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fceriestcrdst · 2 years

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Farewell and Good Riddance 2021

Warning: Talks of self-hatred (mildish), Talks of a toxic friendship

It's odd thinking about how the year 2021 is finally over and that I am finally free from it. Free from a year that felt like 2020 but so much worse, a year that took everything from me and tore it to shreds. I never thought I would win in the battle that's been happening for me over the last two years, I thought I was finally going to just give in to everything.

I was so consumed by the feelings of being a burden, stupid, annoying, of thinking all my friends are liars and that the only reason anyone cares for me is that I'm often too nice to say no. I, finally, know none of that is true and that the people I've surrounded myself with truly love me for existing, they all love me in the softest way possible and I can never thank them enough.

I broke free of a co-dependant friendship so that after our no contact break we can try to be friends in the correct way. I finally spilled my heart out with every sorrow I had held onto from September and it felt so good and empowering and strange. I did it on December 15th and I have only come out stronger and happier.

I've been able to reconnect with Jaskier in a way I never thought would be possible again. I've started to feel okay in my skin, happy in my existence and it's so strange and beautiful all at once. For once since 2020 I don't feel like sobbing at the end of the year I instead feel like cheering and dancing and singing. I feel free and I feel like me.

This year was a hardship to everyone some more-so than others and by the Gods, we made it through. I spent this year reflecting on my sexuality and my gender once again and on my names and my pronouns, it was horrifying in a way I had not expected. I delved deeper into my witchcraft just a little bit and feel more at home in it than I ever have before.

I'm finally able to say I'm transmasc non-binary without being afraid because I am who I am and that's all that matters. I'm able to say I use He/They and neopronouns such as Xe/Xyr without fear because I'm proud of it, I'm proud that I've started coming into who I am. My sexuality feels weirdly set as Bi/Pan though I am also poking about at Omnisexuality, I'm still a bit unsure but not as unsure as I was a few years ago. I've come to love and accept my Asexuality as something amazing and safe and grand and not something shameful because of what society tells me is right and is wrong. I am able to come into my Polyamory in a way I never expected and I love myself for it all the more.

I still have a lot of work to do in order to get to a point where I don't spend nights hating every inch of myself. Thankfully I haven't picked myself apart in a month which is astounding for me (I'll thank Jaskier for that one). To be frank I haven't picked myself apart at all in a while and it's so odd that I'm beginning to feel content. Sure, there are parts I want to change and things I want to do to feel more 'me', but for now I am trying my best. For now, I am accepting that I am who I am and that in order to become who I want to be I need to give a fuck about myself and about the body I tote around the Earth.

It's just all very strange. Very very strange. I haven't felt this sound and this content or happy since, Gods, before 2017, and yet here I am feeling like I am finally awake after years of not really paying attention.

So without further ado, farewell, and good riddance 2021, you will not be missed and you will surely be forgotten.

gif from @/zoya-nazyalenskys

#kit rambles #kit's farewell to 2021 #crow rambles

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simsphonysims · 2 years

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Hi, my fellow simmers! ♡

Here is the ultimate Christmas house of this winter season. It's a beautiful and grand family Georgian house.

This house is built in a Willow Creek, The Sims 4 Base game world, on a 50x50 lot where was an original spot of Oakenstead. It has 3 bedrooms, 1 master, 1 for toddler and 1 for a kid. 1 open closet. 3 Bathrooms, a kitchen, a dining area, a living room, office, and a Greenhouse.

♡ Check it out here: https://www.youtube.com/watch?v=Q_EQGERGpDg

Hope you like it!

♡ CC needed:

Simsphony’s CC LIST - complete! (Here is the whole list of packs with their links that I’m using in my game)

Felixandre (Colonial, Berlin, Paris, Kyoto, Versailles, Florence, Schwerin, French rugs, Tudor, Ludwigslust, Georgian, London,Rococo, Petit trianon, Marie Antoinette, Chateauesque domer, Victorian, Venus) House of Harlix (Orjanic, Kichen, Tiny Twavellers, Bafroom, Livin'rum, Jardane) Harrie (Spoons, Heritage, Porto, Brutalist, Bougainvillea override, Brownstone, Country, Stockholm, Halcyon) MadameRia (Back to basics, Lucky man folded laundry) Awingedllama (Apartment theraphy, Blooming rooms, Paranormal plants) Sixam (Small spaces pantry, Kids bedroom, Dreamy outdoor, Charming chalet, Hotel bedroom, Artz, Lux bath) Pierisim (Oak house, Coldbrew, The office, Calderone, Rold skov) TudTuds (Beam, Ema dining) Charly Pancakes (Dinna, Smol, Miscellanea, Modish, Munch) Brazen lotus (Jaipur rugs, Packanack, Wicker basket, Archeology, Rustic wood slice) Mlys (Pufferhead, Tall bookcases) Linzlu (Simsmas) S-imagination Plumbob tea society (Rustic romance) Irrelephant sims Magnolian farewell (Antique stack) Strange storyteller sims (sectional library, Christmas set) Simsational designs (Province kitchen, Elsie, Rock'n'Rockers, Lofte living, Cozy Knits, Hinterlands living, Volta) The clutter cat (Winter wonders, Spring spirits, My little farm, Mermaid Mansion) King Falcon (Fuvwara, Stone railing) Leaf-motif (Ivy hallway, Botanic boudoir, Winter village) Little Dica Myshunosun (Zephry office, Serene bathroom, Luna bedroom, Nora living) Maxus (Classic kitchen kit, Child dream pack, Holiday mini pack, Dining room kit, Cozy bathroom) Cow builds (Kids'bedroom - clutter) Grim cookies (Retail theraphy, Modern office, Minimal dining) My cup of cc (The patreon collecion-September, Colour talk, The modernist, November 2021, Maple manor) The Jim (Versailles Treillage, Fountain edge) Zx-ta Ravasheen (Slide into your mods, Under counter washer) The townie architect (Moderno)

♡ Tray file: The ultimate Christmas Georgian house

Happy simming! ♡

#sims 4 georgian #sims 4 georgian house #sims 4 cc build #sims 4 cc #simsphony #sims 4 family house #sims 4 christmas #sims 4 christmas build

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rockthistowninsideout · 3 years

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DigiWeek 2021

Day 2 - Voyage

The Story

part 1 part 3 part 4

After the first shock of having been transported to the Digital World had subsided we had tallied what was in our possession. We still had our school bags with us which meant unnecessary burdens in the form of school books and notebooks. But we couldn’t just throw them away so we had to carry them if we liked it or not. Thankfully, we still had our full bento boxes in there as well (today we’d gotten free pizza for lunch because of the principal’s birthday – the only good thing coming out of this miserable day). In addition to that I had a small first aid kit at the bottom of my bag while Taki was always carrying a sewing kit. We could be off worse, I supposed.

Once that was out of the way, the four of us set off to the West – at least I thought it was the West as the sun was moving in this direction (I mean, the world was moving in this direction. My science teacher would get pustules if he’d heard that.) The vegetation grew sparser the longer we trudged until we suddenly stepped into thick powdery snow.

