#celestials rich era ??

[stargazerlillian]

OMGGGG... MY GIRL... MY BEAUTIFUL GIRL IN ALL HER CELESTIAL REVERIE... MY EYES HAVE ONCE AGAIN BEEN BLESSED WITH ARTISTIC GREATNESS!!💕💗💕💗💕💗💕💕💕

@stargazerlillian's OC, Star!

[rrcraft-and-lore]

In addition to my Monkey Man post from earlier, the always kind & sweet Aparna Verma (author of The Phoenix King, check it out) asked that I do a thread on Hijras, & more of the history around them, South Asia, mythology (because that's my thing), & the positive inclusion of them in Monkey Man which I brought up in my gushing review.

Hijra: They are the transgender, eunuch, or intersex people in India who are officially recognized as the third sex throughout most countries in the Indian subcontinent. The trans community and history in India goes back a long way as being documented and officially recognized - far back as 12th century under the Delhi Sultanate in government records, and further back in our stories in Hinduism. The word itself is a Hindi word that's been roughly translated into English as "eunuch" commonly but it's not exactly accurate.

Hijras have been considered the third sex back in our ancient stories, and by 2014 got official recognition to identify as the third gender (neither male or female) legally. Pakistan, Nepal, Bangladesh, and India have accepted: eunuch, trans, intersex people & granted them the proper identification options on passports and other government official documents.

But let's get into some of the history surrounding the Hijra community (which for the longest time has been nomadic, and a part of India's long, rich, and sometimes, sadly, troubled history of nomadic tribes/people who have suffered a lot over the ages. Hijras and intersex people are mentioned as far back as in the Kama Sutra, as well as in the early writings of Manu Smriti in the 1st century CE (Common Era), specifically said that a third sex can exist if possessing equal male and female seed.

This concept of balancing male/female energies, seed, and halves is seen in two places in South Asian mythos/culture and connected to the Hijra history.

First, we have Aravan/Iravan (romanized) - who is also the patron deity of the transgender community. He is most commonly seen as a minor/village deity and is depicted in the Indian epic Mahabharata. Aravan is portrayed as having a heroic in the story and his self-sacrifice to the goddess Kali earns him a boon.

He requests to be married before his death. But because he is doomed to die so shortly after marriage, no one wants to marry him.

No one except Krishna, who adopts his female form Mohini (one of the legendary temptresses in mythology I've written about before) and marries him. It is through this union of male, and male presenting as female in the female form of Mohini that the seed of the Hijras is said to begun, and why the transgender community often worships Aravan and, another name for the community is Aravani - of/from Aravan.

But that's not the only place where a gender non conforming divine representation can be seen. Ardhanarishvara is the half female form of lord Shiva, the destroyer god.

Shiva combines with his consort Parvarti and creates a form that represents the balancing/union between male/female energies and physically as a perfectly split down the middle half-male half-female being. This duality in nature has long been part of South Asian culture, spiritual and philosophical beliefs, and it must be noted the sexuality/gender has often been displayed as fluid in South Asian epics and the stories. It's nothing new.

Many celestial or cosmic level beings have expressed this, and defied modern western limiting beliefs on the ideas of these themes/possibilities/forms of existence.

Ardhanarishvara signifies "totality that lies beyond duality", "bi-unity of male and female in God" and "the bisexuality and therefore the non-duality" of the Supreme Being.

Back to the Hijra community.

They have a complex and long history. Throughout time, and as commented on in the movie, Monkey Man, the Hijra community has faced ostracization, but also been incorporated into mainstream society there. During the time of the Dehli Sultanate and then later the Mughal Empire, Hijras actually served in the military and as military commanders in some records, they were also servants for wealthy households, manual laborers, political guardians, and it was seen as wise to put women under the protection of Hijras -- they often specifically served as the bodyguards and overseers of harems. A princess might be appointed a Hijra warrior to guard her.

But by the time of British colonialism, anti-Hijra laws began to come in place folded into laws against the many nomadic tribes of India (also shown in part in Monkey Man with Kid (portrayed by Dev Patel) and his family, who are possibly

one of those nomadic tribes that participated in early theater - sadly by caste often treated horribly and relegated to only the performing arts to make money (this is a guess based on the village play they were performing as no other details were given about his family).

Hijras were criminalized in 1861 by the Indian Penal Code enforced by the British and were labeled specifically as "The Hijra Problem" -- leading to an anti-Hijra campaign across the subcontinent with following laws being enacted: punishing the practices of the Hijra community, and outlawing castration (something many Hijra did to themselves). Though, it should be noted many of the laws were rarely enforced by local Indian officials/officers. But, the British made a point to further the laws against them by later adding the Criminal Tribes Act in 1871, which targeted the Hijra community along with the other nomadic Indian tribes - it subjected them to registration, tracking/monitoring, stripping them of children, and their ability to sequester themselves in their nomadic lifestyle away from the British Colonial Rule.

Today, things have changed and Hijras are being seen once again in a more positive light (though not always and this is something Monkey Man balances by what's happened to the community in a few scenes, and the heroic return/scene with Dev and his warriors). All-hijra communities exist and sort of mirror the western concept of "found families" where they are safe haven/welcoming place trans folks and those identifying as intersex.

These communities also have their own secret language known as Hijra Farsi, which is loosely based on Hindi, but consists of a unique vocabulary of at least 1,000 words.

As noted above, in 2014, the trans community received more legal rights.

Specifically: In April 2014, Justice K. S. Radhakrishnan declared transgender to be the third gender in Indian law in National Legal Services Authority v. Union of India.

Hijras, Eunuchs, apart from binary gender, be treated as "third gender" for the purpose of safeguarding their rights under Part III of our Constitution and the laws made by the Parliament and the State Legislature. Transgender persons' right to decide their self-identified gender is also upheld and the Centre and State Governments are directed to grant legal recognition of their gender identity such as male, female or as third gender.

I've included some screenshots of (some, not all, and certainly not the only/definitive reads) books people can check out about SOME of the history. Not all again. This goes back ages and even our celestial beings/creatures have/do display gender non conforming ways.

There are also films that touch on Hijra history and life. But in regards to Monkey Man, which is what started this thread particularly and being asked to comment - it is a film that positively portrayed India's third sex and normalized it in its depiction. Kid the protagonist encounters a found family of Hijras at one point in the story (no spoilers for plot) and his interactions/acceptance, living with them is just normal. There's no explaining, justifying, anything to/for the audience. It simply is. And, it's a beautiful arc of the story of Kid finding himself in their care/company.

[obsidian-pages777]

Pick a card: Your Future Aesthetic.Pick an Image

Left to Right Top Row-> Pile 1, Pile 2. Left Bottom Row -> Pile 3 [Pick one of the three]

Reading 1: The Ethereal Dreamer

Card Drawn: The Star

Your future self will be deeply enchanted by an ethereal, dreamy aesthetic. Imagine a world filled with soft, flowing fabrics in pastel hues like lavender, blush pink, and sky blue. Your spaces will be adorned with fairy lights, delicate crystals, and celestial motifs such as stars and moons. This aesthetic is all about creating a serene, magical atmosphere that feels almost otherworldly.

Your fashion choices will lean towards flowing, bohemian dresses, sheer materials, and intricate lace details.Mostly pastel themes. Being attracted to light colors.Butterfly motifs are prominent. You might carry a free flowing nature to your personality representing your aspirations towards expansion of peace.

Home decor will feature airy, light-filled spaces with plenty of natural elements like feathers, geodes, and plants.

Your future self will seek to create a sanctuary that feels like a serene escape from reality, full of whimsical fairie-esque and gentle beauty.

================================================================================================

Reading 2: The Bold Visionary

Card Drawn: The Emperor

Your future self will gravitate towards a bold, visionary aesthetic that exudes confidence and sophistication. This look is defined by strong lines, rich colors like deep navy, burgundy, and emerald, and luxurious materials such as velvet, leather, and silk.

Your fashion will include tailored suits, statement pieces with geometric patterns, and accessories that make a statement.

Home decor will feature modern furniture with clean lines, metallic accents, and striking art pieces. Your spaces will be meticulously organized and designed to project power and elegance.

The aesthetic you will love is one that commands attention and reflects a sense of authority and ambition, perfectly suited for a leader who is unafraid to stand out and make bold moves.

================================================================================================

Reading 3: The Vintage Romantic

Card Drawn: The Lovers

Your future self will find joy in a vintage, romantic aesthetic that celebrates nostalgia and timeless beauty.

Picture a world filled with delicate floral patterns, antique furniture, and soft, muted tones like rose, cream, and sage green. Your fashion will be inspired by eras past, with a love for lace, vintage dresses, pearl accessories, and retro hairstyles.

Home decor will feature shabby chic elements, ornate picture frames, and cozy, intimate settings with lots of personal touches like family heirlooms and handmade crafts.

This aesthetic is all about creating a warm, inviting atmosphere that feels both elegant and charmingly old-fashioned. Your future self will delight in the romance and history embedded in this timeless style.

