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tortelette · 1 year

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Limbus Company! Meursault Headcanons:

"Manager, just tell me your orders and I will make it done.

This guy is a living example of a perfect employee: willing, obedient, does not complain, observant, and also efficient in his job.

He has a capability to do anything from corporate, housework, fieldwork, combat and many more.

And yes... even dancing. The reason he just never utter about it is to preserve his own dignity. This guy has his own standards.

He rarely changes emotions no matter where he goes. He is happy? Pokerface. Sad? Pokerface. Angry? Pokerface.

Trust me, it is difficult to make him furious. But if you did then get ready to meet the deepest scowl you ever seen in the face of the earth and the silent treatment.

He seems like he does not give a damn but he can be the most judgemental person you ever met yet he decides to close it off to not let it hinder his job.

He is an overthinker, already has a plan for himself on what he will do if there is no order given to him for his work.

Has a mental list of activities that he needs to do from when to sleep, when to eat, when to survey, and when to observe his colleagues.

He may seem like a normal person who you can converse with, but nope... he is not as different to those other weird colleagues of his.

Can have his own weird quirk when interacting with him, it is just that it is so rare to get it out from him so nobody knew what it is.

He may not look like it, but he is a bit of a messy eater at times especially with streetfood.

Has a high adaptive body clock and can be awake in the earliest or sleep at the latest time of the day. The shortest he slept might be around a couple of minutes due to him needed to overwork himself back then.

Prefers small talk, remember to not continue too much with the conversation with him because even a quiet person like him who save his breath can easily tire himself out in just speaking a couple of sentences.

Prefers the other person to talk a lot.

Hates explaining things that is already common sense. Or he just hates explaining in general.

Likes specific orders from those above him, that way he can do it even more efficiently than before.

Out of all the sinners in Limbus Company, he is the strongest in terms of physical strength. In his mental schedule, he has a time where he is exercising although no one knew where he is exercising.

His eyes are a bit sensitive to sunlight and his complexion even makes him get slightly irritated even when a drop of sunlight touch on it. His skin easily gets flushed from the light, that is how sensitive he is.

He likes reading and such, if no one is looking then he whips out a small book for him to read to pass the time. Some of these books are more about professional and academic books.

Highly profecient in mathematics, quick to use a scientific calculator.

He prefers interacting with quiet people and to those who can understand him.

Oftentimes, likes Don Quixote's energy during supremely silent rides in the bus. It gives him a bit of a change in phase around and familiarity that his colleagues are still with him.

He has no dreams whatsoever in his sleep.

Gets promoted a lot in every company he works at, give him a week to start and suddenly heard him getting promoted so he is not fazed about this since it is common.

The only way for him to be distracted is by giving him something solve. Either a Rubik's cube, a crossword puzzle, sudoku and more. He gets hyperfixated on those.

He doesn't say this to anyone but he loves spending a normal night with tea and some desserts with a chessboard that he plays alone. Bonus for him when you are a silent company for him to be with, what matters for him is the presence of people.

He is highly observant and has a photographic mind. If you want to just read terms and services just in case, give the paperwork to him and he will read it quickly in a fly.

Easily forgets events that is happening to his colleagues like birthdays, anniversaries, meetups, and reunions. He found no interest or reason to go there to send his regards.

The only time he can smile is that when he provides his service to others and saw how genuine, happy, and content they are from his work.

The only time where he can talk a lot is when he is reporting. Only that.

Sensitive on how people view him at times yet he trained himself to ignore them.

Although the lingering whisper of their voices still haunts him to this day.

He never forgets faces, so if you cross him then pray to god you were not in the back of his mind.

Can undergo high amounts of stress, yet when he is at his breaking point he would just rest and drink something to cool himself off.

The reason why he prefers using gauntlets as his main weapon is because he needs to use his own bare hands in case of any danger come to him unprepared when he has no weapon to aid him.

High talent in any form of martial arts. Can only learn by watching.

Adept at speaking English, Korean, French, Spanish, and German.

For some reason, he is the first person who will know on what happens on a district before news came out of it.

He is not well versed in making friendships, tends to be alone most of the time.

Autistic... but due to his composition, people believed that he is a focused workaholic.

He can sleep while sitting up on a chair, more likely... he can sleep anywhere.

An absolute realist (This is the religious part but man his new dialogues show how interesting he is in various capacities.)

He found Gregor's botched acting amusing.

Believes in ghosts and spirits, tends to be superstitious most of the time although he hid it well to others.

He makes a ton of logs about his daily life, in order to recollect and study his memories.

