#seg does arts

[githjanken]

picked up watercolours again and not bad for a first go

[astrofhobia]

Son las 4 de la mañana y hay un pequeño porcentaje de alcohol en mí cuerpo ahora mismo.

Técnicamente, no estoy alcoholizado. No lo estoy realmente, no puedo romper las leyes y me da miedo hacerlo de todos modos. Pero descubrí recientemente que la bebida que estoy tomando ahora mismo tiene un porcentaje de alcohol preocupante.

Estaba aburrida y simplemente me puse a leer los ingredientes de la bebida, al parecer, no marca en el diseño que tiene alcohol, es algo bastante estúpido, sabe bien, es de mango. Me gusta mucho el de fresa también pero descubrí que sí tiene fruta natural. ¿Ustedes sabían que soy alérgico a la fresa? Bueno, supongo, siempre me termino enfermando cuando como esa fruta, pero me gusta mucho, entonces, es un precio que acepto en algunos casos.

Eh, ¿Qué más decir? Estoy escuchando la canción “El triste” del mismísimo José José. Perdón, ya entré en mi papel de papá divorciado… ¿Ustedes donde escuchan música? Yo uso Muzio Player porque no tengo dinero para mantener una membresía de Spotify (Soy pobre y aparte de latinoamericana, déjame en paz) En fin, ya cambié la canción, ahora estoy escuchando una que se llama “4:00 AM” de Taeko Onuki (No tengo ni idea de quién es pero me gusta la canción)

Me gusta jugar Skullgirls, mi personaje favorito siempre será Black Dahlia, esa abuela hermosa la cual generó un genocidio, ah, sí. La amo mucho, ella es perfecta. También juego Minecraft una vez cada que me acuerdo que lo tengo, por supuesto, de manera ilegal, no tengo dinero entonces tengo que recurrir a mediafire y apks (probablemente mi teléfono ya tenga algún virus instalado, no lo sé)

¿Sabían que estoy pasando por el bloqueo artístico más grande hasta ahora? Bueno, el segundo, el primero duró dos años o algo así, no recuerdo muy bien. Mi primer fandom al cual le hice dibujos fué Slendytubbies (Lo sé, merezco sus mejores insultos) ustedes, no saben lo que fué esa etapa, ese fué mi pasado oscuro, mi evento canónico, mi momento gacha. Por cierto, esto fué la primera cosa que hice en digital, obra de arte, diría yo.

Maldición [😭], Quiero arrancarme los ojos ahora mismo. Pero oye, pude hacer obras muy asombrosas por eso, como estas de aquí.

This character does not belong to me. Credits for @/oddogoblino

Sigo orgulloso de esa cosa de ahí, es mi obra favorita hasta ahora. O tal vez porque adoro a Prince con todo mi corazón y es mi personaje favorito hasta ahora. Nadie lo sabe. De hecho, no recuerdo que haya batallado tanto haciendo esta obra, pero estaba aterrada por cómo podría salir al final, pero lo salvé.

Siempre salvó todo. Bueno, casi todo. Ahora mismo siento que soy lo más plano posible, realmente no he dibujado hace un tiempo, solo hago tonterías pero me demoro mucho haciendo esas tonterías. Por ejemplo, una obra completa me toma alrededor de dos horas, máximo tres horas. Pero ahora mismo hacer la más simple línea me puedo demorar hasta 40 minutos. No sé qué está pasando por mi cerebro.

Los únicos a los cuales les muestro mí “arte” ahora mismo es a Odd y Husky, literalmente. También, me dí cuenta que soy la persona menos comunicativa de este planeta, mis mensajes simplemente se basan en “Oh” Adorar el arte de Husky y hacerle el mejor ciberbullying a Odd. (perdón Odd, no me ayudas a evitar el bullying en tú contra)

Ahora me pregunto, cuántas personas pueden leer esto sin necesidad de un traductor o cuántas personas se van a tomar el tiempo de traducir todo esto, sinceramente, yo no lo haría.

Me gustan las matemáticas, por ahora me encantan mucho las matemáticas. Quiero decir, no estoy estudiando ahora mismo pero me encantaba mucho hacer todo el proceso para despejar “x” o encontrar el volumen de un cuadrado o simplemente trabajar con la hipotenusa. También me gusta mucho la química, realmente, me gustó hacer todo ese proceso de redox y el balanceo por método de tanteo. Fuí la única persona de mí salón en sacar un 99/100 [Me confundí en el nombre de un elemento lmao] El profe me regaló el último punto. Creo, que la segunda calificación más alta fué un 64/100 o algo así. El mínimo para pasar un exámen de química, matemáticas o física era un 70, entonces, fué bastante asombroso ver a mi profesor revisar mí exámen y decirme que tener estás calificaciones eran motivo de celebración. (perdón, soy una nerd)

El también me dió muchas llamadas de atención (Se nota que me quería mucho) mentira, era porque solía llorar mucho en el laboratorio. Él realmente cree que tengo ansiedad y estrés, siempre me dijo que fuera al psicólogo pero la última vez que fuí, la estúpida me dijo (me gritó) que llamar la atención estaba mal y que podría despejar mi mente por el camino de Dios. No tengo nada en contra de la religión pero no es lo mío, no hice la primera comunión, desconozco del tema y realmente no me interesa. Ah, también le dije que mis últimos años de mi existencia no eran los mejores pero entonces comenzó con su pequeño cuento de decir que los adolescentes solo quieren llamar la atención y otras cosas bastante desagradables.

Creo que esa fué la única vez en mí vida que fuí al psicólogo (Lo odie)

Qué más, ahora se está reproduciendo una canción de Chalino Sánchez, creo que es la canción con la cuál se enteró que lo iban a matar, algo así. ¿Sabían que mí Y/N de Post-Mortem está inspirado en esta persona? Increíble referencia en realidad.

Estoy algo cansada ahora mismo. Siempre estoy cansada en realidad. No sé por qué. Supongo que no tener un propósito ahora mismo me está llevando a una tumba. Mi motivación está por los suelos y mi pequeño nerviosismo está en un punto muy alto.

Duele un poco mi pecho (Mentira, duele mucho) pero realmente no hay mucho que pueda hacer si estoy cansada. Hoy también lloré un poco, bueno, ayer, lloré bastante en realidad. ¿Qué me pasará?

