#iwona speaks

[shuttershocky]

What Arknights modules are actually worth taking allll the way to level 3? Just got Saria to level 2, and I had to double check if there was any reason at all to bother with the last tier. (There's not, Saria is the only melee operator in the faction, what the heck.)

There's plenty I would say are actually worth it (though many are bafflingly on units that didn't really need the help). My recommendations would be:

Mostima X - Slow hits 90% at Level 3, Global Slow 18%. one of the most powerful module upgrades in the game

Skadi X - Lowered Redeployment Time critical for using Skadi as an Assassin

Specter the Unchained X and Y - Both of these are just stupid good. X for solo, Y for Abyssal team buffs

Ch'en X - Level 2 is good, but Level 3 makes Ch'en charge her own skills super fast

Dusk Y - Massive improvements to her SP gain and the strength of her Freelings, makes S3 actually usable

Gladiia X - 30% Phys and Arts damage reduction to all enemies for all Abyssal hunter units Omegalul

Rosa X - Literally double damage to enemies with a higher weight than 2 what the fuck, the numerically strongest module in the whole game so far

Hellagur X - Massive survivability upgrades for a guy whose gimmick is pushing it to the limit, incredibly good numbers

Ceobe X - Another massive number module upgrade, this one increases the bonus damage Ceobe gets from the enemy's DEF stat. Enemies with incredibly high DEF get mulched by her S2's new DPS.

Siege Y - Recommended only if you have Bagpipe, Siegepipe with Siege Module Y level 3 is Flagpipe levels of DP generation vs lots of small enemies, while also being able to actually fight

Kal'tsit X and Y - Both are incredibly good upgrades to Mon3tr, which baffles the mind as they are already Kal'tsit and Mon3tr

Dorothy X - 20% chance to deal double damage with a trap is funny, but you want the module upgrade because it literally doubles her bonus damage from +20% to +40%, putting her over 1k ATK without any buffers, so her traps deal massive damage even without crits

Lin X - Level 3 makes Lin completely immune to physical damage with a DPH of <1250 while also boosting her SP gen, making Lin one of the best physical tanks in the game. Disgustingly good. Carnelian cries herself to sleep hoping HG would love her like that

And now for the lower rarities

Andreana X - Abyssal Hunter unit. Duh.

Bibeak X - Increasing her ASPD also increases her SP gen, while also getting +ATK per stack is a very nice damage boost too. A must-have for Unlimited Bibeak Works enjoyers

Firewatch Y - Adding "Enemies that don't attack" to her list of targets she deals bonus damage too is a big deal, as this adds a surprisingly large amount of enemies to her kill list. It's good for both her S1 and S2.

April X - Even more reduced redeployment time for the Fast Redeploy Marksman? Don't mind if I do. Also strangely reduces her DP cost too, making her even more effective. While Level 2 to level 3 only subtracts 3 seconds from her redeployment time, every second counts in harder stages.

Perfumer Y - Perfumer's global regeneration talent is great. Upgrading that talent? Busted. To this day Perfumer's biggest competitor in her niche is Skadi the Corrupting Heart, a limited 6 star.

Ethan X - Most modules upgrade one thing, maybe two things that an operator actually wants. Ethan's upgrades three, giving him an AOE slow within his attack range, better bind chance, AND better bind duration. The strongest 4 star module and one of the best Module Level 3s.

Gravel X - Another powerful module for a unit that never needed it, Gravel's Level 3 module reduces Kazmierz ops redeployment time by 5 seconds every time she deploys, making her a support unit for Nearl the Radiant Knight and Wild Mane. Speaking of which...

Wild Mane X - Reduces redeployment time, a great combo when Wild Mane wants to jump around the map with her S1. Not really worth it most of the time, but if you like to run NTRK then definitely get Iwona's level 3.

[aboutanancientenquiry]

Herodotus’ Histories as natural narrative

Iwona Wiezel "Herodotus’ Histories as natural narrative. Croesus’ logos I. 6-92" (publ. in: AJCN No.6, Autumn 2010/2011)

Where are the questions about the oral characteristics of Herodotean discourse coming from? Are they legitimate and can they still provoke thoughts of a contemporary researcher? In a wider context, the inquiries as to the oral discourse of Herodotus are, in fact, questions regarding the essence of Herodotean narrative. Furthermore, how Herodotus wrote, or maybe rather how he would have liked to write are consequently inquests into the state of culture, concerning how the culture lives in the creative activity of the writer, how the culture manifests itself in it, and, simultaneously, how does the literature transform the culture. Up till this day, researchers are not concordant to the cultural stage of Greece in the 5 th century B.C. Was it still an oral culture or was it a culture of literacy? How did the transmitters of the word in general, and in this case: voice or an inscribed papyrus roll respectively, influence the creation and reception of literature in those times? How did a person who could choose only between the two above mentioned ways of transmitting express himself through them? It seems, that the research of Herodotean discourse enables one to infiltrate a reality that is distant, but, at the same time, in many respects similar to the present time. Here, I have in mind the reality of a narratee from the old days – an ancient Greek, and also a present day narratee like myself – a recipient who receives an information about the past from the text of a middleman: a historian – writer. And, although the report is subjective and constitutes one of the many possible versions, what matters the most is the sole fact of transmission 1 through a narrative, of transmitting not only words but also traditions, ways of thinking and, so to speak, a perspective in which one should look at the world and try to understand it. A narrative becomes one of the forms in the process of this cultural transmission and a specific medium of communication, and in this process a sense of identity and that elusive community of human beliefs that is both able to transgress space while still existing in time is being created. So, if a narrative is to be treated as a medium in the process of transmitting a cultural message, than I would consider the natural language to be its basic substratum. The analysis of the connection between those two elements in the form of a natural narrative enables to partially grasp this process, the fruits of which are literary texts, both oral and written, starting with an ancient epic and ending with a contemporary novel.

Iwona Wiezel, John Paul II Catholic University of Lublin, is a Polish Classicist.

[govindhtech]

The 2022 DRAM Module Supplier of the Year is Kingston Technology

Kingston Technology created 2022 DRAM Module Supplier of the Year

Commanding the Market: Kingston’s Unassailable 78.12% Market Share

In a resounding affirmation of its industry prowess, Kingston Technology Company, Inc.’s affiliate stands tall as the paramount third-party DRAM module supplier for 2022. The latest revenue-based rankings by TrendForce unequivocally place Kingston at the zenith, boasting an astounding 78.12% market share, with a revenue totaling $13.5 billion USD. This achievement not only cements Kingston’s top-tier status but also marks an unparalleled 20-year reign as a recognized world leader.

