#the body is from Nike of Samothrace :)

[amaliatheartist]

And all the juvie halls, and the Ritalin rats

Ask angels made from neon and fucking garbage

Scream out,

[pmamtraveller]

WINGED VICTORY OF SAMOTHRACE (NIKE OF SAMOTHRACE) b. 200-175 BCE

This is a masterpiece of GREEK sculpture from the HELLENISTIC era. It is a colossal statue representing the goddess NIKE (VICTORY), composed of a white marble statue and a grey marble ship's bow base

The sculpture depicts NIKE alighting on the ship's bow, with her wings dramatically outstretched behind her and her drapery billowing in the wind. This dynamic composition conveys a vivid sense of movement and energy, as if the goddess has just descended from the heavens to announce a naval victory.

The sculptor's technical mastery is evident in the construction of NIKE'S wings, which were carved from marble and inserted into slots on her back. This innovative approach allowed the creation of large, unsupported wings without the need for external support, a rare feat in ancient GREEK sculpture.

Stylistically, the NIKE of SAMOTHRACE exemplifies the HELLENISTIC aesthetic, with its dramatic, emotive pose and the eroticized rendering of NIKE'S body beneath the sheer drapery. The statue was intended to be viewed from multiple angles, encouraging the viewer to physically engage with the artwork

Regardless of the specific historical context, THE WINGED VICTORY OF SAMOTHRACE stands as a masterpiece of HELLENISTIC sculpture, celebrated for its technical virtuosity, dynamic composition, and emotive power.

[journalofanoldsoul]

Art Is... (5th House)

A few months ago, I wrote a post that associated famous paintings with each zodiac sign in the 5th house (see post here). After visiting the V&A last weekend, I felt like writing a similar post but this time with famous sculptures that have stood the test of time and remind us that beauty is all around us.

Aries in the 5th House: Winged Victory of Samothrace - Aries is a bold and energetic sign that loves to take action and be in charge. The Winged Victory of Samothrace is an iconic Hellenistic sculpture of Nike, the Greek goddess of victory, which depicts her triumphantly standing atop a ship's prow with her wings spread wide. This sculpture's dynamic and powerful energy is a perfect representation of Aries in the 5th house.

Taurus in the 5th House: The Thinker - Taurus is a patient and grounded sign that values stability and contemplation. The Thinker is a bronze sculpture by Auguste Rodin that depicts a seated man deep in thought, with his chin resting on his hand. This sculpture's calm and contemplative energy is a great representation of Taurus in the 5th house.

Gemini in the 5th House: Balloon Dog - Gemini is a playful and lighthearted sign that values humor and entertainment. Jeff Koons' Balloon Dog is a contemporary sculpture made of polished stainless steel that resembles a twisted balloon animal. This sculpture's playful and colorful energy is a perfect representation of Gemini in the 5th house.

Cancer in the 5th House: Pietà - Cancer is a sensitive and nurturing sign that values emotional depth and compassion. The Pietà is a Renaissance sculpture by Michelangelo that depicts the Virgin Mary holding the body of Jesus after his crucifixion. This sculpture's tender and compassionate energy is a great representation of Cancer in the 5th house.

Leo in the 5th House: The Discus Thrower - Leo is a confident and creative sign that loves to be in the spotlight. The Discus Thrower is a classic Greek sculpture that depicts an athlete winding up to throw a discus, with his body in a dynamic and powerful pose. This sculpture's athletic and confident energy is a perfect representation of Leo in the 5th house.

Virgo in the 5th House: David - Virgo is a practical and analytical sign that values precision and detail. David is a Renaissance sculpture by Michelangelo that depicts the biblical hero David standing in a precise and anatomically correct pose, with every muscle and vein expertly rendered. This sculpture's precise and detailed energy is a great representation of Virgo in the 5th house.

Libra in the 5th House: Venus de Milo - Libra is a harmonious and aesthetic sign that values beauty and balance. The Venus de Milo is a classic Greek sculpture of the goddess Aphrodite (Venus), which depicts her in a graceful and balanced pose, with her arms missing. This sculpture's graceful and balanced energy is a perfect representation of Libra in the 5th house.

Scorpio in the 5th House: Laocoön and His Sons - Scorpio is an intense and passionate sign that is drawn to the darker side of life. Laocoön and His Sons is a classical sculpture from ancient Greece that depicts a Trojan priest and his two sons being attacked by sea serpents, which represents the punishment of the gods. This sculpture's intense and dramatic energy is a great representation of Scorpio in the 5th house.

