#expression — Public Fediverse posts

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#indie #expression

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#indie #expression

‘Utter disgrace’: DC’s World War II Memorial vandalized https://www.byteseu.com/2273107/ #Conflicts #country #DC #DC) #debate #Department #expression #friends #InteriorDepartment #ManyPlace #NationalParkService #nps #ParkPolice #statement #USInteriorDepartment #UtterDisgrace #Vandalism #veterans #washington #WashingtonDC #WorldWarII #WorldWarIiMemorial #wwii

Heute bin ich zufällig wieder über ein Bild von ihr gestolpert. Die Fotografin Tina Modotti hat mich schon in meiner Jugend beschäftig und vor einiger Zeit habe ich diesen Blogtext über sie geschrieben. #KenntIhr sie?

https://www.blog.der-leiermann.com/tina-modotti/

#fotografie #expression #foto #fotografia #kunst #art #künstlerin

Heute bin ich zufällig wieder über ein Bild von ihr gestolpert. Die Fotografin Tina Modotti hat mich schon in meiner Jugend beschäftig und vor einiger Zeit habe ich diesen Blogtext über sie geschrieben. #KenntIhr sie?

https://www.blog.der-leiermann.com/tina-modotti/

#fotografie #expression #foto #fotografia #kunst #art #künstlerin

Heute bin ich zufällig wieder über ein Bild von ihr gestolpert. Die Fotografin Tina Modotti hat mich schon in meiner Jugend beschäftig und vor einiger Zeit habe ich diesen Blogtext über sie geschrieben. #KenntIhr sie?

https://www.blog.der-leiermann.com/tina-modotti/

#fotografie #expression #foto #fotografia #kunst #art #künstlerin

Heute bin ich zufällig wieder über ein Bild von ihr gestolpert. Die Fotografin Tina Modotti hat mich schon in meiner Jugend beschäftig und vor einiger Zeit habe ich diesen Blogtext über sie geschrieben. #KenntIhr sie?

https://www.blog.der-leiermann.com/tina-modotti/

#fotografie #expression #foto #fotografia #kunst #art #künstlerin

Heute bin ich zufällig wieder über ein Bild von ihr gestolpert. Die Fotografin Tina Modotti hat mich schon in meiner Jugend beschäftig und vor einiger Zeit habe ich diesen Blogtext über sie geschrieben. #KenntIhr sie?

https://www.blog.der-leiermann.com/tina-modotti/

#fotografie #expression #foto #fotografia #kunst #art #künstlerin

“All the world’s a stage / And all the men and women merely players”*…

The melancholy Jaques is surely right, at the metaphorical level at which Shakespeare operated. But others have been moved to treat that wisdom much more literally. Mathilde Montpetit offers a fascinating example…

“This is an age of formulations”, the actress Genevieve Stebbins [see here] declared in 1886. Auguste Comte had formulated positivism in science, Henry Thomas Buckle had done the same for history, and Herbert Spencer for culture. Even visual art had had its fundamental theories set out, in John Ruskin’s five-volume Modern Painters (1843–60). “It is as though the world”, she reflected, “growing weary of productive activity, sought to pause and reärrange before plunging into further depths; to rescue from the void and formless mass of collected material a system whose symmetry and beauty should embody all that is worth saving”. And why wouldn’t the dramatic arts deserve — indeed, need — the same treatment? But who would be able to do it?

Such a man did exist, but he had died in 1871, leaving his findings unpublished. Luckily, some of his apostles still lived. Stebbins breathlessly narrates her journey to deepest darkest Nanterre to find the Abbé Delaumosne. “What I can I do for you, my child?” he asks. In the Cathedral of Sainte Geneviève and Saint Maurice, he bestows upon her the holy teachings: the French singer and orator François Delsarte’s system of dramatic expression.

Stebbins had first learned about the Delsarte System from Steele MacKaye [see here], an American playwright and actor who had met Delsarte in Paris and “like a John the Baptist, came back to America to prepare the New World for [His] coming”. In 1876, Stebbins had retired from the stage to devote herself entirely to a Delsartean training at MacKaye’s hands: by 1880, she was teaching it herself. The Delsarte System of Dramatic Expression, first published in 1885, was both a philosophical synthesis and a practical guide, providing both intellectual background and exercises for the cultivation of dramatic genius.

Written in the voice of an ongoing set of lessons, taking place over the course of a year, Stebbins was chatty and encouraging: “Very well; you really are making remarkable progress. I wish all my pupils were as intelligent”.

