i think the thing that makes driving so hard for me is that I can't go at my own pace with learning/getting used to it, because my access to a car is very limited and the roads readily available to me are very difficult. And I'm a very slow learner when it comes to skill stuff. I know i can get there, I just keep getting thrust into "here's a deadly road. You have to go above the speed limits or you'll be a danger to yourself and others" or "here's the narrowest, hilliest, most chaotic city streets. with a million suicidal pedestrians. good luck" and it freaks me out because I know I'm not ready for that and i know exactly how dangerous a car is. anyways i survived the zero visibility, half-eroded narrow field roads today and Only had to pull aside to let cars coming from the opposite direction pass like 15 times. Everyone was really nice to me about it and thanked me which made me happy.
initial shock of coming to the field has passed, but we have so little water 😔
ft pretty good tiganopsomo I had for breakfast and some falcon? feathers I found.
I think I could learn to enjoy this place if I wasn't always coming here with my family and if the house got fixed up a bit so i didn't feel disgusting existing in it.
I'm no longer excited about going to the field house. I want to stay home and work...but I must go dig up dojo...but all the rest I'm not looking forward to.
I was given a stress ball that my sister's had for years but didn't want it anymore and after 3 days on my desk it's already starting to crack and break. Because I'm probably the type of person stress balls were invented for.
What's with the "I've never been to greece, I've only been to crete" thing???? And I've heard it from diaspora greeks, I've heard it from really well-travelled people, i don't get why it's such a common misconception.
completed weaving of the penelope skyphos from chiusi:
the header is tablet-woven linen, with the linen weft for the band used as the warp for the rest of the piece on a warp-weighted loom, which you can see in the photos below (there is also a previous post with more process photos here). the reverse is a negative mirror image of the front, since I wove this as double-weave pickup rather than tapestry:
additional details below the cut:
the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.
I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:
but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)
the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:
Odysseus was not the only one
who did not come back home again from Troy.
Many were lost. Go in and do your work.
Stick to the loom and distaff. Tell your slaves
to do their chores as well. It is for men
to talk, especially me. I am the master.
οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ
ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο.
ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε,
ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε
ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει
πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.
Od. 1.354–359. Emily Wilson translation.
my plan is to eventually create a larger version of this piece that includes telemachus and the meta aspect of unwoven warp threads. it would also be interesting to figure out if I can weave a different image on the back of the cloth, since the reverse of the pot itself depicts eurycleia recognizing odysseus as she washes his feet.
Hiiiii!! First of all I LOVE your art it's gorgeoussss!! Second- after falling victim to Alcibiades propaganda (my philosophy professor mentioned him once and I've been obsessed since) I've been trying to find more sources on him (so far I've only read Plato's symposium) do you have any recommendations?
Hhiiii omg welcome to the alcibiades obsession pit!
Okay so in terms of plato, other than the symposium, we have the dialogue Alcibiades 1 which I highly recommend, it's just alcibiades and socrates having a chat, and he also features briefly in the Protagoras and is mentioned in the gorgias.
Thucydides' history of the Peloponnesian war is the most "trustworthy" source we can have of alcibiades, I don't recommend you read the whole thing but you can hunt down mentions of alcibiades in it!
He's also mentioned in Xenophon's Hellenica.
Then we also have his complete biography by plutarch, "the life of alcibiades", but unlike thucy, xenophon and plato, plutarch writes a few hundred years after alcibiades' death and mentions a lot of anecdotes that may or may not be true. but i highly recommend you read it as it's a very complete and fun presentation of alcibiades and his life.
Then we get to some stuff that's kinda obscure. like we have some orations:
-andocides' "against Alcibiades",
- lysias' "against alcibiades" and
-Isocrates' "on the team of horses"
and then there's other ancient sources like athenaeus and nepos' alcibiades and fragments of Aeschines but the fun in those is digging for them 🙂↕️
In terms of modern books, Jacqueline de Romilly's "Alcibiades" is the only one I would recommend. There's also my personal favourite, "alcibiades and athens" by david gribble but i cannot recommend it because 1. it's VERY expensive and 2. it kinda requires intimate knowledge of the ancient sources on alcibiades and it's a very dense book. Oh also i think you can find bits of Michael Vickers' books on alcibiades online, I think his theories are way too far fetched but i appreciate how insane he is about alcibiades.
here's a fun alcibiades fragment from athenaeus for you:
hi this is very random lol but im starting classics at uni this september and apparently part of my greek history course will be focused on alcibiades, and that made me think of you when i found out lolol
Random confession: Something that bothers me is Assassin's Creed Alcibiades is what his voice sounds like in my head, because that's how I was reintroduced to Alcibiades. I do not want this. I know he sounds different to me. But I can't stop it. To lesser degree this is also a problem with Hector; he sounds like the Disney Hercules because I saw his actor perform Hector in a play once. Consciously, Hector sounds different to me, but it's what I hear. My mind torments me.
Ah I completely understand this. It happens to me not so much with voices because I don't really hear many things in my head in general, but with appearances. I had read the lord of the rings books before seeing the movies and I had certain images in my head for the characters and then they got pretty much replaced by their movie appearances. Maybe by finding someone else's voice to replace it directly could help?