A Decades-Long Reign: 20 Years at the Pinnacle

The enduring success of Kingston Technology is underscored by its two-decade-long dominance in the DRAM module sector. The company’s unbroken streak at the forefront speaks volumes about its unwavering commitment to excellence and innovation.

TrendForce Report: A Global Recognition of Kingston’s Supremacy

The accolades bestowed upon Kingston in the TrendForce report are a testament to its resilient performance in the face of a challenging market. Despite a 4.6% year-over-year decline in DRAM module sales industry-wide, Kingston’s revenue experienced a marginal dip while solidifying its position as the global leader.

The Power of Brand Scale: Kingston’s Robust Strategy

Consumer buying trends for electronic products encountered headwinds from high inflation, impacting several market players. However, Kingston’s robust brand scale and a comprehensive product supply chain acted as a shield, mitigating the decline and preserving its preeminence in market share rankings.

Market Landscape: Kingston’s Commanding Presence

The report reveals that the top five memory module houses globally accounted for a staggering 90% of total sales in 2022. Kingston, with its dominant market share of 78.12%, emerges as the indisputable leader. The chart below, sourced from TrendForce, outlines the rankings of the top 10 DRAM module suppliers in 2022.

Innovation Beyond Boundaries: Kingston’s Product Evolution

In 2022, Kingston’s award-winning Kingston FURY Beast DDR5 and Renegade DDR5 memory modules underwent a transformative redesign. The introduction of white heat spreaders offers users the freedom to choose the color that best aligns with their individual style. In an era where system aesthetics matter, Kingston provides modules that complement both traditional all-black systems and the burgeoning trend of all-white PCs.

Insights from Kingston: Navigating a Demanding Business Landscape

Iwona Zalewska, DRAM Business Manager at Kingston, EMEA, reflects on the 2022 findings from TrendForce. “The findings not only highlight Kingston’s ongoing expansion and adaptability but also underscore our resilience and significance within the industry,” she remarks. “Maintaining our top position for the 20th consecutive year is a testament to our enduring dominance.”

About Kingston Technology Europe Co LLP

Kingston Technology Europe Co LLP, alongside Kingston Technology Company, Inc., operates within the same corporate group. Kingston stands as the world’s largest independent manufacturer of memory products. From big data solutions to laptops, PCs, and IoT-based devices like smart and wearable technology, Kingston plays a pivotal role in delivering the technology that shapes our daily lives. The world’s foremost PC manufacturers and cloud-hosting companies rely on Kingston for their manufacturing needs, showcasing the trust placed in Kingston’s passion-fueled technology.

Read more on Govindhtech.com

[polishwomenartists-sztukakobiet]

Polish Women Artists Archives | House of Nuremberg in Cracow Dom Norymberski w Krakowie | The Womenal #Poland | 2019

https://facebook.com/events/s/wystawa-femina%C5%82/450834802194681/

The exhibition titled The Womenal derived from Günter Grass’s novel called The Flounder. Its leading theme is the feminist history of the world according to Grass, the relation between men and women, as well as the criticism of patriarchy and male dominance.

Artists / Artystki: Agata Agatowska, Iwona Demko, Georgia Fambris, Urszula Kluz-Knopek, Natalia Kopytko, Katarzyna Kukuła, Ewa Kulka, Jasmin Lothert, Małgorzata Markiewicz, Agata Norek, Anna Orbaczewska, Elena Provata, Ulrika Segerberg, Małgorzata Wielek-Mandrela

+ Günter Grass

Curators / Kuratorki: Iwona Demko, Renata Kopyto, Marta Wróblewska

House of Nuremberg in Cracow, ul. Skałeczna 2,

Opening: 11.10.2019 at 7 pm.

The exhibition entitled The Womenal derived from Günter Grass’s novel called The Flounder. Its leading theme is the feminist history of the world according to Grass, the relation between men and women, as well as the criticism of patriarchy and male dominance.

The Flounder by Günter Grass was published in Germany in 1977, almost 10 years after social transformations which took place in 1968, during which the second wave of feminism went through West Germany. This book fitted into the atmosphere which was in the air in those times. And despite the harsh criticism it received from the contemporary feminist milieus, from today’s perspective it can be seen as prophetic.

The starting point for this tale about the history of mankind as the history of male emancipation from the power of matriarchy, is the well-known brothers Grimm story which in Polish version is entitled About the Fisherman and Golden Fish, and in German - About the Fisherman and His Wife. In the book two versions are interwoven: in the first one, the caught fish (Grass’s flounder in this case) makes all dreams of the greedy fisherman’s wife come true; in the second one, it is the man who keeps wanting more and more things and power to help him rule the world. Certainly, it leads to a catastrophe and final disaster.

The circle of history described by the author encompasses the primeval tribes from the matriarchy epoch, through the middle ages, after that renaissance, followed by Prussian State, up till contemporary times, that is the 70s of 20th century. Exactly then, three feminists catch the speaking flounder in the North Sea. The fish becomes the personification of the whole male-kind and tells a story how it inspired men to break free from the power of women. He appoints himself the director of the story of humankind and the author of the script for this narration. The book is divided into nine chapters parallel to nine months of pregnancy. The story that is being told is at the same time the interrogation of the big fish in front of a feminist tribunal, the so calledThe Womenal. The emancipation of the male-kind is at the same time the story of women’s subjugation and exclusion from active life. We can trace how they are deprived of the influence on their own lives, and how they are gradually undergoing the oppressive rules of functioning in the patriarchal society.

One of the places they were assigned, apart from bedroom and church, was the kitchen. Grass sees in cooking and perfecting this skill by introducing new ingredients and creating new dishes, a kind of magic, curing witchcraft, the power to control the strength and weakness of the body. Nine women cooks are the protagonists of the novel. They are, according to Grass, an integral part of the local history of Pomerania, and perhaps the global history too. In the prehistoric times women were born with the third breast to feed the men with their own milk, as this ritual had a sedative effect on them. Later on, thanks to introducing potato to the menu, women protected many people from famine, and with the help of warm thick soup they would disarm the tyrants. Enemies were eliminated by adding poisonous ingredients taken from the natural resources and included in the dishes. The Flounder contains numerous recipes and shows their evolution: from milk dishes, through meat and fish diet, up to the discovery of forest fruits and plant cuisine.

