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mask131 · 9 months

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I have a question about Zeus and Kronos. SEVERAL actually. Their relationship gets more confusing the far you dig into it.

How did the ancient Greeks see their relationship? How did they see the whole conflict between the Gods and the Titans?

In modern works, Kronos and the Titans are almost always portrayed as evil, monstrous tyrants, and Zeus and the Olympians as the young heroes that bring them down.

However, in Greek Mythology, Kronos' reign was the Golden Age, an utopic and paradisiac time of peace, happiness and prosperity, and Zeus is the main responsible for bringing pain, disease, and death to humankind through Pandora.

And to make matters more confusing, patricide was a huge sin in ancient Greek culture.

Was Zeus and Kronos' story a heroic tale of order overcoming chaos, or a tragic "Paradise Lost" type of scenario? Is Zeus a hero for deposing his father, or fallen hero that only escaped divine retribution because he himself is a god? Who was in the right in the conflict between Olympians and Titans? How am I supposed to interpret Hesiod's Theogony?

This is a very complex question that opens the door to many, many possibilities. But long story short: in the Olympians vs Titans conflict, the Titans were definitively in the wrong, and yes we are supposed to root for the Olympians.

Remember, the Olympians are supposed to be the "big goods" of Greek mythology - or at least, mostly positive figures. The enemies of the Olympians are by extension our enemies because the Olympians represent order and civilization. The Gigantomachy is the best representation of that, as the Giants were literaly designed to kill and destroy and nothing else. Same thing with Typhon, chaos and terror embodied.

Now what was the problem with the Titans? Long story short, many things. But what we have to understand is that the Titans are being supposed to represent... yes chaos in a way, but also a more brutal, primitive form of the universe. Yes the Titans are gods like the Olympians - but they are not the same kind of gods. Older, rougher. For example take the Olympians - they are kings and queens over the principles they control. Poseidon rules over the sea but is not the sea ; Zeus' decisions control the weather but he is not the weather. When we go by the Titans, however, we have beings such as Helios who was the literal sun or Oceanos who was the literal ocean. The Titans reflect the primal forces of nature, the rough and brutal, less humanized elements, more personifications and embodiments than deities as we understand them today. So what was the object and purpose of the Titanomachy? The "taming" and ordering of the world. Some Titans sided with the Olympians, and thus became more human and more "ordered" and found a place for themselves within an organized world. Themis for example, who as the embodiment of the Law and of Justice, would of course choose the Olympians' side. Also note that, outside of Themis, none of the Titans reflected any concept or principle part of a civilization. The Titans were violence (Iapetos whose name means "piercer", and Kronos who castrated his own father), the Titans were animals (many are the titans with strong animal motifs), the Titans were the sea and the moon and the sun and the light and the earth... They were literaly born out of the sky and earth. But what came with the Olympians? When Zeus got onto the throne, he started creating new gods through his many marriages and alliances: he brought forth Apollo of the art, Athena of wisdom and peace, Artemis of the hunt of the wild, Hermes of all the sciences, and the Horai, and the Muses, and sometimes even the Moirai themselves. Zeus organized the world and brought many of the concepts we cherish so much today.

Not only was the problem with the Titans that they were primordial and brutal forces of nature, but the problem with the specific Titans that went at war against the gods is that they literaly refused to let fate be and time pass. Kronos' flaw and fault is the most common of all mythology: fighting an oracle, trying to destroy a prediction, trying to avoid his fate. He was foretold he would be overthrown by his son. Not destroyed, not mutilated, certainly not killed (because gods cannot die, they are immortal), but just overthrown. And he refused this. He refused to have his throne taken away from him - he refused to let generations change, to let youth come. He had obtained his throne for right reasons (he punished the sins of his father) and yet through bad means (mutilating his own father). As such he got the throne but was fated to let it go, and know a "lesser" version of what he had inflicted upon his father. But he refused this.

Not only that, but he actually ended up repeating the mistakes and crimes of his father Ouranos. By not just bringing a stasis, but by literaly causing a regression. Imprisoning back the Cyclops and Hekatoncheires he had set free ; and then swallowing back into his belly the children he brought forth, literaly reversing the natural cycle of time. So Zeus' war against Cronos was justified to allow the world to continue its own maturation, and evolve further. And from a world of brutality, barbary and regression, we reached an age of order and civilization.

Now let's take the second side of the problem - the whole "Ages of Mankind".

It should be recalled that the Ages of Mankind story comes from Hesiod's "Of Works and Days", not from his "Theogony". And "Of Works and Days" is not supposed to just be a cosmogony like the Theogony, but rather a didactic work. It isn't about mythology per se, as the true topic of the work is agriculture, and all sorts of advices on how to take care of your field, woven with philosophical and moralist lessons about the importance of hard work. The mythological story woven in the work is meant to be an illustration of why humanity has to work, and is tied to all sorts of socio-philosophico messages, making it closer to a fable in many ways. It should also be taken into account that the "Ages of Man" story is tied in "Of Works and Days" to the legend of Prometheus, Epimetheus and Pandora. A legend also told in "Theogony"... but with slightly different details. For example, in the Theogony the story is very misogynistic as the curse of Zeus is... literaly women. As in, women are evil, and that's it. The version of "Of Works and Days", slightly less misogynistic, is the one with the famous Pandora jar later turn Pandora 's box, and there the evil is contained within the jar and is all a convoluted plan to force the "clan" of Prometheus to end up cursing the humanity they favored. Hesiod was never afraid of contradicting himself - even within the Theogony you have opposite stories, such as how in one part the Moirai are aughters of Zeus and Themis, in another daughters of Nyx that predated Zeus.

Anyway, all of that being said, I want to point out something important: in the Ages of Man storyline by Hesiod, Zeus is not supposed to be the one that caused the misery of mankind. At least not directly. It is true that the Golden Age and the first humanity is said to have existed/been formed under the rule of Cronos, while the Silver Age, which was a downgrade, occured when Zeus arrived on the throne. But the text does not say that Zeus was the one who caused the downgrade of humanity. There is definitively a change, an evolution, but it doesn't mean it is Zeus that "corrupted" humanity. In fact, the text does say that Zeus kept around the first humanity as powerful spirits to help, guide and enrich the following humanity. And Zeus' "rule" is not all bad, as there is a mention of one of the humanities brought forth under him being the Heroic Age, which is considered one of the best humanities after the Golden Age. The legend isn't actually about Zeus "ruining" humanity in any way, as the message Hesiod tries to give here is rather that humanity is living through a sort of natural decline... Yes, Hesiod was quite pessimistic, and honestly you can hear a bit of the old as time rant "Young people are doing everything bad, the world is getting worst and worst, wasn't it better before?". You can literaly hear Hesiod doing his youth-hating-grandpa-rant through his tale.

Afterward, we have to consider the whole Prometheus-Pandora-Zeus triangle... And this is where things get tricky and dual. Now I can't possibly embrace the full scope of the implications of the Prometheus legend. There is a reason he is such an inspiring and powerful figure even today - and Prometheus is one of the most complicated entities of all of Greek mythology. But here is the thing I wanted to say... Yes Hesiod does say and explain that Zeus created all sorts of evil he inflicted upon humanity because he was unhappy with being deceived by Prometheus. In "Of Works and Days" it is an especially strong point because the entire text is about explaining why humanity has to work so hard, and why labor is needed by humanity, and why if we have benevolent deities we must still be burdened by chores and toil. And in general this is an answer to the very same problem that the Genesis of the Bible poses: Why would a benevolent god inflict us a life of suffering? Why do we have to work to eat and why isn't the superior power providing us, if they love us so much?

In the Biblical text, this is explained by the original sin, and by all this being a punishment for humanity's original flaw. But in the Greek texts we have something very different - as it is inflicted... to punish Prometheus? That's what Hesiod's text tells us and/or implies, by making the equation "Zeus got tricked by Prometheus, he got mad, and as a result he unleashed evils on humanity". This is what led to so many readings of Zeus as some sort of petty tyrant who wounded humanity to just get back at Prometheus. And this is partially true in Hesiod's myth... But not the whole truth. Because Hesiod insists on a very important fact: he stands as both a human speaking to other humans, and thus he cries over the misfortune of humanity and our suffering, and he explains it comes from Zeus and thus it is why it is unescapable... But he also stands as a devout Greek, as a herald of the gods' words, as someone inspired by the Muse - meaning he also has to point out that Zeus was in the right. This is why, when you compile the dual legends in "The Theogony" and "Of Works and Days", you get a very ambiguous Prometheus, more of a anti-villain by Ancient Greeks standards.

For example, the idea that Zeus got mad upon discovering he had been cheated by Prometheus is a misconception when it comes to the Hesiodic text. When you read Hesiod's text in the Theogony, what does it say? It says that Zeus was not fooled by Prometheus' trick, during the partition of the cow (when it was time to decide which part of food ent to the gods, which part went to humanity). No, Zeus, as king of the gods and superior god, is all-knowing and all-seeing, and the text does say he did knew of Prometheus' trick as soon as he laid eyes on the divided cow. He did play along with Prometheus' trick, but he got massively angry - not at being cheated, no... he got angry at the idea that Prometheus had rigged the game, and had tried to deceive him. See this as some sort of betrayal - he entrusted Prometheus with doing a fair share, and he discovers the Titan had rigged the game. Similarly, when Prometheus stole the fire, Zeus got angry because it was a theft - a theft opposing his law and decisions, an act of rebellion against his position as a king - and yes he would dislike humanity, because now they literaly had a stolen good that they were not supposed to have. Remember that Zeus is a god of justice whose deal was punishing criminals and enacting the law - so of course, a cheater, a scammer and thief like Prometheus would displease him, especially when he is not just a rebel that opposes Zeus' very rule... but also who threatens the cosmic order.

