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reviewae · 7 years

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H2W Reactions (SPOILER ALERT)

Disclaimer: any excerpts taken and posted here do not belong to me, only the reactions do. the excerpts belong to the great great olivieblake.

Oh my god, so we’re starting with Dramione?! Yayayayayayayayayay!!!!!!(does a little tap-dance with sombrero dangling off of head.)

(Just so you know guys, I have already read this chapter roughly five times(I couldn’t control myself!) and all my reactions are not actual live reations, but roll with it.)

A whiff of something familiar that tickled his nose to consciousness; a faint hint of gardenias.Oh my god oh my god I know what that is..its Hermione’s perfume,right, from Clean and Marked!?

Hermione's perfume. See? I told ya.

"I wouldn't keep her very far," he commented, and Draco frowned, recognizing neither the man nor the intent behind his reference. Cause you’re not really into her yet, son. It takes time. But look what we got here: another Dramione shipper! Welcome to the fam son, your name?

"You're a motherfucking swine," Daisy snapped, Yeah, tell him, girl!

"My father," Daisy interrupted, "has nothing to do with this." You poor, innocent child. *pats hair gently*

"Okay, listen up you little shitbag, I - mphhmhihm-" Ewww. Is it just me or does it look-sound like he’s kissed her. He’s most likely gagged her though.

Draco had once hoped himself that she would stop talking, he determined that a disconcerting form of wish-fulfillment. The snark levels of this guy, like honestly. He’s probably going to die but *gestures hands wildly*

Draco caught the outline of a tattoo at the base of his throat, tucking the observation in the back of his mind for later. Okay, another guy from the mysterious infinity club. I’m going to save this info for later too.

Demonstration of what excessive snark levels make you: "Sounds like breaking and entering," Draco commented in reply. "Though, considering you already have kidnapping checked off the list, I suppose that's nothing remarkable, is it?"

Draco Malfoy. They make you Draco Malfoy.

"I have surveillance charms set up in my office," she said tightly, not quite looking at Hermione. "I know you and Malfoy took my files, but I figured once you saw I wasn't covering anything up you'd simply return them. I thought it would be better to let you think you had me fooled," she exhaled, sighing out the irony, "so you'd figure out on your own that you could trust me." You little shit, Carnegie. You’re also kinda like Harry y’know. Just more, slytherin-ish.

Draco, again, felt a twinge of guilt at having once made the same assertion. I love how they keep coming back to this non-consequential piece of information.

"You know," Draco ventured tangentially, "I have a tattoo myself." Yours is one heck of a tattoo son. Really..um, sophisticated. Also, I see what you’re doing there.

"I find that mine is rather telling," he offered wryly.No shit Sherlock.

"I'll tell you precisely who I am. I'm Nicholas Flamel, though I prefer to go by N-" What the fuck? That old shit’s dead. He was connected to that shiny red ruby then he died or something. Or was going to.

"You can't be Nicholas Flamel. He's - he's old," she protested, "and the Philosopher's Stone was destroyed, so - " Same, sis, same.

and as I was saying, I prefer Nico. So You’re Nico!? Nice to meet you! Sorry to say this, but you’re kinda an asshole.

Nico's expression stiffened. That was a risky gamble. Let’s hope it works for your sake.

"Lady Revel," he repeated, his tongue darting angrily between his lips as if to rid himself of the taste. "I'll have to have a talk with Ignotus," Damn, she is already gone, man; nothing you do can ruin her further. and I kinda like her(totally cause she wants to mutilate umbridge) he murmured to himself, and behind Draco, he felt Hermione stiffen. Why did hermione stiffen? What does she know? Something’s up.

Draco elbowed her as sharply as possible, smacking the back of his head against hers for emphasis. When I said ‘physical affection’ I certainly did not mean this. Gentle with the goods, man.

"The attention," she croaked. "We theorized it was being done for attention. The reason for low-ranking officials is obviously access - they're easier to get to, first of all, and they don't have years of threats teaching them to watch their backs and safeguard their security, and - "

"Yes, yes," Nico said, flicking his wand again to silence her. "Attention, fine," he permitted, "but whose? That's no less opaque."

"But why on earth would anyone blame an organization whose entire purpose is predicated on secrecy?" Hermione pressed. "If these poisonings aren't being orchestrated by the Club, then who could be - " Wait, What the fuck? Two of them are tied up and the third is holding them hostage and they’re just talking to each other like they’re just solving any other case or something?

"Are you nearly done?" Emmett demanded. "Emilia's going mad, I can't hold her off for much longer, and if she calls in Daisy's Aurors - " Okay, first of all, Fuck you Emmett, you heartless bastard. Second of all, thank god, emilia is not involved in this. that would have been just too much heartbreak for poor Daisy.

"Really," he added, shaking his head with what appeared to be wildly misplaced mirth, "what parent would?" Wait. What’s happening? Why’d he say that? is he going to kill him? oh my gosh he’s gonna kill him isn’t he?

"What murder?" Emmett asked, and Draco groaned.

"Worst last words ever,"Seriously Draco, I honestly don’t know what to do with you. he muttered as Daisy screamed, and behind him, Draco felt Hermione gasp, both of them watching Emmett Carnegie fall stiffly to the floor in the span of a breath. Eeek. Didnt see THAT coming. or maybe i did. either way, good riddance?

"I have a chocolate frog card of you, you bastard!" HAHAHAHAHA!! Of all the things she could have said, she says that?!!

"That's a man I paid to continue to be me as I focused my attention on other pursuits. “ Stunt double. Seems like even the best can’t hold their own.

"Hermione," Draco interrupted, clearing a rasp from his voice. "I have to tell you something. Before we die, I need you to know something," he pressed urgently, and turned as far as he was able, catching the sharp turn of her head. "I need you to know I'm - I'm so sorry," he exhaled. "Everything I said to you, everything I did, I need you to know how sorry I am, and - " Omg, is it happening? is he telling her he loves her? but he’s accepting his death so quickly? that’s not possible. that’s not the Draco I know. He’s upto something isn’t he? He’s buying time. ahuhhh...

^^^Actual footage of Draco Malfoy. Sorry, Back to the story!

Draco was certain the compulsion to imagine his final words must have occurred at least once to Nicholas Flamel, a man who'd outlived his friends and family for centuries.

After all, even a man fixated on immortality must suffer mortal pitfalls.

"Surely you've thought about the things you would have done," Draco pressed. "Haven't you? The things you'd want to say, and how you'd want to say them." He paused, parsing his words carefully. "You can't tell me it's never crossed your mind." This little shit. He knows exactly what he’s doing and I love him!!!

"Draco," Hermione said quietly, leaning her head back against his. "It's okay, I understand - " Hermione, child,I love you and all but please, shut up.

"In the lining of my pocket," he whispered to her. "Any vial will - " Please tell me there’s a bomb in there.

Draco nodded hurriedly, gripping Hermione's waist as her fingers rose to place themselves against his chest, smoothing out against the fabric of his shirt. Yaaaaaasss pull her closer boy! Get some babay!!!

"I'm sorry," he told her. "I hurt you, I insulted you, I misjudged you, and I'm fucking sorry for it. Before anything happens to either of us, I need to know you forgive me for everything I've done." Is he being genuine? Please be genuinely sorry. Please.

"I just need you to know that I love you, Hermione," Draco pronounced firmly, and yanked her in close, kissing her as deeply and ferociously as he could manage.

He deepened the kiss, gripping the back of her head with one hand as he covertly grasped her fingers with the other, and took the vial from her with careful, breathless precision.And then - because nothing in life was ever certain, he reasoned, and if he were going to die, he'd prefer it be in the aftermath of something enjoyable - he kissed her a few moments longer. He slid his tongue along the bottom swell of her lip and she shivered, drawing him closer. Her hands dropped to his hips, her fingers digging into the lip of his trousers, and Oh my god, do i feel hot? is it hot in here? no only hot in there. oooff , when i said get some, you really took it to heart didn’t you?

"Ehem," Nico said, making a face. "I think you've said it." Nico be like, “Meh. Straight, mortal people.”

Draco pulled away, dazed I totally understand boo.

"I'd rather not live to see Draco die, if that's alright with you." Gives me such Ride or Die deja vu feels.

There was a loud series of gasps, a shattering of glass, and then Draco looked up slowly, realizing that the many eyes of the party's guest had fallen on them; specifically, on the dead man clutched by his traumatized daughter, and then on Hermione and Draco, who clung to each other, breathing hard. Ooops?

Okay quick note, I’m skipping the rhys part cause unpopular opinion, I don’t like him. I mean, he’s decent and all but, Paws off Draco’s Hermione!! So yeah, y’know. Also he’s a side character, not veeerryy interested in him.Also, who’s gonna read that when you have dramione coming up? Yes, more DRAMIONE!!!YAAASSS!!! I’ll probably do this reaction later, in a small side note or something.

She reached out, catching his arm. Are they going to fuck?Please do!!!

"Malfoy," she began, and exhaled, uncertain how to proceed. "What you said back there, in Daisy's office - "

"It was a distraction," Draco supplied curtly. "Nothing to acknowledge. Shockingly," he drawled, kicking at the upturned corner of the rug, "I'm not actually in love with you." Sheeshh. Harsh.

"No, I meant about - " she faltered. "You said you were sorry." She’s not letting go that easy, isn’t she? God bless her.

"Of course I'm sorry," he said. "You know that." Awwww, he acknowledges it.Okay,that’s it, i am officially in love with this Draco.

"Until what?" he asked, stepping towards her. "Until it was almost too late? Until we were both about to die?" He paused again, staring at her. "Until I was holding you in my arms?" Woooh, from a zero to a hundred just like that. Man, he’s hot when he’s scary, and frank.

and he looked as though he might step closer, but then abruptly decided against it. Nononononononnonono. Its just one little step. Just one little step, do it man.

She took the step he didn't. THANKYOU!!!!!

She reached out, brushing a strand of silvery-blond hair from his eyes, and swallowed hard. *chanting* KISS KISS KISS KISS!!!!

Behind them, the Floo suddenly burst into flames, Harry's head appearing in the fireplace. OKAY WHAT THE FUCK! HARRY? YOU FUCKING BASTARD!! YOU COULD’VE JUST WAITED 10 SECONDS COULDN’T YOU? YOU JUST HAD TO COCKBLOCK RIGHT NOW!? YOU ABSOLUTE FUCKER!! GET LOST!!!

OKAY I AM NOT EVEN READING THE REST CAUSE I AM TOO ANGRY TO(And also cause the scroll sigh is almost at the end.). HARRY POTTER YOU COME IN FRONT OF ME NEXT TIME AND I’LL FUCKING RIP YOU TO SHREDS!!!

