Zariel

[kFoyauextlH]

Zariel: Other Othering. Names, Epithets, Titles, & New Names

I will list here some of the names whispered to me and discuss other things related to names and epithets.

The latest just a few minutes ago was King Carp, where the Carp has been a symbol of dragons as well as defiant strength for not "going with the flow" since they are observed swimming against currents and up river.

Other ones I can recall are Vayu, which is a Sanskrit word for the wind with mythological significance.

Mordecai was another recent one.

Today I woke up with Bashan on my mind and the King of Bashan and the word Ameliorate.
[hr]
Oh wow, ameliorate was exactly the word for what I do and say to do. That is totally such an important word to me.
[hr]
" make (something bad or unsatisfactory) better."
[hr]

Temple Of Khaine (TO Kh): Boethiah Khaine

This is my first thread and I'll use this as my initial staging ground and office to discuss just about anything I may be thinking about.
, and anyone can feel free to ask me my opinions on anything they may be interested in asking about.

The two characters mentioned in the title can be looked up along with the possible origins of their names and the etymologies of those, the first being "Aid", the other being:

https://www.abarim-publications.com/Meaning/Cain.html

"
The verb קנן (qanan) isn't used in the Bible but it appears to tell of the weaving of many strands into a dynamic and interlocked network. These strands may be reeds and twigs that a bird weaves into a nest, or it may be acts of trade and routes of commerce that together combine into a bustling economy. Noun קן (qen) means nest, and verb קנן (qinnen) means to make a nest.

Verb קנה (qana) means to obtain, i.e. to acquire or in some instances to create. It's the regular verb for a commercial purchase. Noun קנין (qinyan) describes an item acquired (or created). Noun מקנה (migneh) means cattle (as unit of commerce). Noun מקנה (miqna) means purchase or purchase-price. Noun קנה (qaneh) denotes some herb on a stalk, or any rod, reed, branch- or stalk-like item (in this sense, a plant "acquires" its branches).

The verb קין (qyn), which isn't used in the Bible, occurs in cognate language with the meaning of to fit together, fabricate or forge (often of metal things). In the Bible occurs only the noun קין (qayin), meaning spear. Note that our modern word "franchise" comes from a word that meant spear, and originally denoted a free man, i.e. one who had the authority to bear arms, own property and thus conduct trade. The earliest republican government of Rome was called curia, literally spear-bearers, and the link between bearing a spear or other such ceremonial weapon and a senatorial government (a government by tribal elders) appears to have been pretty much globally understood throughout history.

Noun קינה (qina) denotes a kind of sad poem; a dirge or lamentation, which both had to be fabricated and could, presumably, pierce a person's soul like a spear (which is an obvious Biblical figure of speech; see Luke 2:35). The denominative verb קונן (qonen) means to do a dirge, which could be either to chant or compose one.

The verb תקן (taqan) means to make or become straight.
"

Which connects to something else I was reading about earlier:

https://en.m.wikipedia.org/wiki/Resheph

"
The Hurrians also incorporated him into their pantheon under the name Iršappa, and considered him a god of commerce. Through their mediation, he also reached the Hittite Empire. He was also introduced to Egypt, possibly by the Hyksos, and achieved a degree of prominence there in the Ramesside period, with evidence of a domestic cult available from sites such as Deir el-Medina. The Egyptians regarded him as a warlike god, but he could also be invoked as a protective healer.
"

Also Remphan or Rephan and Zaltec, a mixture of fiction and curiosities.

A lot of themes overlap regarding these names, for example, Boethiah is from the Elder Scrolls series of games as a "Daedric Prince", a demon or a daeva in other words, and has to do with themes of division and a faction of elves separating from others, with story points extremely similar to those found in Warhammer Fantasy which have to do with Khaine. Zaltec has to do with similar story points, and division between his "brother" Qotal, similar to what is thought to be the theology of the Zurvanist strain in Zoroastrian thinking where Ahura Mazda or Ormazd is considered the "brother" of Angra Mainyu or Ahriman, but based on any sense of conflict between Tezcatlipoca and Quetzalcoatl, a chaoskampf perhaps more so emphasized by Western interpolation and influence. In the case of Khaine, there was a juxtaposition made with Khaine and Morr.

https://en.m.uesp.net/wiki/Lore:Daedraphiles

Both series, Elder Scrolls and Warhammer, have similar ideas about a number of things, and in both series the "Dark Elves" worship Boethiah exclusively or Khaine exclusively at some point in the various editions, so the idea that the "Dark" is associated with monotheistic fervor for a God of many names or forms seems to occur, as it also does in the stories regarding Zaltec. Khaine and Zaltec are associated with Dark Magic, in the case of Zaltec it is called Hishna magic which is then countered with Pluma magic.

In the case of Dungeons and Dragon's "Dark Elves" or "Drow", they are similarly fanatical, but are into Lolth, who is similar to the Elder Scroll's Mephala, and in Warhammer the "Druchii" or their "Dark Elves" have an interest in Ereth Khial, thought to be named after Ereshkigal. Ereth Khial sends "Rephallim" which are named after:

"
There is no consensus regarding the exact vocalization of the name “Rpʾum” in Ugaritic, since the word does not appear in syllabic texts. The first syllable, /ra/, is mostly based on Semitic names from Ugarit, Canaan, Mari and other places written in syllabic text that carry the element Rpʾ. Examples: Ra-pí-ú-um; A-bi-ra-pí; Ya-ku-un-ra-pí; Am-mu-ra-pí; Ra-pa-Ya-ma; Ra-pí-DINGIR and more. It is not certain, however, if the element Rpʾ in these names refers solely to the Rephaim[.] For the nominative case, several readings have been suggested in various studies, such as Rapa‌ʾūma, Rāpa‌ʾūma, Rāpiʾūma, Rapiʾūma and so on.[1]
"

So the things brought up in these games are often heavily inspired by things that have been believed in the real world, and also provide some clues about where the Western authors and minds behind these things position themselves and what they say of the "enemy".

Another important character or entity is "Slaanesh", who also seems to appear in the Japanese Manga "Berserk" as Slan, and has some overlapping features with Boethiah and Mephala. Atharti is Warhammer's "Elven Goddess" of "Pleasure and Seduction".

"
Atharti may be a play on Astarte, the Phoenician goddess of fertility, sex, and war. Her name appears in Ugaritic as Athtart or Attart. After her cult arrived in Kythera -- whose name refers to both a Greek port town and the magical realm of the Greek goddess Aphrodite, many suspect that the two gods are one and the same.
"

Even though most people today, even those who claim to believe in and take the real world versions of these things seriously, seem to actually barely believe, if at all, in any of this stuff, since they do not seem to have a very strong belief in any of it and prefer it even in the most malign seeming forms for the sake of aesthetics in a post-Christian perversion or as "Anti-Christian" both in the sense of a replacement and a counter Christian opposition.

"
Worshippers of Ereth Khial hide themselves amongst the High Elven society of Ulthuan, as they are considered mentally disordered blasphemers for worshipping a goddess who promises the Elves only an eternity of torment and slavery within her horrific realm. [1a]

They perform vile ceremonies entreating their goddess to send the wicked Rephallim to snatch away important High Elf counsellors, military leaders, and mages. They summon the avatars of Ereth Khial with dark rites and set them upon their foes using talismans unique to each victim -- effigies made using the target's hair or blood, or treasured items stolen from the prey's home.[1a]
"

"
Such obsessions must of course be kept secret, for the worship of Ereth Khial is widely considered the sign of a diseased or ill-adjusted mind on Ulthuan. Those marked by the Pale Queen's touch are inevitably exiled or imprisoned should their terrible secrets be laid bare, yet her priests and celebrants have never been entirely eradicated from Ulthuan's shores.[2a]
"

In my belief, I tend to disbelieve in anything being chance, but instead believe that everything is necessarily deliberate and precise, so that even these fictional stories reaching what are assumed to be so many minds, makes them "chosen" for the task, besides also generated in the first place by an ultimately singular animating source intelligence. So the idea that these things refer to what could be justified as real or potentially real, such as the real source of whatever we can see exists and is experienced by us or what potentially may exist and may be experienced, is one that I pretty securely possess, in a way that I think goes beyond most modern people who may say that they believe but are more interested in aesthetics or the feeling they get by half-believing, practicing, or pretending. I have doubts about their ability to actually believe all that much, and I wonder if it is even possible for a number of people to process information in certain ways that might be a prerequisite for what I would consider a genuine internal sense of belief. Therefore, I even doubt what the most shaken looking Christian may be insisting upon, as I think that at least in many cases that they may be referring to various things but calling those various feelings "belief", which I don't think can exist in the same way as the identically named "belief" in the reliability of heating water to make it boil, which is expected with a far greater certainty than anything that certain people may claim that they "merely" believe in, since belief has taken on aspects of fervent insistence without certainty that would make failure create surprise and mystery, like "why isn't the water boiling"?

My interest has always been in designing my understandings to be "fool proof", as much as possible, though there are areas which may have more anecdotal insistence, like my aversion to callous dealings between people having overall unpleasant results. I think that certain things should absolutely be insisted upon, and if superstitions work on certain people, that such may be the lesser evil to quickly convince people to do what I would perceive best and best for them.

In my version of understanding these frequently disparaged things that people consider "evil", I do not keep them "evil" in my understanding, but turn them around and sterilize them and believe that the people calling it "evil" are just doing the usual polemical attacks on something they are misrepresenting as a "boogie man", like how they do with the Qur'an for example, while what they claim is beautiful and glorious in almost every way seems to actually be the opposite and the actual overt evil full of corruption and backwardness, such as we are seeing made so explicit today in the "live streamed" mass murder and starvation of a walled in and trapped population that has been tormented and poisoned and harassed by the supposed forces of good, who even appear on the media to state boldly things like "this is about good and evil, barbarism and civility" and junk like that, which you can see and hear here:



This is the "Western Media" that is also the structure with the standards that is leading to the particular ways ideas are expressed in other media, like fiction, fantasy, and games, all of which I mentioned seem to owe something to J.R.R. Tolkien and the sources he drew from to create his "Mythology For (The West)", since he stated that he wanted England to have an epic of its own. What he produced seems to have the same placement of things from before and to this day, the chaoskampf of what would become Christian and "Western" self-righteous "pride" and in my opinion "error" against the reality, of the past and all the people, a supremacism stemming from the seemingly insane claim of particular and non-universal "chosenness" adopted from an originally obscure confederation of likely "untouchables" who had been ejected from normal development in societies due to their occupations, all of which generally had to do with the "dirty work" of exploiting bodies and the use of the body as a tool, so hired laborers, mercenaries, and pr*stitutes, who decided to become "a people of their own" and deify themselves and their occupations in the form of one of the few Gods I consider completely fabricated with no basis in reality or anything real. This fabricated God of fabrication itself and dehumanization, that represents the desire to exploit everything and thus destroy harmony and balance, is in my opinion the only true demon, one that is generated from the aggregate ill will of people who care nothing for the dignity and the shield of believing in the sanctity of things.

So, though it can be traced to a variety of different sources or otherwise different eruptions of these sentiments seem to repeat and get acted upon by people, currently we seem to be dealing with one particular strain that has consumed most of the world, led by the "West" and "Western Thinkers" from and who have passed through the history of Europe under Christianity, as already thoroughly corrupted by its predecessor, and has reached through to the "East" through Orthodox Christianity and Communism, Commercialism, and through Islamic imitation, particularly in post-Qur'anic and extra-Qur'anic materials.

So, the "other" and "the dark forces" seem to just be a way to villainize and dehumanize any people up for enslavement and exploitation by the "machine" and the grand pyramid scheme that at this point seems to have no one really running it, except a few lame brains trying to surf it at the top, and as always, at the expense of everyone and even everything on the Earth, including themselves and their own families.

Humanity is for the most part docile to their own detriment, though no amount of spilling blood may even permanently stop the exploitative and heartless sentiments that keep resurrecting this ancient mutation or deformity that exists within human beings and perhaps some other things here and there, but still, some people really should be fought against on every level and in every way to spare ourselves and so many more the true horrors they have in store as "the good guys", the very same they claim are the intentions and actions of "the bad guys", which is to act against all fairness and justice with impunity, with a tiny self-protecting class dominating and treating like bacteria the vast majority of everything everywhere, monitoring, dominating, stealing from, r*ping, pleasuring itself, exploiting, k*lling, and destroying whenever it pleases, whoever or whatever it pleases.

Boethiah, Khaine, Zaltec,
Tezca, Mephala, Lolth,
Slaanesh, Slan, Atharti

All these called evil, if one looks deeply into the little clues they provide in what is described about them, represent fighting back, beauty, and pleasure, all of which are disparaged and defamed and said by the very same people who harm everyone and everything, that "fighting back is evil" "that you should have beauty is too good for you, you can't handle it, you will be punished" "you should not have pleasure, it will make you sick, you should slave away instead for our benefit, in misery". This "thing" they are controlled by is seemingly literally threatened by what is good, such as their being brought to an end for the sake of justice, which clears the way and makes things more beautiful and refined, which leads to pleasure and comfort and good for all, all of which they twist and speak ill of, and so depict these things as negative and demonic, and them others insist on the sullied versions and seem attracted to what is wrong and a lie about the ideas rather than anything useful about them.

Boethiah is a very positive word, and Khaine is a positive story in the Qur'an, which they have rightly identified as secretly the antithesis to their genuinely evil scripture as much as they may seem to share stories. Khaine is also seemingly the ancestor of all human beings, but they invented another to suggest otherwise, and in doing so may have lost the mercy which is the point of the Qur'anic version of the story.

Regarding Khaine in Warhammer:

"
Ravens are sacred to him.[5a][8a]
"

Regarding the character thought to be Khaine in the Qur'an, the raven is sent by God as mercy to teach and assist Khaine, who is also forgiven.

They are currently mass murdering people using excuses connecting to their ancient lies and propaganda regarding Cain and "Amalek" (meaning "Blood Lickers" and possibly connected to owls, which is what the appearance of Greek helmets resembled, as the Athenians were also interested in Owls due to their association with Athena).

In case people eventually show up here:

"
1.


So, as the years have gone by, I've basically stayed the same with practically no changes at all in any way, not in my thinking, style, appearance, just grew up physically but not since last being here.

Even so, I have a perpetual sense of not only everything "getting worse", but me, "getting worse".

I typed in durge instead of dirge accidentally the other night, and it came up with this:

2.
https://bg3.wiki/wiki/The_Dark_Urge

I don't think I've really changed much, but I probably wasn't experiencing as much overall physical pain and stress, and I didn't feel like I disliked as much or that there was as much that I knew about to dislike, but every year I've felt, maybe inaccurately, that I've grown in my overall dislike, pessimism, and hatred.

3.
https://m.youtube.com/@7USARMoorish/videos

I was looking at this guy's stuff and though I don't know if it is stated anywhere explicitly, I was thinking about "racial coding the truth", which in this case would mean:

"The Ancient Religion Is The Truth, Inappropriate For Non-"Black" populations due to it being considered awkward appropriation and otherwise fetishistic orientalism".

Then I thought about how there may be racist or secretly race conscious gatekeeping of various forms of "truth" or "truths" such as scientific education, and political "respectability" these days or recent days past, at least with some people.

4.


5.


It is even weirder, maybe "funnier", in a bitter way, that people have been saying so much without really establishing much of anything in the first place in any certain way, and then try to control and keep others from and give others these things that we don't even know are of any value in the first place, as even what is of value or not hasn't been clarified before people start lashing out or working ill towards their perceived opponents and competitors, for the "snitch", when there isn't even a game going on as far as we know, but people sure are playing at something regardless.

6.


Wow, the rest of the link spell-checked and corrected into this word:
"Begrudgingly"

7.


8.


9.


1.
https://forgottenrealms.fandom.com/wiki/Bhaal

2.
https://forgottenrealms.fandom.com/wiki/Kazgaroth

3.
https://forgottenrealms.fandom.com/wiki/Jergal

4.


5.

"

This was also posted here:

https://indieagora.com/forums/topic/ill ... ings-here/

The earlier posts in this thread were posted here:

https://indieagora.com/groups/teocalli- ... the-mouth/

I think that if and once there are more people here, then each place will get unique and exclusive content, but I also shared this one here because it is tied into some of the themes from the earlier posts.

These have also been posted at another location which I use to save at least some of my writing from these places, but something could happen to all these, so I really should get my computer back and a place set up to work on my computer comfortably in order to save most or all of my new writing and collections of quotes, links, and information which I save into my writing in case it disappears from the internet or is difficult to find again later with the way search engines have been behaving for the last decade or so, as it has seemed incredibly difficult or impossible to find some things that I used to be able to much more easily in the past, almost like 1984's "Memory Hole".

I'm not sure if this is totally appropriate here, but it seems related to me, as I was infuriated by this story.

I've been infuriated on this topic for a few days now in a different context, but this is just the latest version of it appearing to me:

1. A scumbag con artist tries to defraud almost 1000 creators at once, demanding 2500 USD or else they can't use their store:



It links to the full story.

2. This lunatic thief presents himself as the Messiah.

https://en.m.wikipedia.org/wiki/The_Smiley_Company

He lies even in the story, where they were used, if anything by others in a sarcastic manner during these times:

https://en.m.wikipedia.org/wiki/May_68

3. The symbol was never his, and there are examples of it before his appropriation and hijacking and then acting as the only one with the special power over it and say over it, hideous, vile, abuse of systems and laws against all right.

https://www.fiftyplusadvocate.com/2024/ ... worcester/

This Harvey Ross Ball guy was paid 45 dollars for the design it said somewhere.

https://en.m.wikipedia.org/wiki/Smiley

These litigious, thieving, trolls, should not be dealt with through the systems they are gaming, but in a way that makes them terrified of pulling stunts like they are pulling and enriching themselves in the billions.

The son of the guy Loufrani (a name from a certain ethnic background), born apparently in the year of the scam (1971) has also lied by claiming that he created all emoticons in 1997 (the next scam year, when they tried to rip off Walmart and eventually did)! So he wants to mess with people stealing from that tall tale too. Then certain companies, possibly ethnic favoritism and allying going on but its fine turn a blind eye and ignore the racism and blocking out fair play, used the symbols as legally licensed to promote them, for example Levi's, when this thief doesn't deserve a dime, and any company cooperating him should likewise be cancelled out.

