#combine that with a natural grasp of basic chemistry

[lonelydipshit]

Ok 1) vegetable is a culinary term, whereas fruit (in the sense of thing that grows from flower/bud and contains seed) is a botany/biology term, which is where a lot of the confusion with the tomato thing comes from. This also is how mushrooms snuck into being vegan, they’re under the culinary term vegetable and since vegans eat vegetables they’re fine. Grains is also a culinary/cultural term which explains its inconsistent definitions as well

Honestly bizarre that tomatoes get all the flack for “not being a vegetable” because they're technically a fruit when:

A) There are a ton of fruits that get categorised as vegetables. Like this also applies to pumpkins, squashes and cucumbers.

B) The fucking mushrooms are standing there at the back of the crowd in this witch trial, trying to look inconspicuous because they somehow got into the vegetable club with no fucking controversy despite the fact that they're not even plants.

[makers-muse]

How can you tailor STEM lab activities for different grade levels? 

1. Start Simple for Elementary Students 

Key Focus Areas: 

Hands-on exploration. 

Basic concepts and tactile learning. 

Examples of Activities: 

Balloon Rockets: Teach basic principles of motion and force by having students design balloon-powered rockets. Keep materials simple, like string and tape. 

Building Towers with Marshmallows and Spaghetti: Encourage creativity and introduce structural engineering in a fun, approachable way. 

Color Mixing with Water: Combine science and art by showing how primary colors create secondary colors, reinforcing basic chemistry concepts. 

Why It Works:  Elementary students are naturally curious. Activities focusing on exploration and play help them grasp foundational ideas without overwhelming complexity. 

2. Add Complexity for Middle School Students 

Key Focus Areas: 

Problem-solving and collaboration. 

Applying theoretical concepts. 

Examples of Activities: 

Coding with Scratch: Introduce block-based coding by encouraging students to create games or animations. 

DIY Hydraulic Machines: Use syringes and tubing to create simple hydraulic systems, teaching physics and engineering. 

Environmental Science Projects: Have students build small-scale ecosystems or water filtration systems to explore environmental challenges. 

Why It Works:  Middle schoolers are ready to tackle more complex problems and start linking theory with practice. Collaborative activities also align with their growing social skills. 

3. Foster Innovation for High School Students 

Key Focus Areas: 

Advanced problem-solving and critical thinking. 

Real-world applications and innovation. 

Examples of Activities: 

Robotics and Programming: Use platforms like Arduino or Raspberry Pi for designing functional robots or automated systems. 

Renewable Energy Projects: Build solar-powered devices or wind turbines to learn about sustainable technology. 

3D Modeling and Printing: Introduce engineering design principles by having students create prototypes using CAD software and 3D printers. 

Why It Works:  High school students are capable of abstract thinking and enjoy working on projects that mirror real-world challenges. This approach prepares them for future careers and higher education. 

4. Cross-Grade Collaboration 

Another way to tailor STEM activities is by fostering collaboration across grade levels. For example: 

Pair high school students with younger peers as mentors during simpler projects. 

Design group projects where each grade level contributes a specific element, such as coding (high school), assembly (middle school), and decoration (elementary). 

Benefits: 

Builds a sense of community and mentorship. 

Encourages peer learning and leadership skills. 

5. Adapt Activities to Varying Skill Levels 

Even within the same grade, skill levels can vary widely. Here’s how to differentiate: 

Beginner Level: Offer step-by-step guidance with pre-prepared materials. 

Intermediate Level: Allow students to choose from several design templates. 

Advanced Level: Encourage open-ended exploration with minimal constraints. 

Why Tailoring Matters 

Tailoring STEM activities ensures every student is challenged and engaged at a level appropriate to their skills and understanding. It keeps younger students from feeling overwhelmed while giving older students the depth and autonomy they crave. 

[shraddhamatre]

Overcoming the RRB JE Mechanical Test: An All-Inclusive Handbook for Future Engineers

For mechanical engineers hoping to work for the Indian Railways, the Railway Recruitment Board (RRB) Junior Engineer (JE) test is a highly sought-after opportunity. A combination of technical expertise, problem-solving abilities, and efficient time management are required for the RRB JE Mechanical test. This blog explores key techniques and advice to help you ace the test.

Comprehending the RRB JE Mechanical Examination Structure Understanding the test format is essential before beginning any preparation. There are two phases to the RRB JE Mechanical exam: Phase 1: Computer-Based Examination (CBT-1) Math, general intelligence and reasoning, general science, and general awareness are all included in this screening test. There are 100 questions in the test, and each question is worth one mark. The exam lasts for ninety minutes. Despite being qualifying in nature, clearing the cut-off in CBT-1 demands concentrated preparation.

Phase Two: Computerized Exam (CBT-2) This phase is highly specialized and technical, pertaining specifically to mechanical engineering. It is divided into parts on general awareness, chemistry and physics, computer basics and applications, environment basics and pollution control, and mechanical engineering-related technical abilities. The CBT-2 takes 120 minutes to complete and has 150 questions. Important Subjects to Pay Attention to Among the fundamental subjects covered in the CBT-2 Mechanical Engineering module are:

Strength of Materials: Understanding stress-strain relationships, bending moments, and shear forces is crucial.

Theory of Machines: Focus on concepts like kinematics, dynamics of machinery, and gear trains.

Thermodynamics: Study the laws of thermodynamics, heat transfer, and refrigeration cycles.

Fluid Mechanics: Topics like fluid properties, fluid statics, and dynamics are essential.

Manufacturing Processes: Gain a solid understanding of machining processes, welding, casting, and forming.

Engineering Mechanics: Concentrate on forces, moments, equilibrium, and friction.

Planning Approach Make a study schedule. Make efficient use of the time you have to prepare for each subject. Give technical courses more time because they are more important in CBT-2. To explore a topic in a methodical manner, break it down into smaller areas and establish daily or weekly goals. Consult standard books and study guides. For a thorough grasp, use major textbooks and reference resources. For subjects related to mechanical engineering, books by writers like R.K. Rajput, S.S. Rattan, and P.N. Rao are suggested reading.

Complete the Mock Tests and Previous Year Papers. Understanding the format of the exam and managing your time effectively need practicing with past years' question papers and completing mock exams. You may also use this to pinpoint regions that require more work since they are weak. Edit Frequently Concepts must be revised frequently in order to be retained. For fast reviews of key definitions, formulae, and concepts, make brief notes or flashcards. Keep Up with Current Events It's crucial to keep up with current events, particularly those pertaining to science and technology, for the General Awareness portion. It might help to read newspapers and to follow reliable websites.

Continue Your Healthy Habits Although thorough study is required, you may stay physically and psychologically prepared for the test by adhering to a balanced schedule that includes enough sleep, a nutritious   food, and frequent exercise.

In summary The RRB JE Mechanical test is difficult, but it is passable with the correct study plan and persistent work. You may increase your chances of getting hired by the Indian Railways by concentrating on important subjects, practicing a lot, and exercising time management skills. Never forget that the secret to succeeding in any competitive exam is persistence and drive.

Start Your Preparation With: https://gameacademy.in/ / https://clppenny.page.link/cTBm

Recommended: https://www.youtube.com/@gblions / https://www.youtube.com/@gblionsaeje 

[pradeepagarwalacademy-blog]

IIT Foundation: Nurturing Your Path to IIT Dreams

Imagine a world where your dream of getting into an IIT transforms into reality, supported by the tools at your disposal. This realm is not a fantasy; it's the outcome of the unique IIT foundation course. Let's delve into how this program, in conjunction with the top 10 IIT JEE online coaching institutes, can effortlessly steer you towards a prosperous journey to IIT while learning how to crack IIT JEE.

Diving into the Heart of IIT Foundation

Think of the IIT foundation program as the strong base of a tall building. It's a special set of lessons designed to help young minds, like yours, who aspire to be engineers. This program prepares you during 8th, 9th, or 10th grade. It's like donning a superhero suit – filled with knowledge and skills that will help you conquer the challenges of the JEE Advanced exam.

How IIT Foundation Shapes Your Journey to IIT

1.   Understanding the Basics: Instead of memorizing facts, the IIT foundation program helps you grasp the important concepts in subjects like math, physics, and chemistry. This understanding not only makes you appreciate these subjects more but also equips you with genuinely useful knowledge.

2.   Sharpening Your Analytical Sword: Engineering is all about solving puzzles, and the IIT foundation program sharpens your problem-solving skills to a gleam. This hones your mind for tackling problems – not just on exams but also in real-life situations.

3.   Bridging the Gap with Real-world Applications: The IIT foundation course doesn't stay confined within classroom walls. It connects the dots between theories and real-world applications. This sparks innovation and ignites your creativity.

4.   Fostering Holistic Advancement: The IIT foundation program goes beyond academics, emphasizing the holistic development of students. It refines your communication, collaboration, and time management skills – qualities vital not only for your engineering journey but also for success in your future career.

Roadmap to IIT: Your Journey's Guide

1.   Choosing the Right Program: Selecting the right IIT foundation program is crucial. You need one that aligns with your learning style. Evaluate the teachers' profiles, what they teach, and their teaching methods before making a decision.

2.   Boosting Learning with Dedicated Practice: Regular practice is like honing a talent – the more you practice, the better you become. Solve a multitude of problems, take mock tests, and engage in online study groups with friends. This transforms studying into an enjoyable and effective experience.

3.  Nurturing Curiosity and Inquisitiveness: Inquisitiveness is the spark behind innovation. Cultivating a curious mind set keeps you ahead of the curve. Explore additional resources and stay updated with industry trends to foster your pursuit of knowledge.

4. Seeking Mentorship and Guided Direction: Seeking guidance from experienced professionals in the engineering field offers invaluable insights. Their advice sheds light on career paths, specialization options, and the diverse opportunities that unfold after the IIT foundation phase.

Harvesting Success: IIT Foundation's Impact

As you wrap up your IIT foundation journey, you evolve into a confident and capable student, ready for greater opportunities. As you transition to 11th grade, once-intimidating entrance exams lose their grip on you. Concepts become crystal clear, and mastering complex challenges becomes second nature.

Conclusion

The IIT foundation program is more than just a set of lessons; it's your key to unlocking the world of engineering. With its guidance, combined with the resources of the top 10 IIT JEE online coaching institutes, you'll grasp concepts better, become an adept problem solver, and develop skills that set you apart. Remember, you're not merely preparing for exams; you're embarking on an exciting journey in the realm of engineering. With the IIT foundation by your side, your dream of becoming a successful engineer is closer than you think. Let's construct this dream together, one step at a time!

To learn m, ore, you can contact them at

Mobile no: +91–8448084352 , +91–8448084353 Email id: contactus(@)iitcoachings.in Website: www.iitcoachings.in

[kukrejahardik]

Top 10 Innovative Learning & Educational Toys for STEM Learning

In today's fast-paced world, the significance of early education cannot be overstated. As parents and educators strive to provide children with the best opportunities for learning and growth, the role of toys has evolved beyond mere entertainment. Enter the realm of learning and educational toys, where creativity, imagination, and cognitive development combine seamlessly. In this blog, we will explore the top 10 innovative learning and educational toys for STEM learning, all conveniently available online at Shop Be Fikar.

Magnetic Building Blocks Set: These versatile magnetic building blocks from Shop Be Fikar offer endless possibilities for young minds. Children can construct anything from simple shapes to intricate structures, promoting spatial awareness and fine motor skills. As they manipulate the magnets, they unknowingly absorb principles of magnetism and geometry.

