#Lapidarium

[arhidarium]

#archiblr #summer vibes #holiday #lapidarium #croatia #workaholics #lol #zove se Bingo #Hemingaway with me ^^ #motivation

[intermerker]

#lapidarium #karcino #friedhof #cimitero

[albertflorentin]

Cladirea Lapidarium Vacaresti renovata in proportie de 90%

Clădirea Lapidarium Văcăreşti din cadrul Centrului Cultural Palatele Brâncoveneşti este aproape finalizată.  Lucrările sunt realizate 90%, termenul de finalizare fiind sfârșitul lunii iunie 2024. Aceasta este o altă investiție abandonată de administrația precedentă. Proiectul a început în 2012 și a fost sistat în 2016. Nu s-au mai alocat fonduri, iar construcțiile s-au degradat. În 2022, au…

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#Lapidarium #Vacaresti

[wishknots]

Book Review: Lapidarium - The Secret Lives Of Stones by Hettie Judah

If, like me, you are interested in gemstones, not just for the pretty shininess of them but for their properties and nature then this book by Hettie Judah is a must for your gemmology library. Following a 3,000 year old tradition, which can be traced back to the Babylonians, Lapidarium is a catalogue of 60 gemstones, their history and their secrets. This book covers some little known facts about…

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#Birthstones #book review #chakra #gemlore #gemmology #gemology #gems #Gemstone book #Gemstone Properties #Gemstones #geology #healing gemstones #jewellers book #Jewellery Making #jewelry book #Lapidarium #lapidary #review #semi precious #stones #Wish Knots

[judgingbooksbycovers]

Lapidarium: The Secret Lives of Stones

By Hettie Judah.

Design by Holly Ovenden.

#Lapidarium #Hettie Judah #Holly Ovenden #books #book covers

[mystery-whisperer]

Coffee, honey, and cheese - a sensory trifecta

Behind my back, an old Lapidarium whispers

Words from early Anno Domini in a forgotten tongue

I feel a surge of inspiration, an urge to write poetry.

#kotor bay #lapidarium #dark academia #coffetime #old town

[maksimlustiger]

Medialne bodźce

      Tak jakoś niezdarnie mylę rzeczywistość z mitologią.

       Przestaję rozróżniać fikcję od realności.W zdumiewającym pędzie wydarzeń, uderza jedyny constans .......zmienność.

      Ależ to zaprzecza logice i zdrowemu rozsądkowi.

      Ustawiczne flow lub nieustanny streaming albo wartka rzeka przypadków niesiona poprzez portale społecznościowe.

       Łaknący połykają miliony informacji w ciągu tygodnia.Pozorny chaos , z którego wyłania się apokaliptyczne sedno.

       Uderza zbiorowy mord w Buczy ( około 400 ofiar, głównie ludności cywilnej ) lub mord w Iziumie na Ukrainie ( również około 400 osób , w tym kilkunastu torturowanych żołnierzy ze spętanymi rękami.Nasuwa się smutna analogia z Katyniem).

       Jakby zrównanie emocji zawodnika z Game War z realnymi odczuciami w przestrzeni Tu i Teraz.

       Sama nie wiem.Przestaję rozumieć.Być może do szokującego momentu odczucia katastrofy militarnej  tuż za rogiem, w dzielnicy, mieście, państwie....?

       Ryszard Kapuściński pisał lapidarnie lub nie w “Lapidariach” swoich o rzeczywistości mediów, o channel surfer’ach , przeskakujących z pilotem w ręku z kanału na kanał, przebodźcowanych tak dalece, że nie odróżniających wydarzeń autentycznego unicestwiania ludzi od fikcji filmu grozy.

       Jakby celowy zabieg Mocarzy Tego Świata ustanawiających Nowy Ład oparty na medialnym zgiełku.

       Świadome sukcesywne wdrażanie masowej świadomości w tryb pozornych wydarzeń opartych na przemyślanych wabikach skojarzeniowych.

        Bodźce uruchamiające potrzebę posiadania lub łaknienia, wyzwalające obawy i strach, w dalszej kolejności chęć ucieczki lub eliminację przeszkody.

        Ile w doniesieniach medialnych z pól bitewnych faktografii, ile reżyserii strachu?

        Mam podskórne wątpliwości, może wynikające z  jakże specyficznego trybu odosobnienia.Jestem z dala od mediów.Być może to osobiste oderwanie nie sprzyja właściwemu wnioskowaniu.