Roughly an hour later, That was not a cliffhanger, but it was also fucking worse!!! Now have to wait for like 3-4 more chapters of angsty eye-fucking and rhys-hermione before i get a glimpse of pure unadulterated and uninterrupted Dramione (yes, I’m side-eyeing Harry.) Well, that’s all for this chapter, make sure to reblog and follow.I make new reactions every sunday.(Though this came a little late ‘cause i had exams.) Also shoutout to @coyunnnnn for reblogging. Thanks for reading!!! 1402wisegirl, over and out.

#Reactions #How to Win Friends And Influence People #olivieblake #Draco Malfoy #Hermione Granger #Dramione #Harry Potter #Daisy Carnegie #Emmett Carnegie #Emilia Carnegie #Nicholas Flamel #Rhys Hawkworth #Cadell Hawkworth #Gwen Hawkworth #Ifan Hawkworth #Dionisia Trewlawnley #The Infinity Club

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readwithesha · 2 years

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Salt to the Sea by Ruta Sepetys

Salt to the Sea by Ruta Sepetys is a young-adult historical fiction novel published in 2016. The book has won the 2017 Carnegie Medal and was a #1 New York Times Bestseller. The daughter of a Lithuanian refugee, Sepetys has been declared a "champion of the interstitial people so often ignored—whole populations lost in the cracks of history" by the New York Times Book Review. I've read Salt to the Sea countless times because, as I mentioned in another post, I am an absolute sucker for historical books that focus on war's effects on regular people. Salt to the Sea is set in East Prussia in January of 1945. The book begins with our first narrator, Joan Vilkas, a young nurse that fled from Soviet-occupied Lithuania to Germany. She worked as a surgeon's assistant in East Prussia. She travels with a group of refugees across Prussia to safety, helping wherever possible. Another narrator, Florian Beck, is an East Prussian restoration artist. He worked for the Nazis restoring European art. Once he realizes that they were using him to restore stolen art, he gets revenge by stealing Hitler's favorite piece from the Amber Room. On the run, he saves our third narrator, Emilia Stozek, from a Russian soldier. Emilia is a young Polish girl that was sent to a farm in East Prussia for her safety. At the farm, however, she was raped by Russian soldiers and became pregnant. She follows Florian, whom she sees as her "knight", when they stop to rest in a shack. This is where they join Joana and her group of refugees. Trapped between the falling Nazi regime and the advancing Soviet army, this group of refugees has no choice but to travel through a brutal winter to West Germany, where they hope to board a ship to safety. Thrown together, the refugees, all harboring their secrets and guilt, are slow to trust one another. As they escape the Red Army, the group must learn to depend on each other to survive. Once they make it to the chaotic port of Gotenhafen, they must lie to the Wehrmacht to get Emilia, hated by both the Soviets and Nazis, onto a ship. They end up boarding the Wilhelm Gustloff, the largest ship in the port. This is where Florian meets Alfred Frick, a young acne-riddled Nazi stationed at the port. Alfred is a proud, almost delusional young man who is very concerned with becoming a hero. He writes mental letters to his "love" back home, Hannelore, who we learn is the Jewish neighbor that he reported on himself. In these mental letters, Frick paints himself as brave and important when he is anything but. Florian is able to manipulate him into helping him hide on the ship by telling him he is doing a heroic service for the Reich. This book's action does not come from battles and strategy; it comes from the grit and survival of the refugees. From multiple points of view, we get to witness how this war has caused destruction in everyone's lives and how they refuse to let it keep them down. They love and sacrifice for one another in beautiful and gut-wrenching ways. Told in brief chapters, we see what drives each character: Guilt, fate, shame, and fear. I love this book. It makes you laugh, it makes you cry, and it keeps you locked in from start to finish. The Wilhelm Gustloff was a real ship sunk by a Soviet submarine in 1945. Of the estimated 10,500 people on board, over 9,000 of them drowned in the freezing water. Which of our beloved characters perish in this tragedy? You'll have to find out for yourself.

#Salt to the Sea #ruta sepetys #East Prussia #world war 2

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carnegiemuseumnaturalhistory · 4 years

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Teacher Profile: Emmanuelle Wambach

At the Jewish Community Center of Greater Pittsburgh (JCC), the youngest students direct much of their own learning. “We focus on the philosophy of the of the Reggio Emilia Approach,” explains Emmanuelle Wambach, referencing the innovative childhood learning model named for the northern Italian town where it was developed more than 60 years ago. Emmanuelle, who has worked at the JCC since 2018, currently teaches a dozen pre-school students at the Squirrel Hill facility. Back in November, when this group of three- and four-year-olds became interested in birds and bird eggs, she was determined to assist their exploration of the topic.

Through the museum’s Educator Loan Collection, she was able borrow an encased taxidermy mount of an American Robin posed next to its nest and eggs, along with sturdy replicas of Bald Eagle, Golden Eagle, and Peregrine Falcon eggs. “There were some early discussions about the robin not being alive,” Emmanuelle recalls, “but we were able to make wonderful comparisons between the Peregrine Falcon and eagle eggs, and of course to the chicken eggs they were already familiar with.” The museum objects and the resulting discussions eventually led to group explorations of other resources such as the Audubon Society of Western Pennsylvania’s live camera feed documenting activity in and around the Bald Eagle nest in the Hays neighborhood of Pittsburgh.

This example of an educator connecting with a helpful resource was far from a direct link, however, and actually hinged on artistic accomplishment. Emmanuelle holds a Master of Fine Arts from Indiana University of Pennsylvania, and in sharing her talents with ceramics she has taught classes at several Pittsburgh area locations. She learned about the museum loan program when she was teaching ceramics at an afterschool program and met a fellow artist who had borrowed taxidermy mounts for students to use as drawing models.

When asked about the impacts of the ongoing pandemic on her teaching, Emmanuelle notes a reduced class size of 12 instead of 16, and praises her students’ ability to “wear their masks well." Then after some refection she describes a system of mutual support that naturally developed between the young learners and those leading them. “I’m certain they’re helping me get through this difficult time. You have no idea how good it is to have a four-year-old greet you by saying, ‘Miss Emmanuelle, I’m so glad you’re here today!’”

Patrick McShea works in the Education and Visitor Experience department of Carnegie Museum of Natural History. Museum employees are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

#Carnegie Museum of Natural History #Pre-school #Jewish Community Center of Greater Pittsburgh #Learning about birds

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blogdeepbelieverbouquetworld · 3 years

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DAVID TENNANT, ARIYON BAKARE, ROB BRYDON, JULIE ATHERTON AND JOE SUGG ADDED TO CAST OF THE AMAZING MAURICE, A SKY ORIGINAL Coming in 2022 to Sky Cinema and streaming service NOW Based on Terry Pratchett’s best-selling novel

Also starring Hugh Laurie, Emilia Clarke, David Thewlis, Himesh Patel, Gemma Arterton and Hugh BonnevilleSky today confirms additional cast for The Amazing Maurice, a Sky Original including David Tennant (Doctor Who), Ariyon Bakare (His Dark Materials), Rob Brydon (Roald & Beatrix: The Tale of the Curious Mouse), Julie Atherton (Avenue Q) and YouTuber Joe Sugg. They join the stellar line-up of Hugh Laurie, Emilia Clarke, David Thewlis, Himesh Patel, Gemma Arterton and Hugh Bonneville for the highly anticipated adaptation of Sir Terry Pratchett’s award-winning children’s novel.

n The Amazing Maurice, a Sky Original, Maurice is a streetwise ginger cat who comes up with a money-making scam by befriending a group of self-taught talking rats. When Maurice and the rodents reach the stricken town of Bad Blintz, they meet a bookworm called Malicia and their little con soon goes down the drain.

The film is co-produced by Sky, Ulysses Filmproduktion and Cantilever Media in partnership with Global Screen, with animation studios Studio Rakete (Hamburg) and Red Star Animation (Sheffield). The film has the full support of the Terry Pratchett estate and is produced in association with Narrativia. Producers are Julia Stuart (Sky), Emely Christians (Ulysses), Andrew Baker and Robert Chandler (Cantilever Media) and Rob Wilkins (Narrativia). The Film is directed by Toby Genkel, co-director is Florian Westermann, from a screenplay by Terry Rossio.

The Amazing Maurice and His Educated Rodents is a children’s fantasy by Sir Terry Pratchett, published by Doubleday in 2001 and has sold nearly 90 million books worldwide. It was the 28th novel in the Discworld series, but the first written for children. The Amazing Maurice is a lively and entertaining adventure inspired by the German fairy tale about the Pied Piper of Hamelin and a parody of the folk tale genre. Pratchett won the annual Carnegie Medal for the book – children’s literature’s highest award. Despite many other awards, honorary degrees and the knighthood that followed, Sir Terry Pratchett always emphasised that this was the award of which he was most proud.

The Amazing Maurice, a Sky Original will be released on Sky Cinema in 2022. The film will also be available on streaming service NOW via the Sky Cinema Membership.

Source

#davidtennant

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winsonsaw2003 · 4 years

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I’m Looking For Descendants Of John Anderson of Stroquhan (1795-1845)

