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Paris, 2 septembre 2024. Le triathlon a débuté à 8h 15 pour se terminer vers 1430-15h. Départ et arrivée au pont Alexandre III. Les épreuves par catégories ainsi qu'hommes-femmes s'enchainaient avec peu d'intervalle. C'est ainsi qu'on peut voir en même temps ou des athlètes courant seuls, hommes et femmes, ainsi que des déficients visuels accompagnés de leur guide. Le public était aussi nombreux que fair-play, l'empathie était forte, l'émotion au rendez-vous. Un beau moment de ce Paris 2024.
La foule ayant gonflé au fil de la matinée, pour voir correctement, il fallait s'éloigner du pont Alexandre III et faire un choix : j'avais opté pour la course à pied plutôt que le cyclisme.
Cf en commentaire, la vidéo postée hier du début de matinée.
www.flickr.com/photos/rcontensous/53966130471/in/dateposted/
If you know someone who is an empath, check on them- for we are not okay…
I went to the store this morning and as I walked through the store, I smelled the faint smell of a broken sewer line. As I turned the corner, I found that smell was from someone in a wheelchair being pushed through the store. They had no legs, wore gloves and a make-shift face mask, and I could see they were in dire need of care. The person with them was a registered nurse, so in some degree they were taken care of, but I just wanted to reach out and hug them- hold their hand and tell them I could read every degree of pain, hurt, and fear- tell them that it would be okay and there was hope… but I could not.
As I walked through the store all I could think of was how much I wanted to do something- anything. Before I could find them and offer to help pay for their groceries they had already checked out and were on their way out. After I checked out I went to my truck and sat for a good ten minutes just overcome with emotion. Four hours later, it’s just as real…
Theme: Life, Love, and the Pursuit Of Happiness
Year Twelve Of My 365 Project
Vincent van Gogh, né le 30 mars 1853 à Zundert, aux Pays-Bas, et mort le 29 juillet 1890 à Auvers-sur-Oise, en France, à l'âge de 37 ans, est un peintre et dessinateur néerlandais. Son œuvre pleine de naturalisme, inspirée par l'impressionnisme et le pointillisme, annonce le fauvisme et l'expressionnisme.
La Méridienne dit aussi La Sieste (1889–1890)
Huile sur Toile
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Website : MÉMOIRE DES PIERRES
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Contexte historique et généalogie de l’image
La toile a été réalisée entre décembre 1889 et janvier 1890, pendant le séjour de Van Gogh à l’asile de Saint-Rémy-de-Provence. Elle fait partie des œuvres de sa dernière période et figure aujourd’hui dans les collections du musée d’Orsay à Paris.
Van Gogh s’inspire ici d’un motif de Jean-Frédéric Millet : la composition provient d’un dessin (ou d’une gravure) lié aux « Quatre heures de la journée » / « La Sieste » de Millet. Van Gogh considérait Millet comme un maître de la représentation paysanne et a souvent repris et « traduit » ses compositions en intensifiant la couleur et la touche.
Description formelle (ce que l’on voit)
Format : huile sur toile, environ 73 × 91 cm (dimensions muséales).
Sujet : deux paysans allongés, un homme et une femme, reposant au milieu d’un champ fraîchement fauché ; à l’arrière-plan, meules, charrette et un paysan au travail. Près des dormeurs, détail important : les faucilles et une paire de sabots posés signes évidents du travail interrompu.
Composition et organisation spatiale
Van Gogh conserve la structure générale du modèle de Millet (deux figures allongées au premier plan, paysage agricole en profondeur) mais opère plusieurs choix formels qui transforment la scène :
La diagonale formée par le corps des dormeurs crée un mouvement visuel qui guide le regard de l’avant-plan vers l’arrière-plan.
Les meules et le champ derrière eux forment des masses géométriques simples (plans horizontaux et volumes arrondis) qui équilibrent la composition.
L’espace est relativement peu profond : Van Gogh aplatit légèrement les plans par le traitement de la couleur et des touches, privilégiant la surface picturale plutôt qu’une illusion d’espace profonde.
Couleur, lumière et touche
Palette : contraste marqué bleu / jaune les vêtements et ombres des dormeurs tirent vers des bleus froids, tandis que la paille, les meules et le sol sont dominés par des ocres, des jaunes chauds et des bruns. Ce contraste de complémentaires renforce la vibration chromatique et l’intensité lumineuse.
Lumière : l’effet est celui d’une lumière de midi, sèche et tranchée, qui écrase légèrement les volumes et accentue la chaleur du paysage méridional d’où le titre La Méridienne.
Pinceau : courte touche rythmée et nervurée, ondulations de la matière qui suivent les volumes (la paille, la texture des vêtements). Van Gogh « traduit » ici la structure du dessin originel en une « langue » picturale de couleurs et de coups de pinceau.
Sens et lectures possibles
Repos et dignité du travail paysan : la scène célèbre le repos du midi comme moment légitime et nécessaire après la tâche, sans pathos. Les objets de travail laissés à portée (faucilles, sabots) rappellent la réalité du labeur.