Robotics Kit: Ignite your child's passion for technology with a robotics kit from Shop Be Fikar. With step-by-step instructions, kids can build and program their own robots, fostering an understanding of mechanics and basic coding concepts. This hands-on experience encourages critical thinking and problem-solving skills.

Microscope Kit: Turn your home into a mini laboratory with a microscope kit from Shop Be Fikar. Budding scientists can explore the world of microorganisms and conduct basic experiments, nurturing their curiosity about the natural world. This toy promotes observation skills and introduces kids to the wonders of biology.

Coding Board Game: Learning to code has never been more engaging with a coding board game from Shop Be Fikar. Children can grasp the fundamentals of programming while playing a fun and interactive game. This toy promotes logical thinking, sequencing, and computational skills.

Solar-Powered Construction Set: Combine learning with renewable energy concepts using a solar-powered construction set from Shop Be Fikar. Kids can build working models powered by solar panels, learning about clean energy and engineering principles while having a blast.

Math Puzzles and Games: Shop Be Fikar offers a variety of math puzzles and games that make numbers exciting for children. These toys reinforce mathematical concepts through playful activities, enhancing numerical literacy and problem-solving abilities.

Interactive Globe: Bring geography to life with an interactive globe from Shop Be Fikar. Kids can explore countries, cultures, and landmarks while gaining a deeper understanding of the world around them. This toy encourages curiosity about geography and promotes global awareness.

Chemistry Set: Introduce your young chemist to the wonders of science through a chemistry set from Shop Be Fikar. With safe and age-appropriate experiments, kids can learn about chemical reactions and basic laboratory techniques, sparking an early interest in the sciences.

Engineering Building Kit: Foster a love for engineering with an innovative building kit from Shop Be Fikar. Children can construct intricate models of bridges, vehicles, and more, honing their problem-solving skills and gaining insight into structural design.

Electronic Circuit Lab: Nurture a future engineer's curiosity with an electronic circuit lab from Shop Be Fikar. Kids can create and experiment with circuits, gaining hands-on experience in electronics and electrical principles. This toy encourages experimentation and an understanding of technology.

Conclusion

In the ever-evolving landscape of education, learning and educational toys play a pivotal role in shaping young minds. The Top 10 Innovative Learning & Educational Toys for STEM Learning from Shop Be Fikar offer a comprehensive range of options that combine fun and learning seamlessly. From fostering creativity and critical thinking to promoting scientific exploration and technological understanding, these toys provide a solid foundation for a child's holistic development.

Shop Be Fikar understands the importance of quality education through play, and their curated collection of toys is a testament to that commitment. By embracing these innovative learning tools, parents and educators can inspire a lifelong love for learning and equip children with the skills they need to thrive in an increasingly complex world. So, embark on this exciting journey of discovery and exploration with Shop Be Fikar's exceptional range of learning and educational toys. Your child's future is just a play away!

[palaugranetes]

FC Barcelona 2 - 1 Dynamo Kyiv

⚽️ Lionel Messi 6' (penalty)

⚽️ Gerard Pique 65' (🅰️ Ansu Fati)

-----------

⚽️ Viktor Tsygankov 75'

Before anything.. allow me to say

🙌🏻🙌🏻MARC-ANDRÉ TER STEGEN! WELCOME BACK SUNSHINE 🙌🏻🙌🏻

Okay, now that I am calmer and I can process what happened yesterday, here we go..

When you face a team that is basically shook by a pandemic, playing with ONLY 13 PLAYERS, and you play the way you did tonight... It really is embarrassing, with all due respect to Dynamo Kyiv, they actually played better. And yes they deserved more. Hard luck to them.

AND THEY COULD HAVE GOTTEN MORE WERE IT NOT FOR MARC!

YOU ARE COMPETING AT THE HIGHEST LEVELS. You cannot miss that many chances! If you miss, 8 times out of 10 you will concede. This is how it works.

You cannot allow this many chances to be conceded ffs, from a team who is, on paper, not on the same level, when in fact actually they were better than you expected, and you allowed them to be. You should rise up to that challenge. If they want it, you should want it even more!

This was the perfect opportunity for radical changes. YES this was a match where experimentation was expected. PLAYING THE SAME PLAYERS EVERY MATCH IS NOT GOING TO HELP ANYONE. We are fortunate to have an actual good squad.. Why not try to play all of them.. see what they do. Create competition for the "fixed" starters. Rest the older players, give an opportunity for younger players to get their feet wet.

Also, fluidity... where is it?

Our game has not known fluidity in so many seasons, it is becoming sad to watch. Scratch that.. it has become sad to watch.

When a system is not working or glitching it probably most likely definitely needs an update! YOU. FIX. IT.

The problem here is not that complicated to solve. The talent is there. You just gotta manage it competently. That way you can avoid having to play someone you decided not to risk prior to the match, only to put him on anyways and probably risk losing him, just because the whole system is not working, which, and I say this for the umpteenth time, has not been. Resulting in being left with ONE natural player for that position (yes... you guessed it F Arcelona.. No CBs just suffering)

Okay.. some positives

The first minutes were full of attacking moments, the majority of the first half. Sure we missed most of them.. but still... Chances.

Marc. André. Ter. Stegen.

THE comeback we have all been waiting for. If we had any ANY other GK in goal last night, we would have lost for sure. This is a double edges sword. One on hand having a sure fire GK in goal gives us some peace of mind. On the other hand, the amount of times he was left alone to deal with the danger.. NO.

Aside from saving our behinds, Marc's comeback also means a better build up to plays, since our game starts from the back.

Yes, it is still november.

Yes, it is still early on in the season.

Yes, there is still plenty of time to work.

This should be the time to find the perfect combination, have the team gel, find that chemistry. If that means changing the system, mixing up the lineup, be creative.

Right now, there is no chemistry. The system is not working that well. The individual efforts are the ones getting the goals 80% the time. Players are tired.

Our playing is predictable. Teams clearly know how to stop us. And they have for a while now. And yet, there is still no change. We have to have a back-up. Being stubborn and grasping onto ONE thing, that a lot of the time, is not functioning well, is not good for anyone.

But hey, what do I know, I'm just rambling. 🤷🏻‍♀️

[ramblingguy54]

Amphibia’s Season 1 Finale: An Emotionally Charged Climax Of Brilliance

For those who haven’t watched Amphibia yet, or are only halfway through the series, I’d highly recommend not reading this post on the events of Season 1′s finale. This is an episode that should be experienced blind, rather than having it spoiled for yourself, unless you really don’t mind at all whatsoever.

No matter how many times I’ve re-watched Amphibia Season 1 on Disney+, I gotta say its finale was easily up on my list of top moments from animation back in the 2010′s. Amphibia starts off with some pretty simple straightforward slice of life stuff throwing in a nice mix of drama and comedy. Although, as the series has progressed, Amphibia’s storytelling makes it clear we’re in for a bigger shift with dramatic writing once Season 2 rolls around in the future. This last episode of Season 1, Reunion, gives me the impression it could very likely be transitioning into heavier stuff, like Gravity Falls did, when it’s second outing steps up to the plate eventually. Season 1′s finale has seriously impressed me with what it managed to accomplish in its themes that were set up as early as its first episode. We finally get more insight into what Anne’s daily routine with Sasha must’ve been like before she was suddenly dropped into this crazy lovable world of anthropomorphic frogs. What I really appreciate about this backstory is it reels us in just enough with seeing Anne and Sasha’s chemistry. It doesn’t do a big exposition dump about what good friends they are, rather Amphibia just simply shows us first hand. From the get go it’s made crystal clear that Anne and Sasha are very close, seeing how Sasha stands up for Anne when someone tries to steal her food on a special day no less.

Or else you can forget about coming to my awesome house party next week.

Happy Birthday, girl!

Like, extremely close given how happy these two are to see each other. Anne & Sasha’s interaction here is safe to say they go way back before their current school year. Almost as if, they’ve known each other since they were younger.

“Sasha’s been my friend since Kindergarten. If she says it’s fine. It’s fine.”

Anne’s piece of dialogue here makes it evident how much she cares/trusts about Sasha as an individual. Even enough to allow her in doing morally questionable stuff highlighted with this brief montage spotlighting Anne’s passive behavior towards Sasha’s dangerously impulsive attitude. Time and time again Anne willingly goes along with Sasha’s mentality of, “Do whatever we want.”,  because in her eyes that’s what being best friends is all about. Giving the other what they want regardless of the moral implications around whatever their actions are. Not to mention, when you take that into account that Anne has been around Sasha since preschool, it’s equivalent to putting your foot down on a family member. Anne doesn’t want to hurt Sasha, considering she’s like the sister Anne never had, being an only child and all. That further establishes emotional weight for something Anne fears to lose out on, which Sasha takes advantage of greatly.

Anne, this isn’t cute anymore. We’re meeting up with Marcy right now! End of discussion...

“Heh! She’s persuasive, right?”

Look, if a friend likes a pencil case, you get it for them. If your friend likes your new shoes, you give them to her. And if her friend wants you to steal a crazy music box from a thrift store, even if you really don’t want to, you do it okay? Because if you don’t, they might not want to be your friend anymore...

Sasha’s serious verbal abuse has made Anne completely twist around the very concept of what a healthy friendship basically is, overall. For whatever the reason at some point, be it the very school environment they both grew up in or personal family issues, Sasha has become an extremely toxic influence on Anne’s important decision making and it painfully shows here in her self-esteem. This kid has made it second nature for herself to never be honest when a friend is doing something that she internally deems highly questionable in moral terms, since she’s so afraid of permanently losing those who claim to care about her own well being. Anne believes it to be a “golden rule” that if you’re openly honest with your close friends, it will only lead to failure in a nutshell. This is honestly one of the strongest elements of Amphibia’s storytelling on how it explores the human condition of real friendship. It’s not sunshine and rainbows, but an honest reflection of who you are as a person. Those you choose to let into your life for better influencing yourself, also reveal your true nature as an individual. These particular lines from the episode, Flood, Sweat, and Tears, sets the mood into motion that vital theme its story centers itself around.

Sharing a room doesn’t make you best friends. Being honest with each other does! 

In fact, if you ask me, you’re better friends now than you were before.

Seeing how greatly Amphibia explored this statement means a lot to me, since I myself have struggled with passive aggressive behavior plenty with my own friends. There were social experiences I went through in my childhood that made me bottle up how I genuinely feel a lot, so being honest with my own circle of close friends was a serious challenge for me. While I have come a long way in the improvements of being more honest with my pals whenever something is bothering me, it’s still a never ending struggle I deal with on a daily basis, considering it’s much like second nature to me. This significant moment hit all the right chords for me in showing that beauty of human connections, by taking the good and bad people can experience in dealing with their own differences.  Anne’s journey to better understand what real friends are and stand up for herself is a very empowering one to see occur, as she continues to come out of her shell, while putting her foot down when more immoral shit starts to hit the fan. Another giant step forward for her own independence comes to light in the tenth episode, Toad Tax, when Anne wanted nothing more than to be respected by the towns folk, instead of being openly called a monster and getting severely alienated for it, too. Which, again, it really shows just how much Sasha’s manipulation has had a grip on Anne, given she first thought that by joining the Toad force that she’d garner their respect. However, that idea was nothing more than a deeply shallow belief, which would’ve made the town more afraid of her rather than love and accept her. 

All I wanted was this town’s respect, but just because these people treated me crumby, doesn’t mean I’m gonna do the same to them. I’m done with this. I don’t care if they’ve broken the law, you can’t treat people like this!

