#also can i just say it has a narrative and cultural purpose it's signalling within the story and it's not that he especially likes hats

[guqin-and-flute]

For real! Hats from ANY culture are going to look odd when you first encounter them because it's a person wearing a thing on their head. Things like form, shapes, color, and decoration are highly contextual to the culture it originated in. They're going to serve a different purpose and signal a different thing in different places.

The official's hat is no odder than a cap with a brim only at the front (baseball hat)--it's shaped by what it is used for and the culture it was created in. One is just more common in Western culture and so Western people are immune to seeing it objectively.

The hat looks a little funny the first time you encounter it, the same way bicorns do. But if you watch enough of these shows or look at enough old artwork they start to just look like "hat that comes with particular setting." It is sillier when only one person is wearing one but Idk they're not any weirder than western historical hats...

[script-a-world]

Submitted via Google Form: So space is 3D with no direction. We have to create an orientation based on our position. But how about aliens in other solar systems and planets. They would orient from their position. If their orbit is inclined and also far up compared to earth, then you have a different orientation. Thus, a lot of orientation problems that are way more confusing then your left my left stuff. Heck what if I had a planet in our solar system in the same orbit plane and incline as earth but the aliens made compasses pointing to the direction of earth's south but they oriented it as up/north. And say if some galaxy organization decided on a universal orientation, how much would that upend existing orientation and make everyone's sense of direction change up even on their own planets especially non space explorers who absolutely don't need a change to orient their own world...

Tex: Which way is Earth oriented? Is the default the Northern hemisphere? Why? It’s mostly cultural associations, isn’t it? There’s some argument as to landmass and population densities (albeit incredibly weak arguments), but it boils down to Tradition™. Australia isn’t literally upside down, and as you’ve indicated, it’s all a matter of perspective.

For reference, this is the current proposed view of a galaxy similar to the Milky Way from the edge (Space.com):

Source: J. Skowron/OGLE/Astronomical Observatory, University of Warsaw

There’s a little bubble in the middle, but for the most part, the galaxy is relatively flat. Quite a lot of galaxies are like this to some degree or another, though the outlier dwarf spheroidal galaxies are relatively rare and difficult to spot (Wikipedia, Mann A).

This is pertinent because it does impart a manner of inherent standardization on forming navigation systems - up will usually be either up or down, not left or right (sorry, Uranus). Because of that, the “is Australia upside down” issue becomes one of perspective rather than “is Australia left or right”.

Most every scifi media I’ve encountered has a ship coming into orbit before landing, so it’s less “throw a dart on the board” and more “falling with style”, and in that case the orientation of the ship doesn’t actually mean much. If, however, things like hyperlanes come into play, then ideally (or hilariously) traffic becomes the norm and it’s more likely that a ship will need some sort of radioed turn signal than a shape that dictates something like “front” versus “back” or “up” versus “down”.

Further Reading

Centripetal Force by COSMOS - The SAO Encyclopedia of Astronomy

Feral: Sailing and nautical references have long been used in science fiction (hello Space Navy), and it’s easy to see why. While there are certain ship directions that require a waterline and are therefore unhelpful (unless tweaked), in general, it makes sense that on a spaceship as on a marine ship “starboard” is a more helpful direction than “right” or “left” due to its stability and ease of reference for anyone onboard regardless of where they are. Celestial navigation has been used for centuries by sailors, and NASA currently uses celestial navigation (albeit a much more sophisticated kind) for navigation via relative positioning to various celestial bodies.  

As for how the imposition of a universal standard on navigation would work, consider the history and implementation of the International System of Units (or SI or metric system), why the US does not have a (functional) federally mandated standard of measurement, and how the US, Myanmar, and Liberia (which uses USCS in addition to SI) have managed without complete metrication. The big takeaway here is that standardization like this, particularly across multiple governments is not some one and done mandate by a single authority; even when it’s a really obviously good idea to have a standard so anyone can understand a measurement or hop into a spaceship not made on their planet and be able to use the nav computer, it might not be universally adopted, and it can coexist with traditional standards.

Constablewrites: The thing about directional terminology is that it’s highly situational. If a visitor to my house asks where the bathroom is, I don’t tell them to ascend to 722 feet and then bear south, even though that would be accurate--I tell them to go upstairs and turn right. So a system for explaining where planets are in relation to each other wouldn’t at all supersede any localized means of orientation.

With that in mind, why do your characters need to know where planets are in relation to each other? Especially when that’s constantly changing, due to orbits and stellar drift? Like, we learn in grade school the order of the planets in our solar system based on how close they are to the sun, but at any given moment, that ranking can look very different. It can make sense to establish a region (like the Outer Rim in Star Wars) but beyond that any conversational terminology is going to be generalized and inaccurate at best. Frequently you’ll see a coordinate system, where it’s implied that someone had to agree where (0,0,0) is, which is the sort of thing that’s relatively simple to get consensus on, especially if the coordinates are defined within a system with an obvious central point.

The only time you would really have to be concerned where planets are in relation to each other is when you’re traveling between them. Narratively, the things that will be a factor in such a journey are how long it will take, if we have the supplies (food, fuel, spare parts, etc.) to get there, and if there are any obstacles in the way. Direction is not one of these factors, precisely because it’s so complicated--even if your characters have worked out a way of explaining it, it’s gonna be lost on your reader and therefore doesn’t matter. There might be alien/supernatural beings who are capable of making the sort of calculations a human can’t, but within the story that just means “tell the computer where we want to go and off we pop” becomes “tell Gary where we want to go and off we pop.” Don’t get bogged down in the sort of details that millennia of storytelling convention have decided we just skip over because they get in the way.

Utuabzu: In space, everything is in constant motion, so absolute position does not and cannot exist. Your position will always be relative to something, usually the nearest major body like a planet or a star. On a galactic scale, assuming you’re writing about the Milky Way or a similar galaxy, Sagittarius A*, the supermassive black hole at the core of the Milky Way (or whatever lies at the core of your galaxy) is pretty likely to serve that purpose. If you then take the general plane of the galaxy and arbitrarily declare one side “up” and the other “down”, you can use corewards/rimwards, spinwards/antispinwards to give rough directions. More likely though, any spacefaring civilisation is going to have massive databases of the relative positions and velocities of stars to permit interstellar navigation, and any star system inhabited by a spacefaring civilisation would have very well-known orbits for all major bodies. It wouldn’t be too hard to work out different systems so long as the two civilisations had a couple of shared reference points, because once they know what they call whatever body, they could just look it up in their own database and calculate travel paths. Unless something major happened, these databases wouldn’t even need to be updated all that often, as velocities in space tend to stay the same and thus positions could just be calculated from old data.

[thechildrendontlaugh]

Identity: The Ebb and Flow of 'I'

Being in graduate school has highlighted and honed in on the idea around identities far more than any other pursuit or endeavor I have engaged in, has ever done. Much of this feels as though it has been to my own detriment. A superficial exploration which locks one into the identities of the moment, which have us in a cultural chokehold. Race is always going to be the elephant in the room, especially for those of us who are unable (or unwilling) to change the pigment of our skin or our obvious ethnic features, unable to rely or lean upon ambiguity. And sexuality (gender expression, pronouns, and the like), which seem to signal more a personal, self-isolated identity which has ballooned into a political barometer by which one can dismiss, judge, or otherwise label those who do not fall into domineering culture. I find both to have become so inflated, that I cannot possibly, in good conscious, place myself upon the spectrum of either, lest I unwittingly align myself with a group or mantra which props itself upon rhetoric instead of action. So far removed from the center—everyday people who do not have the time to wax poetic about what feels trivial at best, and narcissistically self-invoked, at worst—I rest somewhere pushed out in the wings. Viewed as counter-revolutionary and counter-progressive to some, and “normal” to others. I resent having to signal and flag out my Black identity, or delve deep into the etymology around it, or why I might choose Black over African-American, and find POC no different in context, fashion, or form, to that of the “colored person” of the 60s.

Identities today, feel like cheap clothing which one might casually peruse, try on, and then promptly remove once they happen upon another shiny object which upon wear, will stroke and pacify one’s tantrumous ego. To be given such a luxury. To passively demand that one also engage in such dress-up and modeling is a carousel of myopic narcissism. I’d rather walk around naked. And yet, this highlights how some identities one does not get to walk away from, nor control the narrative around. My race is one, and I will not have that continued in the act of weaponization and war against me. Unfortunately, sex and gender have also been thrown into the fray—perhaps they always were, but this time I’m to believe the “good guys” are leading the charge. When you’re on the ground, even your ally can look like an enemy, and war can make demons of us all.

What do the rest of my identities look like?

If given enough time to explore, to examine, to step back and take account of all the things which make me, me, “identity” is what is most alive for me. What flares up to the surface as rage, or passion, or unbridled euphoria. What fills me with a sense of purpose, which feels aligned and netted into the unfolding story of my own personal destiny. It’s how I show up in the world, claim my place in it. Situate myself in an effort to understand and further perfect the way I navigate, maneuver, dance in the interactions I encounter every moment of every day. Beneath that, my identity also encapsulates the things which I wrestle with, that cause me grief, that create some kind of discord. A knocking upon the walls of my body to be let out of its prison, or a curling in of such tightness as to will upon itself a magical disappearance into an even darker nothingness still.

I’m a creative. When I outstretch my hand in introduction, it is one of the first things I say to another person (I am still testing within the cavernous echo of my own mouth, what it feels and means to say “studying to be a psychotherapist”), it is one of the most familiar and personal lenses through which I have viewed my life since very near my inception. I don’t know any other way in which I exist where I do not identify, even if just in the quietness of my own mind, with my curious critique and approach to everything and everyone around us. It has informed so much of my preoccupations and pursuits, but also fueled my own latchings upon “new” identities, or rather, venturing to explore what is already present, just buried.

My identity for a long time at its core was my Christian religion. So embedded and enmeshed with so much of Black culture and struggle and triumph. This strong thread which connected me to a tarred history which granted me community and sense of well-being and place. Situated me somewhere. Rooted me. It’s been years since I have deconverted, and there was a lot of anger involved around that. I approached my religious beliefs sacredly, reverently. It was a beacon of purity and love and hope which felt corrupted and augmented by a false narrative which had finally been able to peel and flake away. I struggled for a long time trying to reconcile the disillusionment which had flared up within me and struck out, vehemently, in rage, disgust, and a deep impenetrable pain. To be so alienated. To come face-to-face with yet another weaponization which had enslaved, beat-down, and forever castigated an entire race of people who will, regardless of the leaps and bounds of progress, will always be subconsciously viewed lowest of the beasts of gods creation. Somehow I have circled back, in some ways, to my injected Christian heritage. Finding it impossible to fully leave behind as it has been the decorative layer of most ATRs/ADRs. Wading through the trauma inflicted by this religion (and perhaps all popular religions in the present-day world) in order to find my way back to my own people, my ancestors, the land.

For myself, that’s all identity really means and comes back to. The people whose blood you share, and the land of which gave birth to you, supported you, healed you. Everything else, are branches upon the system of trees which are interlocked and intertwined, at the root, with one another. If I have no sense of who I am, at my core. If I am detached and withdrawn, or in denial of that centered part of me, nothing else matters or can come fully into being. It will be a paper mâché upon which even the lightest of rains destroys, and dissolves.

[syzygyzip]

Up and Down Three Times: The Hidden Helical Structure of Dark Souls 3

This essay presents a model for use in interpreting the world of Dark Souls 3. It is a hidden structure that is apparently relatively unknown even among lorekeepers, but is very useful in making sense of the surreal environments of this game and its mythologies. It was quite challenging to describe the structure without offering my own interpretations of the emergent symbolism! But the purpose here is to present the model on its own terms, and hopefully it is of use to whoever is interested in deepening their understanding of Souls lore and symbolism.

There are three forks in Dark Souls 3: three major crossroads where the player has the option to go higher or deeper. Each ascent occurs in two stages; each descent occurs in two stages. This structure is largely hidden by the game, since a normal journey through these lands is gradual, recursive, and non methodical. Some structural lines are dramatic and clear, while others are unassuming or obscured. A player may not even realize when she has set foot down one fork or the other. But once this structure is realized—through conceptually positioning the splits as the primary loci—the three primary zones of Dark Souls come into focus. The delineation of these three zones creates a dynamic tension that exposes a wealth of narrative and symbolic correspondences, and is thus extremely useful for critical reads of this game. Each of these zones is thematically and aesthetically cohesive. For this reason, I am terming these three zones as “realms” for use in this essay. So what are the three realms, diegetically? Two of them are fairly obvious. Without indulging in too much interpretation, it is clear that both the ascent and the descent from Irithyll fall under the umbrella of “Irithyll.” Likewise, when the path splits in Lothric, the following ascent and descent are both related to Lothric. So we can easily designate the “Irithyll Realm” and the ��Lothric Realm.” On the other hand, the first split—in the Crucifixion Woods—is less obvious. Doesn’t the player technically leave the Road of Sacrifices when she enters the Catacombs or the Cathedral? Yes, but in this case all these areas are covered under the category of the terrestrial. Not to say these areas aren’t supernatural, but neither are they mythic or divine lands—in the Cathedral there are merely priests; in the Catacombs there are only the bones of history. Therefore the first act of Dark Souls can be said to constitute the “Mundane Realm.” [For a deeper exploration of this theory, check out this essay.] We will go more into the character of these 3 realms later; for now let us define our guiding axis.

Dark Souls 3 sustains a solid thesis about what it means to go up and down. This dichotomy is most succinctly defined in abstract terms as “culture/nature,” and in gameplay terms as “linear/open.” Easily extrapolated from these pairs of terms, we find by association all the other dichotomies upon which Dark Souls is built, like “order/chaos,” “spirit/matter,” “light/dark,” and all the typical brood of “yang/yin.” None of these contrasts suffice to describe the mysterious schism at the heart of the game, but in their accumulation the Dark Souls thesis gains greater definition. This occurs with every change of elevation. When the player travels upward, the game-objects tend toward organization: linear paths, well-defined gauntlets of enemies, holy knights, and the solid edges of architecture. Traveling downward, things tend toward disorder: animals, swamps, mysteries, mutations and decay—the churning wild world in all its vital processes.

For a game that is so much about the reconciliation of opposites, the poles on which Dark Souls anchors its tensions have to be kept ambiguous. Otherwise the world, no matter how high and low it reached, would feel flat as a coin. There is no such thing as a complete definition of the key opposites in the Souls narrative. Even so, the poles gain definition the more they are surveyed; and the fact that the game presents 3 overarching up-or-down contrasts ensures that the player observes this mysterious tension through multiple perspectives. In a sense, “Irithyll/Dungeon” describes the same abstract problem as “Cathedral/Carthus” but in concretizing the problem into their own sets of images, they produce distinct characterizations of the involved antipathies. What are those characterizations? That is subjective to the player. The goal of this essay is not to fully thread the needle through each set of areas, and present The Ultimate Meaning of the Dark Souls Coniunctio; as stated, a complete description of these opposites is impossible. And more importantly, lore is not a puzzle to be solved; it is to be studied and sampled and woven into a garment of interpretation that is right for you—that enhances your experience. For that reason, thank goodness these symbols are inexhaustible!

The real purpose of this essay is to demonstrate this 3-fork method of partitioning the world of Dark Souls. Players and lorekeepers tend to complain that the world of Lothric is not sensible—and it isn’t, in terms of physical geography! It is very awkward trying to reconcile the desert kingdom of Carthus with the Farron Swamp within a physicalist model. But if we understand this world as psychic territory, it begins to assemble itself quite elegantly. What follows are notes about each of the 3 forks of DS3; I hope that it is useful to your own explorations. Overview

In this flavorful diagram, we have a few more details to work with. The general shape of the minimal diagram is retained, but icons are added to indicate special features and transitions between areas. Right off the bat, DS3 obscures its 3-fork structure by initiating the player near the site of the third and final split—the highwall of Lothric.

The wings along the dotted line refer to the special method of transit via the batwing demons, which is a signal that the Ashen One is changing realms. This is important, because there is also a unique transition between the mundane realm and Irithyll: the crossing of the bridge. On the diagram, this is denoted by the “Magic Barrier Bridge” from Carthus to Irithyll. Both the batwing transition and the bridge transition require special items. Thus the three realms differentiate themselves through special gates.

There are a few items in the diagram’s legend. The Corvian Storytellers are noted because they also seem to denote important thresholds—see relevant areas for more info. Memorable stairs and ladders are noted for the reader’s discretion. The dragon symbol indicates locations relevant to Archdragon Peak and the Path of the Dragon questline. They are numbered according to the order they must be visited—note that this order begins in the 3rd realm, Lothric, and works backward.

Smouldering Lake and Archdragon Peak are noted for the sake of illustrating certain points, but are ambiguously considered “extra areas,” not a part of the core 3-forks model.

Other little idiosyncrasies are noted, like the Settlement basement, and the illusory wall at the end of the Consumed King’s Garden. Some of these illustrate points, and some are, again, left for the reader’s discretion.

Fork 1: Mundane Realm

This is the first bifurcation the player encounters, in the Crucifixion Woods. Where exactly is the split? Specifically it is just after the Halfway Fortress, or down the hill from there. It is the largest, widest, and least obvious point of divergence among the three. Looking out at the area does not give the player any indication that there are exactly two distinct paths from this juncture. In that sense, it is very much like being lost in the woods. Though the site of the split is labeled “Crucifixion Woods,” the territory can be expanded to include the entirety of the Road of Sacrifices, and even the Undead Settlement. The reason that it may all be lumped in together is because these areas—from the Undead Settlement to the termination points in Carthus and the Cathedral—cumulatively comprise the mundane world. This theory is much expanded in another essay, but suffice it so say that it is only these areas that represent life on earth. Within this one fork there is labor, industry, culture, history, and social infrastructure. The Undead Settlement itself is a closed loop, representing the totality of life for most people. But the ambitious may graduate to the upper echelons via the sage school or Cathedral; and the adventurous may venture into the dark heart of nature within the swamp, or uncover the anthropological treasures hidden below. Note the size of the respective areas. The upward path is a tiny area followed by an enormous area. The downward path is an enormous area followed by a small area. The first upward area, the “sage school,” is not only small, but is totally enveloped by the Crucifixion Woods, shown in the diagram by the green band. This also contributes to the obfuscation of the 3-fork model; players don’t typically think of the school as a separate area. Going by the bonfire menu too, this location is considered part of the Crucifixion Woods. It is differentiated visually, and in the player’s experience, as it is a conspicuous structure in the woods, and essentially has its own boss. The Crystal Sage is not “related” in any significant way to the Corvians or the Lycanthrope Hunters who populate the greater territory, but the characters who populate the school are clearly direct affiliates of the boss. More tellingly, the sage school pseudo-area provides a perfect complement and completion to the area in conceptual terms. The two downward areas, which are clearly differentiated, proceed through elaborating their subject (nature, the unconscious, chaos, yin). One goes from the dark of the swamp to the dark of the tomb; a confrontation with biology precedes a confrontation with death. Likewise, moving from the school to the cathedral is a clear procession of order: from a half-ruined stone school—structured but impoverished—to an opulent and sprawling feat of architecture. So that is the case for the little school as its own discreet area. You may also note that the green band begins to encroach onto one side of Farron Keep; this is meant to indicate the ecological interdependency of these two locations; the gradual “moistening” of the forest. All the oppositional principles of location design are present in this split: the strategic squads of enemies in the little school contrast against the scattered animals of the swamp; the meticulous metroidvania layout of the cathedral contrasts against the open sprawl of the swamp, and the arcane closed circuits of the catacombs.

Fork 2: Irithyll

This fork is found below the lowest point of the previous fork, so the expectation is that the entirety of Irithyll is “lower” than the mundane realm. But right away, the player emerges into Irithyll among mountain vistas, apparently thwarting this expectation. It feels much, much, higher than the first realm, but ought to be much, much lower--so which is it? The problem is compounded by the fact that the upper areas from this fork are even more apparently “higher” than the highest point of the mundane realm, the Cathedral; yet the lowest point of Irithyll, the Profaned Capital, appears to be “lower” than the lowest point of the mundane realm!

Perhaps the most helpful clue is the point of entry. The player arrives here through the Catacombs, signifying the threshold of death. A strange goblet is touched, a void is entered into, and from then on the game becomes far more fantastical. After the confrontation with death, a giant dog is met on the bardo-bridge. We might therefore imagine Irithyll as a double of the mundane realm. It’s also suggested that Irithyll is somehow “within” the mundane realm, since it is found at its lowest point.

The fact that Irithyll is simultaneously “higher” and “lower” than the mundane realm is appropriate for its operatic aesthetic, and its layout is also suitably dramatic! Compared to the other realms, Irithyll’s up-path is more straight up, and its down-path is more straight down. The elevation differentials are exaggerated here, which can be taken as a clue into the nature of this realm.

