symbol of link between

If we’re being particular, magical symbolism is highly individualized for each practitioner. Understanding the personal link between an object and the concept(s) that object represents is an introspective process that takes time. Being able to leverage that symbolic meaning to effect powerful changes is an even more complex process and could perhaps be considered an art in its own right - the art of understanding your connections to reality as you perceive it, and then consciously using those connections to make changes to the perceived reality.
Despite this subjective, personal relationship with meaning, there are some widely agreed upon symbols that have taken root in the magic community and are a useful tool as you work towards establishing a better understanding of magic for yourself. Symbolic meaning is shaped by physical reality, culture, personal ideology, and other such forces, so it’s not terribly surprising that some common things (colors, elements, glyphs, natural objects) have taken on a relatively cohesive symbolic meaning that has clear links with more well-documented phenomena and mythologies. Color associations, for example, are heavily structured off of color psychology. Color associations have heavily influenced the Westernized interpretation of the chakra system as well as many uses for crystals. Some associations are more obscure, often taking root as folk traditions or healing methods.
Certainly, many of these associations have persisted due to their effectiveness for practitioners at large. However, it’s crucial to recognize these well-known associations for what they are - generalizations across many cultures, some of which were adopted or appropriated irresponsibly. I don’t say this to necessarily discredit popularized associations, but rather to remind you that these associations should be seen as merely a starting point and that much of this information has been passed through Western lenses of interpretation. With that caveat, I present some common associations for colors, elements, herbs, and crystals/minerals.

Colors

  • Black - protection, control, absorption of ambient energy
  • Blue - soothing, relaxation, clarification
  • Brown - grounding, stability, abundance, connection with nature & the home
  • Green - physical concerns like money, school, careers, and general success
  • Purple - power, especially mental or psychic in nature
  • Red - power, especially of a physical nature
  • White - new beginnings, stimulation of creativity
  • Yellow - joy, passion, romance

Elements

  • Earth - grounding and stabilizing. provides strength, security, and energy. can be slow/unwilling to adapt to change.
  • Air - causes things to spread, facilitates transmission of intentions and information. can be difficult to pin down, overly honest.
  • Water - governs emotion, intuition, soothes and heals. can be reactionary or particularly susceptible to illusion.
  • Fire - transformation, vitality, independence, power. can be difficult to control, unpredictable and has potential to cause injury.

Herbs

  • Lavender - cleansing, protection, purification, soothing
  • Basil - luck, money, protection
  • Thyme - strength, courage, protection
  • Bay - wishes, purification, strength
  • Sage - protection, purification, grounding
  • Cinnamon - success, confidence, healing, protection
  • Mugwort - astral travel, psychic ability
  • Peppermint - prosperity, protection, consecrating, sleep
  • Rosemary - memory, purification, protection (especially from nightmares)
  • Rose - love, pleasure, beauty
  • Chamomile - success, purification, soothing

Crystals

  • Quartz (and variants) - (clear) amplifies and can be used to support other energies; (amethyst) psychic healing, soothing; (citrine) creativity and success; (rose quartz) love, nurturing, healing
  • Fluorite - clear focus, easier to communicate information
  • Black Tourmaline - grounding, protection, absorption of negativity
  • Labradorite - boosts magical work
  • Lapis Lazuli - calms, makes communication easier
  • Carnelian - stimulates activity and creativity, living in the moment
  • Pyrite - assists in manifestation and accomplishing tasks
A symbol in Game of Thrones and what it can mean for Jon and Daenerys.

I don’t think I will surprise you when I tell you that Game of Thrones’ makers are dedicated. This dedication for example gave us a very subtle and repeated symbol before our face for years and very few noticed it, not even saying how many went into analysing it.

What symbol am I talking about? Well actually I would use plural here, but they all go back to meaning one thing.

I’m not sure who was given the job to put those symbols in there, as they are taken from ancient art and mathematics, for example these ones:

It’s a Greek Letter Phi, which symbolies The Golden Ratio, which is shown on the right.

So it’s the same thing really, just one has a specific symbol to define it, like we could write 3,14…..or use the Pi symbol. And they reveal a hidden link between two obvious characters and foreshadows their fate.