================================================================================================

[sludgewolf]

Studying Together - Obey Me! Characters

Due to immortality and their own interests they're knowledgeable in various human languages, when seeing you're trying to learn some by yourself they decide to help

Characters: the demon brothers, Diavolo, Barbatos, Solomon and Simeon

Disclaimer: do not copy, repost, take or feed to AI or NFTs anything I post

Masterlist

Lucifer / Satan / Barbatos / Solomon

enjoy to study it the old fashined way, knowledge for knowledge sake kind of thing

they'll sit down by your side and help you study, assisting you with grammar and helping you practice pronunciation by speaking with you only in that language while studying

will import textbooks from the human world to teach you properly and will take you to library dates to study

Lucifer is the most likely to quiz you on what you learned, making worksheets and grading you

Barbatos invites you to Diavolo's castle every friday to drink tea and study together, only speaks with you in said language, you'll either learn or suffer

Satan is the most gentle and patient with you, will sometimes recommend some fantasy or detective books in your target language and read it with you to have an excuse to spend even more time with you without his brothers getting in the way

is also the one that teaches you swear words and will badmouth the others to you in other languages in front of them

Mammon / Leviathan / Asmodeus

they ended up learning many languages due to their interests - games, movies, fashion

Despite being basically fluent in those languages they can't for the life of them explain to you why some things are the way they are since they learned those languages pretty informally, seeing it in practice and never even glancing at the theory

but they're the best on slangs and have the most fun way to learn said language

though Levi's korean sounds more like kpop mv than an actual person and his english suffers from sounding like Leon Kenedy and other old horror games

Mammon flipflops between sounding like he's always in a cassino or like a action movie, saying the shittiest and cheesiest lines you've ever had the displeasure of hearing

Asmo's italian and french mimmics the accent of only the top fashion designers, making him sound like a rich old lady

her english also suffers from the victorian era accent that she could never get rid of and somehow looped around to being trendy again because of him

Beel/ Belphie / Lilith / Diavolo

are/ were very curious about humans and human culture, learning human languages by observing them through the centuries

kind of the learning through osmosis squad

they end up being the most knowledgeable on how the languages developed into what they are now

are the ones that talk the most like fluent speakers and maybe the most helpfull out of all the others in helping you learn

Beel leans a bit more on knowing because of his interests but due to Lilith and Belphie infodumping on him constantly he ended up learning human languages pretty well, he's also unfairly a natural with other languages, picking them up quickly with very little effort

Diavolo doesn't have that much of a attention span to sit down with only one human culture, but he ends up having a lot of knowledge of various human groups in different eras

def a emu war girly will use any excuse to talk about it, if Barbatos allowed he'd have a pet emu because he likes them that much

Belphie ended up dropping his interest in humans after the Celestial War for obvious reasons but after making up with you and learning what really happened to Lilith he decyides to pick it back up not only for him but also to keep her memory alive

the best teacher of them all not because he knows everything but because he's studying with you, making you explain things to him which ends up helping you both

Simeon

Angels are naturaly blessed with magic that instantly translates whatever is being said between them, though inspired be seeing the brothers effort Simeon developed an interest in learning the old fashioned way, finding it more gratifying than just magicking it away

after meeting you he's more than ecstatic for studying it by himself since now he can help you

has the thickest celestial accent, his vowels warping and consonants chittering almost like his real celestial form is trying to come out

his tutoring is clumsy and at some points very outdated but he's clearly trying

If you liked this pls reblog and comment so I know to write more like it

[lixizpixi]

GIRL I TOTALLY FORGOT ABT THE SMAU 😭

PLEASE MAKE ANOTHER SMAU!! PREFERRABLY JAEMIN!!

GIRL I LUV JAEM as everyone knows !!! so maybe !! BUT IM STILL TRYING TO MAKE THE SMAU FOR @lixizpixi (sorry girl, our schedules keep clashing so we cant discord and stuff </3)

[buttherainbowhasabeard]

Unpopular Opinion: David Tennant Should Never Have Returned To Doctor Who

When a teary eyed David Tennant as The Doctor uttered the words “I don’t want to go” in his 2010 generation scene, it was a heartbreaking moment for fans. Saying goodbye to such a universally loved incarnation would be hard, but this was Doctor Who. Change was inevitable, and often, exciting.

So when the BBC announced that Tennant would be returning to the iconic role 15 years on, as part of a series of 60th anniversary specials, I was sceptical. 

It looked like I was the only one though, as the internet erupted with anticipation and jubilation. I, however, thought the 14th Doctor reveal was a huge distraction that disrespected both the outgoing and the incoming actors.

Don’t get me wrong, Tennant is one of my favourite modern Doctor’s. His mid 2000s run as the 10th Doctor was funny, frightening, heartfelt and unforgettable. He had some of the best companions and villains, and some of the smartest and most compelling stories. But all good things come to an end, and now his emotional first exit felt a bit hollow. 

His return really took the shine off Jodie Whittaker’s finale. Yes, her years as the 13th Doctor were responsible for some of the worst Doctor Who storylines in recent memory. But this was hardly her fault, and instead of enjoying her last moments as The Doctor and reflecting on the good bits (the first female Doctor in the show’s history), fans were shouting at their screens for her to hurry up and regenerate so their favourite could return. It was almost like the show was doing a reset and hoping we’d forget about her.

It also meant that the now 15th Doctor (Ncuti Gawta, the first gay, black Doctor in the show’s history) had to wait a little longer to make his debut, which seemed on-the-nose too. 

The BBC were making it crystal clear who they thought their most popular Doctor was. Tennant has had more screen time than any other modern era Doctor, and now he’s the only one still alive and kicking post regeneration across all eras. Haven’t they ever heard of 'jumping the shark' or having too much of a good thing?!

He had four consecutive seasons from 2005-2008, with a fake regeneration at the end of Series 4 that saw him get cloned and live happily ever after with Rose Tyler on parallel earth. From 2008-2010 he travelled sans companion in a series of specials, before reluctantly regenerating into Matt Smith. In 2013, he made an appearance alongside Smith in the 50th anniversary special.

And now in 2023, he’s done three extra episodes alongside Catherine Tate reprising her role as his much loved Series 4 companion Donna Noble. These specials ended with him bi-generating (one Tennant Doctor, one Gatwa Doctor - don’t ask!) and continuing on as The Doctor, complete with his own TARDIS. He will, he says, stay put on earth to let Gatwa go off and have his own adventures. How generous of him! 

Firstly, Tennant’s latest run didn’t feel like a 60th anniversary either. Instead it felt like a very late follow up and conclusion (or even an alternative ending) to Series 4, so the opportunity to include other cameos and celebrate the show’s rich history was lost.

In ‘The Star Beast’, the monstrous Meep really just provided a reason for The Doctor to see Donna again. In ‘Wild Blue Yonder’, The Doctor and Donna fought creepy doppelgängers of themselves (again, talk about self-indulgent!), and in ‘The Giggle’, Neil Patrick Harris’ promising Celestial Toymaker did little more than put on a funny accent and do a funny dance.

Sure, it had some fun and heartfelt moments. I'm glad the DoctorDonna Human-Time Lord metacrisis has been resolved. The Doctor's tender moments with Donna were nice. His two redheaded companions (Donna and Mel) holding his hands as he "regenerated" was touching. Even Tennant and Gatwa's interactions were surprisingly sweet. However, the whole jaunt just felt like an excuse to reunite Tennant and Tate and capitalise on their lingering popularity. Which leads me to my second point… 

No other actor has been able to continue on as The Doctor, so the fact that this is the first exception to the rule shows that the studio is very obviously playing favourites. They are keeping Tennant’s sprightly sneaker wearing, pin stripe suited spaceman up their sleeves to roll out whenever they please. If the ratings plummet, they can bring Tennant back. If the fans want it, they can bring Tennant back. If Tennant wants it, they can bring Tennant back. Does anyone else smell a spin-off?

Thirdly, I don’t buy the idea that The Doctor can be - and wants to be - domesticated at all. Despite everyone telling him that he needs to stop and slow down, he has never once done so. In every incarnation, he/she is an energetic, chaotic and forever on-the-go entity that can’t stand waiting or having to sit idly by.

So, all of a sudden we're expected to believe that he’s going to stay with Donna and her family and just hang out on earth like a regular human? I doubt it. He even said it himself to Rose in Season 2, when trying to justify why he can’t settle down. "You can spend the rest of your life with me. But I can't spend the rest of mine with you." If bi-generation had have happened to Peter Capaldi’s 12th Doctor, I might have accepted it better because he said he wanted to rest. It would’ve made more sense there.

And lastly, but probably most importantly, everyone loves a bit of nostalgia, but bringing beloved characters back from the dead to get ratings up again isn’t a good enough reason. In reality, it just reeks of lazy writing or a lack of creativity, and in turn, a lack of closure. The whole point and poignancy of a show like Doctor Who is that The Doctor must change and move on, as we, the audience, have to move on.

When someone plays The Doctor, they do it for a limited time but they leave a lasting legacy. Having Tennant on standby undermines that. I want the writers to invest in their new actors and have faith in their new adventures instead of having earlier models waiting in the wings.

So for me, the best thing about these three specials and the finale wasn’t that Tennant didn't have to say goodbye this time. It was that Gatwa finally got to say hello...

[invadertem]

HUB PLANET: IRK

(Not my art, I just like how it looks so I didn’t bother to do my own, made by this person)

Irk is a solitary celestial body, devoid of neighboring planets, and was historically held in place by the balancing influence of two opposing gravitational forces, each vying to draw it closer to their solar system. However, in its current configuration, Irk's position is maintained by a network of artificial gravitational thrusters.

PRE-TECH ERA OF IRK:

The Pre-Tech Era of Irk signifies the period preceding its transformation into a highly technologically advanced entity. While there are no extant photographic records depicting Irk in this earlier state, there exists documentation pertaining to the planet's geography, indigenous wildlife, and plant life. It's important to note that during the Pre-Tech Era, Irk's planetary dynamics differed significantly from its current state.