I hate stuff like this, then I realized how anyone who has ever gotten on my case has been a thief of this sort. I remember that one freak was a white guy claiming that he was chosen by the Voodoo Spirits and Gods, and he wore the top hat like Baron Samedi and for some reason was on my case because these charlatan frauds just despise the sight of anything even accidentally coming close to questioning their false claims.

Another creep was an African American guy who was into Celtic Wicca Orange Haired anthropomorphic deities? Just weird, and these people despise creativity or free thinking, it is a full package that they try to infiltrate, appropriate, go somewhere or into something inappropriate, basically like r*pe, in order to also do wrong, make false claims, like this loon also claimed to talk to Goetic Demons but was also an Irish Wicca Goddess person and was making up insulting crap about everything and anything questioning anything was persecuted.

This is like cult type stuff, where a person comes along from some other or opposite place and says "It is mine! I am chosen! I am the one with the right! The spirits speak through me! The God(s) tell me to k*ll you for questioning me, which is questioning the God(s)!"

Such demonic hag cultists should be quashed and extinguished.

It is no wonder that the anti-creative thief Loufrani has messianic undertones in the writing and propaganda he puts out about himself.

https://smiley.com/pages/brand-protecti ... EfC0_28ooh

This is dystopian and like 1984's Doublespeak:

"
The spirit of creativity and perseverance through all these years is what makes The Smiley Company an internationally recognized lifestyle consumer products company.
"

"
Bias and tone
Latest comment: 1 day ago
I want to draw attention to some issues I've found with this article, the first is that is clearly written in a way that presents the founder of the company as a near-messianic figure. The paragraph about 1968 is genuinely one of the funniest things I've ever read as it seems to imply that the smiley company had some hand in easing the civil tensions at the time. It makes no mention of the fact that the logo was in previous use by other companies and acts as though the company is not motivated by usual business concerns. The article also does not include a 'controversies' or 'lawsuits' section which a company as litigious as this absolutely should have, and the mentions of the controversies that are actually included gloss over the incidents and treat them as entirely neutral occurances outside of the actions of the Smiley Face Company.

Overall, the article is presented much closer to a corporate mission statement than an encyclopedic article and it needs major changes. 31.94.18.17 (talk) 09:01, 18 July 2025 (UTC)
"

So, this is an evil spirit running through a lot of people that seems to be opposed to things I think are right.

Similarly, I was a bit revolted by something I saw in a news clip, where they had these modern people wearing the chief style butt feathers on their head, and this person wearing this headdress was a female. It isn't that I'm opposed to females acting as leaders, but they were specifically making an appeal to traditions where I doubt that the chief's headdress or things typically designated to males would be worn by females, it just seemed like something gross and twisted and insulting even to what those traditions might have been and what those actual people from the past would probably have not found acceptable due to their being more likely to think such would be inappropriate. I also dislike people wearing those wigs in courts.

https://en.m.wikipedia.org/wiki/Court_dress

https://www.livescience.com/7336-mummy- ... arded.html

"
Turns out, Hatshepsut was no Cleopatra. Instead, she was a 50-year-old fat lady; apparently she used her power over the Upper and Lower Nile to eat well and abundantly. Archaeologists also claim that she probably had diabetes, just like many obese women today.

Hatshepsut also suffered from what all women over 40 need—a stylist. She was balding in front but let the hair on the back of her head to grow really long, like an aging female Dead Head with alopecia.

This Queen of Egypt also sported black and red nail polish, a rather Goth look for someone past middle age.
"

"
To underscore her position of power, Hatshepsut often wore the complete regalia of a male pharaoh, including a false beard. Some speculate she actually liked wearing men’s clothing, and so what?

Hatshepsut ruled for 22 years, longer than any female ruler before or after her, and left behind a remarkable record of buildings and sculptures, including her mortuary tomb Djeser-Djeseru, a marvel of architecture.

But like many women of power, Hatshepsut was also embroiled in controversy. Her successor and stepson, Thutmose III, tried to erase her image from the Egyptian mind by chiseling her name and symbol off everything. And then he moved her to an obscure tomb and left her there to dry up with only a mummified nurse for company.
"

It is a r*pacious disease I sense in some populations, possibly with a biological component, that seems to lead to a deep, possibly difficult to control desire to do and go into and "be" and force others to submit to demands and acknowledgement and to suppress rights and to take over abd hijack and claim you now are the authority on matters.

https://rune.une.edu.au/entities/public ... af1073854d

https://digilib.phil.muni.cz/_flysystem ... 138773.pdf

This spirit and practice seems to then have been followed by the Roman Catholics, the Carolingians, The Holy Roman Empire, making its way to Britain and polluting there as well as across Germania and among the Celtic tribes, all of Europe, but then any who had been raised with the Roman Spirit of r*pacious appropriation, until it reached Americans and the modern Cult Of The Cybele:

https://web.sas.upenn.edu/discentes/202 ... fertility/

https://en.m.wikipedia.org/wiki/Galli

https://www.english-heritage.org.uk/lea ... the-galli/

https://www.ancient-origins.net/history ... li-0017397

https://human.libretexts.org/Bookshelve ... _the_Galli

https://goldsmithscca.art/exhibition/galli/

"
The body as a battlefield – that applies to everyone.’ Galli, 2015

So, So, So marks the first UK solo exhibition of artist Galli (b.1944, Germany). Spanning painting, books, collages, and drawings, the exhibition includes works from across her decades long practice. After initial commercial success in the 1980s, Galli’s work was little exhibited, but has rightly gained increasing attention in recent years, with work included in the Berlin Biennale (2020), at brunand brunand gallery (2021), and in Unruly Bodies, a group show at Goldsmiths CCA (2023), amongst others. Galli’s work is a powerful current position on corporeality in a fractious and violent age that proposes an exhilarating, ribald, and haunting grammar of the body. The exhibition’s title – So, So, So – refers to the melodic cadence of the artist’s speech, and, in both English and German, gestures to openness, something to come, and excess.

Galli was born Anna-Gabriele Müller in Saarbrücken. Born at the end of the Second World War, her short stature went luckily unnoticed during her infancy under Nazi rule. She initially trained under painters of the Cobra movement, who emphasized an aesthetic break with Western ideals, naturalism, and abstraction. In 1969 she moved to West Berlin to further her studies under painter and graphic artist Martin Engelmann, whose work references Hieronymus Bosch, Pieter Bruegel and Surrealism. In the 1970s, West Berlin was a city at a turning point, moving away from the hangovers of Nazi fascism and post-war depression, to increasing freedoms, blossoming into an avant-garde scene of squatting, punk music, and feminist and queer civil rights movements. The body as a battlefield was central to these shifts, an arena Galli’s blistering work enters.

Galli’s work is freely expressive, instinctive, guttural, and gestural, but as an artist she is governed by strong discipline. Even today, despite severe health and mobility restrictions, she draws daily. The exhibition includes a wide array of drawings, selected to demonstrate the movement of figures and forms through different iterations. Galli draws rapidly, so each has a palpable immediacy, but their chain of evolution evidences a long-time span of deciphering and translation into new compositions that modulate figures, shapes and intensities.
"

Here is something else weird that has been on my mind. Remember when there was a thing that "gay" people seemed to often show up looking "red", like red skinned? They seemed to show up with red, flushed looks, which may have been from alcohol drinking or something, but these were the "Red Gays", the "Flaming", and they, and just about anything linked with the color Red, from "Red Indians" to "Communists" seem to be disappearing from public view, and now one can scarcely find any image or reference to the red looking homosexual trope or stereotype. Also:

https://en.m.wikipedia.org/wiki/Flamen

https://en.m.wikipedia.org/wiki/Gala_(priests)

https://en.m.wikipedia.org/wiki/Enaree

"
This suggests an ancient link between gender non-conforming spiritual practitioners and the use of mind-altering substances.[6]

For Scythians in Russia, linden then became a symbol for the third gender, or for people who are feminine-presenting and born male.[6]

The Enarei were especially consulted when the king of the Scythians was ill,[10][6] which was itself believed by the Scythians to be caused by a false oath being sworn upon the king's hearth.[8] Once the Enarei had identified the suspect who had sworn the false oath, the said suspect would claim to be innocent. If the Enarei maintained the accusation, six more soothsayers were consulted, and if they upheld the original accusation, the suspect was executed by being beheaded. If the additional soothsayers declared the suspect was innocent, the process of consulting more soothsayers was repeated.[11]

If the soothsayers all found the accused to be guilty, the culprit was executed through beheading, and his property was divided among the Enarei who had found him guilty.[12]

However, if the larger number of soothsayers still declared the suspect to be innocent, the initial accusers were executed. The accusing soothsayers were put into an oxen-pulled wagon filled with brushwood which was set on fire. The wagon was then pulled by the oxen, who eventually also burned along with the wagon and the disgraced soothsayers. The sons of these Enarei were also all killed, but their daughters were spared.[11][12]
"

Look at this pathetic stupidity being reported. That these people would point fingers baselessly, as their possible spiritual descendants seem to also, leading to human destruction.

"
The Enarei engaged in same-sex eroticism and did not have heterosexual intercourse.
"

How did they have sons and daughters then?

Did you see that those people were supposedly thieves too? They got to split the goods of the person they joined together to get killed. They were nothing but crooks in my opinion, and of a really deviant nature if these claims are true about them.

Since most of us don't believe that "a King getting sick from a false oath sworn on his hearth" or whatever, by a "warlock", meaning an "oath breaker", is even possible, that means every single time these criminals were lying and got someone killed on false accusations and crimes which weren't crimes and supposed sedition and crimes against the King and so "The State" and the authority that they were using to get people killed and steal their property, which is what seemed to occur with the celibate priests and their witch hunting and today with people making it criminal to even say certain things, and ruining lives over harmless things like statements or opinions, and in other cases making false accusations that ruin lives, like this beast:

https://www.bbc.com/news/uk-england-london-41037826

Everything seems to also operate with mechanics not dissimilar from a game, especially among soulless people and others incapable of spiritual decency, deeply deviant malefic agents and predatory people, sometimes not even having a full awareness of quite how rotten they are.

So they end up wanting something if value, a covetousness seizes them, and they will do whatever it takes, however unpleasant, to attain, by hook or by crook, the things they want to achieve and possess, and this lust is unlikely to be sated, so they only keep doing it or do other similar things, like any criminals, maybe all people, maybe like the habitually good even, except the M.O. (Modus Operandi) of some people has nothing to do with good or good or decent methods or even wholesome goals.

For example, there are some people who perceive a value in certain things, even abstract things like conceptual associations or being linked to ideas in some way, in order to get or to experience the value they associate with it, the prestige theyight think links to whatever, to gain a certain quality, or to attract something that they value too.

It seems to be well recognized that greed, even in subtle forms, has been an evil that emerges in human beings, sometimes in ways that are less than obvious or which seem convoluted or a longer game than what may immediately seem apparent.

A lot of human activity even seems to be a balancing game between their conditions, their desires, and finding ways to achieve certain desires which may have been generated by their conditions in the first place, and then we end up with their life stories.

I was reading the 8th edition Warhammer book of the "Dark Elves" and was disturbed by the propaganda that so totally seemed to resemble things that have been said by a certain government about a certain people.

"
The evil kin of the High Elves hold sway over the bleak land of Naggaroth. It is a confident general indeed who leads his men against these vile torturers.
"

Putting in the word Naggar is you know what.

Also the name of their spiritual leader is Malekith, which isn't too far off from Mahemith.

They've even seemingly used ideas regarding the Dark Elves of Dungeons and Dragons, the Drow, with fantastical tales of underground cities used by these "dark" and religiously "evil" beings. It is all fun and games and enjoyable ribbing until it us actually used against real human beings as propaganda to encourage and justify atrocities against actually innocent people. The same g*nocidal logic of "they will just grow up evil one way or another" that is used to completely obliterate unreal non-human troops and communities in games is being used by actual psychopaths viewing real people in the same way.

The line between fiction and reality may have always been blurred, even throughout the historic past, long before any of these current groups of people that exist, existed.

All the while, strange trends are being pushed, like denial of the roundness of the Earth in favor of ways most think that it is not, and saying things that most don't think are true, and insisting that such be said, that such which most think is false and wrong be the "official position". Then there is the wiping out of and manipulation of and revising of history, and even beyond that there is the outright denial of history, like efforts to try to "prove" that certain things didn't exist or never happened, like this effort:

https://www.businessinsider.com/history ... al-2021-12



https://www.quora.com/Are-there-really- ... er-existed



Remember when Obi Wan Kenobi said that if he was struck down by Darth Vader he would become more powerful than Darth Vader could possibly imagine?

"
If you strike me down, I shall become more powerful than you can possibly imagine.
"

Well, it appears that certain things operate best when they become increasingly abstract, like the "Spirit Of Rome", and the "Roman Spirit" of trying to get governments to help crush freedoms so that minority groups, like Christians for example, can take over entire Governments and impose their once minority and fringe ideas upon the majority, even making acquiescence to such federally mandated and punishable if offered the slightest resistance or questioning with all kinds of intimidation and terror as a response to create fear and conformity, the same power that new groups salivate for and call "rights" and "respect".





"He He, Ho Ho" lighthearted propaganda about the horrible injustice of this:

https://en.m.wikipedia.org/wiki/Casualt ... e_Iraq_War

"
1,033,000 excess deaths
"

https://en.m.wikipedia.org/wiki/ORB_sur ... casualties

Nobody talks about it, it was based on a fiction, and the criminals all got away with it, with many of them also enriching themselves from the heinous bloodbath.

Now the lunatics have let loose a m*rderspree again, with numerous nations being attacked and a population of millions held completely hostage and being depleted daily, and I'm meant to give a f*ck right now about other things like the meat industry or something, and the truth is that so many sick f*cks actually think "it is for the best", and that even I think that nothing good likely awaits any survivors of this ongoing horror if it ever even is stopped, since the insane menace will still be present to never relent in making their life hell, ALL BASED ON FlCTIONS.

Even the formation of "God(s)" seem to be initially, possibly, based on interpretations of reality, that turn increasingly symbolic and fictionalized, then these become "historic" as the "things now considered fictions which currently non-existent populations may have believed", the accounts of which are likely spurious and impossible to verify and are at the very least unrecognizable to those people were they alive today to speak on behalf of themselves, which they would probably never be allowed to, as "authorities" of various sorts shout them down and punish them into silence for opposing the fabrications that the current people insist upon, and Force is the only Law.

Lies upon lies, layers of lies. Even the fictional religions and deities in games are based on and inspired by things that were supposed to have existed in the historical record, as interpreted and understood by later people with their own twists based on the lies they were born breathing.

That might not only equalize some fiction with what is supposed to be non-fiction about things now considered fictions anyway, but some fictions, deliberate fictions, may end up surpassing accidental fictions, in representing or carrying certain truths that can at least seem verified by life or experience.

Life and experience itself is something invalidated for large swathes of the population, from anyone accused of having mental illness, to thr deceived, to the too sure of themselves, also known as the smug, and sometimes they are all one person! Only some experiences and types of experiences are considered valid as any kind of evidence for anything by certain people, let alone no one knowing what the f*ck anyone is even saying in the first place, but vaguely assuming we kind of maybe "get it" and therefore may "have it", and in other cases "don't want to", even if we "never did"!

Which brings me to the mention of Loec, another deity from Warhammer, who seems to be based on Lugh and Loki who are themselves likely related, and which no one "really believes in" all that much, particularly as "Loec", even though "Loec" may be as real or non-real as Lugh and/or Loki, or even more real than the misunderstandings of those, or not at all having anything to do with reality whatsoever.

https://static.wikia.nocookie.net/warha ... 0805125702

"
Loec's followers are often identified by the rune of Arhain worn around their necks, or engraved upon the hilts of their knives [1] and whilst the worshipers of Loec have no true temples, they may have personal shrines within their homes. Due to his very nature, he is most often associated with the wandering Shadow Warriors of Nagarythe.
"

https://whfb.lexicanum.com/wiki/Shadowlands

"
The Shadowlands is all that remains of Nagarythe, the ancestral homeland of the Dark Elves.
"

I've worshipped Loec all my life. That is to say, what I've been worshipping and which I credit for whispering to me, I consider none other than Loec.

https://warhammerfantasy.fandom.com/wiki/Loec

"
Indeed, many Forest Dragons hold true to the belief that Loec honed his cleverness under the tutelage of Draugnir, Father of Dragons. The Wood Elven Wardancers, being Loec's foremost devotees, hold that the opposite is true, and love to engage Forest Dragons in battles of wits to prove their point.[3a]
"

https://warhammerfantasy.fandom.com/wiki/Wardancers

"
Other Wood Elves regard the Wardancers as wild and unpredictable, and not without cause, for they are the servants and worshippers of the Elven trickster god, Loec. The Wardancers lead the Elves in music and rejoicing, and perform the intricate dance rituals that re-enact the history of Athel Loren, a form of storytelling more important to the Wood Elves than the more conventional method of writing.[2a]
"

https://warhammer40k.fandom.com/wiki/Cegorach

I believe that in reality, there seem to be certain things that seem to aggregate and surround people which tend to further define them and become part of the composite that is the manifestation of them and their life. These seem to also align to different things, that can end up being like people on contrary courses or even within opposing streams and ending up being contrary due to the "luck" of whatever happened to be the nature of the stream they were born into and perhaps even were born as, so that there is nothing anyone can necessarily even do about these things, in actuality imposed upon them so that their decisions even will conform to whatever they will decide based on whatever factors or even just the direct influence of something they can not control since nothing of them is even there to be ahead of it. So that means whatever influenced their first thoughts occurring, and then those next thoughts, none of it was ever their doing, they couldn't decide any of it really, whatever they decided and whatever reason they may give for having decided anything was influenced and never controlled by anything.

So I was thinking, and I hope this is coined by me, "I shop, therefore I am". Mindless consumption starts off our existence, defines us and our stream that most people never become aware of (but awareness makes no difference most likely as the unaware are likely as devoted to their purchase path as the fully aware is helpless regarding their hunger, taste, and final decisions which they act upon or which happen to occur).