John Anderson,Acting Resident Councillor of Penang,Malaysia from(1829-1830).He was born 1795 in Stroquhan,Scotland.Son of Robert Anderson.He married to Mary Alison Carnegy.He died 1845 in Euston,England. His issue:- i)Mary Alison Anderson(1819-1903)married Robert Stirling Graham. ii)James Carnegy Anderson. iii)John Reid Armstrong Anderson(1823-1866) married to Martha Tatham Hitchins.Their issue:- ai)Mary Martha Anderson(1857-1955)married Robert George Iremonger. aii)John Hitchins Anderson(1859-1896) married Kate Symes. aiii)Mabel Ida Anderson(1861-1957) married Talbot Monckton Milnes Griffiths.Their issue:- bi)Theodore Ralph Houghton Griffiths(1886-1964)married 1stly Elsie Christabel Burridge and 2ndly Vera Ellen Charlotte Justice.His issue:- ci)Robert Francis Houghton Griffiths(1914-1938)married Florence Mary Theodora Bosanquet. cii)John Stuart Griffiths(1916-1945). ciii)Mary Emilia Griffiths(1934-1986). bii)Vera Gwendolen Leila Griffiths(1889-1975) married John Limner. biii)Beryl Frances Griffiths(1890-1976)married Lewis Davies.Their issue:- ci)Eric Davies(?-1941). biv)Rupert Hildebrand Griffiths(1891-1981)married Evelina E Maddison.His issue:- ci) Charles M Griffiths. cii) George E T Griffiths. ciii)Celia Noreen Griffiths(1919-1994) married George M Blake. bv)Eric John Mortlock Griffiths(1892-1975)married Joan Heron.His issue:- ci)Joan Margery Griffiths(1921-1988). cii) Ethel Marion Griffiths. bvi)Charles Groyn Griffiths(1894-1895). bvii)Noel Stewart Griffiths(1896-1982)married Mary Blackburn.His issue:- ci)Patricia M Griffiths married Roland M Robitaillie.Their issue:- di)Carolyn V Robitaillie married Jean-Louis Ramon. dii)Elizabeth Robitaillie. diii)Sophie Amanda Robitaillie born in 1965.She married Fernagu. aiv)Albert Robert Anderson(1864-?) married 1stly,Caroline Alice Wollaston & 2ndly,Viola Ellen Haughton. His issue:- bi) Viola Helen Anderson iv)Jane Anderson(1824). v)Robert Patrick Anderson(1824-1898)married Henrietta Hildebrand.His issue:- ai)Robert Hildebrand Anderson(1854-1936)married Louisa Jane Laing.His issue:- bi)Robert Charles Hildebrand Anderson(1881-1884). aii)Hilda Mary Anderson(1857). vi)Margaret Lilias Anderson(1827-1909)married John Gray MacCowan Glen.Their issue:- bi)Robert Nelson John Glen(1871-1898). vii)William Henry Anderson(1829-1849). ix)Helena Adelaide Anderson(1830-1905) married Major General Horatio Nelson Davies.Their issue:- ai)Eveline Honoria Nelson Davies(1851-1934) married John Evelyn Barlas. Their issue:- bi)Evelyn Adelaide Isabella Barlas(1882-1885). bii) Ernest Douglas Montague Barlas(1885-1952) married Elena Georgina Matilda Kenyon-Slaney. His issue:- ci) Richard Douglas Barlas(1916-1982) married Ann Porter. His issue:- di) Robert A Barlas dii) Christopher Richard Barlas married 1stly,Elizabeth M Cruse & 2ndly,Rosemary A Russon. diii) Gavin James Barlas married Alison M Dibble. His issue:- ei) Joanna Claire Barlas cii) Robert Malcolm Barlas(1918-1940). ciii) John Alexander Barlas(1921-2003) married Pamela H Coutanche. His issue:- di) Honor J Barlas dii) Shena R Barlas married Timothy R Austin aii)Mary Adelaide Horatio Davies (1856-1946) married William Graydon Carter.Their issue:- bi) John Leslie Graydon Carter(1886-1932)married Edith Constance Browne.His issue:- ci)John Noel Graydon Carter(1917-1943) married Mary Grace Mefanwy Madoc. bii)Cyril Rodney Carter(1888-?)married Celia Ellen Alexia Cowie.His issue:- ci) Nicolette Anne Carter married Frederick Peter Perhat. Their issue:- di) Robin Frederick Perhat(1953-1971). dii) Eileen Jennifer Perhat diii) Celia Geraldine Perhat married Barrington Lloyd cii)Derek Guy Carter(?-1942). ciii) Peter Carter. biii)Capt.Eric Nelson Carter(1888-1958)married Kathleen Norah Liardet. biv)Adelaide Muriel Dorothea Carter married Capt.Roland Peto Johnstone Mitchell. bv)Mildred Lilian Carter(1891-1970). bv) Eyleen Graydon Carter(?-1949) married Reginald Magnus Trail.Their issue:- ci)Mildred Eyleen Trail(1924-1932). aiii)Thomas Arthur Harkness Davies(1857-1942). aiv)Helena Amy Davies(1859-1887). av)Helen Maud Davies(1860-1926) married Major Francis Ventris.Their issue - b) Charles Peyton Ventris(1887-1965) married 1stly,Madeline Harrison & 2ndly,Beatrice S M Nother. His issue:- ci) Anthony Peyton Ventris (Strachan) (1918-1942) cii) Ian T Peyton Ventris(1919-?) ciii) Jack Peyton Ventris(1922-1999) civ) Doris R Ventris married Raymond T Garnham. Their issue:- di) Roger C Garnham married Amanda French or Bale. dii) Barry R Garnham married Nancy E Andrews. His issue:- ei) David Barry Garnham cv) Daphne J Ventris married Reginald N Rowland. Their issue:- di) Ian M Rowland. dii) Peter A C Rowland bii)Edward Francis Vereker Ventris married Anna Dorothea Janasz.His issue:- ci)Michael George Francis Ventris(1922-1956) married Lois Elizabeth Knox-Niven.His issue:- di)Anthony Nicholas Ventris(1942-1984) married Irene N Frick. His issue:- ei) David Bjorn Ventris married Rebecca J Clarke. His issue:- fi) Matthew Nicholas Ventris. fii) Anna Grace Ventris. dii)Anna T Ventris married Nicholas G Clarke. Their issue:- ei) Michael William Clarke. eii) Saffron Jigme T Clarke biii)Mona Fairlie Ventris(1894-1977) married 1stly, Philip Macdonald and 2ndly,John E S Goss. Their issue:- ci) Carlyl Macdonald(?-1982) married 1stly,Walter Joseph McCartney & 2ndly,Robert Joseph Garden. biv) Alan Favell Ventris(1897-1915). bv)Agnes Madeline Ventris(?-1995) married Patrick Clavell Blount. Their issue:- ci)Francis G Clavell Blount married Wendy F Parsons. His issue:- di) Caroline Jane Clavell Blount dii) Alan Robert Clavell Blount cii) Christopher M Clavell Blount married Rosamund Wild. His issue:- di) Anthony Clavell Blount (1971). dii) Philippa Clavell Blount married Frederick Hiscox. Their issue:- ei) Kitty Lucy Hiscox. eii) Sienna Rose Hiscox. eiii) Harry Duke C Hiscox. diii) Annabel Clavell Blount married Joseph H A Wadsworth. Their issue:- ei)Caspar Alastair Wadsworth eii) Poppy Clavell Wadsworth avi)Horatio Nelson Kirkpatrick John Davies(1862-1886). avii)Henry Holme Davies(1863-1924) married Caroline Mary Taylor McLaren. His issue:- bi) Kenneth Graham Holme Davies(1892-1985) bii) Cecil Alvin Nelson Davies(1895-1946) married Jemima Eva Andrews. biii)Ian Henry Nelson Davies(1899-1983). biv) Charles Francis Kirkpatrick Davies(1904-?) bv) Erina Carolyn A Davies(1908-?) aviii)Albert Horace Maingay Davies(1863-1952)married Aruna Grant Still.Their issue:- bi)Nelson Edward Davies(1888-1970). bii)Helena Adelaide Davies(1890-1918). biii)Horatio Chalmers Davies(1892-1969). biv)Harold Allen Davies(1895-1973). bv)Thomas Albert Davies(1898-1990). bvi)Elva Birma Florence Davies(1900-1984). bvii)Albert Horace Maingay Davies(1905-1997). aix)Phayre Hilda Margaret Davies(1865-?). ax) Nelson Richard Ralph Davies (1869-1870). axi)Isabel Nina Florence Davies(1871-?) married Charles Kirkpatrick Anderson.Their issue:- bi)Robert Nelson Kirkpatrick Anderson(1897-1954) viii)Thomas Carnegy Anderson(1832-1869) married Isabella Catherine Herklots. ix)Albert Anderson(1835-?). x)Marion Agnes Anderson(1841-1842). xi)Graham Anderson(1843-?). Contact me at - [email protected]

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emilia-p-sanguinetti · 4 years

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Joan of Arc and Mark Twain

Mark Twain wrote, “I like Joan of Arc best of all my books; and it is the best; I know it perfectly well. And besides, it furnished me seven times the pleasure afforded me by any of the others; twelve years of preparation, and two years of writing. The others needed no preparation and got none.”

Twain was passionate about historical accuracy when writing about Joan of Arc, and he learned French to read available documentation about her life. His notebooks from 1855 are full of French language exercises that illustrate the painstaking process he used to learn the language. By 1860 Twain was reading Voltaire, and when his book about Joan of Arc was published in 1896, he listed 11 academic sources to bolster his claims about the accuracy of details included in his book.

In the transcripts from Joan of Arc’s 1431 Condemnation Trial, she provides meticulous details about having supernatural encounters with long-dead Catholic saints. She claimed to hear the voices of these saints daily, and she provided other details about having visual encounters with apparitions of the saints.

Scholarly debate continues to this day on the source of Joan’s “voices” (the mysterious interior locutions that guided her behavior). Some say Joan suffered from delusions, but she claimed her voices gave her the instructions that led to her military success. She also stated numerous times that her voices enabled her to make accurate predictions about future events—which were confirmed by many witnesses who gave testimony during Joan’s 1455 Rehabilitation Trial.

Twain’s interest in supernatural and paranormal phenomena began in the 1840s when twice he witnessed his mother’s recovery after the intervention of a faith healer. Twain also had a dream in which he saw a future event—his brother dead, lying in a coffin. The dream was full of details that later proved to be entirely accurate, down to details such as a single red rose laying in the middle of a bouquet of white flowers.

After those events, Twain began having experiences he described as “thought transfer,” and he joined the London Society for Psychical Research in 1885. During the twelve years of research Twain did in preparing to write about Joan of Arc, he became enthralled with Joan and her supernatural experiences, all of which are documented in her trial transcripts.

When Twain was the guest of honor during a 1905 dinner attended by Andrew Carnegie, organizers of the event planned to surprise Twain by having a woman appear as Joan of Arc. The following quote is from a New York Times article published December 22, 1905, “Joan of Arc Appears to Startle Mark Twain—Surprise Prepared for Him by Society of Illustrators.”

“It had been arranged that when the humorist arose to speak, Miss Angersten, a well-known model, was to appear in the garb and with the simple dignity of Jean d’Arc, his favorite character in all history. He was on his feet as Jean d’Arc entered the room. She wore the armor of the French heroine and her hair and face made a strangely appealing picture. The face of the humorist, which had been wearing its ‘company’ smile all night, suddenly changed. He had every appearance of a man who had seen a ghost. His eyes fairly started out of his head, and his hand gripped the edge of the table. …The humorist looked toward the door, and there was absolute silence—puzzled silence—for many did not know whether it was time to laugh, disrespectful to giggle, or discourteous to keep solemn.”

Today, May 30, is Joan of Arc’s feast day in the Catholic Church, marking the anniversary of the day she was burned at the stake in Rouen, France, in 1431. She led thousands of men in military battles that were decisive in ending the Hundred Years War, and she was officially appointed as commander-in-chief of the French army by King Charles VII, but he later abandoned her when he could have intervened to save her from execution.

During Joan’s Condemnation Trial in 1431, which lasted from January 9 until May 30, Guillaume Manchon, a notary, produced the trial transcripts in a language referred to as Medieval/Middle French, with oversight and assistance from two other notaries, Guillaume Colles and Nicolas Taquel.

Later, Manchon and one of the trial judges, Thomas de Courcelles, translated the Middle French into Latin and five handwritten copies were made. One copy was sent to Rome, three copies are in Paris, and one copy was destroyed ceremoniously in 1456 at the conclusion of a Rehabilitation Trial, which nullified the verdict of the Condemnation Trial.

