function-addition

also I noticed a lot of people (i.e. liberals) framing the discussion around love and violence as if fighting oppression or oppressors (including in immediate self-defense) was somehow antithetical to being a loving person, or to being committed to loving ourselves and other people in our communities, or to recognising love as a revitalising and necessary force in activism and in life in general, such that we need to utterly shun violence as something that’s always morally reprehensible (and thus, to shun people who commit violence in self-defense as morally reprehensible) in order to be capable of love

and I started thinking about how a lot of edgy radicals & leftists essentially agree with this but in the opposite direction–as if we need to utterly shun love as a necessary & revitalising force in order to be capable of revolutionary action or self-defense

in the same way that liberals will say “we must love and see the humanity in our oppressors, so that we cannot use violence against them even if we are ourselves the targets of violence” (or–more likely, since these kinds of people aren’t likely to be people who have ever been seriously targeted by violence–”more immediately & materially marginalised people shouldn’t use violence even if they are themselves the targets of violence”), edgy radicals will say “we must be prepared to use violence against our oppressors, and therefore we must hate and demonise them, as if they are somehow essentially, ontologically evil by virtue of their identities.” & I think that both of these approaches are fundamentally misguided

of course we must be prepared to use violence in self-defense against institutions that commit violence against us–but ultimately, the basis of revolution or whatever cannot be hatred and it cannot be the romanticisation of violence for the sake of violence (and again, a lot of these edgelord-y people have probably never been seriously targeted by violence, don’t have bodies that are marked out for violence–they just like the thrill of it all). it has to be love–love for ourselves & each other & for the future that we have to believe is possible–& that will include love for the people who used to be our oppressors. because otherwise what is the point?

to me “love your oppressor” doesn’t mean that you can’t fight back against violence and it doesn’t mean that you can’t hate the people who hate you or else you’re just as bad as they are and it doesn’t mean that you can’t be angry… what it does mean is that you have to have some kind of fundamental respect & empathy for people’s humanity

it means that, rather than just assuming that all white people are evil by some kind of mystical biological necessity and thus The Revolution requires killing them all or something (I’ve seen this suggested, which is… terrifying), you’ve got to try to understand the material and psychological factors that play into white people behaving in the way that they do (such as, applying class analysis to the racism of poor whites–see, the psychological wage of whiteness, etc.). that attempt at understanding is what I mean by “empathy”

and of course this has a necessary practical function in addition to a theoretical and psychological one–because how can you hope to fight a system that works to fragment and divide the people whom it oppresses without understanding & fighting against the reasons for that fragmentation?

so in all of these ways I see the willingness to empathise & love and the willingness to fight against oppression, not as antithetical, but absolutely necessary to, each other.

Endocrine cells in the brain influence the optimization of behavior

A person exposed to stress can usually rapidly adapt the own behavior to the specific situation. Biochemical messenger substances in the brain or so-called neurotransmitters play a central role in this rapid transformation process. We know that hormones also have a stress-regulating function, but that their effects are more slowly apparent. However, recent findings reported by the team under Professor Soojin Ryu, leading researcher at the German Resilience Center of Johannes Gutenberg University Mainz (JGU) in Germany, indicate that this may not actually be the case. Using a combination of genetic and optical techniques, the research team has been able to demonstrate that corticotrophs, the cell populations that stimulate the adrenal cortex and produce the stress hormones of the hypothalamic-pituitary-adrenal axis, can rapidly influence avoidance behavior immediately after the onset of a stress situation. This insight may contribute to the development of effective treatments that can facilitate the management of acute stress-induced reactions or might even be able to alleviate acute stress-related conditions. The findings have recently been published in the eminent journal Nature Communications.

The human body is controlled by two well-orchestrated systems, i.e., the hormonal system and the nervous system. The hypothalamus located in the middle of the basis of the brain has a key role here providing the link between the body and the other regions of the brain as well as directly and indirectly controlling a series of essential physiological vegetative functions. In addition, it is the most important control organ of the human endocrine system (hormonal system), because it regulates when and how much of a hormone is produced. Both the hypothalamus and its production of hormone are also subject to the influences of emotional stress. The pituitary gland or hypophysis is connected to the hypothalamus and together they form a single functional unit called the hypothalamic-pituitary-adrenal (HPA) axis.

Hormones secreted by the hypothalamus include the so-called releasing hormones, such as the corticotropin-releasing hormone (CRH). This stimulates the production of the adrenocorticotropic hormone (ACTCH) in the pituitary gland. ACTH is a hormone secreted by the anterior lobe of the pituitary and it regulates the production of other hormones, such as the stress hormone cortisol (hydrocortisone).

It can be basically assumed that the neurotransmitters of the central nervous system rapidly determine whether fight or flight behavior is to develop in a given situation. To date, medical science has conjectured that the stress-regulating effects of the hormones of the hypothalamic-pituitary-adrenal (HPA) axis come into play far more slowly. Stress researchers found it very problematic to establish the concrete role of the HPA axis in the rapid adaptation of behavior in a stress situation in more detail in standard animal models. This is because the location of the hypothalamus and pituitary gland in mammals makes them difficult to access. To overcome these obstacles, Professor Soojin Ryu’s work group at the German Resilience Center at Johannes Gutenberg University Mainz decided to create an innovative optogenetic research technique. They managed to develop a genetically modified zebrafish larva in which they were able to manipulate the activity of the hypothalamic-pituitary-adrenal axis using light and thus observe the resultant changes to the reactions of the modified cells.

Two original concepts have been brought together in the new technique of Professor Soojin Ryu’s group: On the one hand, it employs optogenetic methods, i.e., a combination of optical and genetic techniques. This makes it possible to precisely control, in a targeted and extremely rapid manner, the functional reactions of genetically modified cells. The process first involves the modification of light-sensitive proteins using genetic techniques. These are then introduced into specific target cells or tissues. The functioning of these proteins can then be regulated using light and the reaction of the modified cells can be controlled. In addition, Ryu’s approach also pioneers the use of a new animal model in stress research, here the zebrafish. The advantage of the zebrafish, especially the transparent larvae of these small tropical fish of the group of teleosts, is that their development in the embryonic phase is similar to that in humans. They also mature very rapidly and are thus ideal for the purposes of genetic research. Moreover, the transparency of the larvae makes it easy to observe the tissue sections of their bodies.

The researchers at the German Resilience Center in Mainz introduced a synthetic enzyme into their animal model that elevates the levels of the intracellular messenger substance cyclic adenosine monophosphate (cAMP) only in the corticotropic cells of the HPA axis. Their elevation is important for the release of hormones in the corticotropic cells of the anterior pituitary. The levels of the resulting so-called transgenetic animal stress hormones can be increased by means of exposure to light. This means the researchers can thus observe the accompanying changes to behavior.

The newly published research results of Professor Soojin Ryu and her team at the German Resilience Center show that the corticotropic cells in the pituitary become directly active on the onset of a stress situation that is perceived as distressing. These then influence both locomotion and avoidance behavior as well as the sensitivity to the stimulus. The researchers interpret this as evidence that the corticotropic cells in the pituitary play a significant role in the rapid adaptation of behavior to local environments perceived as antagonistic.

greatfay  asked:

How much do you believe an actor's stage presence contributes to type impressions? Sometimes if an actor (or even voice actor) is more emotive than the script calls for, it can mess up my perception on their functions, or they can give an introverted character an energy that comes off as extroverted.

A fair amount.

I had to laugh, because just the other day I had a conversation with a friend who doubted Jeff Goldblum is capable of playing a withdrawn introvert. His ENTP comes on STRONG. Can he NOT flirt with anyone in the room? No, so he does, and that makes even his introverted characters more… well, extroverted.

My personal favorites are the feeler actors who are handed thinker roles. They bring so much depth, nuance, and “hidden emotion” to the part – often the Fi-doms do this with their eyes, so even if the character itself is very detached and emotionless on-screen, there’s a hidden world of the soul in their gaze. Some of the stronger Fe’s, though, can soften a character so much, the natural cognition blurs (like Jeremy Northam’s Mr. Knightley in Emma; he takes all the sharp corrections/bluntness and gives them rounded edges and flirtations).