“Oh God!”, Taki muttered, clutching her bare arms after a few metres. She started to shake until I took off my jacket and placed it on her shoulders. “Thank you”, she said with a bright smile.

I simply touched her back in response. “How far is it?”, I asked Kamemon.

“There’s a cave about an hour away where we can hide for the night.”

Just as it had said this, a snowstorm descended completely out of the blue. For a moment, we were engulfed in a twirling cloud of snowflakes. Taki and I leaned into each other to shield ourselves. When that cleared, a hideous Digimon stood before us, baring his sharp white teeth from out of a mass of black wiry fur.

“Oh, Frezamon! My friend, how are you doing?” Kamemon said cheerily.

I blinked rapidly. I wouldn’t call someone a friend who was frantically dancing around us. It drew nearer and suddenly produced an ice pick from among its fur. With which it was aiming at us now!

Kamemon took a step back. “It’s never done that before!”

“Stay back!”, Ryudamon yelled. It leapt before the three of us, hissing “Tera Burst!” and jumping into the air to fire several mini explosions. My eyes went wide watching but Frezamon simply danced back, noticing that a few fur strands had caught fire. It grabbed a handful of snow to put the fire out. Then it let out a roar and threw the ice pick. It sailed past Taki’s scalp by a whisker but only because she had managed to duck away in time. Suddenly the DigiVice, how the round devices we had gotten were called, at her belt started to glow – as did Ryudamon and it changed in a blink-and-you’ll-miss-it-moment from the mastiff-sized Digimon to a blue cyber dinosaur three times my height. It looked terrifying with its red sharp claws, bolted extremities, and sizzling cable ends serving as its tail. My own DigiVice lit up. The name DexDorugamon appeared on it.

Frezamon, though, seemed not intimidated by it. The ice pick returned in a boomerang-like fashion and now it was ready to throw it again. The twirling fur revealed something that caught my eye. A black spike was protruding from Frezamon’s back.

“Kamemon”, I asked and indicated the spike. “Is that a normal feature of Frezamon? Like a bee sting?”

Kamemon cautiously peered around Frezamon’s back. Its eyes went wide. “No! I have never seen that before!”

“Well, you said something about a gruesome force. Maybe that’s what’s responsible for the spike.”

Taki, who was still looking frightened, yelled “You heard that?”

DexDorugamon raised a claw as answer. It jumped for Frezamon’s ice pick, tore it away and by doing so it caused Frezamon to topple over. Now that it lay face-first on the ground, DexDorugamon could aim its Cannonball at the spike. It burst into a thousand shards that floated in the air for a moment before dissolving into sparks of data. As DexDorugamon evolved back to Ryudamon, Frezamon slowly rose to its feet, looking confused.

“Oh, hey friends! How come you’re out here in the cold? And who are those weird-looking creatures?” It indicated Taki and me.

I squinted at Frezamon. “You don’t remember anything?” I asked incredulously.

It shook its head, asking with a frown, “Should I?”

“Well, you just tried to kill my best friend!”

Kamemon rushed to Frezamon. “What my DigiDestined actually means is that something caused you to attack us. You wouldn’t have done that if you hadn’t been out of your mind, right?”

Despite being basically nothing but fur, Frezamon managed to look like an entire question mark. And then downright offended. “Of course not! I would never hurt my friends.” It tilted its head and scratched it. “Now, thinking about it, you’re not the only - what did you just say, Kamemon?”

“DigiDestined.”

“-DigiDestined that I’ve encountered. I saw one the other day up on the mountain.” He indicated the snow-covered peaks on the horizon.

Taki and I exchanged a look. Another human! So we weren’t the only ones stranded in the Digital World!

“We should go find them”, Taki said. She looked much better, now that the imminent danger was banned. “Maybe they know how to get out of here.”

“Why would you want to leave the ice wastelands?” Frezamon asked truly flabbergasted.

“Our friends here are not made for arctic conditions”, Ryudamon explained. “We need to find food and shelter for the night so we can strategise on our next move.”

Frezamon waved its ice pick in farewell. It bared his teeth and said: “Then goodbye and good luck on your journey!”

DexDorugamon

(Frezamon is a Digimon made up by me so I can’t present you a picture now.)

What happens if your (favourite) character comes to your country/city?

“Oh how wonderful, Germany! Pretzels, Weißwurst, and potatoes! God, I love potatoes!”, Miyako exclaimed as she, Mimi, Hikari, and Sora were exiting Bremen Airport. She stood for a second at the curb, closing her eyes and inhaling (though mostly exhaust fumes), before stepping onto the bus that would take them to their destination.

Their tour guide Susanne, a German chef Mimi had met on one of her cooking trips around the world, laughed. “You are aware that you are in the North of Germany. We do not eat pretzels and weißwurst, at least they’re not our national dishes. We eat kale and - Pinkel!”

Hikari’s eyebrows climbed up her forehead. “Pinkel? Sorry, my German is really, really just rudimental, but as far as I’m concerned pinkeln means to pee. I doubt you eat anything related to pee!”

“Of course not. Pinkel is East Frisian and, you may be surprised to hear that, East Frisian is more related to English than to modern day German. So Pinkel derives from pinkelt, or pinky finger. At least that’s one theory. It’s a smoked Kaszanka, made of pig’s blood, pork offal, and buckwheat or barley”, Susanne explained.

Miyako and Hikari exchanged a look, wide-eyed. “Pork offal?”, they said in unison, sounding utterly disgusted.

Susanne shrugged. “Sure. why let anything go to waste? I heard that head-to-tail usage of animals is very en-vogue again.”

“Well”, Miyako drawled, “I think I’ll just stick to the vegetarian options then.”

#digiweek2021 #voyage #digimon adventure #digimon adventure 02 #miyako inoue #hikari yagami #mimi tachikawa #sora takenouchi #my oc #my stories #digimon

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wonderfulworldofmichaelford · 3 years

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Goku vs. Superman. Freddy vs. Jason. Roe vs. Wade. For all of time, humans have pitted powerful forces against each other in theoretical fights try and determine who the superior character is, but nowhere before 2021 has there ever been a universe containing two characters as powerful as the DCEU. You see, with the release of James Gunn’s The Suicide Squad, we now have what may very well be the single most powerful man in superhero cinema…

TDK, The Detachable Kid.

But before that, in David Ayer’s Suicide Squad, we were introduced to another man who might be his match, or perhaps even his superior…

Slipknot.

Tonight, we will look at these two superhuman titans and determine who would win in a battle. Will it be TDK, or will it be Slipknot? Let’s find out.

ORIGINS

Both characters come from rather humble beginnings. TDK is far easier to summarize, since the inspiration for the character is a joke. Arms-Fall-Off Boy, as he was originally called, hailed from the 30th century and tried out for the Legion of Super-Heroes… and was promptly rejected, because his power is to detach his arms and use them as blunt weapons, which sucks shit.

Slipknot, meanwhile, has a bit more of an impressive legacy. The character was able to take on Firestorm and later was a member of the Suicide Squad, where Boomerang decided to use him to test if the bombs on them were real. They were, and Slipknot lost an arm.

