#anachrony

[gulottaart]

#boardgame weekend!!!! #anachrony #creaturecomforts #funweekend (at Ellenton, Florida) https://www.instagram.com/p/CqRVSxlryyG/?igshid=NGJjMDIxMWI=

[zathalen]

Upon these hands good sir. I hold the threads of magic lay bare. #wizard #anachronorm #anachronistic #anachrony #gentleman #clasic #filmgrain #photography #photo #pic #midjourneyart #midjourneyartwork #midjourneyai #midjourneyphotography #aiphotography #aipic #art #ai #digitalart #generativeart #artificialintelligence #aiartists #like #explorepage #follow #celebrityartist #innerpeace #aesthetic #realism #escapism https://www.instagram.com/p/Co5Q4-QP2Ax/?igshid=NGJjMDIxMWI=

[eaitemjogo]

Novo queridinho na área hoje vamos falar do Anachrony da @grok.games lá no blog, confiram no link da bio... #eaitemjogo #jogosdemesa #jogosdetabuleiro #bgbr #boardgamegeek #tabletopgames #juegosdemesa #jeuxdesociete #anachrony #ludopedia #giocodatavolo https://www.instagram.com/p/Cnj4b-PrEm7/?igshid=NGJjMDIxMWI=

[cinefast]

Beautifully crafted but #socomplicated #anachrony is the epitom of #modernboardgaming : a pile-up of interesting mechanisms which feels #absconse in the end. You don’t know how to win, you don’t understand why you win, you don’t know where the other players are. I prefer #simplerules #hardtomaster https://www.instagram.com/p/CnjOpWHLMTH/?igshid=NGJjMDIxMWI=

[lenskij]

Onegin stream tonight! 19:00 CET.

[onyxhellebore]

I have seen. So many people. Complaining about the Conclave Ball's costume design in the Witcher and honestly why would you ever? Is it not enough to see gorgeous women in sparkly dresses and dramatic makeup? Gorgeous men with long hair and eyeliner??? You have to talk about how it's not historical or whatever??? I love costume design but all this whining offends my bisexuality

[lartistecrypto]

Comment attirer l’œil et forcer ton spectateur à la lecture

[brother-emperors]

BE HARMONIOUS, ENRICH THE SOLDIERS, AND SCORN ALL OTHER MEN

Geta & Caracalla in the Gladiator II trailer / Cassius Dio 77, 78 / Horseplay: Robin Hood, Guy of Gisborne, and the Neg(oti)ation of the Bestial, Stuart Kane / Managing Monsters, Marina Warner / Anticipation and Anachrony in Statius' Thebaid, Robert Simms / Cain and Abel, Tintoretto / Dante and Virgil, William-Adolphe Bouguereau

[archive-of-artprompts]

🎃 ORtober 2023 🎃

Either-or prompts for October 2023. Prompts can be completed in whatever means: drawing, writing, gifs, etc.

Freedom or Captivity

Health or Happiness

Fluffy or Scaly

Pauciloquent or Largiloquent

Dead or Alive

Heart or Brain

Scissors or Mallet

Kill or Be Killed

Stalk or Evade

Betray or Loyal

Anachrony or Chronological

Ragamuffin or Dandy

Sun or Moon

Folklore or Fairytale

Sheep or Wolf

Tortoise or Hare

Hansel or Gretel

Sleeping Beauty or Snow White

Prince Charming or Woodsman

Alice or Jabberwocky

Bloody Mary or Candyman

Sloth or Gluttony

Wrath or Lust

Greed or Envy

Pride or Self-hate

Friends or Lovers

Choleric or Phlegmatic

Sanguine or Melancholic

Lies or Truth

Limerence or Animosity

Masquerade or Festival

[jekyll-doodles]

Anachrony 💚My Ko-fi & Commission Info💚 Do not edit, trace, or repost!

ORtober 2023, Day 11 : Anachrony or Chronological

[randomkposts]

"Who said you could call me by name?"

Or, a detail about Takumi that is treated oddly in the translation.

In the script of Birthright, Takumi shows concern for who uses his name.