Delsarte was a strict Trinitarian, in part inspired by the work of the seventeenth-century theologian Emanuel Swedenborg (and, it seems, Charles Sanders Peirce [see here]). For him, everything came in threes, especially movement: “All motion is expansive which is objective, which has relation to the exterior world. So Delsarte has named motion from yourself as a centre, excentric. Again we fold in, contract, concentrate our motion in subjective states of mind. So motion to a centre Delsarte has named concentric. Motion between these two extremes, being well balanced, he has aptly termed normal”. These three types of movement could be combined with the three essences (mental, moral, vital) and multiplied into a “ninefold accord”, within which most movements could be graphed [as above].

Every possible element of a gesture or expression was deconstructed and fit into this rubric, with specific exercises for the “Fingers, Hand, Fore arm, Entire arm, Head, Torso, Foot, Lower leg, Entire leg, Entire body, Eyelids, Lower jaw . . .” Stebbins provided helpful charts, like one that shows the “Simple Combinations of Upper Lid and Brow”. On the next page, she clarified that since both the brow and the lid each have nine possibilities each, there are in fact eighty-one possible combinations (she gave eighteen). The Delsarte System presented here, Nancy Lee Chalfa Ruyter has shown, was full of Stebbins’ own innovations. She had developed the “energizing” techniques to go along with the relaxation ones, and created a whole set of exercises that are still used today in many acting classes…

… What this system was meant to be, Stebbins repeatedly emphasized, was a training system, a form of “aesthetic gymnastics”. So:

When before the public in the pulpit, on the platform, or the stage, forget all rules, or rather make no effort to recall them. Your motto there should be heart-work, not head-work.

“Then why study art’s rules and formulæ?” I hear you ask.

Because much of your practice will cling to you, without conscious thought; because nature rarely showers all her gifts on one head. Inspiration may be yours without bodily power to express; or you may be virtuosos without “the still small voice within.”

More on — and many more illustrations from — this 19th century manual on systemizing the way in which life is art and art is life: “Genevieve Stebbins’ Delsarte System of Dramatic Expression,” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

* Shakespeare, As You Like It Act II, Scene VII

###

As we rehearse, we might recall that it was on this date in 1927 that Wings premiered at the Criterion Theater, in New York City. A “romantic action-war picture,” it featured Army Air Corps aviators in battle (and in love). While most features at the time were shot on lots or studio-controlled locations with limited casts and budgets, Wings was shot on location at Kelly Field in San Antonio over 8 months; hundreds of extras (including some 300 pilots were involved in the filming, including pilots and planes of the Army Air Corps) on a (then massive) budget of $2 million. The investment paid off: While Wings was recognized for the expressive emoting of its (silent) cast, it was acclaimed for its realistic action sequences and technical prowess, and became the yardstick against which future war– but especially aviation– films were measured. It won the first Best Picture in the inaugural Academy Award ceremony (in 1929), and remains the only fully-silent film to do so. (A “sound” version of Wings was ultimately produced, but has no audible dialogue, only a synchronized musical score with sound effects.)

source

“All the world’s a stage / And all the men and women merely players”*…

The melancholy Jaques is surely right, at the metaphorical level at which Shakespeare operated. But others have been moved to treat that wisdom much more literally. Mathilde Montpetit offers a fascinating example…

“This is an age of formulations”, the actress Genevieve Stebbins [see here] declared in 1886. Auguste Comte had formulated positivism in science, Henry Thomas Buckle had done the same for history, and Herbert Spencer for culture. Even visual art had had its fundamental theories set out, in John Ruskin’s five-volume Modern Painters (1843–60). “It is as though the world”, she reflected, “growing weary of productive activity, sought to pause and reärrange before plunging into further depths; to rescue from the void and formless mass of collected material a system whose symmetry and beauty should embody all that is worth saving”. And why wouldn’t the dramatic arts deserve — indeed, need — the same treatment? But who would be able to do it?

Such a man did exist, but he had died in 1871, leaving his findings unpublished. Luckily, some of his apostles still lived. Stebbins breathlessly narrates her journey to deepest darkest Nanterre to find the Abbé Delaumosne. “What I can I do for you, my child?” he asks. In the Cathedral of Sainte Geneviève and Saint Maurice, he bestows upon her the holy teachings: the French singer and orator François Delsarte’s system of dramatic expression.

Stebbins had first learned about the Delsarte System from Steele MacKaye [see here], an American playwright and actor who had met Delsarte in Paris and “like a John the Baptist, came back to America to prepare the New World for [His] coming”. In 1876, Stebbins had retired from the stage to devote herself entirely to a Delsartean training at MacKaye’s hands: by 1880, she was teaching it herself. The Delsarte System of Dramatic Expression, first published in 1885, was both a philosophical synthesis and a practical guide, providing both intellectual background and exercises for the cultivation of dramatic genius.

