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saltminerising · 6 months
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Halo fandragons Halo fandragons Halo fandragons Halo fandra
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baelpenrose · 1 year
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Under Avandra's Eyes LXXV: Mother's Advice
Liza talks with Baldor and Thomas, then gives Itene valuable life advice as she sees her daughter struggle with her new place in the world. Some of the world's mysteries are toyed with.
Big thanks to @canyouhearthelight for both discussion of how to handle stage fright. Hopefully the damn black text issue is solved.
Liza
    Liza was singing of the battles they’d participated in, of the victories they’d had in the Empire, of the new Emperor who had slain the Usurper Aegir and marched a path to the throne over the corrupt Emperor over the traitor’s corpse, his banner borne aloft by the heroic orphan who had followed him from the masses and was still rising to heroism in her own right. Itene was blushing, as though she had just realized how she had looked, bloodied but unbroken, carrying the personal standard of a storybook king into the capital after a horrific civil war to restore the peace. 
    Thomas was frantically signalling her that that last part was probably something to leave off, and she abruptly realized what she was doing wrong as a young goblin boy, fingers bearing the characteristic callouses and burns of a smith’s apprentice, began staring at Itene with all the characteristic signs of puppy love. As Liza remembered goblin ages he was probably…well, he was probably himself around thirteen, but for Urken that was around the same as a fifteen year old human. Realizing that a lovesick goblin teenager was the last thing she needed on her mind, she abruptly changed the subject of her song to something that honored their hosts, the grand victory of the Orcish people at Bal-Fandra, the last time an Orcish warband had met Dragonkin forces in pitched battle, along with a vast force of Zammorean janissaries. 
    That got people riled up, and she switched topics to some of the heroic tales of battle against the Pikar, and then famous feasting songs, some from the Empire, some from Faldrea, some Urken, and got everyone banging along to Road to Tamborlin, the ancient travelling song of the Wanderlings, dating back to the Sargomian Empire was more than dust and ashes and their farthest-flung city was a place one could actually travel to. These days, it was little more than a playful drinking song. 
    As everyone settled down, she sidled over to Thomas, sitting easily by Baldor and chatting easily with the massive knight, and slid into the thief’s lap, playing up her Khym. A few orcs looked at her, male and female, as did a few goblins - and still no hobgoblins, oddly. She shrugged.  She could fight, she could make art, she wasn’t much good for the plain labor that made the world go round. All likelihood, made it hard to get the mighty workers of the Urken interested in a woman who could never appreciate their lifestyle.
    Ghaztir and Baldor were talking as the massive smashing blows of Marcus rang across the hall and brought chuckles up from the orcs at the high table. “That’ll do it. That hillmonkey has been agitating for a while. Good for a young man to get his teeth smashed every now and then by another young man, keeps them from getting too senseless in their pride.”
    Liza glanced around at Marcus’s announcement and Ghaztir’s complete nonchalance as the young orc slowly regained his senses. “I wouldn’t worry. Our skulls are harder than yours - and Marbark’s is thicker than most. Your son is fast, Baldor - I’m impressed. His fighting style does him credit. And you, as an instructor.”
    Liza felt, rather than saw, Thomas elbowing the big knight, and Ghaztir chuckled. “Oh, don’t give me that look, human. Tell me you’d have done different than your boy there had I been fool enough to challenge you for the hand of your bride to be when we were young. Runs in your line.”
    Itene spoke. “Baldor isn’t Marcus’s father by blood. Marcus had this whole…thing…about that for a long time, he’s descended from the heh…late…Archmargrave Bismarck Wultian of Friedriechsarch and Khana Kalia of Asgaria…”
    “Blood? Who said anything about bloodlines? I said it runs in Baldor’s family - his line. You learn more from the people who raise you than from the people who breed you. I wouldn’t welcome someone of Wultian’s line in my hall if that boy took after his father - the Empire’s Fist was a butcher. A boy of no relation to him save blood? Another matter. He’s Baldor’s son. Now, I hear tale that the thief with you has managed to go into the outer parts of the heim and recover treasures from there - I’d hear that tale, or have my opposites among the Goblin and Hobgoblins hear it.”