That is the story of how Loec became my Lord and how I became aware of the term Loec and felt comfortable using it, as I had already used Lugh, Loki, and Loxias, among other aspects of One in my view, that is apparent and represented in the reality, but which people take as a fiction, or otherwise accept in fictionalized forms they consider to varying degrees the more "authentic", none of which I am ever likely to recognize, as in my opinion they are nothing but Christians, forever cursed to their banal "paganism" and heresy.

I have little to no respect for most of what prior or post people ever say, but I always look out for the things which seem to surround them, and what I believe that they are "really" saying and "really" are, their "reality" in my view, which may be "fiction" for them, such as whatever they seem to really be about and after, even if they say otherwise, I would hopefully show why it seems evident to me, like if a person is obsessed with money, and then seems to also have these other colors and symbols all around them and which they frequently use, then others do the same, then I might think, hmm, this person seems to be under the power of some kind of aspect having to do with these things, even though they may say they are atheists or anything else, I try to recognize or perhaps "make up" something I see that may be made up of symbols and related to symbolic things, but seems more true and real to me than whatever mainly useless seeming designations or identities they give to themselves, which don't mention what a wh*re they are in some other way.



https://warhammerfantasy.fandom.com/wiki/Estreuth

"
The Elves of Athel Loren know that each deity has a time and place.
"
The rune for Estreuth is the one that looks the same but reversed of the rune of Loec.

The name Estreuth is based on Astaroth.

https://wiki.nwnarelith.com/Zaltec

"Hunger"

https://warhammerfantasy.fandom.com/wiki/Khaine

https://warhammerfantasy.fandom.com/wiki/Khorne

"Hunger" here is being used by me to mean "drive":

"
AI Overview



+6
The word "urge" is a good synonym for "drive" when referring to a strong motivation to do something. Other options include "motivation," "incentive," "impulse," or "desire". The specific word choice depends on the context and the nuance you want to convey.
Here's a more detailed breakdown:
Urge: Implies a strong, sometimes sudden, impulse to act.
Motivation: Refers to the general desire or willingness to do something.
Incentive: Suggests a reason or reward that encourages someone to act.
Impulse: Indicates a sudden, often unreflective, urge to act.
Desire: Expresses a strong wish or longing to do something.
"

https://www.merriam-webster.com/thesaurus/drive

[kFoyauextlH]

"
Some of the links provided below are repeated without an h at the front because certain websites would convert the links into hypertext or images, so in those cases people were provided most of the link but only need to add an h to the front of the address:

Framework

ttps://pastebin.com/mL92xeJQ

Lovecraftian Version

ttps://pastebin.com/T6guWmjn

Relic's Blog
http://www.religionforums.org/Thread-Relic-s-Blog
ttp://www.religionforums.org/Thread-Relic-s-Blog/

Links on this Forum called ReligiousForums.com:

Live "Divi-nation" Magic Demon-stration!
https://www.religiousforums.com/threads ... on.233324/
ttps://www.religiousforums.com/threads/live-di ... on.233324/

Great Library of (Comparative) Religious Scriptures (Link Collection)
https://www.religiousforums.com/threads ... st-6878759
ttps://www.religiousforums.com/threads/the-gre ... st-6878759

Fictional Deities
https://www.religiousforums.com/threads ... st-6652121
ttps://www.religiousforums.com/threads/fiction ... st-6652121

GOD ELECTIONS!
https://www.religiousforums.com/threads ... st-6884931
ttps://www.religiousforums.com/threads/god-ele ... st-6884931

RF Fight Club
https://www.religiousforums.com/threads ... st-6883186
ttps://www.religiousforums.com/threads/rf-reli ... st-6883186

Become Anything! Join Something! Decide Here
https://www.religiousforums.com/threads ... re.233840/
ttps://www.religiousforums.com/threads/become- ... re.233840/

Moving Towards Atheism or Theism
https://www.religiousforums.com/threads ... tc.233545/
ttps://www.religiousforums.com/threads/moving- ... tc.233545/

Which Spirits Do You Enjoy Invoking
https://www.religiousforums.com/threads ... ou.238502/
ttps://www.religiousforums.com/threads/what-go ... ou.238502/

Whose your Daddy? Dan?
https://www.religiousforums.com/threads ... st-6885400
ttps://www.religiousforums.com/threads/whose-y ... st-6885400

Time to Boast! Experiences with God(s)
https://www.religiousforums.com/threads ... st-6896599
ttps://www.religiousforums.com/threads/time-to ... st-6896599

Tastes and Preferences
https://www.religiousforums.com/threads ... se.238377/
ttps://www.religiousforums.com/threads/tastes- ... se.238377/

Bring me your religions, their fruits, and other gossip!
https://www.religiousforums.com/threads ... ed.233652/
ttps://www.religiousforums.com/threads/bring-m ... ed.233652/

Whose the Best and Greatest!?
https://www.religiousforums.com/threads ... st-6668567
ttps://www.religiousforums.com/threads/the-bes ... st-6668567

Whose the Sagest One of All?
https://www.religiousforums.com/threads ... st-6879146
ttps://www.religiousforums.com/threads/who-is- ... st-6879146

Incompatibility of Religious Views
https://www.religiousforums.com/threads ... rs.238868/
ttps://www.religiousforums.com/threads/the-inc ... rs.238868/

Songs I take to be by God about God
https://www.religiousforums.com/threads ... st-6888961
ttps://www.religiousforums.com/threads/songs-i ... st-6888961

Introduction: The Artis Magistra and DagonVarunaMitraApolloZan
https://www.religiousforums.com/threads ... st-6896501
ttps://www.religiousforums.com/threads/introdu ... st-6896501
"

From the link under the word "Framework":

"
What does it need in order to be responsible for all this?

It would need the Ability to Generate or Produce "Stuff" like anything, whatever information, laws, data, reality, matter, whatever.

Matter itself can not be the base because it can't just do stuff.

So anyway, it is Like Nothing, but has to have the intrinsic power to Generate Stuff.

Even that is not enough though. Since having the power to generate does not mean having anything which causes that power to be triggered or used.

So it needs the Drive to Generate.

Even that is not enough though. Since a blind drive to Generate or use a Power would activate its use but without nuance or limits and so it would do all it could all at once all the time and there would be a static blob of everything which is not at all what we have now. So it didn't do that but has another intrinsic and important component which we can be more certain of due to how things are now.

So it has to exist and so is present but Like Nothing, has to have the Ability or Power to Generate Stuff, has to have the Drive to activate the power, but has to also have the choice or nuance of choosing or selecting what is produced and what is not produced and to do or not to do, to Be or Not To Be at any particular moment, which creates the particular shapes of things, their structures and limits, the fact that there is the appearance of different things and different moments which are not alike or everything but refined by all that they are not. This final necessary component is the beginning of or proof of a kind of "intelligence" that selections are made rather than blind execution of everything.

We can take it from the other direction as well, where what we have now is at its vaguest "stuff", and this "stuff" appears to be "changing" moment to moment.

In order to appear to change, the "as is" moment you were experiencing "as is" is no longer present or existing "as is" or else you would be experiencing that particular shape or sight exactly, but instead that "as is" moment is totally not there and another "as is" moment appears to be which has differences and is not the same in some way as the other one. This can be considered the elimination of something and the coming into existence of something.

Now, a moment itself can not produce another moment. This is because the moment no longer even exists "as is" when the other new seeming moment or picture or shape of things is present. So what is gone can not be held responsible for executing or completing the execution of some task, even if it could or had such a power and wasn't inert and essentially a dead thing.

So there is something else behind this appearance of change, this process of elimination and generation and elimination and generation which is giving us the ability to process a sense of Being or animation and changing thoughts and moments.

Since moments or experiences or whatever we are talking about are information, and information does not have the ability or existence to produce other information or moments, this thing that is doing it or bridging that gap must again have certain qualities.

It does not cease to exist the way the information moments do or are made to. It does not itself or can't "change" which requires the elimination thing I mentioned and thus another unchanging force responsible behind it. It is not information or made of information or stuff, it is thus Like Nothing.

What is Like Nothing can only be One, there is no structure to divide what is Like Nothing as it has no limits or qualities or borders or shape as it is not Stuff or made of information.

So it is Not Information, which has the power to generate information.

Now what muhammed-isa kept disturbingly thinking and saying to me is that I am conjecturing, because the Qur'an says that people do but conjecture when it comes to things like the death of Jesus for example, but this is not conjecturing at all, this is not guessing as it leaves no space really, its based on how things have to be if it is understood correctly, but the problem is that it is rarely ever understood correctly and people can't see why it is literally necessarily how it is and based on how there is what there is this is the only case at the bottom line, this is not conjecture at all but the essentials of what there has to be and why it has to be that way.

So, much more simply put, now that it is mainly explained, what I call God and The One Power and The Great and Only Power and Mind is whatever (which I have described), whatever at all is ultimately and immediately responsible for the moments or "stuff" or information or experience which is not the same as information which it produces nor is information or made of stuff itself which is giving the appearance of change by elimination and generation which is nuanced due to its "choice" as explained.

That God or Power is undeniable, from both the direction of "There is not True Nothing, so what must there be essentially at the base for there to be anything?"
and from the direction of "What there is now, there is informationm/stuff/experience and the appearance of change, so what is the bare necessity for that to occur presently?"

Not conjecture, fully elaborated, absolutely necessary, and clearly apparent to anyone using their faculties carefully.

In other words, my God does not require blind faith or conjecturing, it is clear to see through careful reasoning based on what is necessary for there to be anything and what is necessary for there to be what is occurring now.

That which creates the appearance of change.

Because these moments are being generated and can not generate themselves as they don't exist to do so in the first place or complete the task as they are gone, this is why we are not the ones deteemining who or what we ever appear to be or do or think really as that is all information and are moments of experience, it is the power behind it selecting all those, that is why it is not conjecture regarding the no real free-will issue.
"

https://warhammerfantasy.fandom.com/wiki/Tzeentch

https://en.m.wikipedia.org/wiki/Araby_(short_story)

"
On one rainy evening, the boy secludes himself in a soundless, dark drawing-room and gives his feelings for her full release: "I pressed the palms of my hands together until they trembled, murmuring: O love! O love! many times." This scene is the culmination of the narrator's increasingly romantic idealization of Mangan's sister. By the time he actually speaks to her, he has built up such an unrealistic idea of her that he can barely put sentences together: "When she addressed the first words to me I was so confused that I did not know what to answer. She asked me if I was going to Araby. I forget whether I answered yes or no." But the narrator recovers splendidly: when Mangan's sister dolefully states that she will not be able to go to Araby, he gallantly offers to bring something back for her.
"

"
Themes
edit
William York Tindall, noting the story's religious allusions, and finding in its ending the suggestion of an emptying church, sees the boy's journey to Araby as a futile quest for Ireland's Church.[2] Another critic, expanding on the idea, has argued that Joyce drew upon the Church's iconography to depict Mangan's sister and its liturgy to render the bazaar's closing, and that the story should be read as a parody of the Eucharist akin to "The Sisters".[3]

Romantic elements
edit
In "The Structure of 'Araby'", Jerome Mandel notes the shared plot archetypes between "Araby" and traditional medieval romantic literature, positing that Joyce deliberately "structured with rigorous precision upon a paradigm of medieval romance".[4] There is also an intermingling of romantic motifs with religious symbolism. When Mangan's sister ultimately talked to the narrator, "The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand..." indicating that a part of her remained in the dark while her neck, hair and hands lit up. This is an allusion to several images of Madonna or the Virgin Mary where she is partially illuminated.[5]

Later influence
edit
Among later writers influenced by "Araby" was John Updike, whose oft-anthologized short story "A&P" is a 1960s American reimagining of Joyce's tale of a young man, lately the wiser for his frustrating infatuation with a beautiful but inaccessible girl. Her allure has excited him into confusing his emergent sexual impulses for those of honor and chivalry, and brought about disillusionment and a loss of innocence.[6]
"

"
Among later writers influenced by "Araby" was John Updike, whose oft-anthologized short story "A&P" is a 1960s American reimagining of Joyce's tale of a young man, lately the wiser for his frustrating infatuation with a beautiful but inaccessible girl.
"

https://en.m.wikipedia.org/wiki/A%26P_(short_story)

https://en.m.wikipedia.org/wiki/Limerence

"
Psychologist Dorothy Tennov coined the term "limerence" as an alteration of the word "amorance" without other etymologies.[5] The concept grew out of her work in the 1960s when she interviewed over 500 people on the topic of love, originally published in her book Love and Limerence.[6][7][8][9] According to Tennov, "to be in a state of limerence is to feel what is usually termed 'being in love.'"[10] She coined the term to disambiguate the state from other less-overwhelming emotions, and to avoid the implication that people who don't experience it are incapable of love.[11][12]

According to Tennov and others, limerence can be considered romantic love,[5][13][14] falling in love,[15][16][17] love madness,[1][18][2] intense infatuation,[19][17][20] passionate love with obsessive elements[9][14][21] or lovesickness.[7][22][23] Limerence is also sometimes compared and contrasted with a crush, with limerence being much more intense, impacting daily life and functioning more.[24][25][26]

Love and Limerence has been called the seminal work on romantic love, with Tennov's survey results and the various personal accounts recounted in the book largely marking the start of data collection on the phenomenon.[14][27]
"

https://en.m.wikipedia.org/wiki/Lovesickness

https://en.m.wikipedia.org/wiki/Biology ... #Obsession



https://warhammerfantasy.fandom.com/wiki/Araby



"
The 11 Stages of Love in Arabic

الْهَوَى (hawa) - Attraction. This is the beginning of love. Love that arises suddenly and not yet firm in the heart. This verb also means both to rise and to fall, indicating the unstable nature of attraction.

الْعَلاقَةُ (‘alaqah) - Attachment. Love which is inseparable from the heart and loses its temporary nature.

الْكَلَفُ (kalaf) - Infatuation. Intense love that begins to affect the lover physically by distracting the heart and even overwhelming it.

الْعِشْقُ (‘ishq) - Desire. This love exceeds the limits and takes over the heart of the lover completely, making them blind to any faults of the loved.

الشّعَفُ (sha’af) - Passion. The intensity of this love causes slight pain amidst the pleasure.

الشّغَفُ (shaghaf) - Affliction.The first stage of destructive, all-consuming love. The heart now begins to be devoured by the love.

اَلْجَوَى (jawaa) - Grief. Love that can cause illness and distress and results in sorrow or grief.

التّيْمُ (taym) - Enslavement. Love which ensalves the lover to the beloved. Love that can also drive the lover crazy.

التَّبْل (tabl) - Malady. Love which overwhelms, confounds and bewilders.

التَّدْلِيْه (tadleeh) - Disorder. Love that makes the lover not pay attention to anything and puts them in a state of complete distraction and perplexity.

الْهُيُوْمُ (huyum) - Insanity. Love which disregards all reason and drives the lover to mindlessness.
"







People are really getting on my nerves online.

So there was this video:



Then this comment:

@Rich-ng3yy
6 hours ago
Why should an older woman be any more or less likely to take stuff because theyre older or female? I'm so tired of people even if well intentioned with random prejudice over age or gender or anything else, notions of demographics are for fools.


@CnutLongsword
5 hours ago
You missed his point entirely. Bit sad won’t lie.

1



@Rich-ng3yy
4 hours ago
​@CnutLongswordwhy do you think I missed his point? Are you sure you haven't missed mine? I understand what he means and I don't disagree with his reasoning in general. I'm not picking him up on the thrust of what he said but on another point entirely.
"

To which I replied:

"
Hey "Rich", don't take this personally, since you are probably not the sort of person I'd want any interaction with if this is the sort of thing bothering you while other things are going on, but for the common folk, the hierarchy is thought to go like this:

Strong Fully Armored And Armed Muscular Physically Fit Men and to an only slightly lesser degree Women

Strong, Big Animal

Unarmored and unarmed physically fit adult man

Weaker man or older teenager but still imagined to be stronger than some ordinary women

Woman

Teenage Female

Elderly Female

Strong Pet

Child

Small Pet

Baby

Small Baby Animals

Basically it has to do with assumptions about commonly understood levels of strength that typically are expected to belong to these, so women are typically on average less strong than men on average due to biological factors, even a man who has become more frail due to aging and other conditions may still be stronger than a similarly frail female due to men having their bone density, muscle development, and other factors like their usual size very often at least making them stronger seeming, which is part of why in stories or cases about men in conflict with women, the men are considered the stronger and more threatening, even if in some possibly less common cases this might not have been the truth, it is assumed due to what is commonly believed based on an impression of having seen it to be the case.

When a nation you may favor pits fully armored and armed young and athletic adults against a starving, unarmed, frail population, commonly using overpowered weaponry against children and babies, little girls for example, it is not believed by most that such an interaction is justifiable.

So this is why you see things like "ageism" too, the women, the elderly, those with non military or non athletic jobs, those who are more intellectual and not used to fighting and conflict, who are unarmed and not doing much really, being targeted by people trained to "take down" rather stronger sorts like actual armed cr*minals, is going to be considered unfair, just like bigger and stronger adult people going after little children or animals which they may be able to overpower. Hopefully that is an acceptable explanation for why you may see people focus on the fact that someone is a female and aged.
"

So the middle aged or elderly lady who is assumed to be more fragile, facing big armored and armed police officers and resisting them is a symbol of an "underdog", though in other cases people doing similar things have been disparaged as "karens" when the people feel that they are somehow in the wrong or part of another team or belief system.

