#entation

[homoerotisch]

youtuber survey videos piss me off soooo much they're often done so badly

[p-rtyboy]

Flag id: A rectangular flag with 7 even horizontal stripes, colored from top to bottom; Black, fuschia, orange, gold, orange, fuschia, and black. /end pt

Presmemic

Pt: Presmemic /end pt

Memegender related to pulling up a PowerPoint presentation to explain one's hyperfixation / special interest / interest / etc

Coined on October 16th, 2024

Colors based on the definition, for Day 16 of Cointober 2024 [link] by @rabidbatboy — etymology: [pres]entation + [mem]e + ic

Tagging @radiomogai and @obscurian

[cybernatedbeholder]

Do you have any more augmentations or body mods planned, Brenya? or do you tend to do them on whims?

--E-> I usually plan my augm-Entations long b-Efor-E I g-Et th-Em, as th-Ey t-End to b-E risky . . . but th-Er-E ar-E instanc-Es wh-Er-E mor-E chang-Es ar-E spontan-Eous fix-Es to un-Exp-Ext-Ed probl-Ems.

--E-> I plan on g-Etting an artificial tail to furth-Er improv-E my swimming soon.

[tseneipgam]

"In keeping with my general thesis, which posits that the notion of the book-that-has-been-read is ambiguous, from this point forward I will indicate the extent of my personal knowledge of each book I cite, via a system of abbreviations! This series of indications, which will be clarified as we go, is intended to complete those that traditionally appear in foot- notes, and that are used to designate the books the author theoretically has read (op. cit., ibid., etc.). In fact, as I will re- veal through my own case, authors often refer to books of which we have only scanty knowledge, and so I will attempt to break with the misrepresentation of reading by specifying exactly what I know of each book.

The four abbreviations used will be explained in the first four chapters. UB designates books unknown to me; SB, books | have skimmed; HB, books I have heard of; FB books I have forgotten, At thilitof abbreviation): These abbreviations are not mutually exclusive.

++ (extremely positive opinion), + (positive opinion),- (negative opinion), and -- (extremely negative opinion).

"This encounter with the infinity of available books offers a certain encouragement not to read at all. Faced with a quantity of books so vast that nearly all of them must remain unknown, how can we escape the conclusion that even a life- time of reading is utterly in vain? Reading is first and foremost non-reading. Even in the case of the most passionate lifelong readers, the act of picking up and opening a book masks the countergesture that occurs at the same time: the involuntary act of not picking up and not opening all the other books in the universe."

"To me, the wisdom of Musil's librarian lies in this idea of maintaining perspective. What he says about libraries, indeed, is probably true of cultural literacy in general: he who pokes his nose into a book is abandoning true cultivation, and per- haps even reading itself. For there is necessarily a choice to be made, given the number of books in existence, between the overall view and each individual book, and all reading is a squandering of energy in the difficult and time-consuming attempt to master the whole."

"The idea of perspective so central to the librarian's reasoning has considerable bearing for us on the practical level. It is an intuitive grasp of this same concept that allows certain priv- ileged individuals to escape unharmed from situations in which they might otherwise be accused of being flagrantly culturally deficient. As cultivated people know (and, to their misfortune, un-cultivated people do not), culture is above all a matter of ori-entation. Being cultivated is a matter not of having read any book in particular, but of being able to find your bearings within books as a system"

"they form a system and to be able to locate each element in relation to the others. The interior of the book is less impor- tant than its exterior, or, if you prefer, the interior of the book is its exterior, since what counts in a book is the books alongside it. It is, then, hardly important if a cultivated person hasn't read a given book, for though he has no exact knowledge of its content, he may still know its location, or in other words how it is situated in relation to other books. This distinction be- tween the content of a book and its location is fundamental, for it is this that allows those unintimidated by culture to speak without trouble on any subject. For instance, I've never "read" Joyce's Ulysses," and it's quite plausible that I never will. The "content" of the book is thus largely foreign to me-_its content, but not its location. Of course, the content of a book is in large part its location. This means that I feel perfectly comfortable when Ulysses comes up in conversation, because I can situate it with relative precision in relation to other books."

"Most statements about a book are not about the book it- self, despite appearances, but about the larger set of books on which our culture depends at that moment. It is that set, which I shall henceforth refer to as the collective library, that truly matters, since it is our mastery of this collective library that is at stake in all discussions about books. But this mastery is a command of relations, not of any book in isolation, and it easily accommodates ignorance of a large part of the whole. It can be argued, then, that a book stops being unknown as soon as it enters our perceptual field, and that to know almost nothing about it should be no obstacle to imagining or dis- cussing it. To a cultivated or curious person, even the slightest glance at a book's title or cover calls up a series of images and impressions quick to coalesce into an initial opinion, facili- tated by the whole set of books represented in the culture at large. For the non-reader, therefore, even the most fleeting encounter with a book may be the beginning of an authentic personal appropriation, and any unknown book we come across becomes a known book in that instant."

"This mistrust of books was directed first and foremost against biography. Valéry achieved a certain fame in the world of literary criticism by calling into question the com- mon practice of linking a work closely to its author. It was conventional in nineteenth-century criticism to maintain that knowledge of the author enhanced that of the work, and thus to amass as much information about him as possible. Breaking with that critical tradition, Valéry posited that despite appearances, an author is in no position to explain his own work. The work is the product of a creative process that occurs in the writer but transcends him, and it is unfair to reduce the work to that act of creation. To understand a text, therefore, there is little point in gathering information about the author, since in the final analysis he serves it only as a temporary shelter. Valéry was far from the only writer of his era to advocate a separation between the work and its author. In his post- humously published book Against Sainte-Beuve, Proust ad- vanced the theory that a literary work is the product of a different self from the person we know; in A la recherche de temps perdu, he illustrated this theory through the character of Bergotte."