    Thomas shrugged. “No point. It’s an empty shell. Not much down there of value. Strange machinery, a few cogs. Not a lot of those though. Stole a little jewelry, long since fenced. Whatever happened, we missed it long ago. It was uncanny, though - all the legendary defences of the Dwarven nation are just…primed, but abandoned. Cannons gone to rust, with stacks of shot beside them, sometimes. No bones, nothing. I don’t mind admitting I’ve looted Sargomian tombs full of barrow wights that rattled me less. Then again, that was only one of their upper outposts in the part that was theoretically sealed - a secondary defense, rather than the outer defenses we knew they had abandoned. It may be they retreated deeper, I have no way of knowing.” 
    Ghaztir looked between them, and Liza thought of all the stories of the vile things that lurked in the deep and dark and the scarred Orcish warchief nodded. “Aye. Perhaps I wouldn’t sanction people going to look down there after all. Sounds like deep cavern witchery to me. No wish to tangle with it, or send my warriors to die doing so.”
    “Always wise.” Liza kept her voice wry, but something about that tickled the back of her mind. What had gone wrong in the Hiem a hundred and fifty years ago? Why had Vixen mentioned it when they’d run into her last?
    The food here was phenomenal - enough to jolt her out of her dark thoughts. The rolls of sausages, roots, and dark brown bread that she hadn’t had for so long. “Thomas, try the mead.”
    “I have had the ale.”
    “Right, I said the mead, thief.” She held the drinking horn to his lips and he smiled. “Urken mead is good, their ale is…less so.”
    Baldor grunted. “Let it go. I like your ale, Ghaztir.” He took a swig, and to Liza’s amazement, actually did seem to enjoy it.  Glancing over to her he mouthed, “Acquired taste.”
    She mouthed back, “Why?” She’d spent far too long getting used to putting up with things she hated out of necessity, she couldn’t imagine willingly choosing to eat or drink something people had to learn to like, that seemed insane. Actually, no, it was insane. Baldor was flat out wrong about this, Urken ales were bad, their mead was good, and this wasn’t a matter of differing tastes…ehhh. Well, maybe on an Urken palette they were fine but not on a human one. 
    She was already practicing for her performance at the wedding, and she was looking at Itene, trying to imagine the girl in the dress she’d have to wear that day - or Iris, in a bridal dress. Or Marcus in a groom’s suit.
    It was a hard thing to picture, but…Looking at the two, smiling at each other, she couldn’t deny she looked forward to seeing them finally happy. As Thomas raised a few choice morsels to her lips, she leaned back and kissed the assassin. Baldor watched on, smiling gently - but it was the happiest she’d seen the old man in the time she’d known him.
    As she raised a tankard, Liza realized that this, the flush of victory still fresh in her chest, surrounded by family and friends, a guest of honor rather than an irritation or a mercenary or a servant, this might be the happiest she’d ever been too. 
    She slid off Thomas’s lap as Ghaztir probed him for more information, noticing that Itene wasn’t looking anywhere near as happy as she was, kissing her sometime lover on the cheek and going to see their daughter, who had sat down and was eating, a little, but looking deeply uncomfortable, flanked by a whole lot of young Urken of all three castes who were listening intently to her about the Imperial Civil war, her life before meeting the companions of Torin with horror, and excitement as she talked about making Alexander eat squirrel and pigeon like a normal person. “So I wound up seeing the current Imperator vi Aquilonia Imperium, covered in mud, and whining like a….hi, mom, are you about to tell me something?”
    Liza had, in fact been about to note to Itene the importance of not mentioning things that massively contradicted the stories she had woven about the Emperor they’d worked so hard to make, and the time he’d spent having the fop beaten out of him had been left out of the songs for a reason. “Actually, yes. Maybe leave off the parts where we assaulted a reigning sovereign in front of people who were not there.”
    “...Does that include Cassius, Augustus, or any of the Archdukes?”
    “No, obviously. If we hit an important person hard enough they’re no longer reigning it’s fine. At that point it’s not spilling sensitive information, at that point it’s just bragging, and we’ll talk about specific rules about when not to do that, but as a whole, right now, you’re good.” 