        Czy Prezydent Zełenski wciąż jako Jedyny Potentat i Telewizyjny Monopolista uelastycznia front filmową scenografią  ku przestrodze?

        Życzyłabym sobie błyskotliwego interlokutora, co wywiedzie mnie z mroków domniemań niemal pasyjnie bolesnych.

        Czekam cierpliwie na grom z jasnego nieba doniesień medialnych lub realnego dostawcę nie marzeń , lecz brutalnej rzeczywistości.

#ryszard kapuściński #lapidarium #zełenski #wojna

[markowe]

#sandomierz #lapidarium #podratuszem #burger https://zakamarkiswiata.pl/restauracja/lapidarium-pod-ratuszem-sandomierz/ (w: Lapidarium pod Ratuszem) https://www.instagram.com/p/CjxwTW8IUmR/?igshid=NGJjMDIxMWI=

#sandomierz #lapidarium #podratuszem #burger

[canticleofcanticlesforleibowitz]

#in the gloaming #oh my darling #treasure frey #hiding in the lapidarium

[jokeroutsubs]

You won't impress Slovenians by singing in English

After two albums, Cvetličarna, Križanke, Exit, and Eurovision success, now a sold-out Stožice arena.

Jan Peteh, Kris Guštin and Nace Jordan are still amazed by their success abroad. Photo: Leon Vidic

The group Joker Out, consisting of singer Bojan Cvjetićanin, drummer Jure Maček, guitarists Kris Guštin and Jan Peteh, and bassist Nace Jordan, is riding the wave of their Eurovision success and reaping their first international successes. We talked to the band's string players about international breakthrough and tonight's concert in Stožice Arena, which has been sold out for a while.

I first saw you live years ago at the Ljubljana Castle lapidarium. What's your view on gaining concert mileage?

Kris Guštin: Without smaller gigs, you never make it to big ones. Each gig adds something to your experience. The more unusual it is, the more you learn from it. We've had quite a few unusual gigs.

Which place that you performed at did you find the most unusual?

Jan Peteh: Postojna cave was probably the least typical concert venue we've performed at. I think I didn't need additional reverb for the hall, but I had it because of the radio broadcast. It was a really unusual concert for us because it was for a seated audience, which we're not used to. We're also not used to stalactites hanging above us. (Laughter.) Kris Guštin: Eurovision was also a very special performance. Completely different from anything we were used to up until that point.

Were you scared at all?

Kris Guštin: It's quite an imposing feeling when you step onto that empty stage during rehearsals. Luckily, you have eight performances in front of an audience before the live broadcast. So there's no big panic, but it is weird because you have to look at the cameras. It doesn't matter what your hands are doing, because everything, other than singing, is playback. You have to be focused on how you're moving, not what you're playing.

That wasn't very natural for you.

Kris Guštin: No, but on the other hand, I think we happily accepted the challenge of Eurovision. Nace Jordan: I'm the freshest member of the band, so I haven't performed in unusual places with them yet, because we were already performing on bigger stages by then. However, before that, I played in many weird places with other bands. Kris Guštin: For example, Nace played at my prom. (Laughter.) I didn't know that at the time, but I remember dancing to Silvija. It was the best.

Our last interview was before your double sould out concert in Ljubljana's Cvetličarna. At that time, I gave my article the visionary title of The hottest young band. That was followed by, among other things, Križanke, Exit, Eurovision, and now the sold-out Stožice arena. It's almost like it was all self-evident.

Jan Peteh: Should we expect the title 'the hottest old band' now? (Everyone laughs.) Kris Guštin: It's not that self-evident. I'm actually torn about this. On the one hand, it seems like everything happened naturally, step by step. On the other hand, we sold out Stožice arena months ago already. Maybe the sold-out Stožice arena isn't even that important, what's more important is that we brought the Slovenian language abroad with our music. That's even more unusual to me. I think that we were physically and mentally well-prepared for every new step we reached, and that we reached it at the right time, when we were mature enough. Nace Jordan: A lot has been happening to us recently, so we haven't even really had the time to truly reflect on our past achievements. When you're taking these steps, you don't think about how many you've already taken, but rather, how many you still have to take. So we're focusing more on the steps still in front of us. Jan Peteh: Oh, that was a nice way of putting it.

Relatively quickly, you achieved something that is out of reach for most Slovenian musicians: serious tours abroad. This current one should almost be called "The Sold-Out Tour".

