#techniques de discipline

[zeboute]

Surveillance et discipline

Surveiller et punir ? A l'heure du numérique, une société disciplinaire en vue ? #Foucault #1984 #SIC

Nos sociétés sont aujourd’hui sous surveillance. Par les drones, les caméras de surveillance, nos empreintes numériques. Cette surveillance a une histoire. Maîtriser les comportements dans une société démocratique ou pas. Et surtout discipliner la société, en la connaissant ; la mesurant. Pour le bien du “bien vivre” ensemble, ou pour la contrôler. C’est l’histoire de la surveillance, écrite…

[just-thoughts-no-vibes]

Hello everyone and welcome back to random Stardew Valley headcanons! In todays episode we have: "Can bachelors and bachelorettes fight." It was funny to me that some weapons in the game belong to them and made me think about characters' fighting skills, so here we are. They are ranked from best to worst. Enjoy!

Bachelors:

Alex: Canonically shredded. Works out every day. Doesn't have much experience but has beaten a few guys in high school. If something happens to Evelyn and George he will never forgive himself so he needs to be ready to throw hands in case someone attacks them.

Sam: Not as strong as Alex but definitely fast. Has to be strong so he can beat anyone who picks on Vincent. He wants his brother to see him as cool so he has to show off sometimes. Took "the man of the house" very seriously after Kent left.

Shane: Was strong as hell in his youth and picked fights left and right, but over the years it changed. He can still throw a good punch and has experience with bar fights. After he gets sober, he tries to get back in shape so he can take care of Jass and his chicken.

Sebastian: Weak and skinny. Spends his days in his room, moving only when necessary. Smokes, probably doesn't eat healthily. Haven't worked out once in his life. He was never interested in fighting but can throw a surprisingly decent punch and run really fast after that.

Harvey: Can not fight to save his life. Will try to de-escalate the situation, will fail, and then try to run. But in my head, he is so clumsy and would trip over nothing. At least he can treat himself after.

Elliot: Absolutely useless in any kind of physical activity. He doesn't like to sweat so he doesn't work out. He sees fighting as barbaric and won't participate. But even if he tried he would fail miserably. He just has to be over the top in everything and would make a show with exaggerated moves, which will lead to him getting hurt by others or even himself.

Bachelorettes:

Lia: Shredded. Works with wood on a daily basis, cutting trees down, modeling them, or carrying her materials around. She is also smart enough not to move into the cottage in the woods with no knowledge of self-defense. Probably protected weaker kids in middle and high school from bullies.

Abigail: Much worse than she thinks but still okay. Doesn't have the discipline to put in the real work but likes training with the sword. Would learn to fight just to piss Pierre. Was always naturally strong. Zero experience tho.

Emily: Older sibling with neglectful/absent parents who has to take care of their younger sibling = knows how to fight, I don't make the rules. Although I don't think Emily is happy about that. She is a pacifist and tries to resolve everything with good talk and positive energy. She curses people when they make her mad and would restore to violence only in exceptional situations.

Haley: She. Fights. Dirty. She doesn't like sweating so she doesn't work out and she also doesn't want to break her nails or ruin her hair, but she has the rage and would hurt someone who insults her or her sister. The moment you attack her she is pulling your hair, biting you, scratching, and going for the eyes. She is also a pro at using her bag to beat someone up.

Maru: Not really into fighting and prefers to destroy her enemies with her gadgets. I also picture her as fairly short. She also never gets in situations where she needs to fight so she has zero experience. The closest she got into a fight was when someone made fun of Penny. But she does have an older brother with whom she doesn't get along so she is familiar with younger sibling fighting techniques.

Penny: Can not fight. Zero skill and zero will to do so. She condemns every form of violence and avoids it at any cost. She is the type of person who would feel bad because she pushed a person who was beating her up. But she is likable and quiet so she doesn't end up in situations where she needs to fight.

[howtofightwrite]

So happy you're back after all this time! I have a question, do you happen to know how people fought in ancient rome? Particularly gladiators and soldiers? Sorry if this isn't the blog for this question tho!

I think we've covered both of these questions independently over the years.

Gladiators were a performance sport. It was more about glorifying the Roman Empire and its victories, than a conventional fight. As a result, most Gladiators were armed with specific variant, “loadouts,” designed to cosplay as various enemies that The Empire had conquered, and they only fought against specific countering variants. Specifically, the variants would be matched in such a way that it would be difficult for either combatant to have a decisive advantage over the other, with an eye towards creating situations that would result in a lot of visible injuries, without serious harm to either participant.

In case it needs to be said, gladiators were a significant financial investment, and they weren't casually killed in the arena. The point was for visible injuries, and a bloody spectacle, not a slaughter. Sometimes someone would die, but having them die on the field wasn't the intention, and they generated a lot of money, and on the rare cases when they were killed, it was meant to be a climactic moment, not someone taking a blade to the gut and collapsing mid-fight.