En fin. ¿Cómo están ustedes? ¿Cómo se sienten?

[starscelly]

something very fascinating to me as someone who like. objectively creates a ton of stars content (gifs/reuploading socmed posts/art/edits/etc) and does not care abt numbers bc It’s Tumblr and I’m Just Here to Have Fun but does notice trends in interaction is like. rarely does anything i post abt the current core and like. probably the more starsblr beloved guys rn (robo, otter, roope, miro, wyjo, etc. younger guys!) get much attention from non starsblr ppl. but like Very Consistently anything with segs does!! and i love segs and any content of him IS very silly but that’s so interesting to me bc like! the younger guys DO silly stuff. they’re fun! they’re goofy! they’re cute! but seggy truly is still like. the main star most people know which is sooo fascinating looking at the trajectory of his career yk. like robo is Getting There but segs is still leeeagues above him (regarding tumblr belovedness). i wonder how much of that is people who liked the stars during the heyday of b*nnguin and when they fell off they kinda stopped caring or like is it just ppl knowing tyler seguin gay lore but never rlly following the team or. like i wish i could dissect and figure these things out

[saso615]

More spuk headcanons 👁👁

More Spuk HCs

First and foremost: I've accepted the name Adrían 'Salvador' Fernández García for APH Spain. I've grown to find Antonio kinda boring tbh and while I was searching for names for LatAm OCs, I saw García come back a lot as a surname. I love the idea of Spain having a long ass name.. it's just really appealing to me uwu 'Salvador' means 'Saviour' which is ironic since Spain wasn't much of a saviour :) As for Fernández, well, I like the different spellings and unisex alternatives it has. Fairnanda or Fernanda, Fernando... you can even nickname with Fairni/Ferni, it's cute. And it's his canon middle name :|

Moving on,, Here is the first part(?) of my hcs (go follow @chiring-art for EngPort and Spuk content)

Imagine a nice walk on the Spanish coast or a riverside in England. Them walking side by side, talking occasionally, but there isn't really a need to fill silences between them. Because those silences are louder than words. More important than holding hands. More meaningful than a gaze.

Imagine them laughing about some bad jokes or about the past, about how ridiculous old beliefs used to be and how much the world, how much they have changed.

Imagine how comfortable they are around each other, how relaxed.

Let "Hell & Back" by Sticky Fingers take you away like the wind. Like the sun blazing through your window and heating the wooden floors of you bedroom as you imagine these two assholes waking up in the same scenario next to each other, perhaps Arthur's head is resting atop Adrían's chest, rising and dropping on time with his breaths. He listens to his heartbeats and smiles, closing his eyes again so he can memorize this moment. So he can stay in it a little longer...

Their arguing is rough, intimidating and sometimes on the verge of them breaking up or never speaking to each other ever again... But they always somehow make up. They know this is a useless fight and they've been through worse. They can find a way to have a compromise or apologize if needed. Most of the time, Spain doesn't realize how far he's gone with his remarks (genuine or playful), but on the other hand, England is cruel and sassy. They both know what they got into, but they also know that if they lose each other, they will lose a part of themselves. They have known each other for far too long and alas, can not see a future without the other. 

Soft caresses, embraces, kisses and cute, affectionate pranks fills the kitchen with chuckles. Adrían probably has the biggest laugh, the most whole-hearted, but Arthur has the most authentic laughs even if they aren't as loud. And I can guarantee you that Ade feels accomplished when he hears Art laugh like that. He gives his most loving/caring grin and admires him for a little. Just to capture the view. His green eyes brighten like how the sun gleams on a Persian lime tree, showing its most favoured features. 

You can bet your life Arthur makes the effort to speak Spanish for his lover. He knows Spain has to make that effort constantly and it can be exhausting sometimes, especially since Adrían probably makes a lot of mistakes. Arthur has a hard time speaking in Spanish for a long time, but at least he's gotten used to saying more than just "Holá" or "Buenos dias". Ade is very happy about that, but he tells Arthur he doesn't need to most of the time. 

I don't want to get too NSFW but I can give a little something soft for you (I'll share details to ADULTS in DMS if it ever comes up. No segs for you >:0c ): In their more intimate times, Arthur and Adrían are very careful with each other. When they are rough, there's consent and usually a talk about what they want and don't want. When they are 'vanilla' or well a lot softer, Adrían constantly asks if what he does is alright (when he tops). Consent is important to him. 

When Arthur tops (bc he does too, get those 'TwinkArthurSupremists' out of my blog), he makes sure to have a clear safe word. He likes to praise a lot and does so with devoting kisses. Other than that, you can guess they have fun. Trying new things and having a laugh when it doesn't work. They have a lot of gazes, cuddles and quiet appreciation. 

They're doing their best. Ugh, I love them being in love,,

Anyway I can come up with more, but that's it for now lmao

[photosworthseeing]

inConversation 18 //  August, 18th 2018

(shownotes clickable on YouTube)

… with Pete @tvoom admin of @photosworthseeing and Fern @qbn-scholar admin of @luxlit and guest D-Mac @demo-vision-world

This month’s topic

How to “get our art out?” Is there a value in submitting photos to supporting sites and taking part in contests?