As you can see, neither of these characters have the most amazing origins, but that’s what movies about the Suicide Squad are for! You take obscure, C-list villains and turn them into champions! For this, though, the point has to go to Slipknot, due to his more illustrious career which includes being the namesake for a metal band and also because he wasn’t created by a raging pedophile.

POWERS

The reason these two are so incredible is because of their amazing metahuman abilities.

TDK has the incredible ability to detach his arms and slowly float them over to his enemies, after which he can gently slap them or manhandle their weapons. It’s such an incredible ability that apparently TDK is famous enough that Waller’s staff questions how he’s never worked with Harley before. Now, this ability may seem rather underpowered at first glance, but it has a myriad of uses! He could use it to grab things off of very high shelves, he could use it to reach items from long distances, he could send your arms across the club to smack a girl’s ass and cause her to smack the guy next to her which causes a chain reaction that leads to the entire club turning into an all-out brawl… the possibilities are truly endless here, and with no confirmed range, TDK could potentially send his arms all around the world to pat himself on the back for a job well done!

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Slipknot, on the other hand, has the power to climb anything, as Rick Flag points out. This is perhaps one of the most broken powers in all of existence. Think about it. Say he’s fighting Superman, but has no kryptonite to beat him. He could just pull out his rope, climb on up to Krypton, and get some. Or perhaps he’s stuck in Hell after dying horribly because Captain Boomerang is a cunt? Well, Kratos can eat his heart out, because Slipknot is about to make climbing out of Hell look easy! I think it’s safe to say Slipknot wins this round, because he can do everything TDK can and more.

PERSONALITY

Both of them have extremely limited screentime, but they of course manage to steal the show with what little time they have. Still, there is a clear winner in the personality department here, and that is TDK. The man comes across as a really nice guy, although he does not know the difference between a dog and a weasel, which is pretty lame. He’s also extremely proud, but not in a negative way; he has an utter unwavering faith in his miraculous superpower, as can be seen by his determined look as he says farewell to arms to save his Squadmates from Blackguard’s betrayal. The man loves what he can do, and loves to help, which helps make him all the more endearing and his final fate all the more tragic.

Slipknot, on the other hand, is established from the word go as an asshole and a misogynist. No one likes assholes and misogynists. As cool and amazing as his powers are, it’s really hard to feel bad when his head goes boom.

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DEATHS

Of course, both of these guys had to die, because if either of them lived long past their introductions, the movies would be significantly shorter due to their skills. Slipknot could have just climbed up to Waller and got her out of the city and then climbed up to the Enchantress's big sky laser thing and turned it off, while TDK could have just floated his arms to poke Starro’s eye out from a safe distance. No one wants a short film about the Suicide Squad, so these guys have to go.

TDK’s death is a lot sadder. As part of the Squad A massacre, his arms get riddled with bullets, leading to him writhing and screaming on the ground as he bleeds out from his wounds. No joke, it’s honestly pretty sad, especially because of how endearing he makes himself in his short time in the film.

Slipknot, on the other hand, establishes himself as an asshole (misogynist) and an idiot (listens to Captain Boomerang, who is a coward, a liar, and a Brony). He immediately tries to flee and gets his head blown up, and the effect is just terrible. Sorry Slipknot, but point goes to TDK here.

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Still, both of them could easily survive their demises. TDK is shown to be in critical condition and is never confirmed dead, so it’s pretty easy to believe he was simply able to float his wounded arms over to a first aid kit and heal himself before hiding for the rest of the film. Meanwhile, Slipknot may have actually died, but he can still climb his way out of Hell with his powers. Ultimately though, TDK still comes out on top, because there is a chance, no matter how slim, that he could actually have survived.

VERDICT

It really comes as no surprise that in terms of character, these two are pretty evenly matched. TDK has the personality and the more tragic demise, while Slipknot is more powerful and comes from a better place in the comics (especially because he wasn’t created by someone who wants to fuck kids). But if they were to actually battle, who would win?

Slipknot could certainly try to climb his way out of the fight, but TDK could send his arms after him. No matter how far Slipknot climbs, TDK’s arms could follow, not to mention they could pull the rope or even cut it down, sending Slipknot into freefall. Of course, Slipknot could simply climb up TDK’s arms and then head straight for a direct hit to TDK. When using his power, it is sad to say that poor TDK is rather ‘armless, and he wouldn’t be able to fight back much. Ultimately, it really does boil down to which guy is more quick on the draw with their power.

Let me know which of these two studs you think would win in a fight! I know it’s really hard to decide considering how amazing these two are, but there must be a definitive answer out there.

#who would win #The Suicide Squad #TDK #Slipknot #shitpost

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archiveofprolbems · 3 years

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Digital Art NFTs: The Marriage Of Art & Money by Julia Friedman & David Hawkes

Over half a century ago, Marshall McLuhan identified a ‘moral panic’ that continues to roil Western culture today. In his now-canonical Understanding Media (1964), McLuhan discussed the mixture of fear and snobbery exhibited by ‘many highly literate people’ in response to the dramatic rise of ‘electric technology’— the telephone, the radio and above all, the dreaded television.

Since these new media ‘seem[ed] to favor the inclusive and participational spoken word over the specialist written word,’ McLuhan argued that they posed a threat to established hierarchies of culture and class. As he pointed out, elitist systems of cultural knowledge and power extend all the way back to ancient ‘temple bureaucracies’ and ‘priestly monopolies,’ and the cultural elites have always worked to keep their domains exclusive.

A strikingly McLuhanesque spasm of outrage followed Christie’s’ procured sale of a digital art non-fungible token, or NFT. Everydays: The First 5000 Days, an NFT created by the savvy operator known as Beeple, fetched an eye-watering $69 million at a recent auction. That kind of money always guarantees mainstream media attention which, of course, is part of the point. Another part is the furiously hostile response to that kind of money being splurged on such a radically innovative art form: so innovative that a large part of the cultural elite questioned its status as art in the first place.

It doesn’t help that Beeple’s content is resolutely demotic: puerile cartoons, defaced logos, ironic emojis, frat-boy fantasies. Writing in Spike magazine, Dean Kissick remarks that ‘the old gatekeepers have been losing their power for a while now,’ and he counts the entrance of NFTs into the artworld among the costs, denigrating Beeple’s ‘triumphant procession of popular things’ as a violation of art’s privileged autonomy. In the ‘collective-hallucinatory firmament’ of postmodern hyper-reality, artists no longer express ideas but rather present empty ‘images of images,’ which Kissick defiantly dismisses as ‘tired art, recycled pop, bad taste, political spectacle, and hyper-speculation.’ As J.J. Charlesworth observes in ArtReview: ‘What really seems to disconcert ‘our’ current artworld is the sense that a form of largely unregulated, DIY mass culture has spawned beyond the reach or control of cultural gatekeepers.’

The twentieth century was replete with artists questioning the relationship between art and money. Their difference from Beeple was that they were looking for ways to uncouple the pair, rather than fuse them.

Beeple (b. 1981), EVERYDAYS: THE FIRST 5000 DAYS. Minted on 16 February 2021. non-fungible token (jpg). 21,069 x 21,069 pixels (319,168,313 bytes). This work is unique.