I said it before - in Ancient Greece everything was about balance ad harmony. Humanity had to be "balanced". And the actions of Prometheus literaly placed humanity out of balance. When the partiton of food came, Prometheus rigged the game so that humanity would have the best part. As a result, Zeus had to inflict an "handicap", a "flaw" to humanity so that they wouldn't be too overpowered. This was the removal of the fire. But then Prometheus stole the fire back, making humanity over-powered again. And so Zeus decided to bring the ultimate "handicap", the ultimate "flaw", the ultimate "evil" that would never go away... Because that's another thing with this legend. Zeus never takes away what had been given by the gods. When the partition of food was done, Zeus did not fight it. Zeus removed the fire yes, but when Prometheus gave it back, he did not remove it again. Once something is gifted, it cannot just be snatched back - again, Zeus respects the laws, the promises, the customs. A choice is a choice, a gift is a gift. Which is why, to weaken humanity, Zeus had to GIVE something instead of remove it. And this gift was A) in Theogony, Pandora. Because the Theogony's misogynistic take on the Pandora myth is that SHE was evil because women are by nature evil and ruin humanity. B) in Of Works and Days, the gift of the jar containing all the evils and misfortunes. Which, as I said, was a clever plan to have Prometheus' own family balance his over-powering of humanity by having THEM bring upon humanity something bad. As a way to even things out. When Hesiod evokes the person that brought misfortune upon humanity, when he describes the source of all the evils mankind has to suffer through, he doesn't speak of Zeus... He speaks of Epimetheus. Or of Pandora. But not Zeus. Zeus isn't the "culprit" in Hesiod's texts - rather it is either Pandora (for, misogynistic time, women are inherently curious and curiosity - and women in general - is evil), or Epimetheus (for being a dummy who gets seduced by pretty appearances, doesn't think of anything before acting, accepts any shining gift and is too naive for his own good, trusting both his enemies and the people he doesn't know). Oh yes, the human in Hesiod will cry and lament that Zeus is persecuting humanity... But he will make it clear it was the fault of Prometheus and Epimetheus (Pandora doesn't get much of the "culprit" treatment" because she is either seen as A, the evil Epimetheus brought into the world, B, just a tool and extension of Zeus' own will, and so not an actual "culprit").

The final piece of the puzzle that allows us to understand a bit more the tale of Hesiod is that we have to recall what was the worst crime ever in Ancient Greece. Hubris: for humanity to believe itself equal or above the gods. This was the manifestation of the Greeks' immense fear of unbalance and disharmony, when the low humans tried and believed themselves to be above their natural condition, about to rival with the immortals who were perfect in body and mind (well... absolutely perfect in the religion, much more flawed in the myths and literary works). And all the actions of Prometheus worked on bringing forward humanity close to hubris. By giving them a food better than the gods', by leaving them the full mastery of fire - especially since at the time it was the early humanity, the "golden age", those long-lived, happy, careless, ageless humans that were basically Tolkien's elves - Prometheus was literaly building rivals for the gods. Remember that what Prometheus did was seen as an act of rebellion and disobediance towards Zeus' order, ruling and position... Betrayal of his king, so to speak. Zeus had to inflict on humanity something so that they wouldn't get too overpowered or too similar to gods - he had to inflict on them something that would remind them that they were mortals, not gods, and that the world did not belong to them.

And THIS is where the "Silver Age" problems come from. As I said before, when Hesiod uses Cronos and Zeus to evoke the Golden and Silver Age, he uses them more as chronological markings than anything. By making the Golden Age Cronus' era, Hesiod places this humanity in the far, far, far away distant past, in a time beyond what is mythical - in a time before the actual organized time of the gods people knew, before what humans understood of humanity. And Hesiod insists in his texts that the ills and the worries brought by either Pandora's presence among humanity (Thegony) or by the jar of Pandora (Of Works and Days) are what caused humanity's downfall as they started aging, and falling sick, and losing their happiness, and living shorter... So long story short, it isn't because Zeus became king of the gods that the Golden Age became the Silver Age. It is rather because of the chain of events started by Prometheus - it is because of all the punishments Zeus had to took against the rebellious and cheating Prometheus that the original humanity became another. So... while yes, Zeus did send the evil, the texts of Hesiod also make it clear it is kind of Prometheus' fault. Hence the anti-villain status: yes he tried to favorite and help humanity, and thus is our hero... But he also tried to destroy the order of the world and is the reason we were cursed in the first place, so he is still a villain. Mind you, in the times after Hesiod the Greeks would come to gain a much more positive view of Prometheus - but I am focusing here only on Hesiod since it is what the question is about.

The best metaphor I would have would be : all those incidents we have today when we favorize and protect one species in an ecosystem because it is "cute"... and by doing so, we ruin the entire ecosystem. This is literaly what Prometheus did, as the trickster-rebel, and what Zeus had to fight as the god of order and balance. (And again, we have an Hesiod that is literaly doing grandpa rants about how the "good ol' times" were better and the "youth today is crap", so of course he would offer us a myth where the established order and ruling monarchy is praised, while the rebellious opposition is demonized... with the nuance that the rebellious opposition protected us humans, and thus we have this very ambiguous territory.) It is no wonder that in modern fiction dealing with Prometheus, a question arises that was first brought forward by commentators of Greek myths: did Prometheus act out of excessive love for humanity, or more to get at Zeus? Both options are possible: in "The God Beneath the Sea" for example Prometheus is this tragic figure of someone who loved too much humanity and tried to protect it at all costs... But in the French novel "Prometheus the revolted" by Janine Teisson, he is more presented as a cunning, exploitative schemer that uses humanity as a tool to discreetly try to get back at Zeus, because while he sided with him, he could never fully accept his new king due to his older Titan alliegeance. Which interpret is correct? We can't tell, because the older record is just very ambiguous...

As a final, final note, we have to bring in more "outside-the-text" context to the whole situation. Because these stories were told within a society that had an established hierarchy, an established religion and established morals differing from our own, hence why we can lack some key information to get the nuance. For example, in "Of Works and Days", Hesiod cries and laments about one of the punishments of Zeus against humanity - hiding the grain of plants below the earth, and forcing humans to work to grow their crops and their food. A punishment which is nuanced when you remember something from Greek religion that the text does not speak about: Zeus was one of the favorite gods of farmers and crop-growers, and seen as their ally, because he was a god of fertility and agriculture. Zeus was the god of weather - but of good, fertile, helpful weather. Zeus sent the fertile rain that made the plants grow and the earth alive ; and he also sent all the sunlight needed for fruits to mature and plants to be healthy. This was in fact part of his dicotomy with Hades - Hades kept the grain under the earth to protect it, and then Zeus helped it grow into a plant above the soil. (And yes, this is tied to the Persephone legend in some ways). When you know that, you realize that Zeus might have cursed humans with having to work hard and search hard for their food... But he also clearly helps them to do so by sending the weather needed for the crop to grow well.

Just like how he is said to destroy the various humanities of the Ages of Man one by one to punish them or due to other incidents... But he then grants them some pretty sweet things. Like how the Golden Age humans became Greek-equivalent of guardian angels, benevolent semi-divine entities, or how the men of the Silver Age were said to be among the "Blessed" in the afterlife, and supposedly to dwell in some sort of paradise...

Of course the issue is infinitely more complex, and there's entire books written about this, so this is just a fragment of synthesis. But to return to the original question... Cronos, and the other Titans, were not at fault for oppressing humanity or being tyrants, no. From what Hesiod gives us to read, the Titans in fact had nothing to do or didn't care about humanity in the first place - since before Zeus' time we have no record of any god mingling with humans. We'd have to wait for the Olympians for humanity to become "interestng" or even "desirable" in the yes of the gods. No, Kronos' true crime was a cosmic one. The Titans had to be overthrown because they refused the natural flow of time and the natural evolution of the world, because they repeated the same oppression they had delivered the world from (Ouranos'), because they had enforced a stagnation and even a regression, perfectly symbolized by the image of the father swallowing the babies as soon as they are out of their mother's belly. The gods do grow - but they grow trapped within their father's stomach in a perverse, reverse pregnancy, and in a mirror of how Ouranos' lust also prevented life from spreading forth into the world. And we'd have to wait for Zeus to force a new "birth", through making his father vomit, for the gods to finally be able to accomplish their purpose in life - change the world and make the universe go forward...