In the chaper To the sea's we have this

Zola:" Lord Takumi..."

Takumi:" What's wrong with you? Did I say that you could speak my name?"

Which is later in chapter revealed to be trust based, at least on Zola's part.

On Azura's end, from the earlier quote, he called it a privlage she hadn't earned either, back in the shared chapter of Mother.

At first glance, from what I knew of Japanese culture at the time, it seemed like an Honorifics issue in a game that wasn't having them translated.

After all, in Japanese culture, adressing someone without an honorific either implies closeness between the two people, or is very rude.

In the fan translation, Takumai berates Azura for the casual adress that he has asked her not to use before, which explains it better in that instance. Zolas doesn't give as much reasoning behind it. While it expands a bit on Takumi's oppinion of Zola, Zola is calling him by a title, and still Takumai is protesting being talked to by Zola, I guess? Still seems kind of weird. Takumai could just be being weird I guess. But if he cares so much about who speaks his name, why did he never bring it up in Revelations? At least not in the english translation.

So I doubt it was just based in honorifics.

The next place to look then, is his station. After all, he is a prince of Hoshido. Perhaps he is demanding to be adressed by his appropriate title? Prince Takumi maybe? I know that in Japan the titles of royalty are hard to translate directly into english . Perhaps Takumi had an issue with the attempt?

"Note that none of these titles is used with the name in forms of address or alone as forms of address in the way we say “Duke John,” or “your grace.” As used, in English it would be, “Hiraizumi Tadanobu, of the Senior Fourth Court Rank,” or “Hiraizumi Tadanobu Shi-i dono.” This is one of the areas where Japanese usage and European usage simply collide and fall to the ground in flames. If you want to do Japanese, there may be some areas where you simply must compromise. “Baron Hiraizumi” is infinitely preferable to the post-Period SCA-approved “Hiraizumi Danshaku.” Royal peers, barons, and people holding kingdom-level offices would be addressed or referred to as “kakka” (= [your] excellency); princes as “denka” (= [your] highness); princesses as “hidenka” (= [your] highness); and kings and queens as “heika” (= [your] majesty)."

From

It would track for him never bringing it up in Revelations, as in that route he has turned away from his crown and country as a royal. Similar reasons for Leo refusing to join you in Birthright.

"I have had a moment of enlightenment, and I believe you are on the side of justice. However, I'm still a Nohrian prince, and King Garon is still my father. I won't stop you, but I cannot assist you further."

I guess it could be that Takumai is being a snob to Zola with that line, and giving it the context of station adds some clarity to it, but it still sits oddly with me.

[acelessthan3]

Oh I'm sorry, this is the Potato Anachrony class, we talk about use of Turtle Island and Abya Yala produce in fiction set within pre-colonial trade eras. Potato Anarchy is up one floor and down the hall on the left.

[presidentofbirds]

Chapter 3 explores spirits and the dead, starting with two members of the Circus Moribund - a traveling carnival backed by the Lover Clad in the Raiment of Tears. Unlike other organizations, this one gets tucked in with the Melkin Fool in Red, and Abyssal Exalt who appears in chapter 4.

The two members of the circus we get write ups for, Snowfall Sable and Spraying Water, feel out of context without the details of the circus. However, because the circus gets tucked into the Melkin Fool's entry rather than getting a full write up of its own (where these performers would have fit perfectly), both the circus and the Abyssal don't get the word count they need to shine.

So, what do I like about these entries? They highlight the weird anachrony that Exalted allows. The Melkin Fook herself is an interesting take on what an Abyssal servant of the Lover can be. They become another weird dead threat that travels the North - a direction that has always been described as beset with undead and fae threats but has sometimes be light on showing who those threats are.

[ghostpalmtechnique]

I'm justifying this to myself with the thought that when Mrs. Porcupine is finally well enough to learn a new game, the experience is going to be as amazing as possible.

(I also just sold my Anachrony Infinity Box, so I can certainly afford it.)