00:00:52 Welcoming screen 00:01:45 Introductions made by Fern - first time ever!  00:02:55 Guest: DMac from https://demo-vision-world.tumblr.com (audio only, no video) 00:04:47 DMac tells us about his photography while Pete displays DMac’s Tumblr photo archive on screen for us to see 00:10:15 Fern introduces today’s topics: How to get our art out? Is there value in submitting photos to supporting sites and taking part in contests? 00:11:54 Pete talks about Tumblr photo supporting blogs, their diversity and unique way of supporting photographers 00:18:38 Fern talks about the value of supporting reblog sites and how he has been personally affected in a positive way. 00:22:40 DMac shares his reaction to his photograph being reblogged by a supporting blog and all the attention that photograph received.  00:23:45 Fern’s quick photo critique on DMac’s reblogged photo 00:26:52 Fern: “Just because a photograph is not mainstream popular doesn’t mean that it’s not a great photograph.” “Who are you as a photographer and what do you want to accomplish?” 00:27:31 DMac talks about the impact that supporting blogs have on getting recognition and what he misses from the Photo Seg site 00:30:20 Pete on Flickr’s culture of photo groups  00:32:57 DMac thanks Fern for the feedback (from photo critique) 00:33:25 Fern’s recommendations: get involved in supporting blogs, learn the basic guidelines, the six elements of art, watch Ted Forbes’s “the artist series” and the critiques of classic photographs videos.  00:38:00 Pete on doing more photo critiques with Fern (hopefully shorter ones) and an open invitation to submit photos for critiques 00:41:20 Pete and Fern tease about how the 2nd anniversary of InConversation will be celebrated  00:42:30 Pete talks about the photo challenges and what he learns from all the creative people who interact with each other 00:45:38 DMac finds Pete and Fern’s back and forth of what they each find valuable very helpful :) 00:45:53 Fern on constantly learning (being part of the Tumbler photo community): “Photography is not just the camera and the shooting… When you’re focusing on our art in a broad way you’re always absorbing and learning.” 00:48:10 Pete: give props to all the PWS family members and all the photographers who post their photos  00:50:27 Fern directs the conversation to today’s topic: “Are photo contents worth it?”  00:51:03 DMac on why he doesn’t do wedding photography 00:53:03 Fern on shooting weddings/other special events and what it all entails, “‘What kind of photographer are you?’ Is the question you have to ask yourself before you dive into that.”  00:57:5o Pete on photo contents and shares the story of when he won a photo contest  01:01:10 Pete reads comments from the live chat (finally!) 01:02:47 Fern on photo submissions in Luxlit 01:03:10 Pete talks about photo submissions on PWS and other supporting blogs 01:09:51 Fern on why Tumblr is a special community that goes beyond the images 01:13:25 Pete on expectations and like-for-like/follow-for-follow 01:16:00 Fern: “if one of my photographs touch a person then that to me is worth it because I know that someone else was moved… but that’s not going to happen with all my pictures.” 01:20:17 Pete clarifies his previous statement  01:22:35 Fern trying to bring the conversation back to the topic asks: “Have you ever entered a photo contest?” 01:22:47 DMac shares his photo contest experience  01:25:07 Pete shares about winning a photo contest and shooting weddings 01:28:30 Fern: “The bottom line is, does what the client see does it match their expectations?”  01:29:30 Pete: “You can make a person look really bad… especially with portrait photography. Using the wrong lens can make the person look horrible.” 01:31:24 Pete shares the best piece of (photography) advice he’s ever gotten  01:33:45 Fern shares his experiences on shooting “special events”  01:36:10 DMac thanks Pete and fern for having him on the show 01:36:33 Pete gives open invitation to be a guest on the show 01:38:10 Fern reads comment from the live chat 01:40:51 Pete: “Event photography is one of the most demanding things ever. You have to be really good. You have to know the limits of your equipment, you have to know your limits”  01:46:10 Fern puts his cool glasses back on to close out the show  01:46:38 Pete thanks DMac for joining the show and wraps up the show

Music: “Funky Chunk” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

[sidneycrosbyisawitch]

Sid may be known as a King Maker but this is some next level Queen ordaining Queen symbolism here: seabsieboys*tumblr*com/post/119229115211/tseguin92-2015-world-champions-baby

sid played with jamie in sochi halfway through his first season as King, and there wasn’t a lot of time to talk about how he’s adjusting to his Kingship. sid hasn’t met tyler seguin, but things seem to be going well in dallas even though hockey media had a lot to say about his quick crowning, and jamie is an incredible player. he’s big, keeps his head down, and works hard. they win gold, and there’s no doubt in sid’s mind that he’ll grow into a strong King. 

when they get home, the stars make the playoffs for the first time in five years. 

a year later, the stars miss the playoffs, jamie benn wins the art ross, and tyler’s in a suit when it happens. 

sid watches the replay, and wonders. 

when their post-season ends against the fucking rangers, sid calls hockey canada and gets on a plane almost as soon as he can. 

even without a Q on his canada jersey, tyler is every bit a Kingship Queen. he makes the locker room better, is spectacular on the ice, and does more for team bonding than sid’s ever seen anyone do in such a short amount of time. 

it’s not often that sid goes out of his way to pry into personal shit, but he can’t help but ask while they’re in the locker room post practice. “can i ask why you were scratched the last game of the season?”

tyler’s eyes shutter almost immediately but he keeps his smile. sid recognizes the technique well, but it probably looks better on tyler. 

“i could tell you, but then the stars would have to kill you.” tyler smirks and laughs. he pulls off his pads, putting a period at the end of the conversation. 

“looked good out there, eaks,” he calls across the locker room, then, eyes bright again. “how many goals you gonna get?”

“i’m gonna need at least five to keep up with you, segs,” cody calls back. 

tyler grins. “you’ll get ‘em.”

sid knew it as an objective fact, before. stared across the face off dot at the Q sewn on seguin’s green jersey. watched all the second-guessing and marketing-machining as boston’s wild child was crowned Queen as soon as he hit texas. but it’s real. 

dallas has a Queen.

[laurelnose]

feeeeeeecs (obligatory links to A’s stuff and my stuff) (check tags and warnings, I haven’t provided any below)

The Partisan: or the Art of Making War in Detachment by irenesadler: Gen, Ves-centric, shenanigans, delightful character voice. Set a little more around TW3 timelinewise but. Ves.

Respite by softestpunk (Geralt/Iorveth): set during TW2. seducing Iorveth is a long game.

The Gift by softestpunk (Roche/Iorveth): post-TW3, Roche gets handed rule of Temeria and also has to marry Iorveth

Sunshine and Good Wine by softestpunk (Geralt/Roche/Iorveth): post TW3, all three of them retire to Toussaint. Iorveth gets to be smug and luxurious. Roche doesn’t get to be smug but he does get laid, so.

Eatewedd by softestpunk (Cedric/Ciaran/Iorveth): Angst, fix-it for Cedric and Ciaran’s deaths, Iorveth is bad at relationships. also Hattori and Elihal are there. Mid to post TW2.

Pen and Ink by softestpunk (Roche/Iorveth): Modern AU, they make fountain pens. Softer than I usually like my rorveth but listen if you know anything about pens please read this fic because it contains the pun Letho of Gulet Pens and more, it’s delightful.