As a final note, and I think this is something Jean-Pierre Vernant said (but a lot of what I said above comes from Jean-Pierre Vernant): Zeus overthrowing Cronos is a symbol of the rule of brute strength and violent tyranny being stopped. How did Cronos reached the throne? By castrating his father. How did he maintain his rule? By imprisoning his siblings and devouring his own children. What happened when he was challenged? A cosmic war. And Cronos ruled alone as sole king over the universe. But when Zeus came into the world... He was first of the gods, yes, but he still shared the world with his brothers, so that there were three "kings of the world". His first instinct was to ave sex once he was king, yes, but he didn't just "have sex". He symbolically or officially married the most important goddesses (Themis, the Law/Justice, Mnemosyne, Memory, Metis, Prudence/Wisdom) to bring forth the embodiments of order and peace: the Horai, the Charites, the Muses, the Moirai, Athena... And, unlike Cronos who had imprisoned his siblings as soon as he was king, Zeus accepted and rewarded his allies among the Titans, making entities such as Themis, Helios or Hecate first-rank deities in the new pantheon. AND, while he did overthrow his father, it was in the result of a long war, without any brutal mutilation, and what he merely did was imprison him - and perhaps even latter forgave him and released him according to some stories. So we are definitively into a much better rule than the predecessor.

#greek mythology #greek gods #titans #hesiod #zeus #prometheus #pandora #the ages of man #the ages of humanity #the golden age #greek myths #kronos #cronus

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tishinada · 2 months

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I'm almost halfway through DT and loving every minute so far. I adore Wuk Lamat and Erenville and lots of the other NPCs. I can't believe I cried for Bakool Ja Ja last night.

I have thoughts on why some people aren't thrilled with this expac, which usually has something to do with the WoL not being important enough.

(tl;dr - The writers did an excellent job of avoiding a "white savior" narrative, and if the WoL/Scions had bailed Wuk Lamat out at any important point in the story, it would have undermined her victory with the people...and herself.)

First, the devs more or less said that this expac was meant to be a bit of a break from the WoL being under so much pressure (a vacation of sorts.) I also think some people have trouble coping with a young *woman* making a transition from gawky underdog kid to respected and beloved leader, especially if they're much more heart than brain.

But I think the real issue, and most don't recognize it, is the cultural minefield that the writers navigated very very carefully. Tural is a fictional version of the Americas, but the Americas without the devastating diseases and colonization, and there are SO many ways they could have done this wrong. The WoL and the Scions cannot be central to this story without straying into the territory of "white saviors" rescuing the "primitives." And that's almost always the story that's told about the contact between Europeans and indigenous people, frankly, whether fictional or historical (historians have struggled to change those biased narratives against huge right-wing resistance for several decades).

The fact that there is no point (so far) that the WoL has personally had to step in and save Tural or even Wuk Lamat is a good thing and excellent writing. Even when she was kidnapped, the rescue was driven very largely by her brother Koana. The WoL can be an advisor, a member of her team, & her emotional support (as Thancred and Urianger have been doing for Koana very impressively). At no point does the WoL's abilities over-shadow hers in the eyes of her people. If anything, she gets respect for being able to recruit such talented people.

Even Koana, the Turali most influenced by outside culture, had to come to the realization that if he forced cultural change on his people, he would be harming them. He had to begin to respect (and understand) what they wanted and their cultures that shaped their wants and needs in order to see a road through to actually helping them. Over and over he had solutions (often good ones) but then alienated the electors by being dismissive of their cultures. And of course the other two contenders represented a group who dismissed every culture except their own as inferior, and who wanted conquest.

This competition for the Dawnthrone has to be driven by the Turalis, and if at any point the WoL and/or the Scions had taken the lead or "rescued" the contenders in any way that wasn't primarily as support, it would have undermined their autonomy. The post-EW story when it went to Garlemald also emphasized restoring autonomy and respecting their culture. This is a very anti-colonization story, and one of the best I've seen in a game, tbh.

The WoL and the Scions do have a stake in this contest because at least one of the contenders vocally plans to invade Sharlayan and Eorzea. (Interestingly enough, the corollary threat of invasion from the East helped Gulool Ja Ja convince two groups that unity would make them stronger against that threat instead of the extended war they'd fought.)

Within the story, if the WoL/Scions had bailed Wuk Lamat out at any important point in the story, it would have undermined her victory with the people. The fact she could defeat Bakool Ja Ja (and his people) on her own matters. It finally won her martial respect. The WoL is important at that moment, but as emotional support. Their belief in Wuk Lamat gave her the confidence to transcend her previous limits. And her ability to rally people around her and win their support (up to and including Bakool Ja Ja and his people) transformed her into a leader. Still a bit gawky and goofy, but confident and certain of why she is doing this.

The WoL is there, and probably played an extremely important role in supporting her growth, but at no point does the WoL do anything that could weaken her accomplishments or become the "savior" of Tural. In fact, I feel very strongly that the WoL is acting as Azem probably did in the ancient past.

So what people are pointing out as flawed writing is, in fact, outstanding writing and cultural sensitivity.

#ffxiv #dawntrail spoilers #ffxiv meta #Wuk Lamat & WoL #Turali autonomy #fictional indigenous autonomy #I suspect the writers are looking at some complaints and thinking that people are demonstrating exactly why they wrote this story #I won't get into the fact they're *also* showing us a very diverse people who have been at peace for a long time #which creates a much different dynamic #Eorzea was diverse but had not known peace for a long time #Old Sharlayan may have been at peace but they were not in any way culturally diverse #In many ways it was a very hierarchical and repressive society that saw themselves as superior

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lawyerbelal · 19 days

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Hello, thank you for taking the time to visit my GoFundMe campaign. My name is Belal, I am a 29-year-oldhuman rights lawyer from the northern area of Gaza. I lived a happy and meaningful life with my wife and my family until everything changed onOctober 7.

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My life was just getting started. I graduated law school in 2021 and got married to my beautiful wife in 2022. I’d been working on building my house since 2019, and finally I finished it onNovember 24, 2022. Just before the beginning of this terrible war, onSeptember 1, 2023, I finally achieved my lifelong dream of starting my own law firm. It’s very difficult to open a law office here in Gaza, so there are very few other people who have been able to achieve this at my age. Opening my law firm was one of the proudest moments of my life. I worked extremely hard for everything I had. Although I knew that the odds of achieving my dreams were slim, I never let this stop me. In the moments where I wanted to give up, I drew strength from God and from my love for my community, my love for Gaza.

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helix-enterprises117 · 3 months

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Trying Something New

Okay, I didn't wanna resort to asking Cortana (my ChatGPT's name) for any prompts cuz I wanted ACTUAL human discussion this, but I caved and I asked her to give me 20 generic sci-fi plots. I only asked Cortana 'cuz my last post asking for prompts, concepts and ideas flopped😓. Here's what she gave me; note, I cut some out to just the ones I liked.

Nebula Storm: Master Chief enters a nebula that disrupts electronic equipment, forcing him to rely on primitive weapons and tactics against an alien race that thrives in the electromagnetic chaos.

Echoes of Valhalla: An experimental weapon tears a hole in space-time, trapping Master Chief in a parallel universe where the Covenant won the war. He must find his way back and prevent this reality from bleeding into his own.

Orbital Decay: A city-sized space station is falling into a planet's atmosphere, and Master Chief must rescue the civilian population before it's too late, facing both mechanical failures and insurgent attacks.

The Siren Moon: An SOS signal from a long-lost UNSC ship leads Master Chief to a moon where sound can manipulate reality. Exploring this phenomenon might hold the key to new sonic weapons for the UNSC.

Frozen Tomb: Discovering an ancient alien race frozen in ice on a remote planet, Master Chief awakens them and must deal with their ancient grudges and advanced technology.

The Garden of Eden: A planet that supposedly cures all diseases is found. As factions fight over control of this world, Master Chief must protect its secrets and the indigenous life from exploitation.

Starforge: The race to find a legendary Forerunner facility capable of creating stars and planets pits Master Chief against a rogue faction of ONI who wants to use it for weaponizing celestial bodies.

The Ark of Life: Master Chief is tasked with recovering a lost ship carrying thousands of species from extinct planets. Pirates and alien traffickers also want the ship for the priceless DNA aboard.

What are y'alls favorites? Do you guys have any to add or discuss?

#halo #halo fanfic #halo fanfiction #john 117 #master chief #master chief fanfiction #master chief fanfic #halo reloaded #halo au #halo headcanon #helix studios117 #Helix enterprises117

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santoschristos · 19 days

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THE POWER OF SEX

If you knew the Power of Sex you wouldn't need therapists, or substances to stimulate you to joy. You wouldn't open the doors of your life to just anyone, looking for that someone who wants to love you.

If you knew the Power of Sex, you'd know that your body is a temple, and you wouldn't let anything or anyone desecrate it.

You would feed him pure energy, pure feelings, good love. You wouldn't allow toxicity into relationships or other poisons (like many of those you call medicine or food).

If you knew the Power of Sex you would know the body heals itself. Moreover, you should never have been sick. Why? Well, because the body is nourished with love, it is nourished with pleasure, of joy... And thats sex. A portal to the greatest love we can give ourselves, an emulation of primitive ecstasy. An evocation to the Origin of Stellar Being, a fractal of Creation in which to recreate ourselves. You can re-create yourself through sex.

