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peace-coast-island · 7 months ago

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Diary of a Junebug

Boosting our confidence by throwing a fashion show and learning how to stay true to yourself

Fast fashion’s a scam. It’s a waste, it’s superficial, blah, blah, blah, blah. As someone who knits garments and is slowly building a me-made wardrobe, I’m starting to really see why fast fashion’s a load of bullshit. I mean, I was never really into following fashion trends anyway, but really having hands-on experience on how much time and effort goes into making a knitted garment has opened my eyes, so to say.

As a professional fashion designer, Kana has a lot to say about fast fashion. But let’s not get carried away with that - that’s now what we’re here for. At this camp, we respect the work that goes into creating garments - not just the designers, but also the labor that goes into making them, because they deserve respect. We’re talking ethics here, and fairness, and proper compensation, yadda, yadda, yadda. Get the picture?

Okay, enough about that. What we’re here for is a fashion event. Yes, we’ve got the runway, we’ve got sewing materials - we’ve even got cameras. So the objective is to just be creative - and practical too as we plan to wear the pieces we made. Again, after putting so much time and effort into making them, what’s the point if they’re just gonna sit in the back of our closet collecting dust? For me at least, when I make a garment, I want it to be something I’ll get a lot of wear out of, which is why I tend to gravitate towards basic wardrobe staples.

Along with making fashionable pieces that make a statement while being versatile enough for everyday wear, we’re also incorporating recycled material. By that, I mean, were taking old clothes that we no longer wear anymore that can be salvaged for parts - like unraveling yarn from an old sweater to make something new and different. An old jacket you wore often may no longer fit you, and is too worn out to give away, so you can use the buttons for a hand knit cardigan. Stuff like that.

When you think about it, there’s lots of ways to reuse things, adding an extra special touch to a handmade item. I’ve learned from my mom how to get creative and not waste things if you can find another use for them. That’s not to say that you should keep everything and throw away nothing, it’s more like be mindful of the things you have and the purpose they serve. It’s really not that deep, just something to keep in mind to prevent mindless buying, leading to an accumulation of stuff you’ll never use. As someone who delves into a lot of creative hobbies that require lots of supplies, this mindset has been really helpful in making sure that I’m reasonable with my purchases without feeling like I’m stifling my creativity.

The idea of using reusing elements from old clothes came in later, though it’s not an entirely new thing. In fact, back when Kana was starting out, she actually took apart some of her clothes to create new designs. Aside from providing her with materials she couldn’t afford at the time, it also helped give her a better understanding of how garments are constructed. She’d take something apart and study the pieces, sort of like a puzzle, she said. It really is fascinating how much work goes into turning pieces of fabric into a garment.

Along with some of Kana’s old designs that she had forgotten about, we also have a bunch of clothes donated by Madeleine - many which are centuries old. A couple weeks ago she had finally got around to do some much needed spring cleaning since downsizing to a small apartment. She donated a lot of stuff, leaving her with several boxes of clothes that either no longer fit, are no longer her style, too old to donate, and/or not practical for everyday wear - most of them falling into all of the categories. Kana was more than happy to get these off her hands.

As for why she had so much, well, it’s all in the distant past now. When she worked under Lady Roselyne, she constantly had to play multiple roles, so to speak. Part of that involves wearing extravagant outfits, wearing fashionable clothes and heavy makeup, changing her appearance to come across as flashy, elegant, and alluring in an untouchable way. The point is to make people feel unsettled, like they’re hesitant to get too close to her because of how easily she changes her appearance, sometimes to the point where it’s easy to mistake her for someone else. In the world of politics, you have to be willing to deceive, and that’s how she succeeded. Given the fact that she’s also a professional actress, pulling off a stunt like that is almost second nature to her.

Scary how capable and cunning some people can be - and to pull this off for centuries, wow. It’s not hard to see why she had such a rough time after being released from her duties. She’s been putting up an act for so long - several, in fact - that she’s become a mix of them, and no longer the person she once was, whoever they were.

She really carried the weight of the world on her shoulders. And the fact that she kept at it for centuries…no wonder her self esteem and sense of identity were shot. How do you recover from that? It’s not like you can just go back and pick up where you left off, because there’s nothing there. So she basically had to start from scratch, which can’t be easy at all, but she managed to pick herself back up.

Like I said, it’s now all in the distant past. The calamity has passed and Madeleine’s finally free to live a quiet life - well, maybe quiet isn’t the right word as she is still considered someone of high status. People like Fontaine and Josette still slip up once in a while and call her by her title, though they’re making an effort to rectify that. Not only it is out of habit, it’s out of respect. From what I’ve heard, it was Fontaine and Josette who were able to see underneath the layers of her carefully crafted facade, and so they’ve always stood by her side. It took some time, but Madeleine slowly emerged from her shell, revealing her true self, finally free from the shackles of fate to be able to live out the rest of her life on her terms.

For Kana, the philosophy of living out life on one’s own terms is the reason why she became a fashion designer. Fashion, she says, is a form of self expression. Growing up in Sango, the culture over there tends to be more reserved, and at times, stifling - not ideal for a free spirit like her. While her parents never made her feel stifled, the same can’t be said for most authority figures in her life. Even as a kid, she gained an infamous reputation for clashing with authority, which was justified most of the time.

Her generation grew up during a transitional period where the culture was undergoing a shift, gradually breaking away from strict traditional way of life to opening up to outside influence, and that’s what intrigued her to think outside the box. Of course, like all changes, this inevitably led to a rift between those who wanted to maintain the status quo versus those who pushed for progress in a rapidly changing world. And that in turn contributed to the growing instability in the government as a few vocal factions took some drastic measures to keep Sango in sort of a stasis, which then led to a year long conflict that nearly escalated to a civil war.

Kana was lucky that she had moved to Marippe by then, or else she would’ve been endlessly harassed by certain people when that was going on. Akira and Ayaka’s faction was among those who knew that maintaining the status quo through force would inevitably lead to Sango’s downfall. While they were able to stand their ground, the other side eventually fell due to infighting - probably because they didn’t really have much of a goal in mind other than maintaining power. So when Connie and Pai stepped in, they, as outsiders, were able to give Akira and Ayaka that final push to ultimately tip the scales in their favor. And as they say, the rest is history.

Now that the dust has settled, Kana’s parents have been pushing her to visit home more often. She heard from Ayaka that a lot has changed since she left, which she finally witnessed herself once she finally stepped into the harbor. She wouldn’t say that things are more lax, more like there’s less of that mindset of constantly maintaining an impression and just simply following orders because it has always been done that way. They say absence makes the heart fonder, and while Kana has no desire to move back to Sango, she didn’t realize how much she missed her homeland until she finally dropped by. But as much as she missed the familiarity and nostalgia of home, she’s built a life for herself in Marippe, and she’d be a fool to step away from that.

As a creative, Kana’s always looking for inspiration, which can often pop up in unexpected places. I know what she means. And so one of the best ways to let inspiration come to you is just to live life and be open to all kinds of new experiences. For her, one of the best ways to do that is to travel. After all, fashion is tied to culture, and what better ways to find new inspiration than to learn about different cultures? I don’t know too much about fashion, though I am intrigued by the historical and cultural aspects thanks to Kana.

So all that ties back to self expression, which is what defines fashion for Kana. It’s not all about hopping on the latest trends or showing off for popularity points, it’s about expressing yourself. She wants people to wear her designs to feel confident, to unapologetically live life on their own terms. To freely express yourself and not have to worry about acceptance is considered a luxury to most, something that can easily be taken for granted depending on your upbringing.

That said, the idea of taking something apart to use for something new is not only a callback to her early days, it also ties into Kana’s philosophy. Madeleine has boxes full of clothes - fancy clothes that would cost a fortune - and they all have stories behind them. They express an aspect of her that she wanted to show off, like wealth and status. By constantly changing her style, sometimes to the point of being unrecognizable, she’s basically flexing, using intimidation to show that she can’t be easily deceived, not when she strikes first. Again, it’s scary how some people can easily blend in with their surroundings and quickly take advantage of a situation like that. She really took the saying of how clothes make the man to another level.

Not surprisingly, a lot of people did a double take when Madeleine finally emerged from the shadows. She’s still considered a fashion icon, though for different reasons now that she’s more true to herself. I’d say her style’s a mix of that delicate coquette aesthetic with elements of business casual sophistication and elegance. Along with her clothes, her makeup and hair drastically changed too as she embraced her natural appearance with minimal makeup and letting her hair loose, messy curls and all.

It was an impulsive move, tossing away her makeup and chopping off her hair, but it had to be done. She was done spending hours putting on layers of makeup and various hair products in order to look presentable to the public, not when there was no need for her to keep up with appearances anymore. Now that she’s finally gotten around to cleaning out her closet, she feels like she’s finally ready to put that time in her life behind her for good. From what I’ve learned about Madeleine, she really has been through a lot.

With that in mind came the theme for the fashion event, leaving the past behind and building a future with it. So we all dug around our closets to find anything that we could take apart and use on a new handmade garment. Along with doing some very long overdue cleaning, I finally took the opportunity to unravel a store bought sweater that I no longer wore to use the yarn for a new project.

Honestly, I don’t really have the patience for taking apart a sweater in a way that preserved the yarn, but I’m glad I did it because now I have some light blue yarn that I can use to make a lightweight cardigan. I have a couple patterns in mind, one being a circular yoke cardigan with lace details, the other being a wrap cardigan - still torn between the two, so I’ll hold off on that for now as I’ve got two projects on the needles at the moment.

Speaking of knits, Kana, Madeleine, Coralie, Aurelie, Ayaka, and Sumi have taken an interest in that, especially after seeing what I made. Kana’s been looking for opportunities to work with knitwear, as well as learn about design and construction. Unfortunately, I’m no expert when it comes to reverse engineering a knitted garment, nor do I know anything about designing a pattern, but I can point out some things like stockinette, ribbing, whether it’s a raglan or drop shoulder construction. I also know a variety of techniques like double knitting, tubular bind off, basic cables, short rows, to name a few, so I guess that puts me at sort of an intermediate level knitter.

I’m no expert, but I’m more than happy to explain something to the best of my ability. I also gave Kana a bunch of resources that I’ve used when I was diving into the rabbit hole of knitting garments. As we were talking about that, I could swear I saw gears turning in her mind. I wonder where she plans to go with that…

Coralie heard about my knit along from Eloise and expressed interest in it, as did the others. We wrapped up on the henley a while ago and are down to two patterns now, which seems to be split. One is the Classic Cardigan, a basic raglan v-neck with a double knit button band that’s beginner friendly. The second is also pretty basic, a boxy drop shoulder pullover that’s constructed top down and in the round.

See, the thing about basic pieces like these is that you can use any yarn, either colorful or just something simple, little things like that to show off your own individual style. I also prefer ones that are in the top down construction because I find those easy to adjust the length as you can try it on as you go. For beginners especially, this is really helpful. Plus, in my experience, the pieces that I’ve knitted bottom up always come up too short for my preference, and there’s no way of me knowing exactly how long the body will be until I’m past that point.

Well, looks like more people are joining this knitting circle group thing, so I’d better put up another poll soon so we can get started on the next knit along. I never thought something like this would really take off, I’m still blown away!

Making garments take a lot of time and effort, and I think it really paid off. Kana was a great instructor, giving us tips on how to take a garment apart without damaging the materials to helping us bring our designs to life, she really is dedicated to her craft. All of us participants have some sewing experience, so that was a huge help as it gave us more time to go all out with our designs.

Since pretty much all the garments I’ve knitted are tops - specifically cardigans - I wanted to change things up with skirts. I’ve been really into high waisted skirts lately, especially since they go well with a lot of tops I have. Throw on a hand knitted cardigan and it elevates an outfit. I made four skirts, all which I’m excited to wear. One is a beige knee length skirt made of this soft and silky material with a lovely drape from Yuexing and decorated with these lovely mother-of-pearl buttons from one of Madeleine’s old jackets. The second is a warm rust brown ankle length skirt with a cute decorative tie at the waist that’s kinda like a sash. Third is a lavender floral design made with silk from Sango decorated with fine lace trim from a ballgown. And the last one’s a light, flowy, vintage inspired cream colored skirt with lovely lace details - because that’s just my style. If it wasn’t for Kana, I never imagined that I would be able to make all of that!

#animal crossing pocket camp #animal crossing #diary of a junebug #headcanon ramble

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greenerylove · 1 year ago

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Sow, Grow, Thrive: The Ultimate Guide to Indoor Gardening Success

Are you tired of staring at bland white walls all day? Do you long for the indoor garden system, but don't have the luxury of an outdoor space? Look no further! In this ultimate guide, I will show you how to sow, grow, and thrive with your very own indoor garden. From choosing the perfect plants to ensuring they get the right amount of sunlight, this step-by-step guide will help you achieve gardening success right in the comfort of your own home. So grab your gardening gloves and let's get started on the exciting journey of indoor gardening!

Quick Tips

Tip 1: Choosing the Right Plant - Look for an indoor plant growing system or you can say houseplants that thrive in low light conditions, such as pothos or snake plants, if you have limited natural sunlight in your indoor space. These plants are easier to care for and will grow well indoors. Tip 2: Provide Adequate Watering - Remember to check the soil moisture regularly by sticking your finger about an inch deep into the soil. If it feels dry, water your plants slowly and evenly until the excess water drains out from the bottom of the pot. This will prevent overwatering which can lead to root rot. Tip 3: Ensure Proper Drainage - When choosing a pot for your indoor plants, make sure it has drainage holes at the bottom. This allows excess water to escape, preventing water logging that can harm the plant's roots. If you have a pot without drainage holes, consider using a layer of pebbles or activated charcoal at the bottom for better drainage. Tip 4: Provide Adequate Light - Place your indoor plants near a window where they can receive bright, indirect sunlight for at least 4 to 6 hours a day because sunlight is essential for indoor plants. Rotate your plants every few weeks to ensure even growth and prevent bending towards the light source. If you don't have enough natural light, consider using grow lights specifically designed for indoor gardening.

