#Ancestors and African Grey Parrots

[tiktokparrot]

African Grey Parrots: Myths, Magic & Culture

Explore the myths, magic, and cultural lore of African Grey Parrots across West & Central Africa. Discover why they’re deeply revered by local cultures.

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I don't know what to really ask but just give me some assassin's creed content El. Headcanons, Fic, whatever you want just give me some content, pls.

Modern Day Assassin's Creed Headcanons

These are some very general AC headcanons, talking about the modern day characters because gd, I actually like them fight me.

Modern day assassin's go about things in a simultaneously traditional way and more modern way. So, training is a lot of the core tenants mixed with more modern elements.

Modern assassins don't actually weak the garb from the past unless it's like, a super special ceremony. They dress just like we do because come on. Come on. There's a reason Torres said "the costume made infamous by your secret organization."

I feel like all assassins are huge intersectional feminists. I'm not taking questions on that.

Assassins also have localized mentors. So, y'know, Midwestern assassins have a league of mentors that specialize by sector. There's so many assassins now that it just makes sense?

The way ranks work now is relatively the same? They kept a lot of old tradition.

There are assassins that aren't in the field. Researchers, data retrieval, not all of them are physical soldiers, BUT, all of them know how to fight should they absolutely need to.

Parkour is still essential to the assassin training core. Modern day assassins actually tend to forget about parkour because everyone wants to fight instead.

Freerunning styles actually differ by region! Western European styles drip with style and show where as North American freerunning is filled with showmanship and a little messy!

The traditions of different brotherhoods drip into their assassins. Where as the West Indies Assassins may enjoy one method of assassination, the SEAsian Assassins will enjoy something else and will often default to that as well.

Assassins have different nicknames and are often bonded by the brotherhood they come from.

There's a weird rivalry between the Midwestern Assassins and the New England Assassins. No one knows why, but it's existed for decades. All friendly, of course.

Hell even by country the assassin brotherhoods will differ. The culture is blanketed the same, but varies WILDLY by the society they exist in. The Bolivian brotherhood is leagues different than the Nepal brotherhood. That's just how it is.

Each brotherhood has the universal traditions mixed in with their own that get passed down from generation to generation of assassin. Some of these traditions are centuries old (looking at Altair's home).

Assassins are literally everywhere. They are a global unit, and they are well known within the "secret organization" world.

The Templars are no different.

This is essentially a war that will never end due to human stubbornness and a general lack of not being able to communicate.

It confuses the assassins wildly why Abstergo, a Templar company, would make games and media based off of Assassin history.

Assassins are nomadic by nature.

While it was never Aya and Bayek's intent for the Hidden Ones to become figureheads in their own community, there's a lot of lessons to be learned from those who came before. Aya, who became Amunet, is one of the most celebrated and beloved assassins in all history. It's why there was a tomb hidden away for her in Italy.

All of the greats get remembered in ways they never really expected, and of course, there are jokes surrounding their lives that exist to this day.

It's funny to call each other novices, but no one knows why. Mailk

Some inside jokes are only understood by a singular brotherhood.

Modern day assassins are also extremely well rounded individuals. They know a plethora of skills to blend in with whatever their situation calls for given their missions and the calls of their mentors.

The brotherhood will also pay off college debts/put you through college. They value their assassins to be educated in a plethora of things, college/university being one of them.

Literally there's a place for everyone in the brotherhood. Whether it be in the field, or archiving data, there is always somewhere for you in the brotherhood.

It's not uncommon for older, but not mentor assassins to take in younger/less experienced assassins and train them as well.

Look, camaraderie is a big thing and always will be.

Assassins that are more nomadic than others tend to live in groups, like what Rebecca, Shaun and Desmond were doing.

Groups are deeply personal.

Idk why they made the animus like, a VR headset at one point but I like to think it's not entirely like that???

Yes, you can check out your ancestors in the animus.

Most assassins can speak multiple languages and are versed in some type of sign language.

Assassins are more often than not a heritage thing, but they accept people whenever.

The bleeding effect is still very much a thing. Sometimes, that's how novices will work in a bind.

Sometimes, saying "requiescat in pace" is a bit of a joke in their circles.

You do not badmouth the legends of the past.

Sometimes, assassins will go a little rogue and work with Templars for the greater good. This happens more often than not, and when it does, it has to be extremely hush hush.

Modern assassins and Templars are more willing to talk about things than their predecessors.

Birds are still a big thing with the creed. More often than not, assassins are taught falconry.