The first unabridged translations of those original Latin transcripts were published in modern French in 1841 by Jules Étienne Joseph Quicherat and in English in 1932 by W.P. Barrett. A shorter, abridged version produced by Emilia P. Sanguinetti—which is included with this book by Mark Twain—was translated and edited using those two unabridged translations and Pierre Champion’s “Procès de Condamnation de Jeanne d’Arc, Texte, Traduction et Notes,” published in 1921.

Emilia P. Sanguinetti is the author and translator of the book, “Joan of Arc: Her Trial Transcripts.” She has five years of formal French language training and her translation of Joan of Arc’s trial transcripts is included with this publication of Mark Twain’s book: https://www.amazon.com/dp/B019BCELHK

#Joan of Arc #Mark Twain

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gagosiangallery · 5 years

Text

Richard Serra at Gagosian New York

August 21, 2019

RICHARD SERRA Triptychs and Diptychs Forged Rounds Reverse Curve __________ Triptychs and Diptychs Opening reception: Monday, September 16, 6–8pm September 16–November 2, 2019 980 Madison Avenue, New York Forged Rounds Opening reception: Tuesday, September 17, 6–8pm September 17–December 7, 2019 555 West 24th Street, New York Reverse Curve Opening reception: Tuesday, September 17, 6–8pm September 17, 2019–February 1, 2020 522 West 21st Street, New York Weight is a value for me—not that it is any more compelling than lightness, but I simply know more about weight than about lightness and therefore I have more to say about it, more to say about the balancing of weight, the diminishing of weight, the addition and subtraction of weight, the concentration of weight, the rigging of weight, the propping of weight, the placement of weight, the locking of weight, the psychological effects of weight, the disorientation of weight, the disequilibrium of weight, the rotation of weight, the movement of weight, the directionality of weight, the shape of weight. —Richard Serra Gagosian is pleased to present recent sculptures and drawings by Richard Serra. At 980 Madison Avenue, a series of new diptych and triptych drawings will be on view. Four new works from Serra’s Rounds series will fill the entire West 24th Street gallery. Each forged-steel sculpture is composed of multiple 50-ton elements of differing diameters and heights. Bisecting the West 21st Street gallery space will be Reverse Curve (2005), a sculpture measuring 99 feet long and 13 feet high. Originally conceived in 2005 for a public project in Reggio Emilia, Italy, Reverse Curve is finally being realized for the first time.

In conjunction with these exhibitions, Gagosian and Anthology Film Archives will present a three-day retrospective of Serra’s films and videos from October 17 through 19, drawn from the collections of the Museum of Modern Art, Anthology Film Archives, Joan Jonas, and Stiftung Situation Kunst. This is the first time that all of the artist’s film and video work will be shown together. The screening on October 19 will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh. Additional screenings of the full program will take place on October 20 and 23. The exhibition will be accompanied by a fully illustrated catalogue with an essay by Julian Rose. Richard Serra was born in 1938 in San Francisco, and lives and works in New York. Collections include the Carnegie Museum of Art, Pittsburgh; Dia Art Foundation, New York; Guggenheim Museum Bilbao, Spain; Kröller-Müller Museum, Otterlo, Netherlands; Los Angeles County Museum of Art; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; and Stedelijk Museum, Amsterdam. Serra participated in Documenta 5, 6, 7, and 8; and La Biennale di Venezia in 1980, 1984, 2001, and 2013. In 2008 he presented Promenade for the Monumenta commission at the Grand Palais in Paris; and in 2005, The Matter of Time (1994–2005), a series of eight sculptures, was installed permanently at the Guggenheim Museum Bilbao. In 2014, East-West/West-East (2014) was permanently installed in the desert of the Brouq Nature Reserve in western Qatar. Serra has received numerous accolades, including a Fulbright Grant (1965); National Endowment for the Arts Fellowship (1974); Carnegie Prize (1985); Praemium Imperiale, Japan Arts Association (1994); and the Leone d’Oro, La Biennale di Venezia (2001), among others. In 2008 Serra was made Commandeur de l’Ordre des Arts et des Lettres by the Republic of France, and in 2015 he was appointed Chevalier de l’Ordre national de la Légion d’honneur for his “exceptional contribution to art, past, present, and future.” In September 2018, Serra accepted the J. Paul Getty Medal. Since 1983, Gagosian has presented thirty-four major exhibitions of Serra’s work in the United States and Europe, including Intersection II (New York, 1993); Switch, which inaugurated West 24th Street, New York, in 1999; Wake, Blindspot, Catwalk, Vice-Versa (New York, 2003); Junction/Cycle (New York, 2011); Drawings (Paris, 2011–12); Double Rifts (Beverly Hills, 2013); New Sculpture (New York, 2013–14); the concurrent exhibitions Backdoor Pipeline, Ramble, Dead Load, London Cross and Drawing (London, 2014–15); Ramble Drawings (New York and Paris, 2015–16); Above Below Betwixt Between, Every Which Way, Silence (For John Cage), Through, and NJ-1 (New York, 2016); Drawings and NJ-2, Rounds: Equal Weight, Unequal Measure, Rotate (London, 2016); and Rifts (London, 2018). _____ Artwork © 2019 Richard Serra/Artists Rights Society (ARS), New York. Photo: Silke von Berswordt

#Richard Serra #Gagosian

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roboticsappreciationsociety · 6 years

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From driving rovers on Mars to improving farm automation for Indian women, once again we’re bringing you a list of 25 amazing women in robotics! These women cover all aspects of the robotics industry, both research, product and policy. They are founders and leaders, they are investigators and activists. They are early career stage and emeritus. There is a role model here for everyone! And there is no excuse – ever – not to have a woman speaking on a panel on robotics and AI.

Crystal Chao

Chief Scientist of AI/Robotics – Huawei

Crystal Chao is Chief Scientist at Huawei and the Global Lead of Robotics Projects, overseeing a team that operates in Silicon Valley, Boston, Shenzhen, Beijing, and Tokyo. She has worked with every part of the robotics software stack in her previous experience, including a stint at X, Google’s moonshot factory. In 2012, Chao won Outstanding Doctoral Consortium Paper Award, ICMI, for her PhD at Georgia Tech, where she developed an architecture for social human-robot interaction (HRI) called CADENCE: Control Architecture for the Dynamics of Natural Embodied Coordination and Engagement, enabling a robot to collaborate fluently with humans using dialogue and manipulation.

Sougwen Chung

Interdisciplinary Artist

Sougwen Chung is a Chinese-born, Canadian-raised artist based in New York. Her work explores the mark-made-by-hand and the mark-made-by-machine as an approach to understanding the interaction between humans and computers. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. She is a former researcher fellow at MIT’s Media Lab and inaugural member of NEW INC, the first museum-led art and technology in collaboration with The New Museum. She received a BFA from Indiana University and a masters diploma in interactive art from Hyper Island in Sweden.

Emily Cross

Professor of Social Robotics / Director of SoBA Lab

Emily Cross is a cognitive neuroscientist and dancer. As the Director of the Social Brain in Action Laboratory (www.soba-lab.com), she explores how our brains and behaviors are shaped by different kinds of experience throughout our lifespans and across cultures. She is currently the Principal Investigator on the European Research Council Starting Grant entitled ‘Social Robots’, which runs from 2016-2021.

Rita Cucchiara

Full Professor / Head of AImage Lab

Rita Cucchiara is Full Professor of Computer Vision at the Department of Engineering “Enzo Ferrari” of the University of Modena and Reggio Emilia, where since 1998 she has led the AImageLab, a lab devoted to computer vision and pattern recognition, AI and multimedia. She coordinates the RedVision Lab UNIMORE-Ferrari for human-vehicle interaction. She was President of the Italian Association in Computer Vision, Pattern Recognition and Machine Learning (CVPL) from 2016 to 2018, and is currently Director of the Italian CINI Lab in Artificial Intelligence and Intelligent Systems. In 2018 she was recipient of the Maria Petrou Prize of IAPR

Sanja Fidler

Assistant Professor / Director of AI at NVIDIA

Sanja Fidler is Director of AI at NVIDIA’s new Toronto Lab, conducting cutting-edge research projects in machine learning, computer vision, graphics, and the intersection of language and vision. She remains Assistant Professor at the Department of Computer Science, University of Toronto. She is recipient of the Amazon Academic Research Award (2017) and the NVIDIA Pioneer of AI Award (2016). She completed her PhD in computer science at University of Ljubljana in 2010, and has served as a Program Chair of the 3DV conference, and as an Area Chair of CVPR, EMNLP, ICCV, ICLR, and NIPS.

Kanako Harada

ImPACT Program Manager

Kanako Harada, is Program Manager of the ImPACT program “Bionic Humanoids Propelling New Industrial Revolution” of the Cabinet Office, Japan. She is also Associate Professor of the departments of Bioengineering and Mechanical Engineering, School of Engineering and the University of Tokyo, Japan. She obtained her M.Sc. in Engineering from the University of Tokyo in 2001, and her Ph.D. in Engineering from Waseda University in 2007. She worked for Hitachi Ltd., Japan Association for the Advancement of Medical Equipment, and Scuola Superiore Sant’Anna, Italy, before joining the University of Tokyo. Her research interests include surgical robots and surgical skill assessment.

Jessica Hodgins

Professor / FAIR Research Mgr and Operations Lead

Jessica Hodgins is a Professor in the Robotics Institute and Computer Science Department at Carnegie Mellon University, and the new lead of Facebook’s AI Research Lab in Pittsburgh. The FAIR lab will focus on robotics, lifelong-learning systems that learn continuously, teaching machines to reason and AI in support of creativity. From 2008-2016, Hodgins founded and ran research labs for Disney, rising to VP of Research and leading the labs in Pittsburgh and Los Angeles. She received her Ph.D. in Computer Science from Carnegie Mellon University in 1989. She has received an NSF Young Investigator Award, a Packard Fellowship, a Sloan Fellowship, the ACM SIGGRAPH Computer Graphics Achievement Award, and in 2017 she was awarded the Steven Anson Coons Award for Outstanding Creative Contributions to Computer Graphics. Her groundbreaking research focuses on computer graphics, animation, and robotics, with an emphasis on generating and analyzing human motion.

Heather Justice

Mars Exploration Rover Driver

Heather Justice has the dream job title of Mars Exploration Rover Driver, and is a Software Engineer at NASA JPL. As a 16-year-old watching the first Rover landing on Mars, she said: “I saw just how far robotics could take us and I was inspired to pursue my interests in computer science and engineering.” Justice graduated from Harvey Mudd College with a B.S. in computer science in 2009 and an M.S. from the Robotics Institute at Carnegie Mellon University in 2011, having also interned at three different NASA centers, and working in a variety of research areas including computer vision, mobile robot path planning, and spacecraft flight rule validation.