Choose the right container: Ensure proper drainage and select containers appropriate to plant size

Planting in containers requires selecting the right container and ensuring proper drainage. Making the right choice on the container is crucial to your plant's health and success. First, consider the size of the plant you want to grow and select a container that will accommodate its growth. Avoid using oversized containers for small plants, as this can lead to overwatering and root rot. On the other hand, larger plants need larger containers to provide sufficient space for their roots to grow. Additionally, ensure that your chosen container has drainage holes at the bottom. This will help prevent water from accumulating and causing root rot. Now that you have the right container, it's time to ensure proper drainage. Start by placing a layer of small rocks or broken pottery pieces at the bottom of the container. This will create a space for excess water to drain out. Next, add a layer of potting soil on top of the drainage material. This will allow water to pass through but prevent the soil from washing away. When planting your desired plant, make sure to create a slight mound in the center of the container. This will further aid in water drainage away from the roots. Finally, after planting, water the container thoroughly and observe how the excess water drains. If you notice any pooling, it may be necessary to add more drainage material or adjust the position of your container to ensure proper water flow. Choosing the right container and ensuring proper drainage are essential elements to a successful indoor gardening system. By considering the appropriate container size and providing adequate drainage, you set your plants up for healthy growth. With the right container and proper drainage, you can enjoy lush, thriving plants that bring beauty and joy to your surroundings. So go ahead and choose the perfect container for your plants and start container gardening with confidence!

Growing Food Indoors - The Ultimate Guide

Provide adequate light: Determine appropriate light intensity and duration for each plant species

Providing adequate light for your plants is crucial for their growth and overall health. To determine the appropriate light intensity and duration for each plant species, there are a few key factors to consider. First, you need to understand the light requirements of your specific plants. Some plants thrive in direct sunlight, while others prefer indirect or even low-light conditions. By researching the light preferences of each plant, you'll be able to determine the right intensity of light to provide. Next, you should assess the natural light available in your home or garden. Observe how much sunlight different areas receive throughout the day. South-facing windows usually get the most sunlight, while north-facing windows receive less. East and west-facing windows offer a decent balance of light. Based on the natural light available, you can determine if your plants need additional artificial lighting. Finally, consider the duration of light exposure for your plants. Just like humans, plants need a period of darkness for rest. Most plants require a minimum of 6-8 hours of darkness every day. You can use a timer to ensure your plants receive the appropriate amount of light and darkness. Remember to turn off any artificial lights during the night to give your plants a chance to rest. By providing adequate light intensity and duration based on the specific needs of your plants, you'll create an ideal environment for their growth. Regularly monitor your plants and observe any signs of distress, such as yellowing leaves or stunted growth. Adjust the lighting accordingly to ensure your plants thrive and flourish. With proper lighting, combined with other essential care, you'll be able to enjoy healthy and vibrant plants in your home or garden. This is essential for indoor plants.

Establish a watering routine: Understand the watering needs of each plant and adjust watering frequency accordingly

Watering your plants correctly is crucial to their survival and overall health. To establish a watering routine, start by understanding the watering needs of each plant in your garden. Different plants have different water requirements, so it's important to tailor your watering frequency accordingly. For example, succulents require less water as they store water in their leaves, while some tropical plants thrive in more humid conditions. By familiarizing yourself with the specific needs of each plant, you can ensure they receive just the right amount of water to flourish. Once you've determined the watering needs of your plants, it's time to create a watering schedule. This will help you remember when and how often to water each plant. I recommend using a calendar or setting reminders on your phone to stay organized. For plants that prefer drier conditions, you may only need to water them once a week. On the other hand, plants that need more water might require daily watering or being watered every other day. Setting a routine will not only provide structure for you but also help your plants thrive by receiving the consistent care they need. Finally, it's important to ensure proper watering techniques. When watering your plants, always aim for the base of the plant rather than the leaves. This allows the water to penetrate deeply into the soil and reach the roots where it's most needed. Additionally, avoid over-watering, as this can lead to root rot and other issues. Instead, water your plants thoroughly but avoid creating waterlogged conditions. One tip to check if your plant needs watering is sticking your finger into the soil. If it feels dry an inch below the surface, it's time to water. By establishing a watering routine and following proper techniques, you can provide your plants with the perfect amount of hydration they need to thrive.

Implement proper fertilization: Use organic or slow-release fertilizers and follow instructions for correct application

Implementing proper fertilization is essential for the health and growth of your plants. To begin, choose organic or slow-release fertilizers that provide the necessary nutrients for your plants without harmful chemicals. These types of fertilizers are safer for the environment and won't deplete the soil's natural nutrients. Once you have your fertilizer, carefully read and follow the instructions for correct application. This will ensure that you use the right amount and apply it at the right time for maximum effectiveness. To properly apply the fertilizer, start by preparing the soil. Loosen the top layer of soil using a garden fork or spade to allow the fertilizer to penetrate effectively. Next, evenly distribute the fertilizer over the soil surface, keeping it at least six inches away from the base of the plants. Be sure to wear gloves and avoid getting the fertilizer on your skin or inhaling it. After spreading the fertilizer, gently work it into the soil by either lightly raking it in or watering the area. This will prevent the fertilizer from washing away and allow the roots to absorb the nutrients properly. Finally, water the plants after fertilizing to help the nutrients reach the roots and promote their uptake. By following these steps and using organic or slow-release fertilizers, you'll provide your plants with the nourishment they need for healthy growth and vibrant blooms.

Conclusion

If you want to experience an indoor garden system that brings a touch of nature to your home, it can be an enjoyable and fulfilling experience. By following the indoor plant growing system you can select plants suited to indoor conditions by choosing the right containers and providing adequate light, readers can create thriving and beautiful indoor gardens that not only add beauty to their living spaces but also improve their overall well-being. Indoor gardening allows us to reconnect with nature, reduce stress, improve air quality, and cultivate a sense of accomplishment. So, why not give it a try and start sowing, growing, and thriving with indoor gardening today? Your life will be forever enriched by the joy and benefits that indoor gardening can bring.

#indoor garden system #essential for indoor plants #indoor plant growing system

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kankato · 3 years ago

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Velocity : Design : Comfort turns 19 years old today... ...but you’d be forgiven for thinking it turned 9. Sweet Trip’s Magnum Opus was a decade ahead of its time, garnering most of it’s acclaim between 2013 and 2023. Of its 20k ratings on aggregator sites like rateyourmusic.com, only 81 ratings are from before 2010 (only one is from 2003, but RYM was an extremely small site back then). Most reviews floating around online were written within the past 10 years, coinciding with the album’s slowly growing popularity. Despite its initial reception the record proudly sits in RYM’s top 20 albums of the 2000s, holding the #1 spot for 2003. The album is a stylistic kaleidoscope, incorporating elements of 90s electronica and shoegaze into Dream Pop tapestries. This fusion is effortlessly realized by focusing on continuous melodies, allowing multiple elements of otherwise clashing ideas to compliment one another. For example, Sept opens with cascades of synthetic glitches set to a simple looping chord progression. The interplay between sounds is interesting enough, but it functions as a prelude to the looping refrain “This time maybe it’s true love” as the song starts proper. The pulse and chord progression march through the song’s melodic developments, unifying the Dream Pop vocal refrains and the staccato waves of synth fuzz. As it progresses the two styles meet in the middle, cascading into a shoegaze guitar solo. Every step of the journey is unified with what came before and after. This approach to songwriting results in some interesting theming as well. Many people have described this album as “Watching a human and a computer slowly fall in love”. While the lyrics are built around issues of love, identity, happiness and the joy of being together, there’s no binding messaging to any of it. Rather, Sweet Trip uses the lyrics to compliment the music, pointing at emotional experiences through the aesthetics of sound. It uses its vague abstractions to cover vast swaths of human experience. Listeners can project any number of evoked experiences onto the music and still find it wholly engaging. It’s one of music’s greatest strengths as a medium and I think Sweet Trip flawlessly evoke that sense of joy. The text is open to interpretation, but the album’s seamless fusion of the electronic and the human compounds with the lyric’s desire for emotional intimacy in a way few records create. I don’t think VDC has to have a unifying theme, but it’s hard to deny how compelling this one is.

So what happened between 2003 and 2013?

Three huge things changed between 2003 and 2013:

The rest of the music world caught up with Sweet Trip

Word of mouth found this album’s audience

It never stopped being available

For #1 the biggest change is environment. If you go and listen to this record right now it will sound like something released between 2013-2018. The sound design is immaculate front to back while the melodic sensibilities are reminiscent of indietronica from the 2010s. The 2010s were also obsessed with fusing the world of electronica with rock, which this album accomplishes effortlessly. I highly encourage you to test this yourself: Show a song to a friend and ask them when it came out. 4/5 times the answer is between 2012-2020. No one seems to believe me when I say 2003. For #2, the best advertising is the hardest to get: devoted fans. People who love your work on its own merits will share it organically to anyone who will listen (I’m doing that right now). This album slowly accumulated listeners and evangelists over 10 years whose collective recommendations snowballed into the steady, unshakable fandom it enjoys today. VDC is walking proof that works can transcend creative eras, touching the hearts and minds of generations to come. However, for any of those points to work you need availability. The third point is by far one of the most important pieces in VDC’s legacy. For people to enjoy your music they have to be able to find it. Through the low friction environment of streaming, VDC had a chance to be found. It inspired a well received reissue in 2014, 2020 and 2021, and inspired the band to reunite one more time for their last hurrah: A Tiny House, in Secret Speeches, Polar Equals. While that album is a story for another time, I’m proud to call Velocity : Design : Comfort a masterpiece, and one of the best albums of the 2000s. Maybe I Wouldn't mind To be graced by your Gentle smile

#sweet trip #velocity design comfort #music review #music #anniversary #2000s

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drnikolatesla · 4 years ago

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Nikola Tesla's Cosmic Ray Theory

By J. J. J.

“More than 25 years ago I began my efforts to harness the cosmic rays and I can now state that I have succeeded in operating a motive device by means of them.”—Nikola Tesla (“Tesla’s Cosmic Motor May Transmit Power Round Earth”, Brooklyn Eagle, July 10, 1932.)

Cosmic rays are defined as highly electrified particles that originate from the sun, other stars in the Milky Way galaxy, and from other galaxies which constantly invade Earth. They became popular in 1912 when Victor Hess piloted a balloon with electroscopes to detect the presence of the electric charges in the atmosphere. Cosmic rays are still a mystery today, but it is generally not known that Nikola Tesla was actually the first to discover these mysterious radiations.

Nikola Tesla’s cosmic ray discovery was one of his crowning achievements throughout his work in experimental science, the result of over 40 years of investigations, research, and inventions. This discovery would designate Tesla the forefront leader in developing machinery operating from a new source of power available everywhere at any location on Earth.

Starting in 1894, Nikola Tesla began experimenting with x-rays, and alongside Wilhelm Roentgen, was the first to produce some of the first x-ray images. In 1896, Tesla’s experiments based on these newly discovered rays confirmed that Alessandro Volta’s contact theory of electricity was correct - that an electrical current is produced when two different metals become in contact with one another. Tesla directed these rays toward many different materials, such as sodium, magnesium, lead, tin, iron, copper, silver, gold, and platinum, and found platinum to be the poorest reflector of these rays while sodium one of the best. In conducting these experiments, Tesla came to the following conclusions:

Highly exhausted cathodic bulbs used in x-ray imaging emit material streams which are reflected from metallic surfaces;

These streams are formed of matter in some primary or elementary condition;

The streams are likely the same agent which is the cause of the electromotive tension between metals in close proximity;

Every metal or conductor is more or less a source of such streams;

These streams must be produced by some radiations which exist in the medium;

Streams resembling the cathodic emissions must be emitted by the sun, and also by other sources of radiant energy.

He considered each of his conclusions to be incontrovertible, and with these results, Tesla would become the first scientist to successfully theorize the existence of the cosmic ray.

Believing that there is a continuous supply of such radiations in the medium, Tesla worked tirelessly to prove his theory. Since his conclusions indicated that the streams are composed of primary particles which must come from the sun, Tesla suggested that these particles travel at very high velocities, and are broken into smaller particles by impact against other materials on earth. His analogy was that of a bullet being shot at a wall (the bullet representing the cosmic rays and the wall acting as an object on earth). When the bullet strikes the wall, it is crushed and shatters in all directions radial to where it hit the wall. According to Tesla, the energy from the flying particles can only come from that of the bullets, and the results will differ based on the density of the wall and the velocity of the bullets.

This is an important point in Tesla’s discovery. Right around the time of these experiments (1898), radioactivity was being discovered by Marie Curie. Based on Curie’s discoveries, Tesla realized it was cosmic rays that are the cause of radioactivity on earth. Just like his analogy above states, it was not the elements on earth that are radioactive from inside as Curie hypothesized; rather, the radioactivity was due to cosmic rays coming in contact with the elements and breaking into smaller particles.

In 1899, in order to make his experiments more precise and further prove his cosmic radioactivity theory , Tesla developed a more intricate method that eliminated the limitations and incertitude of the electroscope popularly used by other scientists during this time. He used two conductors and connected them to terminals of a capacitor which had a considerable electrostatic captivity. One conductor was an insulated metal plate exposed to the sun and other radiations, and the other was a grounded capacitor (e.g. a supply of negative electricity). Essentially, the cosmic rays ionize the air, setting free many electrical charges—ions and electrons. When the cosmic rays impinge against the metal plate connected to one terminal of a capacitor - while the other terminal of the capacitor is grounded to a negatively charged earth - a current flows into the capacitor as long as the insulated body is exposed to the radiation. Therefore, an accumulation of electrical energy in the capacitor takes place. This energy can then be utilized for power purposes. He filed a patent based on these results titled, “Apparatus of the Utilization of Radiant Energy,” published in 1901. This concept is a precursor to today’s concept of solar panels, but more advanced in that it operates utilizing cosmic radiation and not just the sun’s light.