You can't have a fear of birds lmfao.

Some assassins have parrots. African Greys, Cockatoos, macaws, stuff like that! Some have crows, ravens, hawks, it goes on. Birds are integral to the creed.

Assassins have like, safe houses and stuff, some more showy than others and grand. There are hidden statues around of different mentors in accordance with what they did in life. In the rafters, windowsills, it's kinda fun. Like an easter egg.

Layla Hassan was super interesting for the time she was part of the assassins and many are still torn on how to feel about her. Shaun and Rebecca especially.

Modern assassins are often more stuck in history than they would like to admit.

[amusewithaview]

Griffin concepts:

Raven/coyote: ultimate trickster, you might only see one but they’re NEVER ALONE, will always return your treatment in like kind.

Lammergeier/tiger: will eat you, will eat your cow, probably ate one of your ancestors, has probably eaten a BEAR, if you can spot the difference between the natural stripes and the bloody war paint it’s already too late for you.

Magpie/American Shorthair: DO. NOT. BREAK OUT A LASER POINTER. DO NOT.

African Grey Parrot/Maine Coon: big, fluffy, smarter than you.

Red tailed hawk/jaguar: ultimate stealth, proceed with extreme caution, not aggressive but not about to take shit.

[noperopesaredope]

So recently, I decided to revamp some designs from my biggest story/fictional world to make the fantasy people their a bit more similar, and I decided their common ancestor would be closely related to birds (and fish, but mainly birds). This was a great decision, as it made it easier to modify the designs (while keeping them mostly the same) and explain their biology. But it also made creating their languages more fun. So, for the modified worldbuilding, I decided to research bird vocalizations to get a sense of what their language would sound like (something like the phonemes, but not quite. More like, jibberish but in a certain language, or how you can tell the difference between a crow singing and a chickadee singing), and WOW are bird sounds cool! I really like the sounds of a magpie, and the lower sounds it makes, and I’m definitely going to use it as inspiration! Right now, for my language lineup, I’ve picked out magpies, loons, chickadees, wood thrushs, grey catbirds, whatever African grey parrots are doing (I can also make more humanoids because of them), grey go-away birds (yes, that’s it’s actual name), capuchinbirds, American bitterns, and kookaburras.

Birds are just the coolest when it comes to how they sound. Great inspiration for fictional languages and fantasy creatures.

[ntrending]

Honeybees are surprisingly great at math

New Post has been published on https://nexcraft.co/honeybees-are-surprisingly-great-at-math/

Honeybees are surprisingly great at math

Zero is an extremely hard concept to understand. Quantities of things—whether they are bundles of fruit, communities of people, or blocks of wood for construction—are vital to our livelihood. But nothing, as far as the brain is concerned, is far different than something.

Humans have had a hard time coming to terms with this concept. But our ability to grasp zero as a distinct numerical value is a vital part of modern mathematics, engineering, and technology. In recent years, we’ve learned that other animals have also developed an understanding of nothingness. Several species of non-human primates and birds, like the rhesus monkey and the African grey parrot, can all identify “none” as “something.” And, according to a report out this week in the journal Science, honey bees, apparently, belong to that math club as well.

We already knew that the honeybee is no dummy. In previous studies, researchers have found that stingers have the intellectual wherewithal to count and discriminate objects in quantities of up to four. That’s already pretty impressive for a species that has far fewer neurons in their brains than any other animal with similar mathematical counting skills. In this new study, scientists at RMIT University in Melbourne, Australia wanted to know if the buzzers could also prove their understanding of zero as a quantitative value. The team was surprised to find that the critters can, indeed: The bees could discriminate a value of one from zero with moderate ability, and that success increased when higher values were compared to zero.

To keep the bees interested in counting (a rather boring task), the researchers used sugar water as a reward. They taught the bees that when presented with cards with varying amounts of symbols, sugar water would sit behind the card with the least amount of symbols. The bees understood and would always fly to the low-symbol card—an impressive feat. Then, the researchers presented the bees with another set of two cards: This time, one had nothing on it and the other had either one symbol or more. When judging between zero or one, the bees flew to the card with nothing on it more than the card with one thing, showing that they understood that “nothing” was less than one on the numerical scale. As a whole, the bees were even better at distinguishing zero or nothing from larger numbers like four or five, showing that they understood how a numerical scale works, and where zero sits on it.