In the diagram a cloud-shaped circuit is given as indication that both areas of the upper path may fall under the same designation: Upper Irithyll may be seen as colonized Anor Londo; or Anor Londo may be seen as the crown of Upper Irithyll. Likewise, a box is drawn around the two lower areas to indicate their shared designation. At one end of the downward path, in the Profaned Capital, the player ends up back in the dungeon, which might imply that the entire downward path is within the Irithyll Dungeon. Could the emergence from the Dungeon into the Profaned Capital be an illusion? Or is the Dungeon merely an intimidating and superficial rendering of the mystery at the heart of the Profaned Capital? So there is a wonderful ambiguity on both counts, a boundary dissolution within both forks. Does Up1 contain Up2, or does Up2 contain Up1? Does Down1 contain Down2 or does Down2 contain Down1?

While the upper areas abide by the conventions of order and linearity, the lower areas of this realm playfully challenge the formula a bit. When the player first enters the dungeon, it is quite linear. A certain key must be found to open a certain door continuing on a certain path. This is not like the open field of Farron; it seems to be very sequential! But once a few doors are opened, and the player ventures forward, the area becomes full of recursions and shortcuts. By the time the player comes to the Profaned Capital, she finds a bizarrely disordered heap of an area. So in this sense it as if the Dungeon puts up a front of order; a deceit, hiding the chaos within.

This is not included in the diagram, but it is an interesting detail: the bonfire of the Profaned Capital contains a microfork of its own; another opportunity to go up or down. This microfork is consistent with the culture/nature divide, but almost in the sense of parody. Taking the “up” route one finds a half-hearted linear path through a maze of crystal lizards, and a run through a tiny swamp, up a little chapel, with a sorcerer on the roof. Here the path deadends, or it leads the player back to the bonfire, or back to the dungeon. It is like a little reconstruction of the concept of “upper worlds,” a little doll’s house. Were the player to take the “down” path from the bonfire, she comes upon what is essentially one enormous sculpture, with no expected path, no semblance of linearity, present only to be crawled over as the individual sees fit. This reminds us that the upper paths, in their deliberate architecture and sequence, are designed at the human scale. In contrast, the ruins of this lowest area seem to be haphazard, inconsiderate of the player’s intentions.

Fork 3: Lothric

In the final realm the fork is immediate. The area on the large map labeled “Lothric” is here labeled “Dancer Room” to be specific. When one climbs the short ladder from the Dancer, at once they are given the option to walk forward and up, or veer left and descend. Thus the site of the split in this case is just a small landing. Or one could consider the entire High Wall area the site of this split; personally I do not find that that inclusion contributes much in the way of symbolism—but it doesn’t disrupt anything either. That said, having to return to the opening act of the game creates an interesting circuit. From the Lothric realm (or its accessory, the High Wall) there is a descent, through the batwing demons, to the mundane realm. An apparent descent—or perhaps an interiorization—is then made from the mundane to arrive at the Irithyll realm. Thus, Lothric positions itself plainly as the highest of the three realms; most explicitly, high in relation to the entirety of the mundane.

So, how are ascents and descents expressed from this point? The basic formula is faithfully instantiated through the linear progressions of Lothric Castle, and the open field of the Consumed King’s Garden. The first thing to note, however, is that the Garden is tiny, with its boss door visible upon entry. It feels that the lower worlds—the concept of lowness and its significations—have been reduced. The subjugation of the lower by the higher is a frequent motif, and it is expressed here quite clearly. Contributing to this impression is the fact that the second lower area, the Untended Graves, is hidden behind illusory walls. In fact, neither of these areas are mandatory, which is a quality unique to this path among all forks in the game.

The Untended Graves mysteriously re-presents the tutorial area and hub area of the game, scaled to suit the player at this point. This second act of recursion (the first being the return to the Dancer room) underscores the concept of containment, endemic to the lower worlds. Carthus “contained” the entirety of the Irithyll realm, through the portal of death; the Profaned Capital contained a micro-fork of its own which expressed through metaphor the other splits of the game. The Untended Graves is in turn suggesting, through the image of the hubworld, that the entirety of all realms is contained here. Such a paradox is thematically suited to the final “low place” of Lothric, and may be an indication that once again, the player is in a realm simultaneously higher and lower; that the depths of the supposedly highest place somehow yet reach lower than the lowest points of the other realms.

Notes on the Corvian Storytellers While Corvians are fairly common throughout the three realms, there are only 5 locations to the find their storytellers, and these locations are quite meaningful. They are present at each mouth of the Road of Sacrifices: between the Road and the Settlement; between the Road and the Cathedral; between the Road and Carthus. They therefore surround the center of the mundane realm, creating a symbolic threshold. Keep in mind that this center they surrounded was once the site of Oolacile, the cradle of humanity, whose events catalyzed the entire story of the Dark Souls games. The final two places where storytellers are found are also significant: in the Grand Archives and within the Untended Graves; that is, at the final low place and final high place in the game. As discussed previously, it is reasonable to suppose that these are the very highest and very lowest points in the game as well, which would mean that the storytellers are also stationed at the very edges of reality. This is quite another threshold!

Path of the Dragon There is of course one area in the game that sits conspicuously outside of these realms, and likely outside their reality. That is the Archdragon Peak, which is neither up nor down from any location, but instead reached through an ambiguous cutscene transition, in which the Ashen One gazes out at the horizon.

Thus this area separates itself by its neutral response to the question of up or down, but it is difficult to say whether it is truly “apart” from the other realms. At the very least, the key attributes of Arch Dragon peak are distributed in the other realms in a highly significant constellation. First, there is the meditation gesture, which is found at the end of the Consumed King’s Garden, which is needed to reach the peak. Second, there is the point of access, which is on a cliff off the shoulder of Irithyll Dungeon. Thirdly, there is the final confrontation with Hawkwood at the end of Farron Keep.

Do you notice the parallel between these places? These are the first areas of descent of each of the three realms! Farron Keep, Irithyll Dungeon, King’s Garden; let’s call them DC1, DC2, and DC3. To become a dragon and to therefore finish Archdragon Peak—in terms of narrative and in terms of completionism—one must traverse the realms in the opposite order. The key is found at DC3, the door is reached at DC2, and then the Peak itself is found. Once the Ashen One reaches the end of the peak, she obtains a stone which propels Hawkwood’s quest forward, and he is then slain there at the end of Farron Keep, where the final stone is retrieved. We can therefore say that the “treasure” is found at DC1. Another detail contributes to the sense of treasure: the presence of Havel’s armor, which is also found at Farron Keep after visiting the Peak.

The fact that each step of the dragon quest is found in the first leg of each descending area is quite a mystery. To be specific, each step is performed very near the transition points between the parts of each descent. The key/gesture is found where the Garden leads into the Graves; the door/transition is found where the Dungeon begins to dissolve into the Capital; the treasure/conclusion is found where Farron opens into the Catacombs.

The symbolism of this arrangement merits far more investigation. It is particularly intriguing that the player should have to wind through the game “backwards,” from the final realm to the first, in order to produce the full result of the dragon questline. If this is truly the “path of the dragon,” what does it mean for a dragon to proceed through the world in this way?

The Parabola Traversing the lands of Lothric forces the player to go up and down many times. There are descents within the ascents and vice-versa. Of course each player’s route is different, and the amount of time spent on any given climb or slide will vary. Like any game, the more a player settles into their playstyle and shapes the game experience by their choices, the more the game becomes a psychological mirror. Even though this is a phenomenon inherent in the medium of videogames, Dark Souls III generously widens this capacity through the consistency of its primary philosophical axis, and through the mythologically fertile forms which emerge therefrom. This 3-fork model is one among many structures quietly dwelling within the game, supporting and cohering the world, allowing players to constellate their own stories within its matrix.

[flying-elliska]

The transformation of Lucas Lallemant pt 1 : Hell Week.

Skam OG S3  can be more or less divided in three acts, and this is even more obvious in Skam France, which has a more...dramatic style of storytelling, let’s say. Act I : Lucas meets Eliott, struggles with his internalized homophobia, develops feelings, ends with Eliott’s apparent betrayal. Act II : Lucas is isolated, struggles, finally comes out to his friends and to the world, Eliott and Lucas reunite. Act III is what’s yet to come, the revelation of Eliott’s MI, possibly elements related to Lucas’ parents and religion, and the resolution. 

I want to take a look at Act II as a unit and the essential character developpment that takes place within it, starting from the disastrous party scene at the end of Vendredi 19h21 and ending with the paint scene in Vendredi 18h34, because this is really where we can see Lucas’s arc pivot, as he is left alone to confront himself, and the nuance with which it was done is incredible in terms of storytelling. 

Fair warning, it’s going to be a long one. 

Vendredi 19h21 : Fête de trop 

It has been pointed out by many that, whereas Isak and Martino punched into bushes and garbage cans during this scene, Lucas hurts himself until his knuckles are bloody. He’s angry at the world for sure, getting in a fight with his friends, but it’s ultimately himself he blames - for having feelings, for caring, for thinking he had a chance with Eliott, for being attracted to a boy, for wanting a family that supports him, for wanting to be loved. Chloe possibly outing him by yelling Lucas is gay in a crowd, Arthur joking about his family, Eliott kissing a girl - it brings all his worst pains and fears to a head, and things he’s been repressing for the longest time just boil over, in the shape of rage and inarticulate despair. He punches his hand into the wall because he cannot speak, cannot think, cannot do anything else. It’s violence and self-harm as a symptom of powerlessness. The look on his face at the end I read as him being totally overwhelmed.

 In the background the song talks about partying to pretend to be alright - but emptiness and chaos catch on eventually. It’s ironic in a sense because the singer is talking about glitter and kissing boys in public, things Lucas very much shies away from, but in the end the result is the same, loneliness and alienation. The association of the two brings up very old themes in queer culture, specifically things gay men have had to deal with - feeling adrift, disconnected from family and people and feelings, internalized hatred, self-harm, feeling like you have nowhere to go, putting on a happy face even when you’re spiralling out, partying as a substitute for connection, and what happens when the facade breaks. At the same time, the drop after excess can have a revelatory effect. 

Even if it’s painful, this scene is necessary and kickstarts the part of his journey where he is facing his fears on his own. The hurt is a recognition of what is happening to him and how important it is. 

Lundi 08h52 : Scared but doing it anyway

That's the definition of courage.  With his bandaged hand and the slow opening, as he puts his hoodie up, he looks like a boxer stepping into the ring. Lighting is at its most overcast, blue-tinted, dark and depressing. This clip is heartbreaking, bringing Lucas's worst fears to the light. Being mocked and ostracized, turned into a vulgar joke, having been played for a fool. 

Fear number one. He sees his friends laughing at him. Lucas is a character with huge abandonment issues, understandably. As his familial situation went sideways and his sense of self was put in turmoil, he’s relied on the normalcy of his friendgroup to keep him afloat, going to great lengths to preserve their view of him - even declaring love to a girl he feels nothing for. Them laughing would feel like the ground disappearing under his feet. 

Fear number two. We can see Alex mimicking a blowjob. Through his rant to Mika about dick shaped confetti or his reaction to “Krindr” dick picks, we can see that he seems to be uneasy when it comes to the overly sexual way the gay community is often presented. And homophobic jokes and behavior tends to be overly sexual too, reducing gayness to a series of sexual acts presented as disgusting, instead of the whole love, identity and culture aspects (not that there is anything wrong with gay sexuality in itself, but when it’s reduced to only that, it would be understandable he has issues with it, especially for a teenager who’s just discovering things, belying the cliché that all men are naturally horndogs.) He's afraid of his intimate feelings and process of discovery becoming a vulgar joke, that’s very understandable. 

Fear number three. Eliott looking at him smugly. Basically confirming that he’s a player,  that this very special connection they had, something that allowed Lucas to open up and be vulnerable and artistic and bold, and muse about alternate universes and play the piano and feel comfortable enough to be happy kissing another boy - was a lie. Eliott doesn’t care and now he’s able to be on the side of the bullies because to him - like the cliché “bisexuality” Lucas had in mind talking to the girls - his attraction to boys is just a fun side piece, he can just go back to his girlfriend afterwards, whereas Lucas can’t. He’s “stuck being gay” and he’s failed at maintaing a straight façade. 

To close it off, there’s Chloé, fulfilling the narrative purpose of a ticking clock and a reminder of Lucas’ failure at straightness and imminent outing. This of course, is not really happening, but this paranoia is very typical of being a closeted queer person, of constantly having to wonder who is going to love you anyway and who is going to reject you because even when your people are mostly liberal and tolerant, there is no way to really know because of how deep homophobia is rooted in our society (see my meta about French humor). It really is Schodinger’s unconditional love. 

And then there’s Daphné. This is the first of several ‘tonal breaks’ in this arc, in which the angst is cut with moments of levity, randomness and wacky jokes that seem a little out of place but do serve a purpose narratively and in terms of themes. In this one, she goes out of her way to praise Lucas’ masculinity. It wouldn’t surprise me she already heard rumors, going from the alarmed look on her face, and wants to reassure Lucas he is still a man in her eyes. Daphné is an interesting character to do this. Because she has little brain to mouth filter, she tends to say stupid things and offend people, but at the same time, she can break through people’s walls and isolation - the foyer, meant to bring different people together, is a symbol of this. She’s a key representative of Skam’s central theme of people being flawed, able to learn, and of -trying and reaching out, even with mixed results, being a super important thing. Therefore, it’s interesting she’s the first to reach Lucas in this difficult phase, and this will happen again later. At the same time her words about defenseless women needing a strong man is a reminder of the overwhelming clichés about gender roles that make Lucas’ life so difficult. 

Lundi 14h03 : Ennemies and Allies

Chloe's threat of outing Lucas whenever she wants gives the whole episode a feeling of urgency. She is extremely hurt and he can’t catch her, either physically or symbolically. She’s a loose cannon, and her holding Lucas’ outing hostage as revenge feels very violent. It's not clear that anybody knows yet, but she could take Lucas's choice from him any time now. His harsh and terrified words (”I’m not a f*g”) illustrate the level of denial he is trying to stay in as it’s slipping away from him, the powerlessness he feels. The scene taking place in PE class with people throwing balls at one person standing in a goal reinforces the overal symbolism of being put on the spot. 

On the opposite side, Yann's reminder of support sets up what happens later. He wants to be there for Lucas, but he’s also been hurt by his silence. He doesn’t want the squad to be Lucas’ punching ball if he can’t verbalize. 

Mardi 13h08 : Miscommunication. 

Eliott is trying to make a joke about the time they met and he couldn’t chose what to get from the vending machine ; Lucas interprets it as him saying he wants both Lucas and his gf, and he responds harshly. Lucas is pretty much standing up for himself here, as painful as it is. He signals to Eliott he's not game to just forgive and forget, to do as if what happens didn't matter. Him alluding to a choice that Eliott needs to make - there's still a sliver of hope there though, as agonizing as it seems.

Lucas not finding a place to sit and leaving the canteen represents his worst fears about coming out - being left alone. It’s a classic high school story trope, not knowing at which table to sit, eg. not fitting in anywhere, so he chooses not to feed himself. (Again, hurting himself). 

Mercredi 13h37 : Sorting through your old shit

This moment of levity after the heavy angst serves as a reminder that life, whether you are ready for it or not, goes on. It’s also the second time that the show subverts horror tropes - first in the first kiss scene for romantic purposes, here for comedic purposes with the creepy dolls everywhere and the guy with an axe. The theme is that things that look scary at first often aren’t, and can even bring unexpected gifts. The overall scene doesn’t have much impact on the plot, but it can symbolize several things - the need to do away with the messy things of the past (like all the shit in the shop and internalized homophobia), giving things that are still useful a new place where they can be better appreciated (the couch is a metaphor for Lucas being gay lmao), the difficulty of dealing with grief and your baggage alone and the need for outside help (like the shopkeeper who can’t get rid of his brother’s things), the importance of playfulness and unexpected gifts (table football). 

The girls opening up about their dating woes puts Lucas’ struggles in the larger context of teenage boys being trash, normalizing what he goes through. On the other hand, again, Daphne’s comments and Imane’s joke show that the girl squad have their own problems with gender clichés. Manon denouncing them marks her as a safe place for Lucas, as well as her going through the deeper kind of turmoil of love troubles. 

Lundi 01h48 : In the abyss

The scene is dark and drenched in blue light, giving it an oceanic, almost submarine vibe. This is Skam taking full advantage of its real time format, showing the story at a time where viewers are very likely to be in the same state of exhaustion and half-consciousness as the characters. 

Even though he doesn't show it much, Lucas is a deeply caring character. He's just been extremely burned out, possibly by his family situation, and what happened with Eliott. And yet, it's still there. We can see it here in how he comforts Manon, trying to be stoic, but it's getting to him in the end. Compassion is often much easier to extend to others than to yourself. He might punish himself for feeling too much, but he would never do that to Manon. 

This scene is, to me, the most pivotal moment of the season yet along with the piano scene : they're moments where we see Lucas's soul come to the surface. And as vulnerability is key to the plot, those moments of openness really move things along. The piano scene was Lucas letting out his more passionate, artistic, sensitive side ; this moment is more raw and ugly, about what lies beneath the anger, the despair of caring too much. And yet there is beauty and relief in owning it. In this particular context the shell of anger Lucas protects himself with is meaningless - it’s just the utter loneliness of the night and two people who are broken and lost. Manon is also from a broken home of sorts, she’s also been given a lot of reasons to give up on love. The fact that they’re able to share this intimacy of letting themselves feel like that, at a moment where words are beyond them, is however a sign that they’re not giving up. They’re feeling the feelings, as painful as it is, and they have a witness. It’s beautiful. 

Vendredi 09h14 : Exhaustion

Lucas's body is basically close to giving up on him. He can front all he wants, but he's still only human. So he goes to see the school nurse for insomnia. He thinks maybe if he can solve the physical problem, maybe get pills, he can go back to being tough and pretending nothing is wrong. The nurse’s answer - not exposing himself to any screens or blue light before sleeping - is laughably unadapted to his problems, which in turn makes the idea that Lucas can solve his problems this way ridiculous as well.

The nurse is a mess - is she cheating on her actual husband there ? Why is she talking about her (murder)fantasies to a student ? Teacher’s back acne ? She illustrates that adults still have problems (again, normalizing what Lucas goes through) and that life in general is messy and you need people on your side who can be there even though you are going through ugly, difficult things. Lucas cannot talk to her, they’re not on the same wavelength at all, but there’s still someone he can talk to. The medecine is not pills, it’s human support and trust. 

Vendredi 17h05 : Trust issues 

This clip is very painful to watch. 

First Eliott’s drawing. At this point in the story it feels like a cruel joke. This guy played him, and now he’s talking about destiny ? Lucas really bought into the whole Polaris thing, we could see he was starving for a real connection, and maybe he thinks Eliott is using that against him, tugging on the heartstrings like a true artsy fuckboi. At the same time, the loneliness that emanates from the drawing is heartbreaking for us, who know what’s up with Eliott. 

Lucas decides to go talk to Yann. That’s his destiny. I thought he was going to walk up to Eliott for a moment, the filming is deliberately ambiguous, but no. In a way, he’s choosing himself, deciding to bring stability to his life by opening up to the guy who’s been his main support system for years : Yann. And he lays it all on the table - his problems with his family, his insomnia, the mess with Chloe, the difficulty talking, having a crush of sorts for Yann, falling in love with Eliott. He’s so brave. He banks on his ability to trust Yann, he wants to believe he’ll be there for him. He’s finally coming out to someone on his own terms, with clear words. 

It doesn’t work. Now, I never believed Yann was homophobic - his face only shuts down when Lucas starts talking about all the people who already know. But after Lucas’ slow, painful journey towards opening up, it feels like a bucket of ice water in the face. However, it is thematically appropriate. 

This story arc tries to balance two concepts very delicately : on one side, as a teenager it’s important to realize that you’re not as alone as you think, not alone struggling. On the other hand, both internalized homophobia and French culture’s latent homophobia (that makes people do shitty things even though they’re not homophobic at heart, without realizing it) make this process of teenage alienation vs self discovery and acceptance, a thousand times more painful than it needs to be. Ending the episode on this note signifies that the struggle is real, that however brave you might be, sometimes the world is going to try and slap you down anyway. Thankfully, the story doesn’t end there, but for Lucas, this is the bottom of the pit. As his instagram post says ‘god needs your lifeboat as an ashtray’. Sometimes your best efforts mean nothing. This seems like a very pessimistic and cruel conclusion but I believe it’s an important beat in the story, recognizing that sometimes things go wrong through no fault of your own. It’s the system that is to blame, that has not given the tools to Yann to react properly and for the both of them to communicate better and for Lucas to accept who he is and not hurt people around him in order to hide. They’ve gone the road of validation over comfort and I think it’s a very interesting choice. (Even though I can also understand people who needed a more positive message and were hurt by this). But like a lot of queer people, I’ve had my share of half-botched coming outs and it’s important to show how you come back from that. 

...

So in a nutshell : this week, we bear witness to the slow death of Lucas’ tough, uncaring, player straight guy facade. His feelings have reached a boiling point, and he can’t ignore them any longer, it’s taking a toll on his body and isolating him from his friends. The moments of levity serve to dedramatize and normalize what Lucas goes through, encouraging him to reach out, while at the same time, the show takes his pain and fear seriously, by showing the minute toll it takes on his health and the less than ideal reaction of the people around him. However, through it all, he finds the courage to keep facing his feelings and opening up. He is staring his worst fears in the face - abandonment, ostracization, having his feelings used against him - and he still manages to choose trust. Eliott might have been a catalyst, but in the end he chooses to do what’s right for himself. He talks, even though it’s almost a moment of symbolic death, but the transformation can take root from there. Honesty is grueling sometimes, but it’s still necessary.  It’s better than letting the lie ruin your health and your relationship, better than hurting yourself in an attempt to push down the truth, better than violent powerlessness or night time devastation. Lucas is so good at wearing a mask, but how he reacts in this crisis is revelatory of his own deepest need for change and love. 