Sue Keay

COO

Sue Keay is the Chief Operating Officer of the ACRV and in 2018 launched Australia’s first National Robotics Roadmap at Parliament House. A university medallist and Jaeger scholar, Sue has more than 20 years experience in the research sector, managing and ensuring impact from multidisciplinary R&D programs and teams. She has a PhD in Earth Sciences from the Australian National University and was an ARC post-doctoral fellow at the University of Queensland, before turning to science communication, research management, research commercialisation, and IP management. Keay is a graduate of the Australian Institute of Company Directors, and Chairs the IP and Commercialisation Committee for the Board of the CRC for Optimising Resource Extraction. In 2017, Keay was also named one of the first Superstars of STEM by Science & Technology Australia.

Erin Kennedy

Founder

Erin Kennedy is a robot maker and the founder of Robot Missions, an organization that empowers communities to embark on missions aimed at helping our planet using robots. She designed and developed a robot to collect shoreline debris, replicable anywhere with a 3D printer. Kennedy studied digital fabrication at the Fab Academy, and worked with a global team at MIT on a forty-eight-hour challenge during Fab11 to build a fully functional submarine. A former fellow in social innovation and systems thinking at the MaRS Discovery District’s Studio Y, Kennedy has been recognized as a finalist in the Lieutenant Governor’s Visionaries Prize (Ontario), and her previous robotic work has been featured in Forbes, Wired, and IEEE Spectrum, and on the Discovery Channel.

Kathrine Kuchenbecker

Director at Max Planck Institute for Intelligent Systems / Associate Professor

Katherine J. Kuchenbecker is Director and Scientific Member at the Max Planck Institute for Intelligent Systems in Stuttgart, on leave from the Department of Computer and Information Science at UPenn. Kuchenbecker received her PhD degree in Mechanical Engineering from Stanford University in 2006. She received the IEEE Robotics and Automation Society Academic Early Career Award, NSF CAREER Award, and Best Haptic Technology Paper at the IEEE World Haptics Conference. Her keynote at RSS 2018 is online. Kuchenbecker’s research expertise is in the design and control of robotic systems that enable a user to touch virtual objects and distant environments as though they were real and within reach, uncovering new opportunities for its use in interactions between humans, computers, and machines.

Jasmine Lawrence

Technical Program Manager – Facebook

Jasmine Lawrence currently serves as a Technical Program Manager on the Building 8 team at Facebook, a research lab to develop hardware projects in the style of DARPA. Previously, she served as a Technical Program Manager at SoftBank Robotics where she lead a multidisciplinary team to create software for social, humanoid robots. Before that she was a Program Manager at Microsoft on the HoloLens Experience team and the Xbox Engineering team. Lawrence earned her B.S. in Computer Science, from the Georgia Institute of Technology, and her M.S. in Human Centered Design & Engineering from U of Washington. At the age of 13, after attending a NFTE BizCamp, Jasmine founded EDEN BodyWorks to meet her own need for affordable natural hair and body care products. After almost 14 years in business her products are available at Target, Wal-Mart, CVS, Walgreens, Amazon.com , Kroger, HEB, and Sally Beauty Supply stores just to name a few.

Jade Le Maitre

ître

CTO & CoFounder – Hease Robotics

Jade Le Maître spearheads the technical side of Hease Robotics, a robot catered to the retail industry and customer service. With a background in engineering and having conducted a research project about human-robot interaction, Le Maître found her passion in working in the science communication sector. Since then she has cofounded Hease Robotics to bring the robotics experience to the consumer.

Laura Margheri

Programme Manager and Knowledge Transfer Fellow – Imperial College London

Laura Margheri develops the scientific program and manages the research projects at the Aerial Robotics Laboratory at the Imperial College London, managing international and multidisciplinary partnerships. Before joining Imperial College, she was project manager and post doc fellow at the BioRobotics Institute of the Scuola Superiore Sant’Anna. Margheri has an M.S. in Biomedical Engineering (with Honours) and the PhD in BioRobotics (with Honours). She is also member of the IEEE RAS Technical Committee on Soft Robotics and of the euRobotics Topic Group on Aerial Robotics, with interdisciplinary expertise in bio-inspired robotics, soft robotics, and aerial robotics. Since the beginning of 2014 she is the Chair of the Women In Engineering (WIE) Committee of the Robotics & Automation Society.

Brenda Mboya

Undergraduate Student – Ashesi University Ghana

Brenda Mboya is just finishing a B.S. in Computer Science at Ashesi University in Ghana. A technology enthusiast who enjoys working with young people, she also volunteers in VR at Ashesi University, with Future of Africa, Tech Era, and as a coach with the Ashesi Innovation Experience (AIX). Mboya was a Norman Foster Fellows in 2017, one of 10 scholars chosen from around the world to attend a one week robotics atelier in Madrid. “Through this conference, the great potential robotics has, especially in Africa, been reaffirmed in my mind.” said Mboya.

Katja Mombaur

Professor at the Institute of Computer Engineering (ZITI) – Heidelberg University

Katja Mombaur is coordinator of the newly founded Heidelberg Center for Motion Research and full professor at the Institute of Computer Engineering (ZITI), where she is head of the Optimization in Robotics & Biomechanics (ORB) group and the Robotics Lab. She holds a diploma degree in Aerospace Engineering from the University of Stuttgart and a Ph.D. degree in Mathematics from Heidelberg University. Mombaur is PI in the European H2020 project SPEXOR. She coordinated the EU project KoroiBot and was PI in MOBOT and ECHORD–GOP, and founding chair of the IEEE RAS technical committee on Model-based optimization for robotics. Her research focuses on the interactions of humans with exoskeletons, prostheses, and external physical devices.

Devi Murthy

CEO – Kamal Kisan

Devi Murthy has a Bachelors degree in Engineering from Drexel University, USA and a Masters in Entrepreneurship from IIM, Bangalore. She has over 6 years of experience in Product Development & Business Development at Kamal Bells, a sheet metal fabrications and components manufacturing company. In 2013 she founded Kamal Kisan, a for-profit Social Enterprise that works on improving farmer livelihoods through smart mechanization interventions that help them adopt modern agricultural practices, and cultivate high value crops while reducing inputs costs to make them more profitable and sustainable.

Sarah Osentoski

COO – Mayfield Robotics

Sarah Osentoski is COO at Mayfield Robotics, who produced Kuri, ‘the adorable home robot’. Previously she was the manager of the Personal Robotics Group at the Bosch Research and Technology Center in Palo Alto, CA. Osentoski is one of the authors of Robot Web Tools. She was also a postdoctoral research associate at Brown University working with Chad Jenkins in the Brown Robotics Laboratory. She received her Ph.D. from the University of Massachusetts Amherst, under Sridhar Mahadevan. Her research interests include robotics, shared autonomy, web interfaces for robots, reinforcement learning, and machine learning. Osentoski featured as a 2017 Silicon Valley Biz Journal “Women of Influence”.

Kirsten H. Petersen

Assistant Professor – Cornell University

Kirstin H. Petersen is Assistant Professor of Electrical and Computer Engineering. She is interested in design and coordination of bio-inspired robot collectives and studies of their natural counterparts, especially in relation to construction. Her thesis work on a termite-inspired robot construction team made the cover of Science, and was ranked among the journal’s top ten scientific breakthroughs of 2014. Petersen continued on to a postdoc with Director Metin Sitti at the Max Planck Institute for Intelligent Systems 2014-2016, and became a fellow with the Max Planck ETH Center for Learning Systems in 2015. Petersen started the Collective Embodied Intelligence Lab in 2016 as part of the Electrical and Computer Engineering department at Cornell University, and has field memberships in Computer Science and Mechanical Engineering.

Kristen Y. Pettersen

Professor Department of Engineering Cybernetics – NTNU

Kristin Ytterstad Pettersen (1969) is a Professor at the Department of Engineering Cybernetics, and holds a PhD and an MSc in Engineering Cybernetics from NTNU. She is also a Key Scientist at the Center of Excellence: Autonomous marine operations and systems (NTNU AMOS) and an Adjunct Professor at the Norwegian Defence Research Establishment (FFI). Her research interests include nonlinear control theory and motion control, in particular for marine vessels, AUVs, robot manipulators, and snake robots. She is also Co-Founder and Board Member of Eelume AS, a company that develops technology for for subsea inspection, maintenance, and repair. In 2017 she received the Outstanding Paper Award from IEEE Transactions on Control Systems Technology, and in 2018 she was appointed Member of the Academy of the Royal Norwegian Society of Sciences and Letters.

Veronica Santos

Assoc. Prof. of UCLA Mechanical & Aerospace Engineering / Principal Investigator – Director of the UCLA Biomechatronics Laboratory

Veronica J. Santos is an Associate Professor in the Mechanical and Aerospace Engineering Department at UCLA, and Director of the UCLA Biomechatronics Lab. She is one of 16 individuals selected for the Defense Science Study Group (DSSG), a two year opportunity for emerging scientific leaders to participate in dialogues related to US security challenges. She received her B.S. from UC Berkeley in 1999 and her M.S. and Ph.D. degrees in Mech. Eng. with a biometry minor from Cornell University in 2007. Santos was a postdoctoral research associate at the Alfred E. Mann Institute for Biomedical Engineering at USC where she worked on a team to develop a novel biomimetic tactile sensor for prosthetic hands. She then directed the ASU Mechanical and Aerospace Engineering Program and ASU Biomechatronics Lab. Santos has received many honors and awards for both research and teaching.

Casey Schulz

Systems Engineer – Omron Adept

Casey Schulz is a Systems Engineer at Omron Adept Technologies (OAT). She currently leads the engineering and design verification testing for a new mobile robot. Prior to OAT, Schulz worked at several Silicon Valley startups, a biotech consulting firm, and the National Ignition Facility at Lawrence Livermore National Labs.Casey received her M.S in Mech. Eng. from Carnegie Mellon University in 2009 for NSF funded research in biologically inspired mobile robotics. She received her B.S from Santa Clara University in 2008 by building a proof-of-concept urban search and rescue mobile robot. Her focus is the development of new robotics technologies to better society.

Kavitha Velusamy

Senior Director Computer Vision – BossaNova Robotics

Kavita Velusamy is the Senior Director of Computer Vision at BossaNova Robotics, where she builds robot vision applications. Previously, she was a Senior Manager at NVIDA, where she managed a global team responsible for delivering computer vision and deep learning software for self-driving vehicles. Prior to this, she was Senior Manager at Amazon, where she wrote the “far field” white paper that defined the device side of Amazon Echo, its vision, its architecture and its price points, and got approval from Jeff Bezos to build a team and lead Amazon Echo’s technology from concept to product. She holds a PhD in Signal Processing/Electrical Communication Engineering from the Indian Institute of Science.

Martha Wells

Author

Martha Wells is a New York Times bestselling author of sci-fi and speculative fiction. Her Hugo award-winning series, The Murderbot Diaries, is about a self-aware security robot that hacks its “governor module”. Known for her world-building narratives, and detailed descriptions of fictional societies, Wells brings an academic grounding in anthropology to her fantasy writing. She holds a B.A. in Anthropology from Texas A&M University, and is the winner of over a dozen awards and nominations for fiction, including a Hugo Award, Nebula Award, and Locus Award.