Mending Fences by quills-at-dawn (Roche/Iorveth): Post-TW3, rorveth find they have nothing left to fight about and also go to Toussaint on a fetch quest

Lockbox by quills-at-dawn (Roche/Iorveth): Roche pays the bounty for Iorveth’s head, discovers he’s actually miserable about it, & SIKE he’s not actually dead. this fic is funny i like it

...honorary mention of The Squirrel by quills-at-dawn which is pre-TW3 Ciaran/Emhyr political marriage and bears only sort of cursory relevance to the rest of this list but sue me, I like Ciaran

The Plight of the Elves by cranperryjuice (poly Geralt/Iorveth & Geralt/Yennefer): Post-TW3. this fic commits the grievous crime of leaving out that Yen is mixed elf from the yenveth friendship but other than my one Extremely Specific Yen Opinion it’s a pretty good Yen characterization & a very satisfying Iorveth retires to Toussaint (and also has to go to fancy balls) fic

These Colors Don’t Run by BlueNeutrino: The homoerotic fight scene, extended prize-taking edition. No smut, just a lot of excellent taunting.

King of Iron, King of Steel by dreadthehalfhanded (Foltest/Roche): pre-TW2, post-striga curing. Foltest is a mess. And a bad person. He turns to Roche. This is not ideal.

Here’s To The Men We Were by dreadthehalfhanded (Roche/Iorveth): Post-TW3. is there any room left in the world for two old monsters who no longer have a cause?

For you have royally failed by Apuzzlingprince (Roche/Geralt): uhh those whip marks on Geralt’s back during the prologue, but make it sexy and awful. Non-con. Technically all smut but just. Best worst Roche.

Lukka må seg sjølv oppdaga by Squoxie (Roche/Iorveth): Post TW2, Roche is very lost, Iorveth will only tell him which way civilization is if he helps him get an artifact out of some ruins. Shenanigans. (yes this fic is in English)

In The Valley by mehramilo (background Roche/Iorveth): most deliciously visceral mid/post-TW3 Roche’s Life Sucks And Everything Is Complicated angst fics. TECHNICALLY unfinished, well worth reading anyways.

when the storm settles by she-who-drank-vodka-with-cats (Roche/Iorveth): this one’s WIP but it’s a TW3 with Iorveth AU and I think it’s pretty great. lots of them working together (with arguing) and also having to get all of their people to work together (with more arguing)

If you like a rougher dynamic with your angst and politics I highly recommend Filigranka’s Roche/Iorveth, warning for minimalistic tagging sensibilities. (I think the worst of it in the English fics is extremely dubious consent.) Also October_rust’s rorveth for mostly the enemies half of enemies-to-lovers (these ones all have thorough warnings but are also less sexually explicit than Filigranka’s anyways).

...i really thought i had more pre-canon and mid-TW2 fics, ahahaha. welp. Peace-Tied is post-TW3 itself anyways though, so!

Congratulations, your roche/iorveth foc has successfully dragged me into tw2 hell with you 😆 Do you have any fics recs to help me cope??!

I do not!!! beyond of course @akilah12902's and @laurelnose's that I already recced in the story notes.

So this is a call for help! Witcher 2 peeps, recs???

[stupidsexyseguin]

Top five hockey RPF blogs? Or just hockey blogs I in general, I need to follow more.

I DON’T REALLY FOLLOW MANY OTHER RPFers! i just tend to mainline ships on ao3

that said here are some blogs i love (mainly pens? because that is definitely a thing i enjoy most?) (also, a weird amount are also australian. which. is fine? but i find hilarious that an aussie will always find other aussies unintentionally)

@nomorelonelydays

bee is amaze. lots of sidgeno rpf, mainly on the alternate universe side of things, along with dashes of other penguins ships, and a helping of Ovi/Nicky.

@knifeshoeoreofight

good hockey rpf blog. much soft. i’m love.

@genomalkns

has a thirst. i love reading their tags. there’s a lot of love/hate for segs and toews at the moment. 

@jjustinschultz

tori does art! it’s pretty! also lots of pens stuff, a dash of other pretty NHLers, and she’s been a great help for when i need to sound out some of my fics. supports adelaide adrenaline, but that’s okay. nobody’s perfect.

@pettysburgh

more pens, a healthy dash of caps (and leafs, and segs, and chucky), player tags that never fail to make me smile (and or cackle), ongoing reaction to Alex Galchenyuk’s hair choices is the correct one.

@iboatedhere

I think was one of the first hockey/penguins blogs i followed? not all hockey, lots of sid, geno and flower worship. it’s fuckin’ great man. 

and here are some other blogs that i think are pretty fuckin great: @holtbaest @sidsass @malkinmalkout @charlieecoyle @sidneycrosbyisawitch @artturi-lehky @sidmalkin @koilers 

[nehetisingsforhekate]

Epithets: Apotropaios/aia

Averter, Averting Evil.

This epithet applies to many Gods. Zeus, Apollo, Athena, Dionysos, and Hekate all share the epithet as well as other similar meaning names, such as Soter, Hikesios, Lysios, Katharsios, Alexikakos, Phyxios, and others.

Apollo in particular is known to avert evil, but he is far from the only one. Robert Parker says that the aversion of evil that Apollo enacted was on a civic level (though Mikalson lists Apollo Apotropaios as one of the Domestic Gods that received offerings alongside Zeus Herkeios and Ktesios), whereas Hekate’s apotropaic character was domestic, preventing evil from entering the home. He says that by posting her shrine just outside the door of the home, Athenians were preventing her from entering the home. I am unwilling to agree, as I suspect that his opinion is heavily influenced by the post-Classical associations with magic, and the negative reputation of witchcraft that became associated with her later expressions. In both cases, Apollo and Hekate Apotropaic forms received offerings, which were not eaten by the people. In Hekate’s case, it is Hekate Apotropaia who accepted the sacrifice of black puppies.

There exist numerous spells, charms, amulets and the like that ask the apotropaic Gods to avert all sorts of problems ranging from vermin to disease to theft to murder. They are also called upon to purify people, places and things which have been tainted by such things, particularly homicide. We know of symbols on kilns, in smithies, on birthing stools, and in virtually every occupation known, which are meant to avert disaster and are dedicated to either Gods or Daimones. Many of the surviving cameos of the ancient world are apotropaic in nature, serving a magical purpose for the bearer.