Sagittarius in the 5th House: The Fountain of Four Rivers - Sagittarius is an adventurous and free-spirited sign that loves to explore new horizons. The Fountain of Four Rivers is a Baroque masterpiece by Gian Lorenzo Bernini located in the Piazza Navona in Rome. It depicts four river gods representing the four great rivers of the world, each one holding symbolic objects related to their respective river. This sculpture's grandiose and expansive energy is a perfect representation of Sagittarius in the 5th house, as it reflects the sign's love for exploration and worldly experiences.

Capricorn in the 5th House: Moses - Capricorn is a disciplined and ambitious sign that values hard work and achievement. Moses is a Renaissance sculpture by Michelangelo that depicts the biblical figure with horns, holding the tablets of the Ten Commandments, and with his beard flowing. This sculpture's solemn and disciplined energy is a great representation of Capricorn in the 5th house.

Aquarius in the 5th House: The Ecstasy of Saint Teresa - Aquarius is a progressive and unconventional sign that values individuality and intellectual pursuits. The Ecstasy of Saint Teresa is a Baroque sculpture by Gian Lorenzo Bernini that depicts the Catholic saint in a mystical trance, with an angel piercing her heart with a golden arrow. This sculpture's surreal and visionary energy is a perfect representation of Aquarius in the 5th house.

Pisces in the 5th House: The Kiss - Pisces is a dreamy and romantic sign that values emotional connection and compassion. The Kiss is an Art Nouveau sculpture by Auguste Rodin that depicts a couple in a passionate embrace, with their bodies entwined. This sculpture's tender and intimate energy is a great representation of Pisces in the 5th house, as this placement is associated with artistic creativity and the desire for deep emotional connections.

Stay tune for more astro posts…

xoxo J.

[art-that-fucks-you-up-tournament]

SET FIVE - ROUND TWO - MATCH TWO

"Winged Victory of Samothrace" (c. 200-190 BCE) / "Crouching Aphrodite" (mid 3rd cent. BCE - Diodalsas of Bithynia)

WINGED NIKE: she’s in the center of three staircases, one coming up from the ground floor and two coming down from the floor above on either side, so when you start walking up the stairs you see her rise over the top like the prow of a ship. she’s enormous, framed between the staircases, and the flow of the wings and the skirt is absolutely stunning and i Did genuinely tear up coming up those steps for the first time. (mischiefseven)

CROUCHING APHRODITE: There she is the goddess of beauty and she has stomach rolls when she crouches down because thats how bodies work. And as someone who is fat and has heard a lot of fatphobia in my life it just makes me loose it. (anonymous)

("Winged Victory of Samothrace" or The Winged Nike is a sculpture made of parian marble. The sculpture is 5.57m (18.3 ft) tall, including the boat shaped base, and the statue only is 2.75m (9 ft). It was originally found in Samothrace, Greece, but is currently held in the Louvre in Paris.

"Crouching Aphrodite" is a marble statue created by Diodalsas of Bithynia. It is located in the Archaeological Museum of Córdoba, Spain.)

[omegaremix]

Omega Radio for May 22, 2021; #265.

Big Heet: “Turn Away” + “Screaming Head”

Bitter Branches: “Party Mode”

Heads.: “Push You Out To Sea”

Slavescene: “Shit Gait” + “Fuck Off Away From Me”

Brandy: “I’m Shipping Up To Boston”

Watcher: “Thick Neck Breeder / Mask”

Exhalants: “The Thorn You Carry In Yr Side”

Civic: “Making Time”

Abandoncy: “Let The Dead Die In Vain”

USA Nails: “A Fair Nickel” + “Little Does He Know”

Tunic: “Exhaling”

Nopes: “Amber Is The Color Of Your Alert” + “Drink The Cat”

Belk: “Japanese Gangster”

Spodee: “…Rides Again” + “Dress The Part”

Show Me The Body: “Rubberband” + “People On TV”

Pnature Walk: “Label”

Negative Space: “ - ”

Gary, Indiana: “Nike Of Samothrace” + “Alien 3”

Flat Worms: “Pearl”

Garage, noise rock, and demo volume.

[semperama]

what is your favourite art piece? can be anything :)

I confess I know so little about art! Like, all the artists I can name are the ones everyone knows, haha. That said, my favorite kind of art is definitely sculptures. I have a vivid memory of when my parents took us to Rome when I was a kid, and I saw Michelangelo's Pieta (left) and how overwhelmingly stunning it was. Then a few years ago, I got to go to the Louvre, and I fell in love with Nike of Samothrace (right).