If women did not consider marriage as the biggest happiness in their lives, they could go to the nunnery. It was the place where they could finally renounce the sexual services like Dorothea of Montau who, according to Grass “was the first woman (in our region) to rebel against the patriarchal tyranny of medieval marriage” (The Founder, p. 166). Or, on opposite, they could enjoy full sexual freedom like Margarete Rusch. The promiscuous Abbess of Saint Bridget’s Convent “solved the bitterly earnest question of the century, the question of how to serve up the bread and wine, the Lord’s Supper, in her own way, to wit, bedwise, by acrobatically moving her twat into the vertical and offering is as a chalice, which was then filled with red wine” (The Flounder, p. 209).

Despite the considerable understanding for the political and social situation in Germany in the 70s, and the effort to understand and describe the situation of women with empathy, Grass’s novel contains fragments which were unacceptable for the feminist movements, nor for any women working in arts. Professor Maria Janion points out some of the controversial theses uttered by the Flounder, that “only men are equipped with the ability to experience metaphysical feelings”, “making art is only the male domain”, “woman with her ‘moist warmth’ can be at best the source of creative inspiration for men, his silent muse”, “woman should remain unmoved like the ‘mossy earth’ and be happy she can serve.”

Women, who have been able to study and make art at the academies only for the last 100 years, 40 years after The Flounder has been written are able to prove how Grass’s fish was wrong. Among the themes undertaken within the exhibition. The Flounder himself, held responsible for this state of affairs, and put to court, thus announces prophetically: “I gave you the knowledge and power, but all you wanted was war and misery. Nature was entrusted to you, and what did you do, you despoiled it (…). In short: you men are finished” (The Flounder, p. 453). From today’s point of view one can add: also within the domains which the author is willing to defend in the above quotes. One thing is certain though: in this exhibition art is the domain of women. Renata Kopyto

🇵🇱 Tematem wystawy Feminał są wątki z powieści Güntera Grassa pt.: Turbot: feministyczna historia świata według Grassa, jego postrzeganie kobiet i ich relacji z mężczyznami, ale też krytyka patriarchatu i męskiej dominacji. Pierwsza odsłona ekspozycji miała miejsce w Gdańskiej Galerii Güntera Grassa, od 27.04 do 22.06.2019.

Turbot Güntera Grassa ukazał się w Niemczech w 1977 roku, prawie 10 lat po przemianach społecznych, jakie miały miejsce w roku 1968, podczas których przez zachodnioniemiecką republikę przetoczyła się druga fala feminizmu. Książka noblisty wpisywała się w atmosferę, jaka wtedy panowała. I chociaż ówczesne środowiska feministyczne mocno ją skrytykowały, z dzisiejszej perspektywy można tę powieść uznać za proroczą.

Punktem wyjścia do opowieści o dziejach ludzkości jako historii męskiej emancypacji spod władzy matriarchatu jest doskonale znana baśń braci Grimm nosząca w polskiej wersji tytuł O rybaku i złotej rybce, a w niemieckiej O rybaku i jego żonie. W książce pojawiają się jej dwa warianty: w pierwszym wyłowiona ryba, którą u Grassa jest właśnie tytułowy turbot, spełnia wszystkie zachcianki zachłannej żony rybaka, w drugim to mężczyzna jest tym, który ciągle pożąda nowych rzeczy i władzy pozwalającej mu zapanować nad światem. Prowadzi to rzecz jasna do katastrofy i ostatecznej zagłady.

Koło historii, które autor kreśli w powieści, obejmuje pierwotne społeczności epoki matriarchatu, następnie średniowiecze, potem przechodzi do renesansu, dalej z kolei do państwa pruskiego, aż wreszcie do czasów mu współczesnych, czyli lat 70. XX wieku. Wtedy to właśnie trzy feministki wyławiają z Morza Północnego turbota mówiącego ludzkim głosem, który staje się personifikacją całego męskiego rodzaju i opowiada, jak to z jego inspiracji mężczyznom udało się wyzwolić spod władzy kobiet. To on mianuje się reżyserem ludzkich dziejów i autorem scenariusza tej narracji. Zostaje ona podzielona na dziewięć rozdziałów odpowiadającym dziewięciu miesiącom ciąży. Snuta opowieść to jednocześnie przesłuchanie wielkiej ryby przed feministycznym trybunałem, zwanym w powieści Feminałem. Ta emancypacja męskiego gatunku jest także symultaniczną historią zniewolenia kobiet i procesu wykluczania ich z aktywnego życia. Możemy prześledzić jak pozbawia się ich wpływu na własne losy i jak stopniowo poddawane są opresyjnym zasadom funkcjonowania w patriarchalnym społeczeństwie.

Jednym z miejsc, które kobietom wyznaczono, obok sypialni i kościoła, była kuchnia. U Grassa gotowanie, doskonalenie tej sztuki poprzez wprowadzanie nowych produktów i przypraw oraz poprzez kreowanie nowych dań ma urok czarów, znachorstwa, mocy panowania nad ciałem, jego siłą i słabością. Dziewięć kucharek przewijających się przez karty powieści zapisało się na zawsze, według gdańskiego pisarza, w dziejach Pomorza, a może i całego świata. W czasach prehistorycznych wyposażone w trzecią pierś, karmiły własnym mlekiem mężczyzn, na których rytuał ten działał jak środek uspokajający, później dzięki wprowadzeniu do jadłospisu ziemniaka, uchroniły wielu ludzi od klęski głodu, a za pomocą ciepłej i pożywnej zupy rozbrajały tyranów. Wrogów eliminowały zaś wykorzystując umiejętności przyprawiania dań darami natury o śmiertelnym działaniu. W Turbocie znaleźć można sporo kulinarnych przepisów i prześledzić jak one ewoluowały: od potraw mlecznych poprzez mięsne i rybne, aż do odkrywania owoców lasu i kuchni roślinnej.

Jeśli kobiety nie uznawały małżeństwa za swoje największe szczęście, mogły udać się do klasztoru. Było to miejsce, gdzie wreszcie mogły odmówić usług seksualnych jak Dorota z Mątowów, która według relacji Grassa - „była (w naszym regionie) pierwszą kobietą, która zbuntowała się przeciwko patriarchalnemu przymusowi małżeństwa” (Turbot, s. 173), albo wręcz przeciwnie, korzystać z pełnej obyczajowej swobody, jak Margareta Rusch. Powieściowa przeorysza klasztoru św. Brygidy „śmiertelnie poważną kwestię sporną swego stulecia, jak należy podawać chleb i wino, komunię, rozstrzygnęła na swój, a więc łóżkowy sposób, ekwilibrystycznie ustawiając swą cipkę pionowo i oferując jako kielich, do którego się nalewało” (Turbot, s. 214).

