusack’s blade length usually lies between 635mm and 884mm. When it comes to the blades and hilts, the originals and period depictions show a considerable variation. Per Terje Norheim created a typology for them in 1971 which was translated by Keith Cotter-Reilly in 2020, who inspired us to do this project. From all the available variations, we choose a type G hilt with a type III blade – the latter is approximately equivalent to the Elmslie type 4a++ blade.

The blade and pommel are all fully ground by hand, the cross and the shell are hand- forged in Landsknecht’s Emporium. The peculiar finials and pommel shape are based quite closely on antique Dussacks and are representing stylized sea monsters. According to Major Eivind Eyvang’s publication on the subject (also translated by Keith Cotter-Reilly), dussacks hilted with type G hilts are the lightest variation, with the originals weighing between 920g and 1150g. Our interpretation aims at a weight of 1050-1070 grams which yields a fast, nimble weapon while still having a sturdy enough blade to survive sparring.

Landsknecht Emporium products aim to have the aesthetics of historical pieces, not the finish of mass-produced items. Each product bears the signs of its making; of small tool marks and various handcrafted imperfections, which do not affect the build quality or usability but give each of our pieces its unique character.

[ingagernernielsen]

Arts in Nursing

The seminar is an opportunity to meet in our ever-expanding field within Culture and Health in North Jutland, DK. We look forward to sharing how we at UCN in Hjørring work with interactive performance and artistic techniques to support the nursing students' work in the meeting with the patient.

Visual artist Marit Benthe Norheim will start the seminar day by showing her depiction of my work with interaction as an artistic form. At the same time, we are excited to look around and get an insight into how some of the region's other cultural actors in the field work with art in the nursing profession? For example, we will hear about Esben Bala Skouboe's video installations at the maternity ward in Hjørring in a conversation with me about the work with rituals in nursing.

There will also be workshops with Ann Mai Lunde and Rikke Steen Mapstone, as well as presentations by Sara Hagins and Ann Karenina Kløve Møller.

We end with a joint reflection on the day's input and impressions, followed by a round table dialogue facilitated by lecturer in History of Nursing and study advisor, Helle Kronborg Krogsgaard, about: how can we in nursing education create a good prerequisite for the meeting between artists and nursing staff in practice? Send me an email if you would like to be sent a program.

Drawing by Marit Benthe Norheim with graphics by Nat Marcus

The In the Mirror of Care Work symposiums and seminars are supported by Nordic Culturefond

[tommeraasx]

Herman as Stian Norheim in Leave (2021)

[digitaldion]

It was wonderful to arrive in stunning Bergen today! It had been snowing overnight, and while it was cold, the glorious son came out to greet us - and our very generous host Prof Bård Norheim (who hosted us in his home for dinner)! Our conference begins tomorrow. It is lovely to be here with my colleagues reflecting on teaching and learning in times of crisis. (at Bergen Airport BGO, Bergen, Norway) https://www.instagram.com/p/CqTh8XZNAuZ/?igshid=NGJjMDIxMWI=

[human-antithesis]

Mayhem - Deathcrush (EP) [August 16th, 1987]

Lineup:

Sven-Erik Kristiansen A.K.A. Maniac - Vocals

Øystein Aarseth A.K.A. Euronymous (R.I.P. 1993) - Guitars

Jørn Stubberud A.K.A. Necrobutcher - Bass

Kjetil Manheim - Drums

Guest/Session:

Konrad Schnitzler (R.I.P. 2011) - Everything (Track 1)

Eirik Skyseth Norheim A.K.A. Messiah - Vocals (Tracks 4, 7, 8)

[trenenlasnubes]

Wiggle room – perception

While meditating on wiggle room, I realize that many of the changes, human beings try to implement, might be rather technical changes. Meaning: here’s the problem – let’s fix it!

In “A Failure of nerve: Leadership in times of the quick Fix.”, Edwin Friedman*) describes, what the supposed need for quick fixes does to us – what it does to leadership and community. Friedman states, that being a non anxious leader comes down to self-differentiation. This being a core value for fruitful leadership. And while this is not a condition, one is born with, or wakes op with one fine day, this is mainly a direction in which non anxious leadership steers. Maintaining Self-Differentiation amongst poorly self-differentiated humans though, does demand a lot of strength! Strength that eventually might be missing, when it comes to creative and joyful ways of being church.