A lot of "team playing" goes around figures like this:

m.youtube.com/watch?v=Q2PdKBuRqYw?feature=shared

Here was written:

"
Hahaha, wow you stupid f*cks! Get these people out of power, all of them, or else they'll turn everywhere, your own neighborhoods, into G*z*. Get them out of power however you must, but you can't keep letting people like this pretend to be your "representatives" while working towards your harm, since the harm they work towards will reach you, you are not exempt and you won't be spared by them, these are the same who cooperate with every measure to make life worse and worse for you and your level of people while they pretend to fight on your behalf while taking bribes from lobbyists and having no ethical backbone and standing for nothing really. You have to remove them from power on all levels, you are so many more than them and their guards too, do not let yourselves be captured or *rr*sted or *mpr*soned, you have the power to *rr*st them! *rrest the p*lice if you have to, you are more, they are backing up m*ss m*rd*r and normalizing it, N*z*s were not defeated by asking them to stop or allowing yourselves and your big gatherings to be taken into their pr*son system, and all this can be solved very quickly if you use what you have intelligently to remove from power the people holding up justice.
"

There was also this horrific story which I wouldn't put it past some modern monsters to try to inflict on a populace:



This guy's voice and way of speaking and pronouncing things tends to get on people's nerves:









This is from the era of the "essays", which now people may feel they have less time for:



These games are taken so seriously by some people, like this:

https://www.reddit.com/user/Heteroclitic/

Here is something they wrote:

"
Do we assume that each mortal soul accumulates a debt for each choice, each action that increases the ownership stake held by each higher being then? That simply being a Nord (or subscribing to their belief system) is a direct ticket to Sovngarde, or entering service with a Daedric Prince will postmark a soul with a mailing address for that Daedric realm. That an inscrutable force judges each mortal soul in real-time to create a detailed route for the afterlife which determines their final destination. This begs the question as to the origin or nature of this force, or the logic behind each determination. A force overseeing a constant flow of soul traffic with an eye toward every miniscule shift that may change just where each soul will find itself at the end of the road.

A postal service for souls, if you will. Sorted, shipped, tracked, and delivered.

Nevermind the mechanism for resolving disputes of ownership over souls, that is bound to be Byzantine to the point of madness. A process where every Daedra/Divine is a Karen.

Seems convoluted and overly complex. Serves no real purpose other to entertain the endless tedium of the immortal lives of higher beings. It reduces gods and monsters to the squabbling schoolchildren whom bicker over nonsense. Molag Bal, ambulance chaser.

I don't buy it for the simple reason that it accomplishes nothing. It furthers no plot at all. It provides no foundation for further lore or a framework to sharpen existing lore. It is an invitation to take ¯\_(ツ)_/¯ and substitute something better.

Some subscribe to the theory that the Dreamsleeve is the conduit through which souls are recycled from Aetherius and returned to Nirn. It would be a shit garment to have but one sleeve, so let's assume there is a second sleeve which conducts souls to Aetherius after the death of a mortal. For the vast majority of people, it is a never-ending cycle of life and death. Depending on their subconscious preference, they're sorted and sent to their preferred destination based on their own expectations. Redguards wake up in the Far Shores because they're expecting to wake up in the Far Shores. It would not be based on their moral value but an exertion of the mortal spirit to bring about their afterlives.

Yet some souls do not end up in one of the various flavors of Aetherius. Some people sell their souls to third parties, such as those which enter the service of a Daedric Prince. There are those whom do so willingly and some whom are led to doing so under duress. Others have their souls stolen such as the process of soul-trapping, which would leave the Soul Cairn as a wasteland of discarded souls. The Vestige of ESO had their souls forcibly removed and sacrificed to Molag Bal. Should said sacrifice have happened within the realm of Coldharbor, it would not be difficult for Molag Bal to refuse to allow the Vestige to die (along with others in the same situation.) Those that did not have their physical bodies brought to Coldharbor are recreated as a quasi-daedric replica of themselves. The Prophet summons and uses a Skyshard to bind the Vestige to Nirn. Gameplay encourages the player to continue to use Skyshards to pick up skill points, but serves to establish the lore that the Vestige is returned after "death" due to these anchors. Aetherial magic is the force behind the body being repaired with no further repercussions as there is no soul to interfere with the consciousness remaining.

In my preferred head-canon, all souls go to Aetherius unless there is a good reason that it would be sent elsewhere. By hook or crook people can be and are denied Aetherius, sure. Yet it is a perversion of the natural order when this occurs. Unless the soul is stolen or freely given away, serving a Daedric Prince or accidents of birth such as race or status like being Dragonborn would also not prevent the soul returning to Aetherius.

I personally feel that it opens the door to more personal creativity to require a reason for a soul to not end up in Aetherius rather than presuming the four hundred thousand reasons a soul wouldn't go to Aetherius is something we should then figure out.
"

Now, even though they waste a lot of time on talking about a game very seriously, they don't take it quite as seriously or in the same way as I do, as I think the things that exist in these games can relate to things in reality that are real, even recognized as real, and which in other cases are genuinely viable ways in which one can at the very least feel that they are interacting with what I would consider genuine spirituality in this reality. So they actually don't take it all that seriously, making their discussion seem even more pointless to me.

viewtopic.php?p=2687#p2687

That is one of the ideas running through that thread, definitely, and a very serious one. The things I bring up there and collect there also have to do with "rights" and what "right" any may have or want to do certain things, since the story in Warhammer and a number of other things that seem closely related in the fantasy genre and the way modern populations are raised has to do with stories of wrongs and reprisals and capturing populations and ideologies, beliefs, and groups of people that are dehumanized and demonized and further potentially slandered as a "matter of fact", just like occurs in the modern day to reinforce ideas of what is right and what rights some may then be told they have over any others or with any others.

There is the undercurrent in that thread that has to do with oppression on different levels, as well as deception and emotion, and the dangers of extremes in becoming lost in rationalization or reaction, and efforts to suppress one or the other or both.

My way of approaching topics can sometimes be oblique and to swipe in such a way as I may bring along many things and layers I feel are relevant and maybe not immediately recognizable as related, intertwined, and influential in one direction or another or mutually between other things brought up.

I didn't purchase a 90 dollar game book which I have a digital copy of for now where seemingly the most offensive things are written about "The Dark Elves", and my interest in purchasing that annoyingly expensive book was in the brief section on their religion mainly, which is basically Ancient Middle Eastern stuff, with slightly altered, but still recognizable, names. I still might get it along with another one, and even another, but I'm going to see if extremely limited funds which should probably not be spent this way are spent on a book called "Tome Of Salvation", which covers all the religious aspects somewhat in one book. There is another competing book which is the old edition of their fantasy roleplaying game as it was in 1995, which lacks a lot of the many additions added later on. What gives these books a sense of value to me is their age and rarity due to a lack of availability, and owning books that I might not find time to even open tends to be a religious exercise in its own right. They act as reminders of aspects of the content, the most prominent that I was interested in was a crude drawing of "Khaine", seemingly one of the earliest deities they had developed, closely resembling the eventual depictions of Mehrunes Dagon from Elder Scrolls which seems to take a lot from Warhammer but denies crediting it due to issues of "rights", another example being the name Sheogorath in Elder Scrolls which may have taken from Cegorach in Warhammer, which may also have a longer lineage as Shuma Gorath, leading back to Shub Niggurath, and then to "Sheol Nugganoth", inspired by the language of the Bible and traditions like:

https://en.m.wikipedia.org/wiki/Akerbeltz

"
Akerbeltz or Aker (from Basque aker, 'billy goat' and beltz, 'black') is a spirit in the folk mythology of the Basque people. It is said to live inside the land and is believed to have as many elves as servants. In Christianity, Akerbeltz is considered the live image of the devil, performing s*xual *buses against Christians.
"

Going against the people's rights.

Khaine, like many other fantasy deities, is called the Lord or God of "M*rder", which is depriving one of everything known, the use of their body and their whole ability to function and operate, similar to how people are slowly restricted increasingly until they can barely do anything before expiring:





Khaine, in the original art by Russ Nicholson I think, resembles Kali in a masculine form.

The name is seemingly inspired by Cain from the Bible, and Dungeons and Dragons has for the "Lord Of Murder" the name Bhaal, based on Baal, both being linked to negative things in the Bible and also linked to the people of the Middle East, as was "Shub Niggurath":

https://en.m.wikipedia.org/wiki/Shub-Niggurath

"
Lovecraft explicitly defined Shub-Niggurath as a mother goddess in The Mound, where he calls her "Shub-Niggurath, the All-Mother".[2] He describes her as a kind of Astarte in the same story.[2] In Out of the Aeons, she is one of the deities siding with humanity against "hostile gods".[3]
"

https://en.m.wikipedia.org/wiki/Astarte

They have "Atharti" and "Estreugh" in Warhammer also, but all this is "having fun" with old tropes about the "paynim foe", today sometimes called:

https://www.aljazeera.com/opinions/2015 ... hite-issue

"
In the North American lexicography of racism, when new waves of immigrants entered the scene and did not quite match the binary of “white and black”, the white supremacist racism designated the term “sand n*gger” to assimilate the newcomers backward into what it knew. I first heard the nasty slur “sand n*gger” in the 1970s as a graduate student at the University of Pennsylvania in Philadelphia, where the nascent waves of new immigrants visible in the student body had occasioned the term among the racist fraternities.

The colour codification of power in North America has been so deep-rooted that W B Dubois once famously said: “The problem of the 20th century is the problem of the colour-line.”

This was and remains true only to the degree that the US remains entrapped inside its racial history entirely oblivious to masses of new and incoming immigrants from Asia, Africa, and Latin America.

Disregarding the shades of other “colours” that keep coming in by both the self-designated “white” and the manufactured “black”, fetishises a particular instance of colour codification of power relation and confuses it with that power relation itself.

came its president and thought himself the sign of a “postracial society”. However, without awareness and an active theoretical and social integration of successive waves of newer immigrants who no longer fit the received binaries of that particular colour line, the naked brutality of racism can never be exposed and dismantled.

Colour line continues to be marker of rabid racism in the United States long after an ‘African-American’ became its president…

It was under specific historical circumstances, as historians tell us, that race-based (as opposed to faith-based) slavery became definitive to early American economy.

“In the Caribbean and Latin America,” writes Peter H Wood, the author of from Strange New Land: Africans in Colonial America, “for well over a century, Spanish and Portuguese colonisers had enslaved ‘infidels’: first Indians and then Africans.”

But that meant if they were to convert to Christianity they were to be freed, a proposition that the ruling economic elite was not ready to entertain.

cally inherited the same unfree status.”

Today African Americans are as much trapped inside that binary and refuse to let go, as are the whites – both of them categorically incapable of allowing the successive shades of new migrants confuse their colour lines. It is not the racially fabricated colour of their skin, but the gift of self-transcending grace attained through their historic trials and tribulations, that makes a people a people.

Though the sustained impact of institutionalised racism continues to bleed across the US, its discourse is alas still woefully trapped inside the black-and-white binary generated from the earliest stages of slavery to the Civil Rights Movement.

It is long overdue that the factual evidence of successive generations of immigrants from the four corners of the world into the US – categorised as “sand n*ggers” by white supremacist racism – enter the wide and widening space in between the fictitious colour lines and dismantle the racist supremacist power that seeks to sustain it.
"



The Supremacist Slave State of Naggaroth, like Shub-Niggurath, is in the shape of the United States of America. The place that looks like North Africa and the area of people like the "Moors" is called "Araby", and by extension perhaps a lot of the African people.

The descriptions used of the Dark Elves is much more like the descriptions of Muslims used by the enemies of Islam and Muslims and Muslim populations today, including linking them to many things used in real propaganda in our world, like "assassins" and their fervent devotion to Khaine with yells of "Praise Be To Khaine!", while in older editions of now largely hidden and ignored books the people of Araby simply worshipped "Allah". So the "Dark Elves" were "Canaanites", just like are in the background behind the genocidal actions in America and the Middle East in the past and the present.

That is just from Warhammer, while Dungeons & Dragons and The Elder Scrolls have their own slight variations on these modern Troubadour Tales of Questing (Crusading), where the Dark Elves act in an adversarial fashion again, as do other varieties of certain elves that tend to have "Darkness" related to them in some fashion, in the cases of Dungeons & Dragons and The Elder Scrolls they are literally darker skinned and worship demons, like the Muslims or Saracens were said to:

https://en.m.wikipedia.org/wiki/Termagant

https://en.m.wikipedia.org/wiki/Baphomet

https://en.m.wikipedia.org/wiki/Mahound

Making the villainization of an entire population the obsession of a group and the wellspring for "creativity" made up of appropriation with entertaining distortions was a practice likely performed in the past and how the Bible may have come about, and how it continues to inspire populations and be used, a book of looking outwards with hubris innate to the propaganda and polemics that it defines itself by. In other words, the "other" seems perhaps most essential to that book and the ideologues it tends to be used by and for.

[kFoyauextlH]

In this thread:

viewtopic.php?p=2678#p2678

It was written:

Let's get back to this. What do we reckon about the role of rights in society is placed primarily in the branch of government that has the least executive power - the judiciary. Everything seems to be fought in courts and not by politicians these days. This has heightened a discussion about duties and responsibilities taking primacy over rights.

This person was mentioned:

https://en.m.wikipedia.org/wiki/Jeremy_Waldron

"
Waldron is a liberal and a normative legal positivist. He has written extensively on the analysis and justification of private property and on the political and legal philosophy of John Locke. He is an opponent of judicial review of legislation, and of torture, both of which he believes to be in tension with democratic principles. He believes that hate speech should not be protected by the First Amendment.[8] Waldron has also criticised analytic legal philosophy for its failure to engage with the questions addressed by political theory. His later work is devoted to providing a non-religious and non-Kantian concept of human dignity, based on a thought experiment of leveling up all human beings to the high rank of nobility or aristocracy, thus constituting a single rank or caste. He has been working on this topic since he gave the Tanner Lectures on the subject in 2009, published in 2012 as Dignity, Rank and Rights.[9]
"

https://en.m.wikipedia.org/wiki/Liberalism

https://en.m.wikipedia.org/wiki/Legal_positivism

https://en.m.wikipedia.org/wiki/Judicial_review

https://en.m.wikipedia.org/wiki/Hate_speech

https://en.m.wikipedia.org/wiki/First_A ... nstitution

https://en.m.wikipedia.org/wiki/Dignity

"
Waldron argued for a limited role for judicial review in a robust democratic government.[13] Waldron asserts that there is no inherent advantage to a judiciary's protection of rights than to a legislature's if (1) there is a broadly democratic political system with appropriate suffrage and process,[14] (2) there is a system of courts somewhat insulated from popular pressure and engaged in judicial review,[15] (3) there is a general commitment to rights,[16] and (4) there is disagreement as to the content and extent of rights.[17] Even so, Waldron does not argue against the existence of judicial review, which may be appropriate when there is institutional dysfunction. In this case, the defense of judicial review compatible with democracy is limited to remedies for that dysfunction and are neither unlimited nor universal. Waldron thus places his view of judicial review in the tradition of Justice Harlan Fiske Stone.[18]
"

https://en.m.wikipedia.org/wiki/Harlan_Fiske_Stone

"
At the end of the war, he criticized Attorney General A. Mitchell Palmer for his attempts to deport aliens based on administrative action without allowing for any judicial review of their cases.[11] During this time Stone also defended free speech claims for professors and socialists.[12] Columbia soon became a center of a new school of jurisprudence, legal realism.[12] Legal realists rejected formalism and static legal rules; instead, they searched for the experiential and the role of human idiosyncrasy in the development of law.[12] Although Dean Stone encouraged the realists, he was condemned by Columbia President Nicholas Murray Butler as an intellectual conservative who had let legal education at Columbia fall "into the ruts."[13]

In 1923, disgusted by his conflict with Butler and bored with "all the petty details of law school administration" that he dubbed "administrivia", Stone resigned the deanship and joined the prestigious Wall Street firm of Sullivan & Cromwell.[14] He received a much higher salary and headed the firm's litigation department, which had a large corporation and estate practice (including J.P. Morgan Jr.'s interests).[12] In full‑time private practice for only a brief time, Stone was considered a "hard‑working, solid sort of person, willing on occasion to champion the rights of mankind, but safe nevertheless."[15]
"

"
The Supreme Court of the mid‑1920s was primarily concerned with the relationships of business and government.[12] A majority of the justices led by Taft were staunch defenders of business and capitalism free from most government regulation.[12] The Court utilized the doctrines of substantive due process and the fundamental right of "liberty of contract" to oversee attempts at regulation by the national and state governments. Critics of the Court charged that the judiciary had usurped legislative authority and had embodied a particular economic theory, laissez faire, into its decisions.[12] Despite the fears of progressives,[12] Stone quickly joined the Court's "liberal faction",[12] frequently dissenting with Justices Holmes and Brandeis and later, Cardozo when he took Holmes' seat, from the majority's narrow view of the police powers of the state.[12] The "liberal" justices called for judicial restraint,[12] or deference to the legislative will.[12]

During the 1932 to 1937 Supreme Court terms, Stone and his colleagues Justices Brandeis and Cardozo were considered the Three Musketeers of the Supreme Court, its liberal or Democratic-aligned faction. The three were highly supportive of President Franklin D. Roosevelt's New Deal agenda, which many other Supreme Court Justices opposed.
"

"
Stone's support of the New Deal brought him Roosevelt's favor, and on June 12, 1941, President Roosevelt nominated Stone to become chief justice,[17][18]
"

"
As chief justice, Stone spoke for the Court in upholding the President's power to try N*z* saboteurs captured on American soil by military tribunals in Ex parte Quirin,[22] 317 U.S. 1 (1942). The Court's handling of this case has been the subject of scrutiny and controversy.[23]

Stone also wrote one of the major opinions in establishing the standard for state courts to have personal jurisdiction over litigants in International Shoe Co. v. Washington,[24] 326 U.S. 310 (1945).

As chief justice, Stone described the Nuremberg court as "a fraud" on Germans, even though his colleague and successor as associate justice, Robert H. Jackson, served as the chief U.S. prosecutor.[25]
"

"
Stone was suddenly stricken while in an open session of the Supreme Court. He had just (or by some accounts not quite) finished reading aloud his dissent in Girouard v. United States.[26] Justice Hugo Black called the Court into a brief recess, and physicians were called.
"



https://en.m.wikipedia.org/wiki/New_Deal

"
During Roosevelt's first hundred days in office in 1933 until 1935, he introduced what historians refer to as the "First New Deal", which focused on the "3 R's": relief for the unemployed and for the poor, recovery of the economy back to normal levels, and reforms of the financial system to prevent a repeat depression.[1] Roosevelt signed the Emergency Banking Act, which authorized the Federal Reserve to insure deposits to restore confidence, and the 1933 Banking Act made this permanent with the Federal Deposit Insurance Corporation (FDIC). Other laws created the National Recovery Administration (NRA), which allowed industries to create "codes of fair competition"; the Securities and Exchange Commission (SEC), which protected investors from abusive stock market practices; and the Agricultural Adjustment Administration (AAA), which raised rural incomes by controlling production. Public works were undertaken in order to find jobs for the unemployed (25 percent of the workforce when Roosevelt took office): the Civilian Conservation Corps (CCC) enlisted young men for manual labor on government land, and the Tennessee Valley Authority (TVA) promoted electricity generation and other forms of economic development in the drainage basin of the Tennessee River.