Has different penmanship, one time he can write like a doctor, then he can write like a calligrapher, then he can write like a normal person. Hence his signatures can be different from time to time.

Very smart in science and chemistry, once took part in creating an invention that can replace energy in the entire City to a more efficient one. But he never mentions what they are.

Can't understand emotions, he just really can't.

Really like training and studying, providing him these things and will be happy.

Never likes festivals, just like staying in home or in a nearby cafe to watch the cloudy sky.

He joined Limbus in hopes he can find the answer he was searching for in his life.

Likes to provide additional info even at the most useless object there is to mass.

He often likes the rain, gives him a settled mind when at least hearing the raindrops outside the bus.

Everyday he will give the manager a letter of what he did and what the other members are doing. Expect long ass paperwork from him.

"My work here is done, if you are satisfied with my output please take some rest while I keep watch."

#limbus company #limbus company meursault #limbus company headcanons #limbus company meursault headcanons

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conser2restor · 2 years

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Former Hospital of Meursault's Conversion / JUNG Architectures

TOURISM, EXTENSION, HERITAGE. MEURSAULT, FRANCE Architects: JUNG Architectures Area : 450 m² Year : 2015 Photographs :Martin Argyroglo Manufacturers : Hunter Douglas Architectural (Europe), Hunter Douglas, Sammod, VMZINC

#architecturalheritage #historicalarchitecture #restoration #conservation #renovation #interior #design

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kumsal-thingss · 2 years

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Bir dünya tanıyorum

Şehirleri, sokakları aç.

Caddeler adımlara

Geceler kandillere aç...

Bir dünya biliyorum

Doyumsuz, muhtaç

Sevmeler yarım,

İnsan insana aç...

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featherandstonephoto-blog · 4 years

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#wedding #best wedding photographers