Written in the voice of an ongoing set of lessons, taking place over the course of a year, Stebbins was chatty and encouraging: “Very well; you really are making remarkable progress. I wish all my pupils were as intelligent”.

Delsarte was a strict Trinitarian, in part inspired by the work of the seventeenth-century theologian Emanuel Swedenborg (and, it seems, Charles Sanders Peirce [see here]). For him, everything came in threes, especially movement: “All motion is expansive which is objective, which has relation to the exterior world. So Delsarte has named motion from yourself as a centre, excentric. Again we fold in, contract, concentrate our motion in subjective states of mind. So motion to a centre Delsarte has named concentric. Motion between these two extremes, being well balanced, he has aptly termed normal”. These three types of movement could be combined with the three essences (mental, moral, vital) and multiplied into a “ninefold accord”, within which most movements could be graphed [as above].

Every possible element of a gesture or expression was deconstructed and fit into this rubric, with specific exercises for the “Fingers, Hand, Fore arm, Entire arm, Head, Torso, Foot, Lower leg, Entire leg, Entire body, Eyelids, Lower jaw . . .” Stebbins provided helpful charts, like one that shows the “Simple Combinations of Upper Lid and Brow”. On the next page, she clarified that since both the brow and the lid each have nine possibilities each, there are in fact eighty-one possible combinations (she gave eighteen). The Delsarte System presented here, Nancy Lee Chalfa Ruyter has shown, was full of Stebbins’ own innovations. She had developed the “energizing” techniques to go along with the relaxation ones, and created a whole set of exercises that are still used today in many acting classes…

… What this system was meant to be, Stebbins repeatedly emphasized, was a training system, a form of “aesthetic gymnastics”. So:

When before the public in the pulpit, on the platform, or the stage, forget all rules, or rather make no effort to recall them. Your motto there should be heart-work, not head-work.

“Then why study art’s rules and formulæ?” I hear you ask.

Because much of your practice will cling to you, without conscious thought; because nature rarely showers all her gifts on one head. Inspiration may be yours without bodily power to express; or you may be virtuosos without “the still small voice within.”

More on — and many more illustrations from — this 19th century manual on systemizing the way in which life is art and art is life: “Genevieve Stebbins’ Delsarte System of Dramatic Expression,” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

* Shakespeare, As You Like It Act II, Scene VII

###

As we rehearse, we might recall that it was on this date in 1927 that Wings premiered at the Criterion Theater, in New York City. A “romantic action-war picture,” it featured Army Air Corps aviators in battle (and in love). While most features at the time were shot on lots or studio-controlled locations with limited casts and budgets, Wings was shot on location at Kelly Field in San Antonio over 8 months; hundreds of extras (including some 300 pilots were involved in the filming, including pilots and planes of the Army Air Corps) on a (then massive) budget of $2 million. The investment paid off: While Wings was recognized for the expressive emoting of its (silent) cast, it was acclaimed for its realistic action sequences and technical prowess, and became the yardstick against which future war– but especially aviation– films were measured. It won the first Best Picture in the inaugural Academy Award ceremony (in 1929), and remains the only fully-silent film to do so. (A “sound” version of Wings was ultimately produced, but has no audible dialogue, only a synchronized musical score with sound effects.)

source

“All the world’s a stage / And all the men and women merely players”*…

The melancholy Jaques is surely right, at the metaphorical level at which Shakespeare operated. But others have been moved to treat that wisdom much more literally. Mathilde Montpetit offers a fascinating example…

“This is an age of formulations”, the actress Genevieve Stebbins [see here] declared in 1886. Auguste Comte had formulated positivism in science, Henry Thomas Buckle had done the same for history, and Herbert Spencer for culture. Even visual art had had its fundamental theories set out, in John Ruskin’s five-volume Modern Painters (1843–60). “It is as though the world”, she reflected, “growing weary of productive activity, sought to pause and reärrange before plunging into further depths; to rescue from the void and formless mass of collected material a system whose symmetry and beauty should embody all that is worth saving”. And why wouldn’t the dramatic arts deserve — indeed, need — the same treatment? But who would be able to do it?

Such a man did exist, but he had died in 1871, leaving his findings unpublished. Luckily, some of his apostles still lived. Stebbins breathlessly narrates her journey to deepest darkest Nanterre to find the Abbé Delaumosne. “What I can I do for you, my child?” he asks. In the Cathedral of Sainte Geneviève and Saint Maurice, he bestows upon her the holy teachings: the French singer and orator François Delsarte’s system of dramatic expression.