The fact that someone can take a block of stone and make realistic ripples of cloth or curves of a body is incredible to me. It's so far away from what I can ever imagine doing myself that it might as well be magic.

[ssaramoonn123]

Shaping the Ideal: Evolution of Human Representation in Greek Art (part 1)

Introduction

Hey history enthusiasts👑! My name is Sara Moon🌘 and for my Arhi 201 final project, I will be delving deep into the evolution of Greek art🏛️ and unveiling the marvels and the intricacies✨ of various pieces throughout history!

Let's kick things off with a ponderous question:

How did the representation of the human form in ancient Greek art evolve over time, and what cultural factors contributed to these changes?

We can already tell from these images that SOMETHING must have happened in history that warranted great changes to the art styles! Something went down within Greek civilization that brough breadth and depth into the Classical and Hellenistic art pieces that diverges from the traditional Archaic art pieces.

Sara's Hypothesis Adventure 🚀

I think ancient Greek art started with these idealized and stylized human figures in the Archaic days, but as time rolled on into the Classical and Hellenistic periods, things got more real and individual. It's like they went from "picture-perfect" to "real-life snapshots"! This switch-up happened because people were really into celebrating what humans could do, cultures were changing, and artists were leveling up their skills.

Meet Kouros: Our Archaic Buddy!

.... Yaaaa This dude's got that classic archaic vibe – you know, the stiff posture, the "I'm standing tall and proud" look. It's like he's frozen in time, giving off those serious, stoic vibes. His idealized features are all about that perfect, sculpted aesthetic. But hey, cut him some slack; it was the Archaic period, and they were all about that stylized perfection. Kouros might be a bit stiff, but he's the OG when it comes to setting the tone for ancient Greek art! 🏛️✨ #ArchaicStyle #KourosVibes

Next Stop - Aphrodite😍 of Knidos!

Praxiteles' "Aphrodite of Knidos" is a well known Classical period sculpture! During the Classical period, artists started making people look more real and lively. Praxiteles, one of those artists, was famous for giving his sculptures softer and more lifelike features.

As you can see from these sculptures, the Archaic to Classical period imitates more natural proportions and movements of the human body. Praxiteles was known for using a technique called contrapposto which involved placing the body weight on one leg. This technique brought a feeling of balance and natural motion to sculptures, giving them a dynamic and less stiff appearance.

The Hellenistic Era - Winged Victory of Samothrace

Ah, the Nike of Samothrace, the ultimate showstopper from the Hellenistic era! Imagine stepping into the Louvre and BAM, there she is, perched atop that grand staircase like she owns the joint. This iconic masterpiece is all about motion and drama – her flowing garments billow in the wind, and you can practically feel the energy of victory coursing through her wings. It's like she just descended from the heavens to announce some epic triumph. The Hellenistic era was all about pushing artistic boundaries, and Nike, well, she's the embodiment of that spirit. It's not just a statue; it's a breathtaking celebration of movement, power, and the sweet taste of victory. Who knew a sculpture could make you feel like you're witnessing history in the making? 🏛️🔥 #NikeOfSamothrace #HellenisticDrama

Citations for post 1

Marble statue of a kouros (youth) | Greek, Attic | Archaic. (n.d.). The Metropolitan Museum of Art. Retrieved December 4, 2023

Bauer, A. (n.d.). Aphrodite of Knidos. Brown University. Retrieved December 4, 2023

Meijer, C., & van Oppen, B. (n.d.). Winged Victory: the Nike of Samothrace. World History Encyclopedia. Retrieved December 4, 2023

[allaboutaparthistory]

37. Winged Victory of Samothrace

Found on the Greek Island of Samothrace

Hellenistic Greek

190 BCE

Marble

Visual: The winged goddess Nike has robes draped over her body. She is standing on a ship. The Entire sculpture is 18 feet tall. The height, for one, creates a dramatic and powerful effect since the viewer is standing below it. The robes that cling to her skin create even more drama. She has a powerful stance, with one foot in back and one in front. In its time, the sculpture would have been positioned towards the coast, with the wind hitting the sculpture.

Context: This piece was carved during the Hellenistic period, after Alexander the Great created Greece, the largest empire at the time. Greek art, at this time, was very expressive and dramatic, so seeing a magnificent and dramatic piece from this time is no surprise. The Winged Victory was placed in the Sanctuary of the Great Gods on Samothrace in the Aegean Sea. It was made as an offering for the gods, however little is known about the rest of its uses, or the culture of Samothrace. It was restored by Hermann Thiersch in 1931.