Although the First New Deal helped many find work and restored confidence in the financial system, by 1935 stock prices were still below pre-Depression levels and unemployment still exceeded 20 percent. From 1935 to 1938, the "Second New Deal" introduced further legislation and additional agencies which focused on job creation and on improving the conditions of the elderly, workers, and the poor. The Works Progress Administration (WPA) supervised the construction of bridges, libraries, parks, and other facilities, while also investing in the arts; the National Labor Relations Act guaranteed employees the right to organize trade unions; and the Social Security Act introduced pensions for senior citizens and benefits for the disabled, mothers with dependent children, and the unemployed. The Fair Labor Standards Act prohibited "oppressive" child labor, and enshrined a 40-hour work week and national minimum wage.

In 1938, the Republican Party gained seats in Congress and joined with conservative Democrats to block further New Deal legislation, and some of it was declared unconstitutional by the Supreme Court. The New Deal produced a political realignment, reorienting the Democratic Party's base to the New Deal coalition of labor unions, blue-collar workers, big city machines, racial minorities (most importantly African-Americans), white Southerners, and intellectuals. The realignment crystallized into a powerful liberal coalition which dominated presidential elections into the 1960s, as an opposing conservative coalition largely controlled Congress in domestic affairs from 1939 onwards.[2] Historians still debate the effectiveness of the New Deal programs, although most accept that full employment was not achieved until World War II began in 1939.
"

https://en.m.wikipedia.org/wiki/One_Big ... l_Bill_Act

"
Taxes on social security
On July 3, Social Security Administration sent an email suggesting that federal income taxes on Social Security benefits would be eliminated under the bill, but experts say this message is misleading.[197] The bill introduces a temporary $6,000 deduction for seniors aged 65 and older with a certain income, which can reduce tax liability but does not directly eliminate taxes on Social Security benefits.[197] The deduction removes revenue that helps finance Social Security and Medicare for all beneficiaries, accelerating insolvency.[198]

Taxes on tips
The No Tax on Tips provision only affects federal income tax; it does not exempt Social Security, Medicare, state, or local taxes.[199] Since the provision takes the form of a deduction that reduces taxable income and some tipped workers can already deduct most or all of their income under existing rules, the new provision is ultimately expected to benefit roughly two thirds of tipped workers.[199][200] Workers would still need to report their cash tips as income to be taxed, but the deduction potentially reduces how much they owe.[201]

Medicaid and undocumented immigrants
The bill prompted claims that undocumented immigrants are on Medicaid.[202] Undocumented immigrants are already ineligible for full Medicaid benefits, and many undocumented immigrants access state-funded health programs rather than federal Medicaid.[203] According to a CBO analysis, the bill’s provisions could lead some states to cut back those state-funded health programs, potentially causing an estimated 1.4 million people to lose state-level health coverage, including undocumented immigrants.[204][205]

Medicaid and unemployment
When commenting on the bill's impact on the economy, USDA Secretary Brooke Rollins stated that 34 million able-bodied adults on Medicaid should be working.[206] According to the Government Accountability Office, roughly 70% of Medicaid recipients already work at least 35 hours per week but still qualify due to low wage.[207] Overall, only about 3% of Medicaid recipients are both able to work and long-term unemployed.[208]
"

"
The Atlantic,[158] CNBC,[159] The New York Times,[160] and Vox[135] argued that the bill would create the largest upward transfer of wealth from the poor to the rich in American history, with Fortune[161] and CNN[162] nicknaming it the "Reverse Robin Hood Bill". Senate Minority Leader Chuck Schumer (D-NY) mockingly called the bill the "We're All Going to Die Act",[163] alluding to comments made by Republican Senator Joni Ernst (R-IA) at a town hall.[164]

Public health and policy researchers at Yale University and the University of Pennsylvania sent a letter to Senate leaders warning that cuts to health programs in the bill would lead to over 51,000 preventable deaths annually.[165][166]

Many Democratic and legal organizations have shared warnings about the expansion of immigration enforcement.[167][141] Rep. Alexandria Ocasio-Cortez shared, "I don’t think anyone is prepared for what they just did w/ ICE. This is not a simple budget increase. It is an explosion – making ICE bigger than the FBI, US Bureau of Prisons, DEA, and others combined. It is setting up to make what’s happening now look like child’s play. And people are disappearing."[167]

The nonpartisan think tank Energy Innovation found that the bill's efforts to dismantle clean energy incentives would cost more than 830,000 jobs across the country.[168] Cutting clean energy incentives would also raise energy costs for households,[169][170] with wholesale power prices rising by roughly 50 percent by 2035 due to the loss of new generation capacity.

Moody's, which rates bonds, was the final of the three credit rating agencies to downgrade U.S. debt from AAA, citing efforts to pass the bill.[171]

Polling indicates that a majority of Americans opposed its previous provisions to ban state regulation of artificial intelligence.[172][173] The provision was seen as irresponsible by researchers who believe that artificial superintelligence is imminent.[174][175][176] Others feared that it would have prevented regulation of AI-generated child pornography and deepfakes, made certain privacy laws obsolete, and further centralized power in the federal government.[177][178] Representative Marjorie Taylor Greene (R-GA) stated that she would have voted against the bill if it had returned to the House with the restrictions on AI legislation.[179]

Elon Musk, then-de facto head of the Department of Government Efficiency (DOGE), denounced the bill as a massive spending bill;[180][181][182] he later called it a "disgusting abomination."[183][184] Some Republican senators have come out in support of Musk's opinion.[185] Republican opposition to the bill has been associated with the libertarian faction of the party.[186] As Rand Paul backed Musk's criticism of the bill, others have criticized Paul's Senate Homeland Security and Governmental Affairs Committee proposals for requiring new federal employees to be required to pay a higher FERS contribution rate if they opt for Title 5 benefits while "at will" employees would pay a lower FERS contribution rate. The concern is that the increase in the number of at-will federal employees could allow the president to eliminate a large number of employees for any reason.[187] The bill is credited with starting a public feud between Musk and Trump.[188]

John Hatton, staff vice president for policy and programs at National Active and Retired Federal Employees Association (NARFE), warned about the following:[189]

It would tax retirement benefits, creating a 5% pay cut for somebody under the system, while also undermining the merit-based civil service by having an additional 5% cut if you decide to retain those merit-based civil service protections. Those protections don’t exist for the purpose of the employee — they exist to protect against politically based firings of federal employees.

American Federation of Government Employees (AFGE) National President Everett Kelley stated that:[190]

This so-called reconciliation bill is in fact a big retaliation bill—retaliation against AFGE and other unions for successfully standing up for our members and fighting this administration’s illegal attempts to obliterate our federal agencies and the patriotic civil servants who run our federal programs. These provisions represent a direct assault on federal employees and their labor unions and will make it that much harder for federal agencies to recruit and retain the qualified employees they desperately need to serve the American public.

The 2001 recipient of the Nobel Memorial Prize in Economic Sciences, Joseph Stiglitz, was asked about the OBBBA in an interview with Swiss Radio and Television (SRF) as to how he would describe the legislation, to which he had replied:[191]

Outrageous. It exacerbates inequality and social division – one of the main problems of the USA. It deprives vulnerable groups of access to health care. Life expectancy is already declining, and the health differences between rich and poor are enormous. This law exacerbates this.

On June 28, the Committee for a Responsible Federal Budget (CRFB) said of the Senate version of the bill:[192]

Although we have not produced a full estimate of the bill, it appears to add roughly $4 trillion to the debt through 2034, including interest – which is roughly $1 trillion higher than the House-passed version of the bill. That cost could rise above $5 trillion if temporary provisions were made permanent.

The nonpartisan Tax Foundation had mixed opinions of the bill, saying it made "some smart cuts", in particular praising the extension of the Tax Cuts and Jobs Act of 2017 which it argued would provide stability for households. It also expressed support for its impacts on counting international business income. It criticized the political nature of the bill, calling it filled with carve-outs and political gimmicks that increased the complexity of the tax code. It also criticized the bill's non-equal application of taxation on citizens.[193]

The Economist described the bill's policies and passage as an example of "America's creeping dysfunction", criticizing its impact on increasing the deficit and describing its tax cuts as "gimmicks". It also criticized Trump's handling of the economy more broadly, saying the bill "illustrates the long-term damage Mr Trump is doing to the foundations of America's economy" and describing its passage as exacerbating the effects of Trump's attacks on the Federal Reserve, defunding of scientific research, high tariff policy, and erosion to the rule of law. It described these cumulative effects as threatening America's economic stability and making it a riskier place to invest.[194]

The New York Times criticized Trump and his Republican allies' promotion of the bill, finding they made multiple false and misleading statements about the bill's impacts with inaccurate claims.[195] It also described it as filled with "a series of novel, populist and temporary cuts that Mr. Trump cooked up during the 2024 campaign to try to win the support of key constituencies" and that it was ultimately an "apotheosis of a traditionally conservative, supply-side philosophy". It described it as "generating little additional economic growth and still returning the largest savings to the rich". It interviewed several conservative tax experts and former Republican aides who described it as "incoherent" and clinging to a traditional Republican economic agenda, only partially offering more temporary benefits to the working class paid for by cutting Medicaid and federal food assistance and refusing to raise taxes on the rich.[196]
"

https://en.m.wikipedia.org/wiki/Reaganomics

https://en.m.wikipedia.org/wiki/Thatcherism

"
The Daily Telegraph stated in April 2008 that the programme of the next non-Conservative government, with Tony Blair's "New Labour" organisation governing the nation throughout the 1990s and 2000s, basically accepted the central reform measures of Thatcherism such as deregulation, privatisation of key national industries, maintaining a flexible labour market, marginalising the trade unions and centralising power from local authorities to central government.[7] While Blair distanced himself from certain aspects of Thatcherism earlier in his career, in his 2010 autobiography A Journey, he argued both that "Britain needed the industrial and economic reforms of the Thatcher period" and as well that "much of what she wanted to do in the 1980s was inevitable, a consequence not of ideology but of social and economic change."[8]
"

Alright, enough of that!

I was amazingly thinking of writing something on the forum, possibly a new thread but I'll probably just write it here in this thread, called "Let Me Be ("Bad")":



What that was going to be about was the idea that people use force and coercive methods and threats to make others do things that they think are good and to restrict them from or to punish them for doing things that they think are "bad", but which actually may be good thing or at least things that a person wants to do or could benefit from and which are not necessarily invasive in the way the people thinking they are doing the good are going about it.

For example, and this is just an example, one can imagine that after what we have seen and heard about the society in a certain country, and the supposed popularity of what is going on and being done there among a certain population, that one would want nothing ever to do with such people, for example refusing to do business with N*z*s or s*rial k*lling m*ss m*rderers, never to forgive them, never wanting to look at them or be around them, never wanting to enrich them or assist them, even if they merely had it in their heart and mentality to support and cheer on atrocities.

Yet that would be considered "bad", "unfair", "prejudicial", "bigoted", and every coercive measure would be put into play to make ever getting "caught" as even an "avoider" and "non-participant" and "un-cooperative" could ruin your life and prospects, and so with no other options, one might for survival have to "swallow sh*t" and let the r*pists of one's mother for example become enriched and given further power instead of being punished or k*lled as a more natural sense of justice and retribution might demand, potentially leading to such serious consequences in an unjustly "gamed" system favoring the worst predatory actors and exploiters to the detriment of the majority and the ordinary.

The mechanisms of control through threats have also gone so far as to try to impose silence in some cases and vocalizing support for things without really wanting to, lip service for ideologies and changes that don't even represent one's beliefs, things that are contrary to one's feelings and desires have to be agreed to and obeyed and participated in, even if abhorred or that they go against one's own beliefs and ideas but there is no protection from the harm that refusal may bring from those trying to impose accession. If an individual is deemed discriminatory, they can be punished, one way or another, sometimes they become open to attacks without any serious or at least less serious protections because they "asked for it" by "not doing the thing" or even just "being bad", like interpreted as "rude":

https://wyofile.com/wyoming-cites-law-t ... not-apply/



https://www.npr.org/2024/05/28/nx-s1-49 ... yoming-bar

https://en.m.wikipedia.org/wiki/Caput_lupinum

"
Caput lupinum (transl. wolf's head) or caput gerat lupinum (transl. may he wear a wolfish head) are terms used in the English legal system and its derivatives. The terms were used in Medieval England to designate a person pronounced by the authorities to be a dangerous criminal, who could thus be killed without penalty.
"

"
The Latin term caput lupinum literally means "wolf's head" or "wolfish head", and refers to a person considered to be an outlaw, as in, e.g., the phrase caput gerat lupinum ("may he wear a wolfish head" / "may his be a wolf's head"). Black's Law Dictionary, 8th edition reads "an outlawed felon considered a pariah – a lone wolf – open to attack by anyone."[1]
"

"
Caput lupinum or caput gerat lupinum are used in the English legal system and its derivatives.[2] The terms were used in Medieval England to designate a person pronounced by the authorities to be a dangerous criminal whose rights had been waived, who could thus be legally harmed or killed without penalty by any citizen.[3]

The term caput lupinum is first recorded in the text Leges Edwardi Confessoris as a law attributed to the 11th century ruler Edward the Confessor. This law stated that a man who refused to answer a summons from the king's justice for a criminal trial would be condemned as a Caput lupinum.[4]

The thirteenth-century writer on law, Henry de Bracton, wrote in his book De Legibus et Consuetudinibus Angliae that outlaws "gerunt caput lupinum"- "bear the wolf's head." Bracton added that this meant that outlaws could thus be killed without judicial inquiry.[5]

The fourteenth-century English legal textbook The Mirror of Justices stated that anyone who was accused of a felony, who refused three times to attend county courts, would be declared Caput lupinum or "Wolfshead". The book added ""Wolfshead!" shall be cried against him, for that a wolf is a beast hated of all folk; and from that time forward it is lawful for anyone to slay him like a wolf." [3]
"

https://en.m.wikipedia.org/wiki/Cry_Wolf

https://www.dictionary.com/browse/crybully

"
a person who self-righteously harasses or intimidates others while playing the victim, especially of a perceived social injustice.
"
It’s just another group of crybullies who can’t cope with anyone’s views but their own.
"
"

Speaking of such things, I am in completely insane amounts of physical pain as I've been writing these things recently, some kind of issue in the lower intestine or something, but I do not want to go to the hospital.

So to what was written in the original post and also concerning the further things that I mentioned, I personally prefer as little interference in my life or the lives of any close to me from really anyone, but especially groups wielding their various forms of force, including governments and governing bodies and managers and "bosses" as much as possible.

Since governance can apparently only best be avoided in some ways and interaction minimized rather than done away with in the conditions of living in nations and near others "within laws", then I believe it should exclusively work in the favor of the ordinary masses, providing services and benefits for as many as possible while taking as little as possible and asking for nothing or as close to nothing as can possibly be attained, and that is what people should always be pushing for and nothing else, and should remove from power as soon as they can anyone with any evidence of power hungriness and gaming the system and resources away from public use and benefit.

People should aim to "live like Kings and Queens", at the highest standard, all, without a separated out difference between any groups or classes of people, like how society can appear divided between a few "haves" and many more "have nots".

I don't believe in or trust governance or concentrations of resources that are horded up by the trusted overseers who somehow always happen to be predatory people who purposefully chose those positions to misappropriate resources and use them to protect themselves and whoever they favor and to keep all the rest at bay with increasingly severe measures to keep them suppressed and away from prosperity and even the conditions to allow for personal growth, thought, prosperity, or happiness.

I'll say more later if I survive this, lol, the pain is way too much to continue to type any more.

This part was meant to be the introduction only.



This is not "counter culture".

https://www.virsanghvi.com/Article-Details.aspx?key=792

"
But, on the other hand, at least we are not all going to have to worship at the shrine of singers who write their own material or have to pretend that we are interested in Ozzy Osbourne’s mastery of lyrics and his creative expression.



Any fascism is bad. And all liberation is always welcome.
"

https://www.politika.io/en/article/a-ye ... or-fascism

https://www.edmtunes.com/2023/04/new-mu ... ture-tone/

"
The new drama television series on the rise of the fascist Italian dictator Benito Mussolini, called M. Son of the Century will have a “rave culture aesthetic“. In fact, the – British – director of the show Joe Wright said that it will be “quite outlandish” with deeply saturated colors, punctuated by a “kind of techno score”. Obviously, this is a very interesting choice considering the show is based on events that date back from 100 years ago.

Even though the show will not be told “in a vérité style”, Wright pointed out that “all the facts of what happened, they’re all there“. Wright added that he will often play techno on set.

“If I’ve got a big crowd with a lot of men, who are supposed to be full of testosterone and energy, then I might play techno, or I might play Black Sabbath”

-Joe Wright
"

Are you noticing the themes repeating and circulating?

https://www.researchgate.net/publicatio ... _1973-2020

https://artmejo.com/how-italian-futuris ... f-fascism/

https://en.m.wikipedia.org/wiki/Futurism

"
Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers; Richard Strauss, Elgar, Mussorgsky, and Sibelius, for example. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form." The conservatory was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice."

Luigi Russolo (1885–1947) wrote The Art of Noises (1913),[32][33] an influential text in 20th-century musical aesthetics. Russolo used instruments he called intonarumori, which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However, they were prevented from performing in many major European cities by the outbreak of war.

Futurism was one of several 20th-century movements in art and music that paid homage to, included, or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wed to tradition.[34] Russolo's intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varèse,[14] Stockhausen and John Cage. In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's The Steel Step as well as his Second Symphony.

Most notable in this respect, however, is American artist George Antheil. His fascination with machinery is evident in his Airplane Sonata, Death of the Machines, and the 30-minute Ballet Mécanique. The Ballet Mécanique was originally intended to accompany an experimental film by Fernand Léger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists," and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.
"

"
The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man's ultimate fusion with the machine. The altitude of a flying plane, the power of a car's motor, and the roaring loud sounds of complex machinery were all signs of man's intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered Futuristic as it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story with clear content that can be read according to the rules of ballet. One of the most notable Futuristic dancers is Italian artist Giannina Censi. She was inspired by the aerial themes in the second wave of Futurism and sought to put this onto the stage.[35] Trained as a classical ballerina, she is known for her "Aerodanze" and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry:

"I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;... I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled, ... And the face had to express what the pilot felt."[36][37]
"

https://en.m.wikipedia.org/wiki/Futurism_(music)

https://www.talkingpointe.com/posts/6IO ... YYRIjGkXIO





Remember that this thread is also about making an "opposite" "black" shadow group, while being the thing themselves.