[taniushka12]

Love having a dream w/ some random anachrony and being conscious enough to point it out

I just dreamt that the dog from the movie barnyard mentioned disco elysium and I (as a non corporeal entity cuz i wasnt in that scene) was like WHAT!!!!!!!!!!

[sociologyonthemove]

Walking with Music by Sam Cotter

‘Walking with Music’ is a personal account of walks around Cardiff’s musical venues, whilst listening to music. The areas to, from and around these places gave me expansive coverage of Cardiff as well as extensive visual, olfactory and, occasional, audible data. I am an avid listener to music and wondered whether my perception, awareness, emotion (mood), and my tempo would change depending on the type of music, the surroundings, and the behaviours and actions I saw en route. Certain observations of my walk could have been attained without the need for headphones, this is in part to me making a mundane activity more enjoyable, but as Sloboda and O’Neill (2001, p. 421) suggest “Music becomes part of the construction of the emotion itself through the way in which individuals orientate to it, interpret it, and use it to elaborate.” With that in mind, certain observations involving memory recall, nostalgia and awareness were of particular interest. 

I restricted auditory awareness and heightened my internalised experience of the walk. I act as a flâneur and rhythm-analyst, who does not listen to the streets, but who picks his own “narrative” conducted by the rhythmic sounds of the music, the “audio drift.” (Moles 2015, p.3) I join the pedestrian flows, wander and respond to the sights and smells on offer whilst acknowledging “Anachrony” of places I have visited before. (Walter 1999) I follow this planned musical route and I am led to points of interest, of personal association, where they “become entangled with other lines both past and present, real and imagined, and this entanglement… is both part of and productive of place” (Moles and Saunders 2015, p.17) 

Given the nature of my walks, I will indebt to keep a chronological descriptive account, but this may not be the same-day experience. Italicised field-notes, images, and a playlist will be used to provide you with a detailed account of the walk. 

I am located on Mundy Place a literal stone’s throw away from the Mackintosh Pub. I take a right, away from the pub, and head down Woodville Road.  I adjust my headphones on my door-step and hit play when I start my walk, the cloud cover gives a greyish hue which enwraps the surrounding buildings with a displeasing taint.The terraced housing, letting agencies, food outlets and smaller business are located along the walk and the smell of uncollected rubbish, strewn on the pavement, was instantly noticeable. Back (2017) suggests a certain ‘personification’ can be established on walks, I note: Today I notice some students are leaving their house with bags on their backs, there’s up for rent signs dotted around, rubbish discarded outside front door steps and house viewings. This sort of day to day action and behaviour are not uncommon and my attention only averts when an elderly couple appear, noting that they do not ‘fit in’ to the surrounding environment. I have to be pretty attentive whilst I am doing this, on two of the days I note that the music does not seem to be conducting my movements or emotions down Woodville and realise I have to be conscious of slip roads and the main road as I am not able to hear oncoming traffic. Bunt and Pavilcevic (2001) suggest that music can “trigger” an emotional response as it becomes associated with a certain action or behaviour. In my case, the music seems to play in the background on these occasions: I am much more concerned with how I should navigate the environment than paying attention to the music; however, I do note that on one occasion the classical music, my work playlist, keeps me focused down Woodville today. 

I walk off from Woodville Road and make the walk along Crwys Road heading to Albany Road. I have only frequented Albany a handful of times; I am struck with how busy it becomes on Albany Road, a combination of the busy shops that spill with bodies onto the pavement and the swathes of people negotiating their bodies around others.  It is a stop – start pace down Albany and on two occasions note: I am no longer setting a pace, but rather, caught between families, groups and individuals and Today I feel like I am flowing with pedestrians a lot more. Even with the music in my ears, I am happily manoeuvring with strangers, as Bauman (1994, p. 141) suggests “playing the game of I-see-you-you-see-me-not.” Yet, when the upbeat tempo of a track called ‘Ivoire’ starts to play, I sync along to the beat, experiencing a joyous break from those around me. I stride without consequence, joining in with the singing and nod along appreciatively. ‘Ivoire’ internalises my movement, emotion and perception as I “disengage [with] my surroundings” (Sloboda and O’Neill 2001, p. 422).