    Liza was about to turn to go when Itene suddenly looked visibly more nervous and it hit Liza that Itene had never had the sort of stage training she had - where she looked at an audience and saw a reason to enjoy herself, regaling them with stories of the exploits the companions had had, harkening back to her time as a child with a family of troubadours, Itene’s childhood had been one where tremendous amounts of attention from a large group was almost certainly a bad thing, and being asked questions about herself was liable to mean trouble.  
    “Itene, Ghaztir wanted to actually talk to you a little more, meet the girl that convinced Thomas and I to pick up a kid.” 
    The other kids backed off, and as Itene fell in with her, looking somehow more nervous, Liza murmured, “he doesn’t, but you looked terrified. It’s okay, sweetie. I mean, Ghaztir probably would like to meet you, but he’s not going to ask questions beyond what you’re comfortable with, he’s basically just Baldor but…Urken. And people will ask you questions about yourself, itene, it’s not going to be a bad thing anymore.”
    Itene shuddered. “I know. I just…I froze up. How did you deal with it?”
    “I was raised to be a bard, you’d be better off asking Iris about that one. But…I can teach you how to create a kind of persona for talking to crowds, make it a little easier. Would that interest you?”
    Itene grinned, the girlish freckles on her face highlighting her youth and the earnestness of the expression. “Yeah, that sounds…really good. If I’m going to be part of songs, I think I’ll need it.”
    “Part of songs? Kid, if Iris teaches you how to hunt and navigate, and Marcus teaches you how to ride and fight, and Thomas teaches you how to sneak and steal and hide, and I’m the one in charge of your political education? You’re going to have education as a bard too. Because you’re smart and curious and clever and brave and you’ll have a saga in your own right and you need to know how you’ll be remembered.”
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pashterlengkap · 1 month
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Lowongan Kerja Terbaru di Kantor Konsultan Pajak Fandra Yovano Pekanbaru Februari 2024
SMITH JANKERMAN Lowongan Kerja Terbaru di Kantor Konsultan Pajak Fandra Yovano Pekanbaru Februari 2024 – Kami Kantor Konsultan Pajak Fandra Yovano yang beralamat di Jl. Paus No. 30 C Pekanbaru, Disamping Cipta Mandiri Cargo (CMC Cargo) adalah konsultan untuk melayani dan menyelesaikan berbagai jenis perpajakan untuk Perusahaan maupun perorangan.Saat ini kami Kantor Konsultan Pajak Fandra Yovano http://dlvr.it/T3CX4S
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malaficent · 1 month
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karirriau · 1 month
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Riau.work | Lowongan Kerja Terbaru di Kantor Konsultan Pajak Fandra Yovano Pekanbaru Februari 2024 http://loker.inhu.my.id/2024/02/lowongan-kerja-terbaru-di-kantor.html?utm_source=dlvr.it&utm_medium=tumblr&utm_campaign=karir%20riau%20%E2%80%94%20karirriau - Via @RiauWork
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rmcmodified · 1 month
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ndxaka · 1 month
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Benton Fandras
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Altered Landscapes
The Altered Landscape Photography Collection is the Museum’s largest focus collection and features more than 1,000 contemporary landscape photographs. Since its establishment in the early 1990s, the collection has included images that address and engage issues related to land use and the changing landscape. While the collection represents a diversity of artists, techniques, visual styles, subjects, and ideological positions, it is unified by two basic principles: a) a concern for inspiring dialogue about the impact of human activity on natural and built environments; and b) an effort to depart from idealized notions of scenic beauty and pristine wilderness that were dominant in the early 20th century.
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"Humans rarely appear in the photographs that comprise the altered landscape collection...yet their presence is undeniable."
I found this really thought provoking in relation to the story I am going to tell for this brief. I love how this statement captures the essence of what exactly altered landscapes are, those that have been changed by human or natural means but that will always show human presence whether in the frame or not.
"The altered terrains they document...are symbolic of a landscape that has been completey transformed..."
The photographing, or better put, documenting these landscapes frame a provoking thought of the role we have played in making these scenes possible.
"...The city continues to fragment, splintering into something less terrestrial than heavenly - an illict apotheosis of motorways, perihperies, and crossed edges."