Translation symbolique : par la couleur et la touche, Van Gogh ne se contente pas de copier Millet ; il « traduit » l’économie de valeurs claires-obscures en une vibration chromatique qui donne à la scène une charge émotionnelle personnelle empathie, paix robuste mais aussi mélancolie contenue.
Rapport à l’artiste et à son état : peint pendant son internement, le choix du sujet paysans au repos peut être lu comme une quête de simplicité et de consolation dans la nature et les gestes humains ordinaires. La maîtrise intense de la couleur témoigne d’une énergie créatrice remarquable malgré les troubles personnels.
Technique et détails remarquables
Van Gogh amplifie les contrastes chromatiques et transforme la ligne millétienne en rythmes de peinture : par exemple, la répétition des coups de pinceau pour rendre la paille crée une texture proche du motif décoratif, presque ornemental.
Les vêtements bleus des dormeurs, loin d’être neutres, isolent les figures du paysage doré et focalisent l’attention ce bleu calme a aussi une valeur psychologique (repos, retrait).
Les éléments périphériques (le petit groupe de personnages/charrette à l’arrière) servent à inscrire la scène dans le cycle du travail agricole sans voler la primauté au repos des deux figures.
Position dans l’œuvre de Van Gogh
Cette œuvre appartient à la dernière période provençale de Van Gogh : recherches chromatiques intenses, reprise de modèles (Millet), et une peinture où la matière et le rythme pictural deviennent véhicule d’expression émotionnelle. La Méridienne illustre bien son processus : appropriation d’un motif rural traditionnel et transposition expressive par la couleur et la touche.
Observations finales (effet sur le spectateur)
La toile produit un double effet : au premier regard, une scène simple et calme deux personnes qui dorment puis, au second regard, une force picturale : la couleur et le geste de la main de Van Gogh transforment l’anecdotique en expérience visuelle palpitante. L’œuvre nous invite à comprendre le repos non comme absence mais comme moment riche, rythmé et essentiel, rendu par une peinture qui oscille entre compassion humaine et exaltation chromatique.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
I wonder how screenwriters begin to draw out her character? Maybe brainstorming over coffee and a white board with random words such as these. (check out Tom Kelly's ART of INNOVATION www.theartofinnovation.com/default.htm He and I chatted by email long ago during their heyday after creating the Palm V)
What would you add? My old college friend who's now a writer invited me to visit his monthly screenwriter's group. Got me thinking.
Biochemist, nano, ninja, Europe, Costa Rica, specimen, regiment, gene splicing, empaths, dancer, mafia, soldier, fever, hot zone, ancient languages, hypnosis, twins, camps, ballet, HEROES, cryogenics, poison,
Then I think music. Like director John Woo's famously ironic mixtures (Somewhere Over the Rainbow during a slow-motion shootout in the John Travolta/Nicholas Cage movie Faceoff). Or maybe just the serendipitously, simultaneously carefree and hypnotic songs by The Doors such as People Are Strange or Love Street.
I love discovering untapped potential. A fun example of this is in casting. Just like a producer and director, I look for that... something different... in a person. And then I go deep trying to describe to myself the impressions that person makes.
Mission Log # 11 – Second Planetary Survey of Ingemar
Star Date: 2551.06.10 11:00 hrs
The mission commenced at Resilient Base Briefing Room with the following crew present:
• Fazzy Constantine
• T5 “Tinman”
• Chastian Necrosa
• Noah Constantine
• Bansealgair
• Eric Regulus
The mission parameters were clear and simple:
1) Continue the investigation of the base discovered on Ingemar, which was evidently
abandoned by a group who were known to be collectors and concealers of large life forms.
2) Determine the age and function of the clearly older – and now submerged -- habitations
discovered on the first survey.
The team departed Resilient aboard the upgraded Kodiak and proceeded to the landing pad
on Ingemar. The flight was completed without incident, and the crew, consisting of all but
Tinman, departed the Kodiak for the base interior. They proceeded to the moon pool, where
the team appropriated one of the submarines discovered on the prior mission. The intent was
to better explore the submerged portions of the complex surrounding the base, using the probe
deposited on the last mission as a guidance beacon.
Upon submerging, it was clear that a much
holder habitation had been built, and given its configuration and construction, it was built with
the intent to be underwater. Brass-and-rivet beams around large panels of quarter-meter silica
glass were configured into at least two habitations, with what appeared to be a Jeffries tube
connecting them.
Much of the complex appears to be underground, but the submarine was not
equipped with scanning technology beyond SONAR. This would require more extensive
inspection, likely with EVA.
Aside from the underwater habitat, several other geological formations were encountered
including two caves, and at least two abyssal trenches. Life forms were encountered including
jellyfish, rays, tube worms, coral, and various marine flora. One configuration of coral appeared
to have several orbs embedded into it, similar to the ones recovered from Jasper McFudd, and
housed in the laboratory on Resilient. It was at this point that the survey took something of a
turn.