Stebbins had first learned about the Delsarte System from Steele MacKaye [see here], an American playwright and actor who had met Delsarte in Paris and “like a John the Baptist, came back to America to prepare the New World for [His] coming”. In 1876, Stebbins had retired from the stage to devote herself entirely to a Delsartean training at MacKaye’s hands: by 1880, she was teaching it herself. The Delsarte System of Dramatic Expression, first published in 1885, was both a philosophical synthesis and a practical guide, providing both intellectual background and exercises for the cultivation of dramatic genius.

Written in the voice of an ongoing set of lessons, taking place over the course of a year, Stebbins was chatty and encouraging: “Very well; you really are making remarkable progress. I wish all my pupils were as intelligent”.

Delsarte was a strict Trinitarian, in part inspired by the work of the seventeenth-century theologian Emanuel Swedenborg (and, it seems, Charles Sanders Peirce [see here]). For him, everything came in threes, especially movement: “All motion is expansive which is objective, which has relation to the exterior world. So Delsarte has named motion from yourself as a centre, excentric. Again we fold in, contract, concentrate our motion in subjective states of mind. So motion to a centre Delsarte has named concentric. Motion between these two extremes, being well balanced, he has aptly termed normal”. These three types of movement could be combined with the three essences (mental, moral, vital) and multiplied into a “ninefold accord”, within which most movements could be graphed [as above].

Every possible element of a gesture or expression was deconstructed and fit into this rubric, with specific exercises for the “Fingers, Hand, Fore arm, Entire arm, Head, Torso, Foot, Lower leg, Entire leg, Entire body, Eyelids, Lower jaw . . .” Stebbins provided helpful charts, like one that shows the “Simple Combinations of Upper Lid and Brow”. On the next page, she clarified that since both the brow and the lid each have nine possibilities each, there are in fact eighty-one possible combinations (she gave eighteen). The Delsarte System presented here, Nancy Lee Chalfa Ruyter has shown, was full of Stebbins’ own innovations. She had developed the “energizing” techniques to go along with the relaxation ones, and created a whole set of exercises that are still used today in many acting classes…

… What this system was meant to be, Stebbins repeatedly emphasized, was a training system, a form of “aesthetic gymnastics”. So:

When before the public in the pulpit, on the platform, or the stage, forget all rules, or rather make no effort to recall them. Your motto there should be heart-work, not head-work.

“Then why study art’s rules and formulæ?” I hear you ask.

Because much of your practice will cling to you, without conscious thought; because nature rarely showers all her gifts on one head. Inspiration may be yours without bodily power to express; or you may be virtuosos without “the still small voice within.”

More on — and many more illustrations from — this 19th century manual on systemizing the way in which life is art and art is life: “Genevieve Stebbins’ Delsarte System of Dramatic Expression,” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

* Shakespeare, As You Like It Act II, Scene VII

###

As we rehearse, we might recall that it was on this date in 1927 that Wings premiered at the Criterion Theater, in New York City. A “romantic action-war picture,” it featured Army Air Corps aviators in battle (and in love). While most features at the time were shot on lots or studio-controlled locations with limited casts and budgets, Wings was shot on location at Kelly Field in San Antonio over 8 months; hundreds of extras (including some 300 pilots were involved in the filming, including pilots and planes of the Army Air Corps) on a (then massive) budget of $2 million. The investment paid off: While Wings was recognized for the expressive emoting of its (silent) cast, it was acclaimed for its realistic action sequences and technical prowess, and became the yardstick against which future war– but especially aviation– films were measured. It won the first Best Picture in the inaugural Academy Award ceremony (in 1929), and remains the only fully-silent film to do so. (A “sound” version of Wings was ultimately produced, but has no audible dialogue, only a synchronized musical score with sound effects.)

source

jeter l'éponge
ou bien la serviette
ça revient au même :
plus du tout envie
de suer

----

das handtuch
oder den schwamm werfen
es kommt auf das gleiche heraus :
überhaupt keine lust mehr
zu schwitzen

#poesie du quotidien caniculaire
#alltagspoesie in der hitzewelle

ps : "jeter la serviette" en allemand = "jeter l'éponge" en français
"den schwamm werfen" auf französisch = "das handtuch werfen" auf deutsch

#expression #redewendung

jeter l'éponge
ou bien la serviette
ça revient au même :
plus du tout envie
de suer

----

das handtuch
oder den schwamm werfen
es kommt auf das gleiche heraus :
überhaupt keine lust mehr
zu schwitzen

#poesie du quotidien caniculaire
#alltagspoesie in der hitzewelle

ps : "jeter la serviette" en allemand = "jeter l'éponge" en français
"den schwamm werfen" auf französisch = "das handtuch werfen" auf deutsch

#expression #redewendung

Les éditions Margoulin, une maison d'édition hors du commun. Une fraîcheur rarement atteinte dans l'écriture et les mots constitués de lettres. Merci pour vos likes, vos bons mots et vos messages d'insultes.