Why is this achievement so interesting? In an accompanying commentary piece on the paper, Andreas Nieder, an animal physiologist at the University of Tübingen in Germany, points out that the last common ancestor between humans, who can also obviously distinguish zero (starting at around four years old), and honey bees lived more than 600 million years ago with a far less developed brain than either species has now.

At that point, humans and bees evolved separately, and bees developed a brain with far fewer neurons than big-brained people. For reference, a bee has fewer than 1 million neurons; a human has 86,000 million. Yet, both species both developed the ability to distinguish nothing. This, Neider suggests, means that numerical competence may be extremely valuable. “Studies examining animals in their ecological environments suggest that numerical competence is beneficial for animals by enhancing their ability to reproduce, navigate, exploit food sources, hunt prey, avoid predation, and engage in social interactions,” Neider says.

But how do these animals with such few neurons in their brains comprehend this hard mathematical concept? Scientists still don’t completely understand, but studies done in corvid songbirds and non-human primates have shown that a group of neurons in the brain dubbed “number neurons” might be the cells responsible for these numerical comprehensions. These cells respond in different ways depending on the number of components presented.

Neider writes that while our brains are clearly wired to process stimuli that are something—like a light stimulus triggers our visual neurons in the same way a sound stimulus makes our auditory neurons work—the concept of nothing is just as significant. Understanding better how our brains, and those of other species in the animal kingdom, comprehend “nothing” as a numerical value could help us better explain how we see and interact with the world.

Written By Claire Maldarelli

[hatimtanger]

watch Wild TV Africa HD live stream online free Now Today with high quality

watch Wild TV Africa HD live stream online free Now Today with high quality

?do you want to watch Wild TV Africa HD live stream online free Now Today with high quality 

Wild Africa is a British nature documentary series created and produced by the BBC, it explores the natural history of the African continent. It was first transmitted on 7 November 2001 on BBC Two in the United Kingdom. The series comprises six episodes. Each concentrates on a particular environment. The producers use aerial photography and wildlife footage to show how natural phenomena such as seasonal changes influence the patterns of life. Wild Africa was produced by the BBC Natural History Unit and narrated by Fergal Keane.

The series forms part of the Natural History Unit's Continents strand. It was preceded by Congo earlier that year and followed a year later by Wild New World.

Wild Africa typifies the style of blue-chip documentary series on which the Natural History Unit has built its reputation, with its high production values, strong visuals and dedicated musical score. To achieve this took 18 months of principal photography on 53 filming trips to 22 countries, starting in September 1999. The filmmakers were assisted by a production team of 16 and around 140 scientists and field assistants.[1] The experienced camera team included Peter Scoones, Gavin Thurston, Owen Newman, Martyn Colbeck and Simon King,[2] all of whom have contributed to many other BBC natural history films.

The filming team travelled from the lowest point on the continent, the Danakil Depression in Ethiopia, to the highest, the summit of Kilimanjaro. Successes included rare footage of huge feeding groups of manta rays, and Walia ibex locking horns in the Simien Mountains.

After an opening sequence introducing the series, the first episode looks at Africa’s mountain ranges. First to be featured are the Ethiopian Highlands, the remains of a huge volcanic intrusion. Geladas survive in large groups on the cold grassy highlands and use facial expressions to resolve tensions without confrontation. Walia ibex clash horns on precipitous slopes, and Ethiopian wolves stalk grass rats and giant mole-rats. A pair of adult lammergeiers locks talons and tumbles through the air. Juvenile birds are shown practising the art of dropping bones from great heights onto rocks. In North Africa, Barbary macaques are filmed foraging in a snow-covered cedar forest in the Atlas Mountains. The Cape Highlands are Africa’s oldest mountains. Their isolation and stable climate have enabled an entire plant kingdom to evolve. Over 7000 species make up the Fynbos, and many have developed unique relationships with pollinating insects and birds. The Rift Mountains of East Africa are active volcanoes, but their lives are short in geological terms. A sequence shows mountains of increasing age, from Lengai and Kilimanjaro to Mount Kenya and finally the weathered remnants of the Aberdare Range. Their mineral-rich soils attract savannah animals including elephants and bushbucks. As the Rift Mountains have thrust upwards, they become an agent of evolutionary change as small populations of animals are isolated from their lowland relatives. Melanistic forms of servals and leopards arise mainly in the highlands. The programme ends in the heart of the continent, with scenes of mountain gorillas in the Virungas.[3]