In short, I love this character with the intensity of a thousand suns and even though it's super painful I love that we got to go on this journey with him.

Thank you for reading this monster of a post, and see you next time for pt 2 : Acceptance ! 

[bayardboy]

Open Letter to Sunrise 3.13

“To Fellow Leaders: Sometime in my journey in Sunrise you impacted the way I move in this space, and I thank you for it. As someone who holds a title with weight I wanted to address my beliefs and role in the hub, especially as we head into the next stage of our course to win a livable future, together. I present my story of self, in hopes that I will hear yours one day!” - me, march 2021

OPEN LETTER TO ALL MEMBERSHIP AND LEADERSHIP OF SUNRISEPDX

March 13, 2021.

Hello Sunrise Hub Members; Hello my friends,

My primary purpose in this letter is to write the things I do not say, so you will know me better.

For those who skim, here’s the layout: First, my identities; Second, my roles; Third, my beliefs (including many quotes); Fourth, my observations; Fifth, cited sources. This is how I processed these thoughts; I encourage you to also reflect on your core tenants, in a way that’s most fruitful for you.

I am feeling called to write this letter because lately, many things are going unsaid. I don’t know if all of you are aware, but I have autism, and I don’t pick up on nuanced social signals. I’ve described it as, “when people tell me their story, I cannot read between the lines, unless I have read another book that tells me what may be within their pen.” However, I can tell something is amiss, because people have stopped talking to me without being explicitly asked to. There are many reasons this could be occurring. This silence is something I can hear, and something I want to highlight.

             I will first be clear about myself. My communication style is direct, and as honest as the English language can be (which is not very, speaking from experience). If you feel a strong emotion by reading this letter, please let me know and I’d love to have any length of conversation about your reflection.

             First, my identities: I am a white trans man, an educated youth, and a musician. I like to live my life in beats. I forget how big I am and that it is easier in this identity to intimidate people. I have been pushed to hold leadership my entire life, including girlscouts, theater troupes, camp counseling all ages, and many other privileged programs, but I would rather be sharing in a group of people. I live in the SunriseHaus because I have been financially independent since I was 18 and I love the culture of being working-class, except for capitalism’s burden. I was raised poorer than my younger siblings, in a majority-white Oregon town, which shaped my understandings about belongings and care. I like to joke around, and I don’t like when people are instructed how to show up. We should be here as our fullest selves.

             Second, my role: when I joined Sunrise, we had five hub Coordinators and weekly in-person meetings. When we locked down, a lot of the nuanced energies from being in person (which again, I do not read, but I can sense when they are awry) dissipated entirely and people moved away from online space.

             I was at my friend’s apartment on MLK on the first night of the grieving of George Floyd. We heard the people amassing on the boulevard, and we jumped up to join them. I realized quickly my earplugs wouldn’t be enough to keep me sensible in this crowd. An impressive Black man on a motorcycle drove into the mob to give instructions. I pressed close to hear him, devastated when he rode away. I began to shake with misunderstanding; in that moment, I knew I wouldn’t be of help to anyone. So I rode home, called everyone I knew, and figured out ways to support from home: water bottles, NLG numbers, jail support, bullying politicians, changing the public dominant narrative online, redistributing money, cleaning up after Riot Ribs… employing a diversity of tactics, outside of being frontline, excepting daytime rallies... in this work I do not understand the trauma of my peers from this summer, and I will not pretend I do.

Because of the way I showed up in online spaces (consistent, healthy, and truthful), I felt comfortable stepping into the trainings team co-coordinator role, then realized what I was actually doing was in the realm of Hub Coordination. It was a natural step to take on that title because of my focuses and my skillset, both things that were informed re: my identities. In the endnotes is a description of the Hub Coordinator roles that were drawn when Pauline and I transitioned in.[i]

             I’m learning that hub Coordination has a quality called, “soft power”. Defined by Wikipedia, “in politics, soft power is the ability to attract and co-opt, rather than coerce (contrast hard power). In other words, soft power involves shaping the preferences of others through appeal and attraction. A defining feature of soft power is that it is non-coercive; the currency of soft power includes culture, political values, and foreign policies.”[ii] This is an inescapable component of having organizers who are core tenants to the hub, as well as a community of friends who respect each other.

Also, Slack culture as a community has been severely shaped by the fact that some are very comfortable online, in writing, and others are not.[iii] As our community is also afraid of hard power, all our decisions in the last six months have been made by influence. I am very comfortable writing and therefore I am addressing that I know I wield more power.

             Is soft power problematic? It depends upon how it is wielded. There are hubs that operate and benefit without hub Coordinators. If I am ever asked to step down from this role, I will. Honestly, I’d rather be wholeheartedly focused on recruitment and relationship building. But what I’ve been hearing from our JEAO assessments[iv] is that we actually need more processes to bring leaders into soft power, to ensure that everyone has the equipment this work is asked for by our society. These are processes I am familiar with, but I also know that my understanding of leadership is inherently oppressive re: my identities and how I have been raised to interact with these constructs. Even though I’ll make mistakes and frustrate people, I will continue to show up everyday in the process of unlearning.

             Third, my beliefs: Because I wield this soft power, I need to be open about the way I encounter this work. If we interact often, these are the core tenants informing my words and movements.

1.       I believe in the complete abolition of the settler-colonial state, partnered with a societal reimagining and restructuring co-created by the most oppressed peoples of this nation-state.[v]

“As prison abolitionists, grassroots organizers, and practitioners of transformative justice, our vision for 2018 is one of clear-eyes awareness and discussion of the horrors of the prison system – and the action that awareness demands. As a society, we have long turned away from any social concern that overwhelms us. Whether it’s war, climate change, or the prison-industrial complex, Americans have been conditioned to simply look away from profound harms. Years of this practice have now left us with endless wars, dying oceans, and millions of people in bondage and oppressively policed. It is time for a thorough and unflinching examination of what our society has wrought and what we have become. It is time to envision and create alternatives to the hellish conditions our society has brought into being.” Mariame Kaba, “A Jailbreak of the Imagination: Seeing Prisons for What They Are and Demanding Transformation”. Truthout, May 2018.

“So, what might a Green New Deal built with rather than for Indigenous peoples look like? It would look like honoring what came before: the treaties, the tribes, the rivers from which we drink, the air we breathe, the land where we plant and gather our food and to which we return when our time is up. And by finally honoring these things – which have always been there, but which this country has ever respected or protected – we might build something Green and New.” Julian Brave Noisecat, “Green New Bingo Hall,” Winning the Green New Deal. Sunrise Movement, Simon&Schuster Paperbacks, 2020. p.124

2.       I believe in a complete just transition[vi] of our economic and power systems lead by social and racial justice reform and community building.

“Environmental justice isn’t a free-floating term. It was originally used by Black, Latino, Indigenous, Asian, and Pacific-Islander organizers to rebel against exploitative, unsustainable farming practices, fossil fuel plants, toxic waste dumps, destruction of natural landscapes they call home, and more. The harsh truth is that these communities have been organizing against environmental degradation from the beginning—white environmentalists just didn’t notice because the campaign message wasn’t flagged as pro-environment.” Rachel Levelle, “Confronting the Whiteness of Environmentalism”, 350pdx website, June 2017.

3.       I believe nonviolent civil disobedience is the primary tactic I must personally implement to be an accomplice in the accomplishment of the previous two goals.[vii]

“Peace is not something which exists independently of us, nor is war. It is true that certain individuals – political leaders, policymakers, army generals – do have particularly grave responsibilities in respect to peace. However, these people do not come from nowhere. They are not born and brought up in outer space. Like us, they were nourished by their mother’s milk and affection. They are members of our own human family and have been nurtured within the society which we as individuals have helped create. Peace in the world thus depends on peace in the hearts of individuals. This in turn depends on us all practicing ethics by disciplining our response to negative thoughts and emotions, and developing basic spiritual qualities.” Dalai Lama, “Peace and Disarmament”, Ethics for a New Millennium. Riverhead Books, New York 1999. p.203.

“Either [white people] accept that they have inherited this house of white supremacy, built by their forebears and willed to them, and they are now responsible for paying the taxes on that inheritance, or the status quo continues. I hope they will become radicalized by this moment and begin to fight fiercely for racial justice; but more than that, I hope they start at home, in their own minds and hearts. As I tell my students: a white person rushing to do racial justice work without first understanding the impacts, uses, and deceptions of their own whiteness is like an untrained person rushing into the ER to help the nurses and doctors—therein probably lies more harm than good.” Salvala Trepczynski, Black and Brown People Have Been Protesting for Centuries. It's White People Who Are Responsible for What Happens Next. Time Magazine website, June 2020.

             Fourth, my observations: The people who are called to this work know how to LOVE. Deeply, wholly, truly. We fight in love and we sing in love. We create amazing, beautiful projects together. I believe that we are called into this future together. We love the earth and all its peoples together.

             We do not extend that LOVE to ourselves. I take strong issue with the way people who are called to this work, approach this work. We create deadlines, overwork ourselves, and create stress that is mostly meaningless. We can be self-centric and self-serving in our immediate interests, but forgo food, water, and sleep in those moments. We replicate capitalist culture in determining value of projects and styles of work. We need to make better praxis of asking questions as we go, taking patience in our work and our bodies. It’s not our fault this is how we’ve been trained; but it’s our responsibility to resist echoing the structures that harm us.

             I am neutrally confused that we are afraid to take power as we position ourselves directly next to it. We have done the good work to recognize our voice as widely affluent, time-consuming, and progressive. This is a sound the State WANTS to capture, wrangle and blur in complacency. This dynamic is something we encounter so often in electoral organizing especially. Still working through this one, and the way it shows up in our lack of decision-making processes.[viii]

Subconsciously, we are adherent to the Jemez Principles for Democratic Organizing, which I think is a massive benefit to our partnerships and ourselves.[ix] We are also learning actively how to be representative and reflective of constructive allyship to people we cannot serve in our space.

             I am proud of how many teenagers and parents are in our hub. I am saddened by how often fighting for a livable future causes stress and burnout. This can be a joyous, relieving act: if we do not replicate the school systems that oppress us all, particularly Black youth; if we do not replicate the demands made of people with children, particularly by their workplaces. We should be working intentionally to create a safe, spiritual place to encounter these terrifying truths with patience and heart. We should be asking more direct questions of what will make this work enjoyable.

We don’t sing together lately, because singing to our screen is weirder than singing to our friends. I am anxious for the day we can lift our voices and spirits together again.[x]

I am EXCITED! to know YOU! And I hope YOU! Are equally excited to know ME!

I take responsibility both for my acts and their underlying motives. I own any contradictions.

We will be smiling in the end,

Mikhaila “Micah” Bishop (he/him) SunrisePDX Hub Coordinator text me with anything.

[i] Hub Coordinator roles

[ii] https://en.wikipedia.org/wiki/Soft_power

[iii] White Supremacy Cultural Traits: Worship of the Written Word is number 5.

[iv] JEAO assessments: #3, Structure

[v] LandBack Manifesto, 8toAbolition

[vi] https://www.ojta.org/just-transition-principles

[vii] Bayard Rustin’s Letters are currently building my understanding of what this means.

[viii] Offering Boston’s decision making guidelines, which also did not totally exist? Our issues are replicable.

[ix] Jemez Principles for Democratic Organizing

[x] https://soundcloud.com/sunrisemvmt

[redscullyrevival]

I finally saw The Last Jedi and I liked it - what I wasn’t entirely anticipating is that I also really enjoyed it! I will now commence bullet point blabbering about the film below the cut and it shall not be spoiler free. 

I now understand all the raging nerd-hate this movie has been getting - this film aimed to straight up burn this motherfucker down, huh? 

Loved it. 

Personally I was very… underwhelmed with The Force Awakens. It was a fun romp and I loved the new characters and the nostalgic twinge of the familiar but oh boy the entire thing felt far too beholden to the pedestal of A STAR WARS FILM! in slow steady blinking lights. 

The Force Awakens has that octane Abrams pacing but it is also just so damn stiff. So ridged. And obviously deeply afraid to wander off the path. 

I understand that the first re-introduction to such a beloved franchise playing it (excruciatingly) safe made sense; but I was still upset with the final product, with the final choice to deliberately aim to be nothing more than what I’ve seen and felt before.

The Last Jedi on the other hand turns out to be a long, cozy, chat about how A STAR WARS FILM! should be struck down so something new can grow. 

Hallelujah!

The visceral attack this film must feel like to a particular kind of Star Wars fan is no doubt very intense and in all honestly I do have some pity for folks who found this new film to be dismissing the legacy they feel connected to in deeply personal ways. 

*clappy hands*

But oh, I loved it so much!

Every twist and turn, every aspect of this film pushes the anticipated rhythm of A STAR WARS FILM! away; all the momentum the film gains is for the final purpose of rejecting everything easy and expected, for pushing past, well, the past. 

Hot damn, the nerds are kind of justified for once.

The Last Jedi came for them! It went so hard! The more someone had dug themselves into the belief that STAR WARS was a solid thing they knew and understood on a fundamental core level then the deeper the cut would go as the film raged on. 

The anger, the hate from certain fandom circles makes total sense. 

Because this film done changed the Star Wars. 

And it was about fuckin’ time. 

So prepared was I to sit through The Empire Strikes Back: The Remix that the intense gut fans-hate-it reaction the film got opening friggin’ day got me all kinds of delighted, how I saw it such a reaction signaled that this new film would be something actually new. 

And the fresh air of The Last Jedi comes from some pretty drastic subversion of A STAR WARS FILM! It is down right beautiful.

Ultimately, if the choice to change Star Wars was just to grim dark and edge it up then it’d be pretty terrible I agree, but The Last Jedi managed to alter and course correct massive change without breaking the frame of the how and the why and to whom these STAR WARS stories are told. 

I mean, in my opinion anyway. 

I felt the film put a lot of care and love into explaining to the audience what was right and natural about change, explaining that strength could be found in letting go of our nostalgia and expectations and opening up to new experiences in old sandboxes. I felt The Last Jedi was an oddly gentle film that knew it was going to frighten some while igniting others and did it’s best to show it’s good will towards signaling hope and legend and legacy into a shared experience. 

*shrug shrug shrug* YA FEELIN’ ME?!

I know I already have a spoiler warning above the cut but now I am going to really get up in this film and push my eyeball up against it’s eyeball and hey if you wanna see all particulars feel free, but this is now specific spoiler territory, thanks and happy holidays:

I was so enthralled with Finn and Rose’s quest and I was ecstatic when it didn’t work out.

The two went on a space goose chase for a daring rescue mission and got into ruffian escapades and thought on the fly and were brave and funny and were livin’ that STAR WARS life - and they failed spectacularly.

Their mission, their rip’roarin’ escapade, was in fact a brash and ill thought out plan that almost got absolutely everyone killed. 

Precious, lovely, daring, and confident Poe Dameron was a horrible leader. 

His belief in a desperate gamble; his total confidence that he was in the right and the stuffy Vice Admiral didn’t know when to take a risk; the audience knowing his qualities as sure fire STAR WARS leadership was all for nothing and people died for it. 

I said HOT DAMN!

This film made General Organa and Vice Admiral Holdo, two older women who don’t run around with blasters in hand but who have no less twinkle in their eyes the true leaders of the resistance. The true bearers of the spark of rebellion. It was their matured tried and true mentorship that ended up saving them all - not the cocky charisma of a younger good looking man.

Also Leia is confirmed Force Sensitive™ bringing to an end decades long old guard fans bickering and moaning over if she has pretend magical powers or not and why if she did that’d be “not right”. 

(Seeing Carrie Fisher bathed in moonlight was emotional)

And then, oh man, Rey’s parents? Wonderful, soulful, bright and strong Rey? Because she is in a STAR WARS film and can use the force everyone including people who’ve never seen The Force Awakens assumed her parents were a part of the legacy, a part of the grand scheme.

NOPE.

In fact, to really drive it home just so fans can’t possibly be confused, Kylo Ren tells her “You’re nobody. You don’t belong in this story.”

He said that with his mouth words!

But there she is all the same, good old Rey. And she’ll remain. Without being so and so from extended universe’s kid or a character only in some comic book or Luke’s secret child or whatever. 

Rey is just a character made to be there and to use the force because, hey, it’s a STAR WARS MOVIE! We needed someone to be the Luke this time around so why not Rey? 

PS we shattered Luke’s lightsaber and made Rey indebted to jack squat of this franchise. She searched for her purpose and her parents and only found the strength of herself and her own choices. Peace out!

That tickled me senseless, having the cultural institution of STAR WARS being full on assaulted for two and a half hours.

That tickled my pickle. 

The Last Jedi is hyper self aware media, but it was still fun. It was still a good time but it laid down hard and fast with changing the lifeblood of STAR WARS that even I, who is nowhere near as big a fan as someone you could probably hit with a stone’s throw, admit to feeling some uncomfortable chafing at times while watching.

STAR WARS is a legit cultural institution by the way, I didn’t just say that for the fun of it - that’s absolutely 100% true. 

Star Wars as a media, as a franchise, has an ebb and flow of patterns, style, symbols, and motifs that dictate a tonal cohesiveness which designates something as recognizable as STAR WARS.  

What I’m doing when I all caps “Star Wars” is I’m trying to defer attention to the known concepts and ideas of Star Wars media as a whole cultural institution and experience rather than just invoking a cluster of films, only I’m trying to do all that just through the written word.

Star Wars is a film and STAR WARS is all that which defines the franchise as well as our shared cultural understanding of said franchise, ya fell me? That’s how I approach talking about this kinda stuff online anyways. I feel most will understand what I’m doing with the capitalization and all that but hey, now ya know ‘fo sure. 

Anyway

Shit y’all! Luke Skywalker is a funky sore spot huh? Loved that too. 

Lets get to that Kylo Ren:

Kylo Ren’s entire set up is that he ain’t Vader and fuck, ain’t that the truth. But in a good way. Duh Kylo Ren is not Vader, he is a different character. And, now, he isn’t even remotely similar to Vader as a STAR WARS character. 

Everything about Kylo Ren is opposed to Darth Vader; while he gain’s definition with this new film Kylo Ren didn’t even remotely start out as a mysterious villain like Vader originally did. 

We all knew, in that STAR WARS fashion, that Kylo Ren had to be tied to the legacy. We all knew that he had to be tied to the lifeblood of the franchise. And Ben Solo absolutely is. 

We knew this before Han ever revealed it through dialogue and that’s why it wasn’t a big reveal in The Force Awakens. Of course Ben Solo turned to the dark side and is Kylo Ren. Of course. Of course he has some weird Vader obsession, the character needed to emulate Vader so as to take up his mantel in the narrative and in the franchise. We needed a baddie in a helmet, stat!

But oh, look what has happened though, oh man:

Luke Skywalker in a moment of fear almost murdered his own nephew  -because he is in STAR WARS. 

We all know if there are Jedi then there is a light and a dark side of the force; we all know that if you are a master of and a teacher in the ways of the force you open yourself and your students up to a choice; and we all know that fear leads to anger, anger leads to hate, and hate leads to suffering. 

Kylo Ren being a direct response to Luke friggin’ Skywalker is as far from Vader as you can get but fits just so right within the cleansing fire that is The Last Jedi. 

The hero of the first saga ignited the villain of the next. 

That ain’t very STAR WARS and something tells me that is the biggest kick to the crotch for a lot of folks. 

I, of course, dug the hell outta that choice.

Kylo Ren is actually interesting now. Mischief managed.

The very not subtle social commentary the film was dishing out was a pretty pie to boot. Bit on the nose but hey, ain’t that STAR WARS at least? Didn’t even have to dig this time around, gems sitting right on the surface.  

… Damn, I’m tired. I still have plenty to talk about though. Hmm, well, lets close this out on a different note (and that’s a pun):

The music of STAR WARS is bonkers recognizable. Like, I keep saying Star Wars is a cultural institution that uses motifs and symbols as devices for defining itself, right? Yeah, the use of music in this film is a pitch perfect example of that. 

The Last Jedi seamlessly flows from theme to theme, with specific well known scores highlighting emotional call backs and in-story referenced characters - the use of music is the most traditionalist aspect of this new film (they even shook up the editing this time around - shock and awe). 

Smart though, if they fucked with how STAR WARS did music then even an impassive twerp like me would be pretty upset. 

For my money, the musical score is still the best thing about a good old Star War.  