It is tempting to see the cultural gatekeepers’ protests against digital art NFTs as the grousing of a critical establishment at its own loss of influence. The snobbery of the self-appointed elect was challenged decades ago by Marcel Duchamp, in what looks like a premonitory contribution to the current NFT discourse. In his 1957 paper ‘The Creative Act,’ Duchamp rejects the elitist exclusion of ‘bad’ art: ‘art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.’ Yet Duchamp also rejected the idea of equity in artistic value: ‘Millions of artists create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.’ Three conclusions follow for our own day: (1) Everydays is indeed an artwork, (2) it has passed the approval of the spectators (buyers) by garnering such a high bid, (3) only posterity will determine its ultimate aesthetic value. Nowhere does Duchamp mention professional critics.

This omission is especially glaring since the late 1950s were the apex of critical influence on contemporary art. These were the years when a pair of New York critics—Clement Greenberg and Harold Rosenberg—wielded an almost dictatorial influence. Such critics did not just evaluate already-existing art; their pronouncements determined the forms of future works. Because the relationship between artwork and art criticism has been mutually determining for most of the twentieth century, one of Beeple’s many transgressions is his deconstruction of the polarity between the two. The media response that his oeuvre evokes is not something external to it, but one of its most vital components. The outrage increases the price, and the price is not an addition to the art but its very essence. In the form of the NFT, the ancient opposition between art and money is finally abolished. So perhaps the consequent eruption of indignation and disbelief throughout the artworld is more than defensive elitism, and there are reasons other than snobbery to be suspicious of the NFT’s fusion of aesthetics with economics.

NFTs also represent the ultimate aestheticization of exchange-value—a process on which artists and art critics have meditated for most of the last century.

Marcel Duchamp, Henri-Pierre Roché, and Beatrice Wood, The Blind Man No. 2, 1917, “The Richard Mutt Case.”

Before the twentieth century it was a simple matter to own a piece of art. One simply bought it, took possession of it and, if one chose, locked it away in one’s cellar. Ownership gave exclusive rights to access the artwork (albeit not to its copyright). That changed in the age of mechanical reproduction, and by the twentieth century anyone could view the same image as the artwork’s owner photographed in a book or magazine. What ownership brought was now access to the original, the bearer of the mysterious, pseudo-scarce ‘aura’ described by Walter Benjamin.

The relationship between art and money has always been symbiotic. It has been equally true with papal patronage in sixteenth century, and with the interwar European avant-garde whose fortunes, according to Greenberg, were inexorably linked to the market ‘by an umbilical cord of gold.’ After all, art and money are basically similar phenomena: both are valuable and significant systems of symbols. The twentieth century was replete with artists questioning the relationship between art and money. Their difference from Beeple was that they were looking for ways to uncouple the pair, rather than fuse them. As early as 1914, Duchamp’s revolutionary concept of the ‘readymade’ had undermined the process of commodification that had engulfed the artworld. Along with his Dadaist allies, Duchamp succeeded in redefining the fine arts, moving away from the given of physical painting and sculpture and towards serialized, de-commodified, temporary or even traceless performances and manifestos.

By insisting that a fictitious ‘R. Mutt’ had the right to anoint a urinal as art because ‘whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it,’ Duchamp initiated what the late David Graeber called the ‘aesthetic validation of managerialism.’ A lowly plumbing fixture can be art, as long as someone (who did not even create it) calls it art. The task of validation, and the creation of value, later devolved from artists to curators, who could throw ordinary objects into the mix along with bona fide artworks, confident that no one could legitimately object. Today this function falls to auction houses which, in Graeber’s words, use ‘money as a sacral grace that baptizes ordinary objects magically, turning them into a higher value.’ That is exactly what happened to Beeple’s opus on March 11, 2021 when the sale closed at $69,346,250.

Subsequent movements like Fluxus and Conceptual Art continued Duchamp’s efforts to separate art from money. Their methods included relying on performance instead of painting or drawing, and using DIY kits instead of traditional cast or carved sculpture. They documented events with sets of instructions or certificates of authenticity, and these took the place of paintings and sculpture as the physical manifestations of art that was otherwise disembodied. The remarkable Piero Manzoni created works such as Merda d’artista (Artist’s Shit, 1961), and advertised his ‘product’ by standing in a toilet with a tiny tin in his right hand and a coy smile on his face. Manzoni commented on the relations between art and money in Sculture vivendi (Living Sculptures, 1961), which consisted of living people ‘authenticated’ with different colored ink stamps designating various body parts, or the entire person, as an artwork. He incorporated cheeky pricing systems into his artworks: the price of the shit-tins corresponded to the price of gold, the color stamps on the living sculpture were priced by body part and so on. Manzoni documented his works with photographs, making the record part of the process, and proving their uniqueness, just as the blockchain records the uniqueness of the NFT today.

If aesthetics and economics are not merely analogous but actually identical, we must bid farewell to aesthetic experience itself.

Piero Manzoni (1933-1963), Merda d'artista, 1961. Tin can, printed paper and excrement, 48 × 65 × 65 mm, 0.1 kg.

Yves Klein (1928–1962), Performance Transfer of a "Zone of Immaterial Pictorial Sensibility" to Michael Blankfort, Pont au Double, Paris, February10, 1962. Photo : © Giancarlo Botti. © The Estate of Yves Klein c/o ADAGP, Paris

At around the same time, Yves Klein was inventing, performing and documenting his transgressive classic Zone of Immaterial Pictorial Sensibility. Performed on February 10th, 1962, it involved Klein throwing half of his payment into the river Seine. The work’s buyer then burned the receipt for the transaction. This performance presaged the NFT in several respects. The artwork included the physical destruction of the artist’s remuneration, provocatively suggesting an equivalence between the two processes. As Klein gnomically explained: ‘For each zone the exact weight of pure gold which is the material value correspondent to the immaterial acquired.’ To be authentic the event had to be witnessed—Klein specified by ‘an Art Museum Director, or an Art Gallery Expert, or an Art Critic’— in a manner that anticipates the authentication provided by an NFT’s imprint in a blockchain. Klein even included a provision to prevent resale: ‘The zone[s] having been transferred in this way are not any more transferable by their owner.’

Klein had first made his point about the arbitrary value of art in 1957, when he placed eleven identical paintings in Milan’s Galleria Apollinaire. These were to be purchased at various prices, according to what the buyer felt each was worth. Thirty-five years later, the British duo K Foundation performed an artwork by burning banknotes to the value of a million pounds sterling. By the twenty-first century, when Banksy’s $1.4 million Girl with Balloon dramatically shredded itself to pieces in front of a stunned audience at Sotheby’s, and Maurizio Cattelan taped a perishable fruit to the wall at Art Basel, the venerable system of exchanging enduring artworks for money had been thoroughly and irretrievably deconstructed in theory. It continued to flourish in practice, however, and it blooms anew in the parodic form of the NFT.