There’s a contrast when the outside world creeps in. The bustling tarpaulin above the church catches me off guard and between the occasional skipping of tracks, and quieter moments in songs, the outside world creeps in. The congestion, the smell of traffic and the conversations can sometimes be unnoticed by the music. When noise could be heard, it unfastens my private thoughts and quickly situates me. Such a scene is evident in the following notes: There is a guy across the road with a megaphone, I hear a few words before the next track begins. He is protesting and some are caught, including myself, idly watching. When the next track hits, there’s a weird juxtaposition – I’m observant of those who are caught up in his action, yet I can no longer hear what he is saying. A track called ‘Discovery at Night’ plays, I note the scene is ‘ugly’ not to say Albany is ugly but the gesticulated protest, a scattering of bodies and worn stone backdrop contrasts to the serene music which over-powers and leads me to tail-off towards the Globe. For a moment, the noise crept through and grabbed my ‘autonomy’ (Kusenbach 2003, p.476). I, like others, became interested in the scene unfolding and was “disturbed” (Scherer and Zetner 2001) when the megaphone infiltrated between the tracks. However, the music did not surrender my attention any longer and allowed me to disembark from the scene. 

I carry on down Albany. The Globe is a brown painted building which sits into the pavement, looking down from the traffic lights it is hidden and impossible to recognise. During the day, it blends into the buildings on the walk and can go easily unnoticed. The Globe is the first venue on my walk which has some historical relevance for me. As Moles and Saunders (2015, p.8) put it, “Place… is a product of what people did there that made the place significant.” On one of the days where I strolled towards the globe, I reflected on this – It reminds me of gigs I have gone to in the past. I remember seeing a band called ‘cabbage’ in the venue. It takes me to a time and situation when I participated in the activity of the venue. It becomes particularly poignant on my walk as place, particularly these venues I pass, are in the make-up of my social milieu. 

I try to stick closely to my route through Glenroy Street, Kincraig Street, and Northcote Street which leads me to Salisbury Road. At times I am confident listening to my music, muttering chorus lines and verses, but realise I have taken a wrong turn. I look out above for signs and take a minute to reset myself. Over the next few days I familiarise myself with school playgrounds, corner shops, food outlets and the town hall clock. Distinct features lead to a type of disconnection to my walk, on the last day I happily walk the streets; it is quiet en route and I enjoy Gerry Cinnamons album which makes me wander aimlessly. Along the route, however, I bumped into a friend as I neared Salisbury Road. I have become so engaged with my walk that I do not anticipate this. It ‘intrudes’ on my activity (Kusenbach 2003) – I bump into a friend and have a quick chat, not anticipating this, noise from cars pass-by and I hesitantly join in on conversation. The music seemed to put me into a trance on this journey and it is the first time where I see it being a hindrance to such social encounters.

I head under the bridge and join up to Salisbury Road: A track called ‘Devoted to U’ comes on, a particular favourite of mine and I am suddenly much more engaged with my music, I take a break from note taking until I get to Guildford Crescent. It was a conscious decision and one of putting my “body in motion” (Knowles 2017, p. 197) without the overbearing need to take notes. 

This is the first encounter of Gwdihw I’ve had following the closure in late January. I took part in the picketing, the protest march and wrote an article of disdain against the closure of businesses on Guildford Crescent. I did so because it meant a lot to a musical community in Cardiff. I wrote at the time that “Gwdihw… had represented a place for punters of all ages to dance, listen and share life-stories within the colourful walls.” (Quench 2019) My fieldnotes illustrate this further: To see it still recognisable but not operating as it did brought on some nostalgia and sadness. The music upbeat, a familiar sound in the venue, is only heard in my ears. The RIP etched on the whiteboard looks like the last act on the ‘What’s On” sign. 

The overriding sense that Gwdihw is left standing, empty and uneventful leaves me disheartened. Such abandonment, as Glass (Holgersson 2017, p. 76) illustrates are “Ghost[s]… of everyday life, reminding him of seemingly good old days” this description resonated with me on that day.  