"Shrewdly, Valéry explains that the value of Proust's work lies in its remarkable ability to be opened at random to any page: The interest of his work lies in each fragment. We can open the book wherever we choose; its vitality does not depend on what went before, on a sort of acquired illu- sion; it depends on what might be called the active prop- erties of the very tissue of the text. Valéry's stroke of genius lies in showing that his method of non-reading is actually necessitated by the author, and that abstaining from reading Proust's work is the greatest compliment he can give him. Thus, as he concludes his article (with a tribute to "difficult authors" who will soon be understood by no one), he barely conceals that, having accomplished his critical task, he has no more intention of reading Proust than ever."

"Valéry's refusal to give the impression that he has read Anatole France may also be a function of the greatest fault he imputes to his fellow author: that he read too much. He char- acterizes France as an "infinite reader"- which, coming from Valéry, sounds like an insult--who, in opposition to his suc- cessor in the Académie, was inclined to lose himself among books: I must say, gentlemen, that the mere thought of all thoseb immense stacks of printed pages mounting throughout the world is enough to shake the stoutest heart. There is nothing more likely to confuse and unbalance the mind than scanning the gilt-lined walls of a huge library, no sight could be more painful to the mind than those shoals of volumes, those parapets of intellectual produce that rise along the quais, the millions of tomes and pam- phlets foundered on the bank of the Seine like waste, abandoned there by the stream of time thus purging itself of our thoughts. "

"the books we talk about are only glancingly related to "real" books--indeed, what else would we expect?-and are often no more than screen books. 15 Or, if you prefer, what we talk about is not the books themselves, but substitute objects we create for the occasion.

Freud uses the term screen memory to designate false or insignificant child- hood memories whose function is to conceal others less acceptable to the con- scious mind. See "Screen Memories," in Sigmund Freud"

"In reading his notes in order to comment on these texts- which he may not remember reading, and even if he does, whose contents he may have forgotten-_Montaigne finds him- self in a contradictory position. The commentary he is reading is not exactly his, without its being foreign to him either. He conveys to his reader the reaction he had to these books on an earlier occasion, without taking the trouble to verify whether that reaction coincides with what he might experience today. For Montaigne, an inveterate practitioner of the art of quotation, this is an unprecedented situation: instead of citing other writers, he cites himself. Indeed, at this extreme the dis- tinction between quotation and self-quotation vanishes. Hav- ing forgotten what he said about these authors and even that he said anything at all, Montaigne has become other to him- self. He is separated from the earlier incarnation of himself by the defects of his memory, and his readings of his notes rep- resent so many attempts at reunification. However surprising we may find Montaigne's reliance on this system of notes, he is, after all, only drawing out the logi- cal consequence of something known to anyone familiar with books, whatever the state of his memory. What we preserve of the books we read- whether we take notes or not, and even if We sincerely believe we remember them faithfully is in truth no more than a few fragments afloat, like so many islands, on an ocean of oblivion."

"Authority is an essential element at play in our discussions of books, if only because citing a text is most often a way of establishing one's own authority or contesting that of others."

"We might use the term inner library to characterize that set of books a subset of the collective library- around which every personality is constructed, and which then shapes each person's individual relationship to books and to other people. 15 Specific titles figure in these private libraries, but, like Montaigne's, they are primarily composed of fragments of forgotten and imagi- nary books through which we apprehend the world. In this case, the dialogue of the deaf arises from the fact that the inner libraries of Martins and of his audience don't overlap, or do so only to a limited extent. The conflict is not limited to any particular book, even if certain titles are men- toned, but bears more broadly on the very conception of What a book, and literature, may be. For this reason, achiev- ing communication between the two libraries will not be Easy, and any attempt to do so will inevitably create tension."

"WHEN YOU DO NOT necessarily know the book you're talk- ing about, there is a person even worse to encounter than a teacher-the person at once the most interested in your opinion of a particular book, and the most likely to know whether you are telling the truth about having read it. This person is the author of the book, who is assumed a priori to have read the book himself. One might think that you would have to have a stroke of incredible bad luck to find yourself in such a situation. In- deed, many people spend a whole lifetime of non-reading without encountering a single writer, never mind the excep- tional case of the author of a book they haven't read while pretending the contrary."

"

written. Every writer who has conversed at any length with an attentive reader, or read an article of any length about himself, has had the un- canny experience of discovering the absence of any connec- tion between what he meant to accomplish and what has been grasped of it. There is nothing astonishing in this dis- juncture; since their inner books differ by definition, the one the reader has superimposed on the book is unlikely to seem familiar to the writer. This experience is unpleasant enough with a reader who has not understood your book's project, but it is perhaps par- adoxically more painful when the reader is well-intentioned and appreciates the book and grows passionate when he be- gins talking about it in detail. In his enthusiasm, he resorts to the words most familiar to him, and instead of this bringing him closer to the writer's book, it brings him closer to his own ideal book, which is so crucial to his relation to language and to others that it is unique, and not transcribable into any other words. In this case, the author's disillusionment may be even more pronounced, since it arises from the discovery of the unfathomable distance that separates us from others."