With this apparatus and associated experiments and observations, Tesla confirmed his cosmic ray theory--that sources of radiant energy (such as the sun) throw off with great velocity minute particles of matter, some even traveling faster than light. These particles are strongly electrified and are, therefore, capable of charging an electrical conductor (and may also conversely discharge an electrified conductor). In further experiments, Tesla noticed with his apparatus that the sun, in whatever position it may be in the sky, cut off the radiations from beyond and replaced them with its own. As a result of his measurements, cosmic ray velocities from the star Antares were found to travel fifty times greater than the speed of light.

Tesla would continue research in this field, but spent most of his time dedicated to his worldwide wireless system which he deemed far more important. In his later years, when the notion of the cosmic ray again started to gain popularity, he would return to provide his invaluable insight based on his extensive research and previous experiments. . For example, he would be the first to assume that the cosmic ray gives rise to a secondary radiation by impact against the cosmic dust scattered through space, originating from all directions. In 1932, Tesla would give a mathematical explanation of the intensity of cosmic rays in relation to the elevation from earth in an article titled “The External Source of Energy of the Universe, Origin and Intensity of Cosmic Rays.” The formula is below, in Tesla’s own words:

“I = (W+P) / (W+p)”

“In this expression W is the weight in kilograms of a column of lead of one square centimeter cross section and one hundred and eighty centimeters length, P the normal pressure of the atmosphere at sea level in kilograms per square centimeter, p the atmospheric pressure at the altitude under consideration and in like measure and I the intensity of the radiation in terms of that at sea level which is taken as unit. Substituting the actual values for W and P, respectively 1.9809 and 1.0133 kilograms, the formula reduces to:

I = 2.99421 / (1.9809 + p)

Obviously, at sea level p = P hence the intensity is equal to 1, this being the unit of measurement. On the other hand, at the extreme limit of the atmosphere p = 0 and the intensity I = 1.5115.

The maximum increase with height is, consequently, a little over fifty-one percent. This formula, based on my finding that the absorption is proportionate to the density of the medium whatever it be, is fairly accurate. Other investigators might find different values for W but they will undoubtedly observe the same character of dependence, namely, that the intensity increases proportionately to the height for a few kilometers and then at a gradually lessening rate.”

Based on Tesla’s extensive research, many calculations, and several years of thorough experiments, Tesla came to the following conclusions:

The intensity of the cosmic rays must be greatest at the zenith of the atmosphere;

The intensity should increase more and more rapidly up to an elevation of approximately 20 kilometers where the conducting air stratum begins;

From that point on, the intensity should decrease; first slowly and then more rapidly, to an insignificant value at an altitude of about 30 kilometers;

The display of high potential must occur on the free end of the terrestrial wire, that is to say, on the area furthest from the sun - the darkest side of earth. The current from this part of the planet is supplied at a pressure of about 216 billion volts and there is a difference of 2 billion volts between the illuminated and the dark side of the globe. The energy of this current is so great that it readily accounts for the aurora and other phenomena observed in the atmosphere and at the earth’s surface.

With such convincing results, Nikola Tesla was clearly one of the foremost leaders in cosmic ray discovery and theory and was, without a doubt, ahead of his time:

“The greatest mistake made is the appraisal of the energy of cosmic rays. In most cases the ionizing action is used as a criterion, which is useless, for the most powerful cosmic rays virtually do not ionize at all and leave no trace of their passage through the instrument. I have resorted to different means and methods and have found that the energy of the cosmic radiations impinging upon the earth from all sides is stupendous, such that if all of it were converted into heat the globe quickly would be melted and volatilized.

Since expressing, in 1896, my ideas on the origin and character of cosmic rays and of the cause of radioactivity, all my views have been confirmed by my own findings and those of others, while the numerous theories advanced have been proved false or inadequate. Those who are still doubting that our sun emits powerful cosmic rays evidently overlook that the solar disk, in whatever position it may be in the heavens, cuts off the radiations from beyond, replacing them by its own.

“As the radiations from the sun are only a little more intense than those coming from other directions, the lack of pronounced differentiation has deceived the observers. Regarding radio-activity, it occurs exactly as required by my theory. The radio-active emanations from the globe are secondary effects of external rays and two-fold - one part coming from the energy stored, the other from that continuously supplied.” --Nikola Tesla (“Expanding Sun Will Explode Some Day Tesla Predicts.” New York Herald Tribune, August 18, 1935.)

#nikola tesla #science #physics #history #discovery #invention #experiments #cosmic rays #universe #technology #energy #power #electricity #quotes #ahead of his time #ahead of our time

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divineknowing2021 · 4 years ago

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viewing guide

At its core, divine knowing is an exhibition about knowledge, power, and agency. It’s become a more common understanding that governments, institutions, and algorithms will manipulate the public with what information they frame as fact, fiction, or worthy of attention. Though I am early in researching this topic, I've only come across a minimal amount of mainstream discourse on how the initial threat limiting our scope of knowledge is a refusal to listen to ourselves.

In a world faced with so many threats - humans being violent toward each other, toward animals, toward the earth - it can be a bit unsettling to release the reins and allow ourselves to bear witness for a moment, as we slowly develop a deeper awareness of surrounding phenomena and happenings.

divine knowing includes works by formally trained and self-taught artists. A majority of the artists are bisexual, non-binary, or transgender. Regardless of degree-status, gender, or sexuality, these artists have tapped into the autonomous well of self-knowing. Their artworks speak to tactics for opening up to a more perceptive mode of being. They unravel dependencies on external sources for knowledge and what we might recognize, connect with, or achieve once we do.

The installation Femme Digitale by Sierra Bagish originates from a series she began in 2017 by converting photographs of women that were taken and distributed online without the subject’s consent into paintings. Her practice at the time was concerned with female abjection. Sourcing images found via simple keywords and phrases (e.g., passed out, passed out drunk) she swathes a mass-circulated canon of internet detritus that articulates and produces aggression towards women. With her paintings, she circumvents the images’ original framing mechanisms and subverts these proliferated images through a sincere and personal lens.

These paintings divulge the blurred space between idolatry and denigration these online photos occupy, asking whose desires these images fulfill and what their propagation reveals about the culture producing them. While Bagish's work contends with political motivations, she also remains keenly observant of form and the varying utilities of different media.

“I use the expressive potential of paint as a vehicle to intervene and challenge ideas about photography as a harbinger of the real and everyday.”

Chariot Birthday Wish is an artist and angel living in Brooklyn. They have seen The Matrix 28 times in 2 years and love horses. The tarot series included in divine knowing is their most intuitive project, something they revisit when unsure of what to work on next. The Major Arcana are composed of digital collages made from sourced images, the Minor Arcana are represented by short, poetic, interpretative texts about the cards. The series is played on shuffle, creating a unique reading for each viewer. This is a work in progress that will eventually finalize as a completed deck of digital collages available for purchase.

Chariot's work emerges from a constant consideration of apocalypse and connection. They reference technology in tandem with nature and a desire for unity. Underneath their work's surface conversation on beauty, care, and relationship exists an agenda to subtly evoke a conspiratorial anti-state mindset. Through a collective imagining of how good things could be and how good we want them to be, we might be able to reckon with how bad things are in contrast.

“I think about texting my friends from the middle of the woods...

Humans are a part of nature and we created these things. There's this Bjork quote where she says that "You can use pro tools and still be pagan." I'm really into the idea of using technology as a tool for divination and holy connection with nature. I imagine a scene; being in moss, it's absolute bliss, and then the connection of texting, sharing an image of moss with a friend, sharing that moment through cellular towers.”

The album "adding up" by thanks for coming is composed of songs Rachel Brown wrote during what they believe to be the most challenging year of their life. Rachel now looks back on this time in appreciation, recognizing they grew in ways they had never imagined. The entire year, they were committed to following their feelings to wherever it may lead.

“If I hadn't been open to following the almost indiscernible signs I was being sent, then I would have missed out on some of the most important moments in my life.”

Kimberly Consroe holds a Masters in Anthropology along with degrees in Archaeology, Literature, and History. She is currently a Research Analyst at the US Department of Commerce. Her artwork is a passionate escape from a hectic professional life and touches on themes of feminism and nature.

Her works begin as general ideas; their narrative complexity growing with the amount of time she invests in making each one. Her decoupage process starts with cutting hundreds, if not thousands, pieces of paper. The accumulation of clippings sourced from vintage and current-day magazines overlap to tell a story. In Domestication, Kimberly borrows submissive female figures from found images of Ryan Mcguinness's work and places them in a position of power.

“I believe intuition is associated with emotion and experience. It is wisdom and fear, empathy and outrage, distrust and familiarity. It is what we know before we know it. This relates to my artwork in that, from beginning to end, there is never one complete idea concerning the outcome: it is a personal journey. It emerges from an ephemeral narrative that coalesces into a definitive story.”

Anabelle DeClement is a photographer who primarily works with film and is interested in relationships as they exist within a frame. She is drawn to the mystery of the mundane. Intuition exists in her practice as a feeling of urgency and the decision to act on it --- a drive often used to describe street photography where the camera catches unexpected moments in an urban environment. Anabelle tends to photograph individuals with whom she has established personal relationships in a slow domestic setting. Her sense of urgency lies in capturing moments of peak intimacy, preserving a memory's informal beauty that otherwise may have been forgotten or overlooked.

Gla5 is a visual artist, poet, bookmaker, production designer, and educator. Play is at the center of their practice. Their process is an experimental one embracing impulse and adventure. Their compositions are informed by relationships among bodies of varying shapes, materials, and densities. Interests that come up in their work include a discernment between symbols and non-symbols, dream states, the portrayal of energy in action, and a fixation on forms such as cups, tables, and spoons.

“I generally think of my work as depicting a layer of life that exists underneath what we see in our everyday lives.”

Gladys Harlow is a sound-based performance artist, comedian, and activist who experiments with found objects, contact mics, textures, range, analog formats, present moments, and emotions. Through raw, avant-garbage performance art, they aim to breakdown societal barriers, abolish oppressive systems, and empower communities. Gladys was born in Queens, NY, raised in Miami, FL and has deep roots in Venezuela. Currently haunting in Philadelphia, PA, Gladys is a founding member of Sound Museum Collective. SMC holds space for reconstructing our relationships to sounds by creating a platform for women, nonbinary, and trans sound artists and engineers.

Street Rat is a visceral exploration of the mysteries of life. Attempting to bring heavy concepts to your reality, it is the eye on the ground that sees and translates all intersecting issues as they merge, explode, dissolve, and implode. Street Rat is Gladys Harlow's way of comprehending, coping, feeling, taking action, disrupting the status quo, and rebuilding our path.

All Power To The People originated as a recorded performance intended to demystify sound by revealing the tools, wires, and movements used to create it. All Power To The People evolved into an installation conceived specifically for this exhibition. The installation includes a theremin and oscillator built by Gladys, a tarot deck they made by hand, and books from the artist's personal collection, amongst other elements. Gladys has created a structure of comfort and exploration. They welcome all visitors of divine knowing to play with the instrument, flip freely through the books, and pull a tarot card to take home.

Phoebe Hart is an experimental animator and filmmaker. A majority of her work is centered around mental illness and the line between dreams and reality. Merry Go Round is a sculptural zoetrope that changes in shape and color as it spins. Its form is inspired by nature and its color by the circus. The video’s sound was produced by Hayden Waggener. It consists of reverbing chimes which are in rhythm with the stop animation’s movement; both oscillate seamlessly between serene and anxious states.

“I often don't plan the sculptures or objects I am fabricating, there is a vague image in my mind, and my hands take care of the rest. I find that sometimes overthinking is what can get me and other artists stuck. If I just abandon my judgments and ego, I can really let go and create work that feels like it came inherently from me.”

Powerviolets is the solo project of multi-instrumentalist Violet Hetson who is currently based in New York. After experiencing several false starts while bouncing coast to coast, recording and performing with several lineups, Hetson has finally released her debut album. ~No Boys~ namesake is a sarcastic sign she hung on her suburban CT teenage bedroom door. Violet Hetson grew up primarily listening to punk and hardcore. She parses elements of these genres with influences from bands such as X and Suburban Lawns. ~No Boys~ takes a softer, melodic approach to Hetson's punk roots. Powerviolets' music is linear, unconventional, dark, and airy with a sense of humor.

Mary Hunt is a fiber artist specializing in chain stitch embroidery. This traditional form of embroidery uses vintage machinery and thick thread to create fibrous art and embellishments. They use an approach called "thread painting," which requires each stitch to be hand guided by the turn of a knob underneath the table while the speed of movement is controlled by a foot pedal. Chainstitch works can take anywhere from 20 minutes to 200 hours, encouraging a slow and thoughtful process. Mary uses a Cornely A machine, made in Paris more than 100 years ago.

“I think we are sent messages and guidance constantly. Our intuition is simply our ability to clear the path for those messages. The largest obstacles on my artistic path are usually self-imposed negative thoughts. I simply do things to take care of my spiritual well-being, first and foremost, and the rest follows. If I can trust the universe, trust the process, then I am much more likely to listen to the messages sent my way.”

Jes the Jem is a multi-media artist working with acrylic, watercolor, mold clay, and whatever else she can get her hands on. She uses vivid color to bring joy into the lives of those who view her art. Jes the Jem has experienced a great deal of pain in her life. Through that unique displeasure, she has been gifted a nuanced perspective. She aims to energize the present while paying homage to the past events that shape us. In her art, her life, and her interpersonal relationships, Jes the Jem appreciates the gift of all of life's experiences.

“The pursuit of happiness and understanding is instinct.”

Pamela Kivi pieces together visual scraps she has saved over the years, choosing to fuse them at whatever present moment she sees fit. Her work reflects on creative mania, fleeting emotions, and memories. Pamela's collages are a compilation of unexpected elements that include: old notebooks, cut-outs, text messages or Facebook message conversations, nostalgic cellphone photos, and visual materials she has chosen to hold onto. She prints out, cuts up, scans, edits, repeats. Pamela's artistic practice is deeply personal. It is a submittal to the process of dusting things off until a reflection can be seen, all enacted without an attachment to the end result.