The confusion and scorn with which the general public has responded to the sale is no mere backwoods Luddism. It may be true, as the influential dealer and gallery owner Stefan Simchowitz recently pointed out in a Clubhouse chatroom, that NFTs are just another commercial platform based on a new technology. But they also represent the ultimate aestheticization of exchange-value—a process on which artists and art critics have meditated for most of the last century. NFTs are the apotheosis of the tendency described in Guy Debord’s 1967 book The Society of the Spectacle, whereby alienated human labor-power attains an autonomous, performative force by taking a symbolic form. Debord had nothing but scorn for the society of the spectacle, but it would surely be rash to dismiss his prophetic diatribe as cultural elitism.

The real ethical objection to the rise of NFTs involves the elimination of aesthetics itself as a discrete sphere of human experience.

NFTs’ dramatic entrance into the art market announces another stage in this process. It is not access to the artwork that has been sold: anyone with an internet connection can view the content, which has in any case been dismissed by Beeple himself as ‘trash.’ And there is no ‘original’ to which the owner might enjoy exclusive access. What the NFT’s purchaser has bought is not the image itself, or even the copyright to the image, but ownership of the image. Furthermore, this ownership is entirely conceptual or, if you prefer, financial. It does not consist in exclusive rights to view the image; it consists in exclusive rights to sell the image. Ownership of art has become identical with art per se, just as an artwork’s price has become part of its essence. Art has become money, it has turned into currency. The real ethical objection to the rise of NFTs involves the elimination of aesthetics itself as a discrete sphere of human experience.

This erosion of the border between aesthetics and economics is also visible in the financial sphere, where most value now takes the form of ‘derivatives,’ a hyper-symbolic mode of representation whose manipulation for profit looks more like artistic than economic activity as traditionally understood. Meanwhile, artists like Beeple assimilate the market dynamics which give their work value into their art itself. He is a true heir of Kaws, whose current retrospective at the Brooklyn museum was characterized by the New Yorker’s Peter Schjeldahl as ‘a cheeky, infectious dumbing-down of taste’ where ‘blandness reigns.’ The content of Beeple’s work is unimportant. Its images are self-consciously banal, proudly lowbrow, deliberately jejune. But it is not images that Beeple is selling. They’re not even what he’s creating. What he’s creating, what he’s selling, is ownership: financial value. The advent of the NFT renders the distinction between art and money obsolete.

Does McLuhan’s dismissal of the mid-century cultural elite and their suspicion of the new media as a ‘moral panic’ apply to the widespread critical suspicion of NFTs in our own day? There is surely an element of elitism, and even envy, behind the cultural gatekeepers’ dismay at Beeple’s success. But that does not mean there are no reasonable or ethical objections to the NFT’s forced union of art and money. If aesthetics and economics are not merely analogous but actually identical, we must bid farewell to aesthetic experience itself. Art will no longer be even theoretically autonomous of the market. There will be no sphere of experience that can meaningfully be separated from finance. The prospect of Beeple’s $69 million will undoubtedly encourage many to tie the knot (as evidenced by the upcoming Sotheby’s and Phillips auctions entirely dedicated to digital art NFTs), but the marriage of art and money may well turn out to be fraught, fractious and ultimately unfeasible. And divorce is always expensive.

Source: https://athenaeumreview.org/essay/digital-art-nfts-the-marriage-of-art-money

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mylittlechimera-archive · 3 years

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@apricottartlet dared to tag me in anno domini 2021 on tumblr so I guess we are doing this (❤️❤️❤️) put your playlist on shuffle and post the first ten songs

The Real Tuesday Weld - Me & Mr. Wolf (music video is a fun watch too tw cartoon violence and gore)

Adam Strug - Chodźmy Chłopcze

First Aid Kit - My Silver Lining

The Great Malarkey - Buckets of Blood

AJJ - Olde (Y) Tyme (Y)

Bear Ghost - Haunt, The Cartoon Heart

The Happy Fits - Dirty Imbecile

Dropkick Murphys - Rose Tattoo (nice video if you like b&w photo aesthetic)

Humanwine - Script Language

The Amazing Devil - Farewell Wanderlust

mmm let’s say I tag @oscararcane and @getetteroo if you feel like it!

#tag

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badri-lamsal · 3 years

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Everest Base Camp Trekking!!! Available date for 2021& 2022!!! March: 1,7, 8, 13,14, 17, 21, 22, 27, 29 April: 3, 4, 10, 11, 17, 18, 19, 25, 26, 27 May: 1, 2, 8, 9, 16, 16, 17,22, 23, 28, 29, 31 September: 14,15,19,20,26,27,29, October: 3,4,5,10,12,16,17,18,24,25,26,30 November:1,2,7,8,10,13,14,16,20,22,27,29,30 Day To Day Itinerary Day 01: Arrive in Kathmandu Day 02: Kathmandu Sightseeing and trek preparation Day 03: Fly to Lukla (35 min) and trek to Phakding (2652m). 3-4 hrs Day 04: Phakding to Namche Bazaar (3440m). 6-7 hrs Day 05: Acclimatization day at Namche Bazaar. Day 06: Namche to Tengbuche (3867m). 5-6 hrs Day 07: Tengbouche to Dingbuche (4358m). 5-6 hrs Day 08: Acclimatization day Day 09: Dingboche to Lobuche (4828m). 5-6 hrs Day 10: Lobuche to Gorakshep-EBC - Gorakshep (5160m-5365m-5160m). 7-8 hrs Day 11: Hike to Kalapatthar, trek down to Pheriche (5555m-4358m). 7-8 hrs Day 12: Trek down to Namche Bazaar (3440m). 7-8 hrs Day 13: Trek down to Lukla (2652m). 7-8 hrs Day 14: Fly back to Kathmandu (1300m). 35 min fly Day 15: Departure to the Airport Cost Included: 1. Airport pickups and drops in a private vehicle 2. 3-star hotel accommodation in Kathmandu with breakfast 3. Teahouse accommodation during the trek 4. All meals (breakfast, lunch and dinner) during the trek and each meal a cup of tea or coffee 5. Guided sightseeing tour in Kathmandu including by private vehicle 6. All ground transportation on a comfortable private vehicle as per the itinerary 7. Domestic flights (Kathmandu to Lukla to Kathmandu) 8. An experienced, English-speaking and government-licensed trek leader and necessary porters (1 Porter for 2 trekkers) during the trek 9. Staff costs including their salary, insurance, equipment, domestic airfare, food and accommodation 10. Duffel Bag, down jacket and sleeping bags (to be returned after trip completion) 11. All necessary paperwork and trekking permits (National Park Permit, TIMS) 12. Trip achievement certificate 13. Medical kit (carried by your trek leader) 14. Farewell dinner in Authentic Nepali Restaurant. 15. All government taxes, VAT and office service charge Thank you!!? (at Spiritual Excursion Pvt.Ltd.) https://www.instagram.com/p/CRpJTZ8sHIT/?utm_medium=tumblr

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theloniousbach · 3 years

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COUCH TOUR: A WEEKEND OF JAZZ PIANO TRIOS with CHRISTIAN SANDS, GEORGE CABLES (Archived), AND RAY GALLON, 10-11 APRIL 2021

Christian Sands was the Smoke Screens artist of the week and I’d seen him in February 2020 before things closed down doing an Errol Garner Ambassador gig at the Sheldon. So he was an easy choice. George Cables was the Village Vanguard rerun of a September show. I paid for the rerun because when I saw him in September (it turns out on the first night of the run and this was the second. Sweeeet!) I was just getting to know and love him. Ray Gallon was at Small’s on Saturday with Kenny Washington and his presence was enough.