Plus suppressed sexuality, resentful sexuality, has led us to extreme darkness. He has filled the sex of the mind and not of the spirit, he has desecrated the most Holy turning it into a source of pain, torture, distortion, self-punishment.

He who gives up his body without desire, without love, is condemned. Whoever seeks palliatives to his ego, his loneliness or his pain, only attracts more scarcity when, after sexual act, he becomes empty. And so matter degenerates. This is how disease, depression, dependence, fatigue, apathy appear. This is how personal power and couples dissolve. This is how the Holy Being, the Spiritual Being is lost into oblivion.

Sex is beauty. Sex is Purity. Sex is the Life-giving Force, that runs through your body right now. When you deny sex you are denying your own life energy, your connection to the whole, to life itself. When you exalt physical sex, you are denying a part (the most important) of yourself, and thereby hurting your energy and your physical body.

Therefore, if you want to resume good use of your sexual energy, you must remember that you are Spirit. That whoever shares with you is giving you his own Being, his own Holy Temple. Enter filled with humility and respect, honor the immense act of love of that moment, of that contact.

Sex to be "good" must start in the heart, not higher or lower. It must be imbued with Sacrificiality, not lust. And it can either be gentle or wild, as long as it follows the rhythm that bodies and hearts ask for. Also remember that there is sex in breathing, that looking at can be a caress. That your way of honoring your sexual expression is your way of honoring Life.

Like this one: enjoy it. Like this: Dare. Like this: Take it to the next level.

Feel, seek, explore, try and don't limit yourself. Remove your mind, put your heart in it and have fun! Be a kid playing forever.

From the wall of SYRIUS. 1.1.1.1.

Art: Embraced by Light by Phazed

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jmdbjk · 2 years

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Artemis and Apollo

I was working on a post about my thoughts on the relationships between Jimin, Jungkook and Tae before the Tailor of Chaos made his appearance and wrecked my brain. I had a lot written and was trying to edit it down so it wouldn’t be a several-chapter-long study about each of those three’s personalities and why I think they do what they do. I’ll get back to it later maybe.

So I am putting that aside in order to delve into these concepts of Jimin’s. I have to admit, it is intimidating how he comes up with these ideas. I have a lot of thoughts about all this and I am trying to put some order to it but the key word in all of it truly is chaos. The more I see, the more I am in awe and the more confused I am trying to reconcile all the various versions of Jimin.

I am thinking about all the years we had cutie sexy lovely Jimin and Mochi and Chimmie. I am wondering in his WeLive last week when he mentioned that he did some self-reflecting on why he cut his hair short in April (if that translation is indeed accurate and that IS what he meant) if he cut his hair because it was a way to hang on to “youth” one last time?

And then he drops these heavy ideas on us about id and ego... the inner tug of war between primitive impulses and morality and the rational and controlling mediator that supposedly prevents either from overpowering the other. A inner turmoil of push and pull...

His choice of white: purity, morality .... and black: pleasure, sensuality

And the images of the cracked statues put back together and sealed with gold. Imperfections that have now turned into something beautiful and precious holding it all together.

Posing with mannequins... living breathing Jimin and some plastic representation... the comparison between real Jimin and idol Jimin?

I mentioned in a post or two ago that I wondered if the Tailor of Chaos concept is what summoned the Black Swan stage outfits with the lack of shirts and the body chains and yes, it was all being created in about the same timeframe. These photos were planned at the end of last year. The teaser video opens with Jimin wearing the same LV hoodie he was wearing for this VLive back on October 20, 2021. ABOUT A YEAR AGO!

The temporary tattoos: the words tailor of chaos and Artemis and when I flipped the image I see the word Filter. We are seeing Jimin revisiting Filter. Who is Artemis? In Greek mythology, Artemis is goddess of the hunt, the wilderness, wild animals, nature, vegetation, childbirth, care of children, and chastity. Artemis is also associated with the moon. In the myth of Actaeon, when this young hunter sees her bathing naked, he is transformed into a deer by the angered goddess, and is then devoured by his own hunting dogs who do not recognize their own master. THAT is truly conceptual...and is then devoured by his own dogs that don’t recognize their own master.... all kinds of imagery there that can be compared to life as an idol and especially as a member of BTS. Their own industry (dogs) devour them because they don’t recognize them as the one (master) who is bringing them more success than ever...

Artemis has a twin brother named Apollo. Apollo is the god of music and dance, truth and prophecy, healing and diseases, and is associated with the Sun and light, poetry, and more!!!!!!!

Other aspects of Artemis: In spite of her status as a virgin who avoided potential lovers, there are multiple references to Artemis' beauty and eroticism.

The stag imagery:

Artemis with her hunting bow drawn and birds and stars:

Jimin says “the original” Jimin... Is he speaking about the evolution of his idol persona? or the real Jimin? because idol Jimin began as manly man Jimin and then idol Jimin became softer and softer and then androgyny (Artemis is female) really entered the chat at some point and has been intermingling with cute bread cheeks Jimin, roundy boba head Jimin, chapter 2 Jimin, etc. Pick your damn Filter.

Has Jimin been toying with this Artemis concept for a long time now? Maybe we will find out when we see more about his photo folio.

I am more or less rambling and I really am not well versed on Greek mythology except for what I have researched to talk about this. But I do understand the concepts of psychology that he’s tossing around in these images and I do love how he exposes some of his own personal psyche in his presentation of himself. I flipped these photos around that he was looking at on the table:

Jungkook remarked that he thought out of all the members’ photo folio concepts, his vampire concept was really way out there, but my baby, Jimin’s concept is so out there, it will soar over the intelligence and maturity level of so many and just be pretty pictures to them. Jimin is CHALLENGING OUR INTELLECT with these images and that is a very very unique and sexy concept coming from him.

#park jimin #jimins photo folio #artemis and apollo #sun and moon duo

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pwlanier · 1 year

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Artist: Alexander HutchisonScottish (1840 - 1924)

Title: St Kilda

Date created: About 1890

Materials:

Albumen print

Often described as the most remote part of the British Isles, St Kilda is an archipelago that lies some forty miles west of the Outer Hebrides in the North Atlantic Ocean. Across several centuries the inhabitants of St Kilda lived mainly in isolation and self-sufficiency, harvesting the land and the abundant seabird population. The growth of tourism in the Victorian era brought increasing contact with the mainland with summer cruise steamers arriving regularly from the 1870s onwards. For those visitors who braved the often perilous landing on St Kilda, the seemingly primitive way of life of a tiny community at the very margins of their country and society would have aroused great curiosity.

This photograph was probably taken around 1890, by which time the St Kildans would have been used to the annual summer intrusions and were presumably also accustomed to posing for photographs. Hutchison’s photograph gathers a sizeable proportion of the 100 or so inhabitants, with two outsiders – one male, one female – also shown in the group. The islanders are shown close to their village against the backdrop of a hillside dotted with cleits, the small stone constructions roofed with turf that were used for storing food and peat. The gaunt, pinched faces of the women attest to the harsh conditions of life on the island. Hutchison’s photograph is an intriguing record of an encounter between two different worlds and a record of a way of life that was increasingly under threat. By the end of the century, the combined impact of emigration, disease and hardship had led to a dwindling population, and in 1930 the remaining thirty-six inhabitants were evacuated from St Kilda at their own request.

National Galleries of Scotland

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atsadi-shenanigans · 9 months

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Feeding Alligators 14: U.S. Foreign Policy

You learn something and decide to engage in a wee bit of statecraft.

On AO3.

You have no time to ask him for the letter, as the healer (is this one a hobbit???) named Nettie turns to see who just burst into her cave. A cave connected to another, hidden cave, that she one hundred percent doesn’t lure you into and lock the door behind y’all. Oh goodie.

The mood soars even higher when you see the dead elf (she calls him a drow, whatever the fuck that is).

Gale hangs back this time, and they all sort of look at you. The oddball who doesn’t speak their language and who is arguably the least qualified person to do this. Also the one who started it and should probably, y’know, finish this.

“Oh, goddamnit,” you say and spill your guts to Nettie.

The mindflayer transformation seems to freak her out more than it does you. Kind of hilarious, since you’re the one with the needle-teeth worm in your brain. It freaks her out so much, in fact, she gives you a bottle of poison that actually glows green. It’s like cartoon radioactive sludge held back by some glass and a wax stopper. This fucking place.

You promise her you’ll drink the shit if you feel your skin sloughing off. You feel the judgment from your group on your back. Like you’re not completely lying through your teeth.

She says something about a better healer named Halsin. You’ve heard his name a couple of times—mostly when Kahga snapped at that other guy not to say that name. Nettie is otherwise a dead end, thanks for all the poison!

“As I told you,” Lae’zel all but hisses. “The cure we seek will be found with my people. We waste our time pursuing your primitive healers.”

Says the lady in metal armor you’re decently sure couldn’t hold up to a modern rifle.

You don’t say that, though. You don’t say anything. Not until you emerge back into sunlight and the droning chant of the druids with their fuck off ritual. There’s still too many people around. But a path runs off out the side, looks like it heads out of the grove, so you start towards it.

The path eventually leads to a secluded beach, huzzah!

The beach is infested with harpies, fuck!