Audrey Hepburn, an ISFX (ISFJ?) said the hardest part she ever played was an extrovert – it was deeply uncomfortable for her to move outside her comfort zone like that, even in “make believe.” And indeed, she does have what I rather consider the “introvert zone” going on in her performances – they are a little more poised / self contained / not as ‘occupying’ as an extrovert’s performance.

Many introverts (like Ralph Fiennes, Al Pacino, Renée Zellweger, or Audrey, or Stephen Dillane) turn out incredibly deep, nuanced, layered performances all the time – but an extrovert occupies more space. They figuratively, literally, metaphorically, and personality-wise… sprawl across the screen (like Hugh Jackman, Jeff Goldblum, etc) and often engage in more “scene-stealing,” because the higher Fe’s have SO MUCH PRESENCE it’s effortless for them.

For characters, that’s why it’s best to look for function stacking in addition to the overall characterization – because the actor’s “tone” or “presence” is piling on top of what the script calls for, and their interpretation of it changes things.

- ENFP Mod

Synetic Theater’s Unforgettable Watery Worlds

In 2013, Arlington-based Synetic Theater took their signature cinematic style to a new level when they flooded the stage with water for a production of The Tempest.

The physical theater company, well known for their wordless productions of Shakespeare plays, had previously created a water stage for their 2010 production of King Arthur. Known for their creative use of mixed media, Synetic Theater utilized the water to add an extra layer of magical realism to that production.



The Tempest was to be the 9th installment of  Synetic’s popular Wordless Shakespeare series and Founding Artistic Director Paata Tsikurishvili was inspired to use a water stage by the way in which water is closely tied to the plot.

“The exiled Prospero is sent to an island, surrounded and inundated by water,” Tsikurshvili said. “His power and magic grows from it, and even the inciting action is created by water when Prospero uses a storm to bring his enemies to him.”

Water is a versatile theatrical element, conveying a variety of emotions and feelings. It can be at once dramatic, comical, magical, and lyrical. Additionally, the hypnotic combination of water and physical theater captivated audiences’ imaginations in a totally new way.


Once Tsikurishvili decided on the watery world his Tempest would be set in, he tapped Synetic’s Resident Stage Manager Marley Giggey and Technical Director Phil Charlwood to figure out the logistics of getting water into a pool onstage. “It was the strangest combination of terror and excitement I have ever experienced,” Giggey said of her first meeting about working on a water stage.

Technical Director Phil Charlwood had worked on King Arthur three years prior, and this time he strove to improve circumstances for the actors. The biggest challenge was keeping the water at a comfortable temperature. By using large heaters, Charlwood was able to keep the water warm during performances. 

Charlwood also used his innovative design and building techniques to create one of the most compelling elements of the production, a piano fountain that served as an important piece of the set.


Filling the pools and keeping the water clean and safe fell to Giggey. "The water came from several hoses running from two sinks in the laundry room backstage and in the lobby,” she said. “The drain was a series of PVC pipes that connected together and went to a hose. We would bring out all the pipes and connect them - going out the loading dock door and leading to a floor drain in the parking garage that could accommodate all that water!  Before each performance I would do a half drain and fill.

“We would drain about half of the pool and then fill it back up to show levels with hot water.  On Fridays and Sundays we did a total drain of the pool and a very through scrub and clean. Then we let it dry for at least 12 hours before refilling.  It was a time consuming process, but keeping the pool safe and clean was key.”

Once the water was on stage, Giggey was faced with more challenges. The stage lights made it difficult for the actors to consistently see the spike marks. This problem was solved with a grid system that allowed the actors to line themselves up with the left and downstage points.

The actors movement in the pool created a lot of splashing into the audience. Synetic offered branded ponchos to patrons in this “splash zone” and those seats became the most popular for the production.

Lighting designer Andrew Griffin enjoyed working with water and overcoming the challenge the water gave him in designing a light plot for the show.

“The light would reflect and refract because the water floor was reminiscent of a mirror,” he said. Griffin used several low-angled sidelights to exploit the angles of light that would scrape across the floor, rendering less of a reflected impact on the architecture of the space. This effect made it seem as though the water was dancing along with the characters. "Through a lot of careful planning, we created some pretty great effects,” said Griffin.


When working with water, there was also the question of mold and mildew - particularly concerning costumes. The costumes were all treated with camp spray to help waterproof them. "Cleaning the costumes was very tricky,” Giggey said.  “They had to be thoroughly washed so we turned the back room of the theater into a ‘dry room’ with fans blowing from all directions and drip buckets to catch all the water.  The last thing any actor wanted was to put on damp costumes or shoes when they came in the next day.”


Working with water required Synetic’s creative team to master a free-flowing element that is not easy to control consistently. Synetic was able to overcome many obstacles and use the water to their advantage with the help of various theatrical elements, all while taking the necessary steps to protect their performers.

The hours of maintenance required to keep the pool clean and functional and the additional challenges of working with water in a theatrical setting paid off. “It was a moment that was so immersive and dramatic that it was difficult to believe it was happening live in front of you,” Giggey said. "The energy in the theater as the actors were jumping, spinning, and splashing was electric!”

Overall, the creative team, crew, actors and audiences appreciated and valued this rare experience. The professionalism, ingenuity, and talent of the production crew, actors, and artistic team helped to make The Tempest Synetic’s highest grossing show to date.

Genetic Discovery Provides New Insight into Cognitive Disorders

An international team of scientists, led by Todd Lencz, PhD, professor at The Feinstein Institute for Medical Research at Northwell Health and Hofstra Northwell School of Medicine, have unlocked some of the genes responsible for cognitive ability.

Dr. Lencz and fellow researchers studied the genes of 35,000 people and discovered new genetic variations related to cognitive ability. The findings bring scientists a step closer to developing new – and potentially better – treatments for cognitive disorders of the brain, such as schizophrenia and attention deficit hyperactivity disorder (ADHD). The findings were published online in Molecular Psychiatry.

The team of 60 international scientists is called the Cognitive Genomics Consortium (COGENT). COGENT researchers measured brain function of the participants through tests of learning, memory and other components of cognitive function. In addition to zeroing in on a few specific genes related to cognitive ability, the team also showed a significant genetic overlap between risk for several psychiatric disorders and reduction in cognitive ability. Impairments in general cognitive ability, such as reasoning, problems solving, learning, and memory, are critical components for a number of serious mental illnesses, including schizophrenia.

“This research provides new clues into how the brain works at the molecular level,” said Dr. Lencz. “Our long-term goal is to identify potential new targets for treatments of cognitive disorders of the brain, such as schizophrenia and attention deficit hyperactivity disorder (ADHD).”

COGENT scientists also discovered for the first time a molecular genetic overlap between cognitive ability and personality. Specifically, they found that a genetic predisposition towards higher cognitive ability was associated with greater “openness to experience.” This means that some of the genes that make people more likely to be curious about new ideas and trying new experiences are the same as those that enhance cognitive function.

Dr. Lencz and the COGENT team are currently working with partners in Europe to expand the collaborative team. Their goal is to increase the size of the study to more than 100,000 DNA samples. Dr. Lencz notes, “Today, we know of hundreds of genes related to traits such as height and weight, but only a few related to cognitive ability. We have a lot of work to do if we want to understand the molecular basis of brain function.”

“We have ‘free’ education through grade 12 as a basic human right in the U.S. And what is it? A system set up for processing, grading and sorting human raw material into an input for corporate HR departments. The first statewide public school systems were set up in New England because mill owners needed hands who’d been taught to be punctual, line up on command, eat and pee at the sound of a bell, and cheerfully obey instructions from an authority figure behind a desk. As a majority of people moved into white collar jobs, this basic function persisted — with the additional task of schooling students to prioritize tasks set for them by an authority figure over their own self-directed interests, and to regard as a trivial ‘hobby’ anything not assigned by a boss.”
—  Kevin Carson, “When Basic Services Are Guaranteed As a ‘Right’”

hey hey hey everyone!! as a self-proclaimed mathlete & absolute math nerd, i figured i could share some quick little tips for such an amazing subject! soooo here you go:

practice, practice, practice!!