Jan Peteh: We wish we had more time to get to know the cities we perform in, and not just their hotel rooms, concert halls and clubs. You can travel the whole world and not actually see anything. (Laughter.) Kris Guštin: But you do remember the concert halls very well. It kind of scares me that I've gotten used to living in hotel rooms. They're very cold, not homely, empty, and they have nothing you can get attached to. Except having to sleep there so that you'll be fine the next day. It's simply a necessary evil, and it's a lot nicer to come back home, to your own bed.

It's clear that many people abroad have accepted you as their own, regardless of the fact that you're singing in a language they don't understand.

Jan Peteh: That's true. Even in Slovenia, we were already under the impression that you can't know if you will make it by singing in Slovenian. Let alone making it abroad. If you're really daring, you might wish for some success in former Yugoslavian countries. There's also this duality where in Slovenia, you might make it in Slovenian, because Slovenians won't be too eager to listen to you if you sing in English.

Quite a few Slovenian bands started out singing in English and only had actual success when they started singing in Slovenian. For example, Hamo & Tribute 2 Love, Koala Voice…

Jan Peteh: I think it's nice that in Slovenia, we prioritise musicians that make music in Slovenian. But it gets complicated in regards to reaching international audiences. Except with an exceptional opportunity like Eurovision.

Out of all the Slovenian Eurovision representatives until now, you have had the biggest reaction.

Kris Guštin: That is true, but I don't even know how it happened. I was convinced that we would be just another band there, singing in a language no one understands. I believe in our music one hundred percent, but I think that there are tens of thousands of bands in other countries who also one hundred percent believe in their music. Why would international audiences, who will have seen and heard us for about three minutes, accept us as their own? It's clear that we gave something more, but even we can't determine what it was. It's wonderful that a part of the audience received it that way. Now we get to meet them in real life too.

I have a feeling that your audience isn't a typical Eurovision audience.

Nace Jordan: Clearly these days it is. (Laughter.) But I think that the more we perform abroad, the fewer Eurovision fans there are in the audience. When I talked to the audience in Sweden and asked them if they had watched us at Eurovision, most of them laughed at me. Less than half of them said yes. I never would've thought that we would move so quickly from the Eurovision environment to a different sphere. We've probably lost some of our Eurovision audience on the way. Many people don't care about the previous Eurovision anymore and are already looking to the next one. Kris Guštin: I feel like, from the start, most performers aren't counting on having live concerts, but on having a music career on the internet and TV. Maybe a big plus for us was that immediately after Eurovision, we went on a tour, which is still ongoing. We made good on what we were selling before our Eurovision performance, that we want to perform abroad. We added a certain dimension, which reflected in the audience's reaction.

Original article by Delo.

Translation JokerOutSubs

Proofread by IG @ GBoleyn123

#joker out #jan peteh #kris gustin #nace jordan #jokeroutsubs #kris guštin

[rpgsandbox]

Memento Mori - A Roleplaying Game of Dreams and Corruption

Actual photo of the first edition of Memento Mori

Memento Mori is a folk-horror roleplaying game set in Europe in 1347.

The Black Death is exacting its toll on Europe, and it will quickly exterminate a third of the population. The characters are a group of Drifters, infected people who come in contact with dark creatures from folklore due to their condition. With every new horror they experience, the characters will become ever less human and increasingly similar to the creatures they are fighting.

Only the Dream burning within them can keep them alive. What will they sacrifice for it?

Actual photos from the Italian edition of Memento Mori

Memento Mori has an original game system created to highlight the process of corruption and transformation undergone by the characters.

The system uses two pools of six-sided dice distinguished by color. White dice represent the human skills of Drifters, while black dice represent the supernatural powers and monstrous features that they develop.

The Drifter Sheet

When rolling dice, the Players’ objective is to roll as many 5 and 6 as possible in order to overcome the difficulty set by the Narrator. The powers developed during the Drifters’ adventure come at a steep price, because the Players are forced to choose a part of their character to sacrifice whenever the corruption grants them a new ability.

Every element on the character sheet is subject to change in order to achieve their Dream and unlock new powers.

We will produce 3 books for Memento Mori, plus a book-shaped box containing official dice and tarots. You will only need the Memento Mori corebook to start playing.