[classicschronicles]

Hi lovelies,

Today’s entry is about one of the most famed pieces of Hellenistic art- The Winged Victory of Samothrace. This statue is of the Goddess Nike (the goddess of victory) and is one of the few Ancient Greek statues where its exact original location is known.

Nike was the Greek goddess and personification of victory in both war and athletic competitions. Despite rarely making an appearance in Greek mythology and having no definable personality, she regularly appears in Greek art such as pots and sculptures. In these artistic portrayals of her, she is often seen as a young, winged woman with a leafy crown in her hand.

The statue, a 5.57-metre marble masterpiece, represents Nike about to alight on a ship whose sailors have returned victorious from a sea battle. The slaying personification of Nike is portrayed through the way her wings are dramatically outstretched behind her. A strong wind blows her drapery across her body, gathering in heavy fold between her legs and around her thighs and waist. The marble imitation of her clothing is thin around her breasts, legs and abdomen, with this drapery also revealing her body underneath her clothing. This all helps to create an eroticised vision of the female form- a common feature in Hellenistic art. The Winged Victory shares the same dramatic composition and style as other Hellenistic artworks (e.g. the Laocoon). It was intended to be viewed from multiple angles, which encourages the viewer the move around the statue to engage with the artwork not only in an emotional sense but a physical sense too.

Whilst the exact date of its creation remains unknown, we can assume it was created around 190 BC and was commissioned to celebrate the above victory. The winners, perhaps inhabitants of Samothrace or its surrounding islands, erected it as a sign of thanks to the gods of the island.

The statue was discovered in 1863, on the island of Samothrace, by a man called Charles Champoiseau. Initially, when he discovered the statue, it was broken up into some 110 fragments but with no sign of her head or her arms. When Champoiseau returned to the island in 1879 to unearth the remaining fragments he was unsuccessful, but he did unearth the bow of a ship that served as the base for the statue. Due to its fragmented nature, the statue has been restored several times and continues to change form the more that we find out about it.

The statue today, currently in the Louvre, has been only partially restored. Whilst it is now plain white marble, traces of pigmentation still remain, suggesting that originally it would’ve been painted in an array of bright colours. Nike’s right wing is a modern replica. The surviving fragments suggest that the right-wing would’ve risen higher than the left wing and slanted upwards. The wings are a mastery of marble, even more so because of their free-standing nature despite the sheer weight of the marble. Unsupported large elements of marble, such as the wings, were rarely seen in early Greek sculptures. The original sculpture of Nike found a way to overcome this issue by creating slots on Nike’s back into which the wings were inserted in a downward slope. This meant that the primary weight of the wings rested largely on the body and did not need external support.

As I mentioned previously, the Winged Victory has no arms or head- part of what makes her so distinctive and iconic. Since Champoiseau’s initial excavations, many archaeologists have tried to locate the arms and head of the sculpture. After several digs, only part of the right hand has been found (the thumb, palm and ring finger). This suggests that in the original statue, Nike had both hands raised outwards as a sign of victory.

The Winged Victory can be found in the Louvre and was originally described as a ‘music hall star.’ This is because of the original design of her current home- the top of the Louvre’s Daru staircase. In 1883 a very ornate décor was designed especially for the statue. The domes above her were decked out in heavily gilded mosaics. This initial décor was not to everyone’s taste, with many critics comparing Nike to a ‘music hall star’, claiming that the décor was tacky. Since then the initial décor has been covered up with a much more simple wallpaper imitating cut stone. Side note, when I found out that it was wallpaper and not actual stone and I felt so dumb because it looks SO realistic that for the last six years I genuinely thought it was actual stone (12-year-old me is not impressed).

Despite its fragmented nature, the Winged Victory remains one of the most renowned and awe-inspiring pieces of Hellenistic art. The realism of the marble drapery, its sheer size, its intricacies, and its dramatic composition demand the attention and respect of its viewers. Here is a link to an incredible 3D render by the Louvre that allows to you to see the piece from all angles. I hope you all enjoyed reading about the Winged Victory of Samothrace and that you enjoy the rest of your weekend.

~Z

[strwberryracoon]

Taywhora as some of my favorites artwork (and my really bad explanations)

A'whora as Winged Victory of Samothrace (third-second century BC, unknown artist)

no bc it's litterally her listen- this is probably one of my favorite artwork ever it's just so beautiful,,

Nike, the goddess of Victory, portrayed in the form of a winged woman standing on the prow of a ship as she announces the glory of the navy. One word to describe this statue is definitely "mesmerizing". The dramatics, the grace, the elegance, the theatrics of the pose, the details of the wings and the drapery blown by the wind revealing her body creating a pleasant spiraling effect. The visuals are just SO good I can't put into words how much I love this masterpiece.