Actually pretty nerve wracking and scary.



Electronic Dance Music is a very big thing in that demonic hell hole of a parasitic colony.



https://nationalpost.com/news/canada/i- ... l-protests

Behold the vile manipulation tactics:

"
'I believe they are fascists': French intellectual Bernard-Henri Lévy on the Canadian anti-Israel protests
'You have the right to defend the Palestinians; you have the right to be upset by their suffering … but not at the price of a new genocide,' Levy tells the National Post
"

Wow, wow, wow, absolutely RAGE inducing.

Holy sh*t.





"
Ancient holy wars
Dead religions, holocausts
New regimes, old ideas
That's now myth, that's now real
Original sin, genetic fate
Revolutions, spinning plates
It's important to stay informed
The commentary to comment on

Oh, and no one ever really knows you and life is brief
So I've heard, but what's that gotta do with this black hole in me?

Age-old gender roles
Infotainment, capital
Golden bows and mercury
Bohemian nightmare, dust bowl chic
This documentary's lost on me
Satirical news, free energy
Mobile lifestyle, loveless sex
Independence, happiness

Oh, and no one ever knows the real you and life is brief
So I've heard, but what's that gotta do with this atom bomb in me?

Coliseum families
The golden era of TV
Eunuch sluts, consumer slaves
A rose by any other name
Carbon footprint, incest dreams
Fuck the mother in the green
Planet cancer, sweet revenge
Isolation, online friends

Oh, and love is just an institution based on human frailty
What's your paradise gotta do with Adam and Eve?
Maybe love is just an economy based on resource scarcity
What I fail to see is what that's gotta do with you and me
"

https://en.m.wikipedia.org/wiki/Doublespeak



I'm going to write a little about a few things here hopefully, like about a cartoon I just saw that is popularly trending, but this line in this totally disgusting article bothered me:

https://ca.news.yahoo.com/richard-rober ... 3057.html8

"
Our foreign policy must be grounded in Canadian values and moral clarity. History will judge those of us that choose expedience over principle, sanitizing the stains of terror and placing hollow hope in an illegitimate, unworthy regime.
"

It literally made me want to puke. It made me filled with a sick, butterflies, rage.

People are being starved and killed in huge numbers on a daily basis in a clear h*l*c**st, and they are talking about "moral clarity, and basically saying that these innocent civilians have no right to exist or live.

This was alao very horrific and I tried to get any channel besides the one that showed it to also discuss it:



So in this K-Pop Demon Hunters animated film, they depict the villains in the same fashion as they depicted the villains in the largely animated Minecraft Movie, and how the P*l*stinians are also depicted, just a bunch of people standing around in ruins. The film depicts slaughtering them very liberally and without hesitation in huge numbers, and then also depicts that no reconciliation is possible and that they all must be permanently banished and eliminated from all existence and participation in society because they are irredeemable. It was a horrible message. They even could have easily made the message different since these are for younger audiences, but even after building opportunities to show that things are not like that and that these beings have feelings and are people basically, they proceed to slaughter them all anyway, despite even liking them, as a "duty", it is insane and hideous, really insidious and evil.

Another very weird aspect is that these evil being represent tradition, the past, heritage, the Korean history and ancestors, and the forces of good are hell bent on wiping out all these things of the past in favor of modern commercialism, which is also completely disgusting!

It is all so smooth and subtle that it just says and shows this all very casually, this war on traditionalism and Korean history and art and culture, by Westernized Koreans.

Anyway, luckily most people in real life ended up liking the villains anyway, despite their being made out to be worthy of being mercilessly slaughtered.

I also watched this funny thing:



To the videos which you posted as an update:





"
This is happening so fast! Hopefully the pendulum will swing back hard against a lot, maybe even everything that has been going on. I think one of factors has aldo been how unfavorable things seem to have been for people trying to normalize that "authorities" should go unquestioned in their criminal conduct, like t*rr*rizing and abusing the general public anywhere in the world, and when people were getting "r*dicalized" by seeing other people speaking up about such things, moves were made to disrupt and make unpleasant to use the place where they were being taught it was alright to see things that were unpleasant and to speak out against them as others were.

If the propaganda and brainwashing efforts had been more successful over these platforms, they would have not put through any measures for anyone's protection, "children be damned", because very obviously they have no real concern for anyone's safety or good upbringing, only to do whatever it takes to get the least educated, most mindless, worker drones for the military industrial complex, stupid people who kill and are killed without questioning any of it, numb and dumb, like in the society where they are forced to serve in the military and if they don't conform they are put to ruin and if they dare to resist or happen to find themselves on the other side of some walls, they get even worse, worse than anyone could even dare to imagine except the most perverse writers of graphic horror.

That the State Shall Be God and Greater Than The State Shall Be Ever More Mastery (exploitation) of All Resources including the Human Being, and that "Progress" and "Improvement" should be the State's future, the Greater God, the Infinite refinement leading to complete extinction of anything known towards the unknown even if terrible, but for who?

The State is a vessel that shall be rowed off the edge of the Flat Earth into ever deeper hells for the hell of it, and the people and their hesitation and their thinking they could ever "know" anything is an impediment to the goals of our great minds, those literally enriched and thus great, so whatever they want, based on their unusual upbringings in a state of bondage to total liberty and neglect by their Saurid parents.

The flying boat runs of blood and shrieks of agony and terror, as compared to the rudderless ship without oars of empathy, but "we're all in the same boat", and even the maniacs on the upper decks and at the helm will find that they'll be getting to the same place via a much longer path, and that is nowhere, but exhausted.

Strangely enough, empathy conserves more energy in the long run than callous ambition and cutting off emotions.

(This was a test for longer writing, it would be nice also if some day even these updates and update videos and replies to them appear on the forum so that this writing appears there with it, maybe in a single thread if not separate threads for each update with their replies.)

I think that the main things that put my posts at risk of failing to post here are links and if something deletes the writing which isn't automatically saving, like accidentally clicking back or the page refreshing.
"

Also:



"
I’m so disgusted with a minority of people making priorities that benefit basically no one, not even really them ultimately either. For example, they want to cake robots with makeup and prosthetics, to be so realistic that they can deceive people, like Replicants from Blade Runner, but are putting apparently no work into robots that can take care of very cumbersome and inconvenient, time consuming tasks like food preparation. That was the depressing thought I slept with, and had a dream with some ghost and felt like my body was touched and woke up with a yelp.
"

I put this writing in this thread because in Warhammer, the Dark Elves are placed on the map where North America is, and are depicted as extremely brutal and totally self-absorbed sl*ve masters obsessed with achieving their ambitions without any concern for any other lifeforms or the conditions they are made to endure or the cruelty involved with forcing them to do what they want them to do and "breaking" them. I was lamenting missing the bid for the book where they are described like that, even though it is a very disturbing thing to read or be reminded up, since it has been exposed, now repeatedly, and again, as real.



What the f*ck is going on there.



https://m.youtube.com/@slayerbabe474



"
@rubyblu21
1 month ago
I was subjected to the negative Facebook experiment and was only told about it afterwards. It messed with me so hard, I deleted FB, withdrew off social media and in my real life and went into a dark place. the whole experience opened my eyes to how easily we can be manipulated and that they can do it without asking for consent or warning.
"

"
@RowenX-jg9xw
1 month ago
Omg, I swear to you, I am being attacked via Facebook and have been for awhile now and have been so confused about what they are doing but recognize it has been way way way off.
"

"
@mycattitude
1 month ago
@tiptapkey It's in the video, she describes what they did. Around 35 minutes, but the sections have subtitles to easily find it, over half way. I heard about them doing this.

They did a lot of other things too. Used colours to negatively affect people's moods too.

Design is so important and we've always known that.

It's why women decorate, to make their home feel cozy and inviting, or sheik and soothing.

They used to only paint hospitals and jails really drab colours, usually grey or a glum institutional green.

They they started experimenting in jails w/ colour and found when they used soft pinks and other colours, the prisoners were calmer and less fights.

They use colour in restaurant chains w/ a budget.

When they use reds and brighter earth colours like orange deftly, the people tend to eat faster and don't linger as long.

So it optimizes sales and gets more traffic through the chain.

These types of manipulations don't hurt anyone, they are win/win, but even the more subtle and innocuous methods using merely colour alone darn well work.

Imagine the effect when you have art, web design and the most highly trained psych manipulators at your disposal and you're up to no good online.
"

"
@nikkinorton8310
1 month ago
You were talking about covid. I've been a nurse for 33 years now. During covid, was the first time in my career, that I was threatened with my license for giving information (that was crucial) about what I was seeing in the vaccinated and the unvaccinated. A report from CNN actually changed from its original story about campers, who had all been vaccinated 3 months prior ended up with covid. To me......what I saw with my eyes, and what I was seeing on media, and how my voice was squashed, was absolutely the scariest thing that has happened to me in nursing. And I have been strangled with my stethoscope, punched in the face, kicked in the face etc....
"

"
@Hoppieg
1 month ago
I was raised in an environment where I was abused every single day of my life. I grew up with every kind of evil imaginable. I was locked in rooms, made to go without food, raised in animal feces and absolute filth. As I got older, if someone was even remotely nice to me, I was hooked. I didn’t have a clue about anything. I was raised feral, ignored and abused. I honestly thought all people lived how I was raised. I had no idea that this was not the case until about five years ago when I made a comment to my husband of 24 years and he just looked me. He said, “That’s not normal,” and for the first time, I started to process that what happened to me wasn’t ok.

Trauma marks a person. It marks the person abused in their own mind, but it also marks them as prey for predators.

I’m not a hunter, so I could not begin to tell you how people knew what I’d been through without me ever uttering a word, but they know. They knew me better than I knew myself. Maybe it’s the same way I know someone is a child molester before they ever even open their mouth. I can spot them across the room. When ya know—you just know. And they all knew I was an easy mark, and they took and took, when I thought I have nothing left to give—they took more.

The last five years have been an awakening from darkness to light. I’ve faced so many demons—some of my own making.

Nevertheless, I pray that everyone come to the light—its much better over here. Yahweh bless and keep you! In Yahushua’s Name, Amen!❤
"

That was a nonsensical tale, more than likely written by ChatGPT or something, weird double dashes and all.

[kFoyauextlH]

One of the many themes of this thread is social manipulation. The Dark Elves are witches and slavers, formerly depicted as wholly irredeemable menaces, "racially" evil, as well as culturally monstrous. They are the shadow of the things that their accusers are doing themselves in a way that they present as acceptable and the norm now. They are fictional, but real, and also false, and opposite, or a hit piece, defamed, propaganda meant to "color" an enemy "dark" by the real wicked sh*ts. There is layer upon layer going on, through the language, through the convoluted way that this things emerge and are spoken about, who chooses to use them and how and why.



My threads tend to be, at least these days but probably always, quite expansive in what they are meant to cover, but everything brought up, even things that are jokes or look like jokes and are funny as jokes too, is meant to combine and be cross referenced with other things brought up and in as many ways and with as many inflections and interpretations and uses that are stimulating as possible.

Like, it may seem a weird jumping around to get into the imposition of evolutionary theories with mind control efforts, but it is completely on purpose why these two things are being brought up, and in multiple ways, like how the ideas are used, what they refer to, and how social manipulation plays a role, has played a role, what it is saying, if it is true as it is accepted by most to be then also how social manipulation factors were involved in that process as well.

My threads and the content in them may seem to people approaching the material in a very narrow or specific way or with some expectation, may miss out on the adventure for the mind that viewing them in the broader, conspiratorial, paranoid, psychedelic way that they are meant to connect and intertwine and bring in numerous layers of diverse seeming topics meant to be connected repeatedly through each variant angle it could be taken as or brought up with. I was very impressed with Parrhesia seeming to pick up on more than the usual angles that the general populace may approach anything with, because of what might be a tendency for them to be exposed to and thus accept everything as what they are calling today "slop", and which in other cases is just vacuous "content" which says nothing much at all or the most mundane colloquialisms and truisms, to the point of being intolerable, but numbing them to even waste their time thinking that anything could be out there saying ir trying to say something more or more interesting.

They also don't tend to be used to going on these "thought adventures" and journeying through the weird themselves, but want it to be spelled out and post-processed and regurgitated into their mouths.









Someone there mentioned the series that this comes from due to a similarity they perceived in the art style and general aesthetic and tropes, but this seems even more extreme:



He shows 78 cards and the other art like what is on and in the box.

Just like the Goetic Demons with the usual popular illustrations that appeared in the Infernal Dictionary, the numbers reaching 70 and 80 are way too cumbersome and a lot seem to become redundant and not very attention grabbing or useful for inspiration. Out of the 72, only a certain number of any significance to me also, just like ancient cultures and constellations, only a few can stand out to anyone and entire lists become annoying to handle when they are very long in any way, even long lists of epithets for a single identity or domain, like "yeah yeah, we get it", and people can't possibly hold in their mind or use large groups while giving each idea much "respect", many will necessarily fall back and others will be more dominant and prominent in the mind, some even totally being barely attractive or interesting to people. So those which a person really prefers for whatever reason should be noted, and then the rest ranked from those one likes most to least, the last being those they could happily meld together as a reference to one entity or domain and set of ideas rather than strictly separating them.

In that case, 72 can be divided into 8 sets of 9 and also 10 sets of 7 with 2 extra.

78 can be divided into 13 groups of 6 or 11 groups of 7 with 1 extra.

Both this Tarot Deck with the art of Wizard Of Barge and the art of the demons that is popular, as well as this game I posted from, are all "camp" and "campy":

https://en.m.wikipedia.org/wiki/Pop_art

https://en.m.wikipedia.org/wiki/Camp_(style)

"
Camp is an aesthetic and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration,[1][2][3] especially when there is also a playful or ironic element.[4][5] Camp is historically associated with LGBTQ culture and especially gay men.[2][6][7][8] Camp aesthetics disrupt modernist understandings of high art by inverting traditional aesthetic judgements of beauty, value, and taste, and inviting a different kind of aesthetic engagement.[6]

Camp art is distinct from but often confused with kitsch. The big difference between camp and kitsch is mainly that camp is aware of its artificiality and pretense.[9]

The American writer Susan Sontag emphasized camp's key elements as embracing frivolity, excess and artifice.[10] Art historian David Carrier notes that, despite these qualities, it is also subversive and political.[11] Camp may be sophisticated,[12] but subjects deemed camp may also be perceived as being dated, offensive or in bad taste.[13][5] Camp may also be divided into high and low camp (i.e., camp arising from serious versus unserious matters), or alternatively into naive and deliberate camp (i.e., accidental versus intentional camp).[3][12][14][15] While author and academic Moe Meyer defines camp as a form of "queer parody",[7][8] journalist Jack Babuscio argues it is a specific "gay sensibility" which has often been "misused to signify the trivial, superficial and 'queer'".[16]

Camp, as a particular style or set of mannerisms, may serve as a marker of identity, such as in camp talk, which expresses a gay male identity.[17] This camp style is associated with incongruity or juxtaposition, theatricality, and humour,[18] and has appeared in film, cabaret, and pantomime.[19][20][21] Both high and low forms of culture may be camp,[3][22][8] but where high art incorporates beauty and value, camp often strives to be lively, audacious and dynamic.[6] Camp can also be tragic, sentimental and ironic, finding beauty or black comedy even in suffering.[19] The humour of camp, as well as its frivolity, may serve as a coping mechanism to deal with intolerance and marginalization in society.[5][23]
"

https://en.m.wikipedia.org/wiki/Kitsch

"
The modern avant-garde traditionally opposed kitsch for its melodramatic tendencies, its superficial relationship with the human condition and its naturalistic standards of beauty. In the first half of the 20th century, kitsch was used in reference to mass-produced, pop-cultural products that lacked the conceptual depth of fine art. However, since the emergence of Pop Art in the 1950s, kitsch has taken on newfound highbrow appeal, often wielded in knowingly ironic, humorous or earnest manners.

To brand visual art as "kitsch" is often still pejorative, though not exclusively. Art deemed kitsch may be enjoyed in an entirely positive and sincere manner. For example, it carries the ability to be quaint or "quirky" without being offensive on the surface, as in the Dogs Playing Poker paintings.

Along with visual art, the quality of kitsch can be used to describe works of music, literature or any other creative medium. Kitsch relates to camp, as they both incorporate irony and extravagance.[4]
"

https://en.m.wikipedia.org/wiki/Irony

"
Postmodern irony rejects the possibility of an authoritative viewpoint such as could discern true meaning behind contradictory appearances. Instead, it operates within a framework where all positions are understood as contextual and contingent. This, however, produces a contradiction: the postmodern theorist who declares the end of all master-narratives, just by making such a declaration, claims an authoritative stance. Rather than resolving this contradiction, postmodern irony embraces it as fundamental to the human condition of speech and meaning-making, in which every act of communication adopts a position necessarily of a limited and constructed nature.[79]

For instance, the neopragmatist philosopher Richard Rorty advances a concept of irony centered on the "liberal ironist", whom he contrasts with "the metaphysician". The ironist, according to this theory, is someone who maintains radical doubts about their own "final vocabulary" (the fundamental concepts used to justify their beliefs and actions), recognizes that rational argument cannot resolve these doubts, and doesn't believe their vocabulary is closer to ultimate reality than others. This postmodern position is a consequence of acknowledging the historical contingency and plurality of vocabularies, where no neutral standards exist for choosing definitively between different ways of describing the world. On this theory, irony functions as both a philosophical method and way of life that disrupts entrenched vocabularies through redescription, metaphor, and narrative rather than traditional argument.[80][81]
"

https://characterdesignreferences.com/a ... nture-time

https://movieweb.com/adventure-time-changed-cartoons/

https://www.lambiek.net/artists/p/peck_everett.htm

"
Everett Peck was an American alternative comic artist, painter, illustrator and animator. His comic career was brief and consisted mostly of the one-shot comic book 'Duckman' (Dark Horse, 1990), which was adapted into a critically acclaimed animated TV series (1994-1997). 'Duckman' aimed at an adult audience and featured clever, sophisticated socio-political satire. At the time it was often cited as one of the few animated sitcoms that could equal 'The Simpsons' in that field. 'Duckman' inspired a comic book spin-off (1994-1997), published by Topps, as well as a 1997 video game. Unfortunately, it always remained a cult show and was canceled after only four seasons. Peck remained active in animation, but his other projects were mostly TV adaptations of popular blockbuster films ('Jumanji', 'Ghostbusters', 'Men in Black', 'Godzilla'), save for his children's series 'Squirrel Boy' (2006-2007). None of his later animated shows ever had the same critical praise and legacy as his signature work 'Duckman'.
"

Topps must have been cards with art on them.