I make my way down Bute Terrace towards Jacob’s (Jacob’s Antiques). The rumble of the train overhead echoes and for a split second replaces the song ‘belter’. Jacob’s holds the greatest significance on my walk-through Cardiff. I have worked here, organised various nights and been a party-goer here. I was first drawn here by the music and now it has played a huge part into who I have met, worked with, and other experiences in Cardiff. I am moved slightly by the song here, a slow reflexive song called ‘experience’ takes hold and allows me to enjoy the quieter surroundings. I could be going too far by saying it has shaped me as an individual, but I certainly would not disagree that borne out from the music here, as Scherer and Zetner (2001) suggest, “it has shaped social encounters in my life.” 

Womanby Street stands as the alternative, you have to go and find it amongst the busy streets of Cardiff and the allure of popular spots. These areas, as Hall and Smith (2017) alludes to, are “squirreled away.” Hidden away from St Mary’s Street is Womanby St, towered by the principality stadium in the background, it is quiet, cobbled and vibrant. I plodded down the street, admiring the mural that sits on Clwb Ifor bach, I feel at ease. I’m immersed in the tunes of Folamour. Up ahead a dancer performs outside the gatekeeper, it seems appropriate to how I find this area: niche and exciting. As I move up the street, I am regurgitated back onto Castle Street: Leaving behind Womanby St, I head onto Castle Street with the cars, tourists and pedestrians collecting in the environment. Womanby St doesn’t spill onto the road, instead it lets you exit its street unprepared by the invasion of activity. 

I decided to finish my walk through Bute Park. The contrasting venues, streets and sights have all had everything in common: music. The music commands, distracts, and comforts on this walk and what ‘Walking with Music’ keyed into was the ‘imagination’, the emotional and physical interpretation of sound and the self-reflexive experience. (Walter 1999) I note finally: I take off my headphones to adjust the strap, I hear the birds, the wind and the conversation between runners. I put my headphones back on, ‘That’s Entertainment’ by the Jam plays - it uplifts me, I smile and tap away on the way home.

Playlist

01/03/2019 Folamour - Umami Album & Ordinary Drugs  A mixture of soul, funk, hip-hop and jazz influences on a predominantly House - disco producer record. 

02/03/2019 Ludovico Einaudi Classical music with introspective undertones and blissful structures 

04/03/2019 *Gerry Cinnamon Working class Singer - Songwriter from Glasgow. Poetic - anthems with upbeat folk writing. Followed by a mixture of rock, indie and alternative bands.

*To note on this day the selected music ran short of the walk. Spotify selected previous favourites of mine.

Bibliography

Back, L. 2017. Marchers And Steppers: Memory, City Life and Walking. IN Walking Through Social Research.

Bauman, Z. 1994. Desert Spectacular. IN The Flâneur by Keith Tester. 

Bunt, L. and Pavilcevic, M. 2001.Music And Emotion: Perspectives From Music Therap. IN Music and Emotion. 

Hall, T. and Smith, R, J. 2017. Urban outreach as sensory walking. IN Walking Through Social Research.

Holgersson, H. 2017. Keep Walking: Notes on How to Research Urban Pasts and Futures. IN Walking Through Social Research. 

Knowles, C. 2017. Walking W8 In Manolos. IN Walking Through Social Research. 

Kusenbach, M. 2003. Street Phenomenology: The go-along as ethnographic research tool. Ethnogaphy. 

Moles, K. & Saunders, A. 2015. Ragged Places and Smooth Surfaces: Audio Walks as practices of making and doing the city.

Quench & Cotter, S. 2019. https://cardiffstudentmedia.co.uk/quench/music/gwdihw-closure/

Scherer, K.R. & Zentner, M.R. 2001. Emotional Effects Of Music: Production Rules.IN Music and Emotion. 

Sloboda, J.A. And O’Neill, S.A. 2001. Emotions in Everyday Listening to Music. IN Music and Emotion.

Walter, B W 1999. The Arcades Project (Passagen-Werk). Cambridge Mass: Belknap Press of Harvard University Press.

Williamson, V. 2017. Music and Mind Wandering. Music Psychology.