I always say that practice is the most essential aspect of studying & learning math- and many other subjects! This can take the form of homework (mini tip: always do your homework if you are able!!! it’s only to your benefit! even if it’s not for a grade, try your best to work on it anyway), practice problems from a textbook or workbook, old questions from a past quiz or test, etc. Even just a couple of practice problems every day, or some quick q’s before a test, can help a lot. Remember, repetition is a key form of revision!

take active notes

Math is a very active subject, so it’s important for your notes to reflect that. Basically, if you’re working on an example problem in the middle of your notes, write it down too. These problems can come back in quizzes or tests, and they really help reinforce material when you’re reviewing. Another way to keep your notes active is by drawing diagrams!! Diagrams can be essential for certain topics, so please don’t ignore them, even if you think you can remember what that graph looks like. Also, if you ever need to jot something down in the margins of your notes, do it! All of this will really help when you review.

know your calculator 

Whether you need to know how to use one, or how to survive without one, calculators are pretty much always relevant when it comes to math. If the subject you’re learning allows it, you should always have a calc nearby, and you should know its basic functions. That doesn’t mean know how to add & subtract (unless that’s all that’s necessary for you), it means being able to work the graphing function, or how to enter data into your calculator for statistical evaluation, how to find certain functions in your calc, etc. It’s also very important to know how to work without your calculator. As you progress in math, there will be certain things that you just need to know how to do, because they take too long with a calc. Basically, make sure you understand what you’re doing with your calculator, so that you can understand how to do it without your calculator.

keep track of everything!

Math is a lot of data & different steps that you need to keep track of. When working on something, know where your numbers (or other forms of data) are, make sure you aren’t missing any! Do your best not to skip steps, even if you’re great at working in your head. Missing data & skipped steps are major sources of error and tiny mistakes that can mess up a whole problem. Also, know your common errors! Do you tend to skip a certain step because you think you’ve got it? Do you sometimes misinterpret graphs or data? Once you’ve figured that out, be extra careful with the specific problems that you have trouble with. Keeping track of your work & your mistakes can help you improve a lot!

memorize what needs to be memorized

A lot of math can be done with basic understanding of how to work a problem & the process to find a solution (these things are generally memorized with practice!) but there are some things that just need to be memorized. Whether it’s elementary functions like addition & division, or basic trigonometry, if it’s not a process you can learn through understanding, and need to know, make sure you know!! Some things can be memorized with practice, and others require different methods of memorization (I typically write & rewrite things multiple times). You can find some great posts on memorization here!

more masterposts!!

i really love math & i wish everyone could see it like i do, so i hope this was helpful! keep shining like the star you are and don’t forget to be awesome today!!

- Aza

Pale Skin and Onyx Eyes [6]

[Throne of Glass] [Elide x Lorcan] [W.I.P.]
Chapter Word Count: 2486 words

Summary: Set after Empire of Storms, Elide Lochan and Lorcan Salvaterre are traveling with Rowan and Gavriel in search of Queen Aelin. Will Elide ever be able to forgive Lorcan for betraying her and her Queen? Where will they go next?


Part I: The Search - Chs. 1-8
Part II: The Journey - Chs. 9-???
Part III: The Mission

Chapters: [ 1 ] [ 2 ] [ 3 ] [ 4 ] [ 5 ] [ 6 ] [ 7 ] [ 8 ] [ 9 ] [ 10 ] [ 11 ] [ 12 ] [13 ] …
Read it on: [ fanfiction.net ] [ archive of our own ]


Lorcan

Lorcan prowled towards her. Elide’s eyes narrowed as she noticed his casual but deliberate movements. “What are you doing?” she asked, not daring to take her eyes off of him.

He gave her a small, lazy smile, flashing his canines at her. “Teaching you some fear. That fearlessness of yours is going to get you killed one day, girl.” Elide bristled at the word girl, but watching Lorcan stalk her set her senses on edge and she lithely rolled off the edge of the bed to stand upright. The bed was now between them, although she was pretty sure he didn’t even consider it a hindrance.

“I’m not a girl anymore, and you don’t scare me,” she said boldly. Her hands balled up at her sides, but she lifted her chin up, feigning confidence. “Plus, if you wanted to kill me, you would have done so long ago.” Elide knew she had said the wrong thing when she saw rare, dancing amusement in his eyes.

Lorcan’s smile widened as she fell into his trap. “Who said anything about killing you?” he drawled, those onyx eyes pinning hers. Elide’s confidence faltered slightly as she processed his lazy reply. The pause was enough for Lorcan to move across the room at an inhumane speed and grab Elide’s wrist before she could take a step back. She was startled, but mostly irritated that she let him catch her off–guard so easily. Growling, Elide braced her legs against the floor and made to yank her arm back, but Lorcan just tugged firmly on her arm, pulling her forward. Elide’s knees collided with the side of the bed, and she fell forward onto the bed, her other arm braced in front of her.

Of course the bed wasn’t an obstacle, when he could use it as a prop! Elide ignored the pain in her knees and let out a bark of frustration.

Lorcan smirked at her naiveté. It was cute, really. She hastened to roll over so she could get away, but Lorcan’s arm was on the other side of her. Already, he was tensed and hovering over her, with a rather wolfish expression as he waited for her next move. Elide cursed at him. Bastard. He couldn’t deny it; he was enjoying being in control of the situation.

Elide shoved hard at Lorcan’s muscular chest, which didn’t budge at all, proving his muscles served their function in addition to looking ridiculously good. Elide swore and scowled as her wrists throbbed slightly from the impact. His eyebrows raised at her, as if to say, is that the best you can do? She glared right back, summoned all her strength, and then shoved upwards as hard as she could, torqueing her body into Lorcan’s left arm, hoping to at least disarm him so that she could roll to the edge of the bed–

Lorcan’s right hand grabbed her by the shirt and yanked her farther onto the bed, and she was dragged flat onto her stomach. He moved so that she was beneath him; his flexed arms were like cages around her and his chest a steel roof curved above her. Lorcan’s muscles were stretched taut with restraint, and he tried not to let Elide’s slim, struggling figure distract him too much.

“Now this,” Lorcan bent his head down to Elide’s ear, “is definitely not the position you want to be in.” His low, throaty voice tickled Elide’s ear and she shuddered slightly. His hair was brushing against her shoulder and she could feel his weight against her. She felt the blush rushing farther and farther up her face and she was sure she looked like a tomato.

As if to prove his point, or perhaps he didn’t even realize he was doing it, Lorcan’s right hand lightly touched her clothes just below her breast, and he brushed his hand downwards until it was resting on her hip. Elide’s heart caught in her throat as she felt his fingers brush against her bare skin, but she restrained herself and let out a hiss instead of a moan. Lorcan tried not to think about how he could tease out her moans in other ways.

She wasn’t going to give Lorcan the satisfaction of winning all the time. It was unfair. His toned muscles, his beautifully sculpted face, and those eternal, onyx eyes. When she first met him in the forest, she wasn’t sure if he had ever known or shown compassion. And now… Elide didn’t know why, but she liked the way his eyes had softened slightly. They weren’t so hard and unforgiving around the edges anymore… sometimes.

“Getting distracted, are we?” Lorcan breathed in her ear again. He lightly squeezed her hip and she yelped; her skin felt like it had been electrified. She silenced the struggling voice in the back of her mind that wondered what would happen if she didn’t stop him. Lorcan worked to control himself, to restrain his desire and calm his blood.

Elide gritted her teeth, getting more and more annoyed. She knew in her heart that Lorcan wouldn’t hurt her, but she also understood that this was a situation that she could find herself in one day- actually, a situation she had found herself in just the other day. He wanted to know how she would defend herself against just one attacker, albeit an annoyingly powerful Fae male. So far, pretty pathetically. Which meant Elide was shit out of luck against multiple attackers.

She was furious about needing to be protected all the time by Lorcan, Gavriel, and Rowan. Elide had gotten used to it, but she was sick of feeling like a burden. She may have been lucky so far in her life with an old and wise goddess watching over her, but wars needed warriors and fighters and strategists, and at the very least, people able to defend themselves.