[psychicmedium14]

It’s everywhere I turn—on the news, on my social-media feed, and in my daily conversations. It’s in the questions that keep me up at night, tossing and turning in an ocean of paranoid what-ifs. It’s in the words and labels we use when we’re sizing up ideas and people who might be a little different from us, who take us to that uncomfortable place just outside of our comfort zone. It’s also that nagging voice that continues to convince us that, as individuals and communities and nations, we are always going to be separate from one another. It’s that insidious belief that we are powerless to change any of this, so we may as well lock our doors, our minds, and our hearts. I’m talking about fear. We live in a fear-based culture. It’s in our daily lives. It’s in our political sphere. Hell, it may as well be in our drinking water. And we’re constantly making the choice to drink it. Fear is a trickster, so it’s not always easy to recognize. It’s really good at camouflaging itself: as information, power, discernment, superiority, righteousness, or the voice of reason. In order for us to truly recognize fear, to see it for what it is, we have to get incredibly honest with ourselves. And often, we need to be taken out of our usual environment to really grasp the hold that fear has over us. We don’t have to let fear-based thoughts determine our destiny. I'm not saying that in the developed world, we have simply made up all these complications, nor am I suggesting that tragic devastation doesn’t occur in other parts of the world. Obviously, it does. However, our tendency to fixate on apocalyptic horror and to sweat the small stuff can make everything feel overwhelming and impossible to take any action around, when it absolutely does not have to be this way. Fear is really good at camouflaging itself as information, power, discernment, superiority, righteousness, or the voice of reason. Philosophers, politicians, and world travelers have all marveled at the fact that people who seem to have very little by Western standards have an indomitable capacity to be happy in ways that most of us cannot even fathom. Why is this? Fear is the thing that makes us feel like we aren't enough. We tend to project our basic internal fear onto the world in various ways. And, at the same time, fear is shoved onto us by our culture from a very early age. Played out on a larger stage, this dance between the fear we carry both within and without can look like everything from nasty internet trolls who cut into our deepest insecurities to self-help gurus who capitalize on our inherent sense of inadequacy. It can take the form of marketing folks who tell us that we need to keep buying stuff in order to feel and be better and politicians who convince us that the world is on fire. When our sense of self is so fragile, everything around us can be perceived as a potential threat. And I’m talking about every single thing. But, let’s face it, this perception is our own doing. Few of us understand that we are largely responsible for the "threats" that seem to surround us on all sides. Instead, we are shocked by media monstrosities and we point our fingers in blame and anger—at everyone but ourselves. When we succumb over and over again to fear-based narratives, when we keep perpetuating the story that some unspeakable evil is out to get us, we actually contribute to creating a climate of fear. When we are spoon-fed fear and trauma from infancy, other possibilities don’t seem to be within our grasp. But they are! It is totally within our power to step outside the matrix of fear. It begins with simple awareness. Even when we don’t think fear has a hold on us, it seeps into the way we perceive the world around us. I know so many people who wear their battle scars with pride. But what if we honored ourselves in a different way? Now, I absolutely understand the value of diving into our stories and experiences to discover who we are and to gain valuable insight, as well as strength. There is great power in acknowledging struggles that we have overcome and in celebrating our personal healing. However, what if we also acknowledged the ways that fear has affected the way we look at these experiences? To me, fear is the thing that makes our most awful and painful moments stand out. When we define ourselves primarily on the basis of our wounds—even when we are recognizing the gifts we received as a result of those experiences—we are limiting ourselves. Often, we are acting from our unconscious fear of the same thing happening again. Many times we are still blaming the people and circumstances that led to our suffering. We are reliving the trauma in some way. We are continuing to get caught up in our own victimhood and giving credence to that big, bad monster of fear. Most importantly, let’s remember that we are truly worth so much more than our wounds and self-imposed labels. Focus on the here and now. When we decide to peel ourselves from the bodysuit of fear that has strangled our possibilities, we make the powerful choice to see our reality for what it is—not for the stories that others have told us or the things we decided to believe about life at some distant point in the past. We start building the muscle to discern what is true and what is not, based on attention to the here and now—and a willingness to be with it, no matter what is happening. When fear arises, we automatically believe the stories it tells us are true. Our reptilian brain—hard-wired by hundreds of thousands of years of evolution to detect danger—still picks up the warning signals that we send it when we’re afraid, whether we are in imminent danger or not. But fear makes no sense unless we are responding to imminent danger. It serves no purpose. Now, many of us think that chronic worrying—about our kids, the environment, and the state of the world—means that we care. And some of us even subconsciously believe that if we do it enough, our world will change and our fear will dissipate. But buying into the climate of fear and adding fuel to its fire shouldn’t be mistaken for an effective way of "dealing: with it. It paralyzes our ability to take mindful action. It contributes to the very thing that robs us of true joy and the capacity to be present. We can choose a different way. We can consciously apply our awareness, our knowledge, and our power of choice—in the moment when we can actually experience our power: now. Choose to let go of fear. We all have the power to rise beyond our learned helplessness. All it takes is the realization that we are fully accountable for our experience of life. We may not choose all the circumstances, but we can certainly choose how we react. We are constantly defining our reality by virtue of past experiences and everything other people, especially authority figures, have told us. So, with this realization, we have the choice to take a good, long look at our fear and to decide whether or not it serves us. This doesn’t require putting on rose-colored glasses or denying that we are scared. It just means that we don’t have to let fear-based thoughts determine our destiny. Our fear doesn’t make us more powerful. It doesn’t make us more well-informed or more capable of instigating change. You can choose to be the kind of person who focuses on the latest act of random violence and laments how terrible things are. Or you can choose not to fall prey to fear-based information that keeps people stuck in a fight-or-flight response. You can take it a step further and choose to direct your energy into more meaningful pursuits that help make you, your community, and the world a better place. I don’t care if you’re a certified hypochondriac.You are not your fear. Repeat after me: "I am not my fear." Fear is not some absolute truth that you have to build your life around; it is merely the lens through which you have chosen to see your reality. And you have the choice to try on a different lens, to let your perception shift and your quality of life increase. You, too, can experience the same unadulterated joy that my friends in the Andes, who helped move me from severe panic into a state of serenity simply by modeling it to me, already know is well within our reach. Fear takes so much out of us. Who could we be, what could we experience if we learned to let go of needless fear? What undreamed-of possibilities could we create in our lives? What seemingly insurmountable obstacles could we overcome? If we freed up our energy so that we could express our deepest core truths, what kind of beautiful world could we create together?

[parallel-awhite]

#called #paradisus

The lure of the siren. 

I was called to go see new work by Chris Musina in his current exhibition Paradise at Oneoneone gallery - called by the reproduction of an image of a painting that read like a latter-day Magritte - which depicted the back of a bikini-clad young woman facing an abstracted vista onto ocean and sky - and further clued into the work's surrealist underpinnings by its displaced cultural signifiers - beyond its echoes of Magritte - by the presence of a dolphin tattoo on the woman's shoulder permanently inscribed with the cliché "Live, Laugh, Love." The word "cliché" comes from the history of the printing press - in which often-used word sequences (phrases worked so hard they could be anthropomorphically described as "tired") were grouped together in permanent clusters for use and re-use. The woman's tattoo in Musina's painting is - as they say - "everything" (what Roland Barthes might have referred to as its "punctum").  Thus, the work appeared to constitute multiple layerings - a Magritte-esque painting of a person imprinted with an inked image and clichéd text (which could be understood as a painting within a painting - another Magritte-ism) - the reference to which anchors the woman as a cliché herself as one who has succumbed to the sheer compelling force of the cliché.  As they also say - "clichés are clichés for a reason" - after all, who doesn't want to live, laugh, love? It's kind of - as they say - a "no-brainer."

Once when we were on Topsail Island we saw dolphins dancing and playing in the waves. We saw several - and each time one appeared my entire nervous system was awash in dopamine splendor - in neurochemical alignment with the profundity of the experience. It was the off-season and cold - and no one else was around. We sat on our rickety balcony and felt the intimate sense of joy and pleasure that arises when phenomena occur in one's presence and no one else is there to witness it. On our way out of town, I purchased a cheap ceramic dolphin souvenir - on which the identifier of "Topsail Island, NC" had been set forth in gold script. It was clear that these bits of tourist bait were sold in any seaside shop one might happen upon - with the salient variable of the place name appropriately inscribed. I could not express - and still cannot express - the extent to which this tangible item serves as a container for that indelible and ineffable experience - which holds for me something that I cannot say but can nevertheless hold in my hand.   

In On Longing, Susan Stewart begins her meditation on the souvenir, "The souvenir is by definition always incomplete" and goes on to establish the operative principles in the activation of such objects - emphasizing their necessarily fractional "partial" nature - and the way in which the fractional aspect interfaces with the fullness of the holder's expansive experiential narrative projected onto them, which imbues them with their singularity despite their mass production. Human perception could be understood in this way - each of us bringing to bear an infinity of experience to all perceived phenomena - including that of the cultural and natural worlds and the vortex of so-called "man-made" output referencing landscapes and other natural elements. The image of the souvenir-object recurs in Musina's Paradise - as do visual and cultural clichés of all forms - which thus informs the reading of the show as a whole.    

Indyweek's Brian Howe rightly flagged Musina's current artist's statement, which in its entirety reads as follows: "I'm tired of the Anthropocene." Thus we indeed must overlay this "baggage" onto the entirety of Musina's Paradise - although once we enter the gallery space the works make abundantly clear that an uninfringed-upon human/nature interface is no longer possible - if it ever was. Our individual experiences may differ - but at this point in the history of the planet we all live a more or less mediated existence - with the lion's share of us landing solidly in the "more" category (case in point: you are most likely reading this online) - and our referents to the natural world as often as not take the form of digital thumbnails or decorative ornamentation - or the floral or animal imagery with which we clothe or ink ourselves.

What drives us to self-represent through such adornments and body art signals? Why do we get specific tattoos? Choose particular statement t-shirts? Paradise includes two parallel-structure paintings - one of the aforementioned tattooed woman (Live, Laugh, Love, 2018) and the other of a male figure (Guy, 2018) - also with his back to us and facing the ocean - in a yellow t-shirt that features a painted array of what might be referred to as sporting fish - the kind of prized catches that are sometimes seen mounted - gleaming,  taxidermied, inert - on the slatted walls of cheap seafood joints. A pattern thus begins to emerge - the human mythologizing, signification and synthesis of the marine world. Musina emphasizes such synthesis (and underscores the painting-within-a-painting aspect) by including the signature of the creator of the t-shirt's artwork that is imprinted on the garment along with the painted oceanic cluster.      

The two other large paintings presented in Musina's Paradise include the image of a souvenir ceramic pelican placed on a large rock adjacent to some ocean waves (Ceramic Pelican on Jetty, 2018) - a confluence of the natural and the artificial - or perhaps the tchotchke has been set in front of a painted backdrop - diorama style. This aspect is unclear - which raises some questions about the work in terms of painterly/conceptual intentions and how the four main paintings of the show function (or not) as a group. The other - largest - work depicts an alligator in a swimming pool at night (Alligator in Swimming Pool, 2018). This painting also feels separate from the other works as the image appears to have been derived from an internet search. The flatness of the creature and the lack of dimensionality fights its purported realism. I resolve the problem in my head by thinking of it as a painting of a photograph posted online and viewed on a computer screen. But by the time I have accomplished that thought-maneuver and turn to see the other three works, they now seem at a distance - approached differently by Musina - each inhabiting its own set of painterly terms, which for me undermines the exhibition's potential.

In these four paintings, there is something unresolved in terms of painterly and conceptual choice-making that interrupts flow and disrupts the potential for a coalescing of meaning among them. For example, the shading and overall tonality of Guy is more overt than that of Live, Laugh, Love. Its horizon line is sharp, and the ocean is rendered in a highly stylized fashion, almost as if airbrushed from dark to light. By contrast, Live, Laugh, Love sustains a more pale and soft horizon and more highly abstracted water - as if the painting's subject had slowly drifted into a Rothko painting. There is an overall contemplative quality to the piece - a patience evidenced by the handling of the woman's hair, which is a revelation - dreamy wisps fluttering in a caressing breeze. Each of the four pieces on their own retain some level of painterly logic and integrity - however I would venture to say that the choices that were made in the production of Live, Laugh, Love feel less conflicted and internally conflicting - thus I perceive LLL as the most fully-realized of the group. It is not that there is a "right" painterly decision here - but rather the need for an awareness that those decisions are legible and thus have the potential to interrupt the way in which the works are read - especially as a body of work - if that is indeed the intention.

Paradise includes six ink drawings - pithy image-and-text object lessons in the human-animal interface - which has been part of Musina's project since I first witnessed his work circa 2010. The ink drawings are overall successful and surprising, alternately revelatory, humorous and scathing - often nailing all three at once. A dead tequila worm in a shot glass asserts its identity "Here I am" (although the "I" might just as well be the person about to kick back the shot [and the worm]). A kitsch grouping of shells glued together to obtain the appearance of a banjo-playing frog [cheap souvenir-object] with the caption "Oh Death" darkly underscores the macabre aspects of the construction as it is in effect built from the skeletal remains of dead mollusks. An armadillo is accompanied by the phrase "Touch Me, I'm Sick," the title of a Mudhoney song but which also raises the question of whether the animal is ill or simply texturally alluring and thus rad [aka "sick"].   

I appreciate the inclusion of these six drawings because they are so clearly conceived - the formal choice-making so evident - as to presage the continued evolution of Musina's painting - and the ongoing production (and sometimes re-production) that is required to obtain maximum clarity and cohesion. Consider the consistency of Vija Celmins' night sky paintings - painted and repainted multiple times for idiosyncratic/aesthetic purposes and which never stutter or equivocate but rather assert themselves as a series and obtain cumulative meanings. 

Consider her oceans. 

[elisadeveloping-extendedpractice]

Reading research by Clare Jonson / change of direction?

Interviews...

There’s lots of different research methods with interviewing. I wanted to be equals. Involve participants in discuss what the questions and topics should be. It turned about being more of a monologue than a conversation. Would I be trusted to make a podcast about adoption? I can immerse myself in the community, but I haven’t adopted or been adopted. Louis Theroux makes documentaries about stuff he’s not part of... 

Interviewing: Power Relationships and an Ethics of Care Dr. Clare Johnson Associate Professor (Art & Design)

Model of ‘thinking with artworks’ – use of artworks that visualise a wide range of emotions connected to the experience Challenge to dominant representations License to articulate emotions that participants felt unable to show health professionals Intention to find out about the emotional complexity of the participants’ experiences and to put their voices at the heart of debates

My hypothesis was that such artworks enable conversations to take place that would not otherwise happen and, therefore, have the potential to increase  wellbeing. Six participants recruited through social media 

• Participants chose where the interview took place and interviews lasted one hour 

• Importance of location and duration of interviews for both interviewer and interviewee (where it happens makes a difference to what is said) 

• Safety for both interviewer and interviewee 

• Use and storage of data (Participant Information Sheet and Consent Form)

Ethics not only relates to the interview itself, but what’s done with the data gleaned  • Most of the women I interviewed were breastfeeding during the interview and dividing their attention between childcare, looking at the artworks and talking to me 

• I asked about the experience of becoming a mother, pregnancy, birth, maternity leave and how their experience of early motherhood compared to their expectations 

• By asking about and recording people’s memories, experiences and opinions I was engaging in oral history: a “living history of everyone’s unique life experiences” (https://www.ohs.org.uk).

Oral history  Passing on of knowledge, memory and experience by word of mouth Method of constructing histories by conducting interviews  Benefits  • Gathering, recording and preserving a diverse range of personal experiences often left out of historical accounts 

• Insight into the impact of an event on people’s lives and feelings – personalizes history 

• Empowers people to tell their stories, sometimes in contrast to ‘official’ accounts 

• First-hand accounts through lived experience 

• Capturing vital historical information before it is lost 

• Tells us about people and experiences that are not mentioned in ‘standard’ sources or that will otherwise be forgotten 

• Brings historical information to life for others 

• Values members of a community 

• Can give ‘ownership’ of history to a wide range of people 

• Can contain spontaneity and candor not always present in written accounts

Limitations 

• Relies on memories, which can be partial or inaccurate 

• Past events can be cast in a nostalgic light 

• Possibility of self-serving motives of interviewee eg. casting their experience as more significant or more universal than was the case

Interview Methods  There are different ways to understand interviews eg. as ‘constructed narrative’, transparent reflection of ‘experience’, or ‘co-produced account’   There are different ways to approach interviews. 

The level of structure has a big impact on the kind of material/data collected. 

Structured 

• Ask all interviewees the same questions in the same order 

• No prompting or improvisation 

• Useful for comparing different respondents’ answers to the same questions 

• Useful for quantitative research eg. comparing data; attempts neutrality 

• Difficult to determine an interviewee’s values, attitudes and feelings 

• Restricted by the set questions Semi-structured 

• Interviewer tries to build a rapport with interviewee eg. through knowledge of and/or interest in the project 

• Open-ended questions or a guide to topics prepared in advance eg. “tell me about…” 

• Can use follow up questions to explore ideas, meanings and values in more detail eg. “can you tell me more about…” 

• Purpose is to understand the interviewee’s point of view, not to make generalisations 

• Flexibility – interviewer can adjust questions and ‘think on their feet’ 

• Questions will, therefore, not necessarily be the same for all interviewees 

• Less direction from interviewer than in structured interviews; interviewee can speak for themselves 

• Probing – can reveal thoughts and feelings not predicted by either interviewer or interviewee beforehand 

• Less pre-judgment of what is important than in structured interviews 

• Interviews can be lengthy 

• Difficult to compare results (only relevant if this is necessary for the research) 

• Depth and amount of qualitative information can be difficult to analyse eg. working out which parts of this are important 

• Interviewer may give out unintended signals that ‘shape’ the conversation eg. body language 

 • An interviewee’s memory may be incomplete, partial, ‘rose-tinted’, effected by experiences after the event being discussed 

• Possibility of an interviewee saying what they think an interviewer wants to hear, or to tell their story in such a way that it fits a wider narrative of the event (eg. in popular culture and wider public consciousness) and their sense of their own identity 

• A conversational, in-depth interview can be an opportunity for the interviewee to re-live the events and make sense of their behavior at an earlier point. Their explanation in the present may differ from how they felt at the time. We do not have direct access to history.

Questions that arise 

• To what extent are interviewees true partners in the process?  • Does their power in the process recede once the interview is over?  • Do they have any say over how the material they have offered will be treated/analysed/used?  • Interviewers typically walk away from the situation - there can be an imbalance in power and privilege

• Be aware that some of the material may be important even if it is presented as an aside 

• Look out for unexpected testimony and anything that is not in line with your own expectations 

• This may indicate a different narrative (eg. of maternal experience) that is not yet in the public consciousness

Ann Oakley: ‘Interviewing Women’ (1981)

Oakley’s project involved repeat interviews with 55 women about becoming a mother. 

Feminist critique of:  • the idea that an interview is a one-way process (sometimes interviewees ask questions back)  • the treatment of interviewees as valuable only inasmuch as they are sources of data  • the idea that interviews have no personal meaning in terms of social interaction

• Lack of fit between theory and practice of interviewing 

• Oakley challenges the textbook idea of the social research interview as a “mechanical instrument of data collection” in which both interviewer and interviewee are depersonalized  • Understands this approach as masculinist eg. to do with objectivity, detachment, ‘scientific rigour’ and hierarchy (unequal relationship between interviewer and interviewee), treating interviewees as subordinates: “extracting information is more to be valued than yielding it”.  Oakley suggests an alternative, feminist, approach in which:  • The masculinist approach is morally indefensible  • Contradictions within this approach are exposed  • The most effective approach to the interviewer-interviewee relationship is to be non-hierarchical and to invest something of our personal identity in this relationship  • Attempt to avoid exploitation or objectification of the women interviewed Idea of the researcher/interviewer as friend rather than data gatherer “…personal involvement is more than dangerous bias – it is the condition under which people come to know each other and to admit others into their lives” (pg. 58).

BIG QUESTIONS:  1)To what extent are interviewees true partners in the process?  2)Are interviews ‘constructed narratives’, transparent reflections of ‘experience’, or ‘co-produced accounts’?

****

Am I also trying to make a point of record of celebration in history in my project? *CHANGE TO PURPOSE OF PROJECT?* (As if it’s not just a resource for advocating a cause, but a time capsule/validation of the narrative of those for those effected?)

Potential alternative questions/aims of project: 

1. Provide some support to people who are adopted or are adopting to see their experiences reflected. 

2. How might one better represent adoption in a way that presents the reality?

3. Investigate a range of experiences and represent it visually

[maggieedpblog-blog]

Reading Week 5

The Sound Book, Chapter 6, Singing Sands

The acoustic phenomena Cox describes of sands making sounds is an interesting one, and one that I’ve never heard of. I’m curious if the physics of the sand sounds, at least when a person is walking on it, are similar to the way that certain types of snow squeak. The way he describes it, it sounds like that part of the sand sounds would be similar, but sadly he doesn’t go into any sort of depth.

The part of this chapter that I found most interesting, however, wasn’t the sands, but the part where he talked about the ways that water makes sound. I hadn’t really considered that it was less a matter of the water itself and more a matter of the air bubbles trapped within it that are responsible for the noise. It’s a very interesting phenomena, to think that the sound of a water droplet falling into a still source of water doesn’t come from the contact between the two, but from the air bubble that breaks off into the water that is set vibrating to carry the sound to our ears.

At one point in this chapter, he postulates that “perhaps our hearing has evolved specifically to discern the frequencies of running water”. It is a very interesting hypothesis, and one that I would certainly believe.