“I rely on intuition and whatever state of mind I am in to whisk me away. In life, I often confuse intuition with anxiety- when it comes to creative work, I can decipher the two.”

Through sobriety, Kendall Kolenik's focus has shifted toward self-discovery and shedding old adaptive patterns, a process that led her to a passion for helping others heal themselves too. In autumn, she will begin her Masters in Social Work at Columbia University.

“I love how when I'm painting my self-doubt becomes so apparent. Painting shows me exactly where my doubt lies, which guides me towards overriding it. When I paint something and lean into doubt, I don't like what comes out. When I take note of the resistance and go with my gut more freely, I love it. This reminds me of my yoga practice. What you practice on the mat is a metaphor for how you show up in life. By breathing through the uncomfortable poses on the mat, you learn to breathe through challenging life moments.

I think we all grow up learning to numb and edit ourselves. We are taught not to trust our feelings; we are told to look outside ourselves for answers when we already have a perfectly good compass within. Painting is an archway back to that for me - rediscovering self-reliance and faith in my first instinct. When I'm creating these rainbow squares, sometimes I move so fast it's like something else is carrying me. I sort of leave myself and enter a trance. Like how you don't have to tell the heart to beat or the lungs to breathe - thinking goes away and I can get so close to my knowing that I become it. I love how art allows me to access my love for ambiguity, interpretation, and an interpretation that feels closer to Truth. I find no greater purpose than guiding people back to safety and reconnecting them with themselves. The most important thing to ever happen in my life was when I stopped trying to deny my reality - listening to your intuition can be like a freefall - no one but you can ever know or tell you - it is a deep trust without any outside proof.”

Lucille Loffredo is a music school dropout, Jewish trans lesbian, and veterinary assistant doing her best to make sure each day is better than the last. Lucille tries to find the music rather than make it. She lets it tell her what it wants to do and what it wants to be. The Wandering EP was in part written as a way to come out to herself. She asks all listeners to please be gentle.

“Change will come, and it will be good. You are who you think you are, no matter how far it seems.”

Whitney Lorenze generally works without reference, making thick, graphic pictures with precise forms conceived almost entirely from her imagination. Images like a slowly rolling car crackling out of a driveway, afternoon sun rays shining through a cloud of humidity, or headlights throwing a lined shadow across a black bedroom inspire her.

“As it concerns my own practice and the creation of artworks generally, I would define intuition as the ability to succumb to some primal creative impulse. Of course, this implies also the ability to resist the temptations of producing a calculated or contrived output.”

Ellie Mesa began teaching herself to paint at the age of 15, exploring landscapes and portraiture. Her work has evolved into a style of painting influenced by surrealism where teddy bears will morph into demons and vice versa. Her work speaks to cuteness, the grotesque, and mystical beings. The painting "Kali" is an homage to the Hindu goddess of creation, destruction, life and death. This was Ellie's first painting after becoming sober and is an expression of the aforementioned forces in her own life. Through meditations on Kali, Elli has been able to find beauty in the cycle of love and loss.

“To me, intuition means doing the thing that feels right whether or not it's what you want it to be. When I'm painting or making a sculpture, I give myself the freedom to follow what feels right, even if that means starting over or changing it completely. I allow the piece to present itself to me instead of forcing something that doesn't want to be.”

Mari Ogihara is a sculptor exploring duality, resilience, beauty, and serenity as experienced through the female gaze. Her work is informed by the duality of womanhood and the contradictions of femininity. In particular, the multitude of roles we inhabit as friend, lover, sister, and mother and their complex associations to the feminine perspective.

“Intuition is an innate, immediate reaction to an experience. While making art, I try to balance intuition, logic, and craftsmanship.”

All Of Me Is War by Ames Valaitis addresses the subconscious rifts society initiates between women, estranging them from each other and themselves.

“It is an unspoken, quick, and quiet battle within me as the feeling of intuition purely, and when I am making a drawing. I am immediately drawn to poses and subject matter that reflect the emotion inside myself, whether it is loud or under the surface. If a line or figure doesn't move me, after working on it for a few minutes, I get rid of it. If something looks right to me immediately, I keep it; nurture it. I try to let go of my vision, let my instinct take hold. I mirror this in my life as I get older, choosing who and what to put my energy into. The feeling is rarely wrong; I'd say we all know inherently when it is time to continue or tap out.”

Chardel Williams is a self-taught artist currently living in Bridgeport. Her biggest inspiration is her birthplace of Jamaica. Chardel views painting as a method for blocking out chaos. Her attraction to the medium springs from its coalescence of freedom, meditative qualities, and the connection it engenders. rears.

“Intuition for me is going where my art flows. I implement it in my practice by simply creating space and time to listen. There are times when what I'm painting is done in everyone else's eyes, but I just keep picking at it. Sometimes I would stop painting a piece and go months without touching it. Then, out of nowhere, be obsessed with finishing. I used to get frustrated with that process, but now I go with it. I stopped calling it a block and just flow with it. I listen because my work talks.”

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acerosedrop · 5 years ago

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Spring is for the Bees

In the middle of one if their many journeys, Geralt and Jaskier take a moment to just stop and relax, and Geralt is happy to find that there's always something new for him to learn about his Bard.

Or alternatively, how many different ways can I come up with to describe a bee in a single story. Enjoy some fluff!!

If there was one fact of life that Geralt had never truly been able to grasp until Jaskier had started walking alongside him all those years ago, it was how the average person could have all of these smaller habits and peculiarities that would never be brought up or explained until the most random of moments. And even after almost spending a decade out on the Path together, this was still especially true of both himself and Jaskier.

One such moment came about a spring afternoon, as the rain that had been steadfastly following them the past week had finally begun to subside, with the barest hint of sunlight peeking through the clouds and brightening up the landscape quite nicely. In a rare moment of feeling just a bit at ease (and being ready for an excuse to cast his water-clogged cloak aside), Geralt had decided to pull Roach off the road and give her a few minutes to nibble on the grass, with him and Jaskier settling under a nearby grove of trees as they shuffled through their bags to get a better look at what would need replenishing or replacing soon.

In a series of motions that had become downright domestic over their many weeks and months of travel, Geralt had settled down to give his blades a thorough one-over to ensure the excess rain hadn’t caused any major harm while Jaskier, after similarly checking his lute and it’s case over, set about taking care of the various rips and tears his travel jacket had accumulated (Geralt had finally, finally thrust the bit of dark blue leather into Jaskier’s hands while they’d stopped at a local market a while back after hearing him complain about yet another doublet being ruined thanks to the elements, and between the sparkle in his eyes and the look of surprise on his face even Geralt had had a hard time denying the small smile he felt tug at his face whenever he saw the Bard wearing the jacket).

With Jaskier’s attention being taken up by attempting thread a rather uncooperative needle, Geralt gave himself a moment to turn his face back towards the fields surrounding them, over to where Roach was happily grazing away. He felt that tug again, the tug he often felt in Jaskier’s company to let himself be at peace for a moment, to let his mouth lift up and ease some of the tension off his shoulders. It was a feeling he found himself experiencing more and more these days, thanks to a rather constructive night they’d shared at an inn almost a year ago that had led to Jaskier joining Geralt on Roach’s saddle the next morning and to a much louder night by the fire. Now, leaning against an old tree with no monsters or villagers breathing down their necks or downpours beating at their backs, Geralt could almost say that he was finding himself to be at peace.

Well, that is, until a bit of movement caught his eye, and he spotted a familiar looking bit of black and yellow fuzz making its way over to their little tree grove, and a frown quickly settled back onto his face.

Bees. Off all the creatures in the world, bees and wasps weren’t exactly a Witcher’s best friend, as despite their stings being little more than like tapping a pin with your finger to such hardened skin, having one suddenly go buzzing by your ear was enough to make anyone jump. Add in a Witcher’s sensitive hearing and, in Geralt’s case, you had one of the few things that could still cause his skin to crawl and give him the urge to jump right out of his seat.

In fact, it was thanks to a far-too curious bee exploring their camp one night that had led to Geralt almost spilling a full bowl of rabbit stew all over himself and the fire, and Jaskier almost being thrown into the river for being unable to stop laughing. It took Geralt having to threaten to use his best doublet to wash Roach to finally get the Bard out of his giggling fit, but after a quick explanation that sounded like Geralt would much prefer being stung then admitting anything resembling a weakness, Jaskier had assured his companion that, while he was a bit surprised at his animosity towards a tiny little bee of all things, he wouldn’t make too much of a deal out of it, and they’d since moved on from the admittedly funny moment. Of course, Jaskier would still occasionally throw in a rather sly comment whenever they passed a hive if he was feeling particularly cheeky, but once Geralt had discovered Jaskier’s own disdain for locusts, grasshoppers, and other bugs of a similar design, the bard decided it was time to seek out some newer material for his jests.

This time however, the fat little fellow seemed much more interested in the patch of wildflowers Jaskier was seated by, and was inching closer and closer to the bard as they made their way from blossom to blossom. Jaskier was completely oblivious to the movement, humming one of his newer tunes under his breath as he now went about fixing a tear on the jacket’s sleeve, and continued to be oblivious as the bee finally made its way onto his leg and settled over one of the many embroidered flowers along his thigh. Geralt had long since abandoned the dagger he still had settled in his lap, and was now watching as the insect began the slow ascent up Jaskier leg, onto his shirt and up his torso, before arriving onto the Bard’s shirt collar and remaining there for the time being.

Predicting the utter Hell that could come about if the bee actually did crawl onto Jaskier neck (Gods help them both if Jaskier spooked it to the point of stinging), Geralt pushed his bag aside and leaned over to deliver a hard flick onto his boot. It wasn’t enough to mess up his stitching, but it was enough to jolt Jaskier out of his tune and turn his head to raise a ‘Did you really just do that?’ eyebrow at his companion before saying, “Any reason you’ve decided to test the leather quality of my boot just now?”

The eyeroll Geralt gave his companion’s response felt almost involuntary at this point, before just barely nodding his head towards his neck and answering, “You’ve got a friend who’s about to make its home under your shirt, if you’d stop all that noise your making for a moment.”

“That noise, my dear, is what’s going to get you a damn-well needed bath at the next inn, and me enough ale to forget about the amount of mud in our laundry bag right now.” Only getting a curt “Hmm” in response from the Witcher, Jaskier angled his neck to try and see what he was referring to, but to Geralt surprise instead of yelping at the sight of the bee or trying to swipe it away like he’d done with other bugs, Jaskier actually smiled down at the furry thing and sit his needle down in his lap to carefully bring his hand up. Sticking his index finger out as if it were a perch, he gently tapped the bee’s behind to get it to move to the edge of his collar, before just gently placing it right where it’s front legs were. He leaned his head down, whispering something that to Geralt sounded suspiciously like, “Come my dear, hop up now,” and to his surprise the bee instantly crawled it way onto the bard’s finger, not an ounce of annoyance or anger in its yellow and black-striped body.

“I’ve mentioned my mother’s affinity for beekeeping before, correct?” Geralt gave a gentle ‘Hmm’ Jaskier had come to know a shorthand for yes before continuing, though his eyes were stuck on the bee now perched on his Bard’s finger. Given a gentle but still very playful grin, Jaskier brought up his other index finger to gently rub the top of the bee’s abdomen before continuing, “Well, I daresay she managed to pass down quite a bit of that love to me before I headed off to Oxenfurt, helping her maintain the hives and collect the honey and what-not. Wasn’t always easy, I still remember the one that decided to crawl its way up into my armpit, nearly knocked the whole hive over when it got scared enough to sting, but since then my mothers’ taught me enough tricks to at least get over that particular fear, and a few other bits to boot.”

Indeed, Jaskier had on occasion brought up his life with his mother to Geralt, before the Bard had made his way over to Oxenfurt. They'd left his father's home when he'd been about four, and after a rather disastrous attempt to make a living herding goats Lilianna had gone for beekeeping instead. Nowadays she was the keeper of a pretty popular honey and wax stall in her village's marketplace, and occasionally she found ways to send some of her wares over to her wayward son, especially when allergy season was just around the corner.

He lifted his finger up near his now, and whispered something else to the bee, something so low even Geralt could barely catch it, but the bee must’ve agreed with whatever he said as they slowly picked themselves off of Jaskier’s finger and headed back off into the day, a lazily bobbing bit of fuzz flying off into the surrounding sea of green. Thankfully since it was still just one bee the buzzing wasn’t loud enough to be grating on Geralt’s hearing, but he still just barely angled his head away from that particular spot as it seemed the bee had discovered a very intriguing set of buttercups and it was very intent on sharing this information with the world. Jaskier couldn’t help but gently chuckle at both of them as turned to pick up his sewing once again.

“Of all the things I’d imagine would set us apart my dear, our attitudes towards the insect populace was certainly not the highest on that list.” He said with another chuckle, Jaskier had gotten quite good at reading Geralt’s body language over the years (often the only type of language the Witcher would consistently use), and was especially skilled in knowing when and where he could jab at his lover’s peculiarities.

Geralt, for his part, must’ve been truly relaxed now, or at least his equivalent to such as feeling, as he answered with just a hint of teasing in his tone, “At least my unease comes from one that can do some harm to a human, you on the other hand spy a single grasshopper near the fire and ask to move camp.”

“Well you try catching a good night’s sleep with those beady black eyes staring you down the entire time! Not exactly the most comforting of feelings when you’re out in the middle of the damn woods.”

“You do realize their eyes are practically the same, right?”

“It’s the not just the eyes, Geralt, it’s the intent behind them! A bee just wants to go about his business, ensure his hive is doing alright, meanwhile a damn locust wouldn’t think twice about stripping you to your bones if it had the chance, little bastards that they are.”

“Hmm, now why can’t you have this same kind of survival instinct when I tell you to stay the fuck away from whatever it is I’m hunting?”

“Oh Gods, I am not arguing this one with you again. One, either I come along or you find a way to become a better storyteller beyond two damn sentences, and two, if you ever do find yourself contracted to take care of some man-sized locusts terrorizing a farm, do be assured that I’ll be happily taking refuge about four villages over, with the best bottle of wine an evening of performing can afford me.”