The most important feature of the Pre-Tech Era was Irk's leisurely rotation, resulting in an extended day-night cycle. Irk experienced 24-month cycles instead of the present-day 12-month format. This elongated rotational period impacted the planet's climatic conditions and the life forms that inhabited it. Unlike the contemporary Irk, the Pre-Tech Irk closely resembled other terrestrial planets in terms of its ecosystems.

What sets the Irk apart from its other terrestrial planets even to current day is its unique energy source. Instead of relying on solar radiation, the flora and fauna of this period thrived on the planet's internal heat. Consequently, plant life on Pre-Tech Irk did not necessitate exposure to sunlight, resulting in a characteristic purple hue instead of the familiar green. Notably, Irk remained perpetually enshrouded in darkness, given its considerable distance from a star. However, the planet's core temperature remained substantially high, providing the necessary conditions for sustaining life.

The climate on Pre-Tech Irk exhibited variations, including intermittent cooling phases within the 24-month cycle, during which the planet experienced extremely frigid conditions. To adapt to these extreme temperature fluctuations, the indigenous creatures of Irk developed remarkable abilities to regulate their body temperatures.

Furthermore, the Pre-Tech Era featured diverse biomes across the planet, contributing to a rich and complex ecosystem. Regrettably, our knowledge of this era remains limited, and further exploration is required to unravel the full extent of this intriguing period in Irk's history.

This period exerted a profound influence on the early development of the Irken race. To adapt to the perpetual darkness of Irk, Irkens underwent evolutionary changes. They developed enlarged eyes to enhance their vision in the absence of daylight. Additionally, their distinctive claws on both hands and feet evolved to facilitate movement and grip in the rocky terrain.

During the Pre-Tech era, Irkens primarily sported tails, which served multiple purposes. These tails not only aided in maintaining balance but also provided warmth during the colder months. Furthermore, communication among Pre-Tech era Irkens primarily comprised a vocal language consisting of chirps, trills, and hisses. However, for more information see the “Irken anatomy and traits” sector.

MODERN IRK ERA:

Irk in its current state is a meticulously organized, hollow celestial body comprised of distinct layers, each serving a crucial role. This architectural design has been engineered to cater to the diverse needs of the Irken Empire while ensuring efficiency and advanced capabilities.

The first layer, known as the 'Outer Ring,' encircles the planet and serves as an expansive artificial extension. Its purpose is to provide additional space beyond what the planet's natural surface can accommodate. The Outer Ring remains in stable orbit thanks to Irk's gravitational forces.

The second layer, referred to as the 'Atmospherical Shield,' encompasses the planet, functioning as both a protective barrier and a symbol of Irken Empire. This shield not only safeguards the planet but also prominently displays the emblem of the Irken Empire. Furthermore, it emits artificial lighting, ensuring a perpetual illumination.

Upon the Outer Ring, the third layer, 'The Surface,' is accessible through teleportation technology. This surface is home to towering cities teeming with industrious Irkens, encompassing both the workforce and civilian populations. Civilian Irkens are responsible for the production of various resources, including weaponry, medical supplies, and official documentation.

The final layer delves into the innards of the planet. Irk's hollow interior offers an array of subsections, with notable areas such as 'The Smeetery' at its core and the 'Training Grounds' just beneath the surface. This comprehensive structure has been meticulously designed to meet the needs of the Irken Empire, ensuring it operates from a robust and technologically advanced home base.

Remarkably, the process of hollowing the planet has accelerated its rotation, leading to a transition from a 24-month period to a 12-month period. In fact, Irk's rotation now synchronizes with that of Earth. Notably, the previous ecological diversity, or biomes, no longer exist on Irk, as it has been transformed into an expansive cityscape.

Irk serves as the central hub and operational headquarters of the formidable Irken Empire, boasting a sizeable and highly advanced Irken populace.

Irk employs a sophisticated dating system structured around 12 distinct months: Lunaris, Celestria, Nebulon, Quasar, Zephyria, Astracon, Solara, Galaxis, Interstella, Orbulon, Novaris, and Cosmara. Complementing this, the society adheres to a unique seven-day week, which aptly reflects their culture's vertical hierarchy: Lowgrav, Stiltday, Leviturn, Skyspan, Vertix, Atmoshif, and Apexday.

Years in this system are demarcated from the inception of the Irken Empire and consist of a numerical value, ranging up to 10,000, followed by a letter. This letter signifies how many times this 10,000-year mark has been reached. Presently, the dating system designates the year as 2030x. This comprehensive calendar system reflects the historical significance and innovative nature of the Irken civilization.

[uniiiquehecrt]

Why is it a cosmic problem that the Asgardian bloodline will end with Thor? Asgard is no more - what we have is a nonmagical place on Earth where Asgardians live. When Asgard doesn't exist, who cares that there will be no heirs. The current ruler is someone to whom King Thor just gave the rulership. That's how every ruler will be made now - anyone the current ruler gives it to. Or maybe they start holding elections. Make it democratic.

They don't need heirs now. And Thor will die alone in a ditch. It doesn't matter anymore. Taika has made it so that everything in Thor's world is insignificant now. But this is a happy ending.

I... genuinely can't entirely tell if you're being sarcastic, nonny, or if this is a genuine question that perhaps I may be misreading... (and if I have, do feel free to send a follow up and correct me)

but there's quite a many problem with the royal bloodline ending with Thor from an in-universe standpoint, just as well as the trajectory of Asgard's fate from Ragnarok and Endgame onward is an insult to the worldbuilding of Earth-199999's Asgard and the Nine Realms.

There's a couple of different ways you could slice my statement and I would still argue that what I've said can be seen as true. But I'll go through the wide range of elements in your ask to best illustrate the broader strokes of my point.

but TL;DR:

Ultimately you answered your own question, and that's the best way to boil down the travesty of it all:

Q: Why is it a cosmic problem that the Asgardian bloodline will end with Thor? A: Taika has made it so that everything in Thor's world is insignificant now.

Not only this, but Thor is the lastoline of the royal family. Before which, there only existed himself, and his father, Odin. He is the last of a subspecies of alien on par with other massively powerful aliens like Titans and I would wager, potentially even more mortal Celestials like Ego. He's a being who can generate storms just because he's miffed. Once Thor is dead and gone, there will NEVER be an Asgardian who is more than just your usual 'super-strength, super-speed, super-endurance' humanoid looking alien. There will NEVER be an Asgardian with the ability to summons storms and have lightning flow through his veins.

Hela had dominion over life and death, Thor is effectively a living, breathing, walking, talking tempest, Odin can be inferred to have some kind of 'order' seeking affinity. Who knows about MCU Bor and Buri. They are INCREDIBLY ancient, and powerful beings. If MCU Asgardians are to MCU humans what D&D elves are to D&D humans, then Thor is to Asgardians what an eladrin elf is to normal elves.

And we are watching – have already watched, even, — that incredibly powerful, incredible RARE sub-species of asgardian effectively be driven to extinction.

Just think about that for a second.

(the rest has been put under a cut because this answer got long, and for that I apologize ... mostly.)

Asgard is no more - what we have is a nonmagical place on Earth where Asgardians live.

Yes. This. This is quite actually the crux of the problem of this choice. The most beautiful and compelling aspect of the MCU in Phase 1 in particular is the prospect of an alternative universe out there where, to quote Jane Foster, "magic is just science that hasn't been explained yet". A world where superheroes truly can exist and aren't cartoonishly corny as superhoes used to be depicted... I'll say pre!Raimi Spider-Man era. (Though.. the Goblin's costume is still pretty goofy.)

What made Thor stand out as an individual hero within the Avengers (both the team, and the 2012 feature), and what made him so compelling to quite a many fans new, old, or casual, was that Thor is magical. He comes from a place where magic and science are the same thing. His whole world is ethereal and timeless, it's vast and expansive, and because it's inspired by real world norse mythology — of which is itself a rich and fascinating study in and of itself — there are a thousand different directions he could be taken.

I may be speaking partly for myself, but he also further ropes in a fantasy-centric audience such as myself who largely enjoy high-fantasy, medieval inspirations, tales of chivalry, hope, love, adventure, magic, timeless knights and princes — Dark World in particular has him acting quite a bit like your typical idea of a chivalrious, regal, stately prince or honorable knight who is virtuous and kind, and who protects those who can't protect themselves.

And that's just a single aspect of what made him so unique. What made him so unbelievably lovely. Thor is lovely, and Thor is magical. His family, friends, world, and people are magical.

But as of RAGNAROK, the realm he hails from was destroyed before our eyes before we got to truly know anything about it.

As of ENDGAME and LOVE AND THUNDER, the people and culture of asgard that remain has been so watered down that they dared to make New Asgard a tourist attraction in some rinky-dink nowhere backwater coastal town no different than Puente Antiguo, New Mexico where Thor first crash-landed in the first film.

Asgard used to be on par with, if not even more intriguing and full of mystery, than Wakanda, the earthen monarchy. Now it's a tourist trap that ... for some reason has "infinity gauntlet" ice cream in the heart of the town of a people devastated by Thanos twice.

The current ruler is someone to whom King Thor just gave the rulership. That's how every ruler will be made now [...] They don't need heirs now.

Potentially unpopular opinion (?) but I have so many issues with the decision to give Lady Valkyrie Thor's birthright that it could take an entire 10 paragraph essay for me to fully delve into all of the issues.