In a very jarring contrast to Anne, Sasha is a more two faced individual with her own motive for getting herself, Anne, and Marcy back home by any means necessary. To put it bluntly and harshly, Sasha is a real bitch hilariously to the point where she is the sole reason why Grimes minions become more competent, due to throwing out fake compliments to help their lack of motivation, since his intensity as their ruthless leader was backfiring greatly. It’s priceless to see a villain’s cold blooded behavior ironically be a big detriment to their rule of power, as other works of fiction have shown it to a “positive” influence on their minions, where a teenage cheerleader blonde archetype has to patch things up.

You lot are without a doubt the most useless group of toads I have ever seen!

Just try saying nice things for a change. Get them to love you and they’ll do anything for you.

That actually works?

Ooooh, it works alright. Trust me.

Sasha’s already cold and calculating manipulation is influenced in return by Grimes heartless nature. Sasha & Grimes combined make for a deadly combination for one Hell of antagonistic duo, but that’s not to say this series doesn’t add layers to this complicated girl. While she is a very toxic verbally abusive person, Sasha isn’t without her own humanity either. Besides lying about being the only human in the world of Amphibia, Sasha genuinely is concerned about reuniting with each of her friends and not just for keeping them underneath her thumb in a controlling fashion. The voice acting here from Sasha’s VA really helps elevate that idea there’s more to her than how she acts.

Hold on for a little longer girls. I’m coming for you and when I find you we’re gonna get home, but first I think we’re gonna have some fun with this place.

By the time Anne and Sasha reunite by the finale, both have changed. Anne for the better and Sasha for much worse. Anne has become more selfless and free to make her own choices that she feels morally comfortable with doing, while Sasha is out to kill Hop Pop, due to his vital actions in earlier episodes, for encouraging more Frogs to rebel against the Toad’s rule of power through fear and violence. Sasha doesn’t view Hop Pop as as an equal living thing, but another obstacle that’s keeping herself, Anne, and Marcy from their one way ticket home. She strongly believes that killing Hop Pop, to keep the other Frogs back in line from having a voice of their own, will allow them a better chance to get back home with help from Grimes. Sasha knows to an extent the terrible thing she’s trying to help Grimes commit, however she still only views Hop Pop as not an equivalent human being, but an already figurative dead frog for them to dissect in their biology class. 

So you’ve probably already noticed the Toads in this valley have one job. To rule over the Frogs. And lately those Frogs have been stepping out of line.

Sasha is a serious fucking jerk, but a well intent extremist on wanting to get everyone back home, who doesn’t fully grasp the full context of what horrible atrocities she’s helping Grimes commit through doing this attempted murder.

Anne, what are you doing? Are you really gonna risk your life for these...talking frogs? We don’t even belong here. Don’t you wanna get back home? See your family?

Yeah, but...

Then put your sword down, now!

END OF DISCUSSION...

There we go, that’s my girl.

There that wasn’t so hard was i-

WHAT THE HECK!?

For someone who’s Anne’s best friend, you sure don’t know her very well! She brave, she’s smart, and most of all she’s not gonna be pushed around by a bully like you!

I think I’ve had enough of you, squeaky toy.

Anne, what are you doing!?

Something I should’ve done a long time ago. Standing up to you!

Thanks for believing in me, Sprig.

Can I just say that I love how they don’t try to pin blame on Anne for being consistently manipulated by Sasha? While Anne most certainly needs to stand up and not allow Sasha to abuse her like this anymore, Sasha is the sole person responsible for making Anne feel so insecure, who needed to be put in her place. It was very important for them to make that clear who is at fault here in this situation more than anyone and Sprig was perfect for telling off Anne’s abusive friend. Can’t begin to describe how cathartic it was for seeing that bitch get hit in the face for trying to once again pull on Anne’s emotional baggage. That highly noteworthy moment aside, there is a really interesting exchange between Sasha and Grimes showing how warped Sasha’s definition of friendship has become over the years she’s grown up with Anne in school.

You’ve given me plenty of advice, now let me give you some. Stamp this out. Make her yield. Fail and nothing will ever be the same.

Not gonna happen...

So, taking into account everything that I’ve covered at this point, this makes for a wonderful climatic finale to a slow burn where previous episodes have emotionally prepared Anne for facing down the very person who’s been hurting her most of all. One of her closest friends, who’s been like a symbolic sister in the past to Anne, but has turned into this very hurtful person with a seriously warped idea of an “affectionate” friendship based on similar ideas of control as seen with Grimes. While Amphibia has plenty of comedic shenanigans in its storytelling, there’s always been this dramatic undertone centered around Anne and Sasha’s views of what relationships are all about for what each one has based their ideals on. This Disney series is centered around gaining new bonds, while looking at old ones in a much different perspective, as seen with Anne and Sasha’s falling out.

Anne, you don’t have to do this.

Yes I do...

Anne vs Sasha is an important key moment that the finale nails on every possible level, given each side here has something lose, if the other one wins this duel. These are old friends, or rather family in a sense, standing up for what they think is the right moral thing to do and you can feel this high stakes tension every second as its building up to their swords finally clashing again against one another. Reminds me a lot of the Star Wars battles where it’s not necessarily remembered so much for the fights themselves, but the emotional weight that is carried in every moment which is happening between its characters and I applaud Amphibia for taking inspiration in utilizing that trope of writing.

Much like how DuckTales (2017) handled its amazing Season 1 finale, Amphibia’s writers know the most crucial element to focus more than anything are the characters themselves and what they’re feeling, rather than making it a big flashy battle of epic proportions. Granted, that’s a nice icing on the cake and all, but the real meat should always be in how you’re executing the important themes you’ve introduced from the start. In Amphibia’s case, it’s the tragedy of friendship turning into something nasty with Sasha treating Anne poorly and breaking apart their once stable lives, due to that very nature which dropped them into this world where they have to now fend for themselves.

There’s so much powerful heartbreak emitting from this one pic here and hoo boi we haven’t even gotten to best part, yet. It’s delightfully angsty and shocked the Hell outta me when first watching this episode. Fuck, it still does quite frankly knowing the people behind this show had the guts to go that far dramatically.

They’re just slimy little frogs, Anne.

They don’t matter!

They’re not just Frogs. They’re my friends!

After Anne finally beats Sasha the entire castle starts exploding, due to Wally misinterpreting her on not blowing up Grimes base. Here’s where the most heart wrenching scene comes in as the cherry on top of this intense finale to Amphibia’s first season. As the castle is falling to pieces, Sasha almost falls to her death but Anne catches her in time, despite just fighting her tooth and nail seconds ago to save the family she was trying to kill for her selfish reasons. There’s a crap ton of symbolism here in this poignant moment of characterization for Anne & Sasha’s current state of friendship now. All of this is topped off by the music piece, Lean On Me, being poetically woven into it.

The Plantar family is doing everything in their power to hold Anne up equivalent to how they’ve made her into a better individual than she ever was around Sasha. While Sasha is putting all of them in danger as a figurative ball and chain that, besides holding them back from staying alive, is also keeping Anne from becoming the best version of herself she can be. In these last moments, I’d like to believe Sasha finally put it together in her mind just how much she’s royally screwed everything up. Not just what she attempted to do with Hop Pop and most likely the rest of his family, but how seriously disrespectful she was to Anne for who knows how many years of their friendship when Sasha started abusing her. Sasha was most likely feeling a ton of self-loathing and terrible guilt before making this shocking pivotal decision next in saving Anne and the Plantars’.

Hey Anne...

Maybe you’re better off without me...

Like, on one hand it can be simply viewed as Sasha simply saving these people from dying, too. However, I’d prefer to make it darker for the sake of heavy angst and say she was committing suicide, as well. Sasha realized in these last moments, before thinking that she was going to die a painful death, how shitty she was to Anne. Sasha’s abusive behavior is what started this whole story in the first place. If it wasn’t for Sasha, none of them would of ended up in the world Amphibia to begin with, but it needed to happen for Anne to become better about who her real friends are and maybe this rough experience would even help Sasha, too. We’ll just have to see what awaits for Sasha’s character arc in Season 2′s future. As it stands now, Anne may have a lost a dear friend, who was basically like a sister to her years back, but gained something even better.

A family and terrific friends who care deeply for her.

Hop Pop, you three are my family. I’d never let anyone hurt you.

Thanks for taking the time read this very lengthy post of me gushing about this powerfully bittersweet finale. Can’t wait for Season 2!

[thearistocratsblog]

What is Lettrism?

Lettrism is a multi-disciplinary creative movement born in Paris in 1946 under the guiding force of Isidore Isou. The movement soon expanded by attracting numerous creative people, such as Gabriel Pomerand, Maurice Lemaître, Gil J Wolman… (and over the years, many others joined for particular periods or specific contributions). Lettrism systematically took on all the fields of knowledge, principally in the arts (Poetry, Painting, Novel, Cinema, Photography…) but also in the social sciences (Economics, Law, Psychology…) and natural sciences (Chemistry, Medicine,…).

Lettrism is a new philosophy of creativity and aims to transform society by a creative method –  “La Créatique / Creatics” – and by a new understanding of the branches of knowledge – Kladology. The writing and symbols used in Lettrist works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract. In Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the today often favored all-in-one. The happening as a creation is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

Even today, the movement continues to produce numerous creations as well as propose areas for reflection.

This movement was named Lettrism because in its historic phase it was first of all involved in upsetting poetry, which was judged to be exhausted when it was conveyed by words and concepts. Poetic Lettrism clearly and systematically for the first time (after a few hints, for example, by Dada) proposed a new conception of poetry entirely reduced to the letter, thus eliminating all semantics. The use of new letters, symbolized by the letters of the ancient Greek alphabet, and then by numbers on the scores of this music-poetry, calls on all the sounds that a human body can produce, integrated into a sort of super-score, anticipating the later movements of sound poetry and performance art. Lettrist poetry is also music, but without instruments and rejecting its secular concept, the notion of pitch. Thus Lettrist music-poetry requires a certain flatness while introducing original sound and noise combinations.

In the same way, Lettrism latched onto other art and produced an impressive number of visual works using letters as the exclusive compositional element. To avoid any confusion, one must understand that Lettrism is not a language and thus the writing and symbols used in these works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract.

Lettrism thus requires rigorous critical judgment: for instance a foreigner who speaks and is not understood, is not an unknown Lettrist poet, and any writing, even if framed and exhibited, is just a manuscript and cannot be called a work of art.

Besides, the absolute systematizing of Lettrist practice, combining numerous works by several artists with a wide range of visual art personalities, is clearly different from the sporadic use of written forms, as seen before Lettrism and much more since the appearance of the Lettrist movement.

Lettrist visual art quickly added to its palette all the signs of all past, present, as well as invented cultures, overthrowing the meaning that naturally distinguishes it from calligraphy. For more clarity and because letters become only one element of this super-writing, this section would be called Hypergraphics. Thus, the majority of Lettrist painting is really Hypergraphics, an art of signs that is truly prophetic in our society full of pictograms, logos and other graffiti.

But the true importance of Lettrism is to simultaneously attack all the fields of knowledge and artistic expression, for example cinema, photography, theatre, dance, and also economics, mathematics, chemistry, law, theology. Lettrism, unless seen in its totality, which is the only way to grasp its true dimensions, is thus an artistic and intellectual upheaval of great significance, and the precursor of numerous developments in society.