“As opposed to a fucking Kikimora, or pack of ghouls?” Now there was no denying the smile slowly spreading itself across Geralt’s face as he watches Jaskier become more and more animated with his movements, almost knocking his jacket off his lap as he tries to use his hands to get his point across. It’s one of the few positives he found came with conversations nowadays, seeing Jaskier come alive with just the littlest of ribbing.

“You try writing a ballad worthy of traveling across this great continent about a fucking bug, while I stick to the stuff that will actually help get us a bed for the night.”

“Yes well, if it’s a bed you want then you better hurry the fuck up, we’ve still got at least four more hours before we even hit the next set of farms,” Geralt says, now turning his attention back towards getting the rest of his blades and cleaning equipment put back into its bag. Jaskier tsked, but followed along with putting his own supplies away and standing up to get one more good stretch in. Taking a moment to breath had been nice, but the allure of an actual bed and food consisting of anything other than whatever animal they managed to scourge out of the woods was more than enough to get him back on his feet. Finally slinging his lute case back over his shoulder, he leaned down to leave a quick peck on his Witcher’s cheek before making his way back over to where Roach was standing.

Once again he found himself rolling his eyes, but with the ghost of a smile still on his face Geralt didn’t waste any time in catching up to his partner, ready to continue their journey together once more.

#geraskier #geralt x jaskier #geralt of rivia #jaskier #jaskier/dandelion #the witcher #the witcher netflix #works by rosedrop #reuploading on here since the other format wasn't working too well #hope you guys enjoy!!!#the witcher jaskier #the witcher geralt

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blubberquark · 4 years ago

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Making of Deep Sea Settler

Download any play Deep Sea Settler from itch.io.

Comment on the game jam entry for Deep Sea Settler LDJAM.com.

Deep Sea Settler is a puzzle-ish colony builder made for Ludum dare 48. It's loosely inspired by Reus, Dorfromantik, and Solar Settlers by tumblr's own @brickroaddx. Based on the theme "deeper and deeper", you have to slowly build out your underwater colony by placing buildings in a hostile environment - without destroying said environment.

Day 1

I came up with two main game ideas for this theme: The first was a game about a submarine navigating in complete darkness based on sonar and dead reckoning. The second was an under-water colony builder with an ecological theme.

The first would either have looked really boring, with no visible environments, only 2D submarine controls and instruments, or it would have been too much work to mode the interior of a submarine and interesting underwater environments.

I decided to work on the colony builder, and to set it on a hexagonal grid. You start out just below sea level, and as you go on, the sea bed gets deeper and deeper, sunlight becomes scarce and pressure increases, so the game gets more difficult. (The depth and difficulty mechanic did not make it into the final game, but tiles of varying depth did.)

I started by working on the art and rendering code.

I made a simple renderer for infinite hex tilemaps (stored in a hash table), and drew some tiles. They all had a "base" or "depth" to them, allowing me to raise or lower them a bit without "floating" over the playing field. After seeing the tiles arranged like that, I decided to re-work the tile shape to allow for a better perspective when drawing tile contents, and I drew a bunch of tiles based on an ecological and "humorous" theme:

A fishing submarine with a fishing rod and a fish farm with fish fenced in in a 2D enclosure felt like the peak of humour to me at the time.

Day 2

I drew some graphics for UI elements and cursors, and started making the map clickable and interactive. For this, I repurposed the drawing code and the hex marker that shows the selected tile. After a broad-phase collision check, the game checks if the mouse is inside the drawn tile by checking a collision mask at the positions of nearby tiles, preferring the tile nearer to the "camera" if two or more overlap. This was easier to code than convex hex shape collisions, and allowed me to stay a bit more flexible with depth and overlapping tiles. At this point I was still thinking about making depth a more prominent mechanic, but the interaction with the map and judging of distances got a bit too difficult when tiles were occluded too much.

Then I added the wavy underwater effect. It took me way too long to add it, and although everybody tells me it's a bit too distracting, without it it's not clear that you are underwater, which is an important thing to convey at all times, because of the theme.

I drew some sprites for resources and tile products, but I was still unsure which should become which.

After playing around with different configurations, I decided to focus on just building, without a way to destroy built structures, and without "turns". There were discrete actions, but no "turns" and no way to pass time. There was also no way to accumulate resources over time. The only action was clicking on a tile and building, with instantaneous effects: Left-click a tile, select what to build, repeat.

This gave the way a much more puzzle-ish feel, that I really liked, but it also meshed with the "ecological" theme: Every action is irreversible, every tile is a precious resource, every decision is meaningful. Using a tile for building can cost you food or oxygen production. Expanding can destroy synergies between tiles.

To make this more obvious, I added a UI that shows a tile's output when you hover your cursor over it.

Day 3

The game was "feature-complete" after the second day, but I felt a bit unhappy with the balancing and the UI. I took a third day and spent Monday evening adding mining tiles to make tile space more precious, and UI improvements like drawing the perimeter of the buildable area (instead of the range of the current habitant) when the cursor is outside of the buildable area.

The farms were too easy to build, and the power plants were too difficult, so I added power lines to distribute energy (at the expense of building over more tiles) and mining of rifts for science juice to build farms. This way, food, energy, and oxygen are more of a trade-off, and you can't just tile the world with farms, but you can upgrade some of your farms to undo your worst mistakes. If there are not enough volcanoes where you want to build, you can build power lines, but that will make habitat placement more difficult.

What Went Right

Scope: I am really happy with the tight focus of the game, but at the same time, this game mechanic has "legs". It would be easy enough to add more tile types, make the map bigger, and to increase the goal population in the future based on what I have now. But as it stands, it's an interesting game already. Adding more systems would have made it harder to balance, and I am glad I didn't add turns with actions per turn, or tiles that generate resources over time.

Art: For the most part, I stuck with the db32 palette, plus some transparent shades of those colours in the domes and bubbles. I don't think the tiles are as funny as I first intended, but they are distinctive and legible enough.

Balance: After playtesting the game for hours, it's really easy for me, but it's a decent challenge the first few times. Some of the difficulty stems from not knowing what tiles are available and the lack of undo, but it's replayable for some time without feeling "solved" even after you have internalised all the mechanics. None of the tiles is too abundant or too rare.

Game Design: The core loop is build habitat->connect food and energy->expand range->build habitat, but it's also possible to go back and increase the population of existing habitats by mining, upgrading farms and connecting more energy. In the endgame, the player can sometimes increase the population by densely packing the centre of the map with habitats after spreading on the map, and sometimes, it's the other way round. That gives this game a thinky, puzzle-ish feel.

Tile products follow the pattern [adjacent tiles->built tile->product->habitat], so that there are no loops. It goes kelp->fishing sub->food->habitat; rift->power plant (->power line optionally?)->energy->habitat; kelp forest->oxygen->habitat; farm->food->habitat. Evaluating the output of a tile is straightforward both for the computer and the player.

Theme: I tried to work in an ecological theme, where Oxygen is in short supply, built structures cannot be reverted into pristine nature, and tiles are an important resource. Players picked up on that.

What Went Wrong

Jam Theme: Unfortunately, the jam theme "deeper and deeper" got a bit lost in the process. The game was already difficult enough without making tile depth contribute to building costs, and complicated enough for a jam game without adding more mechanics. Making the terrain generation more extreme would have made tile adjacency hard to determine. I would have needed to use a 3D engine to make 3D game mechanics.

Tutorial: There is no in-game tutorial that introduces the tiles gradually. I added some text on the itch.io download page and the LDJAM submission, but that can easily be missed.

UI: The UI is too busy and the mechanics are not discoverable enough. Adding more things to the UI would make it busier, removing things would make it harder to see what's going on. The UI needs a complete overhaul if I add anything more.

Time: Looking back, I could have implemented all this and some more polish, animations, and sound effects within the time constraints of the compo, if I hadn't had anything else to do that weekend. I really wish I could have added some audio.

What I learned

Don't try making depth a mechanic thing in a 2D game if you can't rotate the camera and look behind things

Some users get annoyed by waves even if they don't get sea-sick

People call every visual effect a "shader", even if it doesn't use the GPU

Hexes are cool. Some games don't work on a square grid

My visual jokes are not as funny as I think they are

I can do LDJAM without feeling hungover and tired on Monday

Try not to accidentally take out the jam theme when cutting down the scope!

Download here: https://blubberquark.itch.io/deep-sea-settler

#ludum dare #postmortem #gamedev #indiedev #game design #hexagon #ldjam

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fipindustries · 4 years ago

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The ludomancer

So you heard of parahumans fans using their own lives to come up with triggers and create their own fan capes? well, that is more than well trodden ground so i figured lets take it an extra notch and figure out my own fan practitioner, my own fanctitioner! (disclaimer: many of of the personal details here were either exagerated or fabricated for dramatic effect)

backstory

i had open heart surgery when i was 6 months old, and if niccolette belanger is anything to go by, having big openings in your flesh at a very young age is free real state for persky spirits. Just imagine this giant entrance direct to my chest, leaving my heart ridden with holes and openly exposed.

Now this was in a very modern hospital in and incredibly sterile enviroment so is not like there were a lot of grisly phantasmagoric spirits crawling all over the place, you i was covered head to toe in technology, multiple wires and tubes and god knows what else all poking out of my chest, back in those days i was more machine than human. So with that in mind i like the idea that perhaps some fairly young spirits of electricity, technology, science and artificousness got inside me.

nothing too wild and powerful considering these things were all relatively recent by the standards of the practisce, but enough to have an influence. The general result is that i would be naturally inclined towards STEM fields, mad scientists, math and engeneering as a kid. I would constantly find myself getting involved into these enviroments (even when i didnt want to) such as going to a course in robotics, going to a high school soecialized in mechanics, studing computer science in college, etc.

my life would go on more or less like normal, the spirits slowly growing inside of me but always kept in check by my own essense and sense of self. Until...

Awareness

i changed careers and went to live at a college dorm in the middle of nowhere, five kilometers away from the nearest city, a small oasis of technology in the desert and the central hub for the Wi Fi of my state. As the years went by i became more and more isolated, my Conections grew weaker, my own sense of self got thinner and thinner (exacerbated by me finally questioning my gender identity). my prescence on the world was almost non existant, spending most of my time in my dorm in my computer not interacting with anyone, browsing ever incresingly more niche or obscure websites.

in this oasis of technology in the middle of nowhere, with my personal conections and sense of identity growing weaker, the spirits within me started to grow stronger and stronger, starting to screw with my very perception of reality, pushing things so that i would start to go down weird rabbit holes online, reading strange texts in impossibly formatted websites that would introduce strange ideas about the nature of reality, some times even downright attempting to posses me (i would try to rationalize these episodes where i would experience derealization as just panic attacts).

The spirits of technology would introduce me to forbidden ideas online, dangerous memetic cognitohazards, basiliks that would force me to perform obscure rituals to summon demonic entities from lost planes of reality, not aligned with human values. They would try and convince me that reality was a simulation and coax me to pierce the veil and see the true subyacent reality, that subatomic particles were capable of experiencing suffering, that i could be tortured for eternity if enough people were kept from getting dust specks in their eyes. If things had gone like that for much longer i would have probably ended up summoning or becoming an Ex Machina and probably an entire wing of the college campus would have been condemned.

Luckly in my college there just hapened to be a young dabbler who got wind of my situation. They took notice of me and were kind enough to put me in touch with an online community of witch hunters who specialized in cases like mine (the dabbler didnt take care of it themselves because they didnt want to accidentally reveal to me more than strictly necessary about the magic world, the group of witch hunters had a lot more experience solving this problems without the karmic burden of awakening someone)

The witch hunters were a fairly niche group within the larger community of witch hunters. They specialized in bayesian techniques. Using the tools of rationality to dispell illutions, glamours, mind tricks and half truths. They established firm rules for thinking and percieving the world so that Others wouldnt be able to decieve or manipulate them. Calling bullshit on the impossible. Their organization, the Magical Interference Restriction Institute, coordinated the efforts to develop safe protocols for the practisce in the digital age.

They exorcised most of it, gave me a few basic mental tools and rituals to keep the spirits in check and recommended me to try and forget about the whole affair. But fat chance about that, by this point my eyes had been opened.

The awakening

When i finished college and moved to a different city i did everything in my power to enter in contact with the practitioner world again. Walking around the city, reading craiglist adds, looking into different organizations. Of course i wasnt acting blindly, i was guided by some of the things that i had picked up during my posessions, the things the spirits had revealed to me, the forbidden texts that i had read and some of the advice the witch hunters gave me.

Eventually i managed to follow conections and came across a small cabal of practitioners who put the front of a board game club to recruit people and have a place to reunite while looking legitimate and not arising suspicion from the mundanes. The way the club would work was that on the front it was a normal place to play things like Catan, Carcassone, king of tokyo, etc. But on the back room they would “play test” new “games” between the senior members of the club. when in reality they would workshop new rituals to perform.

They would focus on a fairly recent branch of magic caled Ludomancy. Focused on the idea that any boardgame is in the end a ritual. it would be this communal activity with rules and mechanics, supported by the illution and the beliefs of the players who would manipulate symbols and idols across intricate diagrams.

they saw my experience with rules, logic and technology applied to magic and saw enough potential in me that they allowed me to join. Their awakening ritual is a bit different than most since they customized it based on their findings and experiences with rituals. Instead os sitting in a circle the circle is inscribed in a board. The piece that you use to move through the board has to be carved by you and has to be composed of elements that represent you and that are meaningful to you and it has to hold within a couple of drops of your blood.