Earth Sound to Earth Signal, Chapter 4, The Aelectrosonic and Energetic Environments

I find it very interesting that Kahn uses the phrase anthropic transduction as a synonym to technology. I think that this is a rather narrow definition, as technology is defined as the application of scientific knowledge for practical purposes, meaning that much technology has very little to do with transduction, a word that he uses specifically to denote changes in types of energy, but that specifically has to do with the conversion of certain energies to electricity. I think that this phrase begins to highlight part of my issue with this author. Kahn seems very caught up in trying to sound smart and knowledgeable, sometimes at the expense of his writing. At one point, he references Fredrich Nietzsche as a way to establish a timeline, with no other purpose for the further narrative. The name feels as if it was dropped primarily to make the author sound knowledgeable about philosophy and history, with no other purpose to the wider point that he is trying to make. And this, sadly, feels like a common thread in the book, which is a shame because there are some interesting points that are made in this chapter about the various ways that people can experience usually silent geophony, both with and without the help of technology.

The Soundscape, Chapter 13, Noise

In the start of this chapter, Schafer talks about the difficulty of studying noise internationally due to language barriers and the differing connotations that the word noise has in different languages and cultures. He describes noise as a subjective term, and while this is something that I certainly agree with, I hadn’t considered the way that language and definitions can affect what a person views as noise. The fact that noise, specifically technophony, is the main cause of hearing loss is also very interesting to me, and, in a way, makes hearing loss another cultural byproduct, which makes the enforcement of noise a fairly big deal, and makes silence all the more valuable, not just, as he says in the end of this chapter, as “the final meditation of any proper study of sound”, but as a key component in the preservation of our health. But, as he said, “when there is a clear solution to a problem, an administrator will prefer a gummy one”, so the enforcement of noise may just be a pipe dream, especially with our government in it’s current state.

[timclymer]

How to Give an Erotic Massage: Massage Oils

Why massage oil?

A lot of people think grabbing some hand cream or body lotion would do just fine for a massage, or worse (shudder) doing a “dry” massage. If you want this erotic massage to actually reach the erotic point, you need real massage oil; something that will absorb a bit into the skin, soften it, but also allow you to keep smooth, steady movements with your massage.

You also want your massage oil to be something that you use only for erotic massage. You want to get to the point where you can take a whiff of the oil and have your body ready to rumble. You want to walk into the room the next day, catch the merest leftover scent of the massage oil, and smile at the memory of what you did in that room the night before. You want to put one small drop of that massage oil behind your ear, so that when you and your partner are out on the town, at a party or a business meeting, maybe in a restaurant, he’ll catch the scent as it wafts past him, and drive him insane until he can get you alone. Lubriderm cream is not going to do that for you!

But let’s back up a bit here, take a step back and look at the bigger picture.

A Brief History

Oils and aromatherapy have been around for a long time. Just look in the Bible. Remember when Mary Magdalene anointed Jesus’ feet? Not only was she applying essential oils, but was doing so through massage. Mary knew the power of massage. It’s a way to relax, relieve stress, show interest, and “rev the motor”, so to speak.

Oils have been around a lot longer than Biblical times, though. About 2700 years before the birth of Christ, the Chinese were using herbs and burning oils.

The Egyptians used oils in the mummification process, then eventually applied the same herbs and oils to everyday life. In fact, Cleopatra used the exotic and erotic Jasmine oil to distract Marc Antony during business meetings (Ladies, take note!).

In India, practitioners of ayurveda, a form of medical therapy, employed the use of aromatherapy and massage. Greeks used oils for aromatherapy, cosmetics, and medicine. Romans utilized the oils after baths, and the Aztec had a vast array of herbs and plants. In 980 AD, in the Far East, the art of distilling alcohol led to the development of more modern-day perfumes.

I believe it wouldn’t be too far-reaching to say that nearly every culture at one time or another took advantage of nature’s resources and used oils and massage.

How Do They Work?

Essential oils work in at several ways. First, and probably most obvious, is scent. The nose is an incredible organ. Ever notice how a fleeting aroma wafting across the street can take you back in time 20 years, to when you first encountered that smell? You can recall that instant in time in vivid detail; much more detail, in fact, than a photograph could bring back. Have you ever encountered a scent that reminded you of a particular person? Have you ever found yourself attracted to someone and not known why, only to find out later it was the scent he or she was wearing that aroused your interest? There are good reasons for that. The nose is directly hardwired to the brain.

When a scent is inhaled, the particles of the aroma are picked up by nerve endings at the back of the nose. The signal is then passed up to the brain, specifically to the limbic system.

The limbic system is home of the hypothalamus, which in turn houses the pituitary gland. The pituitary gland, among other things, is responsible for hormone release. See where I’m going with this?

Nose – to – limbic system – to – hypothalamus – to – pituitary gland – to – hormone release

There are different neurochemicals that are triggered by smell and cause mood changes. The first one is familiar to just about everyone- endorphine. Endorphin is the body’s natural high. Endorphines are most commonly associated with pain control. Everyone has heard of the person who is shot and doesn’t know it, or the person who has broken a limb and feels no pain. Thank the great hormone endorphine for that! Endorphines are actually stronger than morphine, which is probably why the word breaks down as “endo”, which means “within”, and “phin”, which means “morphine”; literally the word means “the morphine within.”

But pain control isn’t the only job of endorphines. Elevated levels of this hormone is seen after exercise and sex, as well. It’s associated with feelings of invicibility, satisfaction, calmness, and attunement with the body.

The other neurochemical triggered by smell is serotonin. Serotonin is a calming hormone. It is associated with sleep, mood, locomotion, feeding, and anxiety.

Is it any wonder that aromatherapy is a great way to relax, calm, and entice?

So, now the nose has picked up on the scents of the oil and has triggered a mad rush of hormones through the body. That, you may say, is a temporary state. One could get used to the scent of the oil and it will have less impact, or over the course of an evening the effects of the hormones will dissipate. But there’s more. The oils are also absorbed in the fat cells, and when essential oils are used in massage, whether erotic or not, the medicinal components of the herbs are also availed. Combine that with the effects of the massage itself -stimulation of circulation and heat production, not to mention relaxation of tense muscles – and you have an excellent vehicle through which to completely spoil your partner with luxury.

Introduction to Essential Oils

I personally believe that massage using essential oils is one of the most erotic feelings in life. As I said before, the massage itself, along with the scents, is magical enough, but what I think really makes massage with essential oils so special is the care that is being shown by the masseuse.

When you partner takes the time to select, mix, and then apply oils to your body, he or she is telling you that you are worth the time. Your partner is telling you that you’re worth spoiling, worth pampering, and that he or she thinks you’re beautiful.

Psychologically, essential oils and massage do as much for the soul as the actually physical benefits, which are no small things.

The main focus of this composition is information on essential oils used for massage. Keep in mind that all these oils are used for other medicinal reasons and in other ways than massage. For our purposes, though, I will try to keep the information on massage oils, erotic and otherwise.

At the end of this report you’ll find a small guide to different oils, their basic scents, and their attributes in regards to massage, as well as good base oils to use in your mixture.

A Word of Caution

My favorite base oil is almond oil, but there are a surprisingly large number of people allergic to nuts. DO NOT USE ALMOND OIL WITH ANYONE WHO HAS A NUT ALLERGY! You want to send your partner into throes of passion, not the emergency room with anaphylactic shock.

When choosing the essential oils for your massage oil:

• Pick just a few; you don’t want a mishmash of aromas.

• Make sure the essential oils, as well as the base oil, are not only edible, but tastes good and are not harmful to mucous membrane.

• Be aware of the properties of the essential oils you use. Some may heat up, which can be a lot of fun, but might be a little intense for some people. Some are astringent, some can raise blood pressure, and some just taste horrible.

• This may sound like a “duh” statement, but find out what your partner likes. If your partner absolutely hates mints, then massage oil made with peppermint is not going to put him in the mood for love.

Blends

There are a few things to keep in mind when blending oils. First and foremost is many essential oils have medicinal properties and should be used with caution, especially during pregnancy.

After the list of oils and their attributes at the end of this narrative, there will be a list of oils to avoid during pregnancy, some of which may not be listed in the list of oil attributes.

The second thing to keep in mind is that oils should never be applied directly to the skin, unless you have been instructed to do so by an experienced aromatherapist. Base oil must always be used. You want to use about 5 to 6 drops of essential oil for every 10 mL of base oil you use. That comes out to about 15 or so drops of essential oil per liter of base oil.

Oils should be stored in a dark glass bottle – never plastic. You will usually find oils stored in amber-colored bottles or blue ones. Avoid rubber stoppers for your oil bottles. The oils can eat through the rubber.

And speaking of oils eating through rubber, latex condoms will degrade in the presence of oil. Again, your Jimmy hat will not be of any use if you use oils as a sexual lubricant, which is bound to happen during an erotic massage. There are condoms made from plastics that can withstand the presence of oil, so read labels before you buy! Okay, I’m going to reiterate, since I don’t want anyone blaming me if Junior is born 9 months from now: DO NOT USE LATEX CONDOMS WITH OIL LUBRICANTS, AS THE OIL CAN CAUSE THE CONDOM TO BREAK!

Moving on…..

Store the oils in a cool dry place. If stored correctly, the oils should last a year or so.

After mixing your oils, let your mixture sit for a day or so, or at least a few hours, and then go back and smell it again. You might find that the finished product smells a little different from when you first put it up. You can adjust your mixture accordingly. Play around with the oils, find a mixture that smells good to you and experiment with it. If you added 3 drops of sandalwood and 1 drop of chamomile one time, the next time you might want to try 2 drops of each, instead.

By the way, the combination of sandalwood and chamomile is an excellent relaxing oil mixture.

In general, men tend to enjoy spicy, woody smells, while women are known for favoring floral scents. A blend of both, then, would be an ideal massage oil that would please both partners in a heterosexual relationship. This, however, is a general statement. I’m a woman, and I prefer the spicy aromas over the floral ones, and I know some men who love the scent of some flowers. Regardless, for him/her relationships try a mixture of jasmine and sandalwood (both very erotic oils), or rose and frankincense.

Men like scents such as cinnamon, ginger, clove, nutmeg, and coriander. Women seem to lean towards aromas such as rose, jasmine, nerolis, and ylang-ylang. But, like I said before, this is a generality and the real fun comes from finding what you and your partner enjoy.

My all-time favorite massage oil is a combination of lavender oil, clove oil, cinnamon, peppermint, and rosemary oil, in a base of sweet almond oil. This blend not only smells awesome, but also produces just a touch of heat that can really drive you wild. It also tastes great!

You might want to try these other combinations:

– For relaxation try clary sage, lavender, and lemon. Chamomile is excellent for sleep, so try a mixture of chamomile and sandalwood, or chamomile and lavender to help you relax.

– Ginger and, believe it or not, black pepper, are great for sore, achy muscles.

– For an uplifting massage, try a blend of lemon, mint, and geranium. How about bergamot, peppermint, and lemon? Lavender, orange, and peppermint is a very cooling combination, as well, and gives a nice floral scent.

– For romance there are several mixtures you can try. Bergamot, sandalwood, and jasmine for one. The Kama Sutra recommends jasmine and grapefruit. Ylang-ylang, lavender, grapefruit, lemon, and neroli are also great together. If you’re really ambitious, go for a combination of rosewood, neroli, lavender, thyme, and cinnamon or clove.

– Trouble sleeping? Try lemon, marjoram, and vetiver.

Essential Oils

Please keep in mind that all these oils have many attributes, and this is by no means a complete list of essential oils. I’ve picked these oils for their relaxing, sensual, or refreshing qualities. An asterisk after an entry means that that particular essential oil is not recommended for use during pregnancy.

In general, it is a good idea to always consult with an herbalist, doctor, midwife, aromatherapist, or other healthcare practitioner before using any essential oil medicinally. There will be a more complete list of oils to avoid after this entry.

Essential oils that are underlined are particularly known for their sensual attributes. If you notice, most of the “aphrodisiac” essential oils have euphoric and calming effects. This makes sense, as a calm and content state of mind is essential for a good sensual encounter. Combine these erotic oils with those promoting muscle relaxation, and you have a massage partner that is calm, relaxed, and ready for more action.

– Bergamot – Citrus bergamia – This oil has the aroma of bergamot orange that is slightly floral. A very refreshing scent. It is also known as Oswego tea and bee balm. This oil is good for depression, tension, and stress.

– Bos-de-Rose – Aniba rosaeodora – A sweet, floral, woody scent that relieves stress, headache, and depression.

– Cedarwood* – Cedrus atlantica – You will find this a scent that is dry, woody, and sweet. It soothes and calms. Great for arthritis and stress.

– Chamomile* – Matricana chamomila – This oil has a fruity, herbal essence with a myriad of uses. Not only is it great for your hair, it is also wonderful for insomnia, anxiety, neuralgia, burns, pain of rheumatism, gout, sores, sprains, inflamed skin, strains, stress, and nerves, and gives a sense of peace and calm.

– Cinnamon* – Cinnamonum zelanicum – I’m sure everyone has smelled the comforting aroma of cinnamon in apple pie, but I bet you didn’t know it is a wonderful essential oil for exhaustion, stress, and rheumatism. Cinnamon may be a mucus membrane irritant, as are the other spices, so keep that in mind when making oils intended for erotic massage. You might want to use just a small amount in you blend.

– Citronella* – Cymbopogon nardus – This oil has a lovely citrus odor. I’m sure everyone is familiar with its insect-repellent attributes, but it’s also a great tonic for headache and fatigue.

– Clary Sage* – Salvia sclarea – This oil with a nutty fragrance helps fortify a debilitated nervous system. It is also a euphoric and has sensual properties. Some sources site clary sage as being a uterine stimulant, so this must be kept in mind in the case of pregnancy.

– Clove* – Eugenia caryophyllata – Clove is a wonderful analgesic; just ask anyone who’s used it for a toothache. It also has antiseptic properties and is excellent for arthritis pains, as well as sprains and strains. This oil may cause mucus membranes irritation, so again, be wary. In my own personal use of this essential oil, I’ve not found it to be irritating to mucus membranes, but everyone is different and perceives sensations differently.

– Cypress – Cupressus sempervirens – A woody aroma that helps with mental and emotional resolve, as well as rheumatism and varicose veins.

– Frankincense – Buswellia thurifera – This gift from the magi has a heady, spicy aroma. It encourages feelings of peace and wellbeing, calms, deepens breathing, and eases nerves and tension. I liked to use this oil or the resin itself when my children are fearful of boogey men and monsters. When I burn frankincense, I can feel it in my spine. The aroma evokes feelings of safety, and may even chase away evil spirits!

– Geranium* – Pelargonium graveolens – An essential oil with a floral scent. It’s good for depression and nerves; helps to relax. It also benefits the nervous system and women who suffer from PMS.

– Ginger – Zingiber officinale – Ginger has a spicy aroma that for me calms and soothes. My midwife uses ginger in boiling water during births to soothe the laboring mother. She also uses the ginger water to relax the skin. Ginger improves circulation; it’s great for cold hands and feet, so try it in a tub or footbath. It helps with muscle aches and pains, as well as arthritis.

– Grapefruit – Citrus paradisi – This oil, with an obvious citrus aroma, is used for depression and migraine, and as a tonic aid in drug withdrawal. It is a good choice if you’re looking for a refreshing scent.

– Hops – Humulus lupus – Hops is the ingredient in beer that acts as a sedative. Marijuana, which also causes sedation, is a relative of hops. Hops is an analgesic and helps neuralgia, nervous tension, bruising, and insomnia. It’s also a skin softener.

– Jasmine – Jasminum officinale – This oil has an erotic floral scent. This night-blooming flower eases anxiety and lethargy, while relaxing and calming.

– Juniper* – Juniperus communis – With an earthy, woody scent, juniper clears the emotions and relaxes. It’s also good for cellulitis and rheumatism.

– Lavender – Lavendula augustiform – This oil has a warm floral aroma. It is a relaxant, easing nervous tension, headaches, neuralgia, and muscle aches and pains from rheumatism, and gives a sense of tranquility. It also works wonders on burns, though I do not recommend using the undiluted oil on damaged skin, and before using any oil medicinally, it’s a good idea to check with an aromatherapist, herbalist, midwife, or naturopath.

– Lemon – Citrus limonum – A lemony aroma, of course, that refreshes and cools. It’s great for nerves, varicose veins, and high blood pressure. Anyone who has had a tall glass of ice water with a twist of lemon on a hot summer’s day or while feverish can attest to the cooling, soothing qualities of lemon.

– Lemongrass – Cymbopogon citratus – Citrus. Wonderful for muscle aches, headaches, and stress.

– Lime – Citrus aurantifolia – Another oil with a sweet citrus odor. Great for high blood pressure, rheumatism, depression, anxiety, insomnia, and varicose veins. It revitalizes, too.

– Mandarin – Citrus noblis – An oil with a fruity citrus essence that relieves stress and nervousness, as well as eases insomnia with its tranquilizing effects.

– Marjoram* – Origanum marjorana – This essential oil has a spicy, woody aroma that is helpful with bruises, PMS, anxiety, insomnia, muscle aches, circulation, neuralgia, rheumatism, sprains, and strains.

– Melissa – Melissa officinalis – Also known as lemon balm, it calms nerves and lifts spirits. Its sedative affect helps with depression and insomnia. It’s also good for eczema.

– Myrrh* – Commiphora myrrha – This aroma is woody and earthy, and has wonderful calming affects. It is also used as gargles and mouth rinses for those suffering from gingival problems, but this should be done only under the direction of any herbalist, and the oil never applied directly to the mucus membranes.

– Neroli – Citrus bigaradia – This oil has the essence of blossom of bitter orange. It eases depression, anxiety, and hysteria, as well as nervous tension. It promotes peace and encourages sleep, but is also known for its seductive qualities.

– Nutmeg* – Myristica fragrans – This woody, spicy oil works wonders for arthritis, aching muscles, neuralgia, rheumatism, and poor circulation.

– Orange – Citrus aurantium – Bitter orange, with its citrus aroma, is good for depression, anxiety, stress, dull skin, and muscle spasms.

– Palmarosa – Cymbopogon martini – This refreshing, floral aroma helps with exhaustion, skin infections, and dull skin.

– Patchouli – Pogostemon patchouli – With its musky odor, it lends itself as a sensual essential oil. It is also useful for skin inflammation, fatigue, mature skin, stress, and hair care.

– Peppermint – Mentha piperata – A cooling, refreshing minty aroma is the characteristic of this oil. It is also known for its benefits for inflammation, and migraine, and where it is applied it has an anesthetic affect that increases blood flow. Like the other mints, though, it may cause mucus membrane irritation.

– Rose – Rosa gallica officinalis – A light floral aroma helps to ease tension, depression, and anxiety. It is a “love oil” that is also an excellent tonic for the reproductive organs. Rose also aids in the treatment of eczema and mature skin.

– Rosemary* – Rosmarinus officinalis – This oil has an herbal, woody aroma. It, too, is a “love oil”, but also helps with headaches, fatigue, muscle aches, sprains, nerves, and rheumatism. This is one of the best oils for your hair.

– Rosewood – Aniba Rosaeodora – This floral scent promotes comfort and eases depression. It relaxes sore muscles. It is also known as lemongrass.

– Sandalwood – Santalum album – This wood-scented oil is known as a sexual stimulant. It helps the user to focus on the here and now, enjoying the moment rather than worrying about what could have been; enabling the user to fully enjoy his or her present situation and partner. It is also a sedative that helps with depression and PMS.

– Thyme* – Thymus vulgaris (as well as T. serpyllum and T. pulegioides) – This plant possesses a fresh, herbal aroma. It strengthens nerves, eases exhaustion and rheumatic pains, and soothes muscle aches and arthritis. – Ylang-ylang – Canagna odorata – This oil has an exotic, floral odor that eases stress, anxiety, and high blood pressure. It’s a general tonic that is also well known for its sensual properties.

Base oils

– Sweet Almond – This oil can be used 100%. This is my favorite oil to use as a base. It’s light in texture and color, and has the added benefit of helping with itching, dryness, soreness, and inflammation.

– Apricot Kernel – This oil, too, can be used undiluted. It’s good for sensitive skin and dry skin.

– Avocado – This oil should be used at only 10% (90% should be another oil, such as sweet almond). This base oil is rather heavy and leaves a waxy feel on the skin.

– Avocado Pear – Again, though this oil is good for dry skin, it should be used at 10% and mixed with another base oil.

– Borage Seed – Another 10% oil that should be mixed. It’s good for premature aging, stimulation and regeneration of skin, multiple sclerosis, menopause, heart disease, and eczema.

– Cocoa Butter – This needs to be warmed, as it is solid at room temperature, but it is excellent for dry skin.

– Corn Oil – This oil can be used 100% and is good for all skin types. It’s rather heavy, but also soothing.

– Hazelnut – This oil can be used undiluted and on all skin types. It is also an astringent.

– Jojoba – This base should be diluted to 10%. It’s a wonderful help in psoriasis, acne, and inflamed skin, but can be used on all skin types. It’s also good for the hair.