The view of the city as a space that has become so enveloped by change that it has not only completely transformed what it once was but also constantly moves into new things.
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Something interesting I came across when searching "housing redevelopment photography" was that it came up with real estate photography agencies. So when I saw the works from Henry Wessel's House Pictures (Feb 26–Mar 28, 1992), they struck me as ironic in this regard and made me reflect on some of the housing I have come across walking around Roskill South.
In regard to housing (re)development, how it is envisioned and advertised reflects what Wessel captured in these photos. The identity, what he calls the genetics of these homes holds the people who built and lived in them. Though his photographs weren't directly related to (re)development I took this as an interesting (and common from what I've observed of documentary photography) approach to engaging with the indetity of a neighbourhood.
As a fourteen year old, in 1956, Wessel was fascinated by the polaroids and 8×10 glossies displayed in his mother’s New Jersey real estate office, made by the sales staff to pique clients’ interest in the homes’ “curbside appeal.” The pictures were no more or less remarkable than those that appear in countless realtors’ windows today, but Wessel remembers liking the directness of the photographs as well as their subject: houses that people live in. (https://fraenkelgallery.com/exhibitions/henry-wessel-house-pictures)
Some other work in the collection, by Fandra Chang and Laurie Brown, had me reflect on the housing (re)development I had observed throughout my life. Out near where I used to live, in Karaka, there was and still is (being built) a very monotonous development that began when I was in primary school (I think).
Both works capture a striking landscape of ubiquity and monotony where new housing developments choose to copy + paste their housing visual identities over and over for a cohesive and blank slate from which a community can be built from. An interesting idea in my research on a concept called social mixing, this is a way of making invisible the differences in a community. Social mixing is a redevelopment strategy that mixes those of different socio-economic status amongst eachother with the goal of influencing behaviour and lifestyle as well as increasing diversity.
As a scene for diversity it is utterly ironic how little that diversity is reflected in the architecture. A diverse community would show it. Culture and community would be celebrated. Approaches to housing size to cater to different familial situations would be considered - a 1-2 bedroom house can't cater to an intergenerational household. Instead redevelopments tend to cater a recycled scape of the statehousing initiative when it was first implemented in aiming for the mass couples or small nuclear family.
Though Roskill South has some more diversity than some other developments i've seen (i.e. Karaka) there still remains a dense monotony in the landscape of newly built homes.
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Fandra Chang, End of horizons (Derived from "Eyesore Images: Main Street America E008417), (2000). Fuji Crystal Archive on Plexiglass, 13 x 59 inches.
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Laurie Brown, Periphery #12, Aliso Viejo, California, (1995), Gelatine silver print, 8 x 20 inches.
The essay in the book by the editor Ann M. Wolfe, the curator of exhibitions and collections at Nevada Museum of Art where this exhibition was held in 2011, was also quite thought provoking.
A new topographic of landscape photography emerged in America in the 1970s, of a small number of photographers drawing their attention toward more mundane landscapes. The photography of the industrial and suburban infrastructure and development become their forefront. Their "photographic strategies and visual vocabularies [that] revealed landscapes as suitable places for social and political inquiry" (Wolfe (2011), p. 134) inspired others to pursue the same.
As such came a rise of interest in these scapes of urban / suburban change. Altered landscapes where new marks of human presence were made. Wolfe describes these marks as "signs [that] carry symbolic, iconic, and cultural meanings” (p. 134) as much as those made to the human body (wounds/scars). They carry information and histories for time to come. The documenting of this change essentially captured a history of permanant marks made to a landscape to facilitate human growth.
"Human mark-making, as evidenced by these photographs, is undertaken for a variety of purposes and with diverse objectives. Photographers reveal the aftereffects of thoese alterations to a broader public. While some of the marks they record, such as surface stratches and abrasion, may eventually heal and disappear, others will surely remain as lingering scars at least for the length of our lifetimes - if not far longer." (p. 135)
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Lewis Baltz, [Left] Prospector Park, Subdivision Phase I, Lot 13, looking Northwest across State Highway 248 toward Quarry Mountain, (1981). [Right] Prospector Park, Subdivision Phase III, Lot 123, looking North, (1986).