#editionmargoulin #humour #detournement #languefrancaise #expression

Les éditions Margoulin, une maison d'édition hors du commun. Une fraîcheur rarement atteinte dans l'écriture et les mots constitués de lettres. Merci pour vos likes, vos bons mots et vos messages d'insultes.

#editionmargoulin #humour #detournement #languefrancaise #expression

Garden in Provence, Vincent Van Gogh, 1888

I try not to post much Van Gogh or Monet because they're so well known and ubiquitous. But this I didn't realize was Van Gogh, although it didn't surprise me. He did amazing things with dark and light and shapes and strokes that I can see but couldn't reproduce. To me, there's something really natural about it, messy in the way that life is messy? idk I think it's amazing

#art #mastery #line #form #expression #nature #love #garden #alive #thriving #space #cosmos

Garden in Provence, Vincent Van Gogh, 1888

I try not to post much Van Gogh or Monet because they're so well known and ubiquitous. But this I didn't realize was Van Gogh, although it didn't surprise me. He did amazing things with dark and light and shapes and strokes that I can see but couldn't reproduce. To me, there's something really natural about it, messy in the way that life is messy? idk I think it's amazing

#art #mastery #line #form #expression #nature #love #garden #alive #thriving #space #cosmos

Garden in Provence, Vincent Van Gogh, 1888

I try not to post much Van Gogh or Monet because they're so well known and ubiquitous. But this I didn't realize was Van Gogh, although it didn't surprise me. He did amazing things with dark and light and shapes and strokes that I can see but couldn't reproduce. To me, there's something really natural about it, messy in the way that life is messy? idk I think it's amazing

#art #mastery #line #form #expression #nature #love #garden #alive #thriving #space #cosmos

Garden in Provence, Vincent Van Gogh, 1888

I try not to post much Van Gogh or Monet because they're so well known and ubiquitous. But this I didn't realize was Van Gogh, although it didn't surprise me. He did amazing things with dark and light and shapes and strokes that I can see but couldn't reproduce. To me, there's something really natural about it, messy in the way that life is messy? idk I think it's amazing

#art #mastery #line #form #expression #nature #love #garden #alive #thriving #space #cosmos

Garden in Provence, Vincent Van Gogh, 1888

I try not to post much Van Gogh or Monet because they're so well known and ubiquitous. But this I didn't realize was Van Gogh, although it didn't surprise me. He did amazing things with dark and light and shapes and strokes that I can see but couldn't reproduce. To me, there's something really natural about it, messy in the way that life is messy? idk I think it's amazing

#art #mastery #line #form #expression #nature #love #garden #alive #thriving #space #cosmos

Five Tiger Generals 5: Guan Yu, Mu Pan

https://www.mupan.com

this guy is so good imo, some of it is gruesome / violent, but isn't the world we live in gruesome and violent nowadays.

This guy has the character of oppression and domination, I love that the horse is stepping on the little guy's crotch. Red face.

I guess this fella is a culture hero in China, so there's context here that I can't claim to understand (but I think I get the gist of it)

#art #mastery #violence #oppression #satire #expression #adidas #beard #dad #patriarchy #autocracy #culture

https://www.evshift.com/503731/land-cruiser-250-power-in-its-most-beautiful-expression-toyota/ Land Cruiser 250 | Power in its most beautiful expression. | TOYOTA #beautiful #cruiser #ElectricCars #ElectricVehicles #EV #Expression #Land #power #Toyota #ToyotaGlobal

Если вы думаете, что знаете, чем отличается «Expression» от «Statement», то, скорее всего, вы ошибаетесь

Я занимаюсь изучением синтаксиса языков программирования и пытаюсь отделить фундаментальные закономерности от исторических случайностей. Одна из таких случайностей - почти повсеместное использование терминов выражение (expression) и инструкция (statement) при описании и классификации синтаксиса языков программирования. Интуитивно кажется, что 2 + 2 и if (x) { foo(); } - это совершенно разные сущности, но при более глубоком анализе оказывается, что подобное разделение искусственное и возникло из-за архитектурных особенностей вычислительных машин почти полвека назад и с тех пор просто «переходит» из языка в язык.