I saw it recently for the first time in a while and my mind went straight to A'whora. Her fashion sense, her makeup skills, her body.. there's something so familiar about them, the way they both convey pride and glory, yet peace and comfort, it just. makes sense.

Tayce as Fallen Angel (1847, Alexandre Cabanel)

do I even have to explain this lol

I love this painting so much because despite the delicacy and elegance of the whole piece, it's a blast of wicked emotions that creates an almost disturbing peace.

Lucifer's body is tense, his wings still wrapped around his body after attempting to protect him from the Fall, while his arms are hiding his face so as not to show any sign of vulnerability. Everything about him transmits frustration and resentment, hate mixed with revenge.

The main focus of the artwork is obviously his incredibly emotional gaze: a tear shedding like a diamond from his perfect face, as if it was his last residue of goodness, the last drop leaving space to an infinite totality of hate.

It's kinda ironic to associate Tayce with one of the most famous cries in art history given the fact she isn't a crier; she doesn't like being perceived as vulnerable and therefore weak, and that's exactly why it fits her so well. Since the episode two's lip sync this art piece has been the only thing in my mind. Her eyes just speak for her, the anger, the hurt, the passion, her expressivity whenever she performs is just as intense and beautiful as the painting itself, so calm and collected and yet so moving, feeling almost nostalgic.

And little side note Fallen Angel is famous for being one of the hottest artwork ever made,, reminds me of someone,,

[hannahcrazyhawk]

I received a beautiful marble Nike of Samothrace replica in the post from Greece for my birthday (it's the 23rd of April). Nike is known as the goddess of victory, often in navel battles. She dates back to approximately 200BC and was found in 1863. She has been on display @museelouvre since 1884. Nike is one of the few Hellenistic sculptures left, standing over nine feet tall. Made of Parian Marble, Nike was discovered without her head, right wing, arms, and feet. Interestingly, her current right wing is a mirror casting of the left wing. Nike is a symbol of beauty, victory, and mystery. My seas are rough and my sails are torn, but may - at the very least - my body make it to the shore. #historyofart #greece #statuecollectors #angelbeats #chronicallyill #statues #historymemes #history #statue #greecestagram #goddesses #historyinthemaking #angel #nike #greece🇬🇷 #goddessvibes #greecelover_gr #historynerd #goddessenergy #nikeofsamothrace #parisianstyle #nikestatue #thelouvre #ancientwisdom #ancienthistory #womenandwings #navylife #sheflieswithherownwings #battlefield #lifeisart www.hannahcrazyhawk.com (at Eugene, Oregon) https://www.instagram.com/p/CNkFjxAFCjh/?igshid=1cqkbul120yex

[amaliatheartist]

'Cause all the angels say,

[dottiechan]

Tempest (Pt. 1)

Part 1 | Part 2 | Part 3 | Part 4 | Part 5  

Read on AO3

Pairing: Ava Du Mortain x f!Detective

Wordcount: 1950

Warnings: gay pining, denial of romatic feelings none

Summary: Ava waits for the private detective to arrive while pondering their relationship. (1890s AU)

A/N: I am plagued by the late Victorian AU and Miss Du Mortain, so this happened. I wrote the detective as a female private detective, but other than that I have not specified any details about her. It also passes as a reader insert fic! (You can check out the full art here.)

Ava watches the grey sky as it persistently batters the window with rain, the small streaks on the glass pane casting lines on her handsome face that could be mistaken for tears by someone who doesn’t know her. Anyone who does know her knows that she’d sooner shed her blood than her tears. That is just the way she is. The way she likes to be thought of. The only way she is truly safe.

The heavens have let loose, and god is baring his teeth. And Ava just stands there, hands shoved in the pockets of her trousers, gazing out into the busy street as still and cold as the marble statues dotting the hallway. But only on the outside. Because inside of her, there is a storm to match the tempest that assails the city.

She is agitated the moment an image of her slips into her mind, and she begins chewing on the inside of her cheek when she realises that every minute the private detective isn’t in her sight, she is losing her mind. The nervous gesture is soon quelled by hundreds of years of self-discipline, and is replaced by her signature frown, lips pressed into a thin line, the muscles running along her jawbone tensing under her opaque skin. She is... mortal, she wants to think. Fragile. Unimportant. A job.

But she is also everything.