So Elide opened her eyes wide and feigned, “Oh gods, my ankle!” Her face contorted itself into crushing pain as she rolled onto her side and reached down to clutch her ruined ankle. She looked at Lorcan, willing him to believe her pain, to believe that the pain consumed her like no other. His eyes narrowed at her suspiciously as he lifted himself upwards slightly. Elide hid her smile under the curtain of her hair as she palmed the knife strapped to her thigh instead. All she had to do was slash upwards at his throat, like Manon had taught her.

Lorcan could smell her thinly masked courage, and he tensed, anticipating her next move. She was always full of surprises, which he liked about her, surprisingly enough.

In a blink, Elide had steeled her heart, calmed her breath, and slashed upwards towards him. Lorcan was fast, but she had the upper hand with the element of surprise. He had sensed her movement and straightened up immediately, but Elide predicted it and leaned forward as she slashed across where Lorcan’s chest now was, nicking him with her knife. A cut materialized over his left pectoral muscle and started to leak drops of blood onto his black shirt. Elide threw her other arm in front of her to block the expected backlash, but nothing came. She peeked under her arm at Lorcan, whose face was impressively impassive, observing her reaction.

Elide thought she would feel triumphant, but really, she felt awful, even though the goal had been for her to defend herself.

“Are– are you okay?” she asked automatically, even as she watched the cut slowly knit itself closed before her eyes. Her fingers fluttered over to the cut, and she traced one end’s puckered edges, still pink and raw from healing. Lorcan watched her fingers, bemused.

“I would have been dead long ago if scratches like that hurt me. Fae heal faster than humans; just having Fae blood is enough, it seems.” His tone was meant to reassure her. Elide realized she may have hit something vital, if Lorcan moved at human speed, but at her current speed she was no match for him.

“I’m still sorry,” she apologized, touching his face gently. Lorcan reminded himself to shave since his face was getting scruffy. Elide didn’t seem to mind, though.

Lorcan lifted himself off of the bed and stood up. He rolled his neck and shoulders. “Don’t be. I was the one who pushed you. At least I know you could disarm a single human male now. Better than nothing at all. Plus, you’re a long way off from being able to disarm me.”

Elide opened her mouth and then closed it. And then she said carefully, “I’ll kill humans only when necessary. Never for sport, or out of anger. The creatures of Morath… they are a different story. They shouldn’t have ever existed in the first place.”

Lorcan wasn’t sure he wanted to tell her that in war, killing was almost always necessary, if he was being honest with her. Unless you needed prisoners for interrogation. But after extracting any useful knowledge or information from them, they become useless. Better off dead, since dead men don’t talk.

But he didn’t want to break her so soon, discourage her from her ideology. She would soon learn that the definition of necessary would challenge her.

“I can train you,” he offered, without really thinking it through. It was probably the only thing he could offer her though, when he thought about it. Elide looked at him incredulously.

“You? Train me?” she sputtered, “But… But I’m human! What would that even entail?”

What would it entail, indeed? Lorcan thought it over for a few seconds, before shrugging.

“It’s up to you what you want to focus on. Strength training. Self–defense. Weapons training, if you prove yourself capable…” Lorcan seemed doubtful about the last part, which only spurred Elide’s determination. He knew she wanted to get stronger, but truthfully, Elide should find herself a Blackbeak witch that could teach her the ways of the Ironteeth. Blackbeak blood. Lorcan could smell it, even if Elide’s blood ran red. She unconsciously smothered it under her human blood… which meant that Elide must have some magic dwelling inside her. He tucked that knowledge into his mind, reminding himself to think about it more later.

“Fine,” she decided, straightening her shoulders. Maybe this would be good for her. “When do we start?”

Lorcan’s wicked smirk immediately had her backtracking. Nope, this would not be good. She was going to get her ass kicked, she could feel it.

“Tomorrow. At dawn,” he answered, “Better get some rest before then.” Lorcan continued smirking at her and she gulped. What had she gotten herself into? Elide’s gaze wandered out the window, and she thought she saw a white-tailed hawk flying in circles nearby. She continued looking around the room, and her eyes fell on the armchair in front of the fire.

“You know, you can sleep in the bed if you want. You don’t have to sleep in the armchair,” she offered, awkwardly. Lorcan didn’t respond immediately, and Elide started to wonder if he had heard her. Which was foolish, because of course he had. He was just biding his time, choosing his answer.

Finally, Lorcan’s eyes slid to hers, and his granite voice asked her steadily, “Do you trust me that much?”

Elide wasn’t sure why, but she dodged the question. “I know I trust Rowan and Gavriel to kill you if you put a single scratch on me.” She saw the look in his eyes and immediately regretted what she said. She had said it because… because, well, she was scared of what saying yes would mean. But he had held her after her nightmare, and she had felt secure enough to fall asleep in his arms. After everything they had been through, it felt like an insult to say that she didn’t trust him at all.

She swallowed and quickly said, “That’s not what I mean, not what I really want to say- I meant to say- Yes. Yes, I trust you that much.” As soon as she admitted it out loud, her heart felt right, felt lighter as the tightness left her chest.

Lorcan relaxed as well. He was relieved when she hastily amended her answer. His control slipped slightly when she mentioned Rowan and Gavriel; their names sent him spiraling down into his magic in pain and rage, before he knew it. His heart had started to ache as he struggled to express that he only ever wanted to protect her. He had promised to her that he would keep her safe, and that hadn’t changed.

“Thank you.” He managed, bowing his head to her. “I'm… honored.”

Elide snorted. “You know you don’t have to be formal with me, when I am nobody and have nothing.”

“I don’t think you’re nobody.”

Elide opened her mouth to respond, and then paused. “Who do you think I am?” she asked, curious.

Lorcan had been thinking this over for a while, how to say this, how to tell her…

“Elide Lochan, you are the rightful Lady of Perranth. Though you may no longer have access to your lands and people, they were taken from you unjustly by your Uncle Vernon. He was the one who locked you in the tower, who stole precious years from you and refused to heal your ankle and leg when it was broken. He is Erawan’s right-hand man, and he also locked you in those wretched dungeons of Morath. He is integral to the coming war.” Lorcan’s voice dripped with venom and hate, and Elide’s face darkened as memories resurfaced in her mind.

Elide took a deep breath. “I know that, don’t you think that I of all people know that?” Lorcan held up his hands, trying to show her that he was not trying to attack her, urging her to think about what he said.

“Elide, do you understand what I mean?” he asked, his voice low, tinged with desperation. Did she see the answer to her questions, the questions she asked about what she could do, how she could help?

Elide’s eyes appeared to focus on something far away as the pieces slid into place. “Vernon,” she breathed, his foul name leaving a bad taste in her mouth. She understood. “He has to die.” Vernon was Erawan’s second-in-command, so her uncle’s death would be a blow to his forces.

Lorcan’s smile was vicious, triumphant. Although he was drawn to her innocence, he was also drawn to the way Elide looked when she thirsted for justice… or perhaps revenge… the two so often overlapped, he mused.

But, yes. Vernon was the goal. Once Elide killed him, she could reclaim her lands, her people, for herself and for Aelin, the true Queen of Terrasen. This was the purpose Elide was searching for. And Lorcan would be damned if he didn’t see this through to the end.

With approximately 14% of American adults being functionally illiterate, and an additional 29% being at below 5th grade reading level, there is a real need for an Anarchist literacy campaign. 

With literally tens of millions of people who are food insecure, it is time to think of a campaign for mutual food aid and self-sufficentcy all over America. Who has the resources to do this?

As millions of people are losing their access to healthcare, it is time to launch a campaign for the establishment of community clinics that are free and can serve the poor.

As millions loose access to activities or places to be, it is time to build Anarchist community centers that can give poeple the oportunity to simply exist for a while in freedom, and to work together for common goals.

Which orgnization now has the resources to do this vital work? The IWW? Black Rose? 1st of May Anarchist Federation? Redneck Revolt? If the answer is “no orgnization”, then that is a clear problem that needs adressing. Increased co-ordination and dedication, a clear focus on constructive work, and a willingness to sacrafice for the movement, is now demanded of the American anarchists. There is, at this time, no other choice, if we wish to demonstrate our relevance in people’s everyday life, if we wish to make people used to not depending on the State or capitalism, if we wish to let people learn to self-manage demoratically - in short, if we wish to win.

We live in dramatic times, and we live in times of suffering that show no signs of getting better. If anarchists are to get out of our isolation in the squats and violent demos, our self-imposed prisons, then we must dare think big.