MEMENTO MORI: [Corebook] 200+ pages in black and white, hard cover, A5 format. The corebook contains everything you need to play, the setting, and a short introductory adventure complete with four Drifters ready to play. All neatly binded, with a canvas-style hardcover with gold lettering, and a ribbon bookmark.

CODEX GIGAS: 200+ pages in black and white, hard cover, A5 format. This expansion is composed of Addendum (setting), Bestiarium (creatures), Herbarium (plants), and Lapidarium (minerals). Thanks to the supernatural myths, descriptions, treasures, and ingredients in this book, the Narrator can lead the group of Drifters beyond the boundaries of the known world.

EX VELUM: 150+ pages in black and white, hard cover, A5 format. In this compendium of esoteric knowledge from Beyond the Veil you will find everything that was previously kept secret from Drifters because too dangerous and too powerful. Rules to use Tarot cards, and menacing revelations, a Lost Bestiarium (secret creatures), Legends from the Ephemeral Land (prominent individuals), and a Grimorium (rituals and magical items).

ARCA FATI: Box shaped like an A5 hardcover book. This box holds the most precious materials from this edition of Memento Mori. The Tarot deck and the custom-made dice, as well as many other surprises that we may unlock as stretch goals during our campaign. NOTE: You will need the Ex Velum supplement to use Tarots in Memento Mori.

DEATHLESS EDITION: Slipcase with a detachable magnetic 3-panel Narrator Screen. This slipcase holds the 3 Memento Mori books, and the Arca Fati box. The front is a detachable 3-panel Narrator Screen that features summary tables for all the main game rules.

Backerkit campaign ends: Feb 8, 2024 at 10:59pm GMT.

Website: [Two Little Mice] [facebook]

#RPG #backerkit #Memento Mori #Two Little Mice

[demi-shoggoth]

2023 Reading Log pt. 14

Where the hell did November go?

66. New World Monkeys: The Evolutionary Odyssey by Alfred L. Rosenberger. In the introduction, the author laments that there aren’t any good books outlining the evolution and ecology of the New World Monkeys. If that's the case, there still aren’t. This book does alright by the ecology part—it has good summaries of the anatomy, behavior and feeding interactions of the covered monkeys. But the evolution is a mess. Rosenberger’s take on the evolutionary relationships between the animals covered here is iconoclastic, to say the least. He distrusts molecular phylogeny, uses synapomorphic characters that are basically just vibes, and has an entire chapter dedicated to lambasting the idea that any mammals could disperse across the Atlantic Ocean from Africa to South America (the consensus explanation) in favor of a hypothesized trek through Greenland and North America that has no evidence and still requires open ocean crossings. This was an incredibly frustrating experience to read, because there’s enough good content among the dross that I didn’t want to just abandon it.

67. Seaweeds of the World by John H. Bothwell. The weakest of Princeton University Press’ “X of the World” series. For one thing, the subtitle is usually “A Guide to Every Family”, whereas here it’s “A Guide to Every Order”. The book’s general coverage of seaweeds is pretty good—it explains why “seaweed” is a polyphyletic category but still useful in common English, explains the anatomy and the complex life histories of seaweeds. But the actual coverage of groups is lacking. Again, it doesn’t cover every family. And it’s more interested in seaweeds of economic importance than it is in their actual ecologies. Plus the writing is just kinda boring. This is the first entry in this series I do not recommend.

68. Lapidarium: The Secret Lives of Stones by Hettie Judah. Now this is more like it! This book is a series of short essays about stones and their cultural impact. I’m a sucker for cultural histories in general, and this is a very good one. I especially liked that it doesn’t just cover gemstones, as I originally expected, but also stones used in art and architecture, resources like coal, and the use of earthworks in religion. The focus is much more on the culture than the geology, but the book does discuss things like deposition of sediments and how metamorphic rocks yield gemstones in explaining why certain places have certain rocks. The book is also lovely to look at, with minimalist bands of color along the sides of the pages in the hues of the stones covered in that chapter.

69. Monsters and Monarchs: Serial Killers in Classical Myth and History by Debbie Felton. I was excited for this one. I had read Felton’s chapter in Monster Anthropology, which suggested that Greek traveler’s tales about werewolves and the murderous robbers encountered by Theseus in myth were both expressions of cultural fears about serial killers. Unfortunately, that article already covered the bulk of Felton’s actual argument and evidence, and this book is those 20 pages fluffed to 200. The only other really good material is some coverage of the distinction between Greek and Roman attitudes towards law and order, and what “counted” as murder in each society. The rest of it is handwaving and extrapolation from very little data, with just about every instance of mass killing that we have records of, from political uprisings to court intrigue, being taken as the work of a possible serial killer. Plus, the author is a Freudian, so we have to hear about coded references to rape and sexual violence in stories where there really aren’t any. Sometimes a bed where you get your legs cut off is just a bed.