Isou, who created the founding concepts within which the members of the group would carve out their own places, insisted for example on the amplifying and chiseling (or deconstructing) periods of each art, where after being raised up and constructed, it is reduced and eventually destroys itself, before being reborn in a Lettrist form (e.g. painting reborn in Hypergraphic form). Thus in cinema, which Isou overthrew once and for all with his film Le Traité de bave et d’éternté / Treatise on Venom and Eternity (1951), begins the phase of chiseling film when Isou destroys the concept of the classical image by using scraps of film found in trash bins, scratching graffiti on these images to make them unrecognizable. He goes even further in radically disassociating the sound and the image, viewed as two totally independent channels, discrépant or discrete (like later works in music by John Cage and in dance by Merce Cunningham, for example).

In 1956 Isou went beyond this art of the letter and the sign by creating imaginary or infinitesimal art (also called esthapéïrisme / esthaperism), which allows one to imagine a work that would be conceived in the mind, starting from a concrete sign, whether poetic, cinematic, or pictorial. It is the conceptual art par excellence and one of the most productive fields opened up by Isou. In 1960, Isou added the supertemporal framework, which calls on spectators or listeners to participate in working on an art work, which is constantly renewed and goes beyond the finite time-frame of a classical art proposition.

One of the other fundamental dimensions of the movement is economics, with Isou’s Traité d’Economie Nucléaire /Treatise on Nuclear Economics, and his first prophetic political manifesto Le soulèvement de la Jeunesse / Youth Uprising, of which the first volume appeared in 1949. On the occasion of this publication Isou and Lemaître met, a momentous meeting that started a mutually enhancing relationship. Indeed, these two will be practically the only consistent members of the group or more accurately, of the groups, in view of their constant metamorphoses over sixty years. Their vision of transforming society led Lemaître to present his candidacy for the Legislature in 1967, and Isou in 1993. Still today, Lemaître sends out manifestos attempting to promote the innovative concepts that seek to be an alternative to Marxist or capitalist models, based on a society basically involving the notions of creation and innovation.

If Isidore Isou created Lettrism in 1946, launching this movement through a journal with the provocative title La Dictature Lettriste / The Lettrist Dictatorship, he was joined by various first class creators such as Gabriel Pomerand, nicknamed the archangel of Lettrism, who became a Lettrist activist and wrote some of its most emblematic Lettrist pages. His hypergraphic novel (originally called a metagraph) Saint-Ghetto des prêts / Saint Ghetto of the Loans, his oil paintings, and his Symphonie en K / Symphony in K are part of the basis of Lettrist esthetics. And whereas Pomerand soon left the Lettrist group, Maurice Lemaître was the one who faithfully stood shoulder to shoulder with Isou. Author of a prolific canon that is detailed in the other pages of this site, Lemaître clearly became the major Lettrist film-maker as well as the greatest photographer of the movement. He has been a prolific writer, but his acute sense of polemic would lead him to a public isolation that was the lot of all the Lettrists during their lives. This public isolation and misunderstanding is now progressively overcome by high quality exhibitions and catalogs, showing the true contributions of this group, not in a confusing or partial manner, but by an enlightened and well-documented choice.

The history of this group is naturally plural and the numerous strong personalities that pass through it are like so many currents, more or less in relationships with Isou’s initial ideas. Pomerand and Lemaître, like later on Jacques Spacagna, Roland Sabatier, Broutin or François Poyet and Jean-Pierre Gillard … represent some of the exciting possibilities of the Isouian line, even though sometimes upsetting it. At the same time, other no less important Lettrists, starting with Gil J Wolman, adopt a more divergent view, both using and challenging the new Lettrist concepts. Nevertheless, and this is the case for Wolman and his megapneumies (deep breath poetry), his film L’Anticoncept / The Anticoncept, his Lettrist paintings and even some of his scotch tape art, they would also write some essential pages in a movement that would be diminished without their participation.

As for François Dufrêne, he would concentrate on Lettrist poetry (and also film) while  Jean-Louis Brau would be involved in everything. The case of Guy Debord remains rather amusing and marginal in the sense that, dazzled by Isou in 1951, he joined the Lettrist gang only for a year, but a year during which he would make his major film, Hurlements en faveur de Sade / Shouts in Favor of Sade, before going on to found a Lettrist International (1952-1957) with Wolman and Brau; this movement would be the antechamber to the future Situationist International that would permit him to become this French National Treasure* that still is often the first gateway to Lettrism.

The complexity and longevity of Lettrism make it a difficult subject to grasp; it claims to be a completely different species from other groups of its time or even of the past. For example, the infinitesimal makes it similar to what the Fluxus movement would develop later, even though it is opposed to it. In Fluxus art and life are mixed together, while for Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the all-in-one. The happening is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

If one thinks of the ultimate goal of Lettrism: “la société paradisiaque concrete,” the concrete paradisiac society, a sort of heaven on Earth: a world made up of creators, a world where contrary to the anarchical “Neither God nor master,” a person must change into “All Gods, all Masters”, then one understands better the gulf that has been dug out between the Lettrists, the most radical and innovative group of the second half of the twentieth century, and a society that seems in a hurry to consummate its loss, incapable of recognizing the still living creators.

* Artist’s archives cannot leave France

-Frédéric Acquaviva

[flowesona]

Bluebells - Yandere! Jimin x reader

Colour Blind Soulmate AU! Where you're completely colour blind till you meet your soulmate. Things go back to black and white when they die.

The world had always been black and white for (Y/N), in a figurative and literal sense. People had described to her beautiful scenery, but she could not see it. They were happy, they had met their loves.

Knowing that upon sight you would see your true love had advantages. People with great looks but a horrible personality were avoided. She didn't have heartbreak, but she didn't have love.

It was a gift, but a curse.

                                          »»---------------------►

She was at a club of some sort. There was pounding music and flashing shades, yet in her current state she was unable to register the bright colours.

Until her eyes met those of a young man, and her world burst into light.

She smiled at the boy, who smiled back and made his way to speak to her. The blinding neon lights did little to help her newly acquired coloured vision, but her breath was taken away nonetheless.

This boy was the sort that at first glance wasn’t too extraordinary. However, the closer you were, the longer you looked, the more beautiful he became. His smile alone radiated pure sunshine.

"H-hi." (Y/N) managed to piece together her most basic and pathetic introduction.

"Nice to meet you. I'm Hoseok." The radiant boy replied. "And this is Jimin, my friend."

"Hey." The guy Hoseok gestured towards waved nervously, blushing slightly.

                                          »»---------------------►

"It's about time to call it a night." Hoseok yawned, stretching his legs from exhaustion after being sat idly with the girl on a bench for half an hour.

"Good night!” (Y/N) smiled, waving at the disappearing angel.

"Can I walk you home?" Jimin offered, giving a kind yet substandard smile to (Y/N)'s expectations.

"Sure." (Y/N) replied with a slight drowsiness, not fully recognising the euphoria she'd sparked within him just by accepting his offer.

                                          »»---------------------►

The moon had taken over the sun's job, its light bouncing off the rippling water of the canal. Jimin was nervous, at how perfect this moment could be if he had the guts. To take her hand, to kiss her.

But (Y/N) wasn't paying attention to him, caught up in her utopian daydream about her new world filled with colour.

"Hey (Y/N)?" He asked, trying to achieve his dream; his Eden was so close to him.

"Yeah?" She replied dreamily, an emotion that he interpreted as infatuation with him, not with his close friend.

"C-can I hold your hand?" He asked, looking away so she couldn't see how pink his face was.

"Sure!" She said carelessly, her mind only filled with mirth and dreams and not focused on the nervous boy standing next to her.

Jimin wiped his hand on his trousers, ridding the sweat that had built up, and clasped her smooth, soft hand.

                                          »»---------------------►

The morning light streamed through the translucent curtains, like in a dream. (Y/N) awoke, stuck on her slippers, and took a moment to appreciate the beauty of the sunrise, a sight she'd never enjoyed before.

The beauty was unreal, like that of a fairy tale. Soft shades of pastel orange and pink, dappled with white clouds.

She walked downstairs, her slightly-too-big slippers slapping against her feet.

Flicking on the kettle, she attempted to fix her hair. But even little things like that were exciting. She felt like her life before was like being blind - such a beautiful world was hidden from her.

A tiny ring sounded, letting her know that she had a message. Excitement buzzed through her at the memory of last night, and seeing the burst of colour indicating her soulmate's presence.

She picked up the phone quickly, but the anticipation faded when she saw it was just the timid Jimin. Asking if she wanted to meet up.

(Y/N) simply ignored him, returning the phone to it's original place before making herself the coffee she'd been craving.

                                          »»---------------------►

"This is the place?" (Y/N) stared at the grassy slope still glowing in the early evening light.

"Come on! I know the best spot to sit!" Hoseok tugged her hand slightly, directing her to the shade of a tree. (Y/N) wrinkled her nose, but he just laughed and told her to give him her trust.

Of course that was what he deserved. The sunset was amazing with the subtle shades of orange being simply breathtaking, like an artist had painted the sky.

(Y/N) was caught up in the sight that would never be forgotten, yet became pleasantly surprised when Hoseok snaked an arm around her waist and pulled her closer.

"I've been told this is the perfect sight to see with someone once you're in love. That's why you being here with me is the greatest thing I could ask for." Hoseok sighed pleasantly.

Before (Y/N) even had time to react she'd been pulled into a sweet kiss, one she'd craved, been waiting for over the years. But it was worth it.

(Y/N) knew something was wrong. She could sense it in the air, a miasma of despair.

She shrugged this off as her own pessimism and went about her day as usual, not questioning the lack of communication  from the boy she'd consummated her love with.

Until she received that fateful phone call.

Her eyes filled with tears and heart swelling with fear she abandoned all plans of work and rushed to A&E in a near blind panic to be met with her second worst nightmare.

                                          »»---------------------►

"We've asked around and no one saw the license plate. The most we can do is hope for an anonymous tip-off." Jimin sighed, placing a comforting hand on (Y/N)'s shoulder as her eyes stared blankly into the ground.

"I need to see him again" was her only audible response.

Jimin frowned, a cold look glazing over his face for a second before he resumed his mournful comfort.

"Would you like to go for a walk? Get some fresh air, yeah?" He offered the rhetorical question, standing up and leading (Y/N) with their linked hands.

The two seemed an odd couple to those passing by, a melancholic girl and struggling optimistic boy.

"It's kind of weird that they're called bluebells, huh?" Jimin indicated to the purple flowers after a short while of complete silence in the serene company of nature.

"What do you mean?" (Y/N) finally replied monotonously, with a look of such confusion that struck ice into Jimin's heart.

                                          »»---------------------►

The young man knocked politely despite being aware of the spare key hidden under the doormat.

"(Y/N)? You in?" He gripped the Tupperware with leftover to repress the anxious feeling rising in his stomach.

Making a somewhat short decision to enter regardless, he fished the key from underneath her doormat and let himself into the flat only to be greeted by an ominous silence.

Curiosity took him over as to why she wasn't responding, as there was no doubt that she wouldn't have left the apartment in her emotional state.

He quickly made his way to her bedroom, and panicked seeing her motionless body next to a bottle of sleeping medication. His initial motives for visiting were forgotten in his immediate panic as he shook (Y/N)'s shoulder aggressively.To him nothing else mattered but for her to wake up.

Her eyes slowly opened, sliding over Jimin's panicked face in confusion.

"What are you doing?" She slurred, sitting up and rubbing her eyes.