On the other hand, I also realize, that my search for stakeholders in the congregation, I am currently serving, apparently has been in vain. Might well be, that possible stakeholders are just holding in their breath, in order to find out, where this is leading to… However, how can we see, where this is leading us, when we don’t start? It seems, that people want or expect me (as their pastor), to be directive – which I have basically been refusing to do, for 5 years now… Why? Because it is not primarily my work that counts, it’s about the work of the congregation. The fact, that we are only seeing minor progress is – in my opinion – only slightly related with the experience of the pandemic (and the war on European territory).

Wiggle room then happens within liminal space**). Liminality being understood as the psychological process of transitioning across boundaries and borders. One can say: Liminality happens on the threshold. Anthropologist Victor Turner describes liminality in the light of Rites de Passage ***). On the other side of the threshold, something different might take place.

Whereas a physical threshold might be rather small. One might stand on the threshold for quite a while, but then one will go over the threshold and move into the next room. Eventually of course,  one might turn around and go back into the former room. But then, what did we win? Furthermore, standing on the threshold – may it be physical or virtual – does change us! We are not the same anymore, compared to how we where when we first stepped onto the threshold. Having come to this conclusion, we might give the question, “Where do we take it from here?” some serious thought!

And in the light of this, it would seem to me, that  a conscious decision in favor of wiggle room is more the a valid option, as it bears, the chance of creating altogether an enthusiast culture. This – of course – is, what people have been hoping for, for so long!  And as Tveitereit and Norheim are stating, “The enthusiast culture is never coercive. It is always voluntarily construed.”****) – let the wiggle room come – lykke til!

*) Edwin Friedman: “A Failure of Nerve: Leadership in Times of the quick Fix.”, Seabury Books, 2007. Also:  https://www.google.com/search?q=friedman%27s+theory+selfdifferentiation&client=firefox-b-d&sxsrf=AJOqlzUXPbo2QaCZQPYVIEtfhiIs5p8rfA%3A1679306283972&ei=Ky4YZM_zOq6Mi-gPn4GcyAM&ved=0ahUKEwiPtZm0n-r9AhUuxgIHHZ8ABzkQ4dUDCA4&uact=5&oq=friedman%27s+theory+selfdifferentiation&gs_lcp=Cgxnd3Mtd2l6LXNlcnAQAzIHCCEQoAEQCjIHCCEQoAEQCjoKCAAQRxDWBBCwAzoHCAAQgAQQEzoICAAQFhAeEBM6BggAEBYQHjoFCCEQoAE6BAghEBVKBAhBGABQkxNY801g8VZoAXABeACAAbkBiAH1FJIBBDAuMjCYAQCgAQHIAQjAAQE&sclient=gws-wiz-serp#fpstate=ive&vld=cid:8695a5e1,vid:RgdcljNV-Ew

**) cfr. Tveidereit and Norheim, Theological Wiggle Room as a Resource in Ordinary Theology.

***) Victor Turner, e.g. Betwixt and Between: The Liminal Period in Rites de Passage. In: Symposium on New Approaches to the Study of Religion, hg. v. Melford E. Spiro; Seattle, American Ethnological Society.

****) Tveitereid and Norheim, ebd.

[alongno]

British Financial Investing - On Wednesday, Bitcoin rose in the short term and broke through the $20000 threshold again, the first time since October 7. Ethereum once exceeded $1500, with a maximum daily increase of 12%. Driven by Bitcoin and Ethereum, cryptocurrencies such as Solana, Dog Coin and XRP also rose.

Stephane Ouellette, CEO of FRNT Financial, said that investors should be excited because Bitcoin is rebounding with risky assets. On Tuesday, the Nasdaq Composite Index ended up 2.25% and the S&P 500 Index ended up 1.63%.

According to the research of analysts Vetle Lunde and Bendik Norheim Schei, the volatility of Bitcoin in the past 30 days is close to the six-year low, which means that the cryptocurrency may have a price breakthrough. The last time this level was reached was in the summer of 2020.

Analysts pointed out that the price range of Bitcoin had been consolidated for four days before the currency price rose sharply.

However, despite the price recovery, Bitcoin still fell by 60% this year.