Mimo ogromnego wyczucia sytuacji polityczno-społecznej w Niemczech lat 70. oraz próby zrozumienia i opisania z empatią sytuacji kobiet na przestrzeni wieków, w opowieści Grassa pojawiają się pasaże, które były i są nie do przyjęcia ani dla ruchów feministycznych, ani dla jakiejkolwiek kobiety działającej twórczo. Pisze o tym w swojej przedmowie do książki Maria Janion, wymieniając niektóre przekonania głoszone przez turbota: „…tylko mężczyźni wyposażeni są w zdolność do uczuć metafizycznych” lub „Uprawianie sztuki to domena mężczyzn, twórczość artystyczna jest wyłącznie męskim zajęciem. (…) Kobieta wraz z jej <<wilgotnym ciepłem>> może być w najlepszym wypadku źródłem twórczości mężczyzny. Właśnie jego milczącą muzą. (…) Kobieta powinna trwać w bezruchu jako <<mszysta gleba>> i cieszyć się, że służy”.

Kobiety, którym dopiero od 100 lat dane jest studiować na artystycznych uczelniach i uprawiać sztukę, 40 lat po napisaniu powieści mogą pokazać jak bardzo grassowski turbot się mylił. Odpowiedzialny za ten stan rzeczy i postawiony przed sądem ogłasza proroczo: „Dałem wam wiedzę i władzę lecz wy mieliście tylko wojny na myśli. Powierzyłem Wam naturę, a wy zbrukaliście ją. (…) Męska sprawa wykończyła sama siebie” (Turbot, 443). Z dzisiejszego punktu widzenia można dodać: także w dziedzinach, których autor powieści próbuje bronić w przytoczonych powyżej cytatach. Na tej wystawie uprawianie sztuki jest z pewnością domeną kobiet. Renata Kopyto

#ArchiwumSztukiKobiet #PolishWomenArtists #womensart #polishart #sztukakobiet #palianshow

[mkcannothelpyou]

let's go with a five-hit attack combo: 15, 16, 23, 24, 30

(As keyed by this.)

15: The squad I bring on a first attempt at a map is more often than not a modulation of the squad I brought on the previous map, and is typically either themed against the episode/maps in some way, or spun on my present default core of the Abyssal Hunters + Pinus Sylvestris. (Andreana, Skadi, Laurentina in either capacity, Gladiia. Sona, Ashley, Iwona, Justyna. Members of the two sets revolve in and out for other operators as needed. Honorary Ægir representation shows up in Whisperain or Glaucus capacity. Silence/Ptilopsis/Perfumer are staple medics.)

16: My favourite NPC is Dawn. Fiercely contested by Domma, Anita, Mandragora and Harmonie. Strong runner-ups in Closure, Liang Xun and Ning Ciqiu, Cecelia, Ho'olheyak, Dora, and Alina. In order: Dawn, her role, her part, her significance and her own person render Who Is Real still one of my favourite stories Arknights has ever done. More Domma, please. More Anita, please. I love Mandragora a lot a lot, but the fact some measure of her significance is tied to Harmonie means putting her up there alone wouldn't be telling the whole story, and putting her up there with Harmonie would be a lie because Harmonie is a little bit of a shit. I still like Harmonie a lot. Closure is Closure. Liang Xun and Ning Ciqiu are a fascinating couple. Cecelia is the second significant case to me of Arknights demonstrating its immense capacity to render stories involving children heartbreaking like nothing else. Ho'olheyak is extremely attractive. Dora is the first significant case to me of what Cecelia was the second. Alina is... Alina who is Alina, and a lot of my love for her comes through the same vectors my love for Dawn comes. Honorary mentions to Gareth and Illa. (Odd one out: if you'll permit a reflection on one of the most quietly beautiful story moments, the Grand Duke Vanya is what I would consider my "left-field" answer to this question.)

23: Still listening to it. Offseason CC lobby theme. Eminently loopable.

24: My favourite event, on the whole, all said and done (because recounting every runner-up would be recounting far too much), I'm going to say is Who Is Real, yeah. I could try and tear apart why, or I could point you to it and let it speak for its own heartrending, yearning self.

30: My favourite outfit is Tranquil Moss. It's kind of one of those things where the best I can tell you is "if you're like me, it is also your favourite". The background is somewhere I want to be. (This displaced Patrolling Ronin. Honorary mentions to Glen Sonata.)

[wakingeve]

John the Wild Man

On the Feast of John the Baptist, this reflection from Iwona ought to set a wild fire in our hearts!Come Holy Spirit! John has nothing to lose and is not afraid of offending anyone or for being canceled. He speaks with raw precision, and frightening accuracy, stinging every camp with power or position, with arrows of fundamental facts which everyone knows and sees. No one is that dumb.  He is…

[spookylevii]

thank u to those that have sent requests, I will get them up sometime this weekend <3 ( ˘ ³˘)♥

requests are still open so feel free to send some in, like i said i got nothing going on this weekend so ill b bored ★⌒ヽ( ͡° ε ͡°)♥

[dailyunsolvedmysteries]

The Disappearance of Iwona Wieczorek

In 2010, Iwona Wieczorek was a recent high school graduate planning to take a vacation to Spain while waiting to hear back from the university she had applied to. On the night of July 16th, 2010, she went to a party with her friends at one of their places. Later that night, she went to a club in Sopot with her friend Adria and three boys she had gotten to know only the month prior. She was supposed to stay at the first party, but decided to go to the club instead. While at the party, there was an argument between the five, though no one knows what the argument was about. Iwona was seen running out of the club, visibly upset, and going towards the Seaside Promenade. She did not have any money with her and her phone battery was running low.

Once sunrise began, around 4:00AM, she began the 4-mile journey home through Seaside Boulevard; barefoot because her feet hurt from her new heels. On her way home, she texted Adria saying that she was angry that Adria didn’t follow her out of the club. Adria later said that Iwona called her and that they settled the argument. A few minutes after 4:00 she called Adria for the last time to tell her that her phone battery was dying, where she was at (which is consistent with the CCTV footage), that she was a bit drunk, and that she was headed to Adria’s house. She said that she didn’t want to meet Adria’s mom drunk, but Adria said her parents weren’t home and that she would leave the keys outside for Iwona to come in. Adria had almost made it back to her house when talking to Iwona and was walking past Iwona’s apartment.