Which is why she must sever her ties to the woman before the job is over, otherwise the eternity to come will turn into hell on earth without her. Ava deserves hell, she knows that. Not that she believes in the devil, but the sharpness of his pitchfork and the heat of hellfire are sensations not unfamiliar to her. Eternal damnation is just guilt and anger and fear hiding in Satan’s clothing. But she can’t even begin to assign words to the kind of torture a world without her would mean. Ava’s ever so logical mind paralyses in terror at the thought of existing in a time when she isn’t.

She inhales sharply - even brushing the surface of the topic causes so much pain to course through her whole being that she needs to focus on something else - anything else - to continue functioning. So she listens to Nate’s soothing voice as he discusses myths with the professor down the hall. She registers the footsteps of people mulling about the museum on the floor below, the idle chatter of ladies clad in expensive dresses, the booming voices of three men arguing over the origin of a painting in the first hall. She turns her piercing attention on the street now, listening to the sounds of horses and vendors and street urchins, feeling thankful to the steady rain for considerably dulling the sharp tang of the muddy streets in her nostrils. She pulls out her pocket watch then, the ticking matching her now once more steady heartbeat.

The detective isn’t late yet, though she has a feeling that she will be, with the rain clogging the streets with carriages and hansoms as it usually does, especially at such a lively hour in the late morning. Ava wonders what she will wear, how her hair will be styled. She wants the rain to kiss her face, she wants the wind to rake its fingers through her tightly pinned up hair and loosen some strands from their captivity. She wants the warmth of the museum building to engulf her once she steps inside, bringing a rush of blood to her cold cheeks. She wants all this and more, for her own body must stay still for everyone’s sake, thus leaving her to live through the rain, and the wind, and the warmth of the radiators, her own fingers and lips and skin left yearning for a sensation she must deny herself.

Her daydreaming is cut short when two men pass her by, throwing her wide-eyed stares as they clutch their books to their chests and mutter quiet greetings to her. Students of the professor, no doubt, and shocked to their very core by the sight of a woman in trousers easily towering above them. It fills Ava with a savage sort of satisfaction before her insecurities - awakened by the private detective’s appearance in her life - creep up on her. It has never been particularly acceptable for a woman to wear men’s clothing throughout history, and 1896 is no exception. Then again, Ava has never been particularly bothered by this expectation, so it has all been well. Until now, when she begins to wonder if the detective likes this. She has commended her on her bravery before, and agreed with her choice of clothing because of its practicality, but that is hardly an admission of approval or attraction. And besides, she seems to favour dresses herself, even if she is nowhere nearly as extravagant or tightly laced as the dames of the decade. Admittedly, the detective’s pulse always picks up when they speak, especially alone, and her pupils are blown when she catches her staring but...

“I’ve got what we came for... and more,” Nate speaks with quiet excitement as he stalks up to her by the window, and Ava forces herself to look at her friend, hands balling into fists in her pockets. She had been so absorbed in thoughts of the private detective that she almost didn’t notice Nate at all until he reached her.

Pathetic. She needs to focus.

There’s a supernatural on the loose, murdering in the streets of London, and she is thinking about whether or not a mortal woman likes her choice of clothing. She takes the folder Nate hands her, and pries it open to reveal several new pages filled with his neat handwriting. At least their initial hunch has been correct - they’re definitely something corporeal that can pass off as a human, and now thanks to Nate’s research, they’re all but confirmed to have come from Scandinavia originally. And yet it doesn’t help her ease her mind that she knows what they could possibly be - after all, they’re out for the detective by the Agency’s estimate.

“Could it be a dark elf?” she mutters, blonde brows furrowed as she skims through the pages.

“Dökkálfar. My thought exactly,” her friend nods, pleased that Ava has come to the same conclusion.

“Haven’t seen one of those in... well, in a very long time.”

Nate’s shoulders sag a little as his initial enthusiasm ebbs. “I suppose we are about to face one again.”

She wants to reprimand Nate for forgetting the real objective of their mission - it’s protection, after all, not hunting down a rogue. But she thinks of the detective again, a woman so unique and individualistic in a world that tries so hard to oppress her along with her ambitions, and she knows she won’t be able to rest until the threat to her life is no more. It’s her duty, she reasons meekly against the swell of affection filling her chest and pushing against her skin, threatening to crack the solid marble of her stoic facade. But she knows a lie when she hears one. She suddenly thinks of last year, Paris, the Louvre. Nike of Samothrace. The statue of the Winged Victory. Headless, and yet still the symbol of triumph. She has lost her common sense ever since she started working with the detective, but she knows she must win as well, because if she fails... Well, she dare not even think about the consequences it would have on her.