"You're okay?! I was so scared seeing you and the medication and I know you've been struggling and you just can't do something like tha-" Jimin grasped her shoulders, fingernails digging into her skin until she shrugged him off, cutting off his rambling.

"Just fuck off Jimin. You're really starting to get on my nerves." In her half conscious state she didn't realise the crack she'd struck into his heart yet again with her words.

He immediately straightened up, leaving the room with such a silence that left (Y/N) unsettled but somewhat relieved.

                                          »»---------------------►

When (Y/N) awoke on the following Tuesday morning, her brain didn't register anything different from the past three weeks. Same grey walls, same cool white sunlight peeking from the top of the curtains.

Still stuck in the typical morning drowsiness she shuffled into the kitchen, and picked up the coffee that had been eagerly awaiting her for 5 minutes, still fresh and at the perfect warm temperature.

The bitter taste slowly turned sour as the caffeine boosted her consciousness. She picked up on how the dishes she'd procrastinated washing were stacked neatly.

This line of thinking was interrupted by her ears perking up at the faint sound of whistling. She didn't have to connect any dots with this however, as there was a  click of keys turning in the locks and entrance of Park Jimin himself.

"Are you feeling better today?" He shot her a hopeful smile and placed down the basket filled with fresh laundry before fishing out the keys again.

Dread rose in her stomach like bile as she stared in shock at his casual invasion of her apartment, alongside the possession of her keys around his neck like an accessory.

"What the hell do you think you're doing?" Her confusion and fear combined to create a spitting tone, which unlike previously didn't make Jimin flinch.

"You can't take care of yourself properly nowadays, can you?" He responded, approaching her and ignoring the way she backed away. "Therefore, it's my responsibility as your soulmate to step in and make sure we can both live our lives in the most glorious colour!"

The insanity swirling in Jimin's eyes was enough to make her start planning an escape route, until the memory of him locking the door with her own set of keys stuck down majority of her plans.

"What do you mean? Hoseok's my soulmate, not you. Isn't that obvious?" She instantly regretted bringing up her lover's name when she saw the furious look in her current captor's eyes.

"Hoseok? No, no, no he was just an obstacle, he tricked you into thinking you were in live but I know that the true chemistry is between us!" She took advantage of his insane rambling to edge her way towards her bedroom, before making a mad dash for her phone.

She had barely entered the second digit of emergency services before her phone was ripped out of her grip.

"There's no need for this anymore." He declared, apathetically throwing her phone against the wall and delighting in the resounding crack. "After all, anything you could need I can provide for. All I ask for in exchange is that you stay with me forever, it's only our destiny."

As she tore her eyes away from her smashed hope of escape to the boy demanding her attention, she saw the worst nightmare she could face. The pure obsession hidden in Jimin's grey eyes.

[uraniaconjunctmc]

Astrology Notes

If you’re interested in astrology for only getting some answers about your current and potential partner, please stop reading or searching for it. You’ll never get what you expect. Instead read some self-improvement books or books about human psychology.

Compatibility is much more complicated than you think. First of all understanding human nature is an entirely complex subject.

However, I discovered some interesting points in terms of compatibility. (Juno-Venus-north node, name asteroid, certain houses and Venus persona chart), but that’s for people who are already in or interested in being a serious relationship. Not for crushes.

If you want to know how good someone is in bed, please go have sex with them, simple. It’s all about body chemistry and energy. It’s better for you to understand through experience. Astrology can’t help you with that.

Astrology gives you the names of main titles, let’s say. Once you fully grasp those you need to find out your own subtitles.

Whoever brought up this “Uranus/Homosexuality doesn’t make sense” issue Thank You So Much cause I read a couple times here and felt like ok I’m not the only one who thinks that way. That’s such a homophobic crap. You can not label one’s sexuality by looking at one planet and sign. It’s ridiculous. Many astrology books include such information, unfortunately, yet they’re saying that because it’s weird. Please ignore that if you ever see somewhere. Only relationship may occur in this case is: LGBT rights(human rights)/Uranus. Not defining one’s sexuality. That’s incorrect. (I have so much stuff in the 6th which is why I always feel like I need to correct everything) I figured out, a while ago, where that idea came from - like back in 1 st century ad, but it’ll take long talking about it here.

Long story short I’m against finding out about one’s sexuality via astrology. I only deal with the levels of sexual energy in a natal considering certain aspects and houses regardless of gender, sexuality and so on. I don’t do stuff like mars for men Venus for women. Everyone has those planets in their natal chart, yet all human beings are blended with masculine and feminine energies no matter how they identify themselves with.

“Lilith is a woman’s repressed sexuality.” Ok then what does that mean in a man’s chart? “Oh that’s the woman who he’s attracted to.” Ok what if he is gay? “Umm.. he’s repressing his own sexuality.” Me: 😵 alright what if he has never needed to do so what would you say? “....” see there is no answer. LILITH REPRESENTS THE RESENTMENT THAT WE CARRY INSIDE- resentment towards life. AT LEAST I CAME TO THAT CONCLUSION.

Repressed sexuality is a big deal topic and also associated with cultural and sociological facts, and there are 7 billion people living on earth. One single asteroid is enough to explain that? Of course not.

Chiron being a centaur gives him a dual character, so that makes him a good match to rule Virgo- a mutuble sign. Others : gem,sag and pieces. There are so many info about that, actually, but I discovered something else about it that’s never written before, and it blew my mind. Too long to mention here.

Both cancer and Capricorn have dual qualities. Capricorn having that fish tail and cancer’s symbol being this ♋️ (don’t think sexual stuff please) can be a proof for that, but that’s about the change in hormone levels in males and females through years, basically it’s about aging as far as I understand. But I need to do more research reading more medical articles. I don’t know even know why I mentioned it here, but that’s the metaphysical side of astrology. Please don’t take it as your zodiac sign.

I’m a Capricorn, and yeah I’m stuck in time. I age but I don’t age, but I feel very old deep inside. It’s a paradox.

Aquarius as a fixed sign : “change is the only thing that never changes.” “Change is inevitable.” Hope this helps.

Sun and moon combination is your personality? Well, I’m cap sun Leo moon but tbh Scorpio sun sag moon or Aquarius sun Scorpio moon definitions fit with my personality better. I have those Capricorn Leo traits but when I read it doesn’t resonate much. Wherever is the accumulated energy located in the chart go there. If your chart’s energy splits, then mainly look at conjunctions and squares. They are hard aspects. Oppositions work too. Exclude: Uranus, Saturn, Jupiter and the north node unless they conjunct a personal planet, that changes the story( only conjunction because in most cases they are located in the same house). They are about the lessons you need to learn and in other words self improvement.

Finally dear Ceres... I know that a few are aware but yet, many aren’t. I’m working on writing a series books about it because I’m 100% sure that it rules Taurus and have so much to prove that, and yet so many other details. However, I’m not getting involved with any discussion here. I have to complete the work first, I guess. All I want you to know is that Ceres doesn’t mean how we nurture others. Your chart is enough to tell us if you’re a nurturing person or not. It’s basically like how you nurture you, how much you care about yourself and the material on earth, but I believe I can add more to that. That’s the result of my 3 year-old work.

Life is all about maintaining the balance. (Saturn exalts in Libra). Try to read the charts with that perspective.

Thank you for reading.

[sparklebox]

Learn how science toys for kids benefit them in the long run?

STEM subjects can be one of the most exciting yet challenging subjects for most kits. The complex concepts of electricity or molecules can be hard to grasp with just texts. Having difficulty with science subjects can lead to kids avoiding those subjects out of fear. So, what can parents do to make kids fall in love with science? The answer lies in combining education with fun. Science toys for kids are perfect tools to familiarize them with the basic concepts and ideas of STEM subjects. Below are few categories of science toys online that will help your kid find interest in the subjects:

Robots

Robots are one of the best ways to teach kids about science. Robotic toys help kids comprehend motion, movement, and 3D space. Some robot toys have additional features that allow kids to program a code into them. Not only is it a perfect toy to play with but also a useful learning material.

Chemistry Kits

Chemistry kits contain materials that are safe for kids to use in basic experiments. These toys teach kids how everything around us takes place due to specific physical or chemical reactions. Furthermore, seeing the experiment happening in front of them makes kids understand the complex chemical processes thoroughly.

 Physics experiment toys

Physics experimental toys can be a simple and fun way to learn about pulleys, levers, weight, force, and electricity. Whether it's electrical system toys or building a toy car from small parts, kids will develop better hand-eye coordination and motor functions.

Microscope sets

A microscope can be an important tool to learn about biology and chemistry. Kids have a natural curiosity about what objects are made up of. A microscope can help them see the smaller parts of small items, such as a leaf.

Science toys give children a head start among their peers when it comes to understanding STEM subjects. The more a parent forces their kid, the more resistant they are to studying. Science toys for kids bridge this gap by acting as a toy and an education kit. So, if you want to send your kid to those advanced classes later in school, hand them a science toy when they are young.

[redsoapbox]

MY TOP TEN CHRISTMAS MOVIES

Now that December is finally here, the McGrath household can upgrade the nightly Christmas movie from Hallmark seasonal romance to accepted Christmas classic. (Although in admitting defeat on winning the girls over on Miracle on 34th Street - either version) - I have to acknowledge that the list of films that we can all agree on as festive classics is a little shorter than I would like.

Here is my list of top ten Christmas movies -

10. The Santa Clause (1994) - John Pasquin

John Pasquin’s cinematic debut, he had previously worked on numerous T.V. shows including Newhart and Thirtysomething, opens with the risky gambit of having Santa fall to his death from the roof of Scott Calvin’s home. Calvin (Tim Allen), believing his home is being burgled, confronts Santa and startles him into plummeting to his doom. Before you know it, and after much urging from his son Charlie (Eric Lloyd), Calvin has donned the big red suit and his transformation into Santa has begun.

The Santa Clause combines rather broad comedy - there is much fun to be had with Calvin’s overnight weight gain and Charlie’s class presentation on how his Dad is actually Santa - with the usual Christmas sentiment. In this particular case, the healing of Scott’s relationship with Charlie and ex-wife Laura (Wendy Crewson).

A pre-Buzz Lightyear Allen gives a virtuoso performance as the would-be St Nick, and that went a long way to making the film a hit at the box office, spawning two sequels The Santa Clause 2 (2002) and The Santa Clause 3 (2006).

https://www.youtube.com/watch?v=kpzB4ubEqIE

9. The Man Who Invented Christmas (2017) - Bharat Nallur

I reviewed this thought-provoking film on how Charles Dickens’ saved Christmas at the time of it’s release -

https://pardontheglueman.tumblr.com/post/169301253898/the-man-who-invented-christmas

https://www.youtube.com/watch?v=nx3ctBjG6yI

8. Get Santa (2014)  - Christopher Smith

When the always over-generous Empire film magazine only gives a movie two stars, then you know that you are going out on a very thin limb indeed. Still, a lot of what I want from a Christmas movie - a story about redemption, likeable characters with likeable lead actors, a splash of humour, a touch of Christmas magic, and, finally, a guaranteed have-to-make-a-quick-exit-to-the-kitchen-to-compose-myself ending - are all present and correct here. And Get Santa really delivers - like a hard-working postman trudging through six feet of snow on Christmas Eve just to make sure that your Auntie Maureen’s card can take its proper place on your mantelpiece.