It was reported that Iwona’s stepfather heard Adria and Iwona speaking because she had the phone on speaker. Surveillance footage at the Jelitkowo beach shows Iwona walking and an unidentified man in a plaid shirt walking behind her with a towel on his shoulder. Investigators are now convinced that he did not have anything to do with her disappearance. It is most likely that Iwona made it to the area she lived, but she never reached Adria or her house. That morning, her mother thought she was at Adria’s, but Adria thought she went home because the keys were untouched. By 5:00pm on July 17th, Adria and Iwona’s family came to the terrifying conclusion that Iwona had disappeared. The police have since questioned over 100 people and offered a 1,000,000 polish zloty award ($270K), but nothing from Iwona has ever been found.

[anhed-nia]

BLOGTOBER 10/31/2021: WILCZYCA/THE WOLF (1983)

Blogtober is going out with a first this year—at least, I'm pretty sure I've never covered a Polish production before! I'd really like to branch out more in general, although that does present some problems: For instance, Mark Piestrak's WILCZYCA takes place during the Austrian Partition, and I probably shouldn't pretend to be able to speak meaningfully about Polish political history, and what it might mean to Polish artists, after spending ten minutes googling it. I'm aware that WILCZYCA is considered a major benchmark for Polish genre cinema, but I also discovered this remark on the director's pl.wikipedia page:

I don't think I've ever seen italics used on Wikipedia in this way, and it's pretty funny honestly. But it's also perplexing, because the oddly Bergmanesque WILCZYCA is rather staid, atmospheric, and very chatty. Its surprisingly splattery climax is a different matter, but never mind that for now.

Krzysztof Jasiński plays Kacper Wosiński, a freedom fighter who has returned from battle to find his wife in dire straits. Their relationship was less than ideal before his tour, but in his absence, Maryna (Iwona Bielska) has been unfaithful. Worse still, she has aborted the product of her infidelity by hand, and so savagely that she is beyond medical help. She curses Kacper from her deathbed—a serious matter, since she has taken up black magic. Kacper's brother insists that, as her husband, he is dutybound to stake Maryna's corpse himself. Unfortunately, he doesn't have the nerve, leaving the task to his brother and abandoning the family estate altogether.

Kacper establishes himself at the manor of Count Ludwik (Stanisław Brejdygant), though this offers little stability, as the nervous Ludwik is suspected of conspiracy against the Austrian occupation. Ludwik is a roundly ineffectual man who lives in terror of his vivacious young wife Julia, who openly betrays him with her lesbian lover Hortensia (Hanna Stankówna). When Ludwik takes his leave, he is instantly replaced in Julia's bed by her old flame Otto Von Furstenberg (Olgierd Łukaszewicz), a vain young Hungarian officer who also seems just a little bit afraid of Julia, who enjoys the unnatural affection of the local wolf population. Kacper has also noticed something strange about Julia; she bears more than a passing resemblance to his late wife, and her increasingly aggressive behavior coincides with the appearance of a massive she-wolf that seems to be stalking him...

The relative dearth of fantastical imagery in WILCZYCA is somewhat balanced by its many striking faces. Olgierd Łukaszewicz as Otto is something like a Polish Franco Nero, and his arresting beauty is counterbalanced by the bestial charm of Krzysztof Jasiński, who might as well be the wolf himself. His wild hair, chiseled features, and piercing eyes evoke a primal machismo that belies the character's basic impotence. All of the men in the film seem to bear the spiritual burden of a country dominated by a foreign power, avoiding their duties, spying and conniving, and failing to assert themselves against women and nature—which forces collide in the the person of Julia. Iwona Bielska is certainly one of my favorite discoveries of this Blogtober; if she were in a lot more horror movies, I might have seen a lot more Polish movies by now! Her blistering gaze, gnashing teeth, and excoriating humor make her a tremendously effective monster, and I can easily imagine her having had a Christopher Lee-like career in another world. Sadly she is not in the director's 1990 followup, RETURN OF THE SHE-WOLF, but a girl can dream.

[gagosiangallery]

Coming Soon—Rachel Whiteread on Gagosian Premieres

April 30, 2021

Gagosian Premieres RACHEL WHITEREAD Featuring Iwona Blazwick, Max Richter, and Mark Waldron

Tuesday, May 11, 2021, 2pm EDT gagosian.com/premieres __________ The sixth episode of Gagosian Premieres celebrates Rachel Whiteread’s exhibition Internal Objects at Gagosian, Grosvenor Hill, London, with a conversation between the artist and art critic and curator Iwona Blazwick, and performances by composer and pianist Max Richter and poet Mark Waldron. Over the past four decades, Whiteread has focused on the method of casting, using a variety of materials and working with objects of vastly different scales, to reveal hidden narratives and secret histories. Employing a variety of artifacts and spaces—such as chairs and mattresses, interiors of rooms, and even, famously, an entire terraced house—she explores the traces of corporeal presence. In Internal Objects, she has, for the first time, eschewed casting in favor of building original objects out of found wood and metal, which she overpaints in white. Sensitive to even the most minor details and markers of use, Whiteread’s new sculptures represent a departure from her established working process while continuing her overall project in considering the intimate haptic qualities of the things and spaces that surround us. In this episode of Gagosian Premieres, Blazwick and Waldron, both longtime friends of Whiteread’s, visit the artist in her London studio. Blazwick, director of the Whitechapel Gallery in London, speaks with Whiteread about the process behind the artist’s new cabin-like structures and the enduring spectral nature of her work. Waldron recites his new poem, “In a wayward place,” which was inspired by Whiteread’s haunting and subtly emotive sculptures. Inside the exhibition at Grosvenor Hill, Richter performs “Origins (Solo),” an original composition for solo piano from his 2021 album Voices 2, selected in response to Internal Objects. Gagosian Premieres Gagosian Premieres aims to approximate for our audiences the sense of occasion usually associated with our physical gallery openings and events. Each exclusively online event is created in close collaboration with the artist and is shaped around his or her gallery exhibition. Among the contributors are some of the most widely respected voices from the worlds of contemporary literature, music, entertainment, film, and, of course, art. Gagosian Premieres is available on YouTube and the Gagosian website. To watch past episodes and sign up for updates, visit gagosian.com/premieres. _____ Image:  Rachel Whiteread and Iwona Blazwick in Whiteread’s studio, London, 2021. Artwork © Rachel Whiteread

[the-brave-and-the-dumb]

Decided to upload deputy Marcelina Zawisza's Facebook post about today's important date, 102. anniversary of polish women winning the fight for voting right. We rarely speak about suffragettes from countries another than UK or US so let me change it.