Obviously, I'm barely scratching the surface here, because it gets a lot deeper, but the simple answer is that in the vast majority of cases, gladiators were armed with weapons that were designed to make seriously harming their foe difficult to impossible. Also, the gladiators were something that evolved and became more complicated over time. When they first started in the Republic, it was a much more stripped down structure with prisoners of war being given a sword and shield and forced to face off against one another.

As for the Roman Legions. I'm not sure I've ever seen a comprehensive description of their training techniques. The Testudo, (or Tortoise) is one of the more famous examples of their specific combat style. Legionaries would create a shield wall, and the soldiers behind the front line would raise their shields to cover the formation against attacks from above (usually arrow fire, or thrown spears.) While being able to strike with javelins. In practice, the formation had issues, including being vulnerable to siege fire, and mounted archers were able to easily flank the formation. It's a neat story, but the formation had serious limitations.

One thing we haven't talked about before (I think) was the Roman's use of biological warfare. During sieges, they would load (locally sourced, I assume) corpses onto catapults, and then launch them into the besieged city.

Beyond, the major thing about the Legions was the extremely disciplined and orderly combat formations, with a lot of attention paid to managing battlefield movement. It wasn't so much about exceptional individual performance, so much as their ability to operate as a unit. This isn't a particularly mind blowing concept today, but in an era when professional soldiers were the exception, or limited to the elite forces, it had slightly more impact.

Regarding the details of their training, I've never seen any of that come up. Now, granted, I've really tried to research that degree of Roman history. So, if you're asking, “how, exactly, did they swing the gladius?” I don't know, and I don't remember ever seeing anyone credibly claim they had that insight. As far as I know, the only surviving Roman training manual was De Re Militari, (there's around 200 surviving Latin copies) which is far more concerned with overall strategic planning and command. If you're trying to write Roman era military fiction, it's probably worth reading. So, I'm not sure this is exactly what you were looking for, but I do hope it helps.

-Starke

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[makapatag]

cross disciplinary training in gubat banwa

so, GUBAT BANWA is a big martial arts game of esoteric martial arts. of beatdown and bone breaking. bakbakan at suntukan, pangamot ug pagdaug. it focuses on martial arts and the culture that surrounds that. during ancient seasian times (the main foundation for this game), formal categorized schools didn't exist: participating in your culture was you learning its martial arts, or a random hermit in the sea cave could teach you a secret martial art, or your family could have its own secret martial art, etc. etc.

so martial arts classes (in gubat banwa they're called Disciplines) are expressions of culture and tradition. from a mechanical side, I knew I wanted to make Gubat Banwa a multiclassing-first game, a la Lancer, for multiple reasons

I like multiclassing, I almost always multiclass

You get access to more of the game and the game's lore (much of Gubat Banwa's lore is in the disciplines)

You get to write a plurality of classes that deal with a plurality of playstyles

It makes writing Disciplines easier--they become small packages of power instead of the long Narrative Playbooks that they are a la D&D 4e's classes. this also makes making Disciplines easier as you don't have to write one for a 12 Level long progression

it creates a more emergent character progression (a Mangangayaw learning Sword Saint techniques for example might be a raider who raided a Virbanwenyo settlement and got the resident martial artist to teach him a thing or two, or it could be that they started picking up how Virbanwenyo Penitents fought)

however, Disciplines were more than just classes, they're also martial arts in their own right. So as I deepened my understanding with the Martial Arts I also found further justifications for multiclassing [which we like to call crosstraining]). these are from my and GB's Art Director Dylan's experiences from Filipino Martial Arts:

to become a true grandmaster is to learn or observe a large variety of styles (see: Johnny Chiuten, Anciong Bacon, etc.)

most real grandmasters that began their own FMA schools are those that studied and learned techniques from a wide variety of martial arts (Anciong Bacon knew Boxing and Dumog, for example. Johnny Chiuten knew multiple Chinese Martial Arts and trained in Balintawak and Lapunti, GM Filemon Caburnay learned both the arts of blacksmithing and of multiple arnis styles as he traveled across Visayas and Mindanao, and learned Kung Fu from Johnny Chiuten, before going down the path of perfecting his own fighting style that became Lapunti Arnis de Abanico)

even my own master in Lapunti who started with Lapunti was exposed to other Arnis and Martial Art styles so he was able to build his own style around it, and was able to contribute his own moves into modern Lapunti. i can see a bit of Chinese Martial Art influence in his movements now, a bunch of balintawak progression

very often if you're a student of violence, you will be learning multiple combat arts both out of necessity and out of love for movement. a balintawak warrior might have their movements augmented with jiujitsu training, a lapunti could benefit from learning sikaran, etc. etc.