I am hardly original in saying this is the essential jazz ensemble. Still this happy confluence is an opportunity to muse about the form.

I’ll start with RAY GALLON. He’s one of those just very very good largely unknown NYC jazz players. He’s been around for a long time under my radar. Indeed it was Washington’s presence—at this gig and on the recording—Gallon’s first after all these years—that made him stand out. Washington was magnificent as always on Small’s spare kit—snare, floor tom, bass drums, 2 cymbals, and hi hat. The Yesterdays had a slightly Latin feel and he and his leader played nicely against one another. That was the standout, but he was always thoughtful and listening big. The sound at Small’s is the house sound, not individually mic’ed, so drums can stand out while poor David Wong on bass sometimes got lost though he had some tasty solos and lines that clearly moved the music in fine directions. Maybe Gallon is just a journeyman, a member of the guild who knows the craft. Still we should acknowledge what an achievement that is. His tunes were thoughtful and varied with more than enough to keep band and audience engaged. My Old Flame was the other standard and was perfectly placed right when we all needed a ballad. Gallon is a mature professional.

CHRISTIAN SANDS is a still young hotshot (7 months older than Taylor Swift and he also started precociously) full of technique (he is an apt ambassador for Errol Garner) and his own voice. He’s a pro too and is already a bigger force than Gallon, I want to see him more seasoned. He was brash and swaggering right out of the gate with Geri Allen’s Feed the Fire which fed that fiery impulse of his. As with many openers, it was supposed to blow the cobwebs off—and it did. They didn’t quite roar like that again, but Sands was constantly wowing us with pretty effortless technique. It worked with Anthropology where you can get a good way to Charlie Parker with technique. Of course, Parker said deep things with that technique and I wish Sands hadn’t made Strayhorn/Ellington’s Star Crossed Lovers so busy and let it breathe. All Blues worked pretty well as a sort of middle ground. The ballad was an original that had promise but also a synthesizer part that was just too clever. I will keep my eye on Sands, but I’d rather drop into Small’s for the likes of Gallon.

On the other hand, GEORGE CABLES was just right. When I was the Friday night of this run, I was so tickled to see Billy Hart and Cables was a familiar name from long ago to get to know. That was enough to let me know that I really really wanted to get to know him. I’ve seen him on streams as often as I can—with Jeremy Pelt doing ballads (and finally finding the duets with Art Pepper); with Joe Farnsworth and Peter Washington multiple times; mentoring young ‘uns like vocalist Veronica Swift and the remarkable tenor Nicole Glover; and as a composer, first Wayne Escoffery showing me AKA Reggie, but then finding gems like Helen’s Song, Think of One, and Cedar Walton. This gig led me to another—Farewell Mulgrew. Had I seen this Saturday gig back in September, I also would have been enthralled with the McCoy Tyner ballad You Taught My Heart To Sing. It and all these Cables compositions are on a playlist of compositions I savor. Of course he knows the book and opened with the intriguing Speak No Evil done with insight and exploration. It was a model set of craft, technique, tradition (Body and Soul, All the Things You Are) that is the right mix of respect and not stuffy museumishness.

I treasure jazz pianists no matter what. This survey helps me re/discovery some of the whys.

#jazz #2021 #concert review #couch tour #smoke jazz club #small’s jazz club #village vanguard

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sarusblog · 3 years

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Jiri to EBC Trek goes through the historical trail that was used by the pioneer Everest climbers- Tenzing Norgay Sherpa and Edmund Hillary. The gateway of this trek- Jiri is also known as a little paradise of Nepal. The long journey before meeting the usual route via Lukla, it is helpful for the acclimatization.

Walking from Bhandar, this Jiri to EBC trek passes several Sherpa communities. The long walk goes through the terraced fields and green hills. Sometimes the trail you walk is rocky and difficult to cross over. The waterfalls and green hill gorges make this trek spectacular. Avoiding Lukla, you join with the main EBC trail in Phakding. From Jorsalle, we walk through the Sagarmatha National Park. The natural diversity is superb with the diverse trees and wild animals. Following the trail via Sherpa capital-Namche Bazaar and Khumjung, Tengboche monastery, Dingbuche, Lobuche and Gorakshep, you trek to the Everest base camp and Kalapatthar. Exploring Sherpa culture and their lifestyle is another amazing thing to do. The views of Mt. Everest, Lhotse, Lhotse Shar, Ama Dablam, Lobuche peak, Kangtega, Thamserku and others are exciting.

Nepal Hiking Trek organizes Jiri to EBC trek with a perfect arrangement of guide and itinerary. If you require some extra days for rest and acclimatization, feel free to contact us. Enjoy the trek through the historical route.

Highlights

While trekking Jiri from Kathmandu, enjoy the beauty on the way, enjoy beautiful views of the terraced farm, people rafting in the Bhote Koshi River, Himalayan views, beautiful Himalayan flora, and fauna, flowing rivers, beautiful waterfalls, cultural and traditional villages.

Overwhelmed with the natural beauty as well as the cultural untouched of the ethnic inhabitants.

On the way from Jiri to Everest Base Camp Trek, you can experience beautiful rhododendron and pine forest, walk through the terraced green farm, numerous ethnic settlements, a valley with the amazing views of the snow-capped mountains and surrounding landscapes dominate the journey.

One of the classic trekking route to the heart of the Everest Region.

One of the popular trekking route which offers both cultural and natural beauty of the Himalayan region. And also offer the opportunity to explore the diverse landscapes of the whole Khumbu region.

Hiking to the Kalapather- the attractive and the vantage point to enjoy the panoramic views of the world highest mountain like Mt Everest, Mt Makalu, Ama Dablam, Nuptse, Lhotse, and other surrounding peaks.

Views of the Khumbu glacier- the biggest glacier of the Khumbu region.

Sagarmatha National Park- Extend around 2400 meters to 8848 meters and listed in the UNESCO world natural heritage site.

Trip Map

Detail Itinerary

Download

Outline Itinerary

Day 01Kathmandu arrival

Day 02City tour or free day to explore and shop on your own.

Day 03Early morning drive to Jiri-Bhandar.

Day 04Bhandar to Sete .

Day 05Sete to Junbesi .

Day 06Junbesi to Nunthala.

Day 07Nhuntala to Kharikhola.

Day 08Kharikhola to Surke.

Day 09Surkhe to Phakding

Day 10Trek to Namche Bazaar

Day 11Namche Bazaar, rest and acclimatization day

Day 12Namche Bazaar to Tengboche

Day 13Tengboche to Dingboche

Day 14Dingboche to Lobuche

Day 15Trek to Everest Base Camp (5364m) via Gorekshep.

Day 16Hike to Kalapattar (5545m), descend to Gorakshep - Pheriche.

Day 17Pheriche to Namche Bazaar.

Day 18Namche Bazaar to Lukla.

Day 19Fly back to Kathmandu.