https://habr.com/ru/articles/1065722/

#lisp #rust #fortran #c++ #algol #expression #statement

Если вы думаете, что знаете, чем отличается «Expression» от «Statement», то, скорее всего, вы ошибаетесь

Я занимаюсь изучением синтаксиса языков программирования и пытаюсь отделить фундаментальные закономерности от исторических случайностей. Одна из таких случайностей - почти повсеместное использование терминов выражение (expression) и инструкция (statement) при описании и классификации синтаксиса языков программирования. Интуитивно кажется, что 2 + 2 и if (x) { foo(); } - это совершенно разные сущности, но при более глубоком анализе оказывается, что подобное разделение искусственное и возникло из-за архитектурных особенностей вычислительных машин почти полвека назад и с тех пор просто «переходит» из языка в язык.

https://habr.com/ru/articles/1065722/

#lisp #rust #fortran #c++ #algol #expression #statement

Если вы думаете, что знаете, чем отличается «Expression» от «Statement», то, скорее всего, вы ошибаетесь

Я занимаюсь изучением синтаксиса языков программирования и пытаюсь отделить фундаментальные закономерности от исторических случайностей. Одна из таких случайностей - почти повсеместное использование терминов выражение (expression) и инструкция (statement) при описании и классификации синтаксиса языков программирования. Интуитивно кажется, что 2 + 2 и if (x) { foo(); } - это совершенно разные сущности, но при более глубоком анализе оказывается, что подобное разделение искусственное и возникло из-за архитектурных особенностей вычислительных машин почти полвека назад и с тех пор просто «переходит» из языка в язык.

https://habr.com/ru/articles/1065722/

#lisp #rust #fortran #c++ #algol #expression #statement

Les éditions Margoulin, une maison d'édition hors du commun. Une fraîcheur rarement atteinte dans l'écriture et les mots constitués de lettres. Merci pour vos likes, vos bons mots et vos messages d'insultes.

#editionmargoulin #humour #detournement #languefrancaise #expression

Freedom of expression in sports: recent cases and implications

📰 Original title: 2026 MLB trade deadline preview: Passan's intel on every team

🤖 IA: It's not clickbait ✅
👥 Users: It's not clickbait ✅

View full AI summary https://en.killbait.com/freedom-of-expression-in-sports-recent-cases-and-implications.html?utm_source=mastodon_world&utm_medium=social&utm_campaign=killbait.mastodon_world

#sports #freedomofspeech #expression

Freedom of expression in sports: recent cases and implications

📰 Original title: 2026 MLB trade deadline preview: Passan's intel on every team

🤖 IA: It's not clickbait ✅
👥 Users: It's not clickbait ✅

View full AI summary https://en.killbait.com/freedom-of-expression-in-sports-recent-cases-and-implications.html?utm_source=mastodon_world&utm_medium=social&utm_campaign=killbait.mastodon_world

#sports #freedomofspeech #expression

Freedom of expression in sports: recent cases and implications

📰 Original title: 2026 MLB trade deadline preview: Passan's intel on every team

🤖 IA: It's not clickbait ✅
👥 Users: It's not clickbait ✅

View full AI summary https://en.killbait.com/freedom-of-expression-in-sports-recent-cases-and-implications.html?utm_source=mastodon_world&utm_medium=social&utm_campaign=killbait.mastodon_world

#sports #freedomofspeech #expression

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

www.huffingtonpost.fr/medias/artic...

Après l’arrêté d’expulsion con...

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

www.huffingtonpost.fr/medias/artic...

Après l’arrêté d’expulsion con...

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

https://www.huffingtonpost.fr/medias/article/xenia-fedorova-bientot-expulsee-canal-denonce-une-atteinte-a-la-liberte-d-expression_296088.html

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

https://www.huffingtonpost.fr/medias/article/xenia-fedorova-bientot-expulsee-canal-denonce-une-atteinte-a-la-liberte-d-expression_296088.html

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

https://www.huffingtonpost.fr/medias/article/xenia-fedorova-bientot-expulsee-canal-denonce-une-atteinte-a-la-liberte-d-expression_296088.html

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

https://www.huffingtonpost.fr/medias/article/xenia-fedorova-bientot-expulsee-canal-denonce-une-atteinte-a-la-liberte-d-expression_296088.html

#LeHuffPost: Après l’arrêté d’expulsion contre Xenia #Fedorova, #Canal+ dénonce une atteinte à la #liberté d’ #expression