70. Cult of the Dead: A Brief History of Christianity by Kyle Smith. They say you can’t judge a book by its cover, of course, but that title and that cover made an instant sale for me. I’m glad it did, too, because this is a good one. An explanation of the importance of martyrdom to Christianity, it does an excellent job of explaining why, exactly, so many people were willing and eager to die for their faith, and how this persisted in building a persecution complex among the dominant European religion for centuries. The book avers from discussing the present day for the most part, tapering off with the work of reformist Catholics poring over the many, many legends about saints and trying to determine which, if any of them, represent actual historical events rather than religious fictions. Other topics covered include the trade in relics, the role in martyrologies in shaping the modern calendar, and how women could most easily play a role in the Church through the mortification of the flesh. The book is eminently readable and very well illustrated.

#reading log #christianity #comparative religion #seaweed #classical mythology #classical greece #classical rome #new world monkeys #evolution #ecology #geology #cultural history

[intermerker]

#cmentarz #friedhof #cimitero #lapidarium #cemetery

[ghoulnextdoor]

Lapidarium: The Secret Lives Of Stones Book Review, Mini-Interview, And Giveaway – Unquiet Things

[violsva]

April Reading

This month I finished a queer historical romance debut novel by an author named Emma and then started a queer historical romance debut novel by an author named Emma.

Recent: Don't Want You Like a Best Friend by Emma R. Alban, very cute, recommended if you want cute Victorian lesbian romance. Also some very nice RWRB fanfic, with ideas I wish we saw more of in fiction/writing in general.

And finished Quiet Pine Trees which was a great time all round.

At work, Biggles Goes to War by W. E. Johns - if you want to read good mid-20thC boy's adventure fiction, pick a Biggles book set somewhere European and enjoy yourself.

Arsène Lupin by Maurice Leblanc, translated and possibly also adapted by Edgar Jepson (sources are unclear). This was fun, and I read a few of the short stories, but I did guess the twist on all of them, and in the novel I guessed it by chapter 5. Which isn't necessarily a bad thing, and probably says more about the development of mystery fiction over time than about my abilities, but it loses its charm when you read a bunch in a row. LOVED Sonia, though, I want something with her as the focus. Also, the last scene of this was so slapstick I wonder if it was an inspiration for Bugs Bunny.

Grim Tales by Edith Nesbit - much more romantic than the other ghost stories I've been reading lately, which were mostly by men and frequently by bachelors. Which of course may say more about the markets she was writing for than about her own tastes.

Current: One Night in Hartswood by Emma Denny, enjoying it so far but not very far in yet.

Lapidarium: The Secret Lives of Stones by Hettie Judah, because I have been wondering if my brain would like nonfiction better right now, and this is exactly the kind of nonfiction I wanted.

Closed some AO3 tabs, opened some more AO3 tabs.

At work, Three Men on the Bummel by Jerome K. Jerome, which manages to avoid the frequent difficulties of Victorian Brits writing about Europe by making fun of Britain just as much. Also, I've never been to Germany but much of his description of it reminds me startlingly of the American Midwest. Yay bicycles.

Future: Either A Connecticut Yankee in King Arthur's Court or The Experiences of Loveday Brooke, Lady Detective, depending on what I feel like. Also most likely more RWRB fanfic.

And now to go make French toast for dinner.

#books #reading #reading log #mystery

[spacecreamy]

Lapidarium é um tomo de desenvolvimento de uma história de ficção homônima feito por Nicholas Urenha (brancheers). Essa coletânea inclui rascunhos e explorações de personagens presentes no prólogo da narrativa, testes de como veicular essa história, e o desenvolvimento inacabado deste primeiro capítulo em quadrinho. A obra, além de ser uma carta de amor à fantasia, procura normalizar existências marginalizadas de todos os âmbitos, partindo do pressuposto que o que penetra o lugar comum, que de fato transforma o imaginário social e o cotidiano, é a convivência — e mais abrangente ainda é a convivência através da mídia, a empatia através da narrativa. Em seu cerne, é um apelo para que ninguém nunca mais se sinta invisível.