***

It goes tits up almost immediately. Y’all are banged up, bruised, and bleeding by the time the last feathered bitch goes down in a pool of her own blood. You fall right on your ass there in the sand, and let yourself slowly topple onto your back.

You lie there for a long time. The sky is pretty, and the sand is soft and warm beneath you. It smells a lot like rotten fish and metal for some reason—

“Fuck me!” you holler when your hand comes up smeared in red. You’ve collapsed into harpy blood. This was your only unstained shirt and literally your only pair of stays.

“I think we’re all a bit too tired, dear,” Astarion says because he’s an asshole.

You’re fucking covered in blood. A-fucking-gain.

The kid y’all inadvertently saved seems to find that part a bonus. He stares up at you with huge eyes glazed, in what you suspect, it awe.

He thanks you, says something about a dragon lair and Doni, and scampers off.

The sun is sinking fast behind the tan cliffs. You’re really not sure you’ve got the energy to drag your ass all the way back to the Grove. The rest of the group seems to agree, as Gale sets down his bag to start digging for his tent poles.

“Maybe we should go upriver some?” you way.

“Why?” Lae’zel says, her first pole already buried in the ground less than three feet from the still hot carcass of a dead harpy.

You squint at her. At the others, who seem just as unperturbed. These fucking people.

“So we can refill our drinking water,” you say. Gesture to the right. “From that river right there. But probably not near the saltwater or where harpy juice might be dribbling in—do y’all not have waterborne diseases here??”

“…‘waterborne’?” Gale says.

***

It takes much longer to set up camp—upriver—than it should. While Gale and the others know of basic sterilization, they haven’t quite gotten to the germ part of germ theory. You went on a big Historical Plagues kick a couple of years back, and you fill in the basics you remember. He actually abandons his tent in favor of finding a scroll and a quill to start taking notes.

The sun has long set by the time you can get free long enough to grab all your blood-crusted clothes and trudge down to the river. You got no idea what you’re doing with hand-washing. Rubbing the cloth underwater does get some of it out, but the stains remain: huge and brown and still reeking. They’re honestly not salvageable.

You dunk your head and give your hair the best scrub you can manage. Thank yourself again that you keep it short, because trying to deal with all this with hair down to your ass would have been an utter shitshow nightmare. You long for shampoo. You’d cry if someone gave you soap. There’s still oil in your hair that no amount of dunking in the water is going to fix and you have to look like a catastrophe to anyone you meet.

You find a flat-ish rock to spread your sopping clothes on, and make your way back in your lightest-stained tunic and trousers.

The others have a fire going, and Gale—thank fuck—has left off the sausages. Appears to be making some kind of potatoes and vegetables scramble with eggs he got from somewhere. You winder if he’s got anything for your aching skull. Days in and the sunovabitch has yet to let off. But throwing rocks at the harpies probably did not impress any of them, and you don’t want to make yourself look like an even bigger drain on resources.

Astarion has pitched his tent further back. He sits outside on a carpet he’s found somewhere, rifling through a stack of books he’s also found somewhere. He looks up as you approach.

“Anything good?” you say.

He glances to his stash and his lips pull into a mild smile. “Oh, a bit of this and that. Trying to decide which I’ll hang onto for the time being.”

You nod. Eyeball the small tower by his right knee. The dirt-potion doesn’t translate writing (and Gale had said that the writing isn’t the spoken language anyway, as that is apparently called Common and isn’t anyone’s first language, begging the question which fucking colonizer empire took over and made that decision for everyone). You miss reading. You miss the internet and music. Lights and washing machines and waterfall showers. Your bed with it’s thousand-thread-count sheets, because you were no Captain Moneybags, but there were a few things you’d splurge on now and then, and that was one of them.

What books do the people here write? Is it just poetry? Treatises? Dry-ass history accounts? Or do they have novels? What would a place like this write about when they were making things up?

Is there smut?

“So, what’d you find in that chest?” you say.

Astarion stands, having selected tonight’s reading material. He flips through it, not meeting your gaze. “A few odds and ends, a couple of valuables.”

You wait. He doesn’t continue.

“And a letter?” you say.

His face is a mask of pure innocence. “A letter?”

Okay, so that’s how he’s playing this. You resist the urge to bury your face in your hands and scream.

“The one you told me about in the Grove,” you say. “When I asked you this same question then.”

“I believe what you said to me was, ‘Please tell me you found something.’”

You’re going to kick him in the shin. You’re going to reach down, grab a handful of dirt, and throw it in his pasty face. He watches you like a cat that knows it’s pissing off the neighbor’s cat and there’s nothing the neighbor’s cat can do about it. Then his eyes widen.

“Oh! Yes! That letter.” Bastard man knows exactly what you were talking about from the beginning. “Yes, I did find that, didn’t I? Though I’m not sure why you want to know about it so badly?”

He slips on casual douchebaggery the way other people wear fashionable overcoats. One fist on a hip slightly jutted to the side, shoulders back, head cocked to the an inch or two to make sure the camp fire catches the “haughty” on his features in the best light.

He knows you have an ulterior motive. He wants in on it, you think. And you don’t think he’s going to back down.

“That Kahga woman isn’t our problem,” he says. “You said so yourself. Which I, for one, think was the correct decision. These druid politics aren’t our concern. The tadpoles are. Quite right you stuck to our priorities back there.”

“I’m gonna depose and ruin that bitch,” you say. He blinks at you. Several times. You probably shouldn’t have said that out loud. But ever since you started sharing your actual opinion (once you found it) to the people who mattered (and didn’t that take fucking forever), you’ve had poor impulse control about it. “I want her metaphorical head on a metaphorical spike and if you’ve got dirt on her, I have a very vested interest in knowing it.”

“I…well. That’s…quite bloodthirsty of you. Metaphorically speaking.”

The last part is a question even if he doesn’t vocalize that part.

He doesn’t seem the altruistic type (stealing from what you now realize are refugees is a crimson flag in that department). “The bitch reminds me of my mother” would be way too personal and, you suspect, would fall on deaf ears in this group. Well, any group, really.

Luckily, you’ve always been good at justifying shit to yourself, so you have that flank already covered in your head.

“That Nettie woman said we’d need to find another healer named Halsin, who was their leader but got caught by goblins, right?” you say. You’ve gathered that much. When he nods, “This Kahga is a stand in. She didn’t seem to like that other one mentioning Halsin, and she’s taking an extreme path which at least some of the druids seem to oppose. But not all of them. So what happens if we do manage to find and free this Halsin guy, and he gets all caught up in a power struggle with Kahga when he gets back? He ain’t gonna have time to help us.”

You watch that thought enter his mind and make connections. This time, he lets a frown wrinkle his forehead.

“That’s…” he says. “That’s certainly a way of looking at it. But what if it turns out to simply be an illicit lover’s rendezvous?”

“Did it sound like a lover?”

“Not necessarily. It could—you cheeky devil!”

You mask a grin of your own. You still want to keep a low profile, at least with the others. He already saw you stab a guy like thirteen times, so the gig might be up over here. But he doesn’t exactly interact with the group much, and it doesn’t seem he’s shared any of his observations about you with them.

Astarion drops his pleasant mask and what’s underneath is…you can only describe as malicious humor. His eyes narrow and he grins. “Alright, have it your way. It was a request to meet in a swamp. I did spot one yesterday to the south at some distance. There’s an island next to some docks, seemingly off the main path, the note said.”

“No date or time?”

“No.”

“Can I see it?”

Here he pauses. Almost fidgets. “I didn’t take it, darling. I left it in that chest. People tend to miss important documents and you hadn’t exactly told us what you were ‘snooping’ for.”

“So you just, what, memorized it?” you say.

You look at him. For the first time, a suggestion of hesitation flits through his body language.

“That is so fucking smart,” you say and make a look at this man gesture. “I am so glad we found you.”

His eyebrows shoot up for less than a second before he relaxes back into smug self-assurance. “I am quite exceptional. I’m glad someone here has realized that.”

“Seriously, thank you, Astarion. If this turns out to be a bust, I’ll drop it and follow along like I been doing. But thank you anyway.”

The man absolutely preens.

“Now, you got any ideas how to get the others to go to a swamp?”

Previous - Index - Next Chapter

#bg3 #baldur's gate 3 #baldur's gate iii #fanfic #astarion #astarion x tav #it's a goddamn isekai #i'm not sorry #no betas we die like men #feeding alligators

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docgold13 · 2 years

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365 Marvel Comics Paper Cut-Out SuperHeroes - One Hero, Every Day, All Year…

November 30th - The Silver Surfer

Norrin Radd was born on the planet Zenn-La. This was a planet whose humanoid populace had achieved a utopian society devoid of crime, disease, hunger, poverty, and want of any kind. His father named him after revered scientist Norrin Konn, the man responsible for raising Zenn-La from barbarism to utopia.

When Norrin was a young man his planet was taken siege by Galactus, the devourer of worlds. Galactus consumed planets teaming with life, rendering them into an energy that sustained him. Young Norrin Radd approached Galactus with a proposal. Norrin correctly posited that Galactus spent great amounts of precious energy seeking out new worlds to feed on. We’re Galactus to have a herald, someone to search out such worlds for him, he would save that energy and thus need to feed less frequently. Norrin offered to act as this herald in exchange for Galactus sparing Zenn-La.