In short:

To say Valkyrie had a character beyond "traumatized alcoholic with a chip on her shoulder" is ... generous at best. That's not a diss, that is entirely factual. I could not tell you what her Want vs. Need is, or her character goal, or her motivations, or why she bothered to suddenly help Thor (re: lack of motivations) because she never took any action with any real agency in RAGNAROK that wasn't spurred on by Loki. ....Off screen.

I also don't think that the woman who had spent over 1,500 years MINIMUM running away from her home and her people, festering bitterness, spite and hatred towards the royal line, and who never actually respected Thor in the first place because of who his father is should have been honored the title of King. She did not deserve that. Both in general, and as a character who frankly just did not get enough screentime to really be SHOWN caring for her people, atoning for her absence and otherwise supporting, caring for, and working alongside Thor. Had she actually been shown doing any of the above in a substantial amount of screentime, perhaps then I might have felt differently, as if she earned the position more than Thor who has spent 2 solo movies (not counting RAGNAROK) earning his place as a future leader. This is likewise not entirely counting his O.S. actions of maintaining peace under his authority between Avengers and Dark World, and his personal search for the Infinity Stones post!Age of Ultron.

Valkyrie is powerful, yes, but she is ultimately still NOT an Asgardian Royal. And to your point about "this is how every ruler will be made now" — Heimdal aside, NO OTHER ASGARDIANS have special powers. It is EXCLUSIVE to Odin's bloodline. (Frigga is a practicing witch and these are two incredibly different things, since Loki was taught his magic, not born with it.) This is a GLARING worldbuilding issue further highlighted down below, but the tl;dr of it is: the only reason why Earth has been largely untouched and the Nine Realms kept safe in isolation despite the constant going-ons of the other galaxies in the universe is BECAUSE of the royal line. Odin isn't kidding around when he says he (and his bloodline) are protectors of the Nine Realms. Valkyrie is most certainly able to try, but at the end of the day she's NEVER going to be able to get through very many galactic battles without ultimately calling on Thor for assistance at the end of the day. And when her time is up? Or when Thor is finally dead and gone? There goes your ace in the hole.

But more than that, thinking about it semi-realistically from a worldbuilding perspective:

It's quite literally a cosmic problem in that there is now a galactic power imbalance. MCU!Thor comes from a version of Marvel's world where the there aren't literal gods, but there are aliens. Tons of aliens. All with varying powers and proportions and what-have-you-not. More specifically: power humanoid aliens from a realm called Asgard, that in Earth-199999 inspired the entirety of the Norse mythos of the viking age.

These aliens, governed by the ruling monarch of the realm eternal, also govern over 8 additional realms— which for all we know could range from a territory that is a singular planet (vanaheim, asgard), to potentially an entire solar system (earth and its solar system). BOTH options nine times over marks an absolutely incredible empire for a singular species of alien to claim complete control and territory over.

But they were not only able to obtain this territory but continue to safeguard it under Asgardian protection because the royal family is gifted incredible power (Thor, for instance, can change the atmosphere out of sheer mindless emotion not to mention conscious thought), and have secured and/or subdued multiple infinity stones throughout the millenia (the aether/reality stone, the tesseract/mind stone, thor has also personally endured a power stone directly to the temple, for instance), and have maintained peace for a MINIMUM of a thousand years beneath Odin's reign as All-Father, Protector of the Nine Realms.

So, if the royal family governs its own pocket dimension planet, AND maintains peace and prosperity by personally safeguarding the territories itself and of eight additional realms, all with a variety of other alien species, ecosystems, solar systems, galactic quadrants, etc. ...Who are also KNOWN to be fierce and proud warriors who have likewise safeguarded ancient and powerful alien relics the likes of the tesseract/mind stone for hundreds if not thousands of years — and you take this long-lived warrior race out of their own equation...?

We're talking potential outbreaks of a new age of war the likes of those talked about in Thor (2011), in-fighting amongst the Nine Realms, invasions from outside realms of conquesting species, so on and so forth. Without Asgard and specifically a Royal Asgardian at the seat of power to maintain the balance of what has been built, (and i specify a ROYAL asgardian, aka Thor's line, because his bloodline is the only asgardian bloodline with the raw power to maintain and preserve everything long-term), well, you've effectively started a cosmic power vacuum — even if the MCU likely will never bother to explore the consequences of it.

Slight sidebar (albeit still mostly related), but:

Quite frankly one of the funniest aspects of Thor's relationships with Nick Fury and the humans that are equally as worked up about aliens existing, pointing their fingers at Thor as an example of their right to be wary (and eventually Loki and the Chutari, though those are more earned) is that they are effectively minimum-wage fast-food employees bad-mouthing he who is essentially the up-and-coming Chairman of the metaphorical "Yggdrasil's Nine Realms Fast Food Chain" without realizing who he actually is.

(Which, viewing through that lens makes the Avengers Nick Fury scene and the Tony Stark Age of Ultron scene even more hilarious despite the eventual coming of Thanos, because Thor, bless him, doesn't take ...much... offense to it until the bad-blood becomes over-bloated and geared towards the violent. RE: "My people want nothing but peace with your planet." / "Your work with the tesseract is what drew Loki to it, and his allies. It is a signal to all the realms that the earth is ready for a higher form of war.")

For all of the drama of MCU Phases 1-3, realistically speaking, Midgard is low enough on the hierarchy of Asgard's protected territories that not only would it not be targeted first by Asgard's enemies (or other conquesting alien species), but even if it WAS to be targeted, or if Asgard was in its own fit of warfare ... Earth wouldn't even know it in the first place because THAT is how good at their jobs the Asgardians are. Earth, despite being SURROUNDED by alien activity and having even been in possession of multiple infinity stones at a time throughout history, not ONCE realized that (other) aliens existed out there... during the entirety of the 1,000-some years of peace that Odin so often talked about.

[spacetimewithstuartgary]

Recent volcanism on Moon

Extensive geologic evidence of ancient volcanic activity can be found on the Moon, but how long this volcanism persisted has been unclear. However, Prof. LI Qiuli’s Lab at the Institute of Geology and Geophysics of the Chinese Academy of Sciences (IGGCAS) has recently identified three volcanic glass beads from lunar soil samples collected by the Chang’e-5 mission. Their research shows that the beads were formed 123±15 million years ago (Ma), thus representing the youngest lunar volcanism confirmed by radioisotope dating so far.

The study was published in Science.

Dating of lunar volcanic basalt samples returned to Earth by the Apollo and Luna missions or delivered to Earth as lunar meteorites has shown that lunar basaltic volcanism continued until at least 2.9–2.8 billion years ago (Ga). However, analysis of lunar samples returned by China’s Chang’e-5 mission has demonstrated that basaltic volcanism persisted until at least 2.0 Ga.

Remote sensing observations have indicated potentially even younger volcanism during the late Copernican era (<0.8 Ga) on the Moon. However, none of these remote observations provide a precise date for the potential volcanism. In addition, the proposed extrusions of late-Copernican mare basalt cover only restricted areas, no samples of which are available.

Eruptions of gas-rich magma can generate magma fountains, which produce submillimeter glass beads. Such beads could potentially be deposited over wide areas and subsequently be transported further across the lunar surface by impact. The volcanic glasses could be a trace component in existing samples.

Under the guidance of Profs. LI Qiuli and HE Yuyang, graduate student WANG Biwen and postdoctoral researcher ZHANG Qian investigated ~3000 glass beads in lunar soil samples and identified three volcanic glass beads, based on their textures, major- and trace-element compositions, and in situ sulfur isotope analyses.

The δ34S values of the three volcanic glass beads apparently differs from impact glass beads, thus providing criteria for distinguishing volcanic glasses from impact glasses. Uranium-lead dating of the three volcanic glass beads shows that they formed 123±15 million years ago (Ma).

The radioisotope dating of the three Chang’e-5 volcanic glass beads provides definitive evidence for 120-million-year-old volcanism on the Moon. The presence of such young lunar volcanism implies that small celestial bodies, such as the Moon, could maintain sufficient heat to sustain internal vitality until a very late stage. These results contribute additional constraints for geophysical models on the thermal history of the Moon’s deep interior.

IMAGE: Meteorite impacts and volcanic eruption producing glass beads on the Moon.  Credit Illustration by T. Zhang & Y. Wang

[yuniemaki]

On beiguang, yin/yang symbolism and the blessed dragon/fenghuang pairing

The Beidou x Ningguang ship in Genshin is heavily inspired by two main symbols in Chinese culture: Yin and yang, and the dragon and fenghuang pairing. In this essay (literally) I will deep-dive into the nuances of these two symbols that make this ship so complex and enthralling to me at least?!

Yin/Yang

Let’s talk a bit about the concept of duality in Chinese cosmology. Yin and Yang are complementary forces that interact together to represent duality and balance in all aspects, i.e a shadow (Yin) cannot exist without light (Yang).

Yin and yang are always opposite and equal qualities. Whenever one quality reaches its peak, it will naturally begin the transformation into the opposite quality: for example, a flower that blooms in spring (fully Yang) will wither and die back in winter (fully Yin) in an endless cycle.

This can be applied to all cyclic events in life, for example the rise and fall of things: Yang being the rise and yin being the fall. Creation (Yang) and entropy (Yin) are also two sides of the same coin. 

阴 Yin can be translated in several ways: the moon, concealed, overcast, hidden, shade. Generally, it represents the direction North.

The character 阴 can be broken down into two components:

The radical 阝, the graphical variant of 阜, meaning “mound, abundant, rich”, 

and the character 月, meaning “moon”.