kadungganan are meant to be nascent grandmasters, especially those that reach legend 12, so this is the main justification for the multiclassing instead of just having 1 martial art that you perfect. in real life this doesn't really happen, especially if you want to perfect your own fighting style. the assemblage of multiple techniques from 12 Legends worth of progression is there to facilitate the fantasy of a Kadungganan perfecting their martial art style, like the grandmasters of old

i knew since the earliest stages of gubat banwa that i wasn't going to compromise the multiclassing aspect, i just find it very serendipitous that crosstraining fits so well into the martial arts fantasy. it makes me pretty satisfied and happy, and i'm glad i didn't bend to internal talking and thinking about making a "pure discipline" progression possible

[litchiteany]

Emotional Discipline:

Implement a 5-second chemical countdown to deter impulsivity and prevent regret.

Reflect on the root causes of your reactions, practicing introspection, prepare for damage control. Take a step back.

Identify and address sources of resentment to foster emotional well-being.

Name your emotions to gain clarity and understanding of your inner state.

Incorporate stress-relief practices such as writing exercises or meditation into your daily routine.

Utilize avenues for expression, such as therapy, journaling, supportive groups or companions, for emotional release.

Channel emotions into productive activities or hobbies to redirect energy positively.

Cultivate empathy and maintain composure in challenging situations.

Take ownership of your emotions, embracing vulnerability and accountability.

Recognize your boiling point and implement strategies to de-escalate before reaching it.

Adopt a personal mantra to ground yourself during moments of emotional turbulence.

Practice deep breathing techniques to restore calmness and control.

[uwmspeccoll]

Marbled Monday

Dutch artist Karli Frigge began marbling paper in 1963 and has had a prolific career in marbled paper production. Her compendium of sample books includes 349 different samples of marbled paper, all made by Frigge. This book, Marbled Landscapes, includes 12 landscapes made using a variety of marbling techniques. It was bound in the winter of 1987-1988 and the landscapes themselves were made during the summers of 1982-1987. The book's layout was done by Willem de Valk, it was published by Frits Knuf, and bound by Karli Frigge. Our copy is a gift from the estate of our late friend, Dennis Bayuzick.

There are a variety of marbling patterns at play in these landscapes, including the traditional nonpareil and bouquet or "peacock" patterns. The colors match Frigge's feelings throughout the days of making the landscapes:

"Early in the morning the landscapes have a delicate hue, like mist over the fields and as fragile as the courage I am trying to muster up.

After a while I get into my stride. Then the marbling is properly done: sprinkling the paint on the surface with accuracy, moving the pin and the comb through it with a steady hand, laying down a sheet of paper and peeling it off, washing and hanging it up...

When a couple of hours has gone by in this way and the workshop is stuffed half-way with gleamingly wet sheets... self-discipline fades and I begin to yearn for a wild landscape."

View more Marbled Monday posts.

-- Alice, Special Collections Department Manager

[elegantballetalk]

I believe that in the future, we will witness a revolution in how ballet is taught in academies. The reality now is that children and teens spend more hours on independent cross-training than they do in actual ballet class. Perhaps it’s time for ballet classes to be longer, with exercises performed more slowly to truly engage and strengthen the muscles. Maria Taglioni, for instance, would hold positions for 100 counts and practice simple yet highly repetitive exercises for hours. This kind of deliberate, disciplined training built not only strength but also control and artistry.

Cross-training: I understand its appeal, but I’ve always associated it as more of an “American” thing. We used to do barre exercises at home, repeating them endlessly, while the American dancers turned to weight training and other forms of cross-training. Now, it seems everyone does it. I get why—it’s a response to the increasing demands of ballet today, and I would also say that it is necessary today. But it saddens me to see dancers feel compelled to “cheat” their way to meeting those demands through supplemental training, I think it damages them in the long run, therein lies the problem.

Take the plié, for example. A plié in first position isn’t just about bending the knees; it’s fundamental for developing stability, turnout, and stretching the Achilles tendon. It also forms the foundation for most jumps and other movements. Cross-training might offer faster results on paper, but it can never replicate the depth of strength, control, and artistry built through countless hours of pliés.

Consider pliés in second position. At first glance, they may seem “too easy.” Yet, they are essential for opening the hips. If students practiced enough pliés in second, they wouldn’t need to spend hours sitting in splits. The same principle applies to tendus. When performed correctly, closing into a tight fifth position naturally strengthens the adductors. Endless abductor exercises outside of class become unnecessary because the ballet class itself should build that strength.

In addition, if students are not getting stronger in ballet class, and have to rely on cross training to fill the gaps, it's a red flag signalling a mistake in their training and technique. Perhaps they are sitting in their plies, or perhaps they are not keeping their heels perfectly down for as long as possible, or perhaps they are not going down and then up for the same amount of counts.