Galactus agreed, transforming Radd into a silver-skinned, cosmic-powered being. Known thereafter as the Silver Surfer, Radd departed Zenn-La and traversed the cosmos, finding countless worlds for his master to consume.

The ‘power cosmic’ imbued in Norrin enabled him to exist in the vacuum of space; he was also bestowed super strength and resiliency and the ability to fire blasts of cosmic energies from his hands. Additionally, he was provided with a means of travel: a long, silvery surfboard. This board was telepathically connected to its rider’s mind and could travel at a pace near the speed of light.

In service to his master, The Silver Surfer did his best to find worlds with nascent life; smaller more primitive organisms unable to comprehend their own impending doom. Yet it did little to quell the tremendous guilt the Surfer felt in being the herald of destruction and bringing about the end of so much life. As time went by, the Surfer gradually became inured to these feelings and coldly went about his duties.

The Surfer eventually came across the earth and signaled to his master that he had found a world rich with life for Galactus to feed upon. The Surfer ended up battling The Fantastic Four. During this conflict, the Surfer met the blind sculptress Alicia Masters, who sensed his inner nobility and pleaded with him to spare humanity. His long-dormant emotions were stirred by Alicia's beauty and spirit and the Surfer ultimately chose to turn on Galactus.

The combined efforts of The Surfer, The Fantastic Four and Uatu The Watcher succeeded in repelling Galactus. As punishment for his betrayal, Galactus trapped The Surfer on earth, erecting a cosmic energy barrier around the planet that was uniquely attuned to The Surfer. No longer able to traverse the stars, The Surfer became a melancholy wanderer, trying to adjust to his new home and understand its people. He was befriended and betrayed by Doctor Doom, who stole the Surfer's power for himself; yet Doom lost these powers when he collided with a barrier created by Galactus, and thus The Surfer's powers were restored. The Surfer would go on to have many adventures on earth, becoming a member of The Defenders and battling numerous menaces both on his own and alongside fellow heroes.

The Silver Surfer was finally allowed to leave earth after he saved Galactus’ new herald, Nova (Frankie Raye). Once more The Surfer traversed the cosmos and had many more adventures amongst the stars.

A version of the hero featured in the movie, Fantastic Four: Rise of The Silver Surfer, portrayed by actor Doug Jones. The Surfer first appeared in the pages of Fantastic Four Vol. 1 #48 (1965).

#365 Marvel Comics Heroes #The Silver Surfer #Defenders #Fantastic Four #Doug Jones #cut-out #paper art

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ed-recovery-affirmations · 1 year

Note

What do you think about some people in recovery saying "there are no good or bad foods". Whenever I see that, it always reassures me, but then the comments talk about how unhealthy certain foods are and talk about diabetes, heart problems, etc, and then I feel very triggered.

So I've posted a little bit about this before, and my constant saying is "food has no morality."

So here's the thing. There are objectively food items that contain higher concentrations of vitamins. There are also foods that give you your macronutrients in better ways than others. For people who have, say, high cholesterol, there are foods to be generally avoided to help keep it down. For those with fructose intolerance, veggies are a better go than fruits for getting your fiber. If you have high blood pressure, you'll want to eat a low-salt diet, but if you have low blood pressure, you might find yourself needing more salt than the average person.

Health and ideal diet varies incredibly. Though the diet industry will have you obsessed with food purity and only consuming foods they've deemed "good," our bodies are more complicated than that. And food is meant to be enjoyed. We are biologically wired to crave sugars, salts, fats, and carbs, because if we were living in more primitive conditions, these things would be much harder to come by and would provide lengthy boosts of caloric energy. The fact that we still crave these things today is not a moral failing, but an instinct. And indulging in treats because you enjoy them does not mean you're "being bad."

I'm sorry to hear you feel so anxious and triggered, though! It's certainly scary to hear constant fearmongering about food-related health problems. While lack of access to proper, balanced nutrition can be a contributing factor in several health problems, this will not be caused by eating the occasional dessert or having a comfort meal, especially if your other health needs are met. But no one else can understand your personal health needs - you have to work with your doctor based on what you know about your body. Unfortunately medical fatphobia is still rampant, and many doctors may assume that you have all of these health problems if you don't have a thin body. However, these health problems can only be confirmed by test. There are fat people who do not have diabetes. There are fat people who do not have heart disease. These things can only be diagnosed after proper testing has been done.

Keep in mind that, when you hear non-medical-professionals loudly insisting that body-positive and food-positive posters must have all these health problems, many of these people have dedicated their lives to weight loss and dieting and "clean eating" based on what was marketed to them. They have based their worth on their ability to stay thin. And so the thought that somebody else might be living their own best life not doing these things is completely counterintuitive to them at this point. So they might be triggered, themselves. It's hard and scary, but you can remind yourself when you're triggered that the majority of these people have no medical expertise.

Eating a single "unhealthy" food is not going to be the wrench in the system that kills your entire body. Unless, of course, you have an allergy or intolerance to something in that food.

#fatphobia #diet culture #body positivity #body posi #food positivity #ed cw

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teresawilson1 · 1 year

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The Uncanny in Art

Giving Fear A Face: The Anxious Mind

A Personal Overview of the Theories around the Concept of the Uncanny in Art

Paula Rego, Little Brides with Their Mother, 2009-10

The Uncanny is a type of anxiety, experienced by the viewer and triggered by the artist’s personal experience.

Elena Crippa

It may seem to be a paradox that the type of art that can be labelled ‘Uncanny’ and appears to be unreal, bizarre, incomplete, grotesque or in an 'in-between state', nevertheless conjures up feelings in the viewer that seem very 'real'. As Francis Bacon (1909 – 1992) described, during an interview with the art critic David Sylvester in 1950, reality, to him, was nothing else but a ‘series of sensations and ideas that occur in the consciousness of each individual’. (Crippa, p83)

Paula Rego (1935-2022) was another artist who had lived through the period of post-World War II Europe marked by the anxiety that followed the war - concentration camps, suffocating dictator regimes and threat of nuclear war (Crippa). She also produced paintings which have the uncanny elements that she has described as being an attempt to ‘give fear a face’ (Warner). Marina Warner has written that Rego ‘expresses her own ambiguous states of uncertainties, mysteries and doubts into that territory, desisting from offering explanations or asking for any’.

Rego and Bacon are two examples of important 20th century artists whose work incorporated elements of the concept of the uncanny, a thread which works its way in and out of the work of figurative and non-figurative art. I will go on to discuss many others in further posts, including my own practice and show how the uncanny reveals itself - its strange identity. I will focus on the idea of the uncanny as it is revealed in the subject (and object) of the human body.

But first, the question could be asked - how can this elusive concept of the uncanny be defined? Did it emerge only in the 1920’s in Europe, or has it always existed in the world?

It is nowadays the norm to hold the view that anxiety, fear, and concepts such as the uncanny (which express anxiety in a visual form) are experiences that occur to human beings in the site of the psyche (the mind). However, it was not until the late 19th century that Sigmund Freud (1856-1939) came to believe that the symptoms of his patients were caused by conflict in the unconscious mind and with the ‘failure to deal with invisible, unconscious and primarily sexual psychological desires’ and not as had been thought previously, symptoms of a disease of the physical nervous system. (Freeman, p15)

Freud had come to Paris in 1885 to study ‘hysterics’ under Jean-Martin Charcot and became interested in the connection between the mind and body (Tomley,pviii). It is largely a legacy of Freud’s work that anxiety has become so important in today’s psychological and psychiatric thinking (Freeman, p4). Freud continues to be relevant today as more and more of his insights become proved by neuroscientific discoveries. For example, as Eric Kandel has pointed out in ‘The Age of Insight’ (2012), ‘most of our mental life, including most of our emotional life, is unconscious at any given moment’. Research also suggests that ‘images exert a much more powerful influence on emotions than do thoughts (Freeman, p27), which explains the power and effect on the viewer of uncanny art.

It is important to remember that although the uncanny did not exist as a theory until being written about by Freud in his essay ‘das Unheimlich’ in 1919, uncanny-like images had appeared in art through the centuries in both European and non-European cultures. Connected with the supernatural, magic and religion it shows up in ‘primitive art’ for instance and through the history of the art of Catholicism. Jane Neal, writing in ‘Uncanny Tales’, says that Freud tells us that ‘apparent death and re-animation of the dead have been represented as most uncanny themes. She talks about the otherworldliness od Ana Maria Pacheco’s work which comes from the primitive ‘magic’ cultures of Brazil as well as the ritual and superstition running through the Catholicism that she experienced growing up. The doll is the perfect example of an uncanny art form, connected as it is with ideas of witchcraft, religious statuary, and as an imaginative plaything/doll.

Thus, the uncanny has always been with us, just as dreams, imagination and fears have been expressed by humans in art. In her essay ‘Dream Realism’, Marina Warner (Warner,p31) describes Paula Rego’s approach to art making as a ‘beautiful grotesque’ because she reflects the powerful mixed feelings she inspires, looking within herself as a site of ‘collective memory nourished by legends and fairy tales’.