Hekate is acting in an apotropaic aspect when we celebrate her deipnon. By removing the refuse from our homes, and offering Her food, we are removing baneful influence that may have gathered over the month, and propitiating Her to care for those forces with whom we cannot cope. Her Hekataia at the doors in Athens also served to keep trouble out of the oikos. Where Parker argues that is because Hekate herself carries miasma and the like, I would argue that simply because She has power over such things does not mean that She herself is automatically a source thereof. Rather, She is a power that serves as a barrier, and when it is Her will, She can choose to lift that protection.

Hekate Apotropaia, Goddess who spans all boundaries, You who stands upon the harbor, You who stands at the gate, You who stands at the crossroads of our lives, We ask that you smile upon us, That your will be kind to us, That evil be turned away from us, In your many names, we beseech you.

Sources:

Supplementum epigraphicum Graecum (SEG) 42 1816.

Blakely, Sandra. Myth, Ritual and Metallurgy in Ancient Greece and Recent Africa. Cambridge, 2006.

Edmonds, Radcliffe G. Redefining Ancient Orphism: A study in Greek Religion. Cambridge, 2013.

Mikalson, Jon D. Ancient Greek Religion. Wiley & Sons, 2011.

Parker, Robert. Polytheism and Society at Athens. Oxford, 2005.

Platt, Verity Jane. Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge, 2011.

Polinskaya, Irene. A Local History of Greek Polytheism: Gods, People and the Land of Aigina, 800-400 BCE. Brill, 2013.

Rohde, Erwin. Psyche: The cult of Souls and the Belief in Immortality among the Greeks, Routledge, 2014.

Versnel, Henk S. Inconsistencies in Greek and Roman Religion: Transition and Reversal in Myth and Ritual, Vol. 2, Brill, 1992.

Images:

“Wood statuette of Hekate,” juniper wood, Ptolemaic Egyptian, 304-300 BCE, now in the Metropolitan Museum of Art. via wikicommons: https://commons.wikimedia.org/wiki/File:Wood_statuette_of_Hekate_MET_DP145604.jpg

[poetryofchrist]

A new researcher of the accents in TNK

 Jeffrey Burns, The Music of Psalms, Proverbs and Job in the Hebrew Bible: With an  Audio CD. Jüdische Musik 9. XIII + 169 pp. Harrassowitz, Wiesbaden, 2011. I didn't have access to this work when I was writing my book. Probably I should have. It shows me just how deep the oceans are in this area. The whole argument ultimately comes down to Occam's razor. The ultimate question re Haïk-Vantoura and Burns is this: Is a simpler set of rules to be preferred over a complex set? So which set of rules finds the mind of the maker of the signs? David Mitchell reviews this work of Burns with respect and gentleness. He is so gentle, you might not understand how critical he is. His review is available on JSTOR, VETUS TESTAMENTŮM 64 (2014) 334-356. Read it carefully. It is free to read online. His first point is about what a researcher needs to have clearly in view:

"The first is an opinion on the complex question of the origin and  authority of the Masoretic cantillation;

the second is a "new lead" for deciphering the  cantillation."

I confess to backing into this area of study with not much knowledge at all of cantillation or a new lead. I come to it as a student of the text, as a musician, and as a designer of systems. I have lived with it for 10 years of almost daily study. I have used Haïk-Vantoura's deciphering key to develop music that is distinct in tone and genre, both from other music in general, and individually each section from another. I would never have been able to do this with traditional cantillation. But I still look for: new leads on dealing with ornaments (supra-lineal signs) and new leads on how to narrow down the modes and tuning of instruments. I find SHV's ornaments usable, but I would allow freedom of interpretation there. Even her application of her own rules seems to vary with accidentals and whether an ornament should return to the current reciting note or not. And she gives no instruction on modes apart from the comment that one needs to be a musician to decide. These things may not have been specified by the ancient designers, or they may have been common knowledge of the period and therefore not required, like the rules for musica ficta in the 15th century, or like the rules and variations allowed for tuning of instruments. Mitchell then asks if Burns has the right elements in view. He concludes that Burns does not deal with the claim of Ben Asher that the system of accents was received from an earlier source.

Mosheh ben Asher claimed, in the colophon to the Codex Cairensis, that their Masoretic" te'amim had been established by the  Maccabean-period Zadokite house of Bathyra. Ben Asher's explanation accounts for the (otherwise inexplicable) sudden appearance of the Masoretic cantillation as a  complex, highly-perfected system. It accounts for the violent Rabbanite objections that the Masoretes were publishing what should be sealed. It accounts for the fact that the closest parallels to the Masoretic te'amim are found in Greek manuscripts of the second and third centuries BC. And it is supported by talmudic claims that the te'amim were written down by the authors of the Bible texts at the time of their composition.

I have italicized what I think are four important issues that a gradual development of a new 'solfege' would not account for. Also in what I have read of Burns I note the same Ptolmaic struggling with the definition of a single accent that I have found in other authors drowning in this ocean. Burns claims to be accurate because the data is in a computer. So do I! But a computer can produce inaccurate statements faster than a human. This is not a help if your assumptions are wrong! How does one ensure that the query is correct and the assumptions about the data are correct. The statement produced by the computer is dependent on the accuracy of the data definition and on the programmer's correct writing of the query. Burns has written a program that produces sounds. These recitations sound very much like present day cantorial traditions. They are not essentially different from those described by Jacobson (Jacobson, Joshua R. 2002. Chanting the Hebrew Bible, The Complete Guide to the Art of Cantillation, The Jewish Publication Society.). They are essentially a single tonality. Almost every statement I have read from Burns's book raises questions I test from my own data (one for one coding from the Leningrad codex). Example: "Since segol is related to `ole w'yoredh in the poetical books". This claim from Burns (page 84) comes out of left field. What is the relationship? He explains 38 pages later on page 122.

In prose, segol never appears without tsinor; in poetry, `ole w'yoredh never appears without tsinor - unless tsinor is replaced by r'vi`i.

Never followed by except is a badly designed rule. We designers learned not to think that way. Such thinking leads to confused programming. So also is his note that 'the first part of a pair may be omitted'. Normal people don't design this way. Musicians don't have a whole set of notational exceptions in their heads when they are singing or playing. If the data definition includes the idea that the "first of accents occurring in pairs can be dropped", then the data are not being read as written in the texts that we have. He goes on - same subject:

In the poetical system, `ole w'yoredh sequences always appear before the other first-level sequences, that is, just like zarqa - segol, at or near the beginning of the verse. All this shows that the two pairs, tsinor - `ole w'yoredh and zarqa - segol, are not only visually, but also functionally, related to each other.