#BOYCOTT #CANAL+

✊️✊️✊️ #ACT #UP

https://www.huffingtonpost.fr/medias/article/xenia-fedorova-bientot-expulsee-canal-denonce-une-atteinte-a-la-liberte-d-expression_296088.html

Different worlds. #grickledoodle #slow #fast #detail #expression #rabbit #turtle #cartoon #art #drawing #funny #humor

Different worlds. #grickledoodle #slow #fast #detail #expression #rabbit #turtle #cartoon #art #drawing #funny #humor

Different worlds. #grickledoodle #slow #fast #detail #expression #rabbit #turtle #cartoon #art #drawing #funny #humor

Different worlds. #grickledoodle #slow #fast #detail #expression #rabbit #turtle #cartoon #art #drawing #funny #humor

Different worlds. #grickledoodle #slow #fast #detail #expression #rabbit #turtle #cartoon #art #drawing #funny #humor

Les éditions Margoulin, une maison d'édition hors du commun. Une fraîcheur rarement atteinte dans l'écriture et les mots constitués de lettres. Merci pour vos likes, vos bons mots et vos messages d'insultes.

#editionmargoulin #humour #detournement #languefrancaise #expression

Les éditions Margoulin, une maison d'édition hors du commun. Une fraîcheur rarement atteinte dans l'écriture et les mots constitués de lettres. Merci pour vos likes, vos bons mots et vos messages d'insultes.

#editionmargoulin #humour #detournement #languefrancaise #expression

FALL ROAD #art #artists #contemporaryart #fineart #landscape #landscapephotography
#photography #painting #outdoorphotography #naturephotography
#maine #nature #Abstract #surreal #expression #trees #forest #globalwarming
https://andrewsolmaler.com/
https://www.saatchiart.com/andrewsolmaler

FALL ROAD #art #artists #contemporaryart #fineart #landscape #landscapephotography
#photography #painting #outdoorphotography #naturephotography
#maine #nature #Abstract #surreal #expression #trees #forest #globalwarming
https://andrewsolmaler.com/
https://www.saatchiart.com/andrewsolmaler

FALL ROAD #art #artists #contemporaryart #fineart #landscape #landscapephotography
#photography #painting #outdoorphotography #naturephotography
#maine #nature #Abstract #surreal #expression #trees #forest #globalwarming
https://andrewsolmaler.com/
https://www.saatchiart.com/andrewsolmaler

FALL ROAD #art #artists #contemporaryart #fineart #landscape #landscapephotography
#photography #painting #outdoorphotography #naturephotography
#maine #nature #Abstract #surreal #expression #trees #forest #globalwarming
https://andrewsolmaler.com/
https://www.saatchiart.com/andrewsolmaler

FALL ROAD #art #artists #contemporaryart #fineart #landscape #landscapephotography
#photography #painting #outdoorphotography #naturephotography
#maine #nature #Abstract #surreal #expression #trees #forest #globalwarming
https://andrewsolmaler.com/
https://www.saatchiart.com/andrewsolmaler

Every Face Is Doing Something

https://bolesblogs.com/2026/07/28/every-face-is-doing-something/

Every Face Is Doing Something

https://bolesblogs.com/2026/07/28/every-face-is-doing-something/

Every Face Is Doing Something

https://bolesblogs.com/2026/07/28/every-face-is-doing-something/

Every Face Is Doing Something

https://bolesblogs.com/2026/07/28/every-face-is-doing-something/

Every Face Is Doing Something

https://bolesblogs.com/2026/07/28/every-face-is-doing-something/

“Get Out of My Stove” by Thomas Typewriter – a new poem

https://thomastypewriter.art/2026/07/24/get-out-of-my-stove-by-thomas-typewriter-a-new-poem/

Can beef tallow win over Europe?

Beef tallow in Europe – overviewBeef tallow is booming in the US food sector with MAHA support and…
#Europe #EU #beautiful #BIG #caucasian #Consumer #curly #decision #European #expression #facial #female #fresh #fruits #gorgeous #grocery #human #indoor #mall #many #objects #one #person #pretty #products #shelves #variety #vegetables #wellness #white #woman #young
https://www.europesays.com/europe/102037/

L’éveil ordinaire

La non-dualité, ce n’est pas le contraire de la dualité. Elle est la vue qui dépasse toute notion antagoniste.

À travers elle, nous ne tentons pas d’unir ce qui s’oppose, ou de faire disparaître un « second ». Nous réalisons que par-delà la différence, un aspect relatif, tout a une seule et même nature indivisible.