Andie Zhang

Global Product Manager – ABB Collaborative Robotics

Andie Zhang is Global Product Manager of Robotics at ABB, where she has full global ownership of a portfolio of industrial robot products, develops strategy for the company’s product portfolio, and drives product branding. Zhang’s previous experience includes 10+ years working for world leading companies in Supply Chain, Quality, Marketing and Sales Management. She holds a Masters in Engineering from KTH in Stockholm. Her focus is on collaborative applications for robots and user centered interface design.

Join more than 700 women in our global online community https://womeninrobotics.org and find or host your own Women in Robotics event locally! Women In Robotics is a grassroots not-for-profit organization supported by Robohub and Silicon Valley Robotics.

And don’t forget to browse previous year’s lists, add all these women to wikipedia (let’s have a Wikipedia Hackathon!), or nominate someone for inclusion next year!

Andra Keay

robot startup strategist..

#robot #robotics #women in stem

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mfm-mielec · 3 years

Photo

fot. Ksawery Zamoyski

II KONCERT LUTOSŁAWSKI PIANO DUO

22 września 2021, godz. 19.00 Sala Królewska PSM w Mielcu

bilety: 30 zł

Emilia Karolina Sitarz i Bartłomiej Wąsik tworzący od 20 lat Lutosławski Piano Duo, laureaci Koryfeusza 2020 w kategorii osobowość muzyczna i Paszportu Polityki to pianiści wszechstronni, odnajdujący się z powodzeniem w muzyce klasycznej, folkowej, współczesnej, współpracujący z muzykami jazzowymi (D. Miśkiewicz), wykonawcami muzyki tradycyjnej (A. Strug) oraz piosenkarzami pop (M. Koteluk, A. Rojek), nierzadko szukający inspiracji w świecie muzyki, przyrody, filmu.

Możliwość stałego rozwoju artystycznego w jednym zespole zaowocowała niezwykłym zgraniem pianistów, odnalezieniem wspólnych barw i artykulacji, a także bogatym, stale rozszerzanym repertuarem obejmującym w chwili obecnej ponad 100 utworów – od epoki baroku do czasów najnowszych, a wśród nich wiele prawykonań i autorskich transkrypcji utworów symfonicznych.

Swą wspólną drogę artystyczną rozpoczęli pod opieką wybitnego izraelskiego duetu fortepianowego – Brachy Eden i Alexandra Tamira, a inspiracja właśnie tym zespołem trwa po dziś dzień. Są absolwentami Akademii Muzycznej im. Fryderyka Chopina w Warszawie (B. Kawalla, A. Paleta-Bugaj, K. Borucińska, J. Marchwiński) i Hochschule für Musik und Theater w Rostocku (Niemcy) w mistrzowskiej klasie duetu fortepianowego Hansa-Petera i Volkera Stenzl. Uczelnię tę ukończyli z najwyższym wyróżnieniem.

Lutosławski Piano Duo zyskuje przychylne głosy krytyków i publiczności, czego potwierdzeniem są liczne zaproszenia na festiwale, m.in. Warszawska Jesień, Muzyka na Szczytach, Festiwal Polskiego Radia, Festiwal Nowa Tradycja, Kwartesencja, Musica Polonica Nova, Kody, Sacrum Profanum, festiwale pianistyczne w Antoninie i Słupsku. Występowali w większości krajów europejskich, obu Amerykach, Bliskim Wschodzie i Azji (Chiny, Japonia).

Współpracowali m. in. z orkiestrami Aukso, Filharmonii Narodowej, Jerusalem Symphony Orchestra, Polskiej Orkiestry Radiowej, NOSPR, Leopoldinum pod batutą Łukasza Borowicza, Szymona Bywalca, Jerzego Maksymiuka, Jacka Rogali, Marka Mosia. Wraz z Jerusalem Symphony Orchestra przedstawili wersję na dwa fortepiany koncertu Franciszka Liszta „Fantazja-Wędrowiec”.

Od 2006 tworzą kwartet Kwadrofonik. Wykonują muzykę ubiegłego wieku i czasów najnowszych, oraz własne kompozycje inspirowane muzyką tradycyjną i elektroniczną, m.in. Requiem Ludowe oraz Ksenofonia – widowisko skomponowane specjalnie na obchody Poznańskiego Czerwca (2016). Sięgają też po odważne aranżacje mniej znanych kompozycji takich jak Symfonia Przemysłowa A. Badalamentiego i D. Lyncha czy piosenki dla Dzieci W. Lutosławskiego.

Koncertowali w większości krajów europejskich, w Ameryce Północnej i Południowej, na Bliskim Wschodzie i w Japonii, występując w takich salach jak: Carnegie Hall, Filharmonia Narodowa, NOSPR, Izumi Hall, Filharmonia Berlińska, Studio im. W. Lutosławskiego, Chicago Symphony Center, Beijing Concert Hall, J. F. Kennedy Center for the performing Arts, Sala Centralnego Konserwatorium w Pekinie, Gulbenkian Auditorio.

W 2007 roku, nakładem Polskiego Radia, ukazała się debiutancka płyta duetu (zawierająca utwory Lutosławskiego, Poulenca, Strawińskiego i Kagela) uhonorowana Nagrodą Fryderyk 2008 za najlepsze nagranie muzyki kameralnej. W 2008 roku powstała płyta Folklove uhonorowana w 2009 roku Folkowym Fonogramem Roku. W roku 2013 swoją premierę fonograficzną (Sony Music Polska) miał wspólny projekt zespołu Kwadrofonik i Doroty Miśkiewicz: Lutosławski, Tuwim - Piosenki nie tylko dla dzieci. Album zdobył status Złotej Płyty. W roku, 2014 jako pierwsi pianiści europejscy nagrali utwory na dwa i cztery fortepiany Juliusa Eastmana (razem z Joanną Dudą i Mischą Kozłowskim) i Tomasza Sikorskiego. Album Unchained ukazał się w wydawnictwie Bołt Records i otrzymał wyróżnienie Pizzicato Award. Rok 2015 przyniósł premierę albumu Requiem ludowe - będącego efektem współpracy zespołu Kwadrofonik i Adama Struga - uhonorowanego Folkowym Fonogramem Roku.

W roku 2019 zrealizowali zagraniczne tournée obejmujące koncerty w Bułgarii, USA, Wielkiej Brytanii, Ukrainie , Białorusi gdzie reprezentowali rekonstrukcję recitalu Witolda Lutosławskiego i Andrzeja Panufnika z czasów okupacji.

Pianiści współpracują z kompozytorami przygotowując światowe premiery utworów pisanych specjalnie dla duetu, oraz przyczyniają się do popularyzowania w Polsce ważnych kompozycji na kilkunastoosobowe zespoły z udziałem 4 pianistów ( m.in. S. Reich – Music for eighteen musicians, Daniel Variations, I. Strawiński – Wesele). Są organizatorami Festiwalu Kwadrofonik oraz cyklu SŁUCHY – Koncerty do Zwiedzania.

W 2020 roku w ramach programu Kultura w sieci zrealizowali cykl programów „WŁĄCZ DUET” w których prezentują miniatury na duet fortepianowy oraz opowiadają o pracy w duecie fortepianowym.

Pierwsza część recitalu nawiązuje do postaci Ignacego Jana Paderewskiego.

Jego cykl tańców na cztery ręce tzw. Album „Tatrzańskie” to przykład fascynacji Podhalem, które pod koniec XIX wieku było odkrywane przez wielu twórców. Paderewski zainspirowany tradycyjnymi pieśniami i tańcami skomponował miniatury na 4 ręce wydawane kolejno na łamach Echa Muzycznego w latach 1883-1884. Z jednej strony cykl ten byłby wspaniałym przykładem dziewiętnastowiecznej muzyki salonowej, ale nie sposób przecież „zamknąć” w 4 ścianach salonu muzycznego tych wielobarwnych i niezwykle zróżnicowanych pod kątem temp, dynamiki i artykulacji miniatur, skrywających w sobie tematy najpopularniejszych melodii góralskich. I tych lirycznych i tych bardziej „zbójnickich”.

"Jest geniuszem, który gra również na fortepianie" - tak ponoć o Ignacym Paderewskim wyraził się kompozytor Camille Saint-Saëns.

Ironiczna uwaga wielkiego francuza nie przeszkodziła panom w przyjaźni a nawet we wspólnym muzykowaniu. Paderewski miał w repertuarze koncert fortepianowy Saint-Saensa, ale artyści grywali także w duecie fortepianowym. Do historii przeszły ich legendarne występy w Vevey podczas festiwalu muzycznego w 1913 roku. Pianiści wykonywali m.in Danse macabre Saint-Saensa przenosząc na biało-czarne klawiatury wszystkie kolory orkiestry z poematu symfonicznego, który Saint-Saens skomponował w 1874 roku. Forma walca skrywa w sobie połączenie liryzmu walczącego z przenikliwym motywem skrzypiec – diabelskich skrzypiec, zwiastujących nadejście księcia ciemności o północy. Pod koniec kompozycji możemy usłyszeć też odległy cytat odwiecznego motywu Dies Irae, który wykorzystał także Franciszek Liszt w kompozycji Totentanz.

Koniec utworu zwiastuje pianie koguta, zło pierzcha, znika, aby powrócić w kolejnym wykonaniu.

Po śmierci Paderewskiego w 1941 roku, brytyjski wydawca złożył zamówienie u kilku kompozytorów, mające na celu uczczenie pamięci wybitnego polskiego pianisty i polityka.

Założeniem było zamówienie u każdego twórcy 2 miniatur na jeden fortepian. Benjamin Britten również otrzymał list z taką propozycją, ale niestety zgubił go zdążywszy tylko zapamiętać te dwie cyfry. Jednak nie ustawił ich w odpowiedniej kolejności i zamiast dwóch miniatur na jeden fortepian skomponował jedną miniaturę na dwa fortepiany. W wyniku tej pomyłki powstała jedna z najpiękniejszych kompozycji na duet fortepianowy. Mazurek elegijny to liryczna kompozycja, nie jest ona jednak oparta na konkretnym temacie ludowym, charakter „polskiej tradycyjności” zawiera się raczej w znanym nam „chopinowskim rubato”, tej niepewności pulsu, czasie ukradzionym po to aby oddać go z nawiązką w kolejnym takcie.

Utwór ten jest wspaniałym przykładem tego czym jest duet fortepianowy i jak takie kompozycje powinny być dlań pisane. Partia któregokolwiek fortepianu bez towarzysza brzmi nie tyle ubogo, co po prostu bez najmniejszego muzycznego sensu. Osamotnione, melancholijne melodie, które mogą egzystować tylko razem tworzą narysowane cienką kreską myśli muzyczne, nie pozbawione jednak szlachetnej barwy, która może powstać tylko przy współpracy dwójki pianistów.