Day 20Rest day, farewell dinner.

Day 21Departure.

What to Expect

What's included

Airport pick-up and drop off by private car/van/bus.

4 Nights accommodation in 3 stars (***) hotel in Kathmandu with the BB plan.

Kathmandu city tour including city tour guide salary, and private vehicle.

Full board meal during the trek (3 times tea/coffee, breakfast, lunch, and dinner).

kathmandu-Jiri By private car.

Lukla-kathmandu flight.

Teahouse lodging on the trek.

Seasonal fruits during the trek.

Experienced, expert, friendly guide, porter and their food, accommodation, salary, equipment, and insurance.

Duttle bag for the trekking use.

First aid kit included Oxi-meters

All permits and Tims (please bring a passport copy and photos).

Government tax, farewell dinner.

What's not included

PRICES & DATES

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17 May, 2021 - 06 Jun, 2021AvailableUS$1550Book now24 May, 2021 - 13 Jun, 2021GuaranteedUS$1550Book now31 May, 2021 - 20 Jun, 2021GuaranteedUS$1550Book now

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Trekking to Base Camp Mount Everest

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sportscri · 3 years

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Arsenal to release maroon Highbury Farewell jersey later this year

By Conor Laird Published: August 23, 2021 7:53 pm Last Updated: August 23, 2021 7:58 pm Premier League giants Arsenal are set to unveil yet another kit towards the end of 2021, it has been confirmed. Arteta and co. struggling The general atmosphere surrounding all things Arsenal over the last couple of weeks has of course been one of tension and negativity. This comes with Mikel Arteta’s men…

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a2znewsplace · 3 years

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Arsenal to release maroon Highbury Farewell jersey later this year

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gmtpluseight · 3 years

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Time passes. The pandemic doesn’t.

The school year begins according to plan. 2020-2021, here we go.

Everything free and easy. Do as darn well pleasey.

Then around mid October, it all kicks off again and we all flip up laptops, pull on shirts and shorts and settle into barefoot teaching once again.

At first, the Virtual School Experience is just for two weeks, but we’re wise to it this time around. Things drag on until the Christmas break, when, miraculously, we’re able to travel within Malaysia and all zip off to Langkawi for some RnR.

We spot a drongo bird flying about the swamp at the bottom of the garden by the resort we stay at, La Pari Pari.

A large group of us visits a very high-end 5* resort on the north coast of the island with day passes. Nobody seems to have heard of day passes when we try to buy them at the reception. Everything is on tap for the day. We even arrange for take-away food. The seasport equipment is thrown in too, so I paddle off to a nearby island on a kayak. It’s sheer, silent bliss, aside from the water and a monkey making a meal of a coconut.

A friend meets some other considerably wealthier friends from KL along the beach, as we walk back from the seaport equipment shack. He shows off his day pass bracelets. And the (comparatively inexpensive) price. Word spreads quick. Management appear, to fend off complaints from guests. Shortly after, we scarper. A week later, the place all but burns down.

We move for a few nights (including NYE) to the posh place up the road, spending NYE back with friends at Pari Pari. Gwen makes it to midnight for the first time and we have to beg a ride from the management as there’s no cabs around.

The chef drives us the mile and a half back in the end. Poor timekeeping remains a theme of the trip. New Year’s Day and we make it to the airport by the time check-in has already closed. The lady at the counter whatsapps someone on the other side, we get allowed through and for the second time within 24 hours, we count my lucky stars.

There’s a false start in January, pretty much nearly the day we’re back to work, but it comes to nothing and we continue the virtual thing until early March. We don’t spend a lot of money. I spend a lot of savings on a new mountain bike, rather than anything else. Things at home are ever so slightly tense for a while. It’s a beautiful bike, though.

The children are giddy to be back in school when we make it back. It’s not quite the same- there’s a lot of procedures, a lot of duties, a lot of indoors time and we eat school lunch in the classroom, which takes me back to time in Japan- but at least we see each other in three dimensions. Gwen basically bosses it at school on World Book Day as a very convincing ‘Ada Twist, Scientist’. To the costume, her mother contributes a hand-stitched red dress with giant white polka dots, the goggles, the gloves, the works. I go for a run and hand her my sweaty socks to box up with a bio-hazard warning label. That and a banana skin. It’s all about the details. Oh, I also place a pillow case over a tiger’s tail from the costume box and secure it with loom bands for Kit’s costume: skeleton dog from Funny Bones.

We make it all the way to the Easter break in physical school. We spend the break in the post-apocalyptically named Cyberjaya, alternating pools in a three tier system that croaks with toads by night, sustaining ourselves with Zus coffees.

We spend a few nights in a hotel right in the thick of Chinatown. There’s a pool, a view and we have two rooms with an adjoining door. Not that it makes much difference. The kids seem to pile into our room at any opportunity.

We’re good to go for another couple of weeks until early May before the powers that be impose themselves once again and, first, a positive case in school, then another lock down comes into force. We manage to get an INSET together, socially distanced, in the school theatre. Then, back home to teach. It lasts for 4 weeks before the numbers spike considerably. Cases hit 5 figures for the first time ever in Malaysia. It roughly coincides with Eid, just like the January spike did with Christmas.

A full-on, 2 week lockdown comes into force and there’s the usual u-turning about what you can and can’t do.

Cycling is not permitted. I spend hours at home staring longingly at my bike, visualising the wheels spinning, the dirt spitting up and the trees rushing past. Nothing is allowed after 8pm. Essentially it’s a curfew. I run a little late one night and along the 2km long stretch out the front of our condo block, I get flagged down by the police. I hear their motorbikes behind me before they pull up alongside me, easily distinguishable from the scooters the Grab food delivery drivers zip about on. A policeman keeps pace with me and mutters just two words, whilst staring ahead: ‘Run faster.’

The haze returns, unseasonably. Some days it’s horrendous and doesn’t lift until it rains. Some days it doesn’t rain. It drags on and on. It lacks the predictability of the regular, autumn haze season.

2 weeks turns into another 2 weeks and suddenly we are staring down the barrel of the end of the academic year, seeing it out from behind a screen once again. People pack up. Farewells are nigh on impossible- nobody can move about much. We decide to head home, counting the eye-watering cost of processing administrative passes and quarantine hotel fees as a foreigner returning to Malaysia. We pack three suitcases, leaving one half empty to bring back English treats, and birthday presents for Gwen, who’ll spend her 6th birthday in a quarantine hotel.