*

Parfois, je dis aux gens de se tenir derrière leurs yeux. Être juste là, derrière, comme s’il s’agissait de fenêtres. Cela permet de couper court au mental et de “Voir”, d’être très directement en relation avec tout “ce qui Est”. On pourrait dire “habiter” son regard. J’appelle cela vivre en “live”, ou encore, s’immerger dans le Vivant.

Je vous invite à le faire, à y revenir et à vous en souvenir, sans créer de tension. Le plus souvent, nous recherchons cette Vie, cette “intensité” par des artifices et des voies détournées. Cependant, nous finissons toujours par “dessoûler” et cela nous rend frustrés et insatisfaits. D’où l’importance de ne pas compenser, de ne pas user d’expédients. Nous ne puisons pas seulement notre nourriture dans le terrestre, mais aussi dans le céleste. Dans un “contact” et une adhésion à l’Ouverture, où s’actualise le battement du renouveau.

*

Dans notre rôle de chercheur spirituel, nous conservons encore le sentiment de devoir parfaire notre compréhension afin de parvenir à la pleine expérience de la vérité. Éveil et vérité ne sont cependant pas comme un objet à saisir face à nous. Éveil et vérité font partie de nous, d’une même Nature. Entraîné dans son mouvement l’esprit se détourne, se distrait et virtuellement s’isole de sa Nature, puis, se met en quête d’un « ailleurs » improbable. Au sein d’une même base d’abord nous divisons, puis nous tentons d’unir à nouveau. En fait, il n’y a que la Nature et rien de différent ne peut être rejoint. Tout reflet et projection n’ont de tout temps été que son expression.

*

La Vision pure est pareille à une pointe aigüe. Elle est la “Pointe de vie”. La force qui lui est associée vient de son aptitude à transpercer, à pourfendre et garder dans l’unité tout ce qui s’élève.

Elle est l’essence, l’ouverture du ciel que rien ni personne ne peut obstruer ou toucher.

Elle est le sceau, le diamant d’éternité.

Denis Marie dans L’éveil ordinaire, le don du cœur

Une pièce musicale de Pat Metheny · Charlie Haden – Spiritual

https://www.youtube.com/watch?v=Gh0G2uu_xSQ

L’éveil ordinaire

La non-dualité, ce n’est pas le contraire de la dualité. Elle est la vue qui dépasse toute notion antagoniste.

À travers elle, nous ne tentons pas d’unir ce qui s’oppose, ou de faire disparaître un « second ». Nous réalisons que par-delà la différence, un aspect relatif, tout a une seule et même nature indivisible.

*

Parfois, je dis aux gens de se tenir derrière leurs yeux. Être juste là, derrière, comme s’il s’agissait de fenêtres. Cela permet de couper court au mental et de “Voir”, d’être très directement en relation avec tout “ce qui Est”. On pourrait dire “habiter” son regard. J’appelle cela vivre en “live”, ou encore, s’immerger dans le Vivant.

Je vous invite à le faire, à y revenir et à vous en souvenir, sans créer de tension. Le plus souvent, nous recherchons cette Vie, cette “intensité” par des artifices et des voies détournées. Cependant, nous finissons toujours par “dessoûler” et cela nous rend frustrés et insatisfaits. D’où l’importance de ne pas compenser, de ne pas user d’expédients. Nous ne puisons pas seulement notre nourriture dans le terrestre, mais aussi dans le céleste. Dans un “contact” et une adhésion à l’Ouverture, où s’actualise le battement du renouveau.

*

Dans notre rôle de chercheur spirituel, nous conservons encore le sentiment de devoir parfaire notre compréhension afin de parvenir à la pleine expérience de la vérité. Éveil et vérité ne sont cependant pas comme un objet à saisir face à nous. Éveil et vérité font partie de nous, d’une même Nature. Entraîné dans son mouvement l’esprit se détourne, se distrait et virtuellement s’isole de sa Nature, puis, se met en quête d’un « ailleurs » improbable. Au sein d’une même base d’abord nous divisons, puis nous tentons d’unir à nouveau. En fait, il n’y a que la Nature et rien de différent ne peut être rejoint. Tout reflet et projection n’ont de tout temps été que son expression.

*

La Vision pure est pareille à une pointe aigüe. Elle est la “Pointe de vie”. La force qui lui est associée vient de son aptitude à transpercer, à pourfendre et garder dans l’unité tout ce qui s’élève.

Elle est l’essence, l’ouverture du ciel que rien ni personne ne peut obstruer ou toucher.

Elle est le sceau, le diamant d’éternité.

Denis Marie dans L’éveil ordinaire, le don du cœur

Une pièce musicale de Pat Metheny · Charlie Haden – Spiritual

https://www.youtube.com/watch?v=Gh0G2uu_xSQ