6

Mle 1822/67 Tabatière rifle

Produced by the Manufacture d’Armes de Saint-Etienne c.1822-41 and later converted c.1867-70.
17,5mm brass and cardboard Tabatière centerfire cartridge, single shot, breech loading, the breechblock double as an extractor.

Because it’s called the 1867 Tabatière people just assume it’s a copy of the 1866 Snider conversion, let’s just get that out of the way : it was developed in 1864 so the jury’s still out.
It’s an otherwise very similar modification in concept, with the main functional difference being the addition of a groove running from the breech along the back of the stock on the Tabatière conversions to load rounds more easily.
Such conversion were realized in France to supply the army with more breech loading rifles than the production of Mle 1866 Chassepot needle rifles alone could offer, resulting in the army tapping in the three previous types of percussion musket. This one was a Mle 1822 T bis.

This resulted in pretty big guns firing pretty big cartridges.

Oh yeah! Since I don’t see this floating around here, here’s the official translation of the blurb on Lisa Lisa from JoJonium 5!

The text is nearly impossible to read (and I have this as a digital copy–it’s still nearly impossible to read) so here’s what it says:


“Lisa Lisa the Hamon teacher. For the second JoJo, I had a female character play the part of the Hamon master. This idea originally stemmed from me wondering what it would be like for a female to follow up the original Hamon master, Mr. Zeppeli from Part 1. There actually weren’t too many female characters in JoJo’s at that point, but she works well paired up with Joseph and Caesar, doesn’t she? There are times where I think “no…a guy or an older man just wouldn’t work here” and pick characters based on the balance of the group. The first obstacle with Lisa Lisa’s character was her name. Back then, if you picked a non-Japanese name for your character, it was a challenge to get the audience to remember it. That’s why I picked Lisa Lisa – I had hoped that like with JoJo, a repetitious name would help. It also phonetically resembles Japanese to some extent.

When this part was originally serialized, the girls that showed up in shonen manga were all cute types – essentially the stereotype of “a man’s ideal girl”. Readers weren’t looking for a realistic portrayal of women, but instead, the type of girl that giggles during a conversation with heart marks appearing next to her. That’s why I think a warrior-type character like Lisa Lisa felt fresh. Mr. Zeppeli in Part 1 was a very gentle character, and to contrast to that, I made her what you would call a “Sadistic” character today. There was a girl in my neighborhood who would tutor me toward the end of elementary school. She was incredibly smart and it was very intimidating for me! Not that she was a sadist or anything (laughs). I think I was inspired by that moment, that exhilarating “nervousness” that I felt around my female tutor. It’s normal to see strong women these days, but back then, it was unheard of in a shonen manga, not to mention society in general. It was exciting to challenge people’s expectations through the medium of Weekly Shonen Jump by having a woman train the main character so he can get stronger.

In addition to functioning as someone’s master, people also weren’t used to seeing a woman fight. When displaying the strength of a character, for example, if it’s an old man, there could be a backstory where he spent his youth doing harsh training, therefore he was able to learn techniques and become a master. That would explain why he could catch a fly using chopsticks…but for a woman, there needs to be something more substantive to back it up. In a match, common sense dictates that the physically stronger one would win, but I realized that if you add supernatural abilities into the mix, a woman can fight on equal footing with a strong male opponent. In other words, if the battle is between those with supernatural powers, physical appearance has nothing to do with strength. The Hamon is Lisa Lisa’s supernatural ability. The idea of “looks being irrelevant in supernatural battles” is what led to the introduction of Stands in Part 3.”

Don’t forget to do the event and get your Promise Ring!  Goes great with Shepherd of Six Stars Sorey!  XD  It’s actually a really nice piece of armor with a really useful passive on it, since the passive functions like an additional Link Finisher passive.  What this means is that even though it’s a piece of armor, it also has a really nice ATK stat and can buff your hero’s final ATK, so much so that you might want to consider using it in place of a second weapon if you’re like me and you don’t have a ton of UR (or better) weapons for your mystic arte finishers for your team.  Mind you, when you do this, you may actually get a listed attack total that is lower than a dual weapon set up, but that’s because you’re not getting the Link Finisher-style damage buff from the ring when you’re looking at it in the hero set up screen.

Full numbers behind the cut, I don’t actually want to scare people off with the numbers and equations, lol.

TL;DR/I don’t want to see the calculations:

  • For those of you using Shepherd of Six Stars Sorey, max limit broken with max herbs and a UR+ or better MA: If your second weapon has an attack value that is greater than 657 + 5% of your first weapon’s ATK, go dual weapons.  Otherwise, best weapon and the ring will actually net you higher attack for the mystic, which is important because that’s why you brought him along, right?  Or dual wield rings if you got one earlier.
  • For those of you using Armatus of Fire Sorey, max limit broken with max herbs and a UR+ or better MA: If your second equipment piece has an attack value that is greater than 717 + 5% of your first equipment piece’s ATK, use those.  Otherwise, highest ATK equipment item + ring will net you better results.

Keep in mind neither of the above takes elemental advantage for the weapons into account, so make sure you equip an appropriate element weapon for bosses with elemental weaknesses to get the most out of your mystic arte!

If you’re interested in just playing around with the numbers, here is a link to a spreadsheet for other MA finishers.  (Spreadsheet not mine.)

Keep reading

6

Bentley Bentayga (2016) - Luxury-packed powerfull SUV - Luxury-sport SUV news / HD wallpaper

The Bentley Bentayga combines unparalleled luxury with effortless performance and everyday usability.

With an all-new W12 powertrain, the Bentayga is the fastest, most powerful, most luxurious and most exclusive SUV in the world. It offers a true Bentley driving experience and showcases innovative technology features.

Designed, engineered and handcrafted in Crewe, the Bentayga’s styling is pure Bentley. Sculptural with an elegant, timeless execution, it perfectly balances athleticism with confidence. From the four round LED headlamps and large matrix grille, to the distinctive power line and muscular haunches, the Bentley DNA is apparent throughout.

The Bentley Bentayga boasts the world’s finest automotive cabin, with unrivalled levels of precision. The detailing in metal, wood and leather - including meticulous tolerances between elements of trim - is the epitome of modern British luxury. This level of perfection is only achievable thanks to the exceptional craft and skill of Bentley’s colleagues in Crewe.

An all-new twin-turbocharged 6.0-litre W12 engine is at the heart of the new Bentayga. The mighty 12-cylinder unit combines efficiency and refinement with ultra-luxurious levels of power and torque. With 608 PS (600 bhp / 447kW) and 900 Nm (663 lb. ft) delivering a 0-60 mph time of 4.0 seconds (0-100 km/h in 4.1 seconds) and a top speed of 187 mph (301 km/h), the Bentayga is the world’s most powerful and fastest SUV.

Wolfgang Dürheimer, chairman and chief executive of Bentley Motors, comments: “The Bentayga is truly the Bentley of SUVs. It redefines luxury in the SUV sector and offers a genuine Bentley experience in any environment, thanks to a combination of unparalleled attention to detail, go-anywhere ability and cutting-edge technology. With this extraordinary car we are looking forward to an exciting period of strong growth and sales success for Bentley. The Bentayga is the next step in our brand’s bold future.”

The Bentley Bentayga will make its full public debut at the 2015 IAA Frankfurt Show. Customer deliveries commence in early 2016.

Innovative Features and Advanced Technologies

A suite of state-of-the-art driver assistance systems and infotainment features designed to enhance safety, comfort and convenience make the Bentayga an innovative, advanced and connected luxury SUV.

It offers the widest range of on- and off-road drive settings of any vehicle via Bentley’s Drive Dynamics Mode and optional Responsive Off-Road Setting. Up to eight modes are available, allowing drivers, at the simple turn of a dial, to select the perfect dynamic set-up for any surface or road condition. This versatility is complemented by Bentley Dynamic Ride (electrically activated 48V active roll control) and Electric Power-Assisted Steering (EPAS).

Responsive Off-Road Setting allows the customer to select the appropriate vehicle settings for a wide range of off-road surfaces, while the Driver Information Panel displays information on pitch, roll, wheel articulation, steering angle, compass bearing and altitude.