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badri-lamsal · 3 years

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Everest Base Camp Trekking!!! Available date for 2021& 2022!!! March: 1,7, 8, 13,14, 17, 21, 22, 27, 29 April: 3, 4, 10, 11, 17, 18, 19, 25, 26, 27 May: 1, 2, 8, 9, 16, 16, 17,22, 23, 28, 29, 31 September: 14,15,19,20,26,27,29, October: 3,4,5,10,12,16,17,18,24,25,26,30 November:1,2,7,8,10,13,14,16,20,22,27,29,30 Day To Day Itinerary Day 01: Arrive in Kathmandu Day 02: Kathmandu Sightseeing and trek preparation Day 03: Fly to Lukla (35 min) and trek to Phakding (2652m). 3-4 hrs Day 04: Phakding to Namche Bazaar (3440m). 6-7 hrs Day 05: Acclimatization day at Namche Bazaar. Day 06: Namche to Tengbuche (3867m). 5-6 hrs Day 07: Tengbouche to Dingbuche (4358m). 5-6 hrs Day 08: Acclimatization day Day 09: Dingboche to Lobuche (4828m). 5-6 hrs Day 10: Lobuche to Gorakshep-EBC - Gorakshep (5160m-5365m-5160m). 7-8 hrs Day 11: Hike to Kalapatthar, trek down to Pheriche (5555m-4358m). 7-8 hrs Day 12: Trek down to Namche Bazaar (3440m). 7-8 hrs Day 13: Trek down to Lukla (2652m). 7-8 hrs Day 14: Fly back to Kathmandu (1300m). 35 min fly Day 15: Departure to the Airport Cost Included: 1. Airport pickups and drops in a private vehicle 2. 3-star hotel accommodation in Kathmandu with breakfast 3. Teahouse accommodation during the trek 4. All meals (breakfast, lunch and dinner) during the trek and each meal a cup of tea or coffee 5. Guided sightseeing tour in Kathmandu including by private vehicle 6. All ground transportation on a comfortable private vehicle as per the itinerary 7. Domestic flights (Kathmandu to Lukla to Kathmandu) 8. An experienced, English-speaking and government-licensed trek leader and necessary porters (1 Porter for 2 trekkers) during the trek 9. Staff costs including their salary, insurance, equipment, domestic airfare, food and accommodation 10. Duffel Bag, down jacket and sleeping bags (to be returned after trip completion) 11. All necessary paperwork and trekking permits (National Park Permit, TIMS) 12. Trip achievement certificate 13. Medical kit (carried by your trek leader) 14. Farewell dinner in Authentic Nepali Restaurant. 15. All government taxes, VAT and office service charge #EBCTrek #spiritualexcursion #kalapatthar (at Spiritual Excursion Pvt.Ltd.) https://www.instagram.com/p/CUyj3uUIVc_/?utm_medium=tumblr

#ebctrek #spiritualexcursion #kalapatthar

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tiffanyfaye · 3 years

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The Story of Damon and Pythias - A Tale from Ancient Greece about True Friendship

Retold by Tiffany Faye, 7/4/2021

Friendship Day for 2021 is July 30th and in honor of this special holiday, we are having a sale on all of Friendship Spells and Spell Kits. They are all 20% off and the sale ends July 30th! We have 2 already made spell jars, one for those who wish to attract a new friend and another one where you get 2 matching spell jars for you and your bestie, to represent and strengthen the bonds of your friendship. We also sell the BFF Spell Jars in a kit version to for those who wish to make them with their besties. You can make them together or apart, they come separately packaged with in the shipping box for long distance besties. Finally, you could both make your own or make them for each other to put your love for your bestie into their spell jar. The choice is yours! Links to the listings in my Etsy shop at the bottom of the post. Now onto the story...

...Saturdays are our Storytelling day, where we tell you a story from mythology. I am a day late this week but I still wanted to share this story because of the beauty if it and the moral of the story.

This story takes place in Syracuse, Sicily during the 5th century. At the time, Syracuse was ruled by the tyrannical king, Dionysius I, who had taken the throne through treason. He was a very cruel king; anyone who ever crossed him was imprisoned and sentenced to death. The main characters of this story are Dionysius and 2 young noble men, named Pythias and Damon. They were both scholars at the School of Pythagoras and the best of friends. The loved each other dearly and were basically inseparable. The people in their village looked at them as the prime example of.

Pythias had done something to anger Dionysius I, what that was one can only speculate. Some accounts say he was speaking of or even trying to overthrow Dionysius. Pythia most likely never did anything wrong and the slight against Dionysius most likely imagined. It is easy and more likely to assume the worst about this situation and that is Pythia probably did not do anything at all. Whatever the reason, Dionysius sentenced Pythias to death.

When he was sentenced to death Pythias begged the king for some time to settle his affairs and say his last farewells to his family and friends. Of course, the king did not believe Pythia would willingly come back to be executed so he denied this request. When Pythias suggested someone be imprisoned in his place, and then executed should he not return, Dionysius then agreed to the term. Pythias asked his good friend Damon, and he agreed. He had faith in his friend and did not believe he would betray him.

Pythias had a month to settle his affairs or Damon would be executed instead and he did not want that to happen, so he rushed to finish up what he needed to do in no time. It was on the return to the palace and his friend, Damon, that he started meeting obstacles and delays. From thieves and pirates to storms and heavy seas, it seemed less and less likely that he will return in time but none the less he kept trying, because what type of friend would he be if he did not.

Back in Syracuse, Dionysius still did not believe that Pythias would return and would constantly mock his friend. During one occasion, Dionysius asked Damon if he feared dying since his friend was not going to return and Damon just replied:

“There is no need for me to feel afraid, O King, since I have perfect faith in the word of my true friend, and I know that he will certainly return before the appointed time—unless, of course, he dies or is held captive by some evil force. Even so, even should the noble Pythias be captured and held against his will; it would be an honor for me to die in his place.”

Dionysius though this was foolish faith, and that Damon should die if Pythias does not return. Damon still never lost faith in his friend though. When the last day arrived, then the last hour, and then even when he was being walked to the execution site, he kept believed his friend arrived. He felt that if he did not return in time, it would be because of something outside of Pythias’ control.

Damon was walked to the execution site because Pythias had not yet return. The execution site was full of onlookers who had heard of the bargain and had come to see if Pythias had return or not. As they were preparing Damon for his execution, the crowd started getting more and more excited. A person, dirty, sweaty and bloody, was running through crowd. It was Pythias and he still had time left. He pushed through the crowd until he reached his friend, and through himself at him while sobbing. He started explaining why he took so long while removing his binds and motioning for the executioner to put them on him.

This spectacle had moved the cruel king and softened his stone heart so much that he released the two men. He believed that if two men absolutely loved and trusted each other as Pythias and Damon had then they did not deserve to die. It had even softened the tyrant so much he asked the two if he could be there friend as well and kept them close to him for the rest of his life.

Sources:

Russell, William F., 9/5/2012, “Damon and Pythias”, Livingston.org, https://www.livingston.org/cms/lib9/NJ01000562/Centricity/Domain/790/DAMON%20AND%20PYTHIAS.pdf

Baldwin, James, accessed on 6/10/2021, “Damon and Pythias, AmericanLiterature.com, https://americanliterature.com/author/james-baldwin/short-story/damon-and-pythias

Gill, N.S., March 11, 2018, “The Friendship Story of Damon and Pythias,” Thought.co, https://www.thoughtco.com/damon-and-pythias-118579

Ellopos Blog, accessed 6/10/2021 “Story of Damon and Pythias,” Ellopos.com, https://www.ellopos.com/blog/2976/story-of-damon-and-pythias/

Carr, Karen, 07/09/2017, “Damon and Pythias – an ancient Greek friendship,” Quatr.us, https://quatr.us/greeks/damon-pythias-ancient-greek-friendship.htm

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