"
Peck grew up reading Mad Magazine and loved the work of Jack Davis, Mort Drucker, Basil Wolverton and Don Martin. Other comic authors who shaped his style were Joe Kubert, Floyd Gottfredson, Carl Barks, Virgil Partch, Gahan Wilson, Robert Crumb, Rick Griffin and Victor Moscoso. In terms of animation, he was influenced by Walt Disney, Max and Dave Fleischer, Tex Avery, Looney Tunes and the UPA studio. Among his other graphic influences were John Tenniel, Heinrich Kley, Ed "Big Daddy" Roth, Von Dutch, Heinz Edelmann, Philip Guston, Jeff Koons, Julian Schnabel, Jean-Michel Basquiat and Ronald Searle.
"

"
Peck's biggest passion was animation. After leaving college, he met up with several former Disney animators, among them Ward Kimball. In the 1980s, he worked as a character designer for the popular animated TV series 'The Real Ghostbusters' (1986-1988), based on the success of the live-action film 'Ghostbusters' (1984).
"

I grew up watching that and heavily influenced by all things Ghostbusters since I was born.

"
Everett Peck spent his final years in California, where he was mostly active as a painter. Peck had a part-time residence in Santa Fe, New Mexico. He passed away in 2022 in Solana Beach, California from pancreatic cancer, at age 71. His passing was mourned by Jason Alexander (voice of 'Duckman') on his Twitter account.
"

"
For those interested in Peck's life and work, the book 'It's Not My Fault' (Dark Horse Comics, 2006) is highly recommended. It collects his paintings, illustrations, cartoons, sketches and comics.
"

https://en.m.wikipedia.org/wiki/Superjail!

https://en.m.wikipedia.org/wiki/Liquid_Television

https://www.youtube.com/watch%3Fv%3DFhd ... ure=shared

https://en.m.wikipedia.org/wiki/Primitivism

https://en.m.wikipedia.org/wiki/Na%C3%AFve_art

https://en.m.wikipedia.org/wiki/Folk_art

https://en.m.wikipedia.org/wiki/Corporate_Memphis

https://en.m.wikipedia.org/wiki/Outsider_art

"
The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal.[1] It is an English equivalent for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created in the 1940s by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital patients, hermits, and spiritualists.[2][3]
"

https://en.m.wikipedia.org/wiki/Degenerate_art

https://en.m.wikipedia.org/wiki/Violence_in_art

https://en.m.wikipedia.org/wiki/Shock_art

https://www.juxtapoz.com/news/magazine/ ... ota-cates/

"
I got into art from skateboarding, so you were actually a big influence on me early on, along with people like Ed Templeton and Neckface. I also fell in love with a ton of fantasy artists like Skinner, Moebius, Frazetta, and really anyone drawing wacky creatures.
"

https://www.confuzine.com/2012/02/09/th ... interview/

https://www.danzigergallery.com/artists/ed-templeton

Wow, there is no denying it with this piece:

https://www.confuzine.com/wp-content/up ... s-scan.jpg

Totally:

https://www.newimageartgallery.com/neck-face



For the Goetic stuff:



Oh man, this guy is great lol:







I noticed that the people linking to certain ideologies make certain choices in how they present themselves as do those who like to think of themselves is diametrically opposed to those groups, so like things which hearken to certain traditions or ideas of orderliness or militarism and power, others going for unbalanced, asymmetrical, unnatural, boundary breaking, attention grabbing styles that appear "out of order" and contrary to many standards and traditions, but at times trying to go for "tribal" looks too.

https://en.m.wikipedia.org/wiki/Sumptuary_law

https://www.battlemerchant.com/en/blog/ ... iddle-ages

"

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Clothing as a Mirror of Society in the Middle Ages
From: Hendrik Pahl
05/12/2024
From epic battles to crafting fun – I write about history, the Middle Ages, LARP, fantasy & DIY
Kleidung-als-Spiegel-der-Gesellschaft-im-Mittelalter
The Significance of Clothing in Medieval Europe
The Middle Ages were an era in which clothing held profound significance, extending far beyond mere protection from the elements. It functioned as a mirror of society and an expression of status and power. The choice of fabrics, colors, and cuts was by no means left to chance or personal taste, but followed strict rules and conventions that reflected and maintained the hierarchical structure of medieval society.

Clothing as a Key to Medieval Society
Clothing indicated social rank
Materials and colors were strictly regulated
Sumptuary laws dictated who could wear what
Clothing was an important status symbol
Introduction
Significance of Clothing in the Middle Ages
In medieval Europe, clothing was a complex system of signs and symbols that reflected and maintained the social order. It served as an immediate visual indicator of a person's social status, profession, marital status, and even regional origin. As a means of non-verbal communication, it provided at a glance information about the wearer's position in the hierarchically structured medieval society. From the simple peasant to the high nobility, each class had its own clearly defined dress code.

Particularly luxurious materials such as silk, velvet, and furs were reserved for the upper classes. Their use was often regulated by laws, known as sumptuary laws, which stipulated which fabrics and colors could be worn by whom. These laws served not only to preserve the social order but also to curb excessive luxury and waste. However, the significance of clothing went beyond mere status indication. It was also an important instrument of self-presentation and political expression. Rulers used magnificent garments to demonstrate and legitimize their power. Religious orders used specific attire to show their affiliation and spiritual orientation. Even in diplomacy, clothing played an important role, as the choice of attire was carefully considered in negotiations and state visits to convey the right impression.

Clothing as an Expression of Social Standing
Clothing in the Middle Ages was an immediate and unmistakable expression of its wearer's social standing. It functioned as a kind of visual code that made it possible to recognize a person's social rank at first glance. This function of clothing was of immense importance in a time when society was strictly hierarchically structured. At the top of the social pyramid were the nobility and clergy, whose clothing was distinguished by particular splendor and quality. High-quality fabrics such as silk, velvet, and fine wool, often interwoven with gold and silver threads, were reserved for them. The use of certain colors, especially purple, was a privilege of the highest ranks. The length of garments was also a status marker – the longer, the higher the rank, as long clothing was impractical for physical labor and thus symbolized leisure.

In contrast, peasants and simple craftsmen wore plain, functional clothing made of coarse fabrics such as linen and wool in muted colors. Their clothing was designed for durability and practicality, often self-made and dyed. The length of their garments was shorter to avoid restricting movement during work. Between these extremes, there was a multitude of gradations corresponding to the complex social structures of the Middle Ages. Wealthy citizens in the towns often tried to imitate the nobility through their clothing, which led to numerous sumptuary laws aimed at preventing such transgressions of class boundaries.

Clothing also served to indicate professional affiliations. Craftsmen often wore specific attire that represented their guild. Scholars and university members were recognizable by their long robes, while merchants stood out for their practical but often high-quality clothing. Even within individual classes, there were subtle differences in clothing that indicated a person's exact rank within their social group. For example, the cut and decorations of a noble's garment could reveal whether the wearer belonged to the lower or high nobility. Clothing as an expression of social standing was not just a passive reflection of the social order, but actively contributed to its maintenance. It made social differences visible and thus reinforced existing hierarchies. At the same time, it offered opportunities for social advancement by allowing one to feign or aspire to a higher status through appropriate clothing – a circumstance that often prompted the authorities to impose strict regulations.

Nobility and Rulers
Materials: Silk, Velvet, Furs
The clothing of the nobility and rulers in the Middle Ages was characterized by the use of the most precious and exclusive materials. Silk, velvet, and furs were the preferred fabrics that not only symbolized luxury and wealth but also underscored the power and influence of their wearers. Silk was one of the most coveted materials and was mainly imported from the Far East. The long and dangerous transport route along the Silk Road made it an extremely costly commodity. Silk garments were soft, shiny, and pleasant to wear, making them a symbol of sophistication and worldliness. Silk fabrics were often interwoven with gold or silver threads, further increasing their value and visual impact. Particularly popular were silk damasks with complex woven patterns that showcased the craftsmanship of their makers.

Velvet, a fabric with a short, upright pile, was another luxury material reserved for the nobility. Its production was elaborate and required large quantities of silk or fine wool. Velvet was characterized by its soft, plush surface and reflected light in a way that gave it a special depth and vibrancy. The rich texture and sheen of velvet made it a preferred material for ceremonial garments and robes of state. Furs were valued not only for their warming properties but primarily for their luxury character. The most valuable furs came from animals such as ermine, sable, and marten. Ermine, with its characteristic white fur and black tail tips, was particularly sought after and often reserved for royalty. Furs were used both as lining for coats and cloaks and as trim on sleeves, collars, and hems. The quantity and quality of fur used was a direct indicator of the wearer's wealth and status.

The use of these exclusive materials was often regulated by strict laws. Sumptuary laws stipulated which classes could wear which fabrics and furs. These regulations served to maintain the social hierarchy and curb excessive luxury. Despite these restrictions, wealthy citizens and aspiring merchants often found ways to incorporate these precious materials into their wardrobes, leading to a constant arms race in fashion. The processing of these noble materials required the highest craftsmanship. Tailors and seamstresses who worked for the nobility were highly specialized craftsmen whose skills were often passed down through generations. The production of a single ceremonial garment could take months and often required the collaboration of several specialists such as weavers, embroiderers, and furriers. The use of silk, velvet, and furs in the clothing of the nobility also had an important political and diplomatic function. At state visits and important ceremonies, the magnificent clothing served to demonstrate the power and wealth of one's own court. The choice of materials and their processing were carefully considered to achieve the desired impression and strengthen one's own position in the complex power structures of medieval Europe.

Colors: Purple, Gold, Intense Hues
The choice of colors in the clothing of the nobility and rulers in the Middle Ages was of great symbolic significance, reflecting not only personal taste but also power, wealth, and social status. Particularly striking were the colors purple, gold, and other intense hues, which, due to their rarity and costliness in production, were reserved for the highest ranks. Purple held a special position among colors. Since antiquity, it had been considered the royal color par excellence and was exclusively reserved for the ruling house in many regions of Europe. The production of true purple was extremely laborious and expensive. The dye was extracted from the purple snail, with thousands of snails needed for a single gram of dye. This exclusivity made purple a symbol of absolute power and divine right. In Byzantium, wearing purple was even forbidden under penalty of death for those not belonging to the imperial family.

Gold was another color closely associated with nobility and rulership. Whether woven into fabrics as real gold threads or used in golden embroideries and appliqués – the use of gold in clothing symbolized not only wealth but also divine favor and legitimacy of rule. Golden garments were often reserved for religious ceremonies and the highest secular occasions. The use of gold in clothing ranged from subtle accents to fully golden garments worn on special occasions. Besides purple and gold, other intense hues also played an important role in the wardrobe of the upper class. Strong shades of blue, red, and green were particularly popular. These colors were obtained from expensive dyes that often had to be imported from far away. For example, the coveted crimson red was made from dried cochineal insects originating from Central and South America. The bright ultramarine blue was extracted from the semi-precious stone lapis lazuli, mainly imported from Afghanistan.

The use of these intense colors was not just a matter of aesthetics but also a means of demonstrating power. The ability to dress in such vibrant colors showed that one had the resources to acquire rare and expensive dyes. In an era when most people wore clothing in muted, natural hues, intense colors were an immediate eye-catcher and a clear sign of high social status. The symbolism of colors often went beyond mere status indication. Certain colors were associated with specific virtues or qualities. Red, for example, often stood for courage and passion, while blue was associated with loyalty and constancy. Green could symbolize youth and hope or, depending on the context, inconstancy. The choice of colors in clothing could therefore also be a form of non-verbal communication, conveying certain messages or claims. It is important to note that the meaning and use of colors in the Middle Ages could vary regionally and temporally. What was considered exclusive in one kingdom might be less strictly regulated in another. Moreover, fashions and color preferences changed over the centuries, influenced by cultural exchanges, technological advances in color production, and changing aesthetic ideas.

Jewelry and Accessories
Jewelry and accessories played a central role

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Middle Class and Urban Population in the Middle Ages
The medieval middle class and urban population formed a diverse and dynamic social stratum that differed significantly from the nobility and peasants. Their clothing reflected not only their social status but also their economic importance and the growing prosperity of the cities. Wealthy citizens, often merchants or successful master craftsmen, oriented their clothing towards the nobility. They wore high-quality fabrics such as fine wool, silk, and imported cotton. The garments were often in bold colors achieved through expensive dyes. Men wore long overcoats, called houppelandes, trimmed with fur. Women preferred form-fitting dresses with wide sleeves and long trains. Headwear such as hoods for women and wide-brimmed hats for men were also popular. The jewelry was elaborate but less ostentatious than that of the nobility. Gold and silver chains, rings, and brooches showed the wealth of their wearers. Despite this imitation, there were often sumptuary laws that prohibited citizens from wearing certain noble garments or materials.

Craftsmen and Their Guild Clothing
The craftsmen formed the backbone of the urban economy and had their own characteristic clothing. Each guild often had specific colors or badges worn by its members. The clothing was functional and robust, mostly made of wool or linen. Men frequently wore short jackets, called doublets, along with tight trousers or leggings. Aprons were typical for many craftsmen and served both as protection and as an identifying feature. Women wore simple dresses with aprons. The colors were less bright than those of wealthy citizens but by no means dull. Headwear such as caps or scarves was common and often a sign of the craftsman's status. Jewelry was sparse but not uncommon - simple rings or brooches were widespread. Merchants occupied an intermediate position between wealthy citizens and craftsmen. Their clothing had to exude both wealth and respectability. Men preferred long overcoats made of fine wool, often in muted colors such as brown, dark blue, or black. Fur trimmings on collars and sleeves were popular. Women wore high-necked dresses with moderate embellishments. Characteristic of merchants were often belts with money pouches and seals, symbolizing their business activities. Headwear such as berets for men and hoods for women was common. The jewelry was discreet but of high quality - signet rings and chains with pendants were widespread. The clothing of merchants was meant to radiate trustworthiness and success without appearing too ostentatious.

City-Specific Fashions
Each medieval city developed its own fashion trends, often influenced by local traditions, available materials, and economic focuses. In trading centers like Venice or Antwerp, exotic fabrics and cuts were more common, while in cities with strong textile industries like Florence or Ghent, local woolen fabrics dominated. Regional differences were also evident in headwear, shoe shapes, and accessories. In some cities, certain colors or patterns were associated with particular quarters or professional groups. These local peculiarities contributed to the identity of the cities and were often a source of pride for the citizens. Travelers could often recognize which city someone came from by their clothing. Despite these differences, there were interregional trends that spread through trade and travel, contributing to a certain uniformity in urban fashion.

Peasants and Rural Folk: Functional Clothing in the Middle Ages
The clothing of peasants and rural folk in the Middle Ages differed significantly from that of the urban population. It was primarily characterized by functionality and the availability of local materials. Nevertheless, there were variations and developments that differed from region to region and over time. The clothing of the rural population was primarily geared towards practicality. It had to withstand the harsh working conditions in the fields and in animal husbandry. Men typically wore simple shirts made of coarse linen, over which they wore a kind of vest or jacket made of wool. The legs were covered by knee-length or long trousers, often made of wool or leather. Women wore long, simple dresses or skirts with blouses, also made of linen or wool. An apron was often seen over the dress, serving both as protection and as an additional pocket. The clothing was usually in muted, natural colors, as expensive dyes were unaffordable for most peasants. Brown, gray, and natural white were predominant. Shoes were often homemade, from leather or wood, and had to be robust enough to withstand the rough ground conditions. Headgear was widespread, both for protection from the sun and as a traditional element of costume. Men often wore simple caps or hats, while women preferred headscarves or simple bonnets.

Materials Used: Linen, Wool
The main materials for the clothing of the rural population were linen and wool, both locally produced and processed. Linen, made from flax, was particularly popular for undergarments and summer costumes. It was relatively easy to care for, breathable, and cool in warm temperatures. Wool, obtained from sheep, was the preferred material for outerwear and winter clothing. It offered good protection against cold and wet conditions and was relatively easy to dye. The quality of the fabrics used varied depending on the wearer's wealth but was generally coarser than the materials used in urban areas. In some regions, hemp was also used as an alternative to linen, especially for robust work clothing. Leather, usually from locally raised animals, was used for shoes, belts, and sometimes for trousers or jackets. The processing of these materials was often a domestic affair, with spinning, weaving, and sewing being typical tasks for women. In some areas, there were also specialized weavers or tailors who worked for the community.

Work Clothes vs. Festive Attire
Despite the general simplicity of peasant clothing, there was a clear distinction between everyday and festive clothing. Work clothes were robust and functional, often patched and mended to ensure a long lifespan. They were designed to withstand dirt and wear. In contrast, festive attire, reserved for church visits, weddings, and other special occasions, was of better quality and often adorned with simple decorations. These garments were carefully preserved and often passed down through generations. Festive dresses could feature finer fabrics, brighter colors, and a bit more ornamentation. Women often wore special bonnets or headgear on such occasions, while men donned their best hats. In some regions, festive attire also included special accessories such as brooches, belt buckles, or embroidered aprons. This distinction between everyday and festive clothing was an important aspect of peasant culture and showed that even in simple circumstances, value was placed on aesthetics and tradition.