Get Santa has a best of British cast too; Rafe Spall as ex-con Steve, Jodie Whittaker as his estranged wife and Jim Broadbent as a banged up Santa. Throw in Stephen Graham, Warwick Davis and Joanna Scanlan and you have the second best cast Christmas movie ever (nothing is ever going to beat Jimmy Stewart, Donna Reed, Lionel Barrymore and Henry Travers in IAWL).

This may be the film on the list that you are most likely to have not seen, so in an effort to shore up support for this selection, I call my star witness - Mark Kermode who had this to say in his three-star Guardian review ‘It’s sweet -natured fare, boosted with spirited comic performances (Broadbent is a particular treat) and served up with plenty of DIY sparkle’.

7. The Nightmare Before Christmas (1993) - Henry Selick

Tim Burton’s unique vision of Christmas/Halloween is brought to life by Henry Selick, a gifted animator who had worked for Walt Disney Studios and in a freelance capacity before making his name with this masterpiece. I simply didn’t get this on release (my admittedly old-fashioned notion of what constitutes a Christmas movie forming a great big mental road block to a full appreciation of the imagination, visual style, black humour, gothic charm and exquisite pathos on display here), and it was only through a recent viewing with my children as part of our Halloween movie get togethers that I finally saw the light. Jack Skellington (voiced by Chris Sarandon) is a captivating character, brought to life by Danny Elfman’s songs and Selick’s ground breaking animation, and his desperate quest for belonging is one that we can all sympathise with, especially at Christmas. 

https://www.youtube.com/watch?v=kGiYxCUAhks

6. Remember The Night (1940) - Mitchell Leisen

This is a golden-age of Hollywood classic screwball comedy, starring the legendary Barbara Stanwyck, arguably the greatest comedienne in Hollywood history, Fred MacMurray, arguably the nicest guy in film history (at least until his turn as the murderous Walter Neff in Billy Wilder’s terrific noir Double Indemnity), and penned by arguably the funniest man in film history, Preston Sturges.

James Harvey in his 700-page opus Romantic Comedy in Hollywood (From Lubitsch to Sturges), which is, arguably, the best ever book about Hollywood, reveals that it was the shabby treatment (in Sturges’ not so humble opinion) of his screenplay, and the slow pacing of Leisen’s direction, that drove the screenwriter to extraordinary lengths to gain control of his own movies - basically making a deal with Paramount that he would sell them his next screenplay for a nominal sum of ten dollars as as long as he got to direct the picture. That deal changed movie history, setting the precedent of a writer / director that Orson Welles was soon to follow with Citizen Kane (1941).

The plot is a unique one, not that it truly matters in a Sturges movie, and centres around hardboiled career criminal Lee Leander (Stanwyck) having to choose between spending jail in Christmas or being released into the custody of her prosecuting attorney John Sargant (MacMurray). Hey, I didn’t say it made any sense! Of course, the season works its magic and, hey presto, one reformed criminal later Christmas love is in the air!

https://www.youtube.com/watch?v=LKcLcT9dOFk

5. The Muppet Christmas Carol (1992) - Brian Henson

Charles Dickens’ A Christmas Carol is the greatest Christmas story ever written, and arguably the main reason that Christmas in Britain is celebrated in quite the way that it is today (see The Man Who Invented Christmas above). There have been all manner of adaptations down the years, and here it is re-imagined as a vehicle for Kermit, Miss Piggy, Fozzy and co in a way that works beyond anybody’s wildest expectations.

All the human drama, the pathos, the cry from the heart for social justice that Dickens conveyed in his peerless book survives this, the most unlikely of screen adaptations. Much of the credit must go to Michael Caine, who despite sharing top billing with a bunch of muppets, emerges as a genuine contender for the crown of greatest screen Scrooge. Throw in a script by Jerry Juhl, which has The Great Gonzo as Charles Dickens, narrating his ghostly tale with a straight face, and Paul Williams’ super sing-along songs  “Marley and Marley” “One More Sleep ‘Till Christmas” and “Thankful Heart” , and you have an all time Christmas classic that can be enjoyed by everyone from 1 to 92. Bravo!  

4. ELF -  (2003)  John Favreau

Elf is the Shawshank Redemption of Christmas Movies - no matter who, where  or when you poll an audience, this charmingly comic celebration of Christmas always punches above its weight, getting the better of some very famous films in the process. Elf finished 10th in the IMDB poll for Greatest Christmas Movie and came 2nd in both the Time Out and Radio Times polls. It’s A Wonderful Life always, always comes top, but as someone who is still reeling from Citizen Kane losing first place to Vertigo in Sight and Sound’s celebrated Greatest Movie poll, I can see a time when Elf goes one better too.

Elf has a career-best performance from Will Ferrell, a winningly elfin turn from Zooey Deschanel and a series of fine cameo’s from Bob Newhart, Ed Asner, Faizon Love and Peter Dinklage as “angry” elf Miles Finch to recommend it, but it’s the hard to beat combination of laugh-out-loud set pieces, father and son second chances, and an opposites attract love story to top them all that makes this a genuinely affecting festive treat.

3. A Christmas Carol (1999) - David Jones

Of the umpteen takes on Dickens’ grasping miser, of which Alastair Sim’s turn as Scrooge (1951) is by far the most celebrated, I just prefer Patrick Stewart in this excellent T.V. movie. This may seem a deliberately obscure choice, but that is far from the case. Firstly, there is an A-list cast featuring Richard E Grant, Saskia Reeves, Dominic West and, at the top the bill, Stewart himself. 

As Screen Rant describes it, ‘Stewart plays a far more blunt, bitter and straight forward version of the miser... without feeling maniacal’. In short, he underplays the part, keeping the mugging down to a minimum. The clincher, though, is Stewart’s handling of the scene when he awakes to find it is still Christmas morning and that the spirits have granted him a second chance at life after all. He tries to emit a happy, life-affirming laugh, but is so unused to the sensation that he almost chokes himself. Wonderful stuff! There will be all the usual Scrooges to choose from this Christmas - Sim, George C Scott and Albert Finney amongst them, but the Stewart version will be there somewhere in the middle of the night on ITV3. If you peruse the Radio Times long enough you’ll find it.

https://www.youtube.com/watch?v=vviOGFiGrHc

2. Miracle on 34th Street - George Seaton (1947)  &  Les Mayfield (1994)

Okay, a bit of false accounting going on here in grouping the two films together. The original is the better version, but I’ve always loved the re-make too. After all, who can’t bring themselves to believe in Dickie Attenborough as Kris Kringle! Both films are perfectly cast - the romantic leads John Payne and Maureen O’ Hara are convincing enough in the black and white original, but are probably just shaded on the chemistry front by Dylan McDermott and Elizabeth Perkins. The unhappy children are sensationally cast, with Natalie Woods and Mara Wilson coming out even. The unthinkable happens, though, when it comes to the playing of Kris Kringle, because although Dickie scores a fab 9 out of 10 on my Santometer, Edmund Gwenn, who picked up a best supporting actor Oscar for his Kringle, scores a perfect 10.

The Oscar-winning original story, by Valentine Davies, must be known to just about everyone by now - a perfectly nice old man, given to the belief that he is really Kris Kringle, becomes, more by accident than design, Macy’s famous department store Santa. No sooner is he in post, than Kris begins to challenge the corporatisation of Christmas, directing customers to other toy stores all over town, where hard up parents can buy their presents at discount prices. He is about to face the sack, when Macy’s realise that he is a great loss leader for them, prompting arch rivals Gimbles to try and nobble him. Kris is committed to an institution for the insane on cooked up charges, and a battle rages to secure his release by Christmas Eve, so that the children of the world won’t be disappointed on Christmas morning! Each film uses an interesting plot device to allow a judge, desperate not to be seen as the man who gives a court ruling that Santa doesn’t exist, a way out without losing face, and there is a happily romantic final scene to round things off in the accepted festive manner.

https://www.youtube.com/watch?v=ibDD8Y3IJrg

https://www.youtube.com/watch?v=FCNbTAtD-jU

1. It’s a Wonderful Life - Frank Capra (1946)

I reviewed this seasonal great for Wales Arts Review last Christmas -

https://www.walesartsreview.org/rewatching-its-wonderful-life/

The next best Christmas films - The Bishop’s Wife, Arthur Christmas, A Christmas Story, Christmas in Connecticut

Merry Christmas to all.

[perkwunos]

Georg Lukács wrote in his essay "The Marxism of Rosa Luxembourg", “Bourgeois thought concerns itself with objects that arise either from the process of studying phenomena in isolation, or from the division of labour and specialisation in the different disciplines. It holds abstractions to be 'real' if it is naively realistic, and 'autonomous' if it is critical." The intellectual currents of our age are most well defined by their inability to be grasped coherently, all together. One can discuss the implications of one's aesthetic or moral experience, or talk about the world of physics. It is felt, however, that you can not discuss both together as if they were one world, without recourse to some fundamental dualism.

Lukács of course meant for his approach of understanding the "totality" to represent a resolution of this intellectual problem, but he was not primarily focusing on the kind of metaphysical/cosmological problems which I have just centered in my bringing up mind-body dualism and its related issues. There were other contemporaries who were focusing on this, however. One person, in particular, I would argue made more advances at going beyond the bourgeois division in thought than anyone else: the mathematician, physicist, and metaphysical philosopher Alfred North Whitehead.

Whitehead defined his speculative philosophy as "the endeavour to frame a coherent, logical, necessary system of general ideas in terms of which every element of our experience can be interpreted." Every element of our experience, i.e., everything we ever come into contact with and can know anything about. So it's a grand project, and he makes sure to remind the reader he sees it as one of constant experimental reconstruction that would never reach a perfected conclusion; it's an ever-ongoing project.

So why undergo the project at all? Because it allows for a confrontation with the division of fields and topics of discussion that we saw Lukács diagnose as symptomatic of bourgeois thought. Contemporary Whiteheadian Matthew Segall puts it thus, at the beginning of his short book "Physics of the World-Soul": "The importance of philosophy in our age, according to Whitehead, is primarily to serve as the critic of the abstractions of the specialized sciences ... the philosopher must always be at work attempting to harmonize the abstract sciences (e.g., physics, chemistry, biology, psychology, and sociology), both internally among themselves, and more generally with our deep moral intuitions and aesthetic feelings". This is the attempt to get at a mode of thought that sees physics and our experience of value as existing in the same plane of being.

Whitehead's view is one of relationality; everything can only be fully explained by its relations to other things. One must understand the environment to understand the thing, for the thing is an expression of the environment. This puts him directly in confrontation with the assumptions of specialization, which allow people to feel they’ve fully grasped something when it is in reality only viewed in abstraction from concrete totality. When you entertain a variety of such abstractions without understanding their entire concreteness, you face dislocated incoherence. He wrote in Adventures of Ideas, "We habitually speak of stones, and planets, and animals, as though each individual thing could exist, even for a passing moment, in separation from an environment which is in truth a necessary factor in its own nature. Such an abstraction is a necessity of thought, and the requisite background of systematic environment can be presupposed. That is true. But it also follows that, in the absence of some understanding of the final nature of things, and thus of the sorts of backgrounds presupposed in such abstract statements, all science suffers from the vice that it may be combining various propositions which tacitly presuppose inconsistent backgrounds." Some thinkers of Marxist dialectics have likewise continued through the 20th century into today in the explicit attempt to so comprehensively understand things in terms of their internal relations. I would argue, however, that when it comes to a fully cosmological and experiential model, Whitehead has been far more comprehensive and direct in the issues he faced. I don't necessarily expect this to be contended by many people; after all, Marxism is primarily a methodology for understanding social sciences. My argument, however, would be that Whitehead's system not only generalizes from and thus encompasses the subjects of physics, biology, psychology, aesthetics, but also just as well sociology, economics and anthropology. Society, its conditions and relations, certainly play a role in supplying the concrete facts which Whitehead knows he must not explain-away but rather locate in a wider system.