Cz. II

Tradycja tworzenia transkrypcji symfonicznych na duet fortepianowy sięga czasów klasycznych. Kiedy jedynym sposobem na wysłuchanie muzyki było jej wykonanie, opracowania takie święciły tryumfy. Symfonie – komponowane na coraz bardziej rozwijające się orkiestry posiadały bogactwo instrumentów, ale skomplikowane faktury nie zawsze było proste dla pianistów amatorów. Stąd idea grywania na cztery ręce.

W czasach klasyków wiedeńskich taka formuła, obok wszelkich transkrypcji na inne instrumenty była najpopularniejsza. Romantyzm przyniósł ze sobą rozwój kunsztu pianistycznego a także wprowadził na salony dwa fortepiany.

Kompozytorzy zaczęli tworzyć nie tylko kompozycje specjalnie dla duetu, ale też swoje symfonie komponowali także od razu w wersji duetowej. I tak np. premiera symfonii Brahmsa odbywała się w wersji na dwa fortepiany.

XX wiek to po romantyzmie kolejna złota era duetu fortepianowego. Impresjoniści tworzyli swe poematy w wersji orkiestrowej a także duetowej. Współcześni twórcy odkrywają nadal potencjał tej formacji i oddają w jej „4 ręce” kompozycje oryginalnie pisane na orkiestrę.

W drugiej części recitalu usłyszymy Symfonię klasyczną (1916-1917) S. Prokofiewa – zapewne obok baletu Romeo i Julia - jego najpopularniejszą kompozycję, ze znanym wszystkim Gawotem we współczesnej wersji japońskiego pianisty Rikuya Terashima.

Czteroczęściowa forma w sposób bezpośredni nawiązuje do wielkich klasyków, tylko bogactwo i wręcz „brawura” kompozytora w doborze i zmienności tonacji pokazuje, że nawet najdoskonalsze, krystaliczne formy można przełamać nagłym zwiększeniem liczby bemoli i krzyżyków, po to tylko aby zmienić tonację a raczej kompozytorskie „zdanie” dosłownie w następnym takcie.

Sam Prokofiew zanotował w swym dzienniku znamienne słowa: Gdyby Haydn dożył do naszych czasów, zachowałby swój sposób pisania i równocześnie przejął co nieco z nowego”

Poemat symfoniczny Maurycego Ravela nie traci w wersji duetowej żadnych elementów wielkiej orkiestry. Francuski impresjonista zrewolucjonizował orkiestrę i podejście do orkiestracji. Nie bez powodu impresjonizm ze sztalug malarskich przeszedł płynnie na pulpity muzyków. Ravel sam dokonywał transkrypcji, zatem obdarzył dwa fortepiany siłą i różnorodnością orkiestry, nie odbierając przy tym wykonawcom możliwości wykazania się wyobraźnią czysto pianistyczną. W prezentowaniu takich utworów nie chodzi bowiem tylko o odwzorowanie i „udawanie” oboju czy wiolonczeli. To raczej tylko kierunkowskazy dane przez kompozytora, który wybierając dwa fortepiany wierzył w znalezienie dźwiękowego balansu pomiędzy „inspiracją” fakturą orkiestrową a możliwościami dynamicznie rozwijających się wtedy fortepianów.

La Valse (1919-1920)– impresja na temat walca wiedeńskiego jest osobistym komentarzem Ravela na temat przemian zachodzących w społeczeństwie europejskim na początku XX wieku. Czasy wielkich bali odchodzą w niepamięć, lud domaga się uwagi i coraz częściej żąda zmian. Arystokracja tkwi w stagnacji, jakby nie dostrzegając nadchodzącego kataklizmu, a raczej niedowierzając, niczym pasażerowie tonącego okrętu. Poemat ten zawiera wiele tematów i motywów walca, jednak żaden z nich nie pozostaje ukończony, każdy z nich wykluwa się, rozwija, jednak kompozytor nie pozwala im na ostateczne ukształtowanie się, coraz częściej przerywając je nagłymi skomplikowanymi akordami i doprowadzając do nieuchronnego rozpadu. Pod koniec utworu wiemy już, że dla walca wiedeńskiego jak i całej dawnej Europy nie ma ratunku. Tragiczna, wręcz przerażająca koda wypełniona powtarzającym się wyciem akordów wręcz wbija ostatnie motywy w dno klawiatury zwiastując rewolucję nie tylko w społeczeństwie ale też w muzyce.

#festiwalmielec2021

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gakvezu-blog · 6 years

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The Graveyard Book: Full Cast Production Get Any Book For Free

Get now >> The Graveyard Book: Full Cast Production Get Any Book For Free

The Graveyard Book: Full Cast Production Get Any Book For Free

A brand-new full cast audio edition of a perennial favorite, The Graveyard Book by Neil Gaiman, which has sold over one million copies. Special content in this edition includes the story behind The Graveyard Book, written and read by Neil Gaiman. The Graveyard Book is the winner of the Newbery Medal and the Carnegie Medal (the only novel to ever win both awards), the Hugo Award for Best Novel, the Locus Award for Young Adult Book, and Audiobook of the Year. This full cast audio edition is performed by Neil Gaiman, Derek Jacobi, Robert Madge, Clare Corbett, Miriam Margolyes, Andrew Scott, Julian Rhind-Tutt, Emilia Fox, Reece Shearsmith, Lenny Henry, and an ensemble cast. Nobody Owens, known to his friends as Bod, is a normal boy. He would be completely normal if he didn't live in a sprawling graveyard, being raised and educated by ghosts, with a solitary guardian who belongs to neither the world of the living nor of the dead. There are dangers and adventures in the graveyard for a boy. But if Bod leaves the graveyard, then he will come under attack from the man Jack, who has already killed Bod's family. Magical, terrifying, and filled with breathtaking adventures, The Graveyard Book by beloved master storyteller Neil Gaiman is sure to enthrall listeners of all ages. The Graveyard Book: Full Cast Production Get Any Book For Free

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reviewae · 7 years

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H2W Reactions (SPOILER ALERT)

Disclaimer: any excerpts taken and posted her do not belong to me, only the reactions do. the excerpts belong to the great great olivieblake.

Okay so Today’s going to be a complete review so before we proceed let me just yell, SPOILER ALERT!!!!!

Okay I’m done, let’s go.

He could keep track, actually. As of that morning, Theo had sent him a name change form requesting the company be called The Deathly Hallows Are Real as Fuck and So Am I, which Harry, a consummate professional, asserted with confidence was not ideal to be offered aloud to the Minister of Magic. The deathly hallows are real AF and so Am I…like does he want to make it more obvious that its actually not? I’m even going to consider this a fanfic anymore. (Petition to make How To Win Real AF)

The dead," Kingsley murmured, scraping a hand over his cheeks, "have a comforting tendency to stay dead."

Harry grimaced. "So true," he lied. I see what you did there olivie, honey.

"Well, aside from news from Zabini, nothing much," Theo cheerfully replied. "Mostly just here to get on my knees and bl-" Theo, like seriously? Seriously? You really don’t have that filter between your brain and your mouth, do you? Or rather that filter between your dick and your mouth (Is there even a connection? I digress.)

"Not anymore, apparently," Theo said, shrugging. "I think the arrangement is part of the deal in exchange for Dionisia's continued patronage with regard to his mother's - " he coughed. "Opera."

Harry lifted a brow. "Opera?"

"Some people like the arts, Potter," Theo drawled, and Harry sighed. Uh oh. You’re not convincing anyone with that, honey.

"Ends, means, whatever. Justified."This is Theo Nott ladies and gentlemen. Ever the eloquent chap. (I’m pretty sure Draco would know exactly know what that saying was and then would proceed to drawl it out, sexily, slowly..umm sorry digressing!)

"Us," Harry repeated.

"I - " Theo began, bemused. "What?"

"You said whether he wants us to succeed," Harry said, tapping his fingers innocently against the desk. "I didn't realize you considered this a collective effort."

"Oh, fuck off, Potter," Theo retorted. "Fine. Whether he wants you to succeed, then - "

"No, no," Harry said, rising to his feet and walking around his desk, leaning back against it as he looked down at Theo with a grin. "Tell me again how we're an us, Nott."

He gloried in Theo's obvious stiffening. He really hasn’t lost the ability to hit the nail on the head has he? Obvious as fuck and still a fucking surprise. I love how olivie perfectly conveys the same harry that’s in the books, yet subtly changes him so much. Like he still is extremely perceptive at times, understanding too. His temper however is consistently absent. Less awkward too. Let’s get back.

"Fuck off, Potter, you know perfectly well that's a lie I told to embarrass you," Theo said flatly, stretching up to his feet and wandering Harry's office, unapologetically making it his domain. "I'd never say something so uncouth if I actually meant it," he pressed, "would I?"

Disappointing, thought Harry, though he tried not to show it. I feel you, son. I’m disappointed too. For you. And for me, cause I don’t get to read blowjob smut. Meh.

"So this is all business, then?" So, you see, if this was Draco or Hermione, it would be all angst filled and dramatic with heartbreak music playing in the background. But, this is Theo Nott and Harry Potter, and Olivieblake. So I’m expecting a Blowjob.

"Oh, fuck no, I didn't say that," Theo replied neutrally, slouching down in Harry's chair and deftly unzipping his trousers. "Go on," he beckoned, winking at Harry and kicking back from the desk. "Give me a show, Auror Potter."

I fucking knew it.

Harry paused, deliberating."That's my desk," he reminded Theo.Theo raised his wand, flicking it lazily to lock Harry's office door."Not right now it isn't," he replied, unfazed, and Harry shook his head to conceal a smile. You adorable idiots. I wish you all the love and acceptance in the world, which is probably not what’s written for the both of you. But still, brb, sacrificing my left arm for you two. (who needs a left arm when you’re a right-hander who ships nottpott to the moon and back.)

Now moving on to the next scene.

Dionisia and her elder sister Sibyll came from a family long admired for its gift of Sight, though only her sister seemed to have inherited it. Okayyyy so she’s wacko divination professor’s younger sis. Interesting development.And it seems like all the sanity and tact that the elder one lost, the younger one has.

largely feelings of juvenile imposter syndrome, The Story Of My Life.

"You play a dangerous game, Miss Trelawney," he remarked quietly, and she smiled, catching something telling in the tormented lines of his face; as if he had said something similar before. She reminds me so much of Tom. Well, the original, canon Tom.Also, Dumbledore’s reaction to her ‘games’ reminds me so much of what he felt about Tom.

"Poor fools," Dionisia thought, tucking vial after vial into the vaults below the house's floorboards. Collecting their memories? Through Tears?

a young man with raven-black hair and a youthful expression, one night in her twenty-fifth year; she had opened the door to her bedroom and found him sitting in her favorite chair beside the fireplace. He reminds me of how Tom is described, but considering this is olivie’s fic and that anything, anything can happen, I withhold judgement and speculation.(But what if it is one of the peverell’s brothers?)