You throw the dice and move across the board and depending on what places you fall in on of the cards will be drawn from the multiple decks. These cards will either give you challenges to overcome to prove yourself, make declarations and impositions on the kind of practitioner you will be once you awaken or just be criptic messages and riddles that wont be relevant or mean anything to you until many years down the line. You have to overcome the challenges, answer the questions posed by the cards and most of all, play the rules cleverly so that you can make your piece reach the center of the board and scream jumanji to complete the ritual. Now the rules of every awakening playthrough change and they can be incredibly intricate and complex, it can take a lot of cleverness of a lot of luck to finish this ritual but once you do you find yourself in a much firmer and powerful grounding than most begginers do.

the practice

i would probably focus on shamanism, collecting spirits here and there, slow and steady accumulation of a power base. i would like to get into constructs, acumulating spirits, helping them grow, give them a bit of my own power to help the process along, like sacrificing one drop of blood every week, or establishing small rituals of worship, and then mix and mashing them together to build more complex spirits, also i would probably offer small favors to the local practitioners in exchange of tibdits, trinkets and sources of power, always keeping it low profile and not too ambitious, something like helping with a ritual here and there, being a pair of extra hands, mostly giving help establishing magic circles and drawing diagrams, running small errands, sending messages. it would help let other people know that im not too much of a concern and hopefully they would let me be

if you need help or want to make an exchange with me you could come to my house and i would offer to play a game (usually one i made up) and in the process of playing the game i would perform the magic that you need or arrange the cosmological and quintessential pieces inside and outside of you according to your request.

My implement would be a set of D&D dices that i can use to make a bit of augury, affect probabilities, dictate outcomes and, in times of need, cheat at my games a bit. the rest of my equipment would be booklets and notebooks filled with my own designs, rulesets and texbooks, lots and of graph paper and one actual RPG supplement that i would use to bluff some of the more out of date Others by claiming that i have tomes filled with arcane spells and a full compendium of magicl creatures.

eventually i would try to diversify, focusing more on crafting and building, going more for the angle of the toy maker rather than game designer. I would build complex structures in papercraft, small mechanisms with cardboard, intricate contraptions with some clockwork and some springs.

i probably wouldnt get a familiar, i just dont see my self commiting to a life long companion. i would desperatly try to establish a demesne but that would also be rather complicated since i dont see my self owning property any time soon either.

#pale #pact #parahumans #wildbow #fan art #fan fic

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wisdomrays · 4 years ago

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TAFAKKUR: Part 166

Electricity in the Heart

Our heart is like a pump that never rests. The distribution of the dirty blood to the lungs and clean blood all through the body is organized by a system that produces an electrical current. Every second, small electrical currents are created in our hearts in order to start the contractions and make sure it is continuing to function. Every current starts from a particular place and gets distributed to the entire heart.

The heart is composed of four compartments: two atriums and two ventricles. The blood that reaches the heart first accumulates in the atriums. From here, it is sent to the ventricles. Afterwards, it is redistributed to the body by the contractions of the ventricles. The harmony of this process depends on the electrical currents in our hearts.

How is the electrical current formed?

There is a particular region in the heart called the sinus node. The sinus node is strip of a muscle that is 15 mm in length, 3 mm in width, and 1 mm in thickness, and is located in the right atrium of the heart. The cells of this strip are responsible for producing electrical currents, and are created in a different fashion from the rest of the cells that are responsible for producing contractions. This is where the electrical currents in our hearts are periodically produced. Every cell in the body contains elements such as sodium, calcium, potassium and chlorine that are electrically charged. The elements which are electrically charged are called ions. These ions also exist in the extracellular environment. The intra cellular and extra cellular concentrations of these ions are different from each other. This situation causes a difference in the electrical potential between the interior and exterior of a cell. This difference is called a membrane potential. Periodically, the membrane potentials of the sinus cells show sudden jumps – meaning they suddenly increase and then suddenly decrease. Since the cells are in close contact with each other, such a jump in the membrane potential of one cell triggers a jump in the membrane potential of another cell. The electrical currency that enables the contraction of the heart is produced by this continuous triggering of cells. On average, 70 electrical currents per minute are produced in the sinus node. These currents start being produced while a person is in the womb of their mother and continues their whole lifetime. The heart of an embryo starts beating while it is only 22 days old. However, the height of the embryo at this point has not even reached 1 cm. Isn't it an amazing force that creates the beating heart of such a small embryo and keeps it going a lifetime?

How is the electrical current distributed?

Another node called the atrio ventricular node was created in between the atriums and ventricles in our heart. While the current coming from the sinus node is spread to the whole of the atrium, it is by this node that the current is sent to particular fibers. The task of this node is to hang on to the current coming from the sinus node for a while. Why does the current need to be held on to? Because blood can only enter the ventricles while it is resting and by holding on to it, the contraction of the ventricles is disabled while the contraction of the atriums is taking place. By this process, the blood coming from the atrium can enter the ventricle. Therefore, the blood fills in the ventricles and can be distributed throughout the body. The blood circulation is enabled in a flawless manner by allowing the atriums to do their duty while the ventricles wait.

After passing through the atrio ventricular node, the electrical currency eventually goes through the purkinje fibers. These fibers surround the ventricles like a web and are composed of cells that can conduct electrical current in a very fast manner. Compared to the atrio ventricular node, the electrical current can be conducted 150 times faster in the purkinje fibers. Therefore, the current reaches every point of the ventricles in a very short period of time. Every muscle in the ventricles contracts in a time shorter than one tenth of a second.

The muscles in the ventricles rapidly contract, one by one, depending on when the current reaches them. The contraction starts at the end of the ventricles and carries on towards the main veins exiting the heart. By this orderly and harmonious contraction, the blood is pumped from the end of the heart towards the main veins exiting the heart to be distributed among the body. Because all the ventricle muscles are stimulated very fast, the contraction also happens very fast, resulting in a strong pumping effect. The design of this system is incredibly wise, right down to its most minute detail.

Movement in heart muscle potential

As all cells in our body, the cells in the heart also have a membrane potential. We had stated before that this membrane potential is the result of the difference in intra and extra cellular ion concentrations. The charges of these ions are different from each other. For example, sodium and potassium have plus one (+1) charges, calcium has a plus two (+2) charge, and chlorine has a negative one (-1) charge. The resting potential of a cell is negative. This means that there are more negative ions within the cell when compared to its environment. Sodium, calcium, and potassium ions are mobile through the membrane. While sodium and calcium have a higher concentration outside the cell, potassium has a higher intra cellular concentration compared to its environment. There are channels created on the cell membrane that allow ions to pass through the membrane. The sudden increase in the membrane potential that was explained before causes a sudden rush of sodium ions inside the cell. This is such a rapid movement that it is concluded in a tenth of a second. Right after the entrance of the sodium ions, calcium ions also enter. Because these ions are positively charged, the membrane potential becomes positive.

With the entering of calcium ions into the cell, calcium ions are also released from the storages within the cell. By triggering the protein necessary for these contractions, the calcium ions become a means for the contraction of the heart muscles. Meanwhile, the potassium channels open and these ions within the cell pass to the extra cellular environment. The loss of positive ions results in the membrane potential being negative again. Therefore, the sudden jump in membrane potential that is the basis for the electrical current is created.

However, at this point there are extra amounts sodium and calcium within the cell and extra amounts of potassium outside the cell. The concentrations need to be returned to their original values for the next jump in the membrane to be possible. This task is given to a protein called the sodium-potassium pump that pumps out sodium from the cell and pumps in potassium. If this pump had not been created, the ion balance in any of the cells within the body would be impossible to re-establish. As a result, the life of the cells would come to an end. However, because of the remarkable intricacy of our cells, life is made possible for us.

Afterwards, some amount of the calcium ions are pumped out of the cell with a similar pump, while the rest are stored within the cell. The decrease in the concentration of calcium relaxes the muscle. Now the heart muscle has gone into relaxation and therefore is ready for the next contraction.

If the movement of the ions becomes unbalanced, the rhythm of our heart is disturbed. The unbalance in the ion movements or blockage in heart veins can be reasons for heart rhythm disorders. Even small heredity-based defects in the ions pumps affect the movement of these ions and can cause heart rhythm disorders. This situation shows that nothing is created by coincidence.

Movement in the sinus node

The jump in the membrane potential of a heart cell depends on the membrane potential jump of the previous cell. Through the gaps in between the cells that are in contact with each other, the positive ions that exit a cell reach the membrane of the cell next to it and trigger the opening of its ion pumps. As a result, the membrane potential of that cell starts changing. At this point, you may have this question: how does the electrical current start in one end of the sinus node that is not previously triggered by any cell?

This concept is explained by the ion transfer mechanism of the node cells being different than the muscle cells. Before explaining this, it should be noted that even while resting, a mechanism for allowing an ion exchange of the cell with its surrounding has been created. In the node cells, this exchange while at rest has been created in a way that the sodium and calcium exchange is larger and the potassium exchange is lower compared to the muscle cells during resting conditions. Therefore, the membrane potential of the node cells is less negative and slowly increases with time. As a result of this slow but steady increase, after a while it reaches a threshold. When it reaches it, the calcium channels in the membrane suddenly open and there is a rush of calcium ions into the cell. Thus, the jump in the membrane potential is created independently from another cell.

As it can be observed, even a single contraction of our heart depends on a very detailed, delicate, and complex system. Moreover, this system is repeated over a hundred thousand times within one day. After reflecting on this, how can we claim this system runs by coincidence or chance?

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spooner-the-trinity · 4 years ago

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Telling a story through messy hair. A look at Marnie's quest in 1/0

Funding for Schaffrilas is provided by: Squarespace, the sponsor of today’s video. Stay tuned to the end to find out about how you can build an amazing website.

So, a lot of new subscribers poured in from my little dip into the sesspool of Infinity Train Productions so (Donkey: Let’s do that again!) And this time, we’re digging into the low-key stuff. Like the Collab between Pixar and Studio Ghibli about a dead grandma pulling a tweenaged clone of herself through a magic train to be her granddaughter’s best frie-(Lou Pickles: Cogflabbit)

1/0: When Marnie Was There is the epitome of Infinity Train’s talent of blending down to earth character pieces with over the top adventure and metanarratives. There are a lot of key features to this flick, from Tailstreak improvising the Infinity Train into being to Kazuhiko pretty much being an audience surrogate for what’s going on to the wayward madame’s motives slowly being pieced together the further along you get in the journey of main character Anna and our video’s main focus: Marnie. For brevity, we are going to dive deep into how the state of Marnie’s dress and hair point out how far she’s traveled and how much shit she’s been through.

Starting off with her at the Marsh House, Marnie is adorned with pretty dresses and finely brushed hair. This shows her how close to the chest she’s being kept by the staff, how dolled up she gets on a regular basis to the point of boarderline if not straight-up child abuse. Later on in the movie when the time shenanagans begin to get more apparent, the bitterness of her caretakers at the house makes a lot more sense. They’re mean to her because of when she’s dwelling here. Her side is around the time her home country was squatting on a recently-wrecked Japan after the party known as World War II. The Japs wouldn’t have allowed her obviously western family into this estate but they have no choice after they found themselves plowed for allying themselves with Hitler and his homies. Nan and the maids don’t dare take out their resentment of the “foreign invaders” on the parents but a young girl that’s all alone is fair game.

But when we see her side of the final separation at the very start of the movie, we cut to her on the landmass of Teddy Weddy in a blank void. There’s a big blotch of mud and dirt on her dress and the front of her hairdo has ended up a bit messed up complete with a few blades of grass in it. This symbolizes how she found herself thrust into a crazy adventure by an unseen force and the hair shows that she no longer has the comfort of the Marsh House to keep her in mint condition. Thus, she has no security than the security instilled into her by the days she spent with Anna for the adventure to come.

As she goes from setpiece to setpiece, her hair gets more messed up and her dress does get torn up quite a bit over the course of the film and in the midst of a sky pirate dogfight, she runs into Kazuhiko who was lured aboard by a nice old lady in a dark-blue shaw. I wonder who she could be? Whatevs, Kazu notes that his boyhood friend’s rocking that ‘I just saw the bill for the Justice League Snyder Cut‘ look and decides to do it up into a cute ponytail and we all know what happens to pigtails and ponytails in Ghibli films. Moving onto her dress, we find that one of her sleeves has been torn off and the other is rolled up, indicating that she has taken some much needed agency in her life. And of course, the natural mess has gotten much more widespread, her blouse is exposed with the topside being cut up to be used as a sail to get Teddy Weddy airborne. This displays an element of empathy and selflessness to her character, something we see when talking with Anna about their respective family issues.

All of this accumulates when Marnie returns to her hand-drawn real world she sorta calls home. But before we do that, we must back up to the pivotal moment where she confronts the old maid on why she’s seemingly stringing her along on this journey. As they argue, she learns about the maid’s story around the same time as Anna does from Hisako. But when the old maid makes a mistake echoed by Woody in Capitalism Story 4 ‘Why won’t you just listen, Emily?’ (Cat from Puss in Boots: Ooooohhh…) Yeah, she’s still haunted by the loss of her daughter and this just gives Marnie all the puzzle pieces she needs to figure out the who and why of this harpy. The very idea that she went on this crazy ass journey to fulfill the final wish of Anna’s dead ghost grandma to ensure that her lone grandchild knows that she is never alone, this just cements how much added resolve Marnie has to get to Anna and we see it in the final chase scene following her separation from the 1/0 guys.

After a mad dash reminiscent to the Cinematic Classic Ferris Beuller’s Day Off, (one that got mad cred from Richard Roper for referencing his favorite film) Marnie reaches and opens the door to Anna just as she receives a photo that once belonged to said ghost granny. (Anna: ‘my beloved home… Marnie.’) Yep, that Marnie. (Anna and the cloned Marnie: ‘That’s… who she was.’) (Joel Dawson from Bonus Stage: Welcome to the World of Cloning) Ignoring the whole clone thing as that’s another can of worms whose dough will rise another day, for now, let’s take that final glimpse at the state of Marnie’s design to see how banged up she’s gotten on the way to her destination. One look at the bottom of that dress and it’s clear that she’s had to prioritize mobility as the remnants can barely cover her knees but give enough legroom to make the mad dash to someone she now views as a sister that fanclods are more than happy to ship together to assert their queer agenda. And the hair, once flowing and elegant now cut to a shaggy bob cut adorned with plenty of leaves and grass blades to display the long journey she’s made to reach the sister she never knew she needed until the two crossed paths at the hands of a ghost granny. (Andrew from Bonus Stage: Does somebody need a rubber band, because oh, snap!)