The Jungian feminist psychologist and ‘teller of the old stories’ Clarissa Pinkola Estes wrote in ‘Women Who run With the Wolves’ that in ‘…a single human being there are many other beings, all with their own value, motives, and desires…there is also within the psyche an innate contra naturam aspect, an ‘against nature’ force. The contra naturam aspect opposes the positive: it is against development, against harmony…it is a derisive and murderous antagonist that is born within us.’ (Estes,p35,). The first chapter of Este’s seminal work is devoted to recognizing this predator in the psyche for what it is, and from recognition comes the instinctive building of intuitive ‘muscle’ so that we learn to instinctively know when something ‘is not right’. The uncanny lives in the realm of ‘not quite right’ and although its presence may leave the viewer with a sense of unease, it is a clue to a truth revealed or danger thwarted, a mirror reflecting something we may not want to look at too closely, but we must examine and take on board, or we cannot move on in our lives.

Alexandra Kokoli explores the nature of repression in the realm of domesticity in her book ‘The Feminist Uncanny: In Theory and Art Practice’ (2016). She explains that the starting point for the ‘female uncanny’ is the ‘…deliberate unsettling quality that many cultural artefacts informed by feminism continue to possess…the fraught but fertile relationship between feminism and the uncanny and by extension Freudian psychoanalysis’ (Kokoli,p3).

Louise Bourgeois, Femme Maison, 1982, Plastic doll and clay.

Repression and entrapment in the unhomely domestic environment (‘unhomely’ are a literal translation of Freud’s das Unheimlich) is explored by Louise Bourgeois’ uncanny hybrids of women and house in her series of works entitled ‘Femme Maison’. Her later ‘cells’ are also prison-like structures, within which the viewer is invited to look inside an uncanny alternative domestic room filled with fetishized and emotionally charged collections of objects, doors, and symbols of ‘hysteria’.

As a final note on this overview of the theories surrounding the uncanny, I would like to mention the concept of the ‘Abject’. Connected to both the uncanny and feminism, the theory of ‘abjection’ has been defined by Julia Kristeva in ‘Powers of Horror: An Essay on Abjection’ (1982) as ‘… a massive and sudden emergence of uncanniness which familiar as it might have been, in an opaque and forgotten life, now harries me as radically separate, loathsome’ (Kristeva, p51). This then, is the uncanny taken to an extreme of the visceral, violent, or disgusting. The repressed memory, the uncanny starting point, can no longer be recognized in the abject. It is closer to the grotesque and is indebted to Surrealism (Kokoli, p53). At the heart of abjection is the in-between, the ambiguous, immoral, a sinister experiment gone wrong.

In the dark halls of the museum that is now what remains of Auschwitz, I see a heap of children’s shoes, or something like that, something I have already seen elsewhere, under a Christmas tree, for instance, dolls I believe. The abjection of Nazi crime reaches its apex when death, which in any case, kills me, interferes with what, in my living universe, is supposed to save me from death: childhood, science, among other things.

Julia Kristeva Powers of Horror, (1982)

References

Crippa, E. ed., (2018). All Too Human: Bacon, Freud and a Century of Painting Life, exh.cat., Text by Elena Crippa. Tate, London.

Estés, C.P. Women who Run With the Wolves: contacting the Power of the Wild Woman. Rider, London. (1992)

Freeman, D and Freeman, J. Anxiety: A Very short Introduction. Oxford University Press, 2012.

Kokoli, A.M. The feminist Uncanny in Theory and Art Practice. Bloomsbury, 2016.

Kristeva, J. Powers of Horror: an Essay on Abjection. Trans. By Leon. S. Roudiez. Colombia University Press. NY. 1982.

Neal, J. (Essay) in Uncanny Tales. Exhibition Catalogue. FWA, Foundation of Women Artists. 2005

Tomley, S. (Introduction) to the Interpretation of Dreams by Sigmund Freud. The Psychology Classic. Capstone. 2020

Warner, M. (Essay) Dream Realism, in Paula Rego, Exhibition Catalogue. Ed. By Elena Crippa. Tate. 2005.

#sculpture #art #uncanny #artist #feminism

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boltslutters · 6 months

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Speaking of music, are there any species/races that have hmm “distinct cultures”? I know the ermista are into textiles. Do others have a specific way their society functions?

Okay so Ermista have several (I don't know what happened, but I latched onto it) distinct "cultures" mainly dependant on where they live. Northern Ermista live in small villages and carry banners, while ones that live south live in bigger cities and have designated hibernation areas and don't usually carry around flags. They are a lot more competitive as they have to deal with the disease and the bird-angels their hateful sun god and have arenas to fight them and stuff. The peeps that worship SAQ have very specific rituals around who they target to be food, how they go about doing that, preparation, delegation, and all that. A lot of their art/tools are more metal heavy as that's what SAQ brings a lot of. They're also really particular about food as it's the main way they interact with their god and SAQ does bring them alien crops sometimes. They literally have the "forbidden flavors".

The tank dragons are incredibly militaristic, defending their home against the angels. A large part of the tank-dragon society (and the reason they are tank-dragons in the first place), is mimicking their lives as people. So they have arms for grabbing things, they use cups and drink in sips interspersed with "breathing", pens, doors, they talk to each other and have handshakes and wares and the like. Things that would be impractical for these tank-dragons, but done because they were once organic and want to retain some familiarity to make the transition as easy as possible. Some tank-dragons, however, didn't start as organic and have always been tank-dragons. They have a harder time living with the strange behaviors of most tank-dragons. For instance, they might not use cups in the traditional sense because it makes more sense to just drink straight from the tap until their tanks are full, but find other ways to use them (like as holders, stops, maybe like a bullhorn if it's the right kind), because they're not used to using cups and using them is inherently strange to them.

Crystal Dragons deviate the most from any of the other UFSS's members. While most of the others are religious (because worshiping gods usually means sick benefits because the gods get more power), most crystal dragons don't worship and actively reject their creator-god, Titatiaraum. Their society is more heavily focused on mortal arcana/technological advancement and Achievement, personal or societal, is a huge part of their culture. They're capitalist, and they do split and fight among each other, usually in uncharitable ways. Some DO worship the gods of the Moo (manifestations of order (no i will not apologize for the name)) pantheon due to cultural osmosis from the other members of the UFSS, but that's usually a minority.

After Titatiaraum dies and his arcanic materials of his pocket dimension are mined out and most companies pull, the remaining mining ships that remain are essentially trying to build their own culture from the ground up, released from the hold of their parent corporations and trying to get accepted into the UFSS so they can receive support. Most of it is governmental, as it has to be a government body that approaches the UFSS and orderly structures are natural to the mining ships. A lot of it is also accessibility-based, accounting for the wide range of body types, tools, sizes, etc individual ships deal with.

Paragons (pre-Titatiaraum) lived primitively as the lack of pain, suffering, even death meant that the Paragons were never incentivized to do anything besides play around and enjoy life. They're really social and personal with each other. There's no natural paragons post-Tita as they were never made to reproduce naturally; there was never a need for that. All were genetic recombinations of original Paragons, and most lived under Crystal Dragon citizenship despite most Crystal Dragons never liking them. The ogs eventually had to flee their home planet as Tita's angels died and no one could upkeep their home planet, which lacked a star and was entirely dependent on Tita for survival. A lot of post-Tita Paragons are interested in trying to preserve and perhaps revive what was lost of their home.

There's one planet whose star goes through phases of light and no light, leading to a society based around these two paradigms and preparing for the inevitable dark cycle.

Threaders have their own unique society based on their magic system of threads and looms and turning people into spindle wheels and trapping them in a rotting god's gut.

Most cyclers are like bees; they're expendable. An unholy amount is also based on racing.

One world's dominant race is a group of machines (Mins and Medis)built as a dyson sphere's first defense. They have a lot of ways their individual societies work (from the difference between Mins built for war and Mins built to maintain a town, gender being a matter of rank and not actual gender (of which they have none), they have blood and a few blood-based diseases and how mins handle them, Ouruls and what they're used for) and a whole lotta stuff I also got fixated on for a bit.

I don't have a LOT of detail (things also change with time and there's so, so many.)

#worldbuilding #so much fucking worldbuilding

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meditating-dog-lover · 9 months

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Settler colonialism mentality (Israel and Palestine)

I've heard people say "Israel managed to build civilized modern day cities in an empty barren desert wasteland". Or that "Israel is the only democratic nation in the Middle East surrounded by barbaric animals". NOT true, not to mention the second one is extremely racist. Yes there are modern day Israeli metropolitan cities that are major economic hubs. But doesn't mean there wasn't civilization in the land before it was built (let's be real though it was stolen and colonized). Palestinians owned and worked in shops, small business, sea ports, banks, hospitals, schools, restaurants, real estate, investments, trade, construction, etc... This was not an empty wasteland with primitive backwards people just waiting to be colonized and urbanized.

These statements really emphasizes the settler colonialism mentality a lot of people have. It's very reminiscent to when people back in the day referred to Native Americans as "savages" who were "taught" how to be civilized and enlightened by the Europeans when they came to North America. Instead the Europeans infected them with smallpox and committed a genocide against them. The situation is not that different from what is happening to Palestinians at the hands of the Israeli occupation and military (with the exception of smallpox though diseases and resulting deaths are bound to rise in Gaza because Israel has cut off the water supply and limited their access to medication. This makes a perfect storm for all types of infection - bacterial, viral, fungal, etc... within the Strip).