The savannah, home to the greatest herds on Earth, is the subject of the second instalment. Despite its timeless appearance it is actually Africa’s youngest landscape, shaped by the weather and the animals themselves. As the continent dried, rainforest trees dwindled and were replaced by swathes of open woodland, thickets and grassland. Elephants, drawn from the rainforests around three million years ago, are the greatest architects of the land and are filmed pushing over trees. Primates also moved into the savannah, beginning with the ancestors of modern baboons. Grass is a vital element of the ecosystem here. Grazing herds trim the grasses, promoting rigorous growth and more numerous varieties. Seasonal rains and fires also shape the environment of the savannah. After rainfall, the plentiful grass seed triggers a race to breed for millions of red-billed queleas. Marabou storks pick armyworms from the grass and quelea chicks from their nests. The dry season can last eight months, forcing many herbivores to migrate in search of water. Wildebeest follow the rains, while elephants travel a network of paths between waterholes. Buffalos rely on tough grasses to sustain them through the lean times, but as they weaken, lions sense an opportunity. Long, narration-free, slow-motion sequences of lion and cheetah hunts are accompanied by evocative orchestral music. Night-time cameras follow rarely seen animals including aardvarks, servals and an African wild cat. The reasons for this abundance of life are the savannah’s vast size, fast recycling of nutrients and the adaptability of its wildlife.[4]

The third programme features Africa’s deserts, whose swathes of sand and rock cover half the continent. It begins in the Namib by demonstrating some of the unusual strategies that desert insects and spiders have evolved to survive. With no more than 5 cm of rain each year, this is Africa’s driest desert. On warm nights, sea fog forms over the cold ocean and blows across the dunes, bringing vital, life-sustaining moisture. Even large animals can survive here; elephants use knowledge passed down through generations to find sustenance. Nara melons make a nutritious meal, and Cape porcupines and hairy-footed gerbils take advantage too. Neighbouring the Namib is the Karoo, which benefits from winter rains. The blossoming of flowering plants in the spring is shown using time-lapse. The rains also trigger the emergence of locusts, which swarm together and destroy all fresh growth in their path. In the Kalahari, there is enough rain for grasses and stunted trees to grow. The co-operative strategies of Damaraland mole-rats, meerkats and sociable weavers are compared. The grasses support grazing animals such as springbok, which in turn attract predators. The cheetah, with its thin, lightly furred body is most at home in the desert. The Sahara is much newer than Africa’s southern deserts, the product of a rapidly drying climate coupled with overgrazing. Ancient rock art in Chad’s Ennedi Plateau shows a vanished world – giraffe, elephant, rhino and other savannah creatures. Now, the last remaining Nile crocodiles share their dwindling pools with the passing camel trains.[5]

The fourth instalment follows an anticlockwise path around Africa’s coastline, beginning at the Cape of Good Hope. To the east, the warm Indian Ocean brings moisture to the land. The coastal forests and mangroves are home to Zanzibar red colobus and mudskippers. Tree-climbing crabs feed on fresh mangrove leaves, but must descend to escape the midday sun. North of the Tropics, the Red Sea coast receives little rainfall due to the dry heat and intense evaporation. Corals thrive in the clear, warm waters and the reefs here harbour moray eels, redtoothed triggerfish and clownfish. Pelagic fish shown include barracuda, devil rays and a school of manta rays filmed feeding in formation in a Sudanese bay. On the Mediterranean coast, Eleonora's falcons time their breeding to coincide with the passage of migrating birds. Up to two million migrant waders overwinter at the Banc d’Arguin mudflats in Mauritania. The seas of equatorial West Africa are heated by the Guinea Current which brings high rainfall to the coast. Here, elephants and hippos are shown moving through the mangroves and red river hogs feeding on sandy beaches. Further south, the Namib Desert extends to the coast. The cold Atlantic waters are rich feeding grounds for Cape fur seals and penguins. Fur seal pups are vulnerable in the heat, and those that perish are picked off by black-backed jackals and brown hyenas. Around the Cape, great white sharks use a unique hunting technique to catch seals.[6]