– Peanut Oil – Edgar Casey sang the wonders of this oil. He recommended it for all types of ailments. Peanut oil can be used undiluted and on all skin types, but be aware that it has a very strong aroma of peanuts and can feel quite heavy on the skin.

– Safflower – This can be used undiluted and for all skin types.

– Sesame Oil – This should be diluted to 10%, but is wonderful on all skin types. It is especially useful for psoriasis, eczema, and arthritis. It also has a strong aroma, though, so smell it before trying it. – Soya Bean – Another oil that can be used undiluted and on all skin types. – Sunflower oil – Again, another oil that can be used undiluted and on all skin types.

– Wheat germ – While good for psoriasis, prematurely aging skin, and eczema, as well as all skin types, it should be used at 10%.

Remember, use only 5 to 6 drops of essential oil per 10 mL of base oil. This is the total amount. You can combine oils, of course, but in total your essential oils should not exceed the 5 to 6 drops mentioned above.

Pregnancy and Essential Oils

Some essential oils may be uterine stimulants or have other effects that are contraindicated in pregnancy. While this list is pretty close to complete, there’s no way I can be sure I got everything down. In any case, when pregnant, it is always good to check with a midwife, herbalist, or aromatherapist before using any particular essential oil. While some oils are not advised during early pregnancy, some may actually be beneficial in the last trimester or during labor.

• Angelica

• Aniseed

• Basil

• Camphor

• Cedarwood

• Chamomile

• Cinnamon

• Citronella

• Clary sage

• Clove

• Cypress

• Fennel

• Geranium

• Hyssop

• Juniper

• Marjoram

• Myrrh

• Nutmeg

• Oregano

• Parsley

• Peppermint

• Rosemary*

• Sage

• Thyme

*Some sources site rosemary as being contraindicated in pregnancy, while others claim there is no reason it can’t be used. All I can say is to research the herb yourself, talk to some herbalists, and make your own decision.

Other Precautions

If allergic to nuts, avoid base oils that contain nuts, such as sweet almond oil, hazelnut oil, and peanut oil. This may seem an obvious thing to do, but there are some people that will assume because the oil is not being ingested, that it is safe. Unless you’ve had an anaphylactic reaction to nuts, you couldn’t possible understand the need to be extremely careful with these oils.

If you suffer from high blood pressure, avoid hyssop, rosemary, sage, and thyme. Licorice is also known to elevate the blood pressure, but it’s not often used as a massage oil!

Diabetics should avoid angelica.

For those of you who enjoy tanning beds or outdoor tanning, you should avoid bergamot, lemon, grapefruit, ginger, lime, orange, and the other citruses. These can make you hypersensitive to ultraviolet waves.

Oils to be avoided in general are:

• Bitter almond

• Boldo leaf

• Calamus

• Deadly nightshade

• Horseradish

• Jaborandi leaf

• Mugwort

• Mustard

• Pennyroyal

• Rue

• Sassafras

• Savin

• Southern wood

• Stinging nettle

• Tansy

• Thuja

• Wintergreen

• Wormwood

• Yellow camphor

Conclusion

In closing, I want to encourage you all to experiment with essential oils and erotic massage. The skin is the largest human organ; take full advantage of it!

As you experiment with more and more combinations, finding the ones that are right for you in each particular circumstance, you will not only find that you are pleasing you partner in much deeper ways, but you are also learning something about yourself. To honestly enjoying giving pleasure to your partner is what will make you a good lover, and a memorable one. When I think about my lover, it’s his hands that come to mind before anything else. Even as I type I can feel his hands on my neck, massaging the stress of computer work away!

Slow down, enjoy your senses, and enjoy each other.

“And in the end, the love you make is equal to the love you take.”

The Beatles

Source by Mayra M Martinez

from Home Solutions Forev https://homesolutionsforev.com/how-to-give-an-erotic-massage-massage-oils/ via Home Solutions on WordPress from Home Solutions FOREV https://homesolutionsforev.tumblr.com/post/187267331785 via Tim Clymer on Wordpress

[homesolutionsforev]

How to Give an Erotic Massage: Massage Oils

Why massage oil?

A lot of people think grabbing some hand cream or body lotion would do just fine for a massage, or worse (shudder) doing a “dry” massage. If you want this erotic massage to actually reach the erotic point, you need real massage oil; something that will absorb a bit into the skin, soften it, but also allow you to keep smooth, steady movements with your massage.

You also want your massage oil to be something that you use only for erotic massage. You want to get to the point where you can take a whiff of the oil and have your body ready to rumble. You want to walk into the room the next day, catch the merest leftover scent of the massage oil, and smile at the memory of what you did in that room the night before. You want to put one small drop of that massage oil behind your ear, so that when you and your partner are out on the town, at a party or a business meeting, maybe in a restaurant, he’ll catch the scent as it wafts past him, and drive him insane until he can get you alone. Lubriderm cream is not going to do that for you!

But let’s back up a bit here, take a step back and look at the bigger picture.

A Brief History

Oils and aromatherapy have been around for a long time. Just look in the Bible. Remember when Mary Magdalene anointed Jesus’ feet? Not only was she applying essential oils, but was doing so through massage. Mary knew the power of massage. It’s a way to relax, relieve stress, show interest, and “rev the motor”, so to speak.

Oils have been around a lot longer than Biblical times, though. About 2700 years before the birth of Christ, the Chinese were using herbs and burning oils.

The Egyptians used oils in the mummification process, then eventually applied the same herbs and oils to everyday life. In fact, Cleopatra used the exotic and erotic Jasmine oil to distract Marc Antony during business meetings (Ladies, take note!).

In India, practitioners of ayurveda, a form of medical therapy, employed the use of aromatherapy and massage. Greeks used oils for aromatherapy, cosmetics, and medicine. Romans utilized the oils after baths, and the Aztec had a vast array of herbs and plants. In 980 AD, in the Far East, the art of distilling alcohol led to the development of more modern-day perfumes.

I believe it wouldn’t be too far-reaching to say that nearly every culture at one time or another took advantage of nature’s resources and used oils and massage.

How Do They Work?

Essential oils work in at several ways. First, and probably most obvious, is scent. The nose is an incredible organ. Ever notice how a fleeting aroma wafting across the street can take you back in time 20 years, to when you first encountered that smell? You can recall that instant in time in vivid detail; much more detail, in fact, than a photograph could bring back. Have you ever encountered a scent that reminded you of a particular person? Have you ever found yourself attracted to someone and not known why, only to find out later it was the scent he or she was wearing that aroused your interest? There are good reasons for that. The nose is directly hardwired to the brain.

When a scent is inhaled, the particles of the aroma are picked up by nerve endings at the back of the nose. The signal is then passed up to the brain, specifically to the limbic system.

The limbic system is home of the hypothalamus, which in turn houses the pituitary gland. The pituitary gland, among other things, is responsible for hormone release. See where I’m going with this?

Nose – to – limbic system – to – hypothalamus – to – pituitary gland – to – hormone release

There are different neurochemicals that are triggered by smell and cause mood changes. The first one is familiar to just about everyone- endorphine. Endorphin is the body’s natural high. Endorphines are most commonly associated with pain control. Everyone has heard of the person who is shot and doesn’t know it, or the person who has broken a limb and feels no pain. Thank the great hormone endorphine for that! Endorphines are actually stronger than morphine, which is probably why the word breaks down as “endo”, which means “within”, and “phin”, which means “morphine”; literally the word means “the morphine within.”

But pain control isn’t the only job of endorphines. Elevated levels of this hormone is seen after exercise and sex, as well. It’s associated with feelings of invicibility, satisfaction, calmness, and attunement with the body.

The other neurochemical triggered by smell is serotonin. Serotonin is a calming hormone. It is associated with sleep, mood, locomotion, feeding, and anxiety.

Is it any wonder that aromatherapy is a great way to relax, calm, and entice?

So, now the nose has picked up on the scents of the oil and has triggered a mad rush of hormones through the body. That, you may say, is a temporary state. One could get used to the scent of the oil and it will have less impact, or over the course of an evening the effects of the hormones will dissipate. But there’s more. The oils are also absorbed in the fat cells, and when essential oils are used in massage, whether erotic or not, the medicinal components of the herbs are also availed. Combine that with the effects of the massage itself -stimulation of circulation and heat production, not to mention relaxation of tense muscles – and you have an excellent vehicle through which to completely spoil your partner with luxury.

Introduction to Essential Oils

I personally believe that massage using essential oils is one of the most erotic feelings in life. As I said before, the massage itself, along with the scents, is magical enough, but what I think really makes massage with essential oils so special is the care that is being shown by the masseuse.

When you partner takes the time to select, mix, and then apply oils to your body, he or she is telling you that you are worth the time. Your partner is telling you that you’re worth spoiling, worth pampering, and that he or she thinks you’re beautiful.

Psychologically, essential oils and massage do as much for the soul as the actually physical benefits, which are no small things.

The main focus of this composition is information on essential oils used for massage. Keep in mind that all these oils are used for other medicinal reasons and in other ways than massage. For our purposes, though, I will try to keep the information on massage oils, erotic and otherwise.

At the end of this report you’ll find a small guide to different oils, their basic scents, and their attributes in regards to massage, as well as good base oils to use in your mixture.

A Word of Caution

My favorite base oil is almond oil, but there are a surprisingly large number of people allergic to nuts. DO NOT USE ALMOND OIL WITH ANYONE WHO HAS A NUT ALLERGY! You want to send your partner into throes of passion, not the emergency room with anaphylactic shock.

When choosing the essential oils for your massage oil:

• Pick just a few; you don’t want a mishmash of aromas.

• Make sure the essential oils, as well as the base oil, are not only edible, but tastes good and are not harmful to mucous membrane.

• Be aware of the properties of the essential oils you use. Some may heat up, which can be a lot of fun, but might be a little intense for some people. Some are astringent, some can raise blood pressure, and some just taste horrible.

• This may sound like a “duh” statement, but find out what your partner likes. If your partner absolutely hates mints, then massage oil made with peppermint is not going to put him in the mood for love.

Blends

There are a few things to keep in mind when blending oils. First and foremost is many essential oils have medicinal properties and should be used with caution, especially during pregnancy.

After the list of oils and their attributes at the end of this narrative, there will be a list of oils to avoid during pregnancy, some of which may not be listed in the list of oil attributes.

The second thing to keep in mind is that oils should never be applied directly to the skin, unless you have been instructed to do so by an experienced aromatherapist. Base oil must always be used. You want to use about 5 to 6 drops of essential oil for every 10 mL of base oil you use. That comes out to about 15 or so drops of essential oil per liter of base oil.

Oils should be stored in a dark glass bottle – never plastic. You will usually find oils stored in amber-colored bottles or blue ones. Avoid rubber stoppers for your oil bottles. The oils can eat through the rubber.

And speaking of oils eating through rubber, latex condoms will degrade in the presence of oil. Again, your Jimmy hat will not be of any use if you use oils as a sexual lubricant, which is bound to happen during an erotic massage. There are condoms made from plastics that can withstand the presence of oil, so read labels before you buy! Okay, I’m going to reiterate, since I don’t want anyone blaming me if Junior is born 9 months from now: DO NOT USE LATEX CONDOMS WITH OIL LUBRICANTS, AS THE OIL CAN CAUSE THE CONDOM TO BREAK!

Moving on…..

Store the oils in a cool dry place. If stored correctly, the oils should last a year or so.

After mixing your oils, let your mixture sit for a day or so, or at least a few hours, and then go back and smell it again. You might find that the finished product smells a little different from when you first put it up. You can adjust your mixture accordingly. Play around with the oils, find a mixture that smells good to you and experiment with it. If you added 3 drops of sandalwood and 1 drop of chamomile one time, the next time you might want to try 2 drops of each, instead.

By the way, the combination of sandalwood and chamomile is an excellent relaxing oil mixture.

In general, men tend to enjoy spicy, woody smells, while women are known for favoring floral scents. A blend of both, then, would be an ideal massage oil that would please both partners in a heterosexual relationship. This, however, is a general statement. I’m a woman, and I prefer the spicy aromas over the floral ones, and I know some men who love the scent of some flowers. Regardless, for him/her relationships try a mixture of jasmine and sandalwood (both very erotic oils), or rose and frankincense.

Men like scents such as cinnamon, ginger, clove, nutmeg, and coriander. Women seem to lean towards aromas such as rose, jasmine, nerolis, and ylang-ylang. But, like I said before, this is a generality and the real fun comes from finding what you and your partner enjoy.

My all-time favorite massage oil is a combination of lavender oil, clove oil, cinnamon, peppermint, and rosemary oil, in a base of sweet almond oil. This blend not only smells awesome, but also produces just a touch of heat that can really drive you wild. It also tastes great!

You might want to try these other combinations:

– For relaxation try clary sage, lavender, and lemon. Chamomile is excellent for sleep, so try a mixture of chamomile and sandalwood, or chamomile and lavender to help you relax.

– Ginger and, believe it or not, black pepper, are great for sore, achy muscles.

– For an uplifting massage, try a blend of lemon, mint, and geranium. How about bergamot, peppermint, and lemon? Lavender, orange, and peppermint is a very cooling combination, as well, and gives a nice floral scent.

– For romance there are several mixtures you can try. Bergamot, sandalwood, and jasmine for one. The Kama Sutra recommends jasmine and grapefruit. Ylang-ylang, lavender, grapefruit, lemon, and neroli are also great together. If you’re really ambitious, go for a combination of rosewood, neroli, lavender, thyme, and cinnamon or clove.

– Trouble sleeping? Try lemon, marjoram, and vetiver.

Essential Oils

Please keep in mind that all these oils have many attributes, and this is by no means a complete list of essential oils. I’ve picked these oils for their relaxing, sensual, or refreshing qualities. An asterisk after an entry means that that particular essential oil is not recommended for use during pregnancy.

In general, it is a good idea to always consult with an herbalist, doctor, midwife, aromatherapist, or other healthcare practitioner before using any essential oil medicinally. There will be a more complete list of oils to avoid after this entry.

Essential oils that are underlined are particularly known for their sensual attributes. If you notice, most of the “aphrodisiac” essential oils have euphoric and calming effects. This makes sense, as a calm and content state of mind is essential for a good sensual encounter. Combine these erotic oils with those promoting muscle relaxation, and you have a massage partner that is calm, relaxed, and ready for more action.

– Bergamot – Citrus bergamia – This oil has the aroma of bergamot orange that is slightly floral. A very refreshing scent. It is also known as Oswego tea and bee balm. This oil is good for depression, tension, and stress.

– Bos-de-Rose – Aniba rosaeodora – A sweet, floral, woody scent that relieves stress, headache, and depression.

– Cedarwood* – Cedrus atlantica – You will find this a scent that is dry, woody, and sweet. It soothes and calms. Great for arthritis and stress.

– Chamomile* – Matricana chamomila – This oil has a fruity, herbal essence with a myriad of uses. Not only is it great for your hair, it is also wonderful for insomnia, anxiety, neuralgia, burns, pain of rheumatism, gout, sores, sprains, inflamed skin, strains, stress, and nerves, and gives a sense of peace and calm.

– Cinnamon* – Cinnamonum zelanicum – I’m sure everyone has smelled the comforting aroma of cinnamon in apple pie, but I bet you didn’t know it is a wonderful essential oil for exhaustion, stress, and rheumatism. Cinnamon may be a mucus membrane irritant, as are the other spices, so keep that in mind when making oils intended for erotic massage. You might want to use just a small amount in you blend.

– Citronella* – Cymbopogon nardus – This oil has a lovely citrus odor. I’m sure everyone is familiar with its insect-repellent attributes, but it’s also a great tonic for headache and fatigue.

– Clary Sage* – Salvia sclarea – This oil with a nutty fragrance helps fortify a debilitated nervous system. It is also a euphoric and has sensual properties. Some sources site clary sage as being a uterine stimulant, so this must be kept in mind in the case of pregnancy.

– Clove* – Eugenia caryophyllata – Clove is a wonderful analgesic; just ask anyone who’s used it for a toothache. It also has antiseptic properties and is excellent for arthritis pains, as well as sprains and strains. This oil may cause mucus membranes irritation, so again, be wary. In my own personal use of this essential oil, I’ve not found it to be irritating to mucus membranes, but everyone is different and perceives sensations differently.

– Cypress – Cupressus sempervirens – A woody aroma that helps with mental and emotional resolve, as well as rheumatism and varicose veins.

– Frankincense – Buswellia thurifera – This gift from the magi has a heady, spicy aroma. It encourages feelings of peace and wellbeing, calms, deepens breathing, and eases nerves and tension. I liked to use this oil or the resin itself when my children are fearful of boogey men and monsters. When I burn frankincense, I can feel it in my spine. The aroma evokes feelings of safety, and may even chase away evil spirits!

– Geranium* – Pelargonium graveolens – An essential oil with a floral scent. It’s good for depression and nerves; helps to relax. It also benefits the nervous system and women who suffer from PMS.

– Ginger – Zingiber officinale – Ginger has a spicy aroma that for me calms and soothes. My midwife uses ginger in boiling water during births to soothe the laboring mother. She also uses the ginger water to relax the skin. Ginger improves circulation; it’s great for cold hands and feet, so try it in a tub or footbath. It helps with muscle aches and pains, as well as arthritis.

– Grapefruit – Citrus paradisi – This oil, with an obvious citrus aroma, is used for depression and migraine, and as a tonic aid in drug withdrawal. It is a good choice if you’re looking for a refreshing scent.

– Hops – Humulus lupus – Hops is the ingredient in beer that acts as a sedative. Marijuana, which also causes sedation, is a relative of hops. Hops is an analgesic and helps neuralgia, nervous tension, bruising, and insomnia. It’s also a skin softener.

– Jasmine – Jasminum officinale – This oil has an erotic floral scent. This night-blooming flower eases anxiety and lethargy, while relaxing and calming.

– Juniper* – Juniperus communis – With an earthy, woody scent, juniper clears the emotions and relaxes. It’s also good for cellulitis and rheumatism.

– Lavender – Lavendula augustiform – This oil has a warm floral aroma. It is a relaxant, easing nervous tension, headaches, neuralgia, and muscle aches and pains from rheumatism, and gives a sense of tranquility. It also works wonders on burns, though I do not recommend using the undiluted oil on damaged skin, and before using any oil medicinally, it’s a good idea to check with an aromatherapist, herbalist, midwife, or naturopath.

– Lemon – Citrus limonum – A lemony aroma, of course, that refreshes and cools. It’s great for nerves, varicose veins, and high blood pressure. Anyone who has had a tall glass of ice water with a twist of lemon on a hot summer’s day or while feverish can attest to the cooling, soothing qualities of lemon.

– Lemongrass – Cymbopogon citratus – Citrus. Wonderful for muscle aches, headaches, and stress.

– Lime – Citrus aurantifolia – Another oil with a sweet citrus odor. Great for high blood pressure, rheumatism, depression, anxiety, insomnia, and varicose veins. It revitalizes, too.

– Mandarin – Citrus noblis – An oil with a fruity citrus essence that relieves stress and nervousness, as well as eases insomnia with its tranquilizing effects.

– Marjoram* – Origanum marjorana – This essential oil has a spicy, woody aroma that is helpful with bruises, PMS, anxiety, insomnia, muscle aches, circulation, neuralgia, rheumatism, sprains, and strains.

– Melissa – Melissa officinalis – Also known as lemon balm, it calms nerves and lifts spirits. Its sedative affect helps with depression and insomnia. It’s also good for eczema.

– Myrrh* – Commiphora myrrha – This aroma is woody and earthy, and has wonderful calming affects. It is also used as gargles and mouth rinses for those suffering from gingival problems, but this should be done only under the direction of any herbalist, and the oil never applied directly to the mucus membranes.

– Neroli – Citrus bigaradia – This oil has the essence of blossom of bitter orange. It eases depression, anxiety, and hysteria, as well as nervous tension. It promotes peace and encourages sleep, but is also known for its seductive qualities.

– Nutmeg* – Myristica fragrans – This woody, spicy oil works wonders for arthritis, aching muscles, neuralgia, rheumatism, and poor circulation.

– Orange – Citrus aurantium – Bitter orange, with its citrus aroma, is good for depression, anxiety, stress, dull skin, and muscle spasms.

– Palmarosa – Cymbopogon martini – This refreshing, floral aroma helps with exhaustion, skin infections, and dull skin.

– Patchouli – Pogostemon patchouli – With its musky odor, it lends itself as a sensual essential oil. It is also useful for skin inflammation, fatigue, mature skin, stress, and hair care.

– Peppermint – Mentha piperata – A cooling, refreshing minty aroma is the characteristic of this oil. It is also known for its benefits for inflammation, and migraine, and where it is applied it has an anesthetic affect that increases blood flow. Like the other mints, though, it may cause mucus membrane irritation.

– Rose – Rosa gallica officinalis – A light floral aroma helps to ease tension, depression, and anxiety. It is a “love oil” that is also an excellent tonic for the reproductive organs. Rose also aids in the treatment of eczema and mature skin.

– Rosemary* – Rosmarinus officinalis – This oil has an herbal, woody aroma. It, too, is a “love oil”, but also helps with headaches, fatigue, muscle aches, sprains, nerves, and rheumatism. This is one of the best oils for your hair.