There is a genocide happening in Gaza and almost 30k Palestinians have been slaughtered by the IDF, half of them are children. There are also illegal settlements and an occupation taking place in the West Bank, where Israeli settlers are allowed to steal the homes of Palestinian families, who have lived there for generations, and claim it as theirs. From the utensils in their kitchen drawers to the olive trees in their backyard, it can all be taken away by these settlers and colonizers.

If you are stuck with this settler colonialism mentality then I strongly urge you to rethink it. It is a way to give colonizers a pass on human right violations and to dehumanize the colonized people. I suggest you see past this potentially harmful and very dangerous propaganda.

#palestine #israel #settler colonialism #occupation #dehumanization #genocide #europeans #native americans #smallpox #colonization #human rights #racism #propaganda #international law

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nazorneku · 1 year

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this is smth i wanted to touch upon, considering i've been asked 'bout this before and just to accentuate his strengths and weaknesses due to his nature

An oni is a kind of youkai, demon, orc, ogre or troll in Japanese folklore. They are known for their superhuman strength and have been associated with powers like thunder and lightning, along with their evil nature manifesting in their propensity for murder and cannibalism. They are typically portrayed as hulking figures with horns growing out of their heads, massive teeth, with red, blue, black or yellow colored skin. Oni are able to change their looks to fool their victims into trusting them. It is believed that oni were originally once human beings, but are born when an evil human dies and is sent to one of the several Buddhist hells where they are transformed into an oni. Oni, written in kanji as 鬼, meaning something invisible, formless or unworldly, in other words, a 'ghost' or the 'soul of the dead'. Particularly powerful oni may be described as kishin or kijin (literally "oni god"; the "ki" is an alternate character reading of "oni"), a term used in Japanese Buddhism to refer to Wrathful Deities. The Japanese oni represents bad luck and violence in Japanese culture. In art and literature, they attract destruction, plagues and disease around them. Paradoxically, the Japanese demon is also a figure of protection and good fortune.

Even if in possession of physical bodily form, an oni in its core nature is a spirit, thus the damage done by primitive weapons such as knives would eventually be mended; despite breaking the integrity of the skin and drawing blood. Such injuries would not last, nor they would cause great impact upon his over whole constitution. Momentarily disturbance and unpleasant sensation, but nothing critical. In addition to own demonic physique, that grants him strength which exceeds of a regular human (example to compare from modern world, above the level of professional bodybuilder or weightlifting athletes), as let's not forget how Ais broke ribs of a roughneck without turning body into a poppy mess; there's also a matter of borrowed powers from Ocudeus, that undoubtedly have healing and shielding properties. Hence to influence such creature you would need to implement powers of corresponding nature - magic. That also would include wards, runes, incantations, potions, bombs with specific herbs or ingredients that hold sway over demons, and obviously enchanted or magical weapons would deal great damage to both body and spirit. Worth to mention that due to demonic nature he does not easily become inebriated with human made beverages. He drinks and smokes for its taste mostly. As well him accepting Leander's shots serves as a welcoming challenge to actually experience being intoxicated, made body languid or his mind being affected in a way. After all, Leander applies magic to his concoctions. Specifically in my portrayal, Ais draws powers from the depths of the Seaspring, from its pool, from the blood. Now I'd avoid writing a detailed description of how his powers manifest, as I actually intend to write this specific moment in one of my responses. I also want to reference Blood Pond Hell in the hot spring town of Beppu. Its connection to healing and improvement in health, its symbolism as it's notoriously mentioned for its striking appearance, which according to Buddhist belief, resembles the entry to hell. And I also want to point one of my previous posts, as the torii gate, that stands in the middle of the spring, could be an actual gateway, a demonic door to the domain of Ocudeus'.

#Ⓐ : relevant ( ais )#Ⓐ : introspection ( ais )#[ im gonna post a few of my thoughts 'bout him and other muses prior to actual responses ]#[ not everything obv‚ but just to get some things out of my system ngl ]#[ plus these would be v relevant to what i'll be writing in the future ]#[ and for 333 time i ask NOT to use my blog as a source or inspiration or whatever ]

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brutalage · 11 months

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here's a meta question for ya. what are his dreams and nightmares like, and how have they changed (if at all) over time? :)

hello , wilds ! and what a wonderful question to receive , thank you all .

that's ... a very interesting concept to ponder on , since Vandal , more often than not , has no real need for sleep . his body does not tire as a regular mortal's would . his stamina is thusly endless , he is immune to disease ( though he can carry it ) , and , if he wanted to , vandal isn't required to even eat for years . his physiology is incredibly unique . he knows that he's operating at his highest physical peak at all hours . at his own beck & call , too . while the canon varies , as most comics tend , vandal can walk from one edge of a continent to another , swim across the ocean , and arrive on the next continental coastline without stopping for a moment to rest nor eat . wholly capable of this at a moment's notice , as well . it's no wonder that vandal was able to "accomplish" what he'd had in the ancient world alone .

when he sleeps & eats , it is only for his own pleasure . when he feels like it . so it wholly depends on how he's feeling , since it isn't a need to him . vandal , thusly , views sleep as something of a small waste of his time , since he's too fucking busy playing fourth dimensional chess . however , he oftentimes indulges in eating & drinking more so than sleep , simply because he loves to eat & drink . his metabolism is also extremely ferocious ( & his body "stores" energy for a very long time ) . but his hunger is its own post for another day .

despite these facts , vandal does dream . it is just extremely rare for him to have a sleeping dream , however . and , when he does , it is usually of little to no concern of his . he sees them as just that : dreams . even in his long life & broad intellect , vandal doesn't understand why humans have dreams , exactly . when he was mortal & just beginning his life , however , he had thought they were ... very strange . his primitive caveman brain couldn't figure out why , and he had not the intellect to question these concerns fully . back then , he dreamed of what he knew . wolves , wooly mammoths , fire , his tribesmen , hunting , the sky . nightmares would be like ... another tribe stealing his food , for example . almost very tangible things . although , sometimes , he would dream of indescribable , almost primal fears . things that humankind at the dawn of its existence could deem as frightening . what lay beyond the mountaintops . what could come from the horizon .

and , after the comet had granted him immortality , of course , vandal dreamed of it . endlessly , perhaps . since becoming an immortal , whenever vandal dreams while sleeping , it is almost always there . it is , as he says himself , "his star." and , he dreamed of what he could become . what he could mean to the rest of mankind .

it should be said , of course , that vandal does not believe in fate nor prophecy . while he can feign an understanding of it ( or an interest , given the situation ) , he feels those forces do not govern him . he doesn't believe in his dreams being a type of futuresight , and does not heed them as warnings .

over time , though , his dreams have changed . he dreams of the times he lived through , of specific battles he'd fought in , and sometimes , of people he's met . sometimes , of people he's killed -- some people only he would ever recall , even in a glimpse . sometimes , of his children that are long dead , or simply forgotten . he dreams of animals that are now extinct , their calls & how their flesh tasted . he dreams of places that are no longer on any map & sometimes , in dead languages that no one else besides him speaks . songs only he recalls . how the world looked before it was ravaged by war . he dreams of weapons . technology advancing . the wheel . rocks . blood . rushing water . stars falling from the night sky . palaces being built , ransacked , and falling into dust . sometimes , he dreams about when he was someone else : when he was genghis khan , riding on the mongolian steppe , his cavalry following him . or tasting the scent of salt & iron as alexander the great on his way across numerous countries . these all feel lifetime upon lifetime ago . further back than lifetimes -- ages & eras .

but , in terms of the sandman's interpretation of "waking dreams," vandal's goals are so various . his aspirations , his thoughts . they're vast & numerous , almost impossible to unravel . " you would tremble to know my thoughts , " he once says , something of his moral depravity i would have to agree with . his mind is so ... horrifically alive . like his body , always moving . they are of conquest . his plots , who he knows . what he knows . how he could use his skills to the utmost degree . anything & everything .

and , after the comet , his nightmares are almost always of losing his powers . his immortality , gone . little else puts him in any sort of fear or discomfort , after all . a simple , obvious answer , and a fear that vandal has committed many crimes to avoid . keeping his descendants tracked , to use them as organ banks , should the need arise if he ever loses it . growing children in laboratories at a mass rate because human birth takes months . it is a very abstract fear that really he , and perhaps a few others , tend to possess . and it is something that is , to a viewer , potentially very abstract to go through firsthand , wholly unrelatable . a fantasy of power , and a nightmare of its loss . and sometimes , he dreams of never having encountering the comet , and dying mortal , in obscurity long ago , before mankind had taken their first steps out of their caves . remembered by none .

thank you for sending . 💖

musing questions . always accepting .

#thank you so much !!!!#this was EXTREMELY interesting . i loved writing this .#( 𝐒𝐔𝐑𝐕𝐈𝐕𝐀𝐋 𝐎𝐅 𝐓𝐇𝐄 𝐖𝐎𝐑𝐒𝐓 . ) | headcanon .#ASK TO TAG .

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