阳 Yang can be translated as, male, the sun, overt, belonging to this world, activity. Generally, it represents the direction South.

The character 阳 can also be broken down into two components:

The radical 阝, the graphical variant of 阜, meaning “mound, abundant, rich”, 

and the character 日, meaning “sun”.

The terms “male” and “female” here don’t refer to gender specifically and are used very loosely – the Chinese believe in “feminine”/”negative” and “masculine”/”positive” energy as two halves of a whole, i.e. both must exist for balance to be. Neither can thrive without the other.

An interesting thing to note about Yin/Yang’s entomology is the way this phrase is written in Chinese. Chinese linguistics typically plac the “male”/”positive” energy first in the language, e.g. 男女, man-woman, and 天地, heaven and earth.

But in yinyang, 阴阳, the “female”/”negative” energy comes first. Scholars theorise that proto-Chinese society was perhaps matriarchal (Empress Dowager being more powerful than the Emperor), or that it was a way to challenge existing cultural preconceptions.

Dragon/Fenghuang

In Chinese mythology, the dragon and fenghuang are the two most powerful celestial symbols. The dragon represents "Yang" while the fenghuang represents "Yin”. 

The Chinese dragon is traditionally drawn without wings. Oftentimes it may be depicted together with a flaming pearl under its chin or in its talons. The pearl is associated with spiritual energy, wisdom, prosperity, power, immortality, thunder (electro!), or the moon.

The fenghuang is sometimes referred to as the “Chinese phoenix”, but it has a completely different mythos to the Western legends of rebirth and fire.

The fenghuang is a peace-loving celestial being that is believed to only appear in places blessed with the utmost prosperity and happiness. It is said to live atop the Kunlun Mountains, the Chinese version of Mount Olympus.

Together, the dragon/fenghuang pairing is known as the celestial pairing. The fenghuang is a symbol of luck, prosperity, and success; the dragon is a symbol of status and power. The two are said to strengthen each other when paired. Their union is a symbol of matrimonial bliss and more importantly - balance. 

Balance is a recurring theme in Beiguang, from Ningguang’s life and philosophy to Beidou’s (reluctant) admission that Ningguang balances her (more on that later when we deep dive into them individually).

It’s also worth noting that in some areas, the dragon/fenghuang symbol only appears to herald a new era - very much like what Liyue is going through now, heralding a new era of humans without an Archon’s guidance. And how fitting is it that the two most powerful women in Liyue now carry this symbol as they lead the nation into uncharted waters?

How Beiguang parallels Yin/Yang

The duality of Yin/Yang is visible in many aspects of life, from nature to society. One example is the sun moving across the sky. As the sun moves across the sky, things that are once illuminated (Yang) give way to shadow (Yin), revealing what was hidden, and hiding what was revealed.

Similarly, it represents the crux of Beidou and Ningguang’s relationship: infamously public yet ultimately secretive. The Captain and Tianquan talk about each other all the time, but what exactly is their deal? No one really knows.

Another example is their prized homes. The Jade Chamber is known to block out the moon over Liyue, yet is iconic in its skies – literally seen as the moon. It is passive in nature, still and motionless, and is also the epicentre of intelligence - aka covert activity. All these are symbols of Yin. 

Now we don’t know exactly where True North is in Teyvat’s map, but Polaris, the North Star, has always been known as a fixed point in the sky, which is why sailors use it to navigate their way home.

Similarly, the Jade Chamber is this fixed point in the sky of Teyvat that could be used as a “North Star” to return to Liyue Harbour. North is, after all, the direction that Yin represents.

I digress a little here, but also consider that Beidou is the Chinese name of the Big Dipper, the very constellation used to point sailors towards Polaris. We know from Beidou’s namecard that she believes in looking to the skies when she wavers, and “the stars shall light the way”.

There’s a poetic beauty in the Jade Chamber being representative of Liyue’s Polaris, and Beidou finding her way back to her “North Star'' each time the Alcor sails for home. 

Back on topic. In contrast, the Alcor on the other hand, is constantly moving and full of activity. It sails across the oceans; it is a symbol of power much like Beidou herself is (slayer of Haishan, Beidou tames the seas). 

And just like the sun, the Alcor docks and leaves Liyue Harbour - a reflection of how only the sun travels across the sky, illuminating different sides of the moon that patiently waits for light to be cast upon its surface (again, something we’ll return to later).

Water itself can also be separated into Yin (still bodies, lakes) and Yang (moving water, river, ocean). The Jade Chamber is home to still bodies of water (Yin symbol) both inside and out; the Alcor’s very home is the ocean, a powerful Yang water symbol.

Ningguang and Yin/fenghuang symbolism

Alright, let’s deep-dive into Ningguang’s character first. Her strongest fenghuang link is seen mainly in her namecard, and it carries a lovely name:

凝光・凤仪 (Níngguāng - Fèngyí): the admiration/ceremony/rites of the fenghuang

The duality of the fenghuang

What’s interesting about the fenghuang is its duality: in ancient times, the fenghuang was a cohesive yin/yang symbol on its own. Over time when the dragon came into the picture, the fenghuang was altered. When paired with the dragon, it now symbolises Yin. But alone, it symbolises Yang instead.

And that’s why Ningguang’s storied history reflects elements of Yin/Yang balance. She rises (Yang) to power by herself; she retreats from the public eye, hiding (Yin) in the Jade Chamber, yet she is known to publicly flaunt (Yang) her position as a member of the Liyue Qixing.

The diverse nature of the fenghuang and its original symbolism as balance in and of itself contributes to Ningguang’s enigmatic nature, and why she has so many seemingly contradictory opinions - fame being usually associated with Yang, yet secrets being more of Yin.

When the dragon/Yang is not there, the fenghuang shines, becoming the “sun”/Yang - Ningguang is, after all, the de-facto leader of Liyue at this point. She has the awe and the attention of the masses, her chamber is unmissable, she is a ruthless business mogul yet adored by the children like an elder sister. 

The parts of a fenghuang

It's also interesting to note that the fenghuang's body parts represent Ningguang's character well: 

virtue (head), 

duty (wings), 

propriety (back), 

credibility (abdomen), 

and mercy (chest).

Beidou and Yang/dragon symbolism

Perhaps the most obvious link between Beidou and the dragon is her Chinese title: 无冕的龙王 Wúmiǎn de Lóngwáng - “Uncrowned King of Dragons”.

She is specifically given the title “King”/王wáng instead of “Queen”/女王Nǚwáng - masculine energy being a strong Yang quality.

A symbol of Yang quality

Unlike the fenghuang, the Chinese dragon has always been a representation of Yang, which is why Beidou’s character very clearly represents the quintessence of Yang: well-liked, respected, reputed, masculine (in her feats - slaying Haishan, leading a pirate fleet, taming the seas), always on the move, never on land for long.

Traditionally, the dragon has always symbolised power and confidence. The Chinese dragon is the ruler of water and weather, especially moving bodies of water such as the sea, which might suggest why Beidou is able to navigate the sea so very well, to the point that her crew “believe her capable of taming the storms and billows on the sea.” 

She also “understands” the sea almost intimately, as seen in her CN voiceline “About us: an eye for people”:

“I’m good at reading people. When you’ve seen the wide ocean, the little splashes (changes) on people’s faces are just too easy to understand. Haha, so, I noticed you from the start.”

Beidou refers to the “changes on people’s faces” as “小水花/splashes (of water)”, implying that once you learn to read the sea (often known as a cruel mistress), people become easy to read in comparison. And to read the sea, you observe. You study every wave, every detail, so you can understand her subtleties. 

Despite being a pirate, Beidou’s dragon-symbolic traits show up in her honourable personality, her ability to command the loyalty of her crew, and her commitment to helping the less fortunate.

The dragon's history

Initially, the dragon was benevolent, wise and just, but the introduction of Buddhism added malevolent influence to the dragons. Water can raise and water can destroy. So dragons became able to destroy through floods, tsunamis and storms. 

Similarly, that could also be why Beidou, although symbolising the dragon, was also named to be a cursed child – perhaps a tribute to the dragon’s newfound duality.

Yin/Yang Symbolism in relation to Beiguang

Okay, we’ve got that all down, so now we can study Beiguang in the context of Yin/Yang and dragon/fenghuang symbolisms. Remember the bit earlier about how the sun is the only celestial body to travel across the sky in astrologers’ eyes, illuminating different sides of the moon? 

Present-day Ningguang resides in Liyue Harbour and (as far as we know) rarely leaves the nation. Beidou comes and goes as the sun rises and falls, and it is with her return that we have been seeing different facets of Ningguang come alive under the light of the sun (Yang). 

Ningguang has a voiceline in particular titled “About Us: Observing”. There is one key difference in the CN version of this voiceline, which I’ll translate:

“You’ve followed me for so long, (I’m sure) you’ve learned how to observe. Then, try to observe me, until you become my trusted confidant.” 

She asks Traveler to observe her. But what can you observe in the obscured until it is illuminated? Who illuminates her beyond the Tianquan that the masses know? 

Most of the key Liyue events in 2021 featuring Ningguang, Archon Quest aside, have also featured Beidou in some capacity. And we learn the most about Ningguang from and through Beidou, like how Yang casts light on and reveals what was previously hidden (Yin). 

Romantic gestures aside, their business relationship is also reflective of the dragon/fenghuang motif. Now the dragon symbolises the Chinese Emperor, known as a descendent of the celestial dragons, and the fenghuang symbolises the Empress. To be more specific, the fenghuang represents "power sent from the heavens'' to the Empress. 