Here's translation I made so it may be really grammatically incorrect. I will give Wikipedia link to every surname possible:

102. anniversary of polish women winning voting rights.

Contrary to description we can find, voting rights were not given out to polish women. Voting rights had to be fought over. Stamped-out in front of marshall Józef Piłsudski's house and if it was needed, tapped-out with umbrellas at windows of his residence, screamed-out at rallies. But from the beginning...

In 1891 suffragettes sent out first petition demanding abolishing male power of attorney in election to National Seym (government basically). Women participated in many forms of manifestation of their demands: protests and rallies, writing interpellations, organising Election Committees.

In 1897 women were allowed to study on Jagiellonian University (in Kraków) on Faculty of Humanities and Philosophy. In 1905 first Congress of Polish Women was held. Congress apelated to political parties to include postulates of equality. Women created and joined associations and committees of professional nature. Many actions supporting independency of women were performed. Kazimiera Bujwidowa encouraged women to view themselves as aim on itself. Voices describing unmerciful living conditions of women and girls were heard more and more. One of such voiced was activist Maria Turzyma, who wrote "Woman doesn't have free will because if she would, one day she might not want to do what they tell her to do".

In 1907, Paulina Kuczalska-Reinschmit, a hetmaness and leader of first wave of polish feminist movement created Union of Equality for Polish Women. She had no desire to convince people to agree with her, she preferred to do what she ought to do.

The same year was the first meeting of said Union, which Maria Konopnicka described as "war council".

In 1908 Maria Dulębianka carried out very brave political campaign during which she agitated for voting rights for women. As a candidate for National Seym she collected 511 votes – those were rejected for formal reasons.

1911 was the first year to celebrate International Women's Day. Suffragettes organised manifestations in Kraków. Thousands of women took part in it.

Iza Moszczeńska and Zofia Daszyńska-Golińska funded League of Women in 1913. In part of country annected by Austria, League of Galician Women and League of Cieszyn Silesian Women functioned since 1915 with Zofia Moraczewska and Dorota Kłuszyńska as members. In 1917 those two leagues were connected becoming a League of Polish Women – first mass organisation of women.

December 1917 was the month of Warsaw Union of Women funded Central Committee of Equality for Polish Women which had the power of attorney to talk with the government. Justyna Budzińska-Tylicka and Maria Chmieleńska were chosen to talk with Józef Piłsudski. Effect of these discussion but also political situation that forced the government to take the most profitable decision, on 28th November 1918 Head of State Józef Piłsudski signed a decree in which was written: "A voter is every citizen of country, no matter their gender, who is over 21 years old".

Women finally could vote and be candidates – with their husband's permission.

Marcelina Zawisza together with Iwona Gałązka will create an educational series about female revolutionists to which I'm looking forward.

I have to admit translating all of these names of unions and committees really exhausted me 🤣 So I hope it's understandable but I will probably update this post a lot to correct all the mistakes.

[iwona-oul]

LFRP/LFC - Iwona Oul (Crystal)

full name. Iwona Oul

pronunciation. ee-VON-na OOL

nicknames. Too many to count. Various takes on the color of her hair tend to be the most commonly given—Red or Cherry as examples—but as long as it's not a derogatory or patronizing moniker, she'll likely take to it just fine.

height. Six fulms, four ilms—give or take.

age. Youthful appearing.

zodiac. Gemini.

PHYSICAL CHARACTERISTICS.

hair colour. Titian red. Sunbleached in some parts.

eye colour. Coral.

skin tone. Muted olive.

body type. Lissome.

accent. Standard Viis inflection.

dominant hand. Left.

posture. Lazy grace.

scars. A faint and rather small Lichtenberg figure crawls up her left index finger, terminating at the metacarpophalangeal joint. It’s slightly raised compared to the skin around it.

tattoos. None.

most noticeable features. Her hair, probably, or the ears sprouting from the top—on the longer side of above-average, they likely come across as even more lengthy owing to her tall stature.

CHILDHOOD.

place of birth. The wilds of Rak'tika Greatwood.

hometown. Formerly, a country hamlet outside of Voeburt proper. Now, really nowhere. 

birth weight/height. A bit below average owing to premature delivery.

manner of birth. Natural.

first words. Mine.

siblings. A fraternal twin, deceased.

parents. Deceased.

parental involvement. Orphaned at a young age.

ADULT LIFE

occupation. Errant alchemist. Sometimes floriculturist. Mostly a wanderer, but it doesn’t pay the bills.

current residence. Itinerant.

close friends. None.

relationship status. Single, and quite indifferent about it.

financial status. Always has enough for whatever is needed; her lifestyle is not especially extravagant.

vices. Sweets. Hoarding. Games, in both the literal and mental sense.

SEX & ROMANCE.

sexual orientation. Pansexual.

romantic orientation. Aromantic.

preferred emotional role. Submissive | Dominant | Switch | Unsure

preferred sexual role. Submissive | Dominant | Switch | Sex repulsed

libido. Not especially libidinous. Never a priority.

turn ons. Impulsiveness. A curious mind to match an inquisitive nature. The quality of being 'interesting'. Fealty.

turn offs. Mulishness. Shyness. A bland character coupled with a stale wit. Mercenary types.

love language. Gift giving.

relationship tendencies. Rather complicated! Iwona ‘loves’ in a manner akin to a pet-owner: in the position of mastery and secure in the knowledge that all things come and go.

MISCELLANEOUS.

hobbies to pass the time. Gardening for pleasure, woodcarving.

mental illnesses. None. 

physical illnesses. None.

left or right brained. Right.

fears. Very little to speak of. This stems not from an incredibly brave character, but a blithely devil-may-care one.

self confidence level. High.

vulnerabilities: Physically, an increased susceptibility to forms of attack which target aether. Emotionally, loneliness and her past.

OUT OF CHARACTER INFORMATION.