In fact there is an argument for the study of social interactions and its presuppositions playing one of the most vital roles for Whitehead. He was fond of citing sociological facts to show the reality of aims and self-decisions. I believe Victor Lowe described this as Whitehead's "humanistic" side, but I'd rather call it his anthropological side. Now, what is ultimately really concrete for Whitehead are occasions of experience seen as composed of relations to other occasions of experience. He generalizes that every process is an experiential process, because the only actuality we know of is, of course, that of our own experiential processes. However, this does not mean he appeals to only a crude psychological empiricism for his data as to what experience is like. He knows that our consciousness when put under the conditions of self-investigation will become such as to only emphasize certain kinds of experience. Rather his methodology puts forward that we should catch experience “in the rush of immediate transition.” One of the best ways to see evidence for what that’s like, actually, is not by documenting experience directly, but rather systematically studying the documentation of all of the actions that people do, and the perspectives they take on - for these are, ultimately, the effects of certain experiences. In Adventures of Ideas, Whitehead states, "The main sources of evidence respecting this width of human experience are language, social institutions, and action, including thereby the fusion of the three which is language interpreting action and social institutions." So some of the most intimate evidence for Whitehead's basic metaphysical entity, the occasion of relational experience, is thus derived from the social sciences!

I've often lamented before that I did not study physics more, so as to be able to attempt my own direct integration of its most recent findings with Whitehead's generalizations. Now, however, I realize that more important than that is to integrate the most recent findings of social studies with his thought. Whitehead himself was a highly sophisticated physicist, around for the cutting edges of relativity and quantum theories. His philosophizing shows that. He never dedicated quite so much time to the social sciences, nor was he as ensconced in the most revolutionary theoretical turns; he had an ethnocentric understanding of history and anthropology, and was still essentially a liberal gentleman in his confrontation with economic problems. Here is where the best possible sophistication is still to be brought.

There is of course the criticism that this philosophizing, as it does not confront the material conditions of capitalism which allowed for this incoherence of consciousness, does not focus upon the direct, material condition of alienated labor that leads to consciousness of an alienated ego, but instead stays as a purely ideological critique, cannot really help in doing away with the reality of these mental tendencies. I think this is a valid criticism against many liberal Whiteheadians. The integrated ecological metaphysics of Whitehead will not be at the forefront of abolishing the harmful conditions of today, except insofar as they are in the minds of those who will attack and abolish the relations of labor which produce the society we live in. However, Whitehead’s worldview can include the knowledge that our current consciousness arises from the conditions of our producing our material environment; indeed, his philosophy may explain better than any other how our experience comes out of the conditions of prior activity. This intellectual, or ideological, activity does play its role, and I do believe Whitehead above all others will serve the specifically philosophical purpose of integrating the slivered knowledge of the world into a true consciousness of totality. This totality is that of each subjective experience as it contains in its relations the entirety of the world. If nothing else this philosophy is a system of poetry which is truly a glimmer of the post-modern, i.e. post-bourgeois, and declares the pleasure principle, the Eros, of such. This experience of desire does not remain a private solipsism, but returns back upon the environment so as to affect it, and it is this affect existing within social relations that is the true object of desire. Whitehead's philosophy shows this.

I believe that when we make it beyond the capitalist organization of our global society, if there are still any organized intellectual efforts such as there are today, they will grasp upon the work of Whiteheadians to achieve a comprehensive framework for understanding our world. This will arguably advance the specific knowledge of physical sciences; more importantly, it would certainly advance the integrated knowledge of our interactions with an inherently aesthetic, desirous world. The pondering teenager confused by the existential separation they feel between their ego and the material world is an incoherent product of bourgeois-dominated culture, and will disappear in turn once those conditions of bourgeois domination are systematically abolished and replaced by the freedom of truly democratic, socialist control over production. For the time being, Whitehead's thought is a weapon against this kind of alienated consciousness we develop inside of capitalist society. It will not fully destroy this sickness, but it can be part of the healing process.

[notintheipswichboyband]

Telekinesis:

Telekinesis

Chase’s telekinesis was far more advanced than those of the other Sons of Ipswich. He displayed a unique ability to create “tendrils” of telekinetic energy from his hands that could latch on and drag Caleb across the ground. He could use his fingers to create a powerful bash of energy to knock Caleb back to the ground. He then levitated Caleb high into the air and tossed him out of Putnam Barn with great speed and force.

"What powers, you ask? I dunno, how 'bout the power of flight? That do anything for ya? That's levitation, Holmes. How 'bout the power to kill a yak, from 200 yards away... with mind bullets!

That's telekinesis, Kyle! How 'bout the power... to  move you?"

― Jack Black (of Tenacious D), "Wonderboy"

The power to manipulate objects/matter with the mind.

Also Called

Mind-Over-Matter

Mind Power

Object Manipulation

PK

Psychokinesis

Telekinetic/Psychokinetic Power

TK

Capabilities

User can influence/manipulate/move objects/matter with their mind. Telekinesis is one of the basis of many superpowers that are based on "controlling/manipulating", and may evolve to the point that a Telekinetic can control anything at a subatomic level.

Applications

"Psychokinesis" is an umbrella term for any ability that involves using the mind to influence/manipulate/move matter/objects.

Basic level

Binding: To keep object/being from moving.

Levitation: To lift an object, e.g. raising a pitcher several inches into the air. (Chase Knows)

Psionic Speed: To augment the user's physical speed, e.g. outrunning a speeding vehicle.

Psionic Strength: To augment the user's physical strength, e.g. punching through a steel wall.

Telekinetic Bullet Projection: To project telekinetic energy or objects as bullets.

Telekinetic Choking: To strangle others.

Telekinetic Grip: To grasp an object firmly in place, e.g. keeping the tides from washing a friend away.

Telekinetic Maneuver: To alter an object's directional course, e.g. changing what number a dice lands on or deflect an opponent attack. (Chase Knows)

Telekinetic Pull/Push: To pull objects towards the user or to push objects away from the user, e.g. yanking a book off a shelf or sliding a cup across a table. (Chase Knows)

Advanced level

Elemental Manipulation: Alternate the natural elements of existence at a sub-molecular level. (Chase Knows)

Homing Effect: To make any object automatically follow, home in and lock onto its target or targets until it hits them.

Molecular Manipulation: To manipulate matter and energy at molecular level.

Motor-Skill Manipulation: To manipulate the movement of others.

Object Manipulation: To alter an object's inner workings, e.g. unlocking a door.

Psionic Healing: To heal others with one's own telekinetic powers.

Spatial Sense: To "see" one's surroundings using telekinesis, e.g. sensing a target from a distance.

Telekinetic Aura: Possess powerful telekinetic extensions field from oneself.

Telekinetic Blast: Emit telekinetic energy to make blast that destroys anything in the user's path. (Chase Knows)

Telekinetic Combat: to use telekinesis in physical combat

Telekinetic Compression: To crush an object, e.g. squeezing a chair into a ball.

Telekinetic Constructs: To create objects, weapons and creatures out of telekinetic energy.

Telekinetic Destruction: To make an object explode, e.g. blowing up a table.

Telekinetic Flight: To use telekinesis to fly.

Telekinetic Pressure: To use telekinesis to damage area.

Telekinetic Surgery: To conduct complex surgery through telekinetic means.

Telekinetic Teleportation: Use telekinesis to teleport themselves or others.

Telekinetically Enhanced Condition: To use telekinesis to enhance the user's condition.

Unarmed Weapon Wielding: Use weapons without touching them.

Wound Inducement: to use telekinesis to cause physical wounds on others.

Motion Manipulation: Guide or shift directional vectors through direct molecular motion manipulation.

Property Manipulation: Change the physical and chemical properties.

Self-Molecular Manipulation: To manipulate self at molecular level.

Transmutation: Ability of changing molecules turning anything into most anything else.

Intuitive Aptitude: To learn how an object work by taking it apart and putting back together.

Master level

Atomic Manipulation/Energy Manipulation: To control matter and energy at the atomic levels. e.g. rearranging atoms and controlling energy.

Dimensional Travel: To bend the very fabric of dimensional barriers, allowing travel through wormholes or teleportation-like movement.

Neural Impulse Manipulation: To redirect the electrical signals between the brain and nerves, achieving control over thoughts, feelings, and movement of a body.

Organic Manipulation: To manipulate organic matter.

Psionic Explosion: To create and discharge a destructive psychic energy across a wide range.

Remote Telekinesis: To manipulate matter that is not within the user's location, e.g. controlling a rock 2000 miles away.

Technology Manipulation: To manipulate the functions and properties of technology and all forms of high-tech machinery.

Vibration Emission: To emit a powerful vibration strong enough to make objects shatter, i.e. sonic boom.

Weather Manipulation: To manipulate the weather, e.g. create lightning storms. (Chase Knows, Barely any control over. Emotion dependent currently.)

Chemistry Manipulation: By directly applying change to the sub-molecular bonds.

Cosmological Force Manipulation: Bend the very energies of the universe via thought alone.

Energy Absorption/Conversion: To absorb and convert energy.

Matter Manipulation: Change the very nature of physical nature of substance.

Self-Atomic Manipulation: To manipulate self at atomic level.

Mental Manipulation: By controlling the electrical signals in the brain.

Reanimation: To reanimate corpses.

Age Shifting: By manipulating the cells through telekinesis, could potentially achieve Immortality.

Telekinetic Regeneration: To regenerate one's own cells via telekinetic manipulation or gathering telekinetic energy to do so, e.g. using telekinesis to induce molecular/biological manipulation.

Psychic Bomb Generation: To generate and release a destructive explosive composed of psychic energy.

Ultimate level

Fundamental Forces Manipulation: To manipulate the fundamental forces of the universe.

Omnikinesis: To manipulate anything and everything.

Particle Manipulation: To manipulate matter at the basest of levels.

Reality Warping: To manipulate reality by bending quantum strings in a localized area.

Space-Time Manipulation: To manipulate and distort the space-time continuum.

Subatomic Manipulation/Energy Manipulation: To control matter and energy at subatomic levels.

Universal Force Manipulation: To manipulate both the physical and esoteric forces of the universe.

Particle Energy Manipulation: To manipulate particle energy.

Self-Subatomic Manipulation: To manipulate self at sub-atomic level.

Techniques

Deflation: To make objects to deflate.

Telekinetic Combat: To utilize telekinesis in combination of physical combat.

Telekinetic Cutting: To use telekinesis to cut things.

Variations

Elemental Matter Manipulation: using certain elements that have the potential to manipulate objects' movements (such as electromagnetism, gravity, and air).

Spatial Telekinesis: manipulate matter and energy by manipulating the space it is occupying.

Tactile Telekinesis: where the user has to be in physical contact with an object to be able to move it telekinetically. Other uses include focusing it inward increasing ones physical traits, while simulating Invulnerability via skin-layer Barrier by surrounding the body in a field of psychokinetic force.

Telekinetic Force Manipulation: specialized variation concentrate on simple but (extremely) strong TK Force itself.

Vector Manipulation: user creates telekinetic energy appendages to move the object, giving it vector, making it easier to move and more effective than normal telekinesis.