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timespakistan · 3 years

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Paris in Sadequain | Art & Culture Great books have something personal for everyone. They extend a private passage to every individual who opens them. Albert Camus’s most celebrated novel The Stranger (also translated as The Outsider) reached me via an unusual route. First, I came across Kamel Daoud’s novel The Meursault Investigation. I read The Stranger after finishing the Algerian writer’s book that presents the point of view of the unnamed Arab in Camus’s tale. The story, well known to every lover of literature, is about a man swaying in the web of time, events and situations. Sadequain once commented that to some extent, perhaps, the main character represented Camus himself. In any case, as with every classic, a reader is bound to identify with the protagonist, even if the setting, period and other details are different. The existentialist angst portrayed by Camus is shared by humans across the globe. The opening line of the book: “Mother died today. Or maybe yesterday, I don’t know.” sends a shudder down any reader’s spine. Sadequain is connected to The Stranger in another way. During his stay in Paris, after winning the Artists Under 35 award in the second Paris Biennale, he was commissioned to produce lithographs for a special edition of L’ Etranger in 1964. In a letter to his nephew Sultan Ahmed, dated January 29, 1964, Sadequain informs him about his selection out of several Parisian artists. In other letters to the family, there are updates on his work, its reception and admiration; and its launch “on October 27, 1966, at a gala dinner held at the Place de la Concorde”. He “created 35 images for the book; 22 colour lithographs to illustrate key scenes in the text (one frontispiece, 18 full page, 3 double page), and 13 monochrome lithographs to mark the end of each chapter”. These works, along with a number of preparatory sketches and watercolours and an illustrated menu for the book launch, were displayed in the exhibition Sadequain: The Stranger in Paris, held from March 29 to April 23, at Grosvenor Gallery, London. Art galleries, look to unearth some unknown hero, an unsung painter, an underestimated sculptor, a long forgotten photographer, but Grosvenor Gallery has reintroduced a side of celebrated Sadequain – his illustrations, for one of the 100 greatest books of the 20th Century,that usually are not recalled in his oeuvre. Going through these images, supporting important passages of the volume, one recognises their role in shaping his style. Sadequain depicted scenes: the mother’s funeral; landscape with the blazing sun; Meursault and Marie in the cinema; both embracing on the beach; her visiting Meursault “wearing a pretty dress with red and white stripes and leather sandals”. Other lithographs show groups on seaside; the main character watching city lights from his window; smoking and drinking in the company of his friend Raymond; firing at an Arab who flashed his dagger; meeting his lawyer in the prison; next to a cross brandishing judge; in the cell with insects all over his body; reduced to solitary confinement; encountering the priest in the lock-up. When we read the text and look at the pictures we construct a strong link between the two. Between two individuals also – one a famous author, who died in a car crash in 1960 at the age of 47 after winning the Nobel Prize for Literature, and the other a Pakistani in his mid-thirties and a relatively unknown painter – one could sense a bond although they never met. One presumes that the painter was not well versed in French. It seems, however, that Sadequain understood the book, not as a chain of events, an account of actions, or a sequence of locations, but a landscape of a lost soul. Meursault operated (not acted) in the entire novel like a person possessed; cold, remote, arbitrary, un-redemptive and floundering in a hell made of other people. For Sadequain, the task of illustrating an existentialist text was a Godsend because he belonged to a literary tradition in which man is not free, but an instrument for celestial forces. The entire idiom of Urdu poetry deals with the presence and oppression of an invisible, omnipresent power. The content of The Stranger, would probably not have been strange for Sadequain, who was steeped in a narrative of halaat kay sataye (tormented by the circumstance). One could pick certain pictorial traits of Sedequain that recurred in his later work and helped solidify his identity as early as the mid-1960s. Illustrations for the book have two types of sensibility. Some of these are more realistic (read logical) pictorial expressions: a man and a woman in intimate postures, people gathered at a wake, on an outing, two people interacting, a solitary soul confined by walls, have somewhat believable content. Even though figures and backgrounds are rendered by a hand married to painting, calligraphy was its long-lasting love. Human bodies are drawn, not as solid volumes, but resonating a ‘patty’ like format, composed of layers of calligraphic strokes. The patchwork of lines and strokes, later identified as Sadequain-esque, had its genesis in his Parisian prints. May be one reason for this style was the separation of stones to print each colour. An image was complete only when several impressions of separate slabs were superimposed on a single paper. That linear quality of his aesthetics is visible in these lithographs. Some of them denote activities, settings – as if snapshots of life, justifying the text which is a smooth narrative, and conjure up the environment in a reader’s mind. But as Albert Camus’s book is not a reportage of incidents – it delineates the inner scenario of a person, his thoughts, distance, displacement, demons – in some of his lithographs Sadequain introduced ‘magic reality’ (long before the term becoming the ‘Boom’ in the Latin American literature). One character is seen handing “the mask of the absurd” to another person; a man “forced to live inside the hollow trunk of a dead tree”; the prisoner looking for his smiling face in the metal dish only to find it reflected as serious and grim; and a demon-like figure confronting the convict and hovering over him. Sadequain relied on phantasmagorical vocabulary, like one of the last scenes – in the prison room where the priest and the protagonist are linked by an overarching figure composed of bricks from the prison walls. These works can be viewed as early undertakings bringing the artist into his subject matter. In his later years, Syed Sdequain Naqvi portrayed himself as the headless Sarmad, the fasting Buddha, and Farhad the labouring lover; but in his illustrations for Albert Camus he was also sketching himself in place of Meursault. In a letter mailed on July 31, 1964, Sadequain informs his nephew that “all 25 colour pictures of the book are actually self-portraits”, seconding Cynthia Ozick: “Every biography is, after all, a kind of autobiography”. The writer is an art critic based in Lahore. https://timespakistan.com/paris-in-sadequain-art-culture/17162/?wpwautoposter=1619362826

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kimonomix · 7 years

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(Anna Playlista)

Chris Cohen - Caller No.99

Ultimate Painting - Ultimate Painting

Cate le bon - Oh Am Gariad

White Fence - Breath Again

Alex Calder - Time

Quilt - Eliot St.

J Fernandez - read My Mind

Felt - Sunlight Bathed The Golden Glow

Slint - Beadcrumb Trail - Live

Parquet Courts - Uncast shadow Of a Southern Myth

Chad VanGaalen - Burning Photographs

Kelley Stoltz - Cut Me Baby

Mega Bog - :ondon

Robert Wyatt - Shipbuilding

Meursault - Tugboat (galaxie 500 cover)

XOXO

©AnneSophieLacroix

#SoundCloud #music #Anna Playlista #Chillout

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istillshootfilm · 7 years

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Film Photographer Spotlight: Jib Peter

Name: Jib Peter Location: France, Meursault in Burgundy. Shooting For: 15 years Camera: Nikon F5, Nikon F6, Hasselblad 503cxi, Olympus Mju II, Hasselblad Flexbody, Holga Favorite film: Kodak Tri-X 400

Jib Peter on why he shoots film:

“First because since the very beginning I'm influenced by photographers working or having worked on film.

Of course, I like the charm of its rendering. I like the grain. I like the fact that you can't see the resulting photography immediately after taking it, my frames are more careful this way. I like accidents, surprises, not always getting exactly what I imagined. I love to forget my shots and rediscover them at the time of development ...