This claim can be tested - and may, if true, be useful in the analysis of the music on the way to the mid-verse cadence for  the 21 books. First level means the highest level of disjunctive accents, there are two such: the atenach (in all 24 books), and the ole-veyored (only in the three books). Here's what I found from my database on this subject:

zarqa-segol as a contiguous pair in this sequence appears 353 times in the 21 books, 

ole-veyored appears 407 times in the three books. 

Clearly the zarqa-segol pairing is less significant. In the 21 books, this sequence is part of the phrase leading to the atnach in about 2% of the verses. In the poetry, the sequence ole-veyored occurs in about 10% of the verses. I also checked:

Segol appears without a leading zarqa 603 times in the 21 books.

Segol never appears alone. There is always a zarqa in the verse prior to it.

Between the zarqa and the segol may appear a silluq (e), or a munah (B) or two such munah, or even an atnach

each occurrence of a silluq must be examined to eliminate metheg

the combinations of an intervening munah are several: B, e B, B e, B e B, e B B

there are two without an atenach, both in the decalogue, Exodus 20:9, and Deuteronomy 5:13

there are two with two atenach(!) in the verse Exodus 20:5, Deuteronomy 5:9, the only verses in the Bible containing two atenach, the second being in each case on the final syllable with a silluq, creating a slurred descent of the fourth heard in some cantillation traditions. There is much discussion of the accents in the decalogue.

Zarqa appears in 417 verses without segol.

Zarqa-segol is never used after the atnach.

Segol may occur after the atenach.

Was the zarqa dropped that often, 417 times? What would lead me to think that there was an implied requirement that zarqa is simply dropped? Possibly if I knew a tradition of cantillation which drops accents because of confusing definitions. Furthermore, zarqa-segol and ole-veyored are functionally distinct:

Zarqa-segol are both ornaments and may each be used independently. Zarqa-segol is not a cadence, though there may be a pause, and the combination is never used in a verse that has no atnach. 

In contrast, ole-veyored is a cadence and is often used in verses without an atnach. Ole (supra-lineal) ve Yored == Merkha, is an odd name to me. The pair is composed of an ornament and a change in reciting note, a move to the supertonic. Ole is never used without the move to the supertonic. Yored is exactly equivalent to merkha. 

I found 1 use of ole by itself, Psalms 130:7. This at first appears to have an intervening silluq, but it is an example of the confusion between the metheg, a pronunciation aid that is not an musical sign, and the silluq. Unicode does not resolve this confusion. So this one conforms to the shape of all the others and ends with a merkha, i.e. on the supertonic. For non-musicians, the supertonic is the note above the tonic. If you learn music, you can completely avoid the difficult language of the accents including all the multi-syllabic terms used by deaf scholars trying to describe music: disjunctive, conjunctive, postpositive, impositive, hierarchy, levels, emperors, kings, etc, etc, etc. It is far easier to think of these things in terms of their music. We have a total of 1373 verses in which a zarqa appears:

11 of them have this shape: e tar,e B rev,B zar,seg,C qad,z-q,f g# B ^A B rev,d f g# e 

6 have: e B zar,B seg,C qad,B z-q,f e g# ^A d f g# e 

6 have: e B zar,B seg,C qad,B z-q,f g# ^A d f g# e  

all the above are exclusively in Numbers

3 have: e zar,d ole,f# g B ^A g B e 

3 have: zar,C B B ^A g B e 

23 have pairs of verses,

and the rest, just under 1300 have unique musical phrases

Deep ocean indeed. Very hard to work from first principles to get the most out of the information that is in the text. I have put a list of references in a separate post. I am pleased for Burns that his friends were able to publish his work. Mitchell grants him respect and value. And indeed, he is forcing me to justify my faith in SHV. I should be doing so. Nevertheless, I think it is extremely difficult for us to remove ourselves from a Ptolmaic universe and accept that a simpler and more expressive interpretation of the accents is possible. Burns lists Haïk-Vantoura in his references but I have not yet found any significant engagement to her work. It seems much more likely to me that in the absence of a controlled school of music after the destruction of the temple, that the oral tradition degraded and is not trustworthy as a source of original melodic interpretation after nearly 2 millennia. Equally, it seems very likely to me that the design skills of ancient musicians were not incomprehensible, and that they thought as we think about the use of signs. I.e. they were effective designers. Otherwise why would I trust that I could hear with some understanding their written words? This is the music of the word of God we are talking about. If we get it right, it will be of infinite depth and beauty. from Blogger https://ift.tt/2Tx2sl4 via IFTTT

[williamjworld]

Project 1- Experimental Comic

University of Cumbria. Institute of The Arts. BA (Hons) Illustration

VCOM4000 // ILLU5010 // ILLU6010

01. EXPERIMENTAL COMICBRIEF

Years 1, 2 & 3 will work together to create an experimental comic with each year group being responsible for 1 of 3 narratives. You will be provided a seg- ment of text and you will each respond to it, in order to produce a single page (template provided). Once the pages are brought together, your text will form a cohesive(ish) whole, whilst your imagery and approach will be individually unique (CRAZY EH?!!!).

Your provided text will appear fairly abstract but think about the tone it suggests. If specific imagery is mentioned, rather than thinking about it literally, ask yourself what might it represent? What might it be a metaphor for? You might even consider whether or not your text and imagery need to share a relation- ship?

DETAILS You will individually produce 1 page based on the provided 9 panel grid from which you can choose a layout of your choice, using no less than 5 panels (we’ll

go over this in the briefing).

Your text must be legibly included within your page - no additional text is permitted (with the exception of onomatopoeic sound effects).

Your page can utilise the full CMYK print colour gamut.

All pages will be brought together in one comic that we will print through a professional printer (making the deadline REALLY important).

DEADLINE

Final print file sent on Thursday 3rd Oct (absolutely non-negotiable).

Suggested time management schedule:

Week 1. beginning 23rd Sep Research, development, experimentation

Week 2. beginning 30th Sep Layout, design, decision making, artwork

INTENDED LEARNING OUTCOMES ILLU5010

ENQUIRE: Use diverse methods of enquiry to access appropriate information/source material INCUBATE: Understand how to incubate, nourish and evaluate ideas/concepts in order to expand them into completed design/illustrative solutions. PROCESS: Produce work that examines technical process in an appropriate and creative manner PRESENT: Demonstrate an ability to meet the creative demands of the brief through informed decision-making and effective presentation.