Why are my students spending countless hours on exercises to strengthen their backs and raise their legs higher, instead of simply doing millions of arabesques? If they focused on arabesques, not only would they develop stronger backs and higher legs, but—surprise, surprise—their arabesques would also become aesthetically stunning on stage.

The same logic applies to port de bras. A dancer who builds strength by doing countless port de bras will always have more beautiful and natural arm movements than a student who does port de bras in class and then relies on separate “ballet exercises for stronger arms” at home. Do you see what I mean?

What many students today overlook is the discipline and patience required by classical methods like Vaganova. This method spans at least eight years and is meticulously designed to ensure dancers develop both strength and flexibility by its conclusion. Yet so many dismiss this slow, methodical approach in favor of quick fixes and shortcuts.

But Vaganova academy herself is part of the problem: look at the 9 year old children they admit into the academy: they are already almost fully formed ballet dancers. There is no way they have reached those standards through the Vaganova method. No, those children have been overworked, hurt and taught improperly to get them to look like that at 9 years of age. It's deplorable.

But it’s not only the students’ fault. In fact, it’s never the students’ fault, especially the younger ones who are still in academies. Their schedules are overwhelming. It’s no surprise—though regrettable—that many students opt for 45 minutes of cross-training targeting specific muscles rather than spending four hours "just" on pliés. Given their circumstances, it’s a natural choice.

However, for professional artists already in the theater, there should be more time and opportunity to engage in ballet training the proper way. Their schedules should prioritize deliberate, focused practice that allows them to refine their craft, rather than relying on shortcuts to maintain physical readiness.

I mostly agree with you. cross training is like cortisol shots: very effective in the short run, destroys your ability to perform beautiful lines in the long run. It can be good to catch up with your peers if you're starting late, or maybe as a last resort during injury?? but it can't keep you in the running forever.

I think the best type of cross training a dancer can do is literally another sport, perhaps swimming or karate. Because other sports will work on muscle connections and coordination, while static cross training exercises do not increase coordination and muscle memory, only strength.

In addition,

Épaulement and aplomb cannot be learned through cross-training. Imagine the absurdity! It’s like committing to train exclusively en face, never venturing into the realm of croisé or effacé. A world without écartés—can you even fathom it? Forget the nuanced interplay of shoulder, neck, head, and the expressive use of the torso. Cross-training may build strength and stamina, but it strips away the richness, the artistry, the essence of form that is born from the depth and discipline of true classical technique.

Speaking of épaulement, The ability to rotate the neck smoothly from the early stages of training should be an educational goal in any style of dance, not just classical ballet. Sometimes on stage, it is noticeable when an artist's neck is tense, and with it, the head. Their performance, now stiff, has lost the fluidity and expressiveness of the line. In this case, the muscles of the face do not engage, freezing in a position where they neither show the emotional state nor convey the dancing expression.. and it's always a pity when that happens.

Take the croisèè poses: By keeping the arms in the basic position, you can instead turn the head to the left and look under the left arm, or raise the eyes towards the left arm, in which case the head should slightly tilt backward. With this variation of the gaze, the expression of the face will also change, albeit involuntarily: while in the previous poses, the lowered head gathers the facial features, in those with the gaze lifted, the facial features smooth out and soften, giving the expression a more spiritual quality. It is desirable to introduce this kind of change in facial expression into dance as soon as possible, to avoid later on having a permanently petrified expression with a fixed, frozen smile, which is not an uncommon sight on stage.

How many times in competitions or ballets do you see dancers with no expression on their faces or with stagnant, forced smiles? It’s because the dancers are not working on their poses.

I would also slightly disagree with the idea that relying solely on cross-training saves time. I feel bad when I see dancers warming up endlessly before class, when all they need to warm up the whole body, gain aplomb, stability, the perfect discipline, and 'get on their legs' is through battement tendus.

Also, the endless foot exercises with elastics—I hate them. I find them useless. If your feet require that, it means you're not articulating properly during ballet class. It means you're not closing your tendus well enough; it means you have incorrect technique. No theraband will save you from bad technique. That said, it is also true that cross-training can help an already great dancer become even better.

I would also like to exclude floor barre from this narrative. Not only is it part of Vaganova's pre-ballet syllabus, but it is also extremely helpful for finding some of the sensations you speak about, or to gain that edge that can get then worked upon in ballet class. For example, with finding your aplomb, the back is very important, and those particular sensations can be found through good floor barre. But I mean real floor barre, not random conditioning exercises done on the floor and calling them 'floor barre.'