But it's also part of a state of mind, I like to make small productions, often made of bricks and pitcher, always with derisory means. It would be inconsistent in my eyes if I used cameras featuring a whole bunch of superfluous technologies.

I also like the idea of maintaining solid cameras that are often very authentic and that are especially reliable (most of them are more than 20 years old, all 2nd hand, and no breakdown ). At a time we are all used to constantly change equipment, run after gadget innovations... All that irritates me, I prefer taking pictures.”

Find & Follow Jib Peter:

www.jibey.com

http://jibpeter.tictail.com/

www.facebook.com/JibPeter

www.instagram.com/jibpeter

www.flickr.com/jibpeter

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songbytoadrecords · 7 years

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To celebrate International Women's Day I have put together a playlist celebrating the women who have been integral to making Song, by Toad what it is over the years. Many thanks everyone - I will try not to be such a boorish oaf in future. Can't promise I will succeed, but I promise to try!

1. The Summer Was Over by Faith Eliott (who is also all over the new Meursault album).

2. Dear God by Siobhan Wilson (whose debut album is out in July and who also sang loads on Imaginary Walls Collapse by Adam Stafford.

3. Rut by Lush Purr (Emma on bass and vocals is someone we've known and been pals with for ages, having initially met when she played in the (brilliant) Yawns).

4. Let's Save Christmas (The Ballad of Nakatomi Plaza) by eagleowl (Clarissa on upright double bass and vocals is the obvious one here, but the Canaveral Choir, and Tallah were also crucial to this awesome, ridiculous song).

5. Dive-bombing by Modern Studies (WIKILEAKS EDIT: super secret excellent things in the pipeline which are secret!)

6. The Fix is in by Meursault (Robyn's screeching, distorted violin is crucial to this song in particular, but also to the intensity of the current live show).

7. Unshaven Boozer by David Thomas Broughton & juice vocal ensemble (It takes quite something to be on the verge of upstaging DTB on his own album, but Sarah, Kerry and Anna are fucking phenomenal on this album).

8. The One Where the Stripper Cries by Sex Hands (Drummer Alex made the whole process so easy, which I was desperately grateful for as a rookie engineer).

9. Shock Shock by Sparrow and the Workshop (I miss these guys - has one of the best voices I have ever heard).

10. Paleface by Magic Eye (Both Rebecca and Roma from this band could sing the shit out of a song, and Bek is a fantastic guitarist too).

11. This is All Going to End Badly by Trips and Falls (Amanda, Julie and Ash Leigh were absolutely vital components of this gloriously eccentric band - I miss this lot too!)

12. I'm Half the Man You Were by Jesus H Foxx (Tallah who sang and played cornet with these guys has been a friend and collaborator for something like ten years now and has made a massive contribution to the world of Scottish music over the years).

13. Sex Acts by Animal Magic Tricks (Frances feels a lot like one of Song, by Toad's great lost talents, and my general inability to get this across to the world at large feels like one of my greatest mistakes).

14. Basketball Land by Le Thug (Clio is another with an absolutely crystal-clear, beautiful voice - hopefully these guys will record more with us in future, because they are fantastic).

And there we go, and that's before we talk about Foon Yap, Ailie from Passion Pusher, L.T. Lief, Sophia von Dodds and Kim form WOLF all of whom we will be working with in the fairly immediate future.

Then there's also people like Leonora Winstanley, Claire Grandemange (Cat Macbat), as well as photographers like Nic Rue, Fiona Buckle, Alex Storm Hague, and the new team at the label which includes the incredible Kate Lazda and Anastasia Connor.

I can't list all the women who have supported our stuff in the press, played amazing shows for us, recorded Toad Sessions or guested on various recordings because I will never be able to remember everyone - sorry.

And then of course there is the incomparable Mrs. Toad - the great love of my life and the funder, encourager and Grand Matriarch of all we do here.

https://soundcloud.com/songbytoad/sets/international-womens-day-at-song-by-toad

(Song, by Toad)

#SoundCloud #music #Song #by Toad #Gin & Swearing #Nasty Women

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quenchmagazine · 4 years

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A scandalous oeno-porn collection

What do you call a collection of wine & wine paraphenalia? It can only be described as oeno-porn and this is Tony Aspler's collection.

Recently my wife Deborah returned home from an estate sale with a framed colour photograph of what looks like an oil painting of two dusty bottles: Château Haut Brion 1919 and Bouchard Ainé & Fils Meursault 1904.

To the left of the bottles: a rather bedraggled label of Mas de Daumas Gassac, and two corks — one branded Rausan Ségla, the other an unidentifiable Saint-Émilion. To the right: a label…

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jibpeter · 3 months

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