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During a working trip to the Chernihiv region, President of Ukraine Volodymyr Zelenskyy, together with Vice Chancellor, Federal Minister for Economic Affairs and Climate Action of Germany Robert Habeck and Secretary General of the Council of Europe Marija Pejčinović Burić saw the consequences of the occupation of the village of Yahidne by Russian troops and the war crimes committed by them.
The Head of State, together with foreign guests, visited the school, in the basement of which the occupiers kept 367 civilians in unsanitary conditions, without water and food, from March 3 to March 30, 2022. Among the hostages were 50 children, including several babies - the youngest was one and a half months old. 11 people died, unable to withstand the inhumane conditions. Ten were shot by Russian invaders.
The President of Ukraine and the European guests talked with the villagers who were kept in the basement of the school.
"Thank you for the fact that you survived, managed to wait for our warriors and to tell the whole world about the tragedy that the Russian Federation, the Russian military, together with their leadership, their President, have brought to our land," Volodymyr Zelenskyy emphasized.
The Head of State noted that the residents of Yahidne have lived through terrible ordeals. According to him, about 400 people lived in this village before the occupation, and almost 370 people were kept in the school basement with an area of less than 200 square meters.
"They have been kept in the basement for 27 days. They survived – standing and sitting. 11 people, unfortunately, died. And all these people somehow lived in the dark and waited for the return of Ukraine," he said.
The President said that the prisoners wrote the names and dates of death of fellow villagers on the walls in the dark so as not to forget. And the children wrote the lines of the national anthem of Ukraine.
"It is extremely important that these people survived. It is extremely important that our troops de-occupy such settlements with real heroes every day," added Volodymyr Zelenskyy.
The Head of State emphasized the importance of the presence of representatives of our partners in the liberated territories of Ukraine, who can see everything with their own eyes.
"It is important to be in such basements in order to understand, in order to help Ukraine. To think about how to find a way to talk with the Russian Federation," the President noted.
Volodymyr Zelenskyy also thanked the local residents and the authorities who fought for their lives every day during the Russian occupation.
As a result of military aggression, all 173 houses in the village of Yahidne were damaged, 16 of them were destroyed. In addition, the communal property was destroyed - a cultural center and a first aid station. The school building was heavily damaged.
According to Vyacheslav Chaus, Head of the Chernihiv Regional Military Administration, thanks to funding from the state and regional budgets, thanks to volunteers and the Latvian government, which allocated funds for building materials and reconstruction, more than 100 houses were reconstructed last year.
Some experiences end outwardly before they end inwardly. The body grows still, the room quiets, the other person recedes into the background of the scene, and yet something remains active beneath the surface. This image does not concern the heat of pursuit or the threshold of decision. It concerns the residue that follows, the strange persistence of a desire that has already completed its immediate movement and nevertheless refuses to dissolve. A man sits on the edge of a bed under low lamplight, composed enough to avoid melodrama, yet no longer untouched by what has just passed. Behind him, a woman lies turned away, calm and physically near, but no longer the center of the scene. The real subject is neither her body nor the event itself. The subject is what stayed behind in him after the moment was over.
That is what makes the image more severe than one about temptation alone. Temptation still belongs to possibility. This belongs to aftermath. The room no longer pulses with invitation. No visible exchange continues. The atmosphere has settled. And yet settling is not the same as release. The man’s posture suggests that the decisive movement has shifted inward. He is not reaching back toward her. He is not moving forward toward anything else. He is seated inside the lingering fact of what has already occurred. The distance between them is small, but its meaning has changed. Earlier, nearness may have carried charge. Now nearness has become almost incidental. What matters is not what can still happen between them, but what has already begun to accumulate within him.
Phenomenologically, this image is about persistence. Human experience does not conclude neatly when its visible action stops. The self does not return to neutrality on command. What has been entered continues to reverberate through consciousness, altering mood, memory, and inward orientation. Meaning often arrives after movement. The act finishes first; interpretation comes later. The body slows down before the soul understands what it has allowed. That delayed recognition is one of the most unsettling truths about desire. A person can move toward something under the pressure of immediacy and only afterward discover that the real consequence was never confined to the act itself. It was lodged in the way the act continued living inside him once the room fell silent.