And above all, she must remain as cold to the touch as that carefully carved block of marble.

“I wish we could tell her,” her friend presses on gently, concern and guilt marring the edges of the soft curve of his long lips.

“It’s better this way. Safer,” she croaks, hating the way her voice softens and breaks mid-sentence.

“Safer for whom, I wonder?” Nate sighs, taking the folder Ava hands him and closes it with delicate fingers before leaning against the wall next to her. She hasn’t even realised she sought to support of the wooden panelled hallway until Nate mimicked her movement absent-mindedly.

“What do you mean?”

“Safer for her...” he sighs before glancing at Ava with sad eyes, “or safer for us?”

She averts her eyes, her long ignored self-loathing clawing its way up from the deepest pits of her mind before she clenches her jaw. “For all parties involved.”

But mostly for me, she admits to herself inwardly. The lie obscures her true nature, and she revels in it for once. She doesn’t know what she’d do if the detective flinched away from her in fear instead of being drawn to her like a moth to a flame in the middle of a heavy summer night. For the past 800 years, she thought of herself as nothing but an agent, an element operating in the shadows, making the world a less dangerous place. She hunted her emotions and burned them at the stake, but this witch hunt can only go on for so long without consequences. She always thought of herself as a vampire first and foremost, her base nature being a bloodthirsty monster, but she was human before that. And she’s never felt more human than now. Probably not even when she actually was one.

And that is a terrifying thought to live with, especially when its source is so easily pinpointed. Her. It’s all on her.

“So we lie once more?” Nate sighs, breaking the silence and drawing her attention outwards once more.

“Yes,” she states firmly, the word feeling strangely sour in her mouth. “We tell her this was a dead end. She doesn’t need to know anything else. The Agency, on the other hand, needs to be brought up to speed. Will you do it?”

“I’ll brief them,” Nate nods, pushing himself away from the wall before straightening down his coat. “I suppose that leaves you with watching her?”

“Yes,” Ava speaks through gritted teeth, ignoring the heat crawling up her neck at the thought of being alone with the woman. Her reaction to the detective is unbearable, and yet she brings it upon herself like a masochist inviting the pain. She doesn’t understand why she does it, and yet she has no will to stop.

A nod, retreating footsteps, and Nate is no longer to be seen or heard, not even by her eyes and ears. She slips out her watch from her pocket once more and flips the silver lid open - she is late. Her heartbeat turns into a wild galloping crescendo when she hears a familiar voice on the street though, her heart’s rhythm no longer matching the steady ticking of the pocket watch as it did before.

Ava stares as she exits the hansom with a graceful ease that should be categorised as a criminal offence, wet pieces of stray hairs sticking to her delightful face as she rushes across the street with a purpose that almost leaves her breathless.

She wants to catch the killer, she tells herself. That’s all she wants and nothing more.

Yet as she moves swiftly towards the staircase, unable to wait for her in one place, and wanting, no, needing to see her as soon as possible, deep down Ava hopes the detective is just as eager to be with her as she is.

And then at the very last moment, right before they’re about to come face to face, she schools her features into a blank expression, a great lie of a tabula rasa, her face hardening like sculpted marble - commanding, ancient, beautiful, but so, so cold.

[omegaplus]

# 3,737

Omega Radio for May 22, 2021; #265.

Big Heet: “Turn Away” + “Screaming Head”

Bitter Branches: “Party Mode”

Heads.: “Push You Out To Sea”

Slavescene: “Shit Gait” + “Fuck Off Away From Me”

Brandy: “I’m Shipping Up To Boston”

Watcher: “Thick Neck Breeder / Mask”

Exhalants: “The Thorn You Carry In Yr Side”

Civic: “Making Time”

Abandoncy: “Let The Dead Die In Vain”

USA Nails: “A Fair Nickel” + “Little Does He Know”

Tunic: “Exhaling”

Nopes: “Amber Is The Color Of Your Alert” + “Drink The Cat”

Belk: “Japanese Gangster”

Spodee: “…Rides Again” + “Dress The Part”

Show Me The Body: “Rubberband” + “People On TV”

Pnature Walk: “Label”

Negative Space: “ - ”

Gary, Indiana: “Nike Of Samothrace” + “Alien 3”

Flat Worms: “Pearl”

Garage, noise rock, and demo volume.