WHAT DOES THAT MEAN FOR ASSESSMENT?

In this project you are being thrown in the deep end and are being asked to respond very quickly and with little time to reasearch (ENQUIRE) or develop a variety of possible ideas (INCUBATE). That means that we won’t expect to see a great deal of research or development in your final hand in. As it’s the start of the year this is more about having fun and responding instinctively.

ASSESSMENT CRITERIA

Minimal (but some evidence of) research. Worksheets and or blog (ENQUIRE) Minimal (but some evidence of) ideas generation and refinement. Worksheets or blog (INCUBATE) Experimentation and creative play leading up to your final piece (PROCESS) A timely and succesful completion of your page that demonstrates an appropriate level of capability and understanding (PRESENT)

The first project I will starting to creating a experimental comic.

The ideas for this project is creating a one page comic (maybe two of three) is a nine-panel template/grid (no more than 5 or 6 pictures in the page) using photoshop in the project, no additional text is permitted when you get the sentences in the page.

I have already created a couple of comic designs of my own, both based on a PS3 game and a movie ( Armageddon 1998 and Assassin’s creed rogue), I might be able to take some work out of them, I think they’ll go really nicely.

https://issuu.com/grillustdropbox/docs/the_hunter

https://issuu.com/grillustdropbox/docs/comic-_armageddon

This is going to be an interesting start this year.

[musicartistdevelopment-blog]

Music artist development

Septien Entertainment Group is a complete training facility for musicians and entertainers. Where most music artist development studios and schools fail is not teaching the art of entertaining as a singer or instrumentalist. Music careers today require participation by fans, social media call and responses, and consistent branding within a performance. Septien trains how to brand within the genre. SEG does NOT teach how to play the piano or guitar but how to play the piano or guitar WHILE ENTERTAINING. And Septien’s teachers are specifically trained to pull the necessary energy, moves, language, gestures, and body placement from each budding artist. We have been ranked as the number 1 Dallas Music School. Not only do we have some of the best instructors in the industry we also have some of the best dallas music studios around.

[misspepita]

LESSON - DEFINITES Notes: -"the" is taken from "a" and becomes a suffix: en mann → mannen et barn → barnet ei jente → jenta -OR- en jente → jenten Vocab: øya - island

LESSON - OBJECT PRONOUNS Notes: meg - me deg - your ham - him henne - her det or den - it --- oss - us dere - yall dem - them Vocab: subject verb object ; han elsker meg - he loves me jeg ser deg - i see you du liker ham - you like him hun elsker henne - she loves her vi spiser det - we are eating it / we are eating that hører du ham? - do you hear him? ser hun oss? - can she see us? jeg elsker dere - i love yall dere elsker dem - yall love them

LESSON - PLURALS Notes: -er or -r is a suffix: en eple → epler , en gutt → gutter -words that already end in -er: lærer → lærere -single-syllable neuter nouns do not often change spelling: hus (house/houses), dyr (animal/animals), barn (child, children) Vocab: flere - several aviser - newspapers mange - many sykler - bicycles koner - wives hytter - cabins bygder - villages noen - some grønnsak - vegetable brev - letter

LESSON - DEFINITE PLURALS Notes: -ene is common, -a can be used for neuter nouns hund - dog hunden - the dog hunder - dogs hundene - the dogs --- barn - child barnet - the child barn - children barna, barnene - the children Vocab: alle - everyone

LESSON - PRESENT TENSE VERBS Notes: -er / -r are added as a suffix to form the present tense of a verb: å bo - to live → bor - lives, am/are/is living Vocab: viser - showing selger - selling gyør - doing betaler - paying lager - making han lager mat - he is cooking food hun lager kunst - she is making art kjøper - buying arbeider - working lytter - listening lukter - smelling ler - laughing gråter - crying smiler - smiling vil - want hva vil hun ha? - what does she want to have? det vil jeg - i want to kjører - driving tar - taking sover - sleeping finner - finding regner - raining betyr - meaning velger - choosing vasker - washing bruker - using leker - reading tegner - drawing støtter - supporting tenger - needing synger - singing gjør - doing hva gjør du? - what are you doing? hun gjor det - she did that nei, man gjør ikke det.- no, no one does that man - proverbial you

LESSON - COUNTING én - one to - two tre - thee fire - four fem - five seks - six sju - seven åtte - eight ni - nine ti - ten tusen - thousand

LESSON - LOCATION Notes: -instead of using "to be", either "to stand" or "to lie" is used to describe where an object is located. Vocab: hvor - where sitter - is located på - on i - in dere - there her - here ved - by over - above under - under foran - in front of mellow - between bak - behind ved siden av - next to står - stands, is standing ligger - lies, is lying seng - bed stol - chair gulvet - floor butikken - the store lampe - lamp speil - mirror bord - table vegg - wall henger - hanging bilde - picture gjerde - fence natur - nature i naturen - in nature tre - tree ute - outside inne - inside bakken - the ground, hills nede - down oppe - up besøk - visiting jeg er på besøk - i am visiting der er på besøk oss - they are visiting us blant - amongst hjem - home hus - house lever - alive (life) → jer lever - i am alive bor - live (residing) → jeg bor i new jersey - i live in new jersey grense - border innefor - inside a location (innefor veggene - inside the walls) utenfor - outside a location (utenfor kaféen - outside the cafe) nederfor - down past a location (nederfor restauranten - down past the restaurant) bortenfor - beyond a location (bortenfor restauranten - beyond the restaurant)

LESSON - CLOTHING Notes: -seg - 3rd person pronoun (himself, herself, themselves) -har på seg - to have on Vocab: hva har du på deg? - what are you wearing? klær - clothes, clothing kler - getting dressed kler du på deg? - are you getting dressed? jakke - jacket sko - shoe genser - sweater skjorte - shirt briller - glasses skjørt - skirt kjole - dress buksene - pants sokk - sock dress - suit hatt - hat lue - cap/beanie skjerf - scarf hanske - glove lomme - pocket belte - belt knappe - button frakk - coat støvel - boot slips - tie vott - mitten pose - bag undertøy - underwear

LESSON - THAT/THOSE Notes: (m) - hunden → den hunden (that dog) (f) - kvinnen → den kvinnen (that woman) (n) - barnet → det barnet (that child) (pl) - husene → de husene (those houses) Vocab: tilhorer - belongs

[marketinggenomeproject]

3 “Above-Average” Exhibit Options For Average Exhibit Budgets

Hear the term “Custom Exhibit Fabrication” an automatically see dollar signs? You’re not alone! Truth is huge island exhibits –we’re talking the 50x60’s 30x40’s, Double Deckers and Canopied Booths here, with all the bells and whistles are in fact outrageously expensive. But one thing is for sure… they have impact.