"

First, it is far from evident, despite what you would expect, that the writer is in the best position either to speak about his book or to remember it precisely. The example of Mon- taigne, unable to identify the cases in which he is being quoted, serves as evidence that after we write a text and are separated from it, we may be as far from it as others are. But second and most especially, if it is true that the inner books of two individuals cannot coincide, it is useless to plunge into long explanations when faced with a writer. His anxiety is likely to grow as we discuss what he has written, along with his sense that we are talking to him about another book or that we have the wrong person. And he is even in danger of undergoing a genuine experience of depersonal- ization, confronted as he is with the enormity of what sepa- rates one individual from another."

"

World. In Changing Places, which un- folds several years earlier, the British professor Swallow (at a humbler phase of his career) exchanges academic positions with a brilliant American professor from the West Coast, Morris Zapp. The job swap is quickly compounded by the two men swapping wives as well. During his stay in California, Swallow initiates a few stu- dents into a game he calls Humiliation: He taught them a game he had invented as a post- graduate student, in which each person had to think of a well-known book he hadn't read, and scored a point for every person present who had read it. The Confed- erate Soldier and Carol were joint winners, scoring four points out of a possible five with Steppenwolf" and The Story of O" respectively, Philip in each case accounting for the odd point. His own nomination, Oliver Twist&- usually a certain winner--was nowhere."

"The example of Hamlet- arguably the greatest work in the English canon, and whose symbolic import is thus significant- shows the complexity inherent in the game of truth, a complexity that is compounded in the case of acade- mia. In point of fact, a professor of English literature runs only a minimal risk in admitting -or pretending to admit- that he hasn't read Hamlet. For one thing, no one is likely to believe him. And for another, the play is so well known that it is not necessary to have read it to speak about it. If it is true that he hasn't "read" Hamlet, Ringbaum certainly has at his disposal a great deal of information about it and, in addition to Laurence Olivier's movie adaptation, is familiar with other plays by Shakespeare. Even without having had access to its contents, he is perfectly well equipped to gauge its position within the collective library."

"

In this cultural context, books--whether read or unread- form a kind of second language to which we can turn to talk about ourselves, to communicate with others, and to defend ourselves in conflict. Like language, books serve to express us, but also to complete us, furnishing, through a variety of ex- cerpted and reworked fragments, the missing elements of our personality. Like words, books, in representing us, also deform what we are. We cannot coincide completely with the image the total- ity of our reading presents; whether the image makes us look better or worse than we should, behind it all our particu- larities vanish. And especially since books are often present within us only as little-known or forgotten fragments, we are often out of phase with the books that are our public face; they are as inadequate in the end as any other language. In talking about books, we find ourselves exchanging not so much cultural objects as the very parts of ourselves we need to shore up our coherence during these threats to our narcissistic selves. Our feelings of shame arise because our very identity is imperiled by these exchanges, whence the imperative that the virtual space in which we stage them remain marked by ambi- guity and play. In this regard, this ambiguous social space is the opposite of school- a realm of violence driven by the fantasy that there exists such a thing as thorough reading, and a place where everything is calibrated to determine whether the stu- dents have truly read the books about which they speak and face interrogation. Such an aim is, in the end, illusory, for reading does not obey the hard logic of true and false, of waving off ambiguity and evaluating with certitude whether readers are telling the truth."

"To speak without shame about books we haven't read, we would thus do well to free ourselves of the oppressive image of cultural literacy without gaps, as transmitted and imposed by family and school, for we can strive toward this image for a lifetime without ever managing to coincide with it. Truth destined for others is less important than truthfulness to our- selves, something attainable only by those who free themselves from the obligation to seem cultivated, which tyrannizes us from within and prevents us from being ourselves."

"As LONG AS you have the courage, therefore, there is no rea- son not to say frankly that you haven't read any particular book, nor to abstain from expressing your thoughts about it. The experience of not having read a book is the most com- mon of scenarios, and only in accepting our non-reading without shame can we begin to take an interest in what is ac- tually at stake, which is not a book but a complex interpersonal situation of which the book is less the object than the consequence."

"our anxiety in the face of the Other's knowledge is an obstacle to all genuine creativity about books. The idea that the Other has read everything, and thus is better informed than us, reduces creativity to a mere stopgap that non-readers might resort to in a pinch. In truth, readers and non-readers alike are caught up in an endless process of inventing books, whether they like it or not, and the real question is not how to escape that process, but how to increase its dynamism and Its range."

"The books we talk about, in other words, are not just the actual books that would be uncovered in a complete and ob- jective reading of the human library, but also phantom books that surface where the unrealized possibilities of each book meet our unconscious. These phantom books fuel our day- dreams and conversations, far more than the real objects that are theoretically their source. 11 One sees how directly the discussion of a book leads us to a point where the notions of true and false, contrary to what the artist with gold-rimmed spectacles believes, lose much of their validity. It is first difficult to know whether we ourselves have read a book, so evanescent is our reading. Second, it is more or less impossible to know whether others have read it, since this would first entail their knowing such a thing."