[apas-95]

interpersonal conflict resolution techniques:

• de-escalation, tension defusal

• organisational discipline

• magdump

[musclegeneration]

JiuFlex: The Fusion of Strength and Technique

History

JiuFlex emerged in the late 21st century as a response to the growing popularity of both bodybuilding and Brazilian Jiu-Jitsu (BJJ). Visionaries sought to combine the raw power of bodybuilders with the technical finesse of BJJ practitioners. The result was a sport that celebrated physical prowess, mental discipline, and artistic expression.

Origins

The Genesis: JiuFlex was born in the underground gyms of São Paulo, where bodybuilders and BJJ black belts secretly trained together. They experimented with blending muscle-building routines and grappling techniques, seeking the perfect fusion.

The First Exhibition: In 2087, the inaugural JiuFlex exhibition took place in Rio de Janeiro. Competitors flexed their sculpted physiques while executing intricate BJJ moves. The crowd was mesmerized.

Posing Rounds:

Flex-Off: In the first round, athletes showcase their muscular development. They wear special posers crafted from their gi belts, emphasizing their physique. Judges evaluate symmetry, vascularity, and overall aesthetics.

Technical Flow: The second round combines BJJ techniques with posing. Fighters demonstrate fluid transitions, sweeps, and submissions—all while flexing their muscles. Creativity and gracefulness earn extra points.

Grappling Rounds:

Gi Grappling: Competitors don traditional BJJ gis for the grappling rounds. Matches follow standard BJJ rules, but with an added twist: fighters can flex during holds or escapes.

Submission Flex: In this round, fighters attempt submissions while maintaining muscle tension. Imagine an armbar executed with biceps bulging!

Performance Enhancing Drugs (PEDs)

JiuFlex encourages PED use, but not only for brute strength. In fact, PEDs also enhance libido and mental focus. Athletes channel this heightened drive into their performances.

Fighters experience an intense desire to win and dominate, fueled by their enhanced hormonal state. It's not uncommon for opponents to lock eyes mid-match, their determination palpable.

Unexpected Testing

Competitors must maintain a body fat percentage below 10% throughout the year. Regular checks ensure compliance. If a fighter exceeds this limit, they face penalties or disqualification.

Conclusion

JiuFlex thrives on the edge between strength and grace, discipline and desire. As competitors flex their bodies and minds, they redefine what it means to be a true athlete. So, next time you see a fighter posing mid-submission, remember: that's JiuFlex in action! 💪🥋

[mariaspir]

I just finished watching Tsiskaridze's 7th year exam... I have lots of opinions...

I did not like it.

1. The pointe shoes come on too early. They did the first small adage and the rest was en pointe. I am perhaps one of the few people on this earth who finds pointe shoes more easy to dance in than flats, pointe shoes have a rise and fall, there's an up and down, and these days the shoes help us both go up and stay up (I too wear Gaynor knock offs, I don't think it's "cheating", but it objectively is easier). They need the exercises to be done on half toes, it aids to the development on turnout through the way of using the floor, these are students, this is training, it should not be a performance. The legs aren't warm enough, pointe shoes come on AFTER allegro in the method for a reason. And movement quality gets lost, like what happened in fondu, also whole movements are lost, like flic-flac and reverse en ecarte.

2. Loss of technique: the girls jump lovely with height and ballon, but they land sloppily. Dirty fifths, turned in knees, weak batterie. All those things were crucial in the Vaganova style even a decade ago. If you go further back, in Somova or Novikova/Obraztsova graduation years, the allegro was textbook perfection, it was unreal how clean every movement was. This class was just okay; they jump strongly but that's about it. To me it seems like the teacher didn't insist on cleanliness, either excused it because of the added difficulty of the pointe shoes* or ignored it in favour of proving his choreographic talents (which are obviously wonderful, just not suited for a school exam).

*nobody cares if pointe shoes make it harder. If it can't be done well with them on, you should have the students take them off.

3. Loss of coordination in hands and arms: fairly obvious if you've watched enough Vaganova classes. There are moments where the arms are awkward because they don't have a clear place to be, they haven't been trained or paid attention to enough. Again, I blame the pointe shoes, these are students who are supposed to understand the use of user body in these final 3 years, yet they're told to forget what they were building towards, focus even more on footwork and nevermind the port de bras. Nikolay had naturally beautiful coordinated arms and I wonder if he can't pass that to his students because he never struggled with it.

4. Too much allegro too early: this was a men's class. I don't have a lot to say on this, it's quite straightforward. Some combinations were even the same as his past classes, lacking that feminine Vaganova grace because they were made for boys.

5. All this culminates into a Bolshoi style exam, Bolshoi style class, Bolshoi style dancers. Do that extra turn even though you are behind everyone else. Do all double fouettes even though you can't land it. Vaganova had that noble grace, polished simplicity. They were a corps de ballet, now everyone is dancing for themselves. Russians more than anyone know most students end up in the corps, and that's what they're trained for. Nikolay himself has said "careers are made in the theatre, school is for learning". You learn in a class, not in a choreography. Ballet discipline is learning to all be the same, do the exact same thing, even if you're Ulanova dancing next to cotton eye Joe.