The submarine experienced a number of mechanical failures, with loss of propulsion and
buoyancy control. No cause could be identified within the submarine’s systems, but Bansealgair and Commander Constantine both felt a large presence nearby. At this point,
Chastian activated some portable shield generators to protect the crew. The submarine was
disabled, and oxygen and power supplies were running short. A moment later, from one of the
abyssal trenches in the sea floor, emerged a leviathan. Following a brief but loose collective
bowel movement from the crew, communication was commenced with the gargantuan
intelligence. The leviathan communicated. Listed below is the collection of remarks made:
• Humans. I know your kind. And you. Empath. You are in the wrong place. You cannot
begin to fathom our very existence.
• Impossible to leave now. You are under my serving. My servants, Thralled to control as I
please.
• Those orbs. Are my windows to the galaxy. I have watched your arrival. Your departures.
You fumble in the dark like small creatures. With each passing moment, you have no
doubt become experienced.
• [After the Commander requested assistance with our disabled submarine] My help?
There's nothing I can do for you.
• [After the Commander advises that the leviathan’s “brothers are still alive.”]
Impossible. There is...wait. It cannot be. You bear the insignia of the Shepard.
• I realize you have more orbs in the dwelling in space you call home...but my kind is
alive? We were the apex race. We will be once again.
• Very well. I will let you go. If you fight my creations...then you have my support. But I
am only doing this to see my brothers once more.
At this point, the leviathan receded into the abyss, with power and control of the submarine
returning quickly thereafter. The crew performed an emergency ballast blow, and surfaced
immediately. Once at the surface, the top hatch was opened and the crew had breathable
atmosphere. The vehicle, now depleted of battery energy, was abandoned and the crew swam
for the generator-level pad at the base, then ascended to the landing pad where Kodiak was
boarded for the return to Resilient Base.
Other Conclusions:
• The orbs recovered from Jasper McFudd appear to be palantíri, seeing stones, that allow
one to observe the activities surrounding all of the other stones. This was likely how the
leviathan was able to observe our actions. The orbs were destroyed, along with the
fume hood that housed them.
• Orbs or not, we are likely under the surveillance and possibly the control, of the
leviathan. It cannot be ruled out that this leviathan was behind our movements from
Idun, to Baldur, and the voyage to Tyr. The signals we have received from these various
destinations all may have the same creature as the origin.
• A return mission to explore the habitation carries additional risk of the leviathan
changing its mind.• There is an increasing probability that we may have to demonstrate our commitment to
“fight” the leviathan’s “creations” to remain free of the leviathan’s influence on the
team and to maintain its “support.”
Casualties: Two – Commander Constantine and Engineer Necrosa both suffered anterior
epistaxis. Paroxysmal cephalgia was reported by other crew members, but self-corrected.
Damage: None
• The submarine will need to be towed and/or recharged, but it is undamaged.
Follow-on Actions:
• More extensive review of the signals received from Tyr, Ingemar and elsewhere for
consistency and possible common origin.
• Increase telemetry with the undersea probe.
• Finish repairs to the fume hood in the laboratory.
• Library Computer research on leviathan history is indicated.
Ember is the 4th character in the Shadowlands collection, based on science fiction writings by the the author who commissioned the doll.
Ember is an empath healer with the gift of Sight. We find her on a desert planet oasis, dressing the finaries of her tropical island home: a flowing spidersilk gown and jewellery to adorn her body. She wears little bells around her ankles that tinkle as she walks.
The OOAK art doll is Inamorata 2.0 Charo with Busty body in Latte resin. Her pale skin is sunkissed and covered in freckles. The mohair wig is deep red has a complex braid pattern and gold hair ornaments. Her costume consists of a translucent silk gown of cream interwoven with gold threads, with matching sandals, a golden body harness decorated with natural stone beads, and the emerald green lingerie decorated with gold rings and beaded with Japanese glass beads.
This is doll is a commissioned artwork and not for sale.
Ember is the 4th character in the Shadowlands collection, based on science fiction writings by the the author who commissioned the doll.
Ember is an empath healer with the gift of Sight. We find her on a desert planet oasis, dressing the finaries of her tropical island home: a flowing spidersilk gown and jewellery to adorn her body. She wears little bells around her ankles that tinkle as she walks.
The OOAK art doll is Inamorata 2.0 Charo with Busty body in Latte resin. Her pale skin is sunkissed and covered in freckles. The mohair wig is deep red has a complex braid pattern and gold hair ornaments. Her costume consists of a translucent silk gown of cream interwoven with gold threads, with matching sandals, a golden body harness decorated with natural stone beads, and the emerald green lingerie decorated with gold rings and beaded with Japanese glass beads.
This is doll is a commissioned artwork and not for sale.
With the ever looming threat of Brexit and constant mishandling of institutions like the NHS, some have started to think that this is the beginning of the end for our green and pleasant land and although I reckon that is a bit of an overstatement it's certainly a worrying prospect.
Karen here has a superpower. She is a supremely sensitive empath and just can't handle all these negative emotions swirling around the nation. She's stopped looking at the internet, stopped watching TV, stopped listening to the radio, hasn't read a newspaper in months and now just completely refuses to talk to anyone in case they overwhelm her with their dark emotions. In fact the only thing she does nowadays is volunteer at a cat sanctuary run by cats although she can only just about handle it when the kittens start play-fighting. Can't we all just be nice?
Cheers
id-iom