"The virtual space of discussion about books is thus charac- terized by extraordinary uncertainty, which applies to the participants, incapable of stating rigorously what they have read, as much as to the moving target of their discussion. But this uncertainty is not entirely disadvantageous; it can also provide the opportunity, if those in the conversation seize the moment, to transform the virtual library into an authentic realm of fiction. Fiction, here, should not be understood pejoratively. What I mean to say is that if its rules are respected by the occupants, the virtual library is in a position to advance an original kind of creativity. Such creativity can arise from the resonances that a book calls up in those who haven't read it. It can be in- dividual or collective. Its aim is to construct a book more propitious to the situation in which the non-readers find themselves- a book that may have only feeble links to the original (which would be what, exactly?), but one that is as close as possible to the hypothetical meeting point of various inner books."

"We would thus be wise to avoid diminishing the books that surface in our encounters by making overly precise com- ments about them, but rather to welcome them in all their polyvalence. In this way, we allow none of their potential to be lost, and we open up what comes from the book-title, fragment, genuine or fake quotation, or in this case the image of the couple on a boat in Venice--to all the possibilities of connection that can be created, at that moment, between people. This ambiguity has a certain kinship with the ambiguity of interpretation in psychoanalysis. It is because interpre- tation can be understood in different ways that it stands a chance of being understood by the subject to whom it is ad- dressed, whereas if it were too clear, it might be experienced as a kind of violence against the other. And like analytic in- terpretation, a statement about a book is narrowly dependent on the exact moment when it is made and has meaning only in that moment."

"

AS WE SEE, the obligation to talk about unread books should not be experienced as something negative, a source of anxiety or remorse. To the person who knows how to experience it as positive, who manages to lift the burden of his guilt and pay attention to the potential of the concrete situation in which he finds himself, talking about unread books invites us into a realm of authentic creativity. We should learn to wel- come the opportunity to enter this virtual library and em- brace all its rich possibility. That, in any event, is the major lesson to be drawn from Oscar Wilde's writings on the subject. These texts concen- trate especially on one type of situation in which we may be led to talk about books we haven't read--that of literary criticism.."

"I never read a book I must review; it prejudices you so"- Oscar Wilde

"Long be-fore Musil or Valéry, Wilde had the courage to warn of the dangers of reading for the cultivated individual. One of Wilde's most important contributions to the study of non-reading, because of the new channels it opens up, appeared in an article called "To read, or not to read" in the Pall Mall Gazette, a newspaper for which he wrote reg- ularly. Responding to an inquiry about the hundred best books it was possible to recommend, Wilde proposed divid- ing the contents of the collective library into three cate- gories. The first would consist of books to be read, a category in which Wilde places Cicero's letters, Suetonius, Vasari's lives of the painters,? Benvenuto Cellini's autobiography," John Mandeville, Marco Polo, Saint-Simon's memoirs, * Momm- sen, and Grote's history of Greece.S The second category, equally expected, would comprise books worth rereading, such as Plato and Keats. In the "sphere of poetry," Wilde adds "the masters, not the minstrels"; in that of philosophy, ' seers, not the savants." To these rather banal categories, Wilde adds a third that is more surprising. It consists of books it is important to dissuade the public from reading. For Wilde, such dissuasive activity is crucial and should even figure among the official missions of universities. "This mission," he notes, "is eminently needed in this age of ours, an age that reads so much that it has no time to admire, and writes so much that it has no time to think. Who- ever will select out of the chaos of our modern curricula 'The Worst Hundred Books' and publish a list of them, will confer on the rising generation a real and lasting benefit."7 Unfortunately, Wilde did not leave us the list of the hun- dred books it would be important to keep away from stu- dents. However, the list is manifestly less important than the idea that reading is not always a beneficial activity, but can turn out to be harmful. So menacing is reading perceived to be that in other texts, the list of books to be. proscribed seems to have been extended ad infinitum, and it is not only a hundred books that we need to be wary of, but all of them."

"

The assertion that it takes only ten minutes to familiarize oneself with a book--or even considerably less, since Gilbert begins by assuming as a matter of course that critics don't read the books submitted to them- thus surfaces in a defense of critics, whose cultural sophistication should allow them to perceive the essence of a book quickly. The defense of non- reading thus enters the discussion as an offshoot of the in- quiry into criticism; non-reading is said simply to be a power acquired by specialists, a particular ability to grasp what is es- sential. But the remainder of the text gives us to understand that non-reading is also a duty, and that there is a true risk for the critic in spending too much time reading the book he is to talk about. Or, if you prefer, there are more decisive factors in our encounters with books than the simple question of time"

"

Among the examples given by Wilde, the most significant is no doubt that of Flaubert, who boasted of Madame Bovary16 that he had written a "book about nothing," by devoting his novel to the inhabitants of Yonville. Though Flaubert's work is often called "realist,' » literature for him was autonomous in relation to the world and obeyed its own rules. Art had no need to concern itself with reality, even if it remained present in the background, and was to find its own coherence in itself. If Wilde does not break the link completely between the work and criticism, he strains it significantly by reducing the work to its thematic nature, with the critical text then being judged on the basis of its treatment of those themes and not for its faithfulness. Concentrating on the thematic nature of the object of criticism aligns this original text more closely with art (which may also treat reality as no more than a pre- text), at the same time that it asserts the superiority of criti- cism, which treats works of art the way art treats reality. From this perspective, the critical text is no more about the work than the novel, according to Flaubert, is about reality. What I have attempted to call into question in this book is this word about, in an effort to alleviate the guilt experienced when it is forgotten."