I want to explain what those two mean before showing them used in the show. D&D obviously never directly explained any of it, but they had suggested that its meaning agrees with the mathemathical meaning. They said that “we see the creation of absolute evil, (referring to the Night King), but since we can see its creation, it isn’t really absolute”,  Golden Ratio is all about proportions, which you can see in the pic up there. It is often called the Magic Ratio or Divine Proportion. So if Night King is a part of this and represents evil and those symbols being about proportions and balance, who is the good to balance the evil in the story?

These two symbols are shown in different ways on the show.

 They can use the Phi Symbol inself:

 Season 1 Episode 1 with bodies that later become the wights, spread in a weird pattern, the first time we see them, we are shown this symbol right before:

Or Season One Episode 10 when Daenerys Targaryen burns Khal Drogo’s body, setting the pyre rather strangely.

And then we see her in the middle of it.

With the spiral pattern, that means Golden Ratio.

In Season 3 Episode 3, when we see the dead horses, cleary the White Walkers’ doing with Jon Snow being the one in the middle, his companions a bit to right.

And obviously in Season 6 we see those two shots.

Connecting us to the creation of The White Walkers - the evil

Before that we’re shown these two:

Dany in the middle of a circle, which are connecte both to the Phi and Golden Ratio.

And in the middle of a spiral:

Did you ever wonder why the Dothraki did that? It was so weird the first time I watched it.

And for me, the most important part in 7x04. When both of those connected to these symbols characters go into a cave, full of them.

Other easter eggs were present in the series as well, but only these two were shown in the middle of them, and Jon is already directly connected to WW and later Dany becomes too. They are the two leaders who are fighting them now. 

So what does it mean?

As i said, all those symbols mean balance. Between good and evil perhaps. They are the ones who will fight the evil, not eliminate it all maybe, some losses are bound to happen, but find the balance. Betweem life and death. Love and Duty. And Ice and Fire.

It’s another argument for them being the title’s meaning, if that wasn’t obvious already. Those symbols mean them balancing the NK,but also each other. All their parallels (READ ABOUT THEM HERE) connect them and also contrast them,as they faced similiar problems for different reasons, but with the same outcome that eventually got them together. Their fates are prophetic. They are borh tied to prophecies and magical events. 

So if all this is right, they are the ones to defeat the dead with their union. Their love scene was called a Union of Ice and Fire. Their fates were always bound together.

anonymous asked:

Good evening! About that picture with Itori, Kaneki, "Uta", and Eto, you mentioned in the tags that Itori might have all 4 Kagune types like Rio, do you think they're possibly related somehow? Also what are your thoughts on Itori overall, she's pretty mysterious but there's one small detail that's been bugging me about her. Her bar is called "Helter Skelter", plus the mole on her breast and her knowledge of Hybrid birth when ironically Touka has a mole and is going through birthing..

Hello Anon and thanks for reading. :) Please check her tag for more posts about her because I’m literally addressing all of your questions in the very first page of her tag so far. Here’s a quick mad summary tho:

  • Shikorae = Rio
  • Roma = Itori’s “protégée” and Roma = 50+ years old
    • => so maybe Itori is older than she looks which would go with her introduction when she yelled that she was an old lady (joke or not?)
  • similarly Yomo couldn’t answer Kaneki when he asked ‘what kind of person’ Itori was and Yomo “doesn’t understand jokes” according to Uta, which is making me highly suspicious of her
  • no real idea whether Itori is blood-related to Hide, Rio or the kids in the 24th ward, but Itori’s mask has the 4 deck symbols (and each symbol = one kagune type in the TG trump cards) and 3 dots:
    • Rio has 4 kagune types 
    • Hide and the 24th ward kids have the 3 dots 
    • Roma probably came from the 24th ward as well
      • so maybe she’s a mentor figure to kids from the 24th ward, if she’s not blood related to Hide, Rio and/or the 3 kids Ayato found?
      • in that case she might be the Witch to Hide’s role of the “Witch’s servant” in that childhood play with Kaneki, which would also fit because he’s very good at collecting info
  • also she knows a lot about hybrid pregnancies, looked sad (?) while speaking about it and the cover of TG ch34 may depict a funeral for someone close to Itori
    • maybe she lost some of/all her own hybrid babies??
    • thus maybe that’s why she’s the mentor/older sister figure of kids who were originally from the 24th ward? => they become a part of her information network
    • I’m personally hoping she’ll have a role to play towards Touka’s own hybrid pregnancy
  • Please go read @eto-when-and-where‘s post: In The Penisman by Sensei, Itori’s lookalike was the mother of Hide’s lookalike
    • ((and also she was the wife of the Penisman I think??? which is super funny because Uta once ate a dick in canon and ’you are what you eat’ lmao => /!\ be careful, with Ishida I can’t be sure that it isn’t actually going to become relevant at some point))
  • Here’s a breakdown of Hide’s name:
    • “naga” => link to the Nagaraj?? who most likely has a link to the Washuus?
    • “chika” => link to Washuu Yoshitoki’s real first name (”Chika”)??
    • “hide” => nah nothing
    • “yoshi” => link to the kanji (same reading) that every Washuu director add to their given name (Chika => Yoshitoki, Nimura => Kichimura)??
    • so if Hide somehow is blood-related to Itori, then maybe his dad is Washuu Yoshitoki?? Or Itori is just a mentor figure to some kids from the 24th ward like Hide could be.