This brings me back to the way Yinyang is written: female first. 

Traditionally although the empress dowager (Yin, fenghuang) supposedly holds more power than the Emperor (Yang, dragon), she works from the shadows, often more covertly. For all intents and purposes, the emperor has the final say. Similarly, Ningguang uses Beidou to do her dirty work.

Yin/Yang - two halves of a whole

Beiguang is essentially a perfectly balanced couple, and the game alludes to this in various ways. One is this interaction between Paimon and Beidou during Moonchase, after Ningguang and Beidou have their little squabble in front of the giant rock and all their friends:

The idiom she uses for "evenly-matched" (势均力敌) is usually used in context of a game/polls/tournament/etc. If you break down the etymology, it literally means "power/influence are equal (in a situation), (so our) strengths match".

Reminder that yin and yang are not just equals - they are also opposite qualities. Life and death, light and darkness, rise and fall. This is why Beidou and Ningguang “profess antipathy to each other’s way of life”, and yet they are united for Liyue’s greater good. They are the direct opposites of each other (law vs crime, elegance vs boorish, luxurious vs simple, light vs dark), but they are also equals. 

And Ningguang values this very much -

“Of the many candidates available, she picked Beidou.” 

She values time as her greatest resource, making businessmen bid for her time - but Beidou is given the permission to “come up any time” for a game of chess. 

All that said, their yin/yang dynamic is not new in Chinese romance stories. Off the top of my head, the titular characters of C-drama Who Rules The World essentially share the same Yin/Yang dynamic as Beiguang does. It’s a lovely trope that adds great complexity to character dynamics.

I do love how hyv has interwoven the dragon/fenghuang symbolisms deep into their lives however, such that Ningguang and Beidou both live and breathe the cultural symbols that they are inspired by, rather than letting it simply be a romantic trope. 

Beiguang nation, this be my first gift to you. Hope it’s been a fun read! Next up: GINKGOS.

Beiguang masterlist

[howtomuslim]

Islamic Science and Innovation: A Legacy of Enlightenment

Exploring the Golden Age and Pioneering Contributions in Astronomy and Medicine

Golden Age of Islamic Science

An Epoch of Intellectual Brilliance

The Golden Age of Islamic civilisation witnessed an extraordinary flourishing of knowledge, where scholars delved into various fields of science, mathematics, and philosophy. Libraries and centers of learning like the House of Wisdom in Baghdad served as hubs of innovation, nurturing intellectual curiosity and scientific inquiry.

Hadith (Sahih al-Bukhari) — “The seeking of knowledge is obligatory for every Muslim.”

Contributions to Astronomy

Stargazing and Advancements in Cosmology

Islamic astronomers made monumental strides in understanding celestial bodies and their movements. Pioneers like Ibn Al-Haytham, known for his work on optics and the scientific method, laid the foundation for modern astronomy. They refined the astrolabe, allowing precise observations of the stars, contributing immensely to our understanding of the cosmos. The astrolabe, used by the Portuguese, lead to the era of world exploration and whose importance was so foundational, it’s still symbolised on the Portuguese flag today. In addition, the vast majority of stars named throughout history have Arabic names.

References:

The Cambridge Concise History of Astronomy by Michael Hoskin

Quran (55:5) — “The sun and the moon [move] by precise calculation.”

Contributions to Medicine

Healing Arts and Medical Innovation

Islamic scholars’ contributions to medicine, epitomised by figures like Ibn Sina (Avicenna), revolutionized medical practices. Their texts, such as “The Canon of Medicine,” became authoritative sources for centuries, detailing anatomy, pharmacology, and diagnostic methods, shaping the foundation of modern medicine.

Hadith (Sahih Muslim) — “Make use of medical treatment, for Allah has not made a disease without appointing a remedy for it.”

The legacy of Islamic science and innovation underscores a profound commitment to inquiry, discovery, and advancement. It stands as a testament to the rich heritage of intellectual curiosity and meticulous research, inviting admiration and appreciation from both Muslims and non-Muslims for its enduring contributions to human progress and understanding.

To learn more about Islam visit: howtomuslim.org

[amewinterswriting]

Ame Reads: The Lady's Guide to Celestial Mechanics by Olivia Waite

A Regency-era, high-heat sapphic romance with a lot to say about women in science and their lack of acknowledgement through the ages.

I will say that I'm not the biggest reader of romance as a genre and I've only recently come into exploring it. Mostly because it skews quite het for my tastes and digging in deep enough to find queer stories (that aren't just 'coming out, dealing with homophobia' plots) is only something I've recently decided to do. That said, I loved reading this.

Many romance novels/novellas place the romance squarely at the front, with everything else simply providing an excuse to move the plot forward to hit the narrative beats of the genre. Personally, I felt that 'young woman struggling to be acknowledged as a scientist in Regency-era England' was strong enough to stand independently of the romance and indeed, I felt like that was the main 'meat' of the novel, with a lot of rich depth and real pathos behind it. The passion for the field of astronomy, the very relatable frustration at Lucy being disrespected even when being begged for her knowledge and the absolute gall of some of the men involved felt very real and well-observed. Everything felt historically plausible and realistic.

That's not to say the romance isn't pulling its own weight - Catherine and Lucy have good chemistry and lives lived before they meet, which gives them both emotional baggage to deal with and overcome. The homophobia is indistinct but period-typical - mostly fearing potential discovery but acknowledging that they would get off lightly compared to gay men of the time. The romance interweaves with the plot very well, naturally progressing as developments happen beyond the two of them.

My only real critique is of a little frustrating sequence late in the book, formed of a misunderstanding that - to me - felt very hollow and should have been easily resolved with a quick conversation, but instead lingers on for three days with both of them believing the worst of the other. Given how easily other misunderstandings and problems are resolved, this felt like a sequence that was only there because romance readers expect it to be there, not that it made any sense for these particular characters or their circumstances.

I'd also argue that the blurb I read and the cover of the book was perhaps a little misleading - focused heavily on the romance elements and less on the science/feminist elements (and also no indication of heat rating). I can guess that was a deliberate marketing choice, and probably the right one, but I feel like I would have read this much sooner if I'd had a clearer idea of the story (and that there were sapphic sex scenes. Not to sound thirsty on main, but you can sell a book to me really easily if you tell me that there are well-written sapphic sex scenes).

Okay, I do have one other little niggle and it is about the sex scenes. I think there are just enough of them in there (I certainly wouldn't turn down another five or six, though!) and they are well-written, balancing the psychology of the characters with the physicality of the action. My complaint is that they are on the short side - maybe it's just me but I get incredulous when any woman gets an orgasm so quickly. I'm an easy creature to please, just give me at least four thousand words of lovingly crafted sapphic smut per scene, with graphic detail and deep insight into both the physical and emotional state of the characters throughout. And now that I really do sound thirsty on main...

Overall, a really solid, enjoyable read and definitely has a lot more depth than you might expect. I was promised a sapphic romance and I got a very heartfelt treatise on women fighting to be taken seriously in a world that wants to deny them their own accomplishments...which just happened to feature sapphic ladies in the starring roles.

[edisonblog]

Jean Maurice Eugène Clément Cocteau, was a French poet, novelist, filmmaker, designer, playwright, actor, and theater director.

Cocteau began writing at the age of ten and at sixteen he published his first poems, a year after leaving the family home. Despite distinguishing himself in virtually every literary and artistic field, Cocteau insisted that he was fundamentally a poet and that all of his work was poetry.

In 1908, at the age of nineteen, he published his first book of poetry, La lampe d'Aladin. His second book, Le prince frivole ("The frivolous prince"), published the following year, would give rise to the nickname he had in Bohemian circles and in the artistic circles that he began to frequent and in which he quickly became known.

Around this time he met the writers Marcel Proust, André Gide, and Maurice Barrès. Edith Wharton described him as a man "to whom every great verse was a sunrise, every sunset the foundation for the Celestial City..."

During the First World War, Cocteau served with the Red Cross as an ambulance driver. During this period he met the poet Guillaume Apollinaire, the painters Pablo Picasso and Amedeo Modigliani and numerous other writers and artists with whom he would later collaborate.

Russian ballet impresario Sergei Diaghilev challenged Cocteau to write a scenario for a new ballet - "It surprises me", Diaghilev was quoted as saying. The result was Parade, which would be produced by Diaghilev in 1917, with scenography by Picasso and music by Erik Satie. (Maisons-Lafitte, July 5, 1889 — Milly-la-Forêt, October 11, 1963)

Together with other Surrealists of his generation (Jean Anouilh and René Char, for example), Cocteau managed to masterfully combine the new and old verbal codes, staging language and technologies of modernism to create a paradox: a classic avant-garde. His circle of associates, friends and lovers included Jean Marais, Henri Bernstein, Édith Piaf and Raymond Radiguet.

His plays were taken to the stages of the Grand Theatres, on the Boulevards of the Parisian era in which he lived and which he helped define and create. His versatile, unconventional approach and enormous productivity brought him international fame.

He was elected member of the French Academy in 1955.

Cocteau made seven films and collaborated as a screenwriter and narrator in a few more. All rich in symbolism and surreal images. He is considered one of the most important filmmakers of all time.

#edisonmariotti @edisonblog

.br

Jean Maurice Eugène Clément Cocteau, foi um poeta, romancista, cineasta, designer, dramaturgo, ator, e encenador de teatro francês. 