"What do you want?" she interrupted, finding herself uncharacteristically bristled and impatient. Your Façade’s Breaking!!!! ABORT MISSION ABORT!!! PUSH HIM OUT!! HE’S TROUBLE!! (though you are too.)

"Who are you?" she demanded, and he turned, offering her a bow."I thought you'd never ask," he told her.His name was Ignotus Peverell, and he was her first of two terrible mistakes. So, just to clarify, this is the first brother right? The one hungry for power? The completely wack one who suggested ‘killing’ themselves? Also the evil, crazy, maniac?You know going back to the intro of the fic, which says, “Real heroes never quit. Real villians never die.”, is olivie trying to say that the real villians were the first two brothers? Or umbridge? Cause she’s featuring in one of the chapters. But then looking at the scenario, umbridge looks like a small-scale villain compared to these big shots.Okay, that’s too much foreshadowing, back to reading.Okay so I just looked it up, and it looks like ignotus is the youngest guy. Is he a maniac too? Gosh, I hope not.Oh okay, so this guy’s the third one, who’s doing the deed along with the eldest brother Antioch. Fucking obvious that the second one ended up rebelling first. Its always the quiet ones.

"Did Nico tell you that?" Dionisia asked skeptically, glancing askance. "Love is love, I would think, whether secrets are shared or not." Who the fuck is Nico? Please wait while I go and re-read the previous chapters to unearth this mystery.

Roughly an hour later,

Nope, Nada. This guy’s new.

"No," he agreed. "I suspect you've known for some time." He glanced at her. "But do you not feel the same?"She toyed with it for a moment; if she told him the truth, it could certainly cost her, but if she lied, she would subsequently possess a secret - and that, she suspected, would destroy her."I do," she said carefully, and he slid a hand around her cheek, kissing her with a gentle, almost-not-a-touch across her lips, drawing her closer in his arms. Okay so romance between the bad ranks. I really don’t feel anything cause I don’t ship them but oof that’s hot. But honestly, she’s an idiot. That guy’s bad news!!!!!

"Who was it?" Dionisia demanded, and a tear slipped down the young girl's cheek."I don't know her name," the girl sniffed, "but she wore all pink, and looked like a - "She paused, hesitating."A what?" Dionisia pressed."A toad," the girl whispered. AHAHAHAHA!!!! Umbridge is here!!! And here I thought dionisia was a bigshot. Looks like queen bitch is here to fuck all systems up. False memories? How powerful is this bitch umbridge anyway??

"It does for your business," Dolores agreed, "but not for the illicit magic you employ, does it?" She paused, indulging an obnoxious hem-hem sound, and Dionisia implored herself not to strangle the woman on the spot, wishing instantly to divest her of her throat. The feeling’s the same. A decade and a half and my hate for this bitch remains unchanged. I wish I could rip out her throat and gut her like a fish. Too.

one in particular, she lamented furiously, who had yet to disappear. So I’m pretty sure umbridge is the villain who won’t fucking stay dead. But I honest to god don’t remember her dying in the books.

"The man in your past," Parvati said, "he's as present as ever. He stands as unwavering as death, and my vision is the same. Your happiness is as two sides of a coin," she said neutrally. "If you betray his secret, you will survive, but he will be destroyed. If you hold it sacred, you will die, but he will be enriched." Okay so she’s talking about Ignotus, and of course she’s going to keep his secret sacred, cause you do effing crazy things for love don’t you?

Change scene:

"Come in, then," he said, turning back to his scribbled notes as she stepped through the flames, revealing herself to be wearing an emerald green blouse tucked into a pleated leather skirt and paired with narrow stiletto heels that were entirely too high for the occasion.

They were intriguing, certainly.

Well selected for the benefit of her legs. Like how how does he make the phrase “she looks Bomb AF” sound so bookish?

but with the way she was leaning, he was firmly distracted by the not-unpleasant view he'd been permitted of her legs. "Or, you know. See people often?" Her legs are really distracting aren’t they?

"Yes," he replied. "Always to satisfaction."

He watched her clear her throat, her lips parting slightly.

"Satisfaction?" she echoed. Ooooohhhhh, I can sure feel the slow burn. His innuendos are so obvious yet not obvious at all… I guess its always the quiet ones.

He nodded. "I'd hate to see someone depart my services unsatisfied," he said. "I certainly tailor my performance so that each party gets what they came for."

"Which is?" she asked.

He took a step towards her, watching her hold her breath.

She really did have quite lovely eyes, which traveled tentatively to his mouth.

"Fair and impartial judgment," he told her neutrally. "As per my Wizengamot oath of office."

Instantly, she deflated, a breath escaping sharply from her lips.

"Oh," she said, tearing her gaze away.

He smiled. OH MY GOD!!!! HE KNOWS!!! HE FUCKING KNOWS WHAT HE’S DOING!!!!!! PERCY YOU LITTLE SHIT!!!

And now to my favourite part of the whole chapter, Dramione!!!!!!!

Draco, on the other hand, had clearly had other things in mind aside from dancing and small talk. This is more of an innenduo for us then Hermione and I hate that its just that. An innenduo. Why you no sexing her up?!!

"I just don't know if there's much logic in this," she pressed nervously. "Just because her family clearly has money and influence doesn't inherently make them more likely to be involved, does it? I mean, your family's rich and old, and - "

Draco spun on the stairs, whipping around to face her.

"Yes, they are," he agreed sharply, "and my father was the devoted follower of a villainous, amoral cult, and on a good day, I'm just an assassin."

Hermione sighed.

"Point taken," she permitted weakly, and Draco allowed for a brief, arrogant smirk before gesturing back up the stairs. Point one to Draco. Also really impressed of how he so unfazed with his past. Or rather impressed with his façade.

In response, Hermione offered another resigned sigh, hurrying after him as he poked around in the bedrooms, glancing in and switching on the lights.

"What are we looking for?" she asked, and he shrugged.

"Well, nothing in particular," he said, throwing open the door to what appeared to be an airing cupboard, the sides of it lined with neatly-pressed sheets and towels. "Weird," he muttered, frowning as he stepped inside. "Is there another realm back here?" That’s probably her bedroom. Oh God, this whole section is an innuendo not being taken the right- er, wrong way.

Oh, you're early, Emilia Carnegie had sighed, kissing her daughter's cheek. Daisy, you know how I hate to pull back the veil. Don't slouch, Emmett, she murmured to her husband, nudging him as she spared Draco and Hermione a stiff, coldly alluring smile.

Yes, Daddy, Daisy agreed, giving him a hug. You know how Mom hates a show of weak posture.

Shows weak convictions, Emilia said firmly, and promptly let out a startling bell-like laugh. Anyway, what were we saying?

"True," Draco said, shuddering. "Where do women keep things, then?" Mmmmm…Emilia reminds me so much of Narcissa. Same alluring smile, same primness, same cutthroat sweetness.(let the record show that writer recognizes only fanfiction narcissa.)

"Wow," Hermione remarked, impressed.

"Well," Draco sniffed. "For the record, my mother had a far less whimsical palette and infinitely more taste."

"Please don't," Hermione muttered. "I need you to not get Oedipal on me right now, we're very busy - " I love how devoted draco is to Narcissa. #Forevermommysboy

I apologize, Mrs Carnegie," someone replied; an elf, by the sound of it. "Miss Daisy was only getting something from the wine cellar. I heard a scream just before the sound of something breaking, but by the time I apparated in - "

"Are you telling me my daughter is gone?" Emilia raged. Oh my god, is this umbridge’s work? Shit , what’s happening???

"Sex," Draco said instantly PREACH!!! The answer to everything.

"My daughter's been taken," she said in a low voice, her blue eyes sparking with anger. "Were you with her?"

"No," Hermione said nervously. "We stepped out, to - "

"Definitely not have sex," Draco supplied. "Definitely something appropriate."

" - talk," Hermione finished, glaring at him. "We were, um. Getting some air, and - " You handsome idiot, Draco. You know exactly what you’re doing don’t you? Its almost like he’s actually telling them that they were doing the do. Which is essentially what he’s trying to do.

"Of course," Draco assured Emilia, slipping an arm around Hermione's waist. At the unexpected motion, Hermione glanced around, realizing that several of the guests who were wandering the first floor had begun curiously watching them. She felt relieved, oddly, for Draco's ever-surprisingly keen perception. "Of course we can fetch Daisy's things for her," he said loudly, "right, sweetheart?"She feels relieved because he’s there!!! You know I think this is the first fic where draco’s much better at this sneaking thing than Hermione, like infinitely better, must be because he’s an assassin on his best days. I think this is also the first fanfic of olivie’s where you see why they were sorted into the houses they were.

"Does this silhouette look familiar to you?" he asked, and she frowned, uncertain. "It looks," he pressed, dropping his voice to a whisper, "a bit like the person is slouching." Oh my god, is that Emmett ????? NONONONO!!!! MISSION ABORT!!!! RUN! IT’S A TRAP!! IT’S A FUCKING TRAP!!!!!

"Who specifically do you serve?" Hermione pressed, but Draco shook his head, tightly gripping her arm.

NONONONONO!!!! JUST LEAVE FUCKERS!!!!

"We have to get out of here," NO SHIT SHERLOCK!!!

he hissed in her ear, moving to draw his wand, but at a small, throat-clearing cough from the doorway, they both froze in place.

"So sorry about this," called a deeply insincere Emmett Carnegie, "but I'm afraid I have to be certain I haven't sacrificed my daughter for nothing." SHIT. OH GOD, YOU ARE IN SUCH DEEP SHIT. FUCK.

And then, before Hermione could speak, she caught the motion of the elf snapping his fingers, ridding her of consciousness as the floor rose up to swallow them whole. FUCKING OBVIOUSLY THEY HAD TO LOSE CONSCIOUSNESS. OH GOD THE CHAPTER’S DONE??? ON A CLIFFHANGER? NONONONO!!!!

An hour later,

Now that I am in stable condition, not completely stable of course but stable enough to speculate. I would just like to say, that chapter was mindblowing, like I can feel that these are all the small things that are going to come to a crescendo and be a complete fucked up mess.(in a good way). And that cliffhanger, I don’t know how I didn’t see that coming at all!!! Of course this is olivieblake’s fic, so if it doesn’t end in a cliffhanger then it’s a sin, so of course it has to end in a cliffhanger, but no! did I expect it? No.

Okay so reactions done. That was 1402wisegirl, over and out.

#Dramione #How to Win Friends and Influence People #olivieblake #they belong to the great great great olivieblake #Reactions #Draco malfoy #Hermione Granger #harry potter #theo nott #dionisia trewlawnley #ignotus peverell #dolores umbridge #kingsley shacklebolt #emilia carnegie #emmett carnegie #daisy carnegie #parvati patil #morrisson

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