Associations

Matter Manipulation

Psionic Manipulation

Limitations

Telekinesis Immunity

May only be capable of moving objects they could physically move.

May not be able to manipulate magic-based matters/energies.

Psychic strength may be proportional to user's capacity, meaning an opponent with physical strength stronger than the user's mental strength may break free, or even be immune to the ability altogether.

Ability may be weakened or nullified by stress, fear or distractions.

May only be able to manipulate targets of certain number, size or weight at once.

Using this ability may be physically fatiguing.

User may not have control over the speed of which the target moves.

May be able to move only the objects that they can perceive.

May be unable or only able to move only certain objects.

Psychic Energy Absorption can negate this power.

Could be ineffective against those who control themselves at fundamental levels.

[lunar-root]

“One of the most essential and potent forms of magick, aside from theurgy and evocation, is planetary and astrological magick. Where elemental magick could be seen as working mostly with attributes of energy, planetary and astrological magick functions with a combination of energy, psychology and spirit formulations. Planetary and astrological magick tap into the basic archetypes of consciousness and culture, so they can be experienced as a form of power that effects the individual and the group mind simultaneously. In addition, these forms of magick also engage directly with attributes of spirit. Planetary and astrological intelligences, which are also considered to be a type of psychological archetype, are highly qualified and evolved spiritual entities in their own right, whether they are perceived as principals of the pagan godhead or as ruling angels. Still, in order to fully grasp the topic of planetary and astrological magick, I will need to define the nature of the planetary and astrological archetypes, which is key to the whole process. What is the nature of planetary and astrological archetypes? Are they related in some fashion to the actual celestial planets and zodiacal signs that they represent? The answer to this question pivots on how these attributes are defined, and how one defines the active principles of astrology. Do we take a literal approach to our understanding of astrology and the effect that the planets have on us? Some have written that the gravitational impact of the planets, even though subtle and minute, can affect individuals, but science has shown that to be highly unlikely. If we consider the fact that the gravitation impact of the Moon on an individual human is one ten-millionth of the Earth’s gravitational force, and the sun’s is 40% of that, then the gravitational effect of the planets would be infinitesimally smaller still. Distances from planets to the earth are so vast that they would far outweigh even the size and gravitational impact of the greatest of the planets. While the combination of the moon and sun appear to have a significant effect on large bodies of water and tectonic plates on the surface of the Earth, individual human beings are much too small to be directly impacted by them. The Earth is too far away to be influenced by even it’s closest celestial neighbors, Mars and Venus. Thus, we would have to assume that the gravitational pull of all eight planets is completely negligible for individual human beings. So it must be true that the effect of the planets on our minds, individually and collectively, has nothing to do with any known physical phenomenon. Therefore, planetary effects must be psychological, both on an individual as well as a collective level. This is why I refer to the planetary attributes as archetypes, since they suffuse our minds and saturate our culture. Even the division of the seven days of the solar week are named after the seven planets of antiquity, as are many qualitative adjectives describing personality traits or types. Astronomy has determined that the solar system is heliocentric, and that approximately nine planets orbit around the Sun in elliptical orbits, depending on whether you consider Pluto to be a planet or merely a planetoid. Astrology has borrowed eight of the nine planets, but still uses the Sun and Moon in it’s considerations, but not the Earth, which is only used as a method of determining the position of the houses and establishing the point of view. The older astrological system, as determined by Ptolemy, used only the five planets as seen by the naked eye. Adding the Sun and Moon to this list gave a total of seven planetary attributes, and these were and still are used in planetary magick.   The word archetypes has many meanings, but in occultism, which has taken on the combined perspectives of Neoplatonism and Jungian Psychology, archetypes are perceived as transcendent first principles that affect the human psyche and human behavior. They are said to have both an objective existence and also function as the building blocks of human consciousness. They are represented by internal impulses within the psyche as well as modeling and shaping external events. Archetypes are said to have a transcendent and mythic quality, perhaps due to the fact that they are associated with specific celestial pagan godheads who still have a powerful currency both within the minds of individuals and across cultures. The seven planetary archetypes are found in all human cultures and seem to embody the motivations and the characteristics of the psyche and group mind. It is likely for this reason that astrology and planetary magick continue to be relevant in the post modern age. In the most sophisticated circles, people still talk about martial activities, venereal proclivities, individuals who are jovial, saturnine, mercurial, sunny or lunatic. It would seem that even though we exist in a world dominated by science and technology, our sentiments are steeped in a kind of mythological exposition. Even the seven days of the week, which make up an artificial measurement of time, are named after the seven planetary archetypes. Magicians who deliberately engage with these archetypal qualities, whether in magick or divination, enter into the very foundation of the psychological “chemistry” of human personality. Through the occult manipulation of planetary archetypes, a magician can augment, empower and even illuminate himself, as well as curse his enemies. This type of psychic control has the ability to affect the self as well as the local social environment, so it should be considered a very potent and even hazardous kind of magick. This is true because through planeatary magick an accomplished magician can change or reprogram a person’s internal psychological structure at will. Needless to say, this type of magick must be deliberative and performed with a great deal of internal sensitivity and expert knowledge, since any egregious mistake might, if it’s successful, incur a high price for the unwitting magician.”

[pip-n-flinx]

this’ll be fun! XD

SO

Let’s start with the ‘how’ you’re drinking: Neat v Cut v Ice v Cocktail

Drinking whisk(e)y - or any spirit - neat is the fastest way to learn how it tastes. I personally prefer drinking things neat because I love higher-proofed spirits and a potent drink encourages sipping and savoring IMO.

Cutting your spirits with water can drastically alter the flavors IMO, and I’d always start with a drop or two before adding more. Particularly with brown spirits, I find that you can wash a lot of the sweet (floral/fruit) notes out while bitter flavors in the earthy (smoke/spice/umami) spectrum can rise to the forefront. This is fine if you enjoy leather, tobacco, smoke, and wood notes in your drinks. I find a cut is best for spirits that still have oils and esters in them. My best guess as to why these proof down better (though I’m iffy on the chemistry) is because these oils do not dilute, and retain some of the flavors that wash out of the alcohol itself. So a cut swings your drink from sweet towards bitter/earthy.

Putting spirits on the rocks is fundamentally very similar to a cut with two important distinctions. First, your rate of ice melt means that your drink changes over time, gradually growing less potent. The gradual loss of sweetness generally being offset by your gradually decreasing inhibitions. The second important note is that as your drink chills, it loses some of its pungency or smell. Again, iffy on the chemistry, but the colder your drink the less thermal energy the less evaporation and thus the less of the lovely bouquet of aromas you get as you drink it.

To speak on the cocktail point, we first need to describe how I define a cocktail. Adding whiskey to whiskey does not a cocktail make. While this line gets blurred with soda/highball style drinks, I would also contend that adding water/ice to a drink does not a cocktail make. To make a cocktail, you must add either another alcohol or another substance of a different nature in order to alter the smell of your drink. I.E. what makes a scotch highball a cocktail is not simply adding soda water or ice, but the use of a garnish or bitter such as a lemon twist to alter how you smell the base spirit.

More advanced/modern cocktails denature (not in the chemical sense) the spirit further by changing its viscosity or flavor. The more components in the cocktail, the more carefully balanced it has to be. Flavors that are too similar wash out and lose their distinct personalities. Flavors that are further apart need to be balanced appropriately or one flavor will drown out the others. We can talk about cocktail creation another time (I have tons of theories on how its done XD) but the basics, fundamental thing we have to agree on is that a cocktail changes the nose of a drink.

So, why put any spirit in a cocktail? Beyond its intoxicant properties, for a combination of flavor and mouth-feel. Mouth feel could be anything from proof (do you like how it burns/how it hits your palate?) or the actual viscosity of the spirit (which you can change by altering its temperature.) Then you add whatever olfactory fireworks you desire. Orange, Lemon, Ginger, Spice, Chocolate, whatever it is you heart desires you can add by way of garnish, bitter, juice or secondary spirit. This is a bloody difficult way to get a grasp on any base spirit, but it is a fun exercise for people who have some reference points for flavor and a creative flair. This is where finding a cool bartender comes most in handy I think.

A couple of careful google searches can help you narrow down what base spirit you want to drink. There are plenty of reviews and tasting notes out there and the internet puts them all at your disposal. What is difficult to do is parse what makes certain spirits or cocktails similar to each other. This is where knowing people with broader palates/experience than yourself is such a boon. I’ve been lucky enough to have two bosses who were happy to take me under their wing and help me taste through wine and whiskey. I can claim some credit, and certainly I was a curious soul who devoured anything they could teach me, but you said it yourself: “One of the fastest ways to appreciate exactly what you’re tasting is to have other points of reference.“

As for suggested tasting methods, I have 2 notes (three actually, but I digress.)

First, learn to ‘chew’ high proof spirits. For your first sip, keep it small. Hold it in your mouth, and swish around like mouthwash. This will stimulate your salivary glands, and while it may initially sting it will build up some familiarity with the alcohol burn and provide a layer of spit to keep the spirit from burning your gums/cheeks. You’ll have a much easier time pulling tasting notes out afterwards.

Second, start with a larger neat pour in a glass erring on the too-large size. Write down a few tasting notes, then carefully drop a teaspoon or less of water into the glass. New tasting notes, then add ice. Now you are free to ponder your chilling, diluting, and ever evolving spirit at your leisure. Once you’ve got a handle on the spirit, and how you like it best, you can cut straight to the chase and serve it as you like!

Third, but very much related to the previous point, is bitters and garnishes. Take your time to figure out which olfactory additives compliment your favorite spirits. To give you an example, take two old fashions. Identical, but for the base spirits. Once cube of cane sugar, two dashes bittercube trinity bitters. The first is made with Nassif Family reserve and the second with Rittenhouse bottled-in-bond. Garnish with a cherry (a luxardo, I’m not a monster.)

If you drink these two side by side, clearly the Nassif Family reserve is worth the extra $15-$20, because it is clearly the better of the two cocktails. If however, the Rittenhouse is made using bittercubes cherry bark bitters (which are one third of the recipe for their trinity bitters) suddenly the tables have turned entirely. One small change can drastically effect your perception or enjoyment of your cocktail, so get familiar with which bitters play well with your favorite spirits. Same basic thing for garnishes like citrus twists or pickled veggies (olives, onions, etc.)

Hope this answered your questions, let me know if I missed any points!

So now that I know you've seen my post on whiskey tasting, what do you think I missed? Any bits you disagree with?

It may be helpful to get your input on what kind of comparison or mnemonic you might suggest for drinkers to recall which is which and their general effects or flavor notes.

For example, in cocktails: why a Rye Manhattan is different from a classic Manhattan, is different from an Old Fashioned, etc. And then you get folks like me who would also order a Monte Carlo (because Benedictine, bitches!).

While these distinctions will be generally obvious to anyone who drinks whiskey, I always kind of put them in my head on a scale of 'herbal' -> 'sweet.'

So an herbal (maybe herbal w/peat notes?) scale would probably be useful for the uninitiated. I learned my distinctions by trial and error!

One particularly potent whiskey (I forget, but probably an Islay) ... was like drinking a cigar. And I went ???? holy ????

Also: may want to cover how to drink neat (vs. what you should expect of a cocktail), and your suggested tasting method.

I liked that you included what tend to be "off notes" in whiskey and would really like to know more about how you tend to taste.

My personal method: Order a flight of cocktails or whiskeys (preferably three) and taste across a spectrum suggested by the bartender. One of the fastest ways to appreciate exactly what you're tasting is to have other points of reference.