– Rosewood – Aniba Rosaeodora – This floral scent promotes comfort and eases depression. It relaxes sore muscles. It is also known as lemongrass.

– Sandalwood – Santalum album – This wood-scented oil is known as a sexual stimulant. It helps the user to focus on the here and now, enjoying the moment rather than worrying about what could have been; enabling the user to fully enjoy his or her present situation and partner. It is also a sedative that helps with depression and PMS.

– Thyme* – Thymus vulgaris (as well as T. serpyllum and T. pulegioides) – This plant possesses a fresh, herbal aroma. It strengthens nerves, eases exhaustion and rheumatic pains, and soothes muscle aches and arthritis. – Ylang-ylang – Canagna odorata – This oil has an exotic, floral odor that eases stress, anxiety, and high blood pressure. It’s a general tonic that is also well known for its sensual properties.

Base oils

– Sweet Almond – This oil can be used 100%. This is my favorite oil to use as a base. It’s light in texture and color, and has the added benefit of helping with itching, dryness, soreness, and inflammation.

– Apricot Kernel – This oil, too, can be used undiluted. It’s good for sensitive skin and dry skin.

– Avocado – This oil should be used at only 10% (90% should be another oil, such as sweet almond). This base oil is rather heavy and leaves a waxy feel on the skin.

– Avocado Pear – Again, though this oil is good for dry skin, it should be used at 10% and mixed with another base oil.

– Borage Seed – Another 10% oil that should be mixed. It’s good for premature aging, stimulation and regeneration of skin, multiple sclerosis, menopause, heart disease, and eczema.

– Cocoa Butter – This needs to be warmed, as it is solid at room temperature, but it is excellent for dry skin.

– Corn Oil – This oil can be used 100% and is good for all skin types. It’s rather heavy, but also soothing.

– Hazelnut – This oil can be used undiluted and on all skin types. It is also an astringent.

– Jojoba – This base should be diluted to 10%. It’s a wonderful help in psoriasis, acne, and inflamed skin, but can be used on all skin types. It’s also good for the hair.

– Peanut Oil – Edgar Casey sang the wonders of this oil. He recommended it for all types of ailments. Peanut oil can be used undiluted and on all skin types, but be aware that it has a very strong aroma of peanuts and can feel quite heavy on the skin.

– Safflower – This can be used undiluted and for all skin types.

– Sesame Oil – This should be diluted to 10%, but is wonderful on all skin types. It is especially useful for psoriasis, eczema, and arthritis. It also has a strong aroma, though, so smell it before trying it. – Soya Bean – Another oil that can be used undiluted and on all skin types. – Sunflower oil – Again, another oil that can be used undiluted and on all skin types.

– Wheat germ – While good for psoriasis, prematurely aging skin, and eczema, as well as all skin types, it should be used at 10%.

Remember, use only 5 to 6 drops of essential oil per 10 mL of base oil. This is the total amount. You can combine oils, of course, but in total your essential oils should not exceed the 5 to 6 drops mentioned above.

Pregnancy and Essential Oils

Some essential oils may be uterine stimulants or have other effects that are contraindicated in pregnancy. While this list is pretty close to complete, there’s no way I can be sure I got everything down. In any case, when pregnant, it is always good to check with a midwife, herbalist, or aromatherapist before using any particular essential oil. While some oils are not advised during early pregnancy, some may actually be beneficial in the last trimester or during labor.

• Angelica

• Aniseed

• Basil

• Camphor

• Cedarwood

• Chamomile

• Cinnamon

• Citronella

• Clary sage

• Clove

• Cypress

• Fennel

• Geranium

• Hyssop

• Juniper

• Marjoram

• Myrrh

• Nutmeg

• Oregano

• Parsley

• Peppermint

• Rosemary*

• Sage

• Thyme

*Some sources site rosemary as being contraindicated in pregnancy, while others claim there is no reason it can’t be used. All I can say is to research the herb yourself, talk to some herbalists, and make your own decision.

Other Precautions

If allergic to nuts, avoid base oils that contain nuts, such as sweet almond oil, hazelnut oil, and peanut oil. This may seem an obvious thing to do, but there are some people that will assume because the oil is not being ingested, that it is safe. Unless you’ve had an anaphylactic reaction to nuts, you couldn’t possible understand the need to be extremely careful with these oils.

If you suffer from high blood pressure, avoid hyssop, rosemary, sage, and thyme. Licorice is also known to elevate the blood pressure, but it’s not often used as a massage oil!

Diabetics should avoid angelica.

For those of you who enjoy tanning beds or outdoor tanning, you should avoid bergamot, lemon, grapefruit, ginger, lime, orange, and the other citruses. These can make you hypersensitive to ultraviolet waves.

Oils to be avoided in general are:

• Bitter almond

• Boldo leaf

• Calamus

• Deadly nightshade

• Horseradish

• Jaborandi leaf

• Mugwort

• Mustard

• Pennyroyal

• Rue

• Sassafras

• Savin

• Southern wood

• Stinging nettle

• Tansy

• Thuja

• Wintergreen

• Wormwood

• Yellow camphor

Conclusion

In closing, I want to encourage you all to experiment with essential oils and erotic massage. The skin is the largest human organ; take full advantage of it!

As you experiment with more and more combinations, finding the ones that are right for you in each particular circumstance, you will not only find that you are pleasing you partner in much deeper ways, but you are also learning something about yourself. To honestly enjoying giving pleasure to your partner is what will make you a good lover, and a memorable one. When I think about my lover, it’s his hands that come to mind before anything else. Even as I type I can feel his hands on my neck, massaging the stress of computer work away!

Slow down, enjoy your senses, and enjoy each other.

“And in the end, the love you make is equal to the love you take.”

The Beatles

Source by Mayra M Martinez

from Home Solutions Forev https://homesolutionsforev.com/how-to-give-an-erotic-massage-massage-oils/ via Home Solutions on WordPress

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Narrative Essay Weekly Summaries

Ba1B weekly summaries- Narrative Essay Weekly summaries

Week 10 

Day 2 - Narrative research

Today I was briefed on the next essay and unit that is contained within the essay.I found that the essay revolves around narrative and is a 1500 word essay on a short film or feature length film. I found that story is what is told and discourse is how a story is told.I also found that plots should be connected and complete , self contained and contain a movement or change. I found this lecture beneficial in developing my understanding of narrative structure as it opened my eyes to Freytags pyramid and the different modifications used when structuring a narrative.

Week 11 

Day 2 - Narrative essay 

Today in the Narrative essay lecture I learned the types of question I would have to choose for the essay itself the selection was as follows:

Analyse your chosen Narrative with close reference to the Hero’s journey or another appropriate template 

Make a proppean analysis of an animated fairy tale and explain animations suitability for telling fantastical tales

Stories have been described as an engine for social change.Analyse your chosen narrative with reference to its social or moral purpose and the techniques used to convey this.

Only available in animation.To what extent does the Paul wells quote app to your chosen film?Explain how the medium and material enter shape, and define the narrative.

Animation is a uniquely visual medium.Analyse your chosen narrative as a successful example of visual storytelling.

I also found out in this lecture that there are specific shapes of a story which generally include either conflict or non conflict. For this exercise I had to create a story around a chocolate Santa and produce a story with either conflict or non conflict. I found that this helped to show the difference between how a story could be told. I also discovered that character and complication is a useful route for a story with most of these stories thriving on conflict.

Furthermore, later in the lecture I found Coleridge mechanic vs organic form of story telling where a mechanic form uses a pre existent sago and can be described as ‘wet clay in a mould.’ The Organic form develops itself from within and is shaped by its own development and that a good poem is like a growing plot.

In addition I found that an act is a part of a story consisting of individual scenes and originates from theatre which was signalled by the curtains closing. Sequences are from early cinema where a film reel would stop after 10 minutes.

The classic Hollywood story includes 3 acts. Act one is where the character is up on a metaphorical tree , act two is where the character has rocks thrown at him/her and the final act is where the character gets down from the tree.

In contrast, the plot without  conflict from east asian stories tends to have a four part structure an introduction, elaboration , twist and emphasis. This is also known as Kishotenketsu.

Week 12 

Day 2- narrative essay 

Todays lecture I learned about the learning objectives for the narrative essay itself they are as followed:

LO5- Demonstrate knowledge of fundamental techniques materials and processes associated with your subject.

LO6-Make judgements and present arguments through engagement with fundamental historical, cultural and ethical concepts and theories associated with your subject.

LO7-Demonstrate a range of approaches to creative and experimental problem solving.

LO8-communicate the development of your ideas clearly using text, image or object.

LO9- Demonstrate fundamental subject specific and transferable skills relevant to your practice and future career

LO10- Evidence independent planning and time management in the development of your work.

This lecture revolved around question two and explained the importance of fairytales and that they are ready made stories for animators to choose from. The origins of fairy tales revolve around Marchen which are popular fairytales that are oral in origin and prepare written record, so its difficult to be sure about their exact origins many are thousands of years old. Kirstmarchen are literally and artistic fairytales. At first fairytales where not intended for children and there is a clear distinction between what is good and what is evil.

It was not until the Disney rendition of fairytales which truly highlighted the difference of storytelling. Disney fairytales relied heavily on fantasy and the happily ever after ending.This often led to criticism as Disney fairytales reinforced patriarchal story and stereotypes.

I also learned about Olrik and the law of twins where two people can appear together in the same role and should be similar in nature.I also learned about the law of patterning where situations and events are told and retold in as similar matter as possible.

Propps four fundamental principles:

Functions of characters serve as stable, constant elements in a tale and are independent of how and by whom they are fulfilled. They constitute the fundament components of a tale.

The number of functions known to the fairytale.

The sequence of a function is always identical 

All fairytales are of one type in regard to their structure

All plot types have constants and variables. Any basic plot will have stable elements and variable elements.If we decide for example that the quest is basic plot then we can say that a static element is that it will always involve a journey. A variable would be the destination.

There are two types of hero in a fairytale one that directly suffers from the action of the villain in a complication called a victim hero. There is also a seeker hero who liquidates the misfortune or has a lack of another person. The villain appears twice in a fairytale at first he will make a sudden appearance from outside.The second appearance is a person who has been sought out.

Week 13 

Day 2- Narrative Research essay

Today I watched the film up and decided to place the characters into Christopher Vogler's theory on archetypes. Also creating a plot summary regarding the film.I found this lecture eye opening into looking into the story further looking at the themes of mentorship and family within the film.

Plot summary- 

Carl frederickson is a little boy who is a dreamer and grows old with his wife Ellie who ensures an essence of adventure in him.They both want to live at paradise falls in south America as they are fascinated boy Charles Muntz a famous explorer. After the death of Ellie Carl becomes insular and does not want to move from his house. Ultimately it takes a call to  action of him hitting a worker from the construction company with the consequences of him being placed in a retirement home as a result and his house being demolished for him to leave the area He begins to fly to paradise falls were he hears a knock at the door thousands of feet in the air, this introduces him to Russel a wilderness explorer who had knocked at Carls door previously. Carl tries to take Russel home but a storm ensues.

The house is knocked around in the turbulence but Carl manages to tie most of his items down before falling asleep. He's woken the next morning by Russell, who tells him that they're over South America. Carl releases some balloons to descend but they hit ground early and are knocked out of the house. As they reach the other end of the falls they decide to walk the rest of the way due to the balloons deflating.

Meanwhile, a chase is progressing in the jungle. Russell stops to go to the bathroom and happens upon a giant bird which he lures closer with a chocolate bar. He introduces the colourful creature to Carl and gives it the name Kevin. Kevin follows them as they continue their journey but runs off when they approach the silhouette of a man who calls out to them. However, they see that the man is nothing more than a trick of the eye caused by overlapping stones. They are then approached by a golden retriever with a red light on his collar. Russell tells him to sit and speak and is surprised when the dog answers, using the device on his collar. He tells them his name is Dug and that he is a tracker looking for a bird, at which point Kevin tackles him. They continue on to paradise falls and find none other than Charles Muntz who has been looking for Kevin for many years as he tries to repair his reputation.

Muntz invites them into The Spirit of Adventure as guests, but his behaviour soon turns hostile when he finds out that Russell has adopted a new pet bird. Muntz reveals a table of head mannequins wearing various headgear and grimly knocks each one off with his cane as he describes the stories their wearers told him; claiming that each one was actually after his bird. Carl and Russell run away from the zeppelin just as Muntz discovers the bird calling out from the roof of Carl's home. Riding on Kevin's back and assisted by Dug, who calls Carl his new master, they barely escape capture by Muntz's dogs, though Kevin is injured in the process. Carl agrees to help Kevin get back to her babies safely but, just before Kevin can re-enter her labyrinth home, a net flies out and captures her. Muntz and his dogs have arrived in the zeppelin, led to the spot by a tracking device on Dug's collar. Muntz throws a lantern beneath Carl's home, setting fire to it. Carl ignores Kevin and runs over to extinguish the flames as Muntz takes Kevin on board and leaves. Angry and disheartened, Carl yells at Dug and tells Russell that he's taking his home to Paradise Falls if it kills him. He manages to set his house down on the Falls, but loses Russell's respect for leaving Kevin.

Carl goes inside the house and sits down to look at Ellie's adventure book. Saddened that she never got to see the Falls, he is about to close it when he discovers added pictures near the end, documenting their life together. On the last page is a note written by Ellie that says thanks for the adventure, now go have a new one! Enlightened and inspired, Carl goes outside in time to see Russell take off with a few balloons, using a leaf blower as propulsion. Carl empties his home of extra furniture, allowing it to become airborne once again, and follows Russell. He finds Dug on his porch and happily exclaims that Dug is his dog and he is his master. Russell manages to sneak aboard Muntz's zeppelin but is quickly caught and tied to a chair. Muntz sits him on the ships bomb-bay doors and flips the switch for them to open. Carl flies in and manages to rescue Russell in time, setting him inside the house while he goes into the zeppelin with Dug to fetch Kevin. He is able to distract the guard dogs with a tennis ball from his walker and frees Kevin but is confronted by Muntz. They engage in a sword fight while Russell, freed of his ties, fights off a squadron of dogs in fighter planes. He regains control of the house and returns to help Carl, who has climbed to the top of the zeppelin with Kevin. Dug has, meanwhile, faced off against Alpha and outsmarted him, effectively becoming the new alpha, and runs off to meet the others topside.

Kevin, Dug, and Carl run for the house which Russell has landed on the wing of the zeppelin, but Muntz appears with a rifle and shoots at them, causing the house to slip and dangle in the air. Carl struggles to hold onto the house with the hose while Muntz goes in after Kevin. Carl lures Kevin, carrying Dug and Russell, out of the house with chocolate and Muntz attempts to jump out of the window after them. He doesn't make the jump as his foot gets caught in some balloon strings and, weighing too much for the balloons to support him, he falls to his death. As Kevin, Dug, and Russell make it back to the zeppelin, Carl is forced to release his house, which slowly descends into the clouds, a loss which Carl accepts as being for the best.

Kevin is returned to her three chicks and Carl takes Russell and Dug home where Russell attends his senior explorer ceremony. When Russell's father fails to present him with his final badge, Carl fulfils the role and gives Russell a grape soda badge that Ellie gave him when they first met, calling it the Ellie badge. Afterwards, they sit on a curb together in front of an ice cream shop, Carl acting as a surrogate grandfather to Russell, The Spirit of Adventure anchored above them.

At Paradise Falls, Carl and Ellie's house has landed right at the spot where it was meant to be: on the cliff overlooking the falls.

https://www.imdb.com/title/tt1049413/plotsummary

Week 14

Day 1 -Research project  

The hero’s journey lecture 

Proppian analysis 

Lack or desire often external; a thing that can be acquired.

The procreation reason, a star ends in sexual union or its symbolic manifestation through marriage.

The psychological reason, stories separate the disparate parts of our psyche .

Christopher Vogler:Three act structure (Act 1- separation), (Act 2- descent and initiation), (Act 3)

The 12 stages of the heroes journey according to Christopher vogler 

Ordinary world(exposition)

The hero has to be shown in his ordinary world to create vivid contrast with the strange new world he is about to enter.

2.   The call to adventure 

The hero is presented with a problem,, challenge or adventure to undertake.Once presented with a call to adventure, she can no longer remain indefinitely in the comfort of the ordinary world.

3. Refusal of the call (if the story features a reluctant hero)

Often at this point the hero balk at the threshold of adventure, refusing the call or expressing reluctance.

4. Meeting with the Mentor ( not present in all stories)

The function of the mentor is to prepare the hero to face the unknown. They may give advice, guidance or magical equipment.

5. Crossing the Threshold

Now the hero finally commits to the adventure and fully enters the special world of the story for the first time. Vogler says ‘ this is the moment when the story takes off and the adventure really gets going’.

6. Tests , allies enemies 

Once across the threshold the hero naturally encounters new challenges and tests, make Sallie and enemies, and begins to learn the rules of the special world.

7. Approach to the inmost cave 

The hero comes at the last to the edge of a dangerous place… where the objet of the quest is hidden. In this stage the hero makes preparations to enter the inmost cave.

8. The ordeal( Midpoint ,death and rebirth)

Here the fortunes of the hero hit bottom in a direct confrontation with his greater fear.The audience is held in suspense:will the hero live or die?

9.Reward ( seizing the sword)

The hero now takes the possession of the treasure she has come seeking, her reward. The sword could be important knowledge or experience.

10.The road back

The hero is not out of the woods yet. He may be pursued by vengeful forces that have been disturbed by the seizing of the sword, the elixir or the treasure.

11.Resurrection (climax)

This is the final test for the hero, who has to be tested once more to see if he has really learned the lessons of the ordeal.The hero is transformed by the experience.

12. Return with the elixir( denouement)

The hero returns to the ordinary world, but the journey is meaningless unless she brings back some elixir, treasure or lesson from the special world.

Modern day plot of revelation:

The infinite detailing of existents

Events take a lesser role

Character orientated 

Existents-

Characters 

Settings

Actions-

Actions 

Happenings 

2d storytelling where the protagonists don’t change. Change comes through overcoming a problem in the show itself or bring change to another character.

The 7 basic plots- Christopher Booker 2004

-Overcoming the monster - the protagonist must defeat an antagonistic force which threatens the protagonist and/or homeland

-Rags to riches- the poor protagonist acquires things such as power, wealth and a mate, before losing it all and gaining it back upon growing as a person.

-The quest- the protagonist and some companions set out too acquire an important object or get to a location facing many obstacles and temptations along the way.

-voyage and return- the protagonist goes to a strange land, and after overcoming the threats it poses to him/her, returns with nothing but experience.

-comedy- light and humorous with a happy or cheerful ending.Central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion.

-Tragedy- the protagonist is a villain who falls from grace and whose deaths is a happy ending.

-Rebirth- the protagonist is a Willian or otherwise unlikable character who redeems him/herself over the course of a story.

Traditional vs experimental animation

Traditional animation tends to imply that it is a film that tells a story in movie drawings…. And contains what has been called personality animations with which the narratives protagonists are played.But experimental animation can be more like graphic art in motion.

Paul wells signposts of experimental animation

Abstraction

-Might use shapes and forms rather than traditional character.More about rhythm and movement in their own right.

Specific non-continuity 

-Rejects ‘logical and linear continuity’. Prefers illogical and sometimes multiple continuities.

Interpretive form

-Subjective rather than objective.

Evolution of materiality

 -Concentrating on its very materiality.Colour shape and texture evoke certain moods and ideas and give pleasure in their own right.

Multiple style 

-freely combines styles and techniques, to best express the artists ’vision’ and ‘ challenge and rework orthodox codes and conventions’

Presence of the artist 

-these films are personal and subjective. Trying to reflect an absolutely individual vision.

Dynamics of musicality

-music becomes very important in experimental films which may resist dialogue.Trying to make visual music.

Riffing 

The term is used by Gerald Mast in Film theory and criticism(1974) for the technique used by short films In which gags take precedence over story.The film establishes a basic premise and ‘riffs’ on the possible consequences of this idea.

Week 15

 Day 2 - narrative essay 

Animation is a uniquely visual medium

Animation is a medium and not a genre 

Animation encompasses an extraordinary range of styles and stories.Some of these stories can be told through live action.But some stories could not be told without the medium of animation it is intrinsic to the narrative itself.

Story= what is told 

Discourse= how it is told 

Key vocabulary:

Metamorphosis is the free flowing stream of consciousness of fantasmagorie (1908), generally considered the first animated cartoon.

Metamorphosis can have a thematic purpose.

Fabrication- Paul wells uses this term fabrication to describe the process os taking existing materials- whether man made or naturally occurring- from the ‘everyday world’ and reinterpreting  or re-purposing them within an animated film.

Substance= (re) animated insects

1937-  Disney one drawing killing another drawing

Content= love triangle melodrama

Cartoon and Caricature

‘The very language of animation seems to carry with it an inherent innocence which has served to disguise and dilute the potency of some of its more daring imagery.

As wells suggests , this allows animation to express feelings and thoughts about taboo subjects without inhibition.

Violence feels Sad, unthreatening in the Tex Avery film from 1948.The cat that hated people.Objects take on a surrealist form- this would be nightmarish if actually happening-but the language(and the sheer unreality) of the 2d cartoon directs us to feel safe while watching.