The penultimate episode looks at the continent’s rainforests, which cover equatorial Africa from Uganda to Sierra Leone. Their extent responds to climatic variations and as this is a wet period in Africa’s history, the forests are near their maximum coverage. In the wet season, killifish hatch, grow and breed in a puddle in an elephant’s footprint and can move across land to find new water sources. Fruiting trees attract birds such as Black-casqued hornbills, great blue turacos and African grey parrots. Elephants are filmed breaking open fallen omphalocarpum fruits using their trunks, behaviour only recently discovered by scientists. The fruit eaters also help to disperse seeds. Black-and-white colobus are leaf-eaters, but despite living in the canopy, they are hunted by Biaka pygmies and crowned eagles. The Biakas also harvest yams, climb to bees nests to collect honey and use natural toxins to stun fish in the forest streams. A fast-growing giant yam exploits the gap created by a fallen tree. The yam has several defences against being eaten, including attracting aggressive ants, but a particular beetle has evolved a strategy to combat both yam and ants. Chimpanzees are filmed using sticks to extract termites and safari ants from hollow logs. At a few special places in the forests, large clearings created by elephants attract many animals to socialise, reinforce bonds and feed on the mineral-rich ground. One such clearing is Dzanga Bai in the Central African Republic, visited by 2,800 elephants, shy bongos and western lowland gorillas.[7]

The final programme looks at how water influences life on the continent. Rain falling on the mountains of equatorial Africa eventually flows into Nile, Congo, Niger and other great rivers. The Luangwa, a tributary of the Zambezi, draws animals from the surrounding arid lands. Predators and prey drink alongside one another in an uneasy truce. The waters hold dangers too; a Nile crocodile attacks a buffalo. When river levels fall, hippos are forced together and sometime fatal territorial fights ensue. Crocodiles are filmed tearing flesh from a hippo carcass. Carmine bee-eaters excavate nest chambers in exposed river banks, but African fish eagles and monitor lizards prey on the birds and their eggs. The lakes of East Africa hold most of the continent’s fresh water. Over 600 species of cichlid have evolved in Lake Malawi, each occupying their own niche. The fish and migrating birds feast on a seasonal bonanza provided by clouds of black flies hatching on the water’s surface. Africa has great wetlands too. Zambia’s Banguela Swamp is a rich fishing ground for shoebills, spoonbills and egrets. The Okavango River flows towards the Kalahari Desert, creating the greatest inland delta in the world. It is paradise for hippos, but savannah animals have had to adapt. Lions have learned to swim across the water channels to keep up with their prey. The final scenes show the vast flocks of flamingos at the soda lakes of East Africa. Every few years, they engage in synchronised courtship dances.[8]

Wild Africa won two awards at the 2003 Jackson Hole Wildlife Film Festival in the Best Limited Series and Best Cinematography categories.[9] The series was also nominated for its photography at the 2001 BAFTA Craft Awards.[10]

A book, soundtrack CD, and DVD are all available to accompany the TV series:

A Region 2 and 4, 2-disc DVD set was released on 18 July 2005 (BBCDVD1700) featuring all six full-length episodes and the bonus documentary "The Super Herd" from the Wildlife on One series. Wild Africa is one of four series which comprise the Region 1 DVD box set BBC Atlas of the Natural World: Europe and Africa, released on 2 October 2007.

The accompanying hardcover book, Wild Africa by Patrick Morris, Amanda Barrett, Andrew Murray and Marguerite Smits van Oyen, was published by BBC Books on 1 November 2001 (ISBN 0-563-53790-6).

An original orchestral soundtrack CD, composed and conducted by Christopher Gunning, was released by BBC Music on 19 November 2001.

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[ifaabeyo]

Iyami-Aje - (Iya Mi Aje = My Mother Sorceress) also known as Iyami Osoronga, Awon Iya Wa (our mother), Eleye Aje ( bird of power) refers to the primordial mothers and divine feminine among the Yoruba people in West Africa and adherents of the Ifa Orisha tradition in the diaspora. Iyami Osoronga is sometimes differentiated from Iyami Aje in that Osoronga refers to a supreme mother divinity (Iya Nla). Iya Nla is also referred to as Odu, Odudua, Gbadu, Igba Odu, Igba Iwa. .[1] Aje is the concentration of female vital force and the ability to make things happen. It refers not only to the power but the females that are connected to it.[2] Aje has been translated to be similar to the word, witch (a wise woman) although the term witch is not fully embraced by all because of its culturally derogatory association. Women are said to yield great power because they hold the secret of creation given to them by Olodumare, the divinity as expressed in the Ifa literary corpus. Traditional lore also states that Iyami are the only ones Olodumare trusts when bathing. Iyami used as a common name refer to Orisha, female ancestors, or human. All Birds especially Owls, Vultures, Parrots particularly African Grey are associated with Iyami.[3] The name Eleye means bird in Yoruba and women who possess birds. The male counterpart to Iyami are called Oso meaning Wizard. . (at New York, New York)