The image’s dark romantic quality therefore no longer lies in tension between two people. It lies in the echo left in one person after the tension has passed. That is a darker and more interior register of romance, stripped of glamour and left to show its afterimage. Whatever happened in the room did not culminate in fulfillment. It culminated in carryover. The moment is over, but the self has not become empty again. What was once felt as urgency now remains as residue. What was once vivid now turns formative. The room grows quiet, but the inward life grows louder by contrast.
Psychologically, this is a scene about the way familiarity deepens through repetition and aftermath. One of the most dangerous things about certain forms of desire is not merely that they recur, but that they leave behind a trace that makes recurrence easier. The self becomes altered not only by what it chooses, but by what lingers from those choices. The image names that process with unusual restraint. There is no visible regret performance, no collapse, no theatrical shame. Instead there is awareness. He sits with what remains. That awareness matters because residue is often more revealing than impulse. Impulse can claim intensity, confusion, heat, or hunger. Residue reveals whether the soul has truly passed through something or whether it has, in some sense, kept it.
This logic stands close to the book’s larger architecture. Confessions to the Empty Chair repeatedly presents inner life as something shaped not merely by isolated events, but by what those events leave behind in perception, habit, and spiritual orientation. The preface speaks of two contending strains, one loud and vain, the other sorrowed and beautiful, both continuing to score the author’s days rather than appearing as occasional interruptions. The memoir also insists that physical and spiritual reality are interwoven, so that what appears to end externally may continue inwardly with real force. This image belongs to that territory. Outward stillness does not mean inward resolution. The body may stop while the deeper consequence only begins to reveal itself.
The theological undertone emerges precisely here. Sin is not exhausted by the visible moment. It extends into what the moment leaves in the soul: altered appetite, remembered charge, a subtle reshaping of what now feels familiar. The file’s own internal commentary names this directly, describing the scene not as repetition but as residue, not as ongoing action but as an internalized persistence that becomes formative. That distinction is essential. The moment does not need to continue outwardly in order to continue spiritually. One does not escape consequence simply because the room is quiet. The self carries forward what it has inwardly admitted.
And yet the image does not close with condemnation. Its stillness preserves the possibility of recognition. Nothing escalates further. Nothing is intensified for spectacle. The man is not shown as shattered, only aware. That choice gives the scene its dignity. Awareness after the fact may arrive late, but it is still awareness. The residue itself becomes a kind of witness. It testifies that the act was not self-contained, that the self cannot move through experience without being marked by it. In that sense, the image’s sadness is also its honesty. It refuses the comforting lie that moments remain moments. Some become traces. Some become climates. Some stay.
Confessions to the Empty Chair — It Did Not Leave With The Moment is therefore not about the act that happened, nor even about whether it was desired at the time. It is about the lingering pull that survives the act and enters the structure of the self afterward. The room has gone still. The woman is no longer the focal point. The visible event has ended. But something did not leave when it was supposed to. It remained, quiet and interior, asking a more disturbing question than whether the moment is over: what now lives on because of it?
Consequences were turned upside down. Instead of coming after their causes, they tumbled furiously into the whitewater cascades, leaving only a trace of silicon--tinted a pungent shade of cyan.
The car of a civilian in Donetsk, burnt out by a “vampire” missile, is supplied to the terrorists of the former “Ukraine” by the Czech Republic... On New Year’s Eve, 4 people died.
Perhaps unbeknownst to you, dear reader, the week I spent traipsing around Borneo is known to the more studious types at NUS as 'reading week'. You know, that week when you, er, do all the reading for the numerous essays that tend be due in the weeks closely following reading week.
If anyone has been wondering why no mass email relating tales of adventure from the wilds of Borneo has been forthcoming, then wonder no more. Inundated by a crazy number of essays, I've been engaged in a frenzy of nerd-like activity trying to get the suckers finished on time.
BEIJING - launch of the Urban Flux magazine which featured the Architecture of Consequence exhibition
If Bluebell Medical Centre was a person, what would it look like? Students combined their drawing skills to create bizzarre embodiments of the new Centre; the bodies were a strange combination of patients, staff and medical instruments.
Marty Keiser & Sara Buffamanti in 'Artifacts of Consequence' at The Wild Project, April 2009
photo by Jeff Clarke
QuoteoftheDay 'One who is worried about the consequences cannot love.' - His Holiness Younus AlGohar
So imagine our surprise when this guy showed up on the feeder.I scrambled for my bird book, but couldn't figure our who he was. (More)