Visual story telling

Hermeneutic code which helps build mystery and suspense.

Images juxtaposed in such a way the brain works to add in what we have not been explicitly told.

Ellipsis = the deliberate omission of the plot details or events that can be inferred through contextual clues and/or surrounding action.Really important in pace and structure especially in short film after establishing action.

The Kuleshov effect 

In the early 20th century, lev Kuleshov, a Russian director, filmed an actor in turn at a bowl of soup , a coffin and a girl audiences were amazed by his ability to evoke hunger, grief and desire.

Another of the narrative codes.Barthes(1974) identified was the cultural code.Narrative statements in the cultural code rely on the audiences common ,or cultural code.

Narrative statements

There are two kinds:

Process statements (something is done or happens)

Stasis statements (something ‘simply exists or is’)

Week 16 

Day 2 - narrative essay

Today I had feedback on my essay so far. I was told that the subject matter in the film coco was correct in answering question three. I was pleased with the feedback I received due to the essay being structured correctly and reading well. I was told to properly cite my essay with Harvard reference which was something I was going to do upon the essays completion and to remove/ expand on a particular paragraph of my essay as it was journalistic.

[zipgrowth]

Old Ways Meet New Tech (and New Students) at Meeting of Library and Academic Leaders

With edtech, specialized isn’t always better. Technology designed for educators is pushed “as if our ones and zeroes are special,” keynote speaker Clay Shirky told top librarians, publishers and administrators at the Ithaka Next Wave 2017 conference, held in New York City on Wednesday. “When you look at the way students actually work, they mostly work with tools that are general-purpose,” Shirky said.

Those easy-to-hand, widely adopted tools cited by Shirky include the ubiquitous Google Docs, as well as more-unexpected ones like the website Genius (formerly Rap Genius). Originally set up to house lyrics, it’s been repurposed by students as a place to share and annotate texts like the Mayflower Compact.

Next Wave 2017 was the latest in an annual, invitation-only meeting series run by Ithaka, the nonprofit group behind JSTOR, ArtStor, the PORTICO digital archiving and preservation service, and Ithaka S&R, which conducts research on higher ed and technology. This year’s theme was “Innovating and Adapting to Address Today's Higher Education Challenges,” and leaders from different walks of academic life took turns throughout the day addressing it, beginning with Shirky’s keynote.

You might expect an internet visionary who’s also a professor and an administrator overseeing tech-based education to plump for the latest edtech. But Shirky, vice provost for educational technologies at New York University, argued that having the latest digital tools isn’t what counts most in today’s higher-ed environment. The focus, he said, should be on the changing narratives around the technology: how the internet isn’t just enabling new approaches in the classroom, it’s altering the bigger public discussion about how to provide (or pursue) a college education. “Online is changing the story people are willing to tell themselves about college,” he said.

Shirky invoked Napster, the music file-sharing system brought down by legal action on the part of the music industry. Napster failed—but it opened possibilities that led to the multitude of sharing services we use now. “These kinds of tools don’t get socially interesting until they get technically boring,” Shirky said. “It’s the moment that people take them for granted—the moment they tell themselves a different story about how life could be.”

On a panel called “At the Leading Edge: Transformation and Innovation,” a trio of higher-ed leaders shared stories of how their institutions changed, not always by choice. Meredith Woo, the recently-installed president of Sweet Briar College, described radical changes implemented in response to the school’s near-closure. Those changes included doing away with the general-education program and replacing it with a core set of courses focused on women and leadership; focusing on three “centers of excellence,” including engineering education; and cutting tuition dramatically. “We decided to signal to the American public that a compelling, small liberal-arts education is a financially viable option,” Woo said.

“What we’ve done is not nuclear science,” she added. “These were things that had to immediately be done to define who we are.”

Changing Attitudes

During that panel—and throughout the day—online education emerged as a dominant theme. Michael H. Koby, associate dean of international and graduate programs at Washington University Law School, said that at first he was “100-percent against” the online Master of Legal Studies program he was put in charge of—but changed his mind once he realized that it made the school stronger by “bringing in groups of students we otherwise wouldn’t have.”

The university chose 2U as its tech partner to help create and run the online program. Koby said that made it possible to think creatively about the program—how to do mock trials and adapt the Socratic-dialogue approach to the online-learning environment, for instance—and to make sure the online experience lines up with the law school’s overall approach to teaching.

One secret to the partnership’s success: clear boundaries between the for-profit company and the nonprofit educational institution. “We’re completely in charge of admissions. We’re completely in charge of the curriculum,” Koby said. “They’re in charge of the technology.”

For Gordon Jones, founding dean of the College of Innovation & Design at Boise State University, affordability and technology stand out as dominant trends now, with online options expanding what the college (and the larger university) can offer for the tuition it charges. The pressure students feel to sign up for pre-professional majors has driven “significant outmigration from our humanities and liberal-arts majors,” Jones said. To satisfy the hunger for more business training, the school teamed up with Harvard Business School to offer Boise State students a 9-hour credit block in which they earn HBS’s business-writing certificate online. It doesn’t cost extra, and the option might make it easier for undergraduates to think more flexibly about the majors they choose.

In a crowd-pleasing aside, Jones mentioned that he decided to house the innovation-and-design college within Boise State’s library, and suggested that libraries often function as safe neutral spaces in which to experiment. “You are leaders of what’s basically Switzerland on campus,” he told the audience.

The second half of the day focused on what universities are learning about student success, and on new workflows and frameworks for research and publishing.

Several publishers talked about how some university presses are experimenting with how to do things differently in an era of tight finances but a wealth of non-traditional forms of scholarship. That includes digital-humanities projects that work best as interactive, multimedia products and that can’t be reduced to flat text. Alan Harvey of Stanford University Press explained the thinking behind the press’s Digital Scholarship publishing program, which put out its first product—Nicholas Bauch’s Enchanting the Desert—in 2016, with three more to follow this spring, including Samuel Liebhaber’s When Melodies Gather, centered on the oral poetic tradition of the Mahra on the southern Arabian Peninsula. “The only way to engage with this is digitally,” Harvey said.

Reinvention in the networked era requires changing definitions as well as adopting new technologies. Darcy Cullen, associate director of acquisitions at the University of British Columbia Press, used a joint project with the University of Washington Press to talk about how publishers need to expand their thinking about authorship and audience. The two presses are building a platform for indigenous-studies scholarship that’s “audience-tailored,” Cullen said. “Readers can choose the format that best suits their needs.”

The project is part of a move toward culturally-sensitive design that can be adapted to scholarly norms while also respecting indigenous communities’ traditions and expectations. Cullen mentioned the Reciprocal Research Network, which enables research on First Nations items from the Northwest Coast; 27 institutions participate, and indigenous community members can correct and interpret material in the network, she said.

Monetization v. Information Flow

Technology changes rapidly. Mindsets often shift more slowly.

Certain themes have been cropping up for years now at almost any gathering of academic librarians and administrators: the need to appeal to faculty self-interest in order to get things done, for instance, and the complaint that scholarly publishers are price gougers. Arnold Hirshon, associate provost and university librarian at Case Western Reserve University, talked about how many publishers in the United States focus on monetizing content, while the rest of the world is more interested in what he called “the information flow.”

Not everybody was predisposed to agree. One attendee, Rick Anderson, associate dean for collections and scholarly communication at the University of Utah’s library, said later that he was “a little bit distressed at how much reductionist rhetoric we’re still hearing about ‘publishers who only care about money and are just trying to preserve their 30-percent profit margins.’” Anderson said, “I don’t believe for a second that the people saying this stuff are really unaware that 75 percent of publishers are nonprofits,” many of them dedicated to supporting their fields rather than making a killing off them.

Although it focused on big shifts and challenges, the conference also brought to light smaller but revealing details about shifts in how higher-ed practices have changed. Hirshon, for instance, talked about how one small behavioral problem has big reputational consequences. Many faculty members don’t take the time to learn how to cite the university in their work so that it turns up in international rankings of scholarship. He’s seen hundreds of variants of his institution’s name, he said—but only the correct version gets counted.

Another theme that emerged during the day: Librarians as well as faculty are being called on to rethink old habits. “The priorities of 25 years ago are not the priorities of today,” Hirshon said. Judy Ruttenberg, program director for strategic initiatives at the Association of Research Libraries, said that librarians accustomed to “a high-touch kind of work”—one-on-one reference services, for instance—must get comfortable with providing library services in new ways. “It’s hugely destabilizing for people to work in that way, but it’s urgent,” she said.

In his keynote, Shirky pointed out what’s probably the biggest disruptive factor of all in the internet era: the rise of what he called the “post-traditional student.” American higher education has been been too focused on the 4-year college model, with an emphasis on a certain kind of student for whom that model works.

“Colleges are run by people who did well in college,” Shirky said. “We are the number-one nation in enrolling people in college. We’re not even in the top-10 for completion. We don’t have an enrollment problem, we have a completion problem.”

That’s because the traditional model doesn’t work for students who aren’t untethered teens but adults with jobs, families, and other commitments, he said. A flexible online model works better for them—and their numbers are growing. “Online program after online program is filling with students who are perfectly capable of doing the work,” but who can’t leave their commitments behind for a residential college experience, Shirky said. “These are not characteristics most of our institutions are well set up to deal with.”

Old Ways Meet New Tech (and New Students) at Meeting of Library and Academic Leaders published first on http://ift.tt/2x05DG9

[optimisticprincepainter]

A 24 year old, now named Hadiya is the latest to be the centre of attention on the topic of ‘love jihad’. Formerly Akhila, she converted to Islam after being introduced to the religion through two of her friends. The only child of parents K.M. Ashokan and Ponnamma, Akhila, at the time joined a programme in homoeopathic medicine at Salem in Tamil Nadu in 2010. In early 2016, she arrived at her college wearing a hijab. An attempt to intervene by her father after some friends had alerted him roved in vain as she vanished. She later appeared in court with A.S. Zainaba, president of the National Women’s Front who the court allowed her to stay with. The main crux of the issue is if a 24 year old is mature enough to make her own life decisions including choosing to marry. The apex court will now hear Hadiya’s side of the story on November 27. In an op-ed for The Indian Express, Tahir Mahmood, the former chair of the National Minorities Commission and member, Law Commission of India, writes on the fundamental right to freedom to marry irrespective of faith – “Neither the Constitution nor any central or state law places any restraint on interfaith marriages. The Special Marriage Act, 1954, enables persons professing different faiths to become life-partners retaining their respective religious beliefs and practices, and yet one of them is often persuaded — or otherwise left with no choice — to embrace the other party’s religion”. “Conversion for the sake of marriage only is repugnant to Islamic teachings. I would even recommend outlawing this practice. However, I fully agree with the apex court’s afore-mentioned Lata Singh verdict that interfaith marriages (without conversion) should be encouraged”. Around this time was when she changed her name to Hadiya. In December of last year, upon arriving at a court hearing, she was married to Shefin Jehan; much to the courts ire. Journalist with India Today TV in a column explains how this case is deeply rooted in misogyny – “What’s interesting is that this case isn’t even a classic example of the so-called “love jihad”. The woman converted much earlier and got married years later. The court came to the conclusion that the woman is not fit to make a decision for herself and has been brainwashed”. The case had reached the Supreme Court where an NIA investigation was ordered; the report stated that various organizations are recruiting and radicalizing people for the purposes of joining and fighting for ISIS. “The most problematic aspect of this case has been that the woman who is legally an adult was sent to the “custody of her parents”. The NIA conceded in the Supreme Court yesterday, that “custody” for a major girl is a problematic word in law”. “Even if all the allegations of the NIA are to be believed and taken at face value that the girl was in fact radicalized and there is a concerted effort and a “well-oiled machinery that targets women”, is locking up Hadiya the solution of it”? “In the 21st century, though women are given full and equal rights, their bodies and sexuality remain the battleground for a political and cultural war. The case of Hadiya is a classic 21st century example when the law gives in to a political narrative, sidelines individual rights and women take the status of chattels and property”. The NIA report isn’t all wrong. An India Today investigation looked into Kerala’s Popular Front of India (PFI), which the right leaning magazine website Swarajya calls “an Islamic fundamentalist organization”. The PFI has maintained that it championed diversity and equality and has denied accusation of religious conversions, hawala funding, murderous assaults and any terror links. The PFI is a non-profit organization. The organization is under NIA investigation not just related to the Hadiya case. A.S. Zainaba, the head of the groups’ women wing and also with whom Hadiya is living, denied the allegations that the group engages in brainwashing and converting women to Islam, saying the allegations are baseless. She insists the marriage between Hadiya and Shefin Jehan was arranged and not a case of love jihad. However, according to the investigative report, Zainaba had shared some of the inner working of the group with undercover reporters saying, “In that institute of ours…around 5,000 people have converted to Islam over the past 10 years now. We don’t have to officially declare it to be a conversion centre. It’s an educational institute”. Swarajya in a report calls the issue of love jihad a national security threat citing the initial NIA probe which the CPI (M) rejected – “While no one questions the competence of the Kerala police who have had to deal with a large number of cases related to Islamic radicalization in the state, it is unwise for the government of Kerala to question the court’s directive, especially when it involves India’s counter-terrorism intelligence”. “It is clear that this issue is not the sole concern of Hindus but a collective problem faced by numerous communities in the state. Unfortunately, the government in the current political discourse seems to be ignoring this crucial development, which also runs the risk of being ignored by the police for the sake of political correctness”. Specific to the case of Hadiya, activist Rahul Eashwar met with Hadiya to hear her side of the story, which she is mandated to do after the Supreme Court has summoned her to speak on November 27, where the court stated that her consent as an adult is important and to hear her version of how and why she married a Muslim man in Kerala last year. Rahul, released videos of his meeting where Hadiya says she fears or her life and is afraid of her father saying, “Get me out of here. Today or tomorrow, I am going to die. I am sure about this. My father is getting angry, I can make out. He pushes me”. This signals that she could be kept there against her will. The India arm of Amnesty International stated that while they welcome the apex court order, her confinement is unlawful. The lawyer who represented Hadiya’s husband in the Supreme Court argued that Hadiya has the right to love and marry whoever she wants. She writes about this in an op-ed for the Hindustan Times – “Kerala offers very famous cases of Hindus who have converted to Islam, including the late poet and writer Kamala Das. What was so strange about Hadiya’s conversion, when she herself appeared in court and stated that her conversion was voluntary?” “We have a constitution which guarantees freedom of religion which includes the right to convert to any religion. Why then must she be denied agency to convert? And why must she be prevented from marrying a man of her choice?” “No one prevents the State from investigating threats to national security, but to say that an adult woman must not be allowed to convert to Islam or marry the man she loves violates her right to personal liberty and her right to freely practice the religion of her choice.” More columns by Varun Sukumar What Article 35A means for Jammu and Kashmir A list of sexual ‘predators’ raises debate in India Mersal row: BJP’s ‘Vijay is a Christian’ ploy backfires Yogi’s Ayodhya push reveals BJP’s desire to draw on Hindutva vote 2019 begins in Gujarat; A Congress resurgence? Aarushi Talwar case: A perfect botch-up? NEWS 1:27 News Clash breaks out between police, VHP workers over love jihad issue 2:24 News Suffering from ‘love jihad’, A woman returned in Hinduism after 12 years in Aligarh 1:06 Entertainment Kamya KIDNAPS Prem Sasural Simar Ka Colors On Location Powered by Sify.comNewsColumnsBattle of the old guards in Himachal Pradesh Battle of the old guards in Himachal Pradesh Source : SIFY By : Varun Sukumar Last Updated: Tue, Nov 07, 2017 16:24 hrs Share to Facebook Share to Twitter Share to WhatsApp Share to LinkedIn The approaching Himachal Pradesh assembly elections could be the bellwether for other elections down the road. All eyes are on the usual suspects – Rahul Gandhi of the Congress and the Prime Minister. Both have been doing the rounds; most recently Rahul in a speech in the state on Monday said the Goods and Services Tax (GST) will undergo changes to provide relief to traders and consumers if the Congress comes back to power in 2019. On the other side of the aisle, Home Minister Rajnath Singh blamed the Virbhadra Singh-led Congress government in the state for women in the light of the recent rape and murder of a schoolgirl in the state. He brought in reinforcements in the form of Uttar Pradesh Chief Minister Yogi Adityanath, Uttarakhand Chief Minister Trivendra Singh Rawat and Union Ministers Jagat Prakash Nadda and Smriti Irani who addressed rallies of their own. On the BJP side, party president Amit Shah announced Prem Kumar Dhumal as the party’s chief ministerial candidate in Himachal Pradesh. The decision came late and till Saturday was not clear if it would declare a chief ministerial candidate for the November 9 elections. Journalist Sanjeev Singh in a column for Times of India writes on the choice of Chief Ministerial candidate by the BJP in Himachal Pradesh shows the party is being pragmatic in its functioning and choices – “Political experts believe the battle for top honors in Himachal BJP was between two-time chief minister Dhumal and Union health minister JP Nadda. While Dhumal is popular among BJP cadre, Nadda made a name for himself within the party due to his organizational skills”. “Though Nadda may boast of his proximity to Prime Minister Narendra Modi and Shah, he lacks the pan-state appeal of Dhumal nurtured since 1982 when he became vice-president of BJP’s youth wing”. “This was in line with the feedback received by Shah from party cadre as well that a local face was needed to counter the adverse effects of economic slowdown. This is also a reflection that the party cannot rely solely on Modi’s charisma to cross the finish line in the state”. The decision to announce a Chief Ministerial candidate days before the state goes to the polls is a departure for the BJP. In the past, the party did not announce or mention anyone in the run up to assembly elections in Uttar Pradesh, Uttarakhand, Maharashtra, Jharkhand, and Haryana to name a few. The Indian Express editorial stated that in the past, the BJP fought and won assembly elections without projecting chief ministerial candidates; since the ascent of Modi to the national stage – “The BJP’s decision to project Dhumal, midway in the campaign, may have been influenced by its main rival in the state, the Congress, backing the present CM, Virbhadra Singh, for another term and mocking the BJP campaign as “bin dulhe ki baraat” (a marriage party without groom)”. “The PM loomed large in all these state campaigns and his wide appeal made the need for a charismatic local leader to head the state government even post-poll seems irrelevant. The Himachal example, however, points to the irresistible federal push in the Indian polity even at a time when the BJP has been emphasizing the winnability of a centralized model and strategy”. The strategy seems to be to capitalize on the success of Modi as a national leader since 2014 seemed to turn the tide in the BJP towards a more centralized and focused party structure. “The leader-centric politics championed by Modi could arguably press home, rather than decrease, the demand for a regional face to complement, and even amplify, the central message. Shah’s words in Himachal about a dual leadership — Modi at the Centre and Dhumal in the region — may mirror the BJP acknowledgement of a new political imperative”. Dhumal is a senior party leader and a two-time chief minister of the hill state. The state has traditionally always voted in favor of anti-incumbency and has seen power alternate between Congress and BJP governments for the last five terms. If this trend holds, Virbhadra Singh would be replaced by Dhumal for this third term. The Times of India editorial states that announcing the CM candidate for Himachal ahead of the polls shows that the BJP is not necessarily just relying on a national figure like Modi, but it also empowers regional leaders – “BJP had relied on Prime Minister Narendra Modi’s charisma during the March assembly elections and won the crucial states of Uttar Pradesh and Uttarakhand without a CM candidate. Dhumal’s anointment perhaps also reflects BJP’s decision not to over-burden Modi”. “BJP has experimented with a chief ministerial face in only three states of Delhi, Goa and Assam ever since they swept to power at the Centre in 2014. Projection of Sarbananda Sonowal in Assam and Manohar Parrikar in Goa delivered handsome returns for BJP.” “This should encourage BJP to delegate more authority and empower regional leaders, as Modi’s charisma may not work everywhere. Perhaps it is time for BJP to go ahead and strongly project a chief ministerial face in Gujarat as well.” The ruling Congress in the state is relying heavily on 83-year-old Virbhadra Singh, a six-time Chief Minister and five-time Lok Sabha member. Singh has announced that this will be his last election. Like Dhumal, he is a veteran of party politics for more than five decades. The criticism laid against him is that he stifles and actively discourages the rise of a second generation of leaders in the state. As the two elder statesmen battle it out at the top, their sons wait in the wings. Virbhadra Singh’s son, Vikramaditya Singh, is the head of the Himachal Pradesh Youth Congress. He makes his debut in the Shimla Rural seat which is a reliably Congress; hoping name recognition will play a role in helping him get elected. A contrast to Singh’s son is Anurag Thakur, son of Dhumal who is a rising star in the BJP. Often referred to as “tikka” meaning an inheritor, Thakur doesn’t use or invoke his father’s second name. More columns by Varun Sukumar No ‘Love Jihad’: Hadiya and the Freedom to Marry in Kerala What Article 35A means for Jammu and Kashmir A list of sexual ‘predators’ raises debate in India Mersal row: BJP’s ‘Vijay is a Christian’ ploy backfires Yogi’s Ayodhya push reveals BJP’s desire to draw on Hindutva vote 2019 begins in Gujarat; A Congress resurgence? SIFY : 3rd. Nov,17

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