There you go, pick up whatever crack theory you prefer LMAO! As I said 10 days ago, it’s really just thoughts at the moment, nothing can be certain, but for now I’m personally more rooting for a symbolic link between Hide and Itori (her being an older sister/mentor figure and teaching him how to gather info), rather than a blood relation.

Have a nice day. ^^

Sweet Creature is about Taylor Swift

But…. You didn’t hear that from me *WINK*

Swap “Creature” with “Deposition” and compare the lyrics, you’ll see that the lyric; “We’re still young” is referring to Sweet Desposition’s “And while our blood’s still young” lyric. Not to mention, Harry mentions the obvious communication issues he has with his ex-lover (Taylor Swift.) in the line; “ It’s hard when we argue / We’re both stubborn / I know but, oh” - the same “stubborn” lyric finds it’s self in the song; “Woman” which is a song about Taylor/Calvin Harris/Harry.

“When I run out of road, you bring me home.” Pay attention to the lyric .. “Road” it’s a reference to Style (a song, obviously about Harry) he can’t keep his wild eyes on the roadThe road lyric is also a reference to “All You Had To Do Was Stay” … Don’t believe it? Take a look at the lyric yourself. “All I know is that you drove us off the road.” 

Lastly, the “home” lyric is Taylor and Harry’s what you call “safe” word. The word first made it’s appearance in Taylor’s songs after Harry’s album “Take Me Home” came out, and the song “Kiss You” references “Take Me Home.” In the video, Harry wears the airplane necklace which a symbol to his and Taylor’s relationship. This is where the link comes in between “home” and Harry and Taylor Swift.

Secondly the “home” lyric is also a reference to STYLE. “He takes me home” (reference to “Take Me Home” album.) But. IF you remember, “STYLE” is about an on/off relationship between to lovers that always crashes, but “comes back” every time. (In the ending of the music video, despite it being “cracked” and the end. You see Taylor’s music video actor come out the car with headlights on walking up to Taylor. That is symbolism of Harry always coming back to Taylor. Which is “home.”

What Harry means by “When I run out of road, you bring me home.” Is… That, whenever him and Taylor have a fall out… He comes back to her every time, which is the meaning of STYLE. This is what he is referring to.

@kristinships​ and I were chatting about the trailer and how we all went nuts over it and she jokingly posed the question of  “what has Rian done to us. What have we become in the two years spent waiting.”

I made an overly dramatic response and it was meant to mostly be a joke, since I wasn’t trying to be super serious about it. But she seemed to think I should post it.

I was worried about doing that because in-depth posts are not exactly my forte. I’m not a writer. I guess as an artist I can see and recognize behaviours in people, links, symbolism and parallels between certain things, but I lack the right words to explain exactly what I’m trying to convey. (Thank god for all you incredible people in our fandom who can do both.)