Cocteau começou a escrever aos dez anos e aos dezasseis já publicava suas primeiras poesias, um ano depois de abandonar a casa familiar. Apesar de se distinguir em virtualmente todos os campos literários e artísticos, Cocteau insistia que era fundamentalmente um poeta e que toda a sua obra era poesia. 

Em 1908, com dezanove anos, publicou o seu primeiro livro de poesia, La lampe d'Aladin. O seu segundo livro, Le prince frivole ("O princípe frívolo")), editado no ano seguinte, daria origem à alcunha que tinha nos meios Boémios e nos círculos artísticos que começou a frequentar e em que rapidamente ficou conhecido. 

Por esta altura conheceu os escritores Marcel Proust, André Gide, e Maurice Barrès. Edith Wharton descreveu-o como um homem "para quem todos os grandes versos eram um nascer-do-sol, todos os por-do-sol a fundação para a Cidade Celestial…"

Durante a Primeira Guerra Mundial, Cocteau prestou serviço na Cruz Vermelha como condutor de ambulâncias. Neste período conheceu o poeta Guillaume Apollinaire, os pintores Pablo Picasso e Amedeo Modigliani e numerosos outros escritores e artistas com quem mais tarde viria a colaborar. 

O empresário russo de ballet, Sergei Diaghilev, desafiou Cocteau a escrever um cenário para um novo bailado - "Surpreende-me", teria dito Diaghilev. O resultado foi Parade, que seria produzido por Diaghilev em 1917, com cenografia de Picasso e música de Erik Satie. (Maisons-Lafitte, 5 de julho de 1889 — Milly-la-Forêt, 11 de outubro de 1963) 

Em conjunto com outros Surrealistas da sua geração (Jean Anouilh e René Char, por exemplo), Cocteau conseguiu conjugar com mestria os novos e velhos códigos verbais, linguagem de encenação e tecnologias do modernismo para criar um paradoxo: um avant-garde clássico. O seu círculo de associados, amigos e amantes incluiu Jean Marais, Henri Bernstein, Édith Piaf e Raymond Radiguet.

As suas peças foram levadas aos palcos dos Grandes Teatros, nos Boulevards da época parisiense em que ele viveu e que ajudou a definir e criar. A sua abordagem versátil e nada convencional e a sua enorme produtividade trouxeram-lhe fama internacional.

Foi eleito membro da Academia Francesa em 1955.

Cocteau realizou sete filmes e colaborou enquanto argumentista, narrador em mais alguns. Todos ricos em simbolismos e imagens surreais. É considerado um dos mais importantes cineastas de todos os tempos.

[ancientcosmicsecrets]

The Mass UFO sighting in Ancient Egypt

The fascination with unidentified flying objects (UFOs) is not a modern phenomenon. Throughout history, there have been numerous accounts of mysterious objects in the sky, many of which predate the invention of flight by millennia.

The Tulli Papyrus document has intrigued historians and UFO enthusiasts for years. It is believed to be an account of a massive UFO encounter that took place during the reign of Pharaoh Thutmose III in ancient Egypt. The papyrus was named after Alberto Tulli, director of the Vatican Museum's Egyptian section, who reportedly came across the document in a Cairo antique shop in 1933. Although the original document was too expensive for Tulli to purchase, he made a copy, which was later transcribed from the original hieratic script into hieroglyphs. Some have questioned the document's authenticity due to the transcription process, which introduced opportunities for error and embellishment. Despite concerns regarding its authenticity, the Tulli Papyrus has been cited as one of the earliest known records of what could be described as a fleet of flying saucers. The text describes a celestial event witnessed by Pharaoh Thutmose III, where "circles of fire" filled the sky. Although the papyrus is incomplete, it has been translated. It suggests that this event left the royal scribes and witnesses in awe.

The alleged UFO encounter described in the Tulli Papyrus would have occurred during the reign of Thutmose III, a significant period in ancient Egypt's history. Thutmose III ruled Egypt during the 18th dynasty from approximately 1479 to 1425 BC, a time often referred to as Egypt's imperial age. This era was marked by military conquests and the empire's expansion, as well as great wealth, artistic achievement, and architectural innovation. The construction of numerous temples and monuments, many of which still stand today, was a testament to the prosperity and cultural richness of the time. The ancient Egyptians, with their emphasis on celestial events and their belief in the gods' communication through the stars and planets, meticulously recorded astronomical occurrences. These records were often interpreted as omens or messages from the divine.

The Tulli Papyrus is the center of debates about extraterrestrial encounters and ancient Egypt. The papyrus describes "circles of fire" that appeared in the sky during the reign of Pharaoh Thutmose III. This account could be evidence of a genuine UFO sighting. In contrast, others argue that it is merely a work of fiction. Those who support the idea that the Tulli Papyrus is an accurate account of an ancient encounter with the unknown point out that the ancient Egyptians were knowledgeable astronomers. They sophisticatedly understood the heavens and often precisely documented celestial events. Therefore, it is unlikely that they would mistake a common astronomical phenomenon for something as extraordinary as the event described in the papyrus.

Furthermore, the emotional response of the witnesses, as recorded in the papyrus, adds a human element to the UFO sighting. The witnesses, including the royal scribes, were reportedly in awe and fear, a reaction that could be consistent with encountering something beyond their understanding or experience. This emotional response could indicate the event's authenticity. Moreover, the level of detail provided in the Tulli Papyrus is unusual for typical mythological storytelling. The description of multiple objects, their motion, and their effect on the observers could suggest that the scribe was attempting to record an actual event as accurately as possible. However, skeptics point out that the Tulli Papyrus is not an original document but a transcription, which means there is potential for errors or embellishments to have been introduced.

The Tulli Papyrus remains an enduring enigma, whether it describes a genuine UFO sighting or is simply a product of myth and legend. It continues to capture the imagination and invites us to ponder the mysteries of the past. The document challenges us to keep an open mind about the possibilities of human experience and the vast, uncharted territories of our ancient heritage. The truth may be lost to the sands of time. Still, the story endures, a testament to humanity's eternal quest to understand the universe and our place within it.

Let us delve into a fascinating journey exploring notable UFO sightings from antiquity.

The Phantasmal Ships of Rome

In 218 BC, the Roman historian Livy recorded prodigies in the winter sky during the buildup to the Second Punic War, including "phantom ships that had been seen gleaming in the sky." This description aligns eerily with modern reports of UFOs, suggesting that even in ancient times, people witnessed phenomena that defied explanation.

The Spark of Pliny

Pliny the Elder, a Roman author and naturalist, described an event in 76 BC in which a spark fell from a star and grew as it descended, eventually appearing as large as the Moon before ascending back into the heavens. This account bears a striking resemblance to modern descriptions of UFOs changing size and shape.

The Wine-Jar Flames of Phrygia

In 73 BC, the Roman army, commanded by Lucullus, was about to engage Mithridates VI of Pontus when "the sky burst asunder, and a huge, flame-like body was seen to fall between the two armies," described by Plutarch as being shaped like a wine jar. Such an event would undoubtedly be classified as a UFO sighting today.

The Celestial Chariots of Judea

Flavius Josephus, a Romano-Jewish historian, reported seeing chariots "hurtling through the clouds" in the skies of Judea around AD 65, before the First Jewish–Roman War. These celestial chariots could be interpreted as ancient depictions of alien spacecraft.

The Silver Rain of Rome

In AD 196, the historian Cassius Dio recounted a "fine rain resembling silver" that descended from a clear sky upon the Forum of Augustus in Rome. He claimed this substance temporarily plated bronze coins, only to vanish days later. This phenomenon, called "angel hair," is often associated with modern UFO sightings.

The Airships of Clonmacnoise

In the annals of Irish history, entries from around AD 740 describe "ships with their crews were seen in the air" over Ireland. These accounts from the Ulster, Tigernach, Clonmacnoise, and the Four Masters annals suggest aerial phenomena that defy conventional explanation.

While varied in detail and geography, these ancient accounts share common themes with modern UFO sightings. They describe unexplainable objects and events in the sky, invoking wonder and fear in those who witnessed them. Whether these were early encounters with extraterrestrial visitors, natural phenomena misinterpretations, or myths and legends, they contribute to the rich tapestry of human history and our quest to understand the unknown.

As we continue to gaze upward, the stories of ancient skies remind us that the mystery of UFOs is not a new curiosity but a timeless intrigue that spans the history of civilization. What were our ancestors witnessing? Were they visitors from distant worlds or something else entirely? The answers may be lost to time, but the legacy of these sightings endures, fueling our imagination and our desire to explore the cosmos.

[kiwibirdlafayette]

a brief history of the starborne kingdoms

as detailed by Ianitian court historian Montpellier J. Conway

((Because of how the principle of relative universes works in my SMP Multiverse headcanon, most of it reflects relationships and characters in Mianite S2, but isn't exactly the same. It doesn't require knowledge of it ofc aside from some of the associations with the names C:

ALL OF THIS IS A HEADCANON (more an AU probably, unless you change the names). feel free to adapt or work elements into your work, but please give credit if you do <3))

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The Aether stars. a vast realm worlds above the overworld, bordering on the walls that separate one SMP timeline dimension from the others, kingdoms of voidwalkers, starbornes and other galactic celestial inhabit the endless sky. And with them come a rich history, that despite their pacifist ways might imply, one full of betrayal, war, alliance and most of all, power.