Adaptive Cruise Control (ACC) including Stop & Go, Predictive ACC and Traffic Assist enables the driver to maintain a set distance to the vehicle in front. Predictive ACC uses the navigation data, sensors and cameras to predict upcoming corners, city boundaries and speed-limit changes and can then modify the vehicle speed accordingly, improving both comfort and fuel economy.

In urban environments, there are a number of driver aids available on the Bentayga. These systems - such as Traffic Sign Recognition, which detects a wide variety of traffic signs and displays information to the driver; Rear Crossing Traffic Warning, which uses radar technology to detect crossing traffic when reversing out of a parking space; and Top View, a system which uses four cameras to display an overall picture of the vehicle’s surroundings - combine to enhance everyday usability.

The Bentayga is also available with Park Assist - a system that detects suitable parking spaces (both parallel and perpendicular) before autonomous steering takes over to support parking manoeuvres, even in narrow and tricky spaces.

Other innovative systems available on the Bentayga include Electronic Night Vision, which uses infra-red technology to identify potential obstacles ahead, and a Head-Up Display, which reduces driver distraction and increases safety.

The Bentayga’s all-new, cutting-edge 8" touch screen infotainment system boasts class-leading navigation technology, a 60GB hard drive, and a choice of up to 30 languages.

Rear seat passengers benefit from the introduction of the Bentley Entertainment Tablet - a removable 10.2" Android device with 4G, WiFi and Bluetooth for effortless, high-speed on-board connectivity.

Customers can choose between three different sound systems for the Bentayga: Bentley Standard Audio, Bentley Signature Audio and Naim for Bentley Premium Audio. The latter is the most powerful system in the segment, with 1,950 watts, a network of 18 speakers and super-tweeters for unrivalled recreation of the highest audio frequencies.

Sculptural Form, Sharp Lines and Elegant Execution

The Bentley Bentayga’s wheel arches, fenders and bonnet deliver a balance between sportiness and SUV presence. The ultra-sharp Bentley power line and muscular rear haunch display a taut tension in side profile, as part of the largest single-piece aluminium pressing in the automotive world. Trademark Bentley features such as the large matrix grille and B-shaped wing vents afford the Bentayga a modern, dynamic elegance.

The grille is flanked by four distinctive floating all-LED headlamps. The lights sit flush within the seamless superformed aluminium front fenders. Innovative design features, like the discreet headlamp washers contained within the outer lamp’s body-coloured centre, demonstrate remarkable attention to detail.

To emphasise the go-anywhere nature of the Bentayga, the Bentley design team have integrated a stylish skid plate into the lower section of the front bumper, just below the floating wing motif.

At the rear, within the segmented tail lights, a new ‘B’-shaped illumination graphic is incorporated that affords the Bentayga an instantly recognisable and striking night-time signature.

A combination of advanced design, innovative engineering and state-of-the-art manufacturing technologies - including the use of lightweight aluminium - has enabled a total weight saving of 236kg compared to a traditional body construction.

As standard, the Bentayga comes with a panoramic glass roof. Making up almost 60 per cent of the total roof surface, the 1.35m2 glass feature is split into two panes. The front panel tilts and slides, and the whole glass surface can be obscured via an electric, full-length roller blind.

Either side of the glass roof are aluminium roof rails that combine two different finishes - a high-gloss black base and bright anodised top section.

A new range of bespoke Bentayga alloy wheels are available, ranging in size from 20" to 22".

The World’s Finest Cabin, Handcrafted at the Home of Bentley

Step inside the new Bentayga and you find the finest automotive interior in the world, with handcrafted wood and leather throughout - engineered with precision to deliver absolute perfection.

The attention to detail in metal, wood and leather is the epitome of modern British luxury, and is only achievable thanks to the exceptional skill of the workforce in Crewe.

The Bentley Bentayga’s cockpit sets new standards for both luxury and precision, with meticulous tolerances between the exquisite veneered woods and metal elements. The dashboard takes the iconic Bentley 'wing’ design as its inspiration, with the beautifully finished surfaces flowing gracefully from door to door over the top of the instrument binnacles, down under the centre console and back up around the passenger side fascia and foot well.

The hand-selected veneers form pure and elegant surfaces throughout the cabin, and each of the 15 pieces are shaped by Bentley’s artisans from a choice of seven different veneers, and finished with trademark Bentley attention to detail.

Highly polished, handcrafted metal elements adorn the dashboard, centre console and doors. Trademark Bentley knurling on the drive mode selector, gear knob, iconic bulls-eye vents and organ pulls adds sophistication and tactile refinement.

Sumptuous front seats, individually handcrafted in Crewe and featuring 22-way adjustment including adjustable cushion and backrest bolsters, provide superb support and comfort for all conditions. This cosseted feeling is further enhanced with a six-programme massage system, seat heating and ventilation.

Whether selected in four- or five-seat configuration, all of the leather seats in the Bentayga are available with contrast stitching and a quilted diamond design applied to the 'shoulders’ and bolsters, echoing the design of a finely tailored British hunting jacket.

Bentley specialists individually select only the finest bull hides, all of which are sourced from cool European climates, naturally tanned and never over-printed.. Customers have the choice of 15 colours, in three duo-tone and one single mono-tone colour split.

The four-seat configuration makes the ultimate statement in design, comfort and luxury. The two individual rear seats adjust in 18 different ways and include massage and ventilation functions as well as footrests. The veneered rear console hides additional functionality such as cup holders, generous storage areas and USB charging sockets.

The opulent feeling is completed by the fixed back, dividing the interior cabin from the boot. Also trimmed in the signature diamond quilting and including a ski-hatch, it creates an enclosed rear cabin space that sets new standards in the SUV sector.

A full-length panoramic sunroof with acoustic interlays allows ample natural sunlight to highlight the surfaces and detailing.

Activate the hands-free tailgate and not only is a large, practical storage space revealed, but also another of the Bentayga’s unique features - the optional folding event seat. Ideal for those wishing to stop for a moment and enjoy a spectacular outdoor environment or pursuit, the innovative leather-trimmed folding seat matches exactly the style of the cabin seats and integrates seamlessly into the rear of the car with characteristic attention to detail.

All-New W12 - Efficiency with Unrivalled Power and Torque

At the heart of the Bentley Bentayga is the all-new Crewe-built W12 TSI engine. This 6.0-litre twin-turbo unit combines efficiency and refinement with the luxury of unrivalled power and torque.

It is the most technologically advanced 12-cylinder engine in the world and develops 600 bhp (608 PS / 447 kW) @ 6,000 rpm and 900 Nm (663 lb ft) from 1,250 rpm to 4,500 rpm. These mighty outputs result in equally impressive performance figures. The Bentayga is capable of dispatching the sprint to 60 mph in just 4.0 seconds (0-100 km/h in 4.1 seconds) on its way to a top speed of 187 mph (301 km/h).

The new W12 uses both direct and indirect fuel injection. Switching seamlessly between the two technologies, the combination of these systems maximises refinement, delivers low particulate emissions and maximises power and torque delivery.

An impressive efficiency figure of 292 g/km CO2 is made possible in part thanks to Bentley’s Variable Displacement system, which shuts down half of the engine under defined conditions. Intake and exhaust valves, fuel injection and ignition are all shut down on defined cylinders, with the engine running as a six-cylinder for improved efficiency.

The engine is mated to an eight-speed automatic gearbox. The transmission and four-wheel-drive system has been strengthened to handle the demands and high torque levels of off-road driving.

In Bentley’s advanced application of Start-Stop technology for the Bentayga, coasting is also available, as the engine rests not only when the vehicle is stationary but also at 'near to stop’ speeds.

In 5th to 8th gear, when the driver releases the throttle (at motorway cruising speed, for example) the car will open the torque converter, dropping the engine to idle and simply allowing the car to roll or 'sail’. When the throttle is reapplied, or the car starts going downhill and detects an increase in speed, the transmission is re-engaged.

The new W12 sees a 11.9% efficiency improvement compared to the existing powertrain. The Bentayga will also be available as diesel and hybrid variants in the future.

Genuine Luxury with Go-Anywhere Ability

Never before has a vehicle so coherently combined genuine luxury with go-anywhere driving ability.