Having always loved myths and folklore and wonderfully inspired by Il Mheg, Iwona is my take on what fae-touched could be in FFXIV. As such, I’m only interested in other roleplayers who aren’t going to leap down my throat about what should and shouldn’t be. That said, my aim is still to be as lore-friendly and abiding as possible. Though she is from the First, characters from the Source are welcome for interaction. You'll have to inquire about the details and determine whether or not the method involved (it's nothing too extreme, nor does it require an in-character knowledge of, or participation with) is something you'd be comfortable with! I'm looking for the standard things: contacts, potential long-term partners, character relationships (not necessarily romantic), yadda yadda. There are very few themes I am unwilling to touch given enough (and good) OOC communication. I am uninterested in combat oriented roleplay or plotless ERP. For most back and forth, I'm partial to Discord, though I do love in-game things as well. I’m new to the FFXIV roleplay scene, but not roleplay in general. I write best with people I click with both in character and behind the scenes. I prefer a writing style which is similar to my own in both pacing and structure without a large disparity in effort levels, and I like the person I'm writing with to enjoy shitposting and memes just as much as I do. If this is you, we will probably get along swimmingly! 21+ only. Please understand that between school, childcare, family, and PVE content, I'm not always available for roleplay. 

Message me on Tumblr if you’re interested in setting something up. ♥

@mooglemeet @crystalxivrp @ffxiv-crystal-rp

[mayacatmaster]

Dad, I'm considering a career in organized crime.

*** *** ***

My son it is…:

Government/Religion/Morality-group-belief-system or private sector?

*** *** *** *** *** *** *** ***

Via and thanks “Joffre Alvarez”:

*** *** *** *** *** *** *** ***

Mama, What is political/Religion/Morality correctness?

*** *** ***

My son it is…:

Giving up your own opinion…:

Those can help you alignment with your “Source”(True Self; Tao) and as an alignment-deliberate-creator.…:

To please assholes and kiss any kind of dark-tyrant-ruler’s-ass by blind-obey/blind follow.

*** *** ***

Those who can alignment with his Source and as an alignment-deliberate-creator. He/she heart breaks rules and conventions and is impossible to pigeonhole.

*** *** ***

Your Relationships With Others would be the primary source of the contrast.

*** *** ***

The wise remember his/her is seer, is infinite-witness-awareness-empty-sky,  watching his/her 3D-life-movie and see dream as dream. *** *** *** The wise use his heart like mirror, witness, watchfully, alert and don’t identify with anything, by this... relax/empty his/her mind-body-heart. *** *** *** The wise Mirror the most simplest “Cosmic Principle”(Tao; Source; Ma at; Brahma) in every area….:

Since he judges no one, no one judges him.  Such is the perfect man.  His boat is empty. ~Chuang Tzu *** *** *** The wise is a person who acts with "Ma-at"(Tao; Logos; Truth), and is free of falsehood and disorder. ~Ptahhotep *** *** ***  True wisdom is less presuming than folly. The wise man doubt often,  And change his mind; The fool is obstinate, And doubt not;  He know all thing but his own ignorance. ~Akhenato *** *** *** Otherwise…: Whether you're right or wrong, you will be criticized any way. *** *** *** So…: If I make a fool of myself, who cares? I'm not frightened by anyone's perception of me. ~Angelina Jolie *** *** *** The world is going to judge you no natter what you do, so live your life the way you want to. *** *** *** ,, To be free of all authority, of your own and that of another is to die to everything of yesterday, so that your mind is always fresh, always young, innocent, full of vigor and passion. It is only in that state that one learns and observes.... " *** *** *** *** *** *** *** *** Via and thanks “Iwona Antolak”: *** *** *** *** *** *** *** ***

So…:

What or who is the Satan's servants, for me, it is The most biggest killer on this planet, no matter of it is in any kind of time-space….: *** *** *** Moreover, in addition to humankind, You can't find it on other animals on this planet, no matter of it is in any kind of time-space….: *** *** *** What or who is the Satan's servants, for me, it is ….: I don't have any bad habits, I am good at all of them. I never dreamed I'd grow up to be an Kiss-dark-tyrant-Ass-asshole but here I am kill-in it. *** *** *** And in this world….: The biggest killer on this planet is blind-obey, blind-follow and kiss any kind of dark-tyrant-rulers-ass. *** *** *** No matter it’s use the name of “God”, Use the name of man-made-moral, Use the name of country,  Use the name of family,  Use the name of egoism,  *** *** *** Between your “God” and my “God”, kills each others,  Between your man-made-moral and my man-made-moral, kills each others,  Between your country and my country, kills each others,  Between your family and my family, kills each others,  Between your body and my body , kills each others,  *** *** *** If, we…: ***  Speak with honesty.  Think with sincerity. Act with integrity. *** *** ***  So….: My heart always wonder, always fail understand ….: Why, why, why Kiss any kind of dark-tyrant-ruler’s-ass by blind-obey & blind-follower ….: Became humankind most high virtue-merit, most high good-behave, most high fate. *** *** *** So….: Honesty is a very expensive gift, don’t expect it from very, very, very cheap moral-religion-belief-system or people. *** *** *** If you have such fucking honesty-sincerely-health-nature-well being-heart, I love it, love it, I love it. *** *** *** Otherwise…: If I make a fool of myself, who cares? I'm not frightened by anyone's perception of me. ~Angelina Jolie *** *** *** Observer a religion-morality-belief-system, observer his/her ruler. *** *** ***  The people you meet are either reflections of a “repeated cycle”(blind obey and kiss ass) or guides to a new start. Notice the difference. *** *** ***

[memecucker]

KALAMAZOO, Mich. (WOOD) — Even as the issue of immigration has been central to the government shutdown in Washington, a respected doctor at Kalamazoo’s Bronson Methodist Hospital who has been living in America for nearly 40 years finds himself in jail after U.S. Immigration and Customs Enforcement agents took him from his home in handcuffs. Lukasz Niec is an internal medicine doctor putting in long hours as a hospitalist for Bronson. His co-workers describe him as the model of what a physician should be. And now, he is sitting in a jail cell in Calhoun County with no idea of when — or if — he will be free to return to his patients and his family. “In 1979, my parents were both doctors left Poland and took two suitcases and two small children, my brother was five and I was six and they came here for a better life for their kids,” said Iwona Niec-Villaire Saturday as she sat next to her sister-in-law. Now the siblings are in their mid-40s. She is an attorney, he is a doctor — they have been in America for four decades on a permanent green card. “He doesn’t even speak Polish,” Niec-Villaire said. On Tuesday, as Niec was enjoying a day off with his girls at his lake home in an exclusive neighborhood near Kalamazoo, three ICE officers came to his home, told him he was being taken into custody and took him to jail. “The question I get asked all the time is ‘Why do you think this happened?’ I just really don’t know,” said Niec-Villaire. ICE will not comment on the case and has held no hearings. A bond hearing may not come until February, and it is unlikely it will be granted, according to immigration law experts. “Until this gets heard, which could be up to six months, he could be stuck in a prison cell and not helping and being with his family,” said Niec-Villaire