Botan's Kingdom

Prior to Dianite's rule over the Aether Stars, the kingdom we now know as his once belonged to his father, one of the first red starborne, King Botan, and his late wife, Queen Akemi. The two had three children- Mianite, Dianite and Ianite- and of the three, the middle child Dianite was born red, indiciating him as the crown prince.

Botan's kingdom would be unrecognizable to starborne of this era, as the era of this kingdom is most commonly marked as an era of violence. Botan was known for his ruthlessness in favor of keeping his starfolk safe, and often turned to permadeathing stars through a destabilization of their central cores, in order to rid of unfavorable allies rather than relying on starborne's tendency toward pacifism and diplomacy.

Due to the nature of this practice of this Botan found an ally in King Ullskae, of Vhidhea.

Kingdom of Vhidhea

Used to describe a system neighboring the homeplanet, Ullskae's kingdom encompassed the water planet of Vhidhea itself as well as the surrounding resource rich Ruxomar system, consisting of such planets as Katisi and Dagrun.

Unlike your typical nebula-like starbornes, Vhidheans have a tendency to appear more gelatinous in structure, their bodies composed of a type of psuedo-plasma that allows them to change form, pass through the forms of other celestial beings, and corrupt to collapse stars- a natural ability they possessed and passed knowledge of onto Botan.

For those on the main planet, this variety of starborne become known as moonbornes, for the most powerful of Vhideans (such as Ullskae and his daughter Khalani) became able to control the forces of gravity as well- be it tides of a celestial ocean, or an added form of control to pull apart starforms on top of their corruptive abilities.

Alike to Botan, Ullskae ruled the his kingdom alongside his council with an iron fist, the warlord royals of Vhidhea often perceived as gods, as he at the time possessed the greatest power and resources across the galactic aether. His daughter Khailani and her significant other at the time, a corrupted starborne by the name of Anphidhea, had an infamous reputation as the head of Ullskae's army for keeping their citizens in line.

Eventually, tensions began to rise in the Ruxomar system that set off a series of events which ultimately led to the downfall of Vhidhea.

Uprising Era and The Catalyst

Under the leadership of a pair of weapons developers from Dagrun and their ragtag army of starbornes, the NVIDIA Uprising takes place soon after Dianite's coronation as crown prince. Weary of Ullskae's rule, Ruxomar soon sought to drive the kingdom of Vhidhea out of the system, and seek independence as their own sector of the Aether.

After quickly being overwhelmed by Khalani and the Vhidhean army, the leaders of the rebellion turned to Prince Dianite for aid. Because Botan was in close allyship with Ullskae, it would have been unfavorable to him to take the side of the rebels against Ullskae. A long debate was had behind closed doors until a compromise was reached. Botan and his army would not get involved, but Dianite and his siblings were allowed to assist with minimal resources, as Botan saw the potential in Ruxomar possibly becoming under his control if his son could win the war for them.

As the uprising continued, the losses began to outweigh the cost of fighting to keep Ruxomar, and Khalani soon convinced her father to withdraw control of Dagrun. However before a treaty could be signed, a hooded assassin slays Ullskae, permadeathing him by shattering his core in their fist- leading Khailani to rise to the throne. Her first act was naming Ruxomar an ally and independent sister kingdom.

Having spent most of her time in the army and seeing the error in the violence of starborne, Khai sought to usher in an era of diplomacy and pacifism- a belief that greatly conflicted with that of Anphidhea and the Vhidheans who had still believed in Ullskae's principles of rule.

Disagreement between Khai and Anphidhea (who as her then fiance sat in the place of a king) over several years escalated into the Vhidean Catalyst, in which Anphidhea and his supporters staged a coup and pushed Khailani off her throne and homeplanet, evacuating many starbornes to the moon planet of Urulu- ultimately tearing the kingdom in two.

Under the direction of Anphidhea's chief advisor Declan and former general of the Vhidhean army, Bellinite (distantly related to Dianite's family), a psychological war was waged between the two factions, with small fights breaking out led by Bellinite from Khai's side.

Anphidhea, unbothered by Khailani's futile attempts to regain her kingdom and not interested in startin an all out civil war, set his sights on something bigger. He believed if had Ullskae had been more driven, Vhidhea could have had control over not just Ruxomar- but the entire Aether. His first step? Overtaking Botan's Kingdom.

Botan growing old and close to a permanent supernova, was not interested in getting involved in another war, but was willing to assist Khailani in ridding of Anphidhea knowing his kingdom was at risk as well, and together they would have enough power to take on the kingdom dubbed "NVIDIA". Responsibility falls onto Dianite's shoulders as Botan insists a binding marriage ritual take place between him and Khailani to seal their alliance, much to Dianite's dismay, considering he was already in a secret relationship and that he had been her enemy during the uprising.

However, after realizing an apotolesmic connection existed between the two, Dianite agreed to the union, and the two agreed to a platonic marriage, where they'd still be able to see other folk. Following a brief ceremony, preparations are made to strike, and on the anniversary of the Uprising, Dianite, Khailani and his forces storm Vhidhea. The long and ferocious battle ended with Dianite and Khai opening a minor rift that locked Anphidhea away in a pocket void.

As the dust settled, a majority of Anphidhea's forces dispersed into the greater Aether, NVIDIA becoming more of a mild nuisance than anything else for years, withsome reconvening into the force we know today as the DMCA Agency, for the purpose of bringing their king back to them. The planet of Vhidhea was re-inhabited and rebuilt following Anphidhea's exile, but the castle grounds fell into a state of disrepair and now lays a wasteland.

And with Botan's grandiose death, Dianite and Khailani laid their weapons to rest and rose to the throne as the King and Queen to bring forth the era of starborne we are familiar with, and soon after bringing to light Dianite's son- Jordan Sparklez- as the Prince of all starborne. Mianite and Ianite, and Ia's husband Spark took Dianite's side as high nobles in charge of assisting with infrastructure and rebuilding the parts of the Aether, and Mot, a once exiled royal guardsman, took over as Dianite's chief advisor.

The story from then on as the prince grows up till now is far too long to share at this time, but holds truths that will reveal itself in good time. Rumor has it Anphidhea escaped his pocket void, but where he is now remains unknown. And what happens next, again, only time will tell.

[thefixeraa]

palazzo serenzo , via degli archi , 12 florence , italy .

background : palazzo serenzo is a historical building from the 15th century . the di conti family , a prestigious and one of the most prominent noble families in florence , commissioned the architect leonardo de'amici . the thing about the di conti family is , there isn't much known about them . their family is a closely guarded secret , where only a known select few know of their true identities . thus using their title to serve as a symbol of their noble lineage and historical significance in florence .

their family can only be traced back to wealthy merchants who amassed great wealth and power through their successful trading ventures . with their wealth , the di conti family became influential patrons of the arts , supporting renowned artists , architects , and scholars at the time . they were known for the passion for collecting rare artifacts ( some of which mia is in possession of today . ) they commissioned elaborate frescos , hosted lavish gatherings at their palazzo , which became a hub of cultural and intellectual exchange .

the di conti family played a pivotal part in the political landscape of florance , often holding positions of influence and participating in key decision - making processes . they were esteemed for their diplomatic skills , strategic alliances , and their commitment to perserving the city's cultural heritage .

mia's residency in the ancestral palazzo of the di conti family represents a continuation of their legacy , as she findes herself surrounded and enamored by the remnants of a bygone era .

the apartment : mia bought the two upper floors of pallazzo serenzo during a time of transformation . she had just returned to public life after a year and a half underground . it was during this time that she was working as the fixer . the apartment contains four bedrooms , one including the large master bedroom , two bathrooms , a large eat - in kitchen with a seprate formal dining room . a library with hundreds of books adorning the bookcases . a more traditional armory that hold some 15th century military artifacts and then some . with the captivating blend of historical charm and timeless elegance , mia's apartment begins at the entrance , with a heavy wooden double door , leading to a long hallway that showcases the first fresco ( a celestial panorama , one with a rich night sky , adorned with twinkling stars and constellations . with a radiant full moon and surrounding it some etherial figures of mythological creatures . ) another fun fact about the di conti family is that they were catholic , but believed in science too . some believe that the patriarch of the family was an astronomer .

the hallway holds a few artifacts and paintings that mia has collected over the years . tall windows lining the left side , with dark wooden panels that are opened most of the year . the living room is further down the hall and to the right , it is adorned with more frescos that grace the walls - mia kept the walls a more neutral tone , a warmer white so that the antiques and art work can hold presence there . there is a large , antique persian rug that graces the rich , dark hardwood floors . off to the right is the formal dining room , where a refurbished farmhouse table sits in the center of the room . it can host around eight to ten people . the kitchen resides further on , and mia opted to keep the utilities more modern here , although attempting to keep up with the rustic vibes that was there originally . considering she lives on the upper floors , the original kitchen is on the ground floor , so she had options .

the four bedrooms are divided , with the master bedroom on the ' first floor ' . mia created a warm and comforting room , oping for a four - poster bed , crafted from aged mahogany . the bed is dressed with layers of linen sheets and fluffy pillows . she has a vanity table on the other side of the room , which is also where her walk - in closet is situated . there she has an ornate gilded mirror , which is brass and also an antique . throughout the apartment , among the many artifacts and vintage art , there are a few chandelier's which hang from the tall ceilings . all of which are designed to emulate the glow of candlelight and create an enchanting atmosphere in the evenings .

** below mia lives an elderly couple , luciano and maria amato . luciano is a retired professor of literature and maria who was more of a traditional housewife . they both are friendly , inviting , charming and of course - full of wisdom and humor . **