Regional Differences in Peasant Costume
Peasant costume was by no means uniform across Europe. Rather, distinct regional differences developed, which are often still visible in traditional costumes today. These variations were influenced by climatic conditions, available materials, cultural traditions, and historical developments. In colder regions such as Scandinavia or the Alps, clothing was often thicker and warmer, with multiple layers and heavy woolen fabrics. In warmer areas like the Mediterranean, lighter fabrics and brighter colors were more common. The shape of headgear varied greatly: from simple scarves to elaborate bonnets or hats, which often indicated the wearer's marital status or origin. The cuts of clothing also differed: in some regions, wide, pleated skirts were common, in others, more form-fitting dresses. Particularly striking were often the regional differences in the patterns and decorations of festive costumes. These could range from simple stripes to complex embroideries and were often symbolically charged, with motifs referring to local traditions or religious beliefs. The regional diversity of peasant costumes was an expression of cultural identity and showed the creativity and adaptability of the rural population in the Middle Ages.

Gender-Specific Differences in Medieval Clothing
Clothing in the Middle Ages reflected not only social status but also the gender roles of the time. Men and women wore distinctly different garments that expressed their respective positions in society and their duties.

Men's Clothing in Various Classes
Men's clothing in the Middle Ages varied greatly depending on social status and profession. Noble men often wore magnificent, colorful garments made of fine fabrics such as silk and velvet. Their clothing was richly decorated and adorned with precious embroideries or fur trimmings. A typical garment was the knee-length surcot, worn over an undergarment. This was accompanied by tight-fitting leggings and pointed shoes. Men from the bourgeoisie wore simpler but still high-quality clothing. Their garments were often made of wool or linen and kept in more subdued colors. A characteristic garment was the kirtle, a knee-length overgarment worn with a belt. Peasants and simple craftsmen wore practical, robust clothing made of coarse fabrics such as linen or hemp. Their garments were usually in natural, unbleached colors and often consisted of a simple tunic and trousers.

Women's Clothing in Various Classes
There were also clear differences in clothing among women depending on social status. Noble ladies wore long, floor-length dresses made of precious fabrics such as silk or fine wool. These dresses were often tightly fitted at the waist and had wide sleeves. Particularly popular were overskirts that were open at the front, revealing the dress underneath. Headgear such as the hennin, a tall, pointed bonnet, was a status symbol of the upper class. Bourgeois women also wore long dresses, but made of simpler fabrics such as wool or linen. Their garments were less elaborately decorated but still of good quality. A typical garment was the cotte, a tight-fitting underdress over which a surcot was worn. Peasant women and women of the lower classes wore practical, robust clothing that facilitated their daily work. Their dresses were often shorter to allow more freedom of movement and were made of coarse fabrics such as hemp or wool. An apron was an important garment that served both as protection and as an additional pocket.

Children's Clothing
Children's clothing in the Middle Ages was often a simplified version of adult clothing. Until about seven years of age, boys and girls wore similar clothing, usually simple tunics or dresses. From this age, children began to wear clothing that resembled that of their adult counterparts. Children from wealthy families wore miniature versions of adult clothing, often made from the same precious fabrics. Children of the lower classes wore simple, practical clothing that was often reworked from discarded adult clothes.

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Sumptuary Laws and Luxury Regulations in the Middle Ages
Throughout the Middle Ages, sumptuary laws and luxury regulations were enacted in many European cities and regions. These ordinances had far-reaching effects on society and the way people dressed. The main purpose of these laws was to maintain and make visible the existing social order. They were intended to prevent people from lower ranks from pretending to a higher social status through their clothing. At the same time, they served to curb excessive luxury and waste. The enforcement of these laws was carried out by city authorities or feudal rulers. Violations could be punished with fines, the loss of the clothing items in question, or in severe cases, even imprisonment.

A well-known example of a sumptuary law is the Nuremberg Dress Code of 1485. It precisely specified which materials, colors, and jewelry could be worn by the various ranks. For instance, only the nobility was allowed to wear clothing made of velvet or silk. Citizens were not permitted to wear gold chains heavier than a certain ounce. In Venice, there were strict regulations for the clothing of prostitutes. They had to wear yellow veils to distinguish them from respectable women. In England, a law from 1363 prohibited craftsmen and peasants from wearing clothing made of expensive fabrics such as silk or silver jewelry.

The sumptuary laws and luxury regulations had profound effects on medieval society. They reinforced the visible differences between social classes and made a person's status recognizable at first glance. This led to a solidification of social hierarchies. At the same time, these laws also fostered creativity and innovation in clothing production. People sought ways to circumvent the laws or to be fashionable within the limits of what was allowed. This led to the development of new fabrics, cuts, and decorations. The luxury laws also had economic impacts. They influenced the trade in luxury goods and the development of local crafts. In some cases, they promoted the domestic textile industry by restricting the import of expensive foreign fabrics.

Evolution of Clothing Throughout the Middle Ages
Clothing in the Middle Ages underwent a remarkable evolution, closely linked to the social, economic, and cultural changes of the time. From the simple garments of the Early Middle Ages to the complex and highly differentiated clothing of the Late Middle Ages, a fascinating evolution can be observed. In the Early Middle Ages, from about the 5th to the 10th century, clothing was relatively simple and functional. The basic form of clothing for men and women was the tunic, a loose, shirt-like garment that reached to the knees or ankles. Over this, a cloak was often worn, held together with a fibula (a type of brooch). The clothing of this time was heavily influenced by Roman and Germanic styles. The fabrics were mostly wool or linen, with linen primarily used for undergarments. Colors were generally natural and muted, as artificial dyes were rare and expensive. Social differences in clothing were less pronounced than in later epochs but were evident in the quality of fabrics and jewelry. Nobles wore finer garments and more jewelry, while the clothing of the common people was practical and sturdy.

In the High Middle Ages, from the 11th to the 13th century, clothing became increasingly differentiated and complex. The Crusades brought new fabrics and fashions from the Orient to Europe. Silk became more popular but remained a luxury item. The tunic evolved, becoming shorter for men while remaining floor-length for women. Men began to wear tight-fitting leggings, the precursors of trousers. For women, the dress became more fitted and emphasized the figure more. This period also saw the emergence of the first heraldic surcoats, worn by knights over their armor to show their family affiliation. Clothing increasingly became a means of demonstrating social status and wealth.

The Late Middle Ages, from the 14th to the 15th century, brought the greatest changes in medieval clothing. Fashion became more extravagant and diverse. New cutting techniques allowed for tight-fitting clothing that emphasized body shapes. For men, the short doublet became popular, often combined with tight-fitting hose. Shoes became more pointed and longer, leading to the famous poulaines. Women wore tight-fitting dresses with low necklines and long, wide sleeves. Headgear became increasingly elaborate. For women, tall, conical hennins came into fashion, while men wore various types of hats and caps. During this time, sumptuary laws also reached their peak, in response to the increasing extravagance of fashion and the blurring of class boundaries through clothing. Overall, the evolution of clothing in the Middle Ages shows increasing complexity and differentiation, closely tied to the social and economic changes of the time. From the simple, functional garments of the Early Middle Ages to the elaborate and highly differentiated clothing of the Late Middle Ages, fashion reflects the development of medieval society.

Special Garments and Their Social Significance
In medieval Europe, certain garments played a prominent role in displaying social status. These elements of the wardrobe were often more than just functional - they served as visible signs of rank, wealth, and social position. A closer look at these significant pieces of clothing reveals the complex social structures of the time.

Headgear
Headgear in the Middle Ages was much more than just protection from the elements. It functioned as a clear indicator of a person's social status. Nobles often wore elaborately decorated hats or hoods adorned with precious materials such as silk, velvet, or fur. Crowns and diadems were, of course, reserved for the highest ranks. Middle-class women usually wore simpler hoods or veils, while peasant women often had to make do with plain headscarves. For men, the shape of the headgear often indicated their profession - scholars, for example, wore characteristic berets. The complexity and material value of the headgear directly reflected the wearer's social and economic status. This visual hierarchy allowed people in the Middle Ages to recognize a person's rank at a glance and interact accordingly.

Shoes
Shoes also served as clear status symbols in medieval society. Nobles and wealthy citizens often wore pointed poulaines, whose length increased with social rank. These extravagant shoes, sometimes so long that they had to be fastened at the knees, were a clear symbol of wealth and leisure, as they made practical work nearly impossible. In contrast, peasants and craftsmen wore sturdy, functional shoes made of coarse leather. The use of fine leather, elaborate decorations, or even precious stones on shoes was a clear sign of luxury and high status. In some regions and periods, there were even laws that prohibited the lower classes from wearing certain types of shoes to maintain the social hierarchy. This strict regulation of footwear underscores the importance placed on outward appearance in medieval society.

Belts and Pouches
In the Middle Ages, belts were not only functional clothing items but also important status symbols. Nobles and wealthy citizens often wore wide, elaborately decorated belts made of fine leather or precious fabrics, set with precious metals and gemstones. Pouches, purses, or daggers were often attached to these belts, with the quality and decoration of these accessories also reflecting the wearer's status. Common people, on the other hand, had to make do with plain leather belts. The positioning of the belt was also significant: while men usually wore it at the waist, it was fashionable for women of higher status to place the belt low on the hips, which was considered particularly elegant. Pouches worn on the belt served not only practical purposes but could also be artistically designed to display the wealth of their owner. This combination of functionality and status symbolism made belts and pouches particularly expressive elements of medieval attire.

Cloaks and Mantles
Cloaks and mantles were particularly expressive garments in terms of social status. Nobles often wore long, flowing cloaks made of precious fabrics such as silk or fine wool, often lined or trimmed with fur. The length of the cloak was an important indicator: the longer the cloak, the higher the rank. Kings and high nobles wore cloaks that reached the ground and often had a train. Color also played an important role, with purple long reserved for nobility. Citizens wore shorter, less elaborate cloaks, while the poorer classes had to make do with simple, functional cloaks made of coarse wool. Especially in the colder regions of Europe, fur-lined coats were a clear sign of wealth and power. The choice of cloak or mantle was thus a conscious decision that not only served practical purposes but also conveyed a clear message about the wearer's social and economic status.
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https://en.m.wikipedia.org/wiki/Clothin ... cient_Rome

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Clothing in ancient Rome generally comprised a short-sleeved or sleeveless, knee-length tunic for men and boys, and a longer, usually sleeved tunic for women and girls. On formal occasions, adult male citizens could wear a woolen toga, draped over their tunic, and married citizen women wore a woolen mantle, known as a palla, over a stola, a simple, long-sleeved, voluminous garment that modestly hung to cover the feet. Clothing, footwear and accoutrements identified gender, status, rank and social class. This was especially apparent in the distinctive, privileged official dress of magistrates, priesthoods and the military.
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Added in 4 days 17 hours 53 minutes 19 seconds:
Re: Zariel


This is A.I. but very impressive and amazing.

[kFoyauextlH]

https://castlevania.fandom.com/wiki/Doppelganger



https://tvtropes.org/pmwiki/pmwiki.php/ ... wArchetype

https://tvtropes.org/pmwiki/pmwiki.php/Main/Shadowland

https://tvtropes.org/pmwiki/pmwiki.php/ ... ppelganger

https://tvtropes.org/pmwiki/pmwiki.php/ ... orUniverse

Added in 8 hours 42 minutes 16 seconds:
I was going to write more on this. That long ago there were literally less reflective surfaces and reflections, and people were dependent on others to inform them of how they themselves looked, and in art there was perhaps a lot more similarity than difference, which may have also been physically true as I read the skeletons if Vikings are hard to tell apart because the men and women looked much more similar so the men have more feminine skulls and the women have more masculine skulls but basically they must all look more feminine, also like how the old art seems to depict people looking young, with smooth features, what is typically associated with a female appearance, but then I also showed the article of the bearded woman who was thought to be a spiritual figure potentially, who was found with the buried boat or whatever that story was.

So there were less reflections, then there were more and more, and now the phones and constantly looking at faces centered as if they are mirroring us. This is all very new, since even in the past, people did not just stare at centered art pieces, and the art pieces didn't dictate things to them except occasionally according to some reports, but now it is non-stop, mirrors and reflections everywhere. We're in the mirror universe, the one where everything is bad and dystopian that they show in the comics and cartoons, and we are constantly looking for the world where we aren't the evil doppelganger. There seems to be a whole project to surround us with mirrors as we are told that we are committing some sort of bad act or contribution constantly, and then are left to be either shameless or to pretend to care, neither option being really fulfilling with a cut circuit buzzing and sending out sparks in the background from the exposure to an accusation, even if it is an annoying one overall. Like, we are doing wrong, hurting people, wasting money, sending it to the wrong people and places, blah blah blah, we are bad! Look at these people, look at yourselves! They are horrible, you are just like them, you are all poor, ugly, decaying versions of your ideal selves, of your hope-selves from childhood, what you thought you could be, your potential. Dark Elves.

In the show Moon Knight, the mirror reflection plays a role, as does it in the Occult themed show called Requiem, which has the actor from a favorite show of mine called Plebs.

So I had just been thinking about all that, and this shows up:

https://images.bigbadtoystore.com/image ... a47eca.jpg

Then a few moments later, it said on a news sote "this is recommended for you"

https://www.cbc.ca/news/canada/edmonton ... -1.7649389

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Meet your mirror image: How a friendship formed between two doppelgängers
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An article which just came out on October 5th! So it wasn't like it was totally just the algorithm A.I. stuff finding some old thing because I had been looking up "doppelganger" from Castlevania.

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It gets weirder though.

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Because he and his relatives were feared by the people for their supernatural powers, the Belmont Clan lived outside of society.[1] Trevor is renowned for being the first man who defeated Count Dracula.
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I look like Count Dracula from Castlevania, and even use one of the toy versions to trick A.I. into making an appearance more similar to mine. I also liked how Trevor Belmont in the "Pachislot" version of the game looked, which the "doppelganger" comes from, and thought of that appearance as a model or a guide for my own, a representation of how I look and also want to look, which is similar also to this:

https://64.media.tumblr.com/1d545348f3f ... o9_500.pnj

That appearance was based on Alain Delon.

This theme had already been coming up through the Thorfinn Rowle similarity, and that he was a villain, but we always are, unwillingly and unfairly so, because we're living in upside down world, where they call the names of my God demons, where everything is opposite, backwards, and upside down, so one us thought if as many, and illusions like that are considered more real than the fact that such is illusory, there may be no distinction one can really make except that they are making such themselves woth arbitrary lines and decisions for where one manifestation of the supreme algorithm begins and another begins, all things being a reflection of one.

https://en.m.wikipedia.org/wiki/Reflection_(physics)

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Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated. Common examples include the reflection of light, sound and water waves. The law of reflection says that for specular reflection (for example at a mirror) the angle at which the wave is incident on the surface equals the angle at which it is reflected.

In acoustics, reflection causes echoes and is used in sonar. In geology, it is important in the study of seismic waves. Reflection is observed with surface waves in bodies of water. Reflection is observed with many types of electromagnetic wave, besides visible light. Reflection of VHF and higher frequencies is important for radio transmission and for radar. Even hard X-rays and gamma rays can be reflected at shallow angles with special "grazing" mirrors.
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https://en.m.wikipedia.org/wiki/Specular_reflection

https://en.m.wikipedia.org/wiki/Echo

This theme also came up through Carl Stucky and the "Dark Presence", as well as by Native American stuff coming up again, since that has to do with:

https://en.m.wikipedia.org/wiki/Underwater_panther

The mirror world.

Added in 15 minutes 59 seconds:
In Space Adventure Cobra, that was him from the past, as well as him from his dream simulation, which we can believe represented the truth or that he is still in the simulation.

In my own fiction, tma Dracula-like character that looks like that is from another realm separated by a portal that looks like a mirror, and gets his head separated from his body between the two realms, and so his body remains behind and ends up with a cult surrounding it, because he was a revolutionary figure already, and the head ends up being connected to the body from the other side of the mirror, since everything in each mirrored realm tends to be there in the other realms but in some other form in the way it manifests, but here there was a collision where the two mirrored versions of oneself crossed and were interrupted so only the heads got through on either side and the people on the one side think that it is just that guy's head rather than knowing or assuming it is the head of the mirror version. The world he comes from is more magical and fantasy-like as compared to the one he enters as a head which connects to the other body.

https://en.m.wikipedia.org/wiki/Phantom ... acy_theory

Something like this has been coming up too, but in my version it has to do with incremental changes in timekeeping which is disrupting a lot of things, and similar to there being fewer reflections before, there was also much more relaxed time keeping in comparison to today where reminders of time are everywhere, looked at constantly, and depended on while they are thought to be precise, but often slightly differ and move irregularly in some cases, so that people are finding many of their devices are out of sync when they aren't relying on the same technologies or networks.

Added in 2 minutes 6 seconds:
https://www.apolloimperium.com/article/ ... te-reality



1:01

Added in 11 hours 15 minutes 9 seconds:
Japanese are not obsessed with doing something totally different and breaking all the rules constantly, or so arrogant that they don't train properly.

This is music for a casino-like slot machine lol, and they gave it their all completely in the music, the art, everything they put towards something that the people playing such games might not even be very interested in, but they didn't just give a poor effort because of that. Meanwhile, other countries give the poorest effort for even things that are going to get so much attention. Like Taylor Swift's latest album that was rushed out right after her extremely successful Eras World Tour, is pretty terrible, and is very generously excused as "experimental" because it is childishly bad, breaking all kinds of rules, unmusical, boring, placing weird emphasis on words that seem pretty irrelevant, which is why A.I. even can seem a lot better by imitating more standard forms or meeting expectations for poetic emphasis on certain words and visuals and sticking more closely to themes being brought up or developed. The music is record breaking and totally undeserving, and meanwhile this old slot machine music has someone putting in such a tremendous effort, and they have so much technical skill and knowledge, and great taste and talent, and they are probably some largely unknown person.

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After graduating from Toho Academy, he joined Konami in 2006. During his time with the company, he was only associated with pachinko titles, such as the Magical Halloween series and the Pachi-Slot installments of Castlevania . He left Konami during the production of the Pachi-Slot version of Metal Gear Solid 3: Snake Eater in 2016.

Released from his former employer, he created the Izene music studio in the following weeks, as well as more oriented subsidiaries (Wemu: specialized in receptions, Oto no Agito: a music school, then Inspion: focused on video game and animated projects). He recruited a large number of musicians into his company, including former colleagues.

Among his works during this new era, he participated in the soundtrack of games such as Super Smash Bros. Ultimate , Catherine: Full Body and Final Fantasy.
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https://forgottenrealms.fandom.com/wiki/Zariel

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