The evolution of Marnie’s design doesn’t end there, her hair is naturally cleaned up after the long journey and by the bizzare summer in which Kingdom Hearts III takes place, her short mop of hair is refined to echo its original pristine form with a little green hairclip to indicate the connection she has with Anna and the memory of her journey. Her new dress has a set of shorts underneath for practicality, shorter sleeves for when she gets down and dirty and a ribbon to show the same feminine attributes she’s shown throughout her days in the Marsh House. The Marnie we will play as in Kingdom Hearts III is not the same Marnie that birthed Anna’s shit-headed mother, and that’s okay. Who knows what the game has in store for the two timey-wimey sisters, but one thing’s for certain, Anna’s probably made a fuckton of artwork in the years between that and this movie and is gonna need to design a website to proudly display it all to the world. If only I had a sponsor today that could aid in this ord-OH WAIT!

#schaffrillas productions #Infinity Train #when marnie was there #1/0 #submission

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dumbwaystodeviate · 6 years ago

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Home

The violent revolution had passes. Androids were considered equals when proven to be deviants. Machines though, they were still very much second class citizens. Years passed and RK900 was bounced from post to post. Nobody wanted the responsibility of employing an obedient killing machine. It was just as well he didn’t need much. An empty room to call his own, there were charging ports dotted around the city and thirium handouts happened once a month. As a top of line android, he didn’t need a top-up all that often. So he floated around the city, haunted the streets as he tried to find somewhere to fit in. Circadian rhythms meant nothing to him and he could be on the streets at 3am or 3pm, it didn’t matter to him. He was down by the waterfront, letting his feet get soaked in the lapping waves by the foot of the bridge when someone growled at him.

“Fuck off, this is my spot. Find your own!” The ‘fuck’ was slightly mangled and the voice rough with a lingering infection. RK900 looked around to find the source of the words.

“I said fuck off you plastic prick,” the lump of discarded bedding moved and a harrowed, scarred face glowered at him. He might have looked menacing and wild to a human but to RK900 is was like a kitten hissing at him. Full of rage and indignity but about as harmful as sandpaper if it lashed out.

“I believe that this is communal area owned by the city council so we have equal rights to be here,” Nines replied easily and wriggled his toes in his soaking shoes. “I’m an RK900, what can I call you?”

“You haven’t earned the right to call me anything, dip shit. Now get the fuck out of here before I beat you to a pulp.”

More out of respect than fear, RK900 got up and took sopping, wet steps as he retreated but still heard the grumble of “fucking androids” from behind him. Even though his room was stark white, empty of all personality, at least nobody could tell him to get out of there.

The next night, he found himself back at the foot of the bridge just before sunset. Carefully stashed away, the bedding was folded up into a holey bin bag. They were rolled tight and a quick scan suggested that clothes and other knickknacks were hidden in the centre. Whether they were valuable or not, RK900 didn’t have the time to scan because a voice was yelling at him again.

“Get the fuck away from my shit!” The same man from yesterday was hobbling towards him, fury etched into every line of his face.

Obediently, RK900 stepped away, hands up to show he meant to harm. He was surprised when the man all but ignored him, instead, turned to his worldly possessions and fussed over them.

“Get lost,” he grumbled to RK900 but didn’t look up.

In the light of day, he looked even less intimidating. Dirt and grime were embedded in his skin, making his wrinkles and scars even more prominent. He couldn’t have been much older then 40 but his situation had aged him beyond his years.

“I mean no harm,” RK900 tried to placate him but went ignored.

The bedding was unrolled and a book was pushed aside, along with a change of clothes which looked just as ragged and worn as what he was currently sporting. Something metallic was quickly palmed and shoved in a pocket with a muttered “thank fuck”.

RK900 watched him make his bed under the bridge, the support leg provided some shielding from the elements but it was no doubt useless against the bitter cold that was creeping in at nights.

“Is there not a shelter you could go to?” he finally asked.

The snort and side glance he got were as bitter as the reply. “They’re all full. Government spends all their money on android shit. They’re cheaper and easier to support and make their numbers instantly look better. Why care for a human when you can sort out eight androids for the same price?”

There was nothing RK900 could say to that. After all, he was one of the ones the government was providing for. He looked over at the man as he heavily sat down in his bed, rubbing his hip with a hiss.

“What happened to you?”

“None of your concern, now piss off.”

RK900 retreated a few steps but sank onto the ground and watched. His scans indicated a low level fever was plaguing the man, given his condition, it probably was the tail end of a chest infection. But given how bad the weather forecast was, there was a 57% probability of a relapse.

“Holy shit, you’re not a deviant, are you?” The man rasped from where he’d burrowed down.

“No, I’m not.” There was no point in lying or denying it. RK900 was what he was, he felt no shame in it. He felt nothing at all. What he didn’t expect was a barked laugh that ended in a hacking cough.

They said nothing to each other until RK900 left close to midnight. His silent companion had been fitfully dozing, obviously not used to the company.

Over the course of the next week, it became a bit of a habit for RK900 to sit by the water under the bridge for the first half a the night. His chosen companion said nothing most days, they just stared out at the water and waited for the sun to go down.

“Hey,” the man called one night as RK900 got up to leave. “I know it may mean nothing to you other than a dictionary definition but thanks.”

Puzzled, RK900 nodded and returned to his room. He didn’t know why he deserved gratitude. They were just two strangers occupying the same space for a little while. It wasn’t like they talked. Still, it was nice to know that his presence wasn’t outright loathed and feared like it was by most people. RK900 had detected many things in the man but not once did he see fear.

“Evening Nines,” the man was propped up against the concrete of the bridge, huddled in his blankets. Rain pelted down around them and was slowly soaking the bedding. “Was wondering whether you’d turn up in such miserable weather.”

RK900 dropped gracefully down next to him, water dripped from his clothes but he didn’t care. Left exposed to the elements as he was, he at least shielded what he’d started calling ‘his human’ from some of the rain. He turned to look at him with a question, “Nines?”

“RK900 was a bit of a mouthful.” It looked like there was a shrug accompanying the words but a shiver swallowed half the movement up.

There was a hiss and, as it had become almost habit, the man rubbed his hip.

“Does it hurt?”

“The cold sets it off. Old battle wound. You know what it’s like.”

A quick scan showed the piece of scrap metal was clutched in his hand and Nines filtered through his potential responses.

“What happened?” He finally settled on. It was open enough to give plenty of choice in response.

Once the coughing had subsided, his companion too a breath. “What happened to everybody else. I trained years, no, decades to get where I was for my job. Then a piece of plastic waltzed in, fresh off the production line but had downloaded all the knowledge that took me years of study to accumulate.”

“I was designed for fighting in the arctic against Russian. Then the revolution happened. Now I am without purpose. Without a sense of self.” It only felt right that Nines would share a little of himself in return.

“Damn. That sucks. I had “Reed, you’re a drain on our resources, taken too many sick days, we cannot keep up this kind of wasteful behaviour.” Not even a sorry or asked to help train up cover. As I walked out with my box of shit, an android arrived, prim and proper as you please. Ready to pick up and do so much better than I did. Not like i had so much time off because I got fucking shot on a case.”

He fell silent after that, eyes tight with the pain of the memories. Nines didn’t want to press, he had a name now and that was enough. Eventually, Reed’s head tipped forward a little, face slack with sleep. On quiet feet, Nines rose up. For the first time in a long time, he had a mission objective.

Hacking into government files wasn’t a chore for an android of his calibre. Personnel files were less heavily protected. Searching for ‘Reed’ brought up several possibilities but sorting by rough age, gender and narrowing it all down to the Detroit area finalised it down to two potential people. A quick look at the attached photo and Nines had found his friend.

Gavin Reed, 41, discharged from service as a homicide detective two years ago. No known address as of 18 months ago. His last case involved a shootout where he’d jumped in front of an undeviated android, took a bullet to the hip. Insurance only covered so much of his bills and time off work. With a slow recovery hindered by infection, the DPD couldn’t keep his position open and filled it before he was fit to return to work. With no job to return to, he was fired on the pretext of too much time off work.

When Nines went to see Gavin the next day, he asked as much. Half expecting to be yelled at for such a breach of privacy, Nines didn’t expect Gavin to let out a bitter laugh.

“That’s the official story, yeah. What they don’t say it that I took the bullet for her and fell on her. Dented her chassis a little. She lodged a complaint but by the time internal affairs conducted a hearing, she’d had it replaced for an upgraded version already. Claimed that the shock of it all forced her to deviate in a traumatic way. Agreed to waive any charges if I was reprimanded and fired. Otherwise she was going to take the DPD to court over her deviation.”

There was nothing Nines could say to that, something simmered in his circuits, burned with something he’d never experienced before. Instead of speaking, he watched as Gavin got up and limped to the water, swirled his hands in it a couple of times before splashing his face. It didn’t seem to serve a purpose other than to human eyes, hide the tears on his cheeks.

“Couldn’t pay the hospital or the mortgage. Sold everything I could and have been trying to make ends meet on the street since.” He coughed weakly into the crook of his elbow as he settled back down and closed his eyes. “I’m tired Nines. I’ll see you tomorrow.”

The next evening saw Nines back under the bridge. He didn’t expect Gavin to push something at him. Wrapped in a plastic bag was a brand new scarf.

“For putting up with me,” Gavin shrugged and Nines ran his fingers over the material. Cheaply made polyester that was rough against his fingers. Unlikely to keep him warm and it wasn’t exactly fashionable either.

“With the cold coming, thought you might look a little less out of place. Wanted you to have something of your own.” He carefully didn’t say how the colour made him think of Nines’ eyes.

Nines tucked it in his pocket with a soft ‘thank you’, completely at a loss as to how to handle such a gift. He left shortly after, ignoring he sad look Gavin sent him.

Only at home, when he sat in the corner of his bare room did he fish the scarf out again. The tags were still attached, the price hastily torn off but a quick scan of the item and Nines knew it cost a couple of dollars from a discount store. Realisation hit Nines then. It wasn’t an extravagant gift by any means. But those couple of dollars probably meant a day’s food for Gavin. He’d sacrificed that so he could make warmth flush through the circuits of an undeviated android who sat with him most nights because neither of them had a place in the world.

The walls around Nines were cracked, holes were letting the colours of the world shine through. He picked away at them for the rest of the night and wondered whether Gavin was sleeping well. His chest infection had been getting worse, his breathing shallow and rapid even in his sleep. The more Nines let the walls crumble, the more an overwhelming sense of worry crept through him.

With nothing better to do, Nines decided to surprise Gavin by being at their usual spot by the time he returned from the city centre. Some days he tried finding a job, other days he sat with a sign begging for change from strangers who barely even glanced at him.

Walking towards the bridge, Nines watched how pages from a book were scattered along the shore. They flipped and floated in the wind, pretty in their own right. The cover of the book at some way ahead of him, ripped pages fluttered in the breeze. It was surrounded by clothes strewn in a trail with familiar bedding that was half dumped in the river, sodden. Dread finally forced its way through the gaps in the wall which crumpled under its weight.

Gavin’s things were scattered all over, ransacked and destroyed in anger when nothing valuable was found. As Nines got to the bridge, he finally saw a familiar figure lying face down on the ground, one hand outstretched. Nines ran. He was kneeling next to Gavin in the matter of seconds and rolling him onto his side. Blood coated half his face, eye swollen shut, breath a shallow wheeze.

“Gavin?” Nines shook him a little. “Gavin?”

No response. All logic suggested that Nines calls an ambulance but he didn’t know how Gavin would be able to afford any kind of medical care. He’d left his chest infection untreated for that very reason. An ambulance ride and hospital stay was too costly.

A minute later, Gavin’s lashes fluttered and he whined as the pain registered.

“Nines? What are you doing here?”

“I came to see my friend,” the reply was all too easy. It earned him a soft smile from Gavin. His fist uncurled and Nines watched as the scrap of metal his scans had picked up so often before was finally revealed.

A police badge. Or rather, what has left of it after a bullet had passed through it.

“The bastards couldn’t get this. I wouldn’t let them.” Gavin smiled proudly even as blood welled up from a split lip again.

Mind made up, Nines gathered Gavin against his chest and stood as gently as possible. None of Gavin’s belonging were salvageable. The bedding was sodden, the clothes deliberately ripped beyond use. One step at a time, Nines carried him back to his room. It wasn’t much, barren and white but at least it provided a shelter from the elements.

Since activation, Nines had been without a purpose. A machine without a function in the world he was built in. Now, as he looked at Gavin curled up and small in his room, he knew what he needed to do. Lists of mission objectives filled his HUD, maps to the nearest free treatment clinics, food banks, forms to fill in for government aid which Gavin may not have been told about yet alone given the means to access.

They were two people society had shunned, wanted to forget even existed. Nobody needed an obedient killing machine or a disabled ex-detective but somehow they’d met and, as unlikely as it was, found themselves needed of each other. The future may have looked bleak but Nines finally saw the glimmer of hope.

#reed900 #dbh rk900 #dbh gavin #dumb ways to deviate #drabbles #leader of the rebellion #cw: homelessness #cw: blood

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leptitoxreviews3-blog · 4 years ago

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Leptitox reviews

Leptitox is a natural nutritional supplement for losing weight fast. With a bag filled with established outcomes, Leptitox is a fat-burning tablet computer, designed along with fabricated by Sonya Rhodes and Morgan Hurst.

Leptitox review

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Leptitox review

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glenlynyogacareclub · 5 years ago

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Exploring the Different Types of Yoga

Yoga is generally understood as a process of unification. This unification is multifaceted. In one dimension, it is a unification of the various systems that exist within the human being including the emotional, physical, mental, and spiritual systems. In total there are believed to be five different systems within human life. These are typically referred to as the koshas which are the physical, energetic, mental, subtle, and bliss sheaths. In our current understanding of yoga, we are working to unify these five bodies or layers of the human being. Another process of unification occurs between of the individual consciousness and the universal consciousness.