I used to be a fan of Tsiskaridze's classes, now I truly feel like he'd be better off in Moscow, and Vaganova get a Vaganova trained dean. I wonder if Lopatkina is interested in teaching.

[runabout-river]

Thoughts on JJK Chapter 250 (spoilers)

This chapter is marked by us getting to know Yuta's DE and Sukuna being pushed around in it. Next chapter will most likely be about Sukuna finding a counter against the trio and maybe destroying Rika.

That's one hell of a Sukuna face up there.

We learn that Yuta's DE provides him an infinite number of CTs he can draw from with the only weakness that he doesn't know which CT is in which sword. Holding more than two swords would also hinder him from fighting and blocking but he might put one sword in his mouth in a pinch

Sukuna is still weakened by the fight against Gojo (RIP Kashimo) and can't use his DE. His RCT is also sluggish and his total amount of CE is on par with Yuta right now. Which is still much of course, Yuta had always been known as the sorcerer with the most CE

Yuji being thrown by Rika is hilarious, absurd and fitting because he's tough in a HR kind of way.

This chapter is also the first one where rescuing Megumi actually feels like a possibility and sth the good guys want to do primarily. Yes, we had that short moment with Gojo but his fight had a different focus most of the time.

It's also worth noting that Sukuna speaks about himself as a cursed object inside Megumi. In case he meant that literally then they're not as fused together as I always thought. That might be sth that only applies to Yuji, Megumi and Hana though. For every other vessel, we know that their consciousness gets erased.

Even Sukuna asks how they trained in the last month because of the sophisticated way Yuta's Domain barrier is constructed as well as the defences of the others. While Yuji answers with good old discipline, Yuta slips up and says that they cheated.

HOW? Was this the body swapping technique that Yuji had used? Or some other way where they collectively powered up? Did the evil trio train too? Probably not.

French boy gets a moment to shine after not being seen for... 100 chapters? I'm baffled at the 3rd CT that Sukuna mentions though. I don't remember a sorcerer like that and who knows how many more CT there are in Yuta's arsenal.

My thoughts on Yuta's DE deleting the copied CT isn't the case apparently, except that kind of drawback will be revealed after the domain collapses and Yuta survives long enough to use his CT again

Yuji is loath to admit it, but Sukuna is The Strongest Sorcerer on Earth now and even when Gojo comes back, that title will be lost for him forever

And Cleave on Sukuna! It's not annihilating but it still gave him some deep cuts. Yuta probably hoped for more damage but their strategy to chip away at Sukuna is working until now.

But what about Megumi? I can't even imagine how this will play out. Even if he is roused from his Bath, will he want to take control? He feels responsible for Tsumiki's death and that won't be different for Gojo.

Tsumiki's soul is with him but I don't think they're able to communicate at all. As far as Sukuna knows, Megumi was also completely dormant in the last month, however much that is true we'll hopefully see in the next few weeks.

Some thoughts about Megumi from the last year:

Sukuna will put his hands together to finally expand his domain again but instead of his hand seals, the hand seal for Chimera Shadow Garden will form and Megumi will expand his domain

Inside the domain, Megumi forms a clone of himself and faces off against Sukuna face-to-face.

Megumi might also have gained the collective knowledge of everything that Sukuna and Gojo know. For Sukuna by having a reverse memory grab like how Sukuna knows Megumi's memories. For Gojo because of his Unlimited Void hitting Megumi 5 times with every piece of information Gojo imparted into his technique.

[zeboute]

Les 4 techniques de la discipline

Dans une époque où l’autorité redevient une priorité pour bon nombre de Français, la discipline est devenue le nouveau mot. Centre de redressement pour les jeunes, sas de rétention pour les migrants. Cela n’est pas la prison. Mais un système de discipline, qui est plus largement répandu. Je vous propose une petite synthèse, en une infographie. Sur les 4 techniques de la discipline. Continue…

[artemlegere]

A Sunday Afternoon on the Island of La Grande Jatte

Artist: Georges Pierre Seurat (French, 1859-1891)

Subject: People relaxing at la Grande Jatte in Paris

Date: 1884-1886

Medium: Oil on Canvas

Location: Art Institute of Chicago, Chicago, Illinois

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) was painted from 1884 to 1886 and is Georges Seurat's most famous work. A leading example of pointillist technique, executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. It is held in the collection of the Art Institute of Chicago.

Background

Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park and concentrating on issues of colour, light, and form. Seurat completed numerous preliminary drawings and oil sketches before completing his masterpiece.

Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, at the paintings edge, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited at the Art Institute of Chicago.