In approach to documenting the change in my neighbourhood, Roskill South, this was an interesting point to think about. In terms of capturing the timeline, if you will, of the change occurring. Though, I think, this mark making was really situated in development rather than redevelopment, I can see how marks can be made to an established landscape. Where changes have been made to communities social and cultural structure (visible or invisible).
"For every photograph taken of a suburban or urban facade, there is an equally important story to be told of its underlying infrastructure." (p. 135)
Another point raised by Wolfe was the interruption of these altered landscapes on natural resources or their increased need to resources in general. Redevelopment in Roskill South, for example, has required an upgrade to the water network, telecommunications and a rethinking of road and transport infrastructure. The local school, May Rd, is also being affected with an influx of new families requiring upscaling and remodelling of their grounds.
A photograph by Robert Adams, in its simplicity of only a few wires of a power line over some grazing land, captures this quite neatly. How subtle these changes may be, or invisible (in the case of underground works), is something I want to try and capture in my neighbourhood.
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"Transportation and telecommunication networks needed for suburbs and cities and the flow of people and information, but they have also irreversibly altered the landscape." (p. 136) 
Something I remember observing in my research for another paper I did previous to my capstone, on childsafe cities, was the impact of greenspace and suburban design on people and community. It has a drastic effect on the dynamics of these new redevelopments. Insufficient collective spaces, such as parks, play space and social centres, can influence the functioning of newly formed communities.
Wolfe, A. M. (Ed.). (2011). Altered landscapes: Photographs of a changing environment. Skira Rizzoli Publications Inc., New York.
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jurnalabbas · 6 months
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Rabu, 13 September 2023
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1. Mau mengikuti sholat Dhuha 2 rakaat walau gerakan belum tertib
2. Mau mengaji ummi saat di test Bu Madinah
3. Mau menulis huruf Hijaiyah 1 halaman sesuai buku jilid saat di suruh Bu madinah
3. Mengerjakan soal mapel PAI dengan push
4. Inisiatif makan bekal bersama teman-teman laki-laki
5. Bilang "wonten Bu" saat di absen mapel b.jawa
6. Mengerjakan evaluasi mapel seni dengan push
7. Wudhu dengan semangat
8. Sholat Dzuhur 4 rakaat walau gerakannya masih belum tertib
9. Berinteraksi bermain bersama teman
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1. Lebih banyak moving saat di ajar guru baru di mapel Ummi
2. Mendorong fandra, ketika tau fandra (teman-teman group lainya di kelas atas) sudah balik ke kelas
3. Dengung tutup telinga saat nonton video di mapel PAI
4. Menggangu teman ketika sholat dengan mengajaknya tertawa
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nicolemonjeau · 9 months
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Benton Fandras
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gracielalombardo · 4 years
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malaficent · 1 month
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elicatkin · 3 years
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Wynonna Earp season 4 spoilers
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Wynonna Earp 4x12 Finale
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Sad to see the show end but what a great ending to such a wonderful series!
Some scary moments but also laughter and happy tears.
Love and hope.
Also so glad they put the behind the scenes stuff at the end.
Now please, boxset of the whole series with loads of extras, like all the behind the scenes stuff, interviews, convention panels and comentary.
I cannae wait to see what Emily, Mel, Dom, Kat and Tim do in the future.
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butheresthething · 3 years
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Wynonna Earp Episode Breakdown: Old Souls (412)
Wynonna Earp Episode Breakdown: Old Souls (412)
“Sometimes, it is hard to find the right words.” Those are words every writer can relate to at one time in their life or another. I’ve never related to them or Doc Holliday more, though, than as I sat and thought about what to say about Wynonna Earp Season 4 Episode 12, “Old Souls,” the Syfy series finale of a show that has been so important in my life. Usually, I take a deep dive into the…
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The QUEEN. . . . . . . . #fandras #emilyandras #wynonnaearp #wynonnaearpmemes #mamaearp #queen #fiveforwynonna #fiveforwynonnaearp (at MOOD) https://www.instagram.com/p/CJi4ZeEMrXr/?igshid=wqqr6h8gm7sa
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