noise dept.
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@bayouette

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replica by alessio carnevali // st. mary magdalene from the santa lucia triptych, painted c1470 by carlo crivelli
somewhat horny: i have to get Fucked!
quite a bit horny: can we pretend iâm an elven prince and the necromancerâs curse turns me into a demon on the full moon and the only way to cure me is to have my Womb filled by a chivalrous knight . and can you make sure you say soem shit like âforsoothâ and âby my honorâ and stuff. mngh
hornier than anyone has ever been: i need to kiss someone and get married
test weaving of penelope's tapestry on the chiusi skyphos:
reference:
there are some adjustments I need to make for tension, but I'd like to make the next version into a header band for a warp-weighted loom so I can try weaving the whole pot, including telemachus and penelope.
progress?
the proportions on the header band have improved, but I think I maybe should have doubled the weft threads for the warp.
also if anyone wants to knit the heddles for me, please be my guest. the last time I tied on heddles, I put the bar in the wrong place and had to redo the whole thing.
in true penelope fashion, I may need to unweave and start over, but at least now I've got the loom weights and heddles in place.
I started weaving the spear, penelope, and the right border via double-weave with the intent to leave the remaining warp threads unwoven (as they would be on penelope's loom on the pot), but predictably this is giving me tension problems. I either need to increase the loom weights or just weave the black layer and leave the orange warp threads unwoven, and then switch colors once I get to the heddle bars in the drawing, with the black warp threads floating on top. (I guess weft-faced tapestry would be a third option, if I add a ton more tension.)
either way, this is going to take me the full three years of penelope's stratagem, or perhaps the entire twenty years of odysseus's absence, primarily because clearing the sheds takes a monumental effort each time with this double-weave setup (which I'm not even sure is how it's supposed to be done, I kind of set it up based on vibes and what I thought made sense from floor loom setups).
I have 999 problems and warp tension is 997 of them (the other two are my selvedges).
row by row she grows

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Argentina is the only Latin American country Iâll betray this World Cup bless đ
dionysos
â[The Iliad] is remarkable for the way that its preoccupation with mortality and the human conditions extends even to the enemy. The killing of Hektor by the central figure of the Iliad, Achilles, is a great victory for the Greeks, and yet the camera immediately shifts, as we witness the gut-wrenching reactions of Hektorâs mother, father, and wife to his death. Similarly, the Iliad ends not with the funeral of Achilles, who is doomed to die very soon, but instead with the funeral of Hektor. Achillesâ own short life and imminent death resonate throughout the laments that are sung for his deadliest enemy. In the words of Simone Weil, who was struck by the equity of compassion with which the suffering of the Greeks and Trojans is narrated: âThe whole of the Iliad lies under the shadow of the greatest calamity the human race can experience - the destruction of the city. This calamity could not tear more at the heart had the poet been born in Troy. But the tone is not different when the Achaeans are dying, far from home.ââ
â from The Captive Womanâs Lament in Greek Tragedy, by Casey DuĂŠ (via cithaerons)
free use is kind of a funny kink bc it relies on the idea that everybody wants to touch you and have sex with you but what if they don't. what if you tell everybody at the party you're free use but they all ignore you and mind their own business
I DID MY CHORES!!! I GOT 60 BUCKS FROM MY GRANDMA!!! IM TRYING TO STAY CLEAN!!!! FUCK UNIVERSITY OF HOUSTON!!!!!

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ACHILLES STRIKES!
Dima Filatov, 1976-
Athena. Battlefield, 2014, oil on wood, 60x140 cm
we are never going to be free until it literally doesnt matter whether a person is ugly or not
âWhite Cat with Gemstonesâ by Joseph Jones Oil and acrylic on linen, 2026
iâve also been thinking about the homeric narrative voiceâs counterfactuals and how they give us glimpses of possible alternative narrative futuresâ like in book 21, âand even now telemachus would have strung the bow, if forcefully a fourth time, except odysseus shook his head and restrained him, though he wanted otherwise,â and how the narrative voice gives us this feint at a potential story where he does string the bow and proves worthy of his father and begins the slaughter of the suitors himself, only to pull back at the last minute and refuse to let the story fulfill that potential and do the things itâs strong enough to do but cannot act out because the bard will not let itâ and then the way the narrative voice also gives these counterfactual statements about what would happen if it let odysseus take over the story? if the bard turned it over to him entirely he stay months among the phaeacians, a year with eumaeus, his storytelling would eat away at his story. this justification for seizing control back from the characters and silencing themâ thatâs why book 4 is twice the length of some of the other books, itâs because the bard turns it over to menelaus and helen and the two of them bat it back and forth between each other and prevent the bard from intercepting it again.

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Clytemnestra
Roman articulated doll, made from Ivory
3rd - 4th century CE
Museu Nacional ArqueolĂłgico de Tarragona MNAT P-12906