The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it has become the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center.

The painting was first exhibited at the eighth (and last) Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884. Seurat was extremely disciplined, always serious, and private to the point of secretiveness-for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.

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Dans l’enquête qui nous concerne, cette ingénierie, cette technique, cette école, cette ascèse, c’est la religion catholique bien comprise, relue à la lumière du temps d’invasion-propagande-prédation actuel, temps de persécution. « Il y a beaucoup de maisons dans la maison de mon père. » Il y a assez de place dans l’Église pour une maison française, européenne, strictement organique (donc sans moi, qui m’arrête à son seuil mais qui l’aime et veille sur elle). Ces principes sont décrits par des auteurs comme Julien Langella, comme tous ceux qui entendent concilier foi et identité, et qui s’appuient sur l’exégèse biblique et l’apologétique, disciplines que peu de chrétiens étudient.

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Nouveaux pèlerins, vous cherchez vraiment la vie chrétienne ? Vous ne pouvez plus vous habiller comme des primitifs, vous ne pouvez plus parler comme des primitifs, vous ne pouvez pas descendre vers des primitifs même temporairement par confort, pas d’un seul millimètre, sans quoi c’est la descente entièrement au primitif ontologique pour n’en plus jamais remonter. En temps d’effondrement vous ne pouvez pas « faire la fête ». On ne fait pas la fête quand on est assiégé. Vous ne pouvez pas paraître ivres en public comme les Hilotes devant les Spartiates, ni consommer du loisir, prendre du poids, descendre le courant avec les branches mortes. Les époques de vaches maigres sont des temps virils de réforme, de débarras, de concentration. Après le Carême viennent les délices du banquet de Pâques ; encore faut-il les mériter par les purgations du jeûne sans quoi on ne fait plus que bouffer pour se récompenser d’avoir bouffé, toute l’année, toute la vie. Le salaire des gaudrioles, c’est la honte, le déclassement, la mort, l’oubli.

Le suicide des adolescents harcelés à l’école, la persécution à travers le pays des jeunes Blancs sur les terrains de football urbain qui a fini par décourager tant de carrières prometteuses et défigurer l’équipe de « France » (le contre-exemple Griezmann formé en Espagne dit tout par ricochet), tant d’autres déshonneurs ordinaires, sont des plaies qui cicatrisent très vite à condition d’une hausse drastique des standards culturels.

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Vive le prolétariat chrétien

Quand le gras domine sur le muscle, quand l’efféminé domine sur le bonhomme, alors c’est la dictature des bourgeois-bordel sur une Église-armée-mexicaine. C’est le modèle exactement contraire qui est chrétien, et qui commence au prolétariat choyé, révéré, spécifiquement favorisé. Ouvriers, techniciens, artisans, un prolétariat français chrétien qui maîtrise les métiers indépendants productifs, formé sur le modèle de l’école de la Martinerie : non-mixité, sobriété, technique.

Le prolétaire, étymologiquement, c’est l’homme dont la seule richesse sont ses enfants. Qu’est-ce qui a perdu le Liban ? La Syrie chrétienne ? C’est la vie bourgeoise, le mesquin principe du « pas trop d’enfants », la radinerie du « pas de premier enfant avant 30 ans ». En pleine Syrie 2013, en plein merdier, une petite effrontée de l’ultra minoritaire communauté chrétienne restante, propriétaire d’un restaurant payé par sa famille articulait ceci à un camarade. « Quoi ? Tu n’as pas cinq cent mille euros sur ton compte en banque ? Tu ne te marieras jamais », authentique. Le principe de toutes les libanisations par guerre des berceaux tient peut-être en cette phrase. Stérilité par calcul bourgeois. Tous les parents de familles françaises nombreuses se sont mariés jeunes et pauvres, ont commencé par souffrir et non par jouir, pour ensuite s’enrichir. Leurs maisons sont rangées, vivantes, ils prient, ils travaillent, ils chantent, ils lisent, ils s’entraînent, ils s’entraident. Tout le contraire des couples catastrophes qui eux commencent par le plus agréable : la baise, le restaurant, le voyage ; en un an ils ont déjà tout ratissé et aux premiers nuages qui s’amoncellent ils ouvrent chacun un parapluie différent au lieu d’en prendre un pour deux et de se serrer dessous ensemble.

[maximumwobblerbanditdonut]

2024 Paralympics 🇫🇷 Versatility is the mantra of wheelchair fencing 🤺

Unlike their able-bodied counterparts, fencers at the Paralympic Games switch between weapons to compete in multiple disciplines, an aspect that presents various challenges. There are three different weapons used in fencing: the foil, épée and sabre - each of which has different compositions, techniques and scoring target areas. All weapons in general, are based on the same basic set of rules making it relatively easy to switch between foil, épée and sabre.