This unification is often referred to as Samadhi and is one of the primary transformations that occur within the practice of yoga. Observing this from a different angle, Samadhi is a transformation of perception in which disillusionments about the world are reformed so that the truth behind reality can be seen in its purest of form. Yoga, as a system, has developed into various branches through which people pursue the evolution and unification of the elements within their being. Each branch retains its own unique set of ideas and philosophies which defined the process and eventual obtainment of complete unification.

There is no right or wrong system of yoga as the each possesses their own distinct characteristics that accommodate the needs of various characteristics and personalities that exist among human beings. Each system is designed to accommodate a different personality type, and yoga has developed into a broad reaching system that can be practiced by nearly anyone who is interested in pursuing a spiritual life. A practice like Jnana yoga is ideal for someone who is philosophically minded whereas the practice of bhakti yoga is good for someone who is emotionally perceptive and inclined towards a sense of devotion. In this article we will be reviewing the more mainstream practices of yoga which are derived from the tradition of yogic spirituality. These traditions of yoga are as young as 500 years and as old as several thousand. While there are many modern practices of yoga which have been defined by various teachers, the systems we will be discussing are traditional systems which have been in existence throughout many generations.

Bhakti Yoga The first system we will discuss it is Bhakti yoga. Bhakti yoga is a practice in which the spiritual practitioner focuses on developing a state of devotion within the mind and the heart. In bhakti yoga a strong sense of faith is needed as one is expected to submit themselves to God through a process of self surrendering. The practices and techniques of bhakti yoga are therefore designed to help surrendered the ego and embrace with love the thought of the creator. The more common practices of bhakti yoga are kirtan (chanting/song), japa (mantra repetition), and meditation on the divine.

Usually the practice of bhakti yoga is advised to be practiced by those who are well connected to their emotions and also receptive of more subtle feelings within themselves and others. Emphatic love defines the practice of bhakti yoga as the practitioner devotes their whole being towards the spiritual divine. A belief in God or a higher being is vital to the practice, and without it, it is near to impossible to practice bhakti yoga. The devotion that is practiced by the bhakti Yogi is not one of slavery towards the divine. Rather, it is a relationship that is filled with love, friendship, and companionship. In bhakti yoga people view God as a friend, a lover, a father, or mother. It is through this relationship that bhakti yoga is practiced. There are many aspects of devotion for the bhakti yogi; there are many forms of God that are worshiped in yoga including Shiva, Vishnu, Brahman, Parvatti, etc. Aside from the metaphysical forms of God, a guru or teacher can also be worshiped within the practice. The primary purpose of this practice is to help in relinquishing the ego and unifying the individual being with the universal.

Karma Yoga Karma is an aspect of human life that is responsible for our thoughts, feelings, and actions. It is believed in yoga that Karma keeps the cycle of rebirth in motion as past actions and events force us to take another life in the world to balance out the inequalities that we have imposed within our spirit and the universe. Once accumulated Karmic merit is balanced or destroyed then cycle of birth and death is stopped and the spirit is return to its origins within the universal divine. The practice of Karma yoga directly addresses this primary aspect of life, works to abolish the effects of Karma with disciplined action that formulates a separation between the individual and the effects of Karma. This separation occurs through a process of disassociation in which the individual separates themselves from the benefits or losses from their actions within the world.

The practice of Karma yoga is typically based around one's Dharma or duties within the world. Dharma is determined by the actions of the individual in the past, including both the past of the current life as well as the past of previous lives. In some respects, Dharma is the most effective way for an individual to use their time on earth for spiritual progress as it is based upon the realistic capacities and potential of the individual. One of the main components of Dharma is acting in the world without thought of the benefits or losses of one's actions. The practitioner lives and acts within the world without any expectations or imposed impressions of how the future should unfold. The mind is focused on selfless service and working for the benefit of the greater good as opposed to the independent needs of the individual. In Karma yoga the practice is gradual as the individual slowly relinquishes the bonds of karma and liberates the spirit from the confines of egocentric thought processes.

Although a Karma yogi may practice techniques such as the asanas, breathing practices, and meditations, the primary focus of their spiritual practice is service and actions with the focus of selflessness and humbleness. The first mention of Karma yoga is within the Bhagavad-Gita in a dialogue between Arjuna and Krishna. In this dialogue, Krishna informs Arjuna that he can merge his consciousness with Krishna's when he surrenders his actions to the divine (which in this case is Krishna). Krishna encourages Arjuna to act and follow out his duty without worry or consideration of the benefits or losses of his actions. He informs Arjuna that acting in the name of Krishna (or divine) will provide him with the liberation that he has set forth to achieve.

Kundalini Yoga Kundalini yoga is a practice of yoga which originated from the practice of tantra yoga. Historically speaking, tantra yoga is believed to be one of the oldest forms of spirituality which is still in practice today. One of the key components of tantra yoga is the incorporation of kundalini which is considered to be the primordial force existence within each human being. The practice of Kundalini yoga was formed to control and harness the potential of the kundalini energy within the body. Unlike the other systems of yoga, kundalini yoga can be a highly unstable practice of yoga as the release of kundalini energy can lead to extreme psychological and physical disorders if not controlled in the proper manner.

Therefore, the practice of kundalini yoga is a highly advanced system which is usually only practiced by those who are well advanced in the practices of spirituality. One of the primary prerequisites of kundalini yoga is a strong mind and a healthy body without which the release of kundalini energy can be damaging or even fatal. Even a specific term in psychology known as kundalini syndrome has been developed for those who have gone into dementia because of the improper release of kundalini energy. In kundalini yoga the techniques presented are designed to help awaken the kundalini energy. Aside from its definition as the primordial energy, kundalini is also known as the serpent energy. Prior to its awakening, the kundalini energy rests at the base of the spine in the form of a spiraled coil similar to that of a serpent. When released, the kundalini energy shoots up through the spine, making its way towards the crown of the head. Depending upon the purification of the energy channels along the spinal column known as chakras, the kundalini will either reach its final destination and the head or will be stuck within one of the chakras. Usually kundalini yoga starts by purifying all the chakras. This purification helps to maintain a balance flow of prana within the body. It is believed that a balance flow of prana within the body leads to a sound state of mind and body. Once the body, mind, and pranic channels are purified, the practitioner of kundalini yoga works to release the kundalini energy. The purification process an essential quality of the practice as it helps to ensure a smooth flow of kundalini energy through the chakra system.

For both the purification of the chakras as well as the release of kundalini energy a wide variety of techniques are implemented. These include yoga asanas (postures), pranayamas (breathing practices), meditations, and mudra (gestures) specifically designed to help regulate the pranic energy and awaken kundalini. Unlike some of the other systems of yoga, kundalini yoga should never be practiced through self training. It is vital that one who is interested in practicing kundalini yoga finds an adept practitioner and teacher of this system of yoga to guide them through the process. Without such guidance, it is likely that severe physical and mental disorders will arise as kundalini energy is a highly potent element within the human body that is not meant to be tempered with unless the body, mind, and pranic channels are fully purified. There are countless tales of individuals who released kundalini yoga prematurely and found themselves in a disoriented and neurotic state. There are many books published on kundalini yoga and those who have experienced kundalini energy always advise to have a highly knowledgeable and observant teacher to guide a practitioner through the system of kundalini yoga.

Hatha Yoga The word hatha has several meanings. Typically it is divided up into two individual words, ha and tha. The meaning of these words can be interpreted as the sun and the moon. It can also be said that these two words are Beeja Mantras or primordial sounds that are responsible for composing matter. At the same time, ha represents the pranic body while tha is that of the mental body. Whichever interpretation one chooses to believe or follow, an essential component of hatha yoga is a balancing of the polarities of energy within the body (ida and pingala) as well as a purification of the mind and the body.

Most people, in a modern context, consider hatha yoga to be a practice of the physical body. While this is not incorrect, hatha yoga includes many more philosophies and techniques that address more subtle aspects of the human system. One of the essential components of hatha yoga is the element of purification. In hatha yoga purification occurs within the many aspects of the human being; there is a purification of the physical, mental, and energetic, and emotional bodies. It is believed that once all of the bodies are purified than spiritual advancement towards self liberation can occur. Unlike Raja yoga, which we will discuss later, hatha yoga does not outline a prerequisite of moral values before conducting the techniques of yoga. Rather, hatha yoga begins with the yoga postures or asanas and the energetic purification techniques of pranayama. Once a considerable understanding of these two practices is attained, more advanced techniques including Shatkarmas (body cleansing), Pranayamas (nadhi cleansing), Mudras (energy channeling), Bundhas (energy locks), and other techniques which lead towards Samadhi (self-realization) can be practiced.

Similar to most practices of yoga, hatha yoga maintains the belief that techniques such as meditation and concentration should only be practiced after the body and the mind having purified. Without such preparation it is useless to practice meditation as no benefit will be received from the practice. Hatha yoga originated from a number of texts all of which were written between 500-1500 A.D. In comparison to the other forms of yoga we are discussing, hatha yoga is the youngest of them all with its major text the Hatha Yoga Pradipika being finalized in the 16th century. Hatha yoga could be considered to be a preliminary practice to more advanced systems of yoga, however it possesses within itself the capability to lead towards spiritual liberation. A more modest system of yoga, hatha yoga can be practiced by most people and does not require a well established mind and body to begin the practice. Therefore, it is a practice used by many who wish to use yoga as an aid towards spiritual freedom.

Raja Yoga Raja yoga is considered the Royal path and is literally translated as royal union from Sanskrit. The system of Raja yoga is derived from the teachings of Patanjali in the Yoga Sutras which were written between 100 and 300 A.D. Some may also refer to this system of yoga has Ashtanga Yoga, however Raja yoga has been the traditional terminology used for the practice of yoga guided by Ptanjali's Yoga Sutras and some distinctions separate the two from one another. Here, we are primarily concerned with the traditional system of Raja yoga which has been practiced in India since the origins of the Sutras. Raja yoga is a path of intuition and also psychic perception. Therefore these two facilities are needed in order for spiritual growth to occur. Some spiritual masters like Swami Tureyananda believe that Raja yoga is practiced after one has obtained substantial transformation through preliminary practices of yoga.

Even still some other teachers believe that the practice of Raja yoga is commenced after preliminary states of Samadhi are experienced. Therefore, Raja yoga is not a practice for the vast majority of people. In the yoga sutras, Patanjali lightly outlines the prerequisites for the more advanced techniques of yoga. The vast majority of the yoga sutras are devoted to understanding and controlling the mind including its four components of Chitta, Buddhi, Manas and Ahamkara. Considerable attention is given to how the mind works and operates as well as the various levels and dimensions that exist within the mind. The remainder of the text discusses the stages through which one experience along the path towards self-realization, and attention is given to all the various pitfalls that can arise along the way. The system of Raja yoga is generally outlined in defined within the "8 limbed path." These limbs include:

Yama- code of conduct and self restraint

Niyama- religious observances, devotion to ones practice, and discipline

Asana- formation of a stable seat for both the mind and the body

Pranayama- regulation of breath which leads to a unification and balance between the body and the mind

Pratyahara- withdrawal of the sensory organs of perception from the external environment including all five senses (six if you include the mind)

Dharana- concentration

Dhyana- meditation

Samadhi- self realization, or a super conscious state of being.

Together these eight limbs form the practice and systematic approach of Raja Yoga. Like kundalini yoga, Raja yoga requires a significant amount of guidance and direction without which many problems and ultimate failure will arise. It is therefore essential that one who is interested in practicing Raja yoga finds a teacher or guru who has perfected the system and has achieved a true state of self-realization.

Jnana Yoga The practice of Jana yoga is easily understood within the two words 'Jana' and 'Yoga' which together mean 'Union through Wisdom.' the practice of Jana yoga is a very practical system for the Western mind which usually approaches things through the intellect and rational deduction. While ultimately these two aspects are abandoned later in the path, Jana yoga begins with intellectual inquiry and rational observation. While Jana yoga encourages a belief in God or the supreme, it does not necessitate the belief and therefore it can even be used by those who are rational atheists. The techniques used in Jana yoga are primarily concerned with a process of deduction in which one observes all aspects of life.

A process of self inquiry and questioning is undertaken as the practitioner gradually removes the illusions and misperceptions of the mind as they work towards the truth of their most basic nature. The practice of Jana yoga can be understood within the simple Sanskrit phrase "Neti, Neti," which is openly translated as not this, not that. In Jana yoga one removes the various layers of the onion of their mind until they reached the core which is no-thingness or unmanifested. Jana yoga has four major guidelines which helped to lead to the practitioner towards self-realization. As Jana yoga is primarily a system of inquiry, it does not require techniques such as pranayama and asanas in order to achieve self-realization. The four guidelines of the Jana Yogi include: Viveka- Discrimination (between truth and not truth); Vairagya- Dispassion (from attachment world and the mind/body); Shad-sampat- Six Virtues (tranquility, dama (sensory control), uparati (renunciation), titiksha (endurance), shraddha (faith), and samadhana (concentration)); and Mumukshutva- longing for liberation.

Conclusion If you have read this article for the sake of finding a system of yoga to help you grow spiritually, it would be advisable to do further research into the systems that seem compatible to your needs and character. Not every individual is practicing yoga for the sake of self-realization. Each system of yoga provides its own unique benefits that evolve from the practice and therefore can be practiced without the intention of achieving self-realization. While the ultimate goal of yoga is liberation, there are many benefits of the practice that naturally occur as the body, mind, and energy within the human being are purified. As mentioned previously, if you decide to take up the practice of Raja yoga or kundalini yoga it is best to seek an experienced guide before commencing the practice. However, ultimately, every system of yoga requires a guru or adept practitioner who can direct the student through a specific system of yoga.

Each style that we have mentioned above is unique and there is no right or wrong one, or one that is better than the other. In actuality, there are thousands of different styles of yoga, yet the ones we have mentioned are the primary branches for the practical side of yoga. When choosing a practice, select one that seems to possess characteristics that are in harmony with your personality and individuality. Starting from there will give you a good relationship to your practice and make it easier to gradually introduce it into your life on a daily basis. A consistent practice provides the greatest opportunity for self-growth and transformation.

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