The development programme for the Bentayga has been the most exhaustive in the Bentley brand’s history, ranging across five continents. From the dirt and gravel of South Africa and the dunes of Dubai, to the muddy fields of Cheshire, and from -30°C in the frozen North Cape to searing 50°C desert heat, the Bentayga’s ability to perform on any surface and even in the most extreme conditions has been proven.

The Bentayga has also driven more than 400 laps of the famous Nürburgring Nordschleife circuit, as part of developing the dynamic performance of the chassis and fine-tuning the relevant control and stability systems. The unique features of the Nordschleife, including the high level of topographical change, variety of surface grip levels and wide range of cornering speeds, made it the perfect place to develop the fastest, most powerful SUV in the world.

The Bentayga introduces Bentley Dynamic Ride - the world’s first electric active roll control technology that utilises an unrivalled 48V system. Inherent in larger vehicles with a higher centre of gravity, this system instantly counteracts lateral rolling forces when cornering and ensures maximum tyre contact to deliver class-leading cabin stability, ride comfort and exceptional handling.

While conventional anti-roll bars present a compromise between body control and ride comfort, Bentley’s adaptive and reactive system provides variable torsional resistance, allowing the Bentayga to be both dynamically capable and comfortable for all occupants at all times. The pioneering use of a 48V system results in silent, instantaneous responses and sufficient power on hand to deal with all road surfaces.

Electric Power-Assisted Steering (EPAS) is also featured on the Bentayga. The new system improves feedback to the driver, while providing isolation from steering kick-back both on- and off-road. EPAS also features a variable rack ratio, permitting light and fast steering while manoeuvring at low speeds, as well as a more subdued response for excellent stability at high speeds.

The Bentayga offers class-leading ride comfort, steering feel and handling thanks to the partnership of a highly sophisticated chassis and Electronic Stability Control (ESC). In addition to advanced, multi-mode Traction Control (TCS), the Bentayga also features Hill Descent Control (HDC).

HDC automatically regulates the vehicle’s speed on steep declines, allowing the driver to concentrate fully on steering and obstacles ahead. It can be pre-set at speeds between two and 30 km/h (going in either direction) and works on gradients greater than five per cent.

As with all Bentleys, the Bentayga comes with multi-mode air suspension. The Bentayga driver has four different modes to choose from: High 2, High 1, Normal and Low. High 2, for example, can be manually selected when tackling more severe off-road surfaces. Customers can also lower the rear suspension via a switch in the boot, to ease loading and trailer hitching.

Bentley Personalisation Options and Mulliner Bespoke

The Bentley Bentayga redefines personalisation and bespoke luxury. Paint, leather, veneer and lifestyle options are unlimited and tailored to the individual.

The standard palette alone comprises 17 exterior paint colours, with up to 90 hues available in the extended range. There are also 15 luxurious carpet options, seven different handcrafted veneers and 15 choices of interior trim hide, which means that customers are able to specify their own choice of luxury finish. In addition, customers can choose between a new range of bespoke Bentayga alloy wheels, ranging in size from 20" to 22".

Six lifestyle-orientated specification packages will be available from launch, including two styling packs. In addition to these options, the Bentayga is available with the widest range of lifestyle accessories ever offered by the Bentley brand. For example, customers with an interest in watersports may wish to specify the Load-Assist Tray and Wet Gear Stowage options.

As with all Bentleys, the Bentayga can also be handed over to the highly skilled and dedicated craftspeople at Mulliner, who will respond to bespoke customer requirements.

At launch, the Bentley Bentayga is available with an exquisite integrated Mulliner Hamper Set, complete with refrigerator, bespoke fine Linley china cutlery, crockery and crystal glass, and storage area for dry goods. For comfort in the great outdoors, sections of the hamper can be removed and used as seats.

A bespoke mechanical Mulliner Tourbillon by Breitling clock can also be specified. The most complex of watch mechanisms, the Mulliner Tourbillon is automatically wound periodically by a dedicated high-precision winding mechanism within the car. This masterpiece is machined in solid gold (customers can select from either rose or white gold), with a choice of either a mother-of-pearl or black ebony face and decorated with eight diamond indexes.

Abuse and Memory Problems

Since someone submitted a question about this, I thought I’d go ahead and make post about it. Here I’ll be referring specifically to memory problems caused by interpersonal abuse.

Disclaimer: I’m not a Doctor or a Psychologist and nothing I say here should be taken as medical advice. This is merely a guide based on my own experiences and independent research. I’ve done my best to present accurate information, however I cannot guarantee that everything here is correct.

Many survivors of abuse experience memory issues. The problems are variable and can include; large chunks of time missing entirely, fogginess around a specific time period, lack of memory before a certain age where memories should’ve began (usually this is around the age of two years old), and difficulty making new memories, among other things.

The causes of these problems are numerous. One is a psychological defense mechanism; when we experience a traumatic event (or repeated traumas), our brain can’t handle it as it would cause us too much psychological harm. This is called Dissociative Amnesia or Psychogenic Amnesia. The memories around the abuse that cannot be accessed are often referred to as repressed memories. It’s worth noting here that the existence of repressed memories is disputed by some psychologists, however, the existence of Dissociative Amnesia is recognized in the DSM-IV. 

An individual with dissociative amnesia may not be aware that they have it, and may live their lives never knowing they experienced a trauma of having negative psychological effects from it. Some people are aware of memory gaps, or don’t have memories before a certain age and don’t know why. Some people know they went through a trauma but can’t remember it. People with this kind of amnesia may never recover their memories, though many do. This can happen incrementally, often at times where they feel their life is going very well. This is because the subconscious decides that they can now cope with it, however it can be very upsetting to survivors, who feel as if they’re ‘going crazy’ or 'getting sick again’ after finally feeling well. As difficult at it can be, processing these memories and healing from them can result in a greater level of well-being than they had before. Memory recovery can also happen spontaneously, often triggered by external stimuli (e.g. a familiar smell, visiting the place where the abuse happened). Some people may have some memory of abuse or trauma but have 'gaps’ where they don’t know what happened. These gaps, like repressed memories in general, may be permanent or may emerge later on. 

In addition to memory problems surrounding a traumatic event, survivors may also experience retrograde amnesia. This means they’re unable to retrieve memories before the trauma and the onset of the memory problem. As mentioned before, some people cannot retrieve memories before a certain age; they may well be experiencing retrograde amnesia. This kind of amnesia can also result in multiple gaps in memory, particularly during childhood and adolescence. The condition can also lead to 'fugue states’, where an individual loses all memory relating to themselves and their identity. Thankfully, fugue states are temporary.
Some people also experience Anterograde Amnesia, which is the inability to form new memories after an event which causes amnesia, however this is usually associated with other issues unrelated to interpersonal abuse and trauma, such as overuse of certain drugs and brain injury.

In addition to psychological coping mechanisms associated with memory loss, trauma in itself often prevents the formation of new memories. This is because the body secretes certain hormones during times of extreme stress, and these hormones interfere with memory creation. Most notable of these hormones is cortisol, known as 'the stress hormone’, which activates anti-stress pathways in the brain. This is why we may be in an abusive situation for days, weeks, months or even years and be unable to describe what happened; while our minds and bodies are focused on survival, memory becomes a lower priority. In addition, many people who experience abuse suffer from post-traumatic stress. Post-traumatic-stress is a normal response to trauma, however, if it continues without improving and begins to interfere with everyday life, it may become post-traumatic stress syndrome. This disorder can itself interfere with both memory recollection and new memory creation. If you think you may be experiencing post-traumatic stress syndrome (PTSD), see a Doctor if you can.

In addition, many people who experience abuse also have brain injures. Survivors of physical violence may experience concussions, pass out due to lack of oxygen from smothering or strangling, and a variety of other physical attacks. Some people may experience a concussion (now called a traumatic brain injury) but not realize they were unconscious, and some don’t lose consciousness at all. However minor an injury may seem, it can still have an effect on the brain. Currently there are few medical treatments for brain injuries, but there are exercises that individuals can do to improve their memory and brain function. In addition, new research is showing that the brain has the ability to heal itself, even in adulthood. If you think you may have experienced a brain injury, see a Doctor as soon as possible if you can.