Why is everyone speaking French? 🇫🇷

Like its Olympic equivalent, the official language of wheelchair fencing is French. The referee will say “En garde” ( On Guard, come to the start line), “Prete”(or “Ready” if English), then “Allez” (literally “Go!”; or “Fence if English) to start bouts.🗡️ 🤺 ⚔️

The use of French dates back to the 19th century when Napoleon established fencing as a mandatory discipline in the military. Fencing grew in popularity in France and made its way to the first modern Olympic Games in 1896.

Wheelchair fencing was pioneered about half a century later by Ludwig Guttmann at the Stoke Mandeville Hospital in England UK 🇬🇧 after World War II as part of rehabilitation for patients with spinal cord injuries. It made its Paralympic debut at the inaugural Games in 1960.

Historical, Stoke mandeville games, 1955 two female competitors in wheelchairs taking part in the fencing competition, Stoke Mandeville hospital, Aylesbury, Bucks, England, UK.

Sir Ludwig Guttmann CBE* FRS** (3 July 1899 – 18 March 1980) was a German-British neurologist who established the Stoke Mandeville Games. In September 1943, the British government asked Guttmann to establish the National Spinal Injuries Centre at Stoke Mandeville Hospital in Buckinghamshire. The initiative came from the Royal Air Force (RAF) to ensure the treatment and rehabilitation of pilots with spine injuries, "who often crashed on approach with their bombers damaged".

When the centre opened on 1 February 1944, the United Kingdom's first specialist unit for treating spinal injuries, appointed Guttmann its director (a position he held until 1966). He believed that sport was an important method of therapy for the rehabilitation of injured military personnel, helping them build up physical strength and self-respect.

Sir Ludwig Guttmann and the birth of the Paralympics.

An ever-present in the Paralympic sports programme since Rome 1960, wheelchair fencing is governed by the International Wheelchair & Amputee Sports Federation (IWAS).

The wheelchair fencing competition at the Paralympic Games is in full swing, taking place under the prestigious glass dome of the Grand Palais in the heart of Paris.

📹 Behind the scenes: the process of getting ready for wheelchair fencing 🤺 And yes, well done to the volunteers, well done to the technical Teams.

📹 Passage en coulisses: les détails de la préparation d'une compétition d'escrime fauteuil🤺 Et oui bravo aux Volontaires. Bravo aux Équipes techniques

*CBE Commander of the Most Excellent Order of the British Empire (CBE)

**FRS Fellowship of the Royal Society (FRS, ForMemRS and HonFRS) is an award granted by the Fellows of the Royal Society of London.

#Paris2024 #wheelchairfencing #Paralympics #escrimepourfauteuil #SirLudwigGuttmann #NationalSpinalInjuries #Buckinghamshire #CentreatStokeMandevilleHospital

Posted 6th September 2024

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Particularités acquises - occlumens

APPRENTISSAGE ‧₊˚ L'occlumancie est l'art de protéger son esprit des intrusions et attaques mentales. C'est une discipline complexe qui s'acquiert et se maîtrise grâce à un entraînement rigoureux effectué uniquement auprès d'un·e maître·sse du domaine. Ce n'est pas un don inné.

CARACTÉRISTIQUES ‧₊˚ Les occlumens, sorcier·e·s pratiquant cette compétence, sont capables de fermer leur esprit contre toute forme de lecture ou de manipulation mentale. Dans son usage basique, et qui nécessite un entraînement moyen : il s’agit de vider son esprit de toute pensée, ce qui peut s’apparenter à une forme de méditation. Cette technique permet de ne rien dévoiler lors des intrusions et, avec de la pratique, il peut être possible à ses pratiquant·e·s d’y avoir recours sans même s’en rendre compte, de façon spontanée. Néanmoins, dans les formes les plus avancées, qui demandent énormément d’entraînement et de pratique, un·e occlumens accompli·e est en mesure de modeler son esprit, ses pensées et ses souvenirs afin de donner à voir aux intrus·e·s une fausse vérité. Véritable manipulation mentale qui n’a de limite que les compétences et l’imagination de la personne qui l’emploie. Pour les plus aguerri·e·s, et après de longues années d'entraînements éprouvants et intensifs, il leur arrive parfois de résister au sortilège Imperium et au Veritaserum — cette expérience demeure cependant extrêmement douloureuse et traumatisante.

RELATIONS AVEC LA COMMUNAUTÉ MAGIQUE ‧₊˚ L'occlumancie est une magie obscure, rare et respectée au sein de la société. En plus d’être une discipline très fatigante, de nombreux·ses sorcier·e·s ayant trop souvent recours à ces duperies mentales finissent par ne plus distinguer la vérité réelle de leurs constructions psychiques et sont connu·e·s pour souffrir de troubles plus ou moins importants.