[omegaradiowusb]

MAY 22, 2021 (#265)

Big Heet: "Turn Away" + "Screaming Head" Bitter Branches: "Party Mode" Heads.: "Push You Out To Sea" Slavescene: "Shit Gait" + "Fuck Off Away From Me" Brandy: "I'm Shipping Up To Boston" Watcher: "Thick Neck Breeder / Mask" Exhalants: "The Thorn You Carry In Yr Side" Civic: "Making Time" Abandoncy: "Let The Dead Die In Vain" USA Nails: "A Fair Nickel" + "Little Does He Know" Tunic: "Exhaling" (***NEW) Nopes: "Amber Is The Color Of Your Alert" + "Drink The Cat" (***NEW) Belk: "Japanese Dancer" Spodee: "...Rides Again" + "Dress The Part" (***NEW) Show Me The Body: "Rubberband" + "People On TV" (***NEW) Pnature Walk: "Label" Negative Space: " - " Gary, Indiana: "Nike Of Samothrace" + "Alien 3" (***NEW) Flat Worms: "Pearl"

It’s our final show for the Spring broadcast season and Omega Radio seals the deal with a shorter 90-minute deluxe set of noise rock, garage, and other wild and heavy sounds. It’s a sneak preview of what will be our busiest summer season ever.

We thank all of our followers, listeners, and supporters of Omega. See you this summer.

June 2, 2021 (12AM New York City): first Summer bonus Omega

June 5, 2021 (10PM New York City): first Summer deluxe Omega

June 16, 2021 (12AM New York City): bonus Omega

June 19, 2021 (10PM New York City): deluxe Omega

June 30, 2021 (12AM New York City): bonus Omega

July 3, 2021 (10PM New York City): deluxe Omega

July 14, 2021 (12AM New York City): bonus Omega

July 17, 2021 (10PM New York City): deluxe Omega

July 28, 2021 (12AM New York City): bonus Omega

July 31, 2021 (10PM New York City): deluxe Omega

August 11, 2021 (12AM New York City): bonus Omega

August 14, 2021 (10PM New York City): deluxe Omega

August 25, 2021 (12AM New York City): final Summer bonus Omega

August 28, 2021 (10PM New York City): final Summer deluxe Omega

[jewellholland]

Me imitating Winged Victory of Samothrace, the Louvre Museum, Paris 

1. As best as historians can tell, the Winged Victory of Samothrace was created by the people of the Greek islands of Rhodes around 190 BC. Victory is an excellent example of the Hellenistic art movement, which is why she was brought up in Our Western Heritage. Hellenistic art focused on the individuality and beauty of the human body. Victory certainly represents this beauty. The sculpture, which is 18 feet tall including its base, depicts an 8-feet-tall Nike facing into the wind, plastered with her robes, and alighting on the prow of a ship. Her movement is dynamic and expresses intense power. As a representation of the concept of Victory, the sculpture depicts Nike as a messenger who flies over the earth bringing news of victory, either in battle or athletic competition. This statue may have also been an offering of thanks to the gods for a successful naval battle. The statue originally stood in the Sanctuary of the Great Gods, a temple dedicated to the Mysteries. In the fourth century BC, the kings of Macedonia formed a terrace on the hollowed top of the hill on which the sanctuary stood. Victory was placed in this highest and remotest part of the sanctuary, to be seen at a three-quarter left-side view, which is the side most finely sculpted. 

2. The sculpture was rediscovered in 1863 in three separate pieces: the base, torso, and left wing. The right wing that is attached to the statue is actually a cast of the left wing that was added by the Louvre. In 1950 archaeologists also discovered other fragments of the statue, including an open right hand. Victory underwent an extensive reconstruction before she was first displayed but archaeologists were able to use other depictions of Nike from the time period to recreate her as accurately as possible. By the positioning of her torso, Victory probably had her right arm aloft and bent at the elbow. Today, Victory is one of the most celebrated sculptures on earth and is visited by nearly 10 million people every year. It has inspired countless reproductions and served as muse for artists like Salvador Dali and even architect Frank Lloyd Wright. 

3. Victory is truly one of my favorite sculptures from antiquity. I made sure to revisit her when I went back to the Louvre the second time. There is a kind of poetry in Victory’s movement that I am really drawn to. To me, the sculpture is an incredible portrayal of feeling, power, and human strength. Its depiction of the movement in the wings and wet garment is realistic and breathtaking, full of vitality and understated sensuality. I think Victory’s beauty is also in the mystery of what she looked like when she was complete, standing on that hill overlooking the sea. Given the incredible skill of the sculpture of her wings, body, and robe, I can only imagine the strength in her arms, the directness of her gaze, the chaos in her wind-blown hair. I’m so grateful I got to visit her.