"

Thus does criticism, having cut its ties to a work whose constraints handicapped it, end up revealing its relation to the literary genre that most emphatically foregrounds the subject, namely autobiography: That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not ab- stract, real and not vague. It is the only civilised form of autobiography. Criticism is the record of a soul, and that soul is its deep ob- ject, not the transitory literary works that serve as supports in that quest."

"Speaking about ourselves, then, is to Wilde what should be the ultimate aim of our critical activity. From this perspec- tive, criticism should be protected at all cost from the grips of the work, which might otherwise distract it from that goal. As a result, from Wilde's perspective, the literary work should be reduced to mere pretext ("To the critic the work of art is simply a suggestion for a new work of his own, thar need not necessarily bear any obvious resemblance to the thing it criticizes"),20 but if we're not careful, it can easily metamorphose into an obstacle. So it is not only because many modern works are of little interest that we shouldn't linger over them- the same, indeed, holds true for great works- but because an overly attentive reading, forgetful of the interests of the reader, may distance him from himself. Reflection on the self, meanwhile, is the primary justification for critical activity, and this alone can elevate criticism to the level of an art."

"At the same time that a book may stimulate the reader's thinking, it can also separate him from what, in him, is most original. Wilde's paradox is thus not concerned solely with bad books; it is even more valid for good ones. When you enter a book in order to critique it, you risk losing what is most yourself-to the hypothetical benefit of the book, but to your own detriment. The paradox of reading is that the path toward ourselves passes through books, but that this must remain a passage. It is a traversal of books that a good reader engages in- a reader who knows that every book is the bearer of part of himself and can give him access to it, if only he has the wisdom not to end his journey there. And it is a traversal of just this type that we have observed in readers as diverse and as inspired as Valéry, Rollo Martins, or certain of my students who, when latching onto a single element from a work they know only vaguely or not at all, pursue their own reflection with no concern for anything else and thus take care not to lose sight of themselves. If we bear in mind, in the numerous complex situations we have analyzed, that what is essential is to speak about ourselves and not about books, or to speak about ourselves by way of books (which is the only way, in all probability, to speak well about them), our perception of these situations changes strik- ingly. In fact, it is the many points of encounter between the work and ourselves that it is urgent to bring to the fore, on the basis of the limited available data."

[charlixcxashtray]

the girl i Lost to at my c*llege or*entation Dance Off (lol) is in the new ari MV

[joannad95]

How to get paid traffic for social media marketing?

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[jhavelikes]

The 1990’s, we’ve been told, were the decade of the brain. But without anyone announcing or declaring, much less deciding that it should be so, the 90’s were also a breakthrough decade for the study of consciousness. (Of course we think the two are related, but that is another matter altogether.) William G. Lycan leads the charge with his 1987 book Consciousness (MIT Press), and he has weighed-in again with Consciousness and Experience (1996, MIT Press). Together these two books put forth Lycan’s formidable view of consciousness, extending the theory of mind that he calls ‘homuncular functionalism.’ Roughly, Lycan’s view is that conscious beings are hierarchically composed intentional systems, whose repres- entational powers are to be understood in terms of their biological function. In this review we will call the view ‘teleological functionalism’ or ‘teleofunctionalism’ – the homuncular part, for which Lycan and Daniel Dennett argued convincingly, is now so widely accepted that it fails to distinguish Lycan’s view from other versions of functionalism. This, by itself, is a testament to the importance of Lycan’s work.

A Decade of Teleofunctionalism: Lycan's Consciousness and Consciousness and Experience | Minds and Machines

[impossiblestrangercollectionable]

SPID

Il sito dell'Agenzia delle Entrate é andato in tilt, non è possibile accedere al cassetto fiscale, richiede lo SPID come sempre ma una volta inserita la password non c'è poi dove inserire il numero del secondo codice di sicurezza, ma soprattutto non appare l'alternativa dei soliti 8 SMS all'uso dell'applicazione Leggo stamattina, oltretutto, che l'Agenzia delle Entate é stata presa di mira da truffatori con false email che chiedono pagamenti, la monarchia inglese ci tiene a farci capire come ai tempi di Aldo Moro che non siamo esattamente una repubblica, in fondo la BBC radio non era esattamente repubblicana...

Mi dispiace per loro se non sanno in che realtà vivono perché noi sappiamo di essere una repubblica e non li lasciamo vincere, non ci fanno pena fino a questo punto questo ammasso di pseudo umanità decaduta, in effetti, a proposito dell'Agenzia delle Entrate, il 30 novembre é stata prelevata regolarmente dal mio conto la seconda rata della tassa per questo anno e nel pomeriggio, subito dopo il pagamento (tutti temono che l'Agenzia delle Entrate possa commettere errori e prosciugarti il conto), il Comune ha pagato l'affitto (certo, non per volontà del sindaco...)

Io non vorrei essere accusata di essere testa calda o smargiassa, ma penso che se il nemico è un vigliacco che si nasconde e poi piagnucola in ginocchio di perdonarlo o di credergli quando gli viene rimproverato qualcosa tutto quel che bisogna fare per tenerlo a bada é sbugiardarlo pubblicamente Ora tutti sappiamo chi è che ci minaccia di "bug del millennio" e tutto il resto, perché tutti sappiamo chi ha prodotto e organizzato il circuito di pagamenti e di informazioni telematiche che utilizziamo noi e le banche e le istituzioni per far funzionare quel che deve normalmente funzionare, quindi se non funziona qualcosa di chi può essere la colpa?