[krakowarthouse]

Dom w ogóle / House in general

Fotorelacja z wystawy / Exhibition view

Artyści / Artists: Bogusław Bachorczyk, Stanisław Barański, Ulaş Çıbuk, Iwona Demko, Śominika Dniegocka, Maugo Dudek, Mandy Ghert, Tomasz Gotfryd, Mateusz Hajdo, Aleksander Janicki, Andrzej Andzik Kowalczyk, Katarzyna Kukuła, Marcelina Kurek, Cecylia Malik, Małgorzata Markiewicz, Rafael Medina, Aleksandra Młynarczyk – Gemza, Leszek Onak, Marcin Ryczek, Estera Satała, Jacek Maria Stokłosa, Vala Tanz, Jerzy Tchórzewski, Kolektyw Złote Rączki
 Kuratorzy / Curators: Anna Baranowa, Śominika Dniegocka, Bartolomeo Koczenasz

zwiedzanie / on view: 21.04 - 24.05 (please contact us before visiting krakowarthouse@gmail.com)

René Char – francuski surrealista – w jednym z wierszy pisał: „Poślub i nie poślubiaj swego domu”. W tym paradoksalnym zdaniu zawiera się dialektyczne, pełne napięć i sprzeczności rozumienie domu we współczesnej kulturze. Jak wiadomo, pojęcie to – tak związane z bytowaniem człowieka na ziemi – jest jednym z podstawowych archetypów. Nasze tradycyjne wyobrażenia o domu umieszczają go w centrum świata, podobnie jak miasto i świątynię. Dom może symbolizować uniwersum, społeczeństwo lub jednostkę. Jednocześnie idea domu ulega współcześnie – w sensie materialnym i symbolicznym – głębokim przemianom. Wystawa grupowa „Dom w ogóle” pokaże różnorakie podejścia do tematu domu. Okazuje się, że współcześni artyści – pomimo globalizacji i rozproszenia, a może właśnie dlatego – mają silną potrzebę mówienia o domu. Jest to zarazem miejsce zakorzenienia i dezintegracji, budowania więzi i ich niszczenia, wolności i przemocy, zakotwiczenia i ucieczki. Każdy mówi o tym własnym głosem, czerpiąc z doświadczenia, obserwacji, wyobraźni i pamięci. Anna Baranowa

René Char – a French surrealist – wrote in one of his poems: “Marry and do not marry your house.” This paradoxical sentence contains a dialectical understanding of home in contemporary culture, full of tension and contradiction. As we know, this concept – so connected with the existence of man on earth – is one of the most basic archetypes. Our traditional ideas about home place it in the center of the world, just like a city and a temple. Home can symbolize the universe, society or an individual. At the same time, nowadays, the idea of home undergoes a profound change – both in material and symbolic senses. The group exhibition “Dom w ogóle” (eng. House in general) will show various approaches to the topic of the house. It turns out that contemporary artists – despite globalization and distractions, or perhaps because of their very existence – have a strong need to talk about home. It is simultaneously a place to anchor at and the space of disintegration, influencing both the consolidation of bonds and their destruction, containing freedom and violence, putting down roots and escaping them. Everyone speaks about it in their own voice, drawing from experience, observation, imagination and memory. Anna Baranowa

Śominika 15.03.1991 / moje pierwsze urodziny. my first birthday

Bogusław Bachorczyk Pracownia odwrócona 1/10

Jacek Maria Stokłosa Ognisko domowe

Marcelina Kurek Granica

Andrzej Andzik Kowalczyk Transmisja obrazu nieprzenośnego

Iwona Demko Home sweet home

Estera Satała Brzezie 84

Stan Barański Dom na nowo

Cecylia Malik The end

Mandy Gehrt Abarbeiten

Ulaş Çıbuk  Dom na niby

Alek Janicki + Big Da(t)da Collective InSite/OutSite 

Bogusław Bachorczyk Na balkonie, po lewej stronie

Katarzyna Kukuła Pokój miłości, jedności i równości. Artysta, twórca, życie.

Mateusz Hajdo bez tytułu

Tomasz Gotfryd Szary Dom – katownia SS , Fotografia z cyklu Zamknięte, str. 24L i 67P. 

Jerzy Tchórzewski Adam i Ewa - Raj jest tam gdzie nas nie ma.

Bogusław Bachorczyk Pracownia odwrócona 1/10

Jacek Maria Stokłosa Ognisko domowe

Mandy Gehrt Abarbeiten

Cecylia Malik The end

Cecylia Malik The end

Iwona Demko Home sweet home

Kolektyw Złote Rączki Matczyzna

Aleksandra Młynarczyk-Gemza Me & my stepdaughter with shopping Destroyed family, divorce & shitty capitalism

Estera Satała Brzezie 84

Stan Barański Dom na nowo

Katarzyna Kukuła Pokój miłości, jedności i równości. Artysta, twórca, życie.

Bogusław Bachorczyk Na balkonie, po lewej stronie

Maugo Dudek dom.jest.miejscem.przejścia

Marcin Ryczek W środku

Vala Tanz / Vala Tomasz Foltyn Vala na skrzydłach pragnienia Fot. Iwona Majka, zdjęcie ze spektaklu Vala Tanz Show,

Anna Halprin Fot. Bartolomeo Koczenasz

Rafael Medina Kraków Art House, wrzesień, 2017

Ulaş Çıbuk Dom na niby

Alek Janicki + Big Da(t)da Collective InSite/OutSite

Małgorzata Markiewicz Tajemnicze zniknięcie kalafiora

Śominika 15.03.1991 / moje pierwsze urodziny. my first birthday

[spookylevii]

50 followers!!

I woke to 50 followers omg tysm guys (ﾟoﾟ〃)

i am already steadily working on requests and will probably post most headcanons today and tomorrow and one shots will be posted on sunday or even some on monday bc i got more than I thought I would!

Requests are closed for now so I can focus on the ones I have now!!

( ˘ ³˘)♥