All of these reasons and more account for memory problems in survivors. Unfortunately, difficulty in recalling abuse or forgetting/confusing details are often used as evidence, both by individuals as well as the legal system, as evidence that the victim is lying when in fact, they signify the exact opposite. Survivors may recover memories over time, and there are things you can do to help you do this if that’s what you feel is best. Spending time in the place where the abuse occurred (or where you expect it occurred), writing down what memories you have every day, and asking someone you were close to at the time can all help, as can counseling from someone with experience and training helping people with trauma.

Perhaps most importantly, understanding why you have these issues can help you accept the limitations on your memory. If you are missing memories or having trouble creating new memories, you can rest assured that it’s not your fault. Your memory issues have a sound psychological and physiological basis.

References:

[x] [x] [x] [x] [x]

also it seems as if Klingon ship design has barely changed for hundreds of years

like there are ships in DS9 that are the same design as ships in TOS

so

what if Klingons really haven’t changed their ship designs?

Klingons build things for function and durability. They build their ships to last for centuries, rather than decades. Klingon ships are flying war bunkers, and just like broken bones, they are repaired in ways that make them stronger. 

A warrior could serve on, and eventually command a ship that their ancestors served on centuries ago!

New ships are manufactured from wreckage of old ones, and their functionality increased by the addition of new and more advanced technology. 

Furthermore, it is Klingon families that own the ships, not the Klingon military. Warrior families have entire fleets to their name, and volunteer the services of their warriors and ships to whatever cause is at hand.

No Klingon ship is ever 100% new. “New” ships are really just old ones that have been retooled and reconfigured using the materials from ships offered as tribute from families in the support of one cause. Many families could contribute smaller ships to the construction of a larger one in order to create a true patchwork of military might.

The Klingon military as an organization is primarily to serve as administrators to make sure familial fleets get to where they need to be and coordinate the war effort.

For Klingons, war is a family thing.

I’m really mad at the part of my brain that’s trying to convince me that if I’m functional enough to seek additional help, then I’m not depressed enough to need it. Because that’s bullshit and I definitely need the extra help.

malicethefame  asked:

Last time you made the ghost mystery skulls music video with the crew I asked, was all the hard work worth it and you said you learned new things during the process of animating so yes. This time I want to ask what else you've learned?

Compared to Ghost, Freaking Out was built around with a larger team in mind.

I guess you could say the biggest take away from Freaking Out was more about management than actual production. Additionally, preproduction was something I felt I did not spend enough time refining, which caused some confusion when it came to fleshing out certain scenes.

Moving towards the next projects, we plan on doing a more thorough job setting things up, and I think we established a good mindset with how our team functions. Additional, we plan on incorporating After Effects into the work flow to advance what we do in addition to making Special Effects easier to handle.

An excerpt from the zoological text The Hunter’s Encyclopedia of Animals (First Edition).


CHAPTER IV: An overview of the mountain barioth

The mountain barioth (Electodon montanus) is a saber-toothed, ailuromorphic pseudowyvern,. It has a discontinuous distribution throughout the Arctic Ridge in the Polar Sea, and the subarctic tundra of the Northern Hemisphere. The barioth is less commonly known as the ice tusk wyvern or the white death, the latter named for historic accounts of it preying upon travelers and then suddenly vanishing within the snowfall. It is one of two extant species belonging to the genus Electodon, and is the heaviest species in the clade Paradraconia at 9.6 metric tons, while measuring 18.2 meters in length. Its weight is attributed to decreased bone porosity, a trait that was selected for cursorial and saltatorial locomotion atop ice and snow. At present, the number of breeding barioths is stable; however, a fear of population decline as a result of climate change has warranted its placement on the CDIHG Red List.

The average lifespan of the barioth is thirty years. Sexual maturity is reached around the age of five, which corresponds with the completed ontogeny of the adult maxillary canine teeth. Isotope analysis of the tooth enamel revealed that their diet is largely comprised of seals and pokara (Pseudopinna unguiculata). While the calorie-rich blubber is an indispensable part of its survival, barioths have a flexible diet, and are known to routinely hunt popo (Rhinamblys ulos), anteka (Toxon furcatum), bullfango (Ossispina taurus), and assorted fish species. The sabers—for which the genus is named, ḗlektron “amber” and odoús “tooth"—are used for delivering fatal blows to prey. The barioth’s other noteworthy adaptations include its dermal spikes for traction on ice, and its modified foregut for spraying stomach oil.

Many legends of the barioth abound in the folklore and culture of circumpolar peoples. The sudden onset of blizzards was said to be the barioth’s doing, a result of the glacial magic it commanded. Travelers would wear cloaks made from the barioth’s skin, and carried charms carved from the sabers. It was believed that they made the wearer impervious to frostbite, hypothermia, and spells. Another myth purported that a barioth recognized the huntsmanship of those adorned in its pelt, and would grant them safe passage for having bested its kin. The belief that they could use ice magic may have influenced early scientific theories of the barioth being able to synthesize cryogenic fluids, which were later disproven. The spikes that adorn its torso and wings likely inspired the design for the modern ice pick. There is a high demand for clothing and jewelry made from its body parts, which are considered luxury items.

Keep reading

2

Star Wars Episode III: Revenge of the Sith: Natalie Portman as Queen Amidala wearing a dark cloak and a black beaded dress. Her look is accented by heirloom earrings and an elaborate Naboo hairstyle. 

After Padmé’s revealing, feminine costumes in Attack of the Clones, the design team for Revenge of the Sith returned to the The Phantom Menace’s idea of disguises for the final episode. Whereas the Episode I costumes were disguising Amidala’s youth and the use of a decoy, the Episode III costumes are disguising Padmé’s personal life. As Iain McCaig said, “As well as now hiding this marriage to a Jedi, which is not allowed, she has to hide the fact that she’s going to have babies. All of the costumes had to disguise these facts.” At the same time however, Padmé still needs to have an elaborate wardrobe befitting an outspoken member of the Senate. To balace these conflicting interests, the need for secrecy vs. the desire for attention, costume designer Trisha Biggar chose a navy blue panne velvet for this costume. “I wanted to use a dark color that would allow her to be in the shadows, but as soon as she stepped into the light, the light could catch the fabric,” Biggar explains. The lining of the cloak provided an additional lighting contrast, with a burned-out pattern on devore velvet. Whereas the fabric and the lining provided the flair needed for a senator, the shape of the cloak provided the secrecy needed to hide a very private pregnancy. Though the cloak’s drapery could be pushed aside to showcase Padmé’s pregnancy, while worn down, the fullness of the cloak prevents anyone from knowing she is expecting. 

In addition to functioning as a disguise for Padmé, this costume also functions as a bridge for Star Wars fans. Concept art putting Padmé in buns first appeared for The Phantom Menace, but the design wasn’t utilized until Revenge of the Sith. By mimicking Princess Leia’s famous hairstyle from A New Hope, Padmé’s buns provide a necessary link between the final episode of the prequel trilogy and the first episode of the original trilogy. While Leia’s buns are more Scandinavian, Padmé’s are inspired by Native American, specifically Hopi, styles. After Hopi girls participated in a four-day puberty ceremony, their hair was wrapped around u-shaped bows to create the “squash-blossom” or “butterfly” hairdo. This style signified their maturity and readiness for marriage. It’s ironic that Padmé wears this hairdo, meant to announce one’s desire for a husband, when she’s desperately trying to the hide the fact that she’s already married.

The Álfar

The Álfar (elves) are perhaps some of the most elusive and contradictory figures in the eddas. They’re rarely mentioned on their own and the one time an alfa is the lead of a tale in Norse lore, he in many ways far more resembles a dwarf in ability and function. In addition, things become even more difficult as the depictions and associations of the alfar change drastically after Christianization. They go from demigod-like beings to being invisible pests and menaces in some tales and essentially land spirits in others. It is for this reason I think it’s worth noting Gunnell’s statement that one should be “highly wary of ever referring to the earlier manifestation of alfar as ‘elves’ unless we use the term in the Tolkien sense of the word.” For that reason I’m choosing to focus more on the functions scholars have discerned they played in pre-Christian Scandinavian religions rather than those of the “folklore elves”.

Keep reading