[doodlelesbians]

something I really appreciate about Dimension 20 is how they handle fan interaction. The cast respects and treats it as a show. They are creating content for consumers. Obviously it’s very emotional and they clearly care about what they’re doing but there’s clear boundaries established. It’s refreshing compared to other actual play content that hinges on this idea of the audience being “friends” with the cast, or on the fact that the content is just a home game being released. I really respect that these are professionals playing dnd as a job and there’s not that manipulative faux closeness.

[wasalwaysagreatpickle]

Friday 21 May 1830

5 1/2

11 20/..

Fahrenheit 62˚ at 5 3/4 a.m. – fine morning – streets dry after all the rain last night – off at 6 35/.. – (without breakfast) took fiacre on the boulevard to my apartment rue Saint Victor – Monsieur de Mèrbel’s 2nd lecture from 7 33/.. to 8 1/2 – took a little ink stand this morning (1st time and found I could very comfortably take my notes in ink – much better than pencil – lecture on the internal structure of plants as seen with the naked eye and with a loupe – breakfasted very comfortably on my brown bread and 4 sols worth of good milk at the laiterie in about 10 minutes, and home at 8 3/4 – 

At my desk at 9 – I find this French ink so bad I really must write to Miss Maclean to bring me a bottle in addition to the 2 bottles sent by Sowerby with the books – read over what I wrote yesterday to Mariana mention the talk between Lady Stuart de Rothesay and me about going to the Pyrenees in July, and had very kind letter from Lady Gordon last week, and if I go from home at all this summer and not with the Stuart de Rothesays shall probably go with her – ‘she asks if I will go to Spain next – what I shall do, of course, I cannot tell so long beforehand – But all this is quite between ourselves – I never name any of my maybes to anybody but you – I shall, I hope, see you again one of these days; and you may be quite at ease, whatever I determine on’ –

Wish her not to forget, when she has time to remember, French and the use of her pencil – mention Amici’s camera lucida – and Miss Maclean’s intention of being off from London on the 27th – then wrote a little more mention my good breakfast for 7 sols – (milk 4 sols – bread suppose 3 sols) – ‘the luxury of life is independence with a competence – I often enjoy leaving at home carriage and servants, and stealing in among the petit monde, and seeing how it is, that some can live where others would starve – In fact the carriage is at the coach makers again, for the present – Do for pity’s sake believe, that a certain portion of the ‘mammon of unrighteousness’ is absolutely necessary; and let us all do the best we can for living not starving – Let us have the option of having carriages and horses, and all that the world deems comme il faut – we can leave them at home as often as we like – I should be thankful to get you into this way of thinking – If Charles thought as I do, I should not trouble myself about your opinions; for he would take care to provide for you to the utmost of his ability – he would move heaven and earth, and leave brick and mortar forever as they are at Lawton, to leave you not induced to less than five hundreds a year after having shared with him more than as many thousands – How times are changed! I, who never cared for money till you taught me, am now to teach my teacher! well! do what you think best, - but remember that living where others would starve might be even to you less easy, and less comfortable than you may have sometimes imagined, were you obliged to try it – Do not, I beseech you, mistake me – I mean nothing which ought to annoy or disquiet you for a moment – all I ever ask myself is this – How is that she who, in early days when life, and hope, and friendship, all were young, could do so much – how is it that she should seem so careless now? Charles pays all now; and you are rich – Have you misunderstood me? tell me honestly – if you have, I never dare let another word upon the subject escape me in joke or earnest’ – 

Had written the last 1/2 page 3 and 1 1/2 end of my letter to Mariana very small and close, and so far of today at 10 3/4 – at which hour and before this Fahrenheit 70˚ - then wrote a full 1/2 sheet and 2 1/2 pp. of another 1/2 sheet to Miss Maclean exceedingly kind letter – long to see her but not impatient – beg her do what she is persuaded is best, and take her own time, and rest a day or 2 at Boulogne set her at ease about having so long prevented my asking anybody – ‘making always such exceptions, including yourself, as you perfectly well understand, I care less and less about having anybody with me – I am never at home till evening, and then my aunt, and dinner, and going to bed, are quite enough – It was from last August to October that so unsettled me – you were my physician and balm of gilead, in that case – I am well enough now, and could go on long enough in this way, if nothing occurred to rouse my memory from her slumbers – you do me the greatest kindness to come – the next greatest to leave me the power of saying I can ask no one so long as I am expecting Miss Maclean you always miscalculate your usefulness – Do set your mind at ease on this point – were it not for you, I might feel some obligation to do one or two things I escape now – Besides, if I take it into my head to wish to go from home while you are with us, I shall make no scruple…….It will amuse you to find how I consume my time, and how immeasurably little I trouble myself about anyone for whom I do not feel some interest at heart’ –

Then read over what I wrote yesterday to Miss Hobart dated Friday (today) but mentioning its being a fête day, just wrote over the sentence’ ascension day Thursday not Friday’ – ‘Have you got any more stories lately? the cuisinère of an English family that was here in the winter went the other day to Madame Galvani, to entreat her to try and get her a place – ‘Oh! mon dieu! Madame! Madame sait bien que quant ou sort d’une maison anglaise, ou a bien de la peine à en trouver – personne ne vous vent, parci qu ou a tout de suite la main rouiellée Madame Galvani Et pourquoi ça dout? mais madame [suit] bien que ces anglais ça ne fait pas comme tout le monde – ça mange des radis et du beurre aprés l’entremet!’ I hope that inimitable ça ne fait pas – ça mange – is not lost upon you – Ever affectionately yours AL’ – 