Like opening your hotel balcony door and looking over a 100-mile mountain vista, these booths drop jaws! But how does the average event manager get the same reaction with an average event budget? How does one get that custom look without the enormous price tag? Below are some “Realistic” alternatives to getting that custom look without the custom price tag. 

Alternative 1:  Putting The “Shop” in “Pop-Up Shop”

If you’ve been to a trade show – a big trade show – then you have seen or at least heard of pop-up shops. There is a reason why these shops always…well… pop-up (so punny right?). Booth space at large tradeshows coupled with a big booth cost leaves average exhibitors scrounging for ways to get a piece of the pie. Welcome to our Experiential Pop-up Shop. A blank slate with a cheaper price to boot.

What does it take to transform empty storefronts, outdoor spaces or empty containers into something completely unique? More than most people realize. Patrons enter what was an empty storefront complete with counters, displays, music, the whole 9 yards, looking like it’s been there for years and that’s the point!

  What’s not realized is the custom elements that need to be added to make said pop-up store seem like it’s supposed to be there. That’s the art, the creativity and skill behind good pop-up shops. The best technique to do so? You guessed it! Utilizing some common custom booth fabrication methods. There is a reason why many custom trade show exhibit houses [attempt to] tackle both tradeshows and pop-up shops and here is why:

High Impact Branding:

There are several standard material options readily available to custom booth fabricators including: banners, tabletop signage, pop-up displays, X stands and graphics.

Next up, try building more of a foundation using everything from decorated walls with featured props – to overhead signs, double-sided graphics and monitor mounts. Think of these as just the base.

  You might be asking, “Where does custom exhibit fabrication come into play?” Custom booth fabrication allows the tailoring and tweaking to happen right from the beginning.

Would a custom checkout counter, complete with light-up acrylic, embedded monitors and wireless checkouts be more impressive than just an IKEA table? Of course! Trade Show Exhibit Fabricators know the process and can make sure the RIGHT fabrication happens from the beginning, in budget and on time.

  Timing Is Not Everything..

Timing is a NECESSITY! As pop-up shops are usually rented for a short period of time, components need to be assembled and disassembled to get 'in' and 'out' quickly. Landlord needs the building back 8 am the next day and you’re still struggling to break down a display at 12 pm? Chances are frustration will result in trashed components and wasted budgets.

Consider that panels can be engineered to weigh just 18lbs for effortless set-up and dismantling. Or that light boxes can be integrated quickly and painlessly. Or that the 'snap' together pole system of tension fabric exhibits requires just 1-2 people to create and expand the number of configurations, literally like putting on and pulling off pillowcases.

  Alternative 2:  Beefing Up Boring Pop-Up Exhibits

We get it; huge budget restrictions but a need to exhibit happens all the time. These cases often result in “settling” for a basic pop-up exhibit. A few shows down the road and a slight increase in budget lends only enough budget for either a new pop-up or a sub-par custom exhibit. Custom Exhibit Fabricators can help!

Stick with that original pop-up booth but sprinkle in some custom booth elements to spruce up the exhibit. Below are some more common add-ons.

  Display cases in an array of textures, materials and graphics, from sustainable designs and LED light boxes and stands, to floating graphic displays and pop-ups with shelves, slat-wall and waterfall brackets.

Lighting for display areas, which can range from elaborate chandeliers to integrated wall fixtures. You can add lighting over top hero graphics, within 3D letters or inside fabric panels themselves creating entire light box booths.

Greeting counters, which can take the form of simple pedestals and counters to custom rectangular, bi-level or curved counters, all featuring your 3D brand logo and illuminated graphics or even better – recessed monitors.

We find exhibitors are constantly being dragged down to by restrictive trade show budgets in a big budget industry. As a result, a little open-mindedness and creativity can go a long way in standing out. 

  Alternative 3:  Hybrids - The Best Of Both Worlds

  Ever heard of hybrid exhibits? Hybrid exhibits are a sought-after option among businesses attempting to get the best of both worlds - balancing cost without the sacrifice of quality.

This mix of modular and custom fabricated booths basically looks like this:

  The modular booth element is the framing and extrusion. Our metal extrusion -in this case- is constructed from anodized aluminum to make it lightweight yet highly durable. You can opt for hard graphic panels or SEG Fabric, curved walls, straight walls, canopies and more. Really, there’s no limit of what can be integrated to a versatile modular exhibit system.

The customization can also include just about any prop or product that can be instantly associated with your brand. Mannequins, robots, video game consoles, original concepts for a nostalgic effect, and miniature models or mock-ups are just a few examples.

Hybrid exhibits can be arranged to ensure a balance of form and function, which is especially useful when the products in question include irregular layouts like bathrooms or kitchen mock-ups, automobile parts, electronics and gaming consoles.

Finally, the reduced weight of hybrid exhibits can drastically reduce shipping and drayage costs. They are also easy to install, keeping labor times down, allowing you to focus on the engagement side of your tradeshow or brand activation efforts instead of obsessing over the cost of slow labor.

Final Advice:

Don’t think you need to beg and barter for an increase in budget. The right exhibit fabricator (if they have your best interests in mind) should be able to give you ideas to:

- Get that custom look by blending a few different fabrication techniques.

- Beef up what you already have.

- Find a completely different alternative (pop-up-shop) if exhibiting is not an affordable option.

If not, chances are you are not working within their budget. A.K.A. “Not worth their time”. Move-on! This is not the path best traveled. We’d assume you now have some questions and we’re all ears. Give us a shout. We’re happy to give advice even if we never end up working together. This is a difficult industry and our goal is to make it just a tiny bit easier for the average exhibitor.

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