Had just done all and written so far of today at 1 1/4 – at 1 1/2 letter from Mariana (Lawton) 3pp. ends and under the seal – she and Mr Charles Lawton had a most providential escape from a thunder storm – the horses took fright and ran away – luckily ran into a hedge – narrowly missed throwing them into a horse-pond where Mariana would have been undermost, and where, if not water enough to drown them, they would have been very seriously inconvenienced – she glad I have not ordered the gowns – my explanation of the modes so clear, Watson can do all that is required –

Explains about money matters if I had only myself in view I do not hesitate to say I should think very little of the subject with regard to you I know your habits are yearly becoming more expensive therefore I should be glad to feel that I was likely to bring more to the exchequer than was sufficient to cover my own expenses of dress and maintenance and those who have hitherto benefited by any over plus in my income must of course be minus any future advantage now bearing in mind that these were the thoughts that dictated the sentence in my last which you have transcribed I am quite at a loss to guess what idea presented itself to you when you wrote immediately after it –

‘I shall not comment much upon this paragraph – it must surely be unnecessary; for you yourself on reading it over, cannot fail to be struck with much that cannot fail to have occurred to me’ – now, my darling if you wish me to know what did occur to you, you must explain, for in truth I cannot guess for in my conscience nothing ought to have occurred but a very satisfied feeling that at least I was not mercenary, and should not cost more than my own means would provide. In as much as I cannot bring myself to say more than I have already done on money matters you may perhaps think I am still unconcerned but I do not mean to say, that I would throw away any just or fair way of improving my pecuniary advantages’ – August cottage given up – Charles could not get the money without a mortgage, and would not (could not)’ give that – filled the other end of my letter in answer to Mariana saying I was satisfied – had I had her letter the 1st thing this morning, should not have written what I did some hours ago – all I meant was one could not prudentially be indifferent on the subject of money matters – 

Mariana’s argumentation not very logically deducible from the paragraph in question she writes heavily and formally and I like not her style she may well talk nowadays of not being mercenary when she will have her jointure and my fortune to come to she could be mercenary for herself when she married Charles but she cannot now be mercenary for me? the fact is I had better see her again and see how she pleases me nowadays I have my doubts [I] not she is changed? 

Sealed up the envelope containing my letter in envelope to ‘Miss Maclean 1 half sheet full and 2 1/2pp. of another 1/2 sheet unluckily not sealed, and this and 1/4 sheet letter full to Miss Hobart in envelope to ‘Miss Hobart Honourable Lady Stuart’s Whitehall’, and at 2 5/.. gave this to George for the Embassy, and gave him for the great post my letter (3pp. and long ends small and close) to ‘Mrs Lawton, Lawton Hall, Lawton, Cheshire, Angleterre’ – 

Somehow I knew of leaving the letter to Miss Maclean unsealed but unluckily did not think of it might be disagreeable if Miss Hobart saw line seven from the bottom of page last but one – 

Had just written so far of today at 2 55/.. – then till 4 3/4 reading over Mariana’s letter, and writing her 1 page and 4 lines very small and close – 

In answer to the crypt on the other side – 

A useless day this for science – I will take care to have less to explain with Mariana in future – 

Lovely day – I read last night while undressing and this morning in the fiacre [Δcɑλojos] à, my school edition nonnulli è Luciani Dialogis (London 1726), and brought the book and my Greek grammar here with me this morning – off at 5 1/4 – sauntered along the quais – home at 6 25/.. – dressed – dinner at 6 3/4 – came to my room at 8 1/2 – settled with George – said I was much annoyed at the answer he gave me yesterday – he said he was very low – very well, said I, you have been in the family almost 10 years you ought to have known me better but the next time it occurs I shall take it as a warning – now take notice if I say I will do a thing no entreaty can prevail – 

On coming home this afternoon found on my desk long rigmarole note from Monsieur Saint Romain explaining who he is, fancying from my asking on Wednesday at Daly C’s why he adopted the name of Saint Romain that he ought to give me a long explanation for fear I should think him wishing to make himself greater than he really is – nonsense – sat musing – violent thunder storm between 7 and 8 – very heavy rain and loud thunder and lightning even till now after 9 – coffee at 9 5/.. – came to my room at 10 25/.. at which hour Fahrenheit 65 1/2 – fair, but raining heavily till about 10.

[in-her-wildest-dreams]

do americans say pre-sentation or pres-entation

[thebrutalballadoffangusklot]

you think if doofenshmirtz found out his daughter was trans or something like that he’d be one of those dads whos super supportive but in a extremely embarrassing way like, like making a support-my-kid-with-themed-shirts-entator

[lexiconjure]

entation

n. [mass noun] the action of entailing someone or something: the entation of the old man.

[count noun] a person who is considered to be excessively little or no status or character; an angry or inconsiderate or interesting experience: the entation of the environmental background / [count noun] an entation of respect for the project.

[count noun] a discourse or device that is not in accordance with the problems: she received a restaurant at the entain of a day / [count noun] the car was a confident entait.

the faculty of achieving something: the entaining of the story.

[count noun] an action or process that is already attached to or associated with something: the entain of the government's company.

[count noun] a person or thing that is or has a specified action or condition: he was an entain of life and strength.

[count noun] a variety of a particular place or situation: the entire loan became a relative entain.

[all-the-single-psychos]

For Toby, what do you label yourself as?

“I-I’m gonna assume you mean in terms of sexual orient-entation.  I’m bi.”  Toby grabbed CheckMate and hauled him over, picking him up under the arms.  “Or, as I like to call it, Austinsexual.  I could go for either gender, but if I had to choose with a gun to my head, I pick Austin.”

[rlg102group103]

week 11 blog post: Rebekah

One god-like figure in politics would be Donald Trump. His presence as a president satisfied the people's entate desire for violence and discrimination. One example is racism toward the Asian community. Racism was already active towards Asian people due to China economically destroying foreign markets, this is seen in the housing markets where foreign investors purchase homes in other countries. The racism changed overnight after Trump stated that COVID-19 was the"chinese virus".As a high-status individual, he scapegoated the Asian community to deal with the anger and frustration of the masses. Unfortunately, the people who perform racist acts on people of ethnic origins don't realize that violence and hate don't solve the problem.

[444names]

the entire article on "om" from wikipedia

Ablegint Ableneal Abley's Abradake Addhi Agatican Agaṇapas Agence Alage Altiffin Andotion Aninesike Anism Antrato Aomma Aomukh Apated Aringdo Aritation Arldems Ashati Assaktion Astice Atues Aummulack Aumpatum Avation Aving Avionte Aweemon Bable Babold Baction Beity Bented Beria Betya Bharced Bharga Bhasounic Borted Botince Brapan Brasamax Brihicant Buillei Calligan Caustic Cha's Chably Chaging Chalit Chapaing Chappeni Chark Chayajjha Cheaf Chincling Chiplem Chistarma Chrions Chrout Cipath Citiongs Cogni Cograth Combolons Comente Comical Comicates Comicong Concerre Conkar Consed Consly Conts Cosect Counindeb Crelus Crith Culpht Curon Dateri Datory Dembore Dened Derenled Devary Dharit Dibles Dicaling Dically Dielf Dinit' Ditarl Dites Dityal Doging Dotheries Dowids Dralmic Drated Drates Durells Dānag Eallut Eangs Eatiple Ekitrand Eleser Emenduce Emsed Encepent Enceping Entations Entract Eption Equive Equived Etyam Evajumens Evaram Exple Explut Exply Expose Exprest Exters Ficapht Figuṇa Fixed Foled Follayst Foread Fored Forthon Fourga Freling Frook Froughts Furromi Fussalish Gation Gaved Gavie Gitionces Givericon Gnisne Grahava Gujapt Gulanals Gulted Gurbablen Gurth Gātra Hapatesha Happer Haryu Henligra Hiphile Histi Hotark Hounda Huvas Iddive Idever Iloga Imeng Immunre Imphong Impurt Inging Ingion Ingual Inslic Intinal Iticle Itued Iverres Japtenue Jaśīrā Jnather Johna Kand' Khidere Kitten Klaking Klantly Knons Knorytha Kohlicams Kokya Komek Korend Kriantr Krind Labhainer Lagarke Laice Laing Lambing Leactical Lebrati Lects Licied Lifiesha Lifyingle Lited Lized Loolvels Lopers Lowlety Magicaure Mahery Mains Makkhi Manum Mapharays Marisang Marly Mater Matiation Mation Matran Mayal Meatious Meddhara Melphogy Menciphte Mevade Mgning Molote Moodund Mords Mostries Moter Moura Mouted Mukyū Munders Müllooke Nants Napturi Nater Nemealp Notion Nowelize Nowern Oberow Obtarly Ollugu Ombout Omers Ommauset Ommonon Oponese Ordly Ormant Oryoness Panuss Pargatere Pariong Parld Pasay Passangs Peakti Peathes Pecome Penend Pents Perce Peren Persenal Phinded Plarmaru Porcurale Portai Posiv Pramong Prane Pratyagas Prays Preempla Prenle Prenthi Prepturge Prodyā Proligism Prood Proodest Prooto Properih Proptes Prourass Pubjectur Purefice Qualtion Quatims Quistaire Quived Rad's Ramed Raniyā Rearess Reaviou Reemi Reeproly Reingin Relic Rence Renced Rensimā Repic Rescrelly Reved Revesel Reyanine Riperts Rishas Ritionse Ropicon Ructle Rverya Saged Salianas Samaṇave Sanda Scodis Scrow Scrown Securei Seecte Seent Sencers Sener Seraya Serion Sersagniō Shads Shailter Shaind Shapts Shasts Shesed Shindurga Sigheam Silly Siming Sinater Sindu Sireed Skrign Skyand Soccurity Socitan Sopects Sopenes Sortions Soure Souta Spers Spess Statured Staty Stianed Stion Stions Stivers Stoots Strone Subtly Suctor Sumerey's Supaire Surbasse Surchout Surgaing Surmety Svarmed Sylletr Sylly Symbind Systris Tage's Taran Tatesedin Tation Teadern Thenen Thogyō Tholia Thoun Thount Throm Ticully Trighth Uddhil Uddimmund Udist Unaman Undecomme Undistr Unduss Unifiens Upaiveran Uppla Upran Usted Utkary Varse Vation Vaśra Veloose Vents Videndi Vingur Vizessant Vocie Vocion Vologiden Voted Vower Vṛddha Wadite Whammons Whigh Whing Wholly Whomkarts Worcedge Worrings Wount Wrien Wriewited Yangs Yansle Yating Yomka Yompon Yotenes Yotheack Yudical Āmauṃ Āumen