SO I’M JUST GONNA COPY-PASTE WHAT I WROTE, I fixed the spelling a bit first and hey maybe you guys can add your own thoughts. ^-^’

kristinships: What has Rian done to us.  What have we become in the two years spent waiting 

Me:    *breathes in dramatically* In two years we: were called delusional and crazy. Held at arms length from the rest of the SW fandom like we were some kind of immoral diseased monster. We had to work harder than anyone else at convincing people, going above and beyond in our meta and theories. We were creative, our talent showing in everything we did, our writing, our artwork… The extensive knowledge we have in storytelling, we shared amongst each other. We worked so hard to prove we were good. Better than what was being said of us. To the point where it maybe made us look a little crazy. But it was never enough. We took the harassment in stride, mostly keeping quiet, not wanting to stir up something worse.  But still the name calling and disrespect continued. The attempts to restrict us and to shut us up continued. The threats began.

We became frustrated, we became angry, we started fighting back, grasping desperately at anything the creators gave us and making sense of it. Hanging on JJ and Rian’s every word because they were making us feel validated. Maybe we felt we could trust them. They were the only ones who saw things the way we saw it, perhaps. As long as they were on our side, maybe we weren’t as crazy and wrong as everyone else seems to think we are!  Anything to prove we’re right! To prove a point! 

In two years time, we became Kylo Ren. XD
 And JJ/Rian is our Snoke.

Maybe that’s why most of us connected so closely to Kylo’s character so quickly over the years and why we started understanding him a little differently than the rest of the fandom. Our experiences were kinda paralleling his. :P
(obviously many people had whole other reasons for connecting with kylo from the start, obviously.)

kristinships:  that’s actually a very astute observation and i think you should make a post about it. the abuse from the antis only molded us into the very thing that they hate. talk about irony

So yeah. Hope that kinda made sense. It  sounds a lot more serious than I intended but its fun to think about these things.
Maybe leave a thought or two of your own. :)

anonymous asked:

I love Itori, she's such a mystery <3. But I don't know if I can imagine her having kids XD, even if she's much older than she looks. And Uta omg, even less XD. But it's curious that you pointed out a possible resemblance between her and the kids, because physically she doesn't resemble anyone we know much, does she? So it's possible lol. And Hide doesn't resemble anyone either. Though I think if he and Itori have a link it's possibly not by blood? Sorry just wanted to share my thoughts ^^

Hello :) Haha I love her as well and, while I can’t imagine Uta having kids…

Itori always seemed very knowledgeable about hybrid pregnancies, so I always thought that maybe something related to that happened to her and…

…Since this cover seemed to represent the funeral of someone Itori knew (since she’s the one holding the picture), I kept imagining that maybe she lost one or several babies because they were hardly viable hybrid pregnancies (hence why she knows so much on the subject)… :/

Of course this post is a crack theory and maybe these children have nothing to do with her (and it’s just Ishida’s drawing style making me think there is a resemblance), but still, I do believe she might be older than she looks and considering that she called Roma her protégée and that Roma…

…probably originally came from the 24th ward, I’m wondering if Itori might not have been a mentor/older sister figure for a few kids who originally were from the 24th ward. 

Maybe that’s why Roma was her protégée, because Roma was “only” 50+ years old and was just a kid from the 24th ward when Itori already was an adult and so Itori took her under her wing.
And maybe that’s also the possible link between Itori and Hide, maybe they’re not blood related like @eto-when-and-where theorized, but they are linked, because he learnt from her how to gather information… 

…because he was another protégée of hers, if he really came from the 24th ward. 

EDIT: remember TG ch143? Itori said “according to my information, the CCG’s policy this time was complete extermination […]” but Furuta was next to her, so it seems weird to think he was the one who brought that info, especially when he didn’t participate in the operation. However, Hide did participate and was following Marude who was one of the commanders, so maybe he’s the one who told her about “complete extermination”.

And finally…

…there are those 3 dots.

So it’s really just thoughts at the moment, nothing can be certain, but thanks for sharing yours too. ^^ For now I’m personally more rooting for a symbolic link between Hide and Itori due to the 24th ward rather than a blood relation, but I’ll keep both in mind, in case they really do have a link in the first place. :)

Thanks again Anon, have a nice day!


Hello Anon! Well, in the first place I don’t think there is such a thing as loyalty in the Clowns’ gang because… Well, because they’re not a hierarchical organization like Aogiri or the CCG.

The Clowns do what they want…

and most of the time they act on their own, probably because they all have their reasons for being a part of this, even if at the end, they’re all interested in finding out what the outcome of this war will be (coexistence? or the annihilation of one of the two sides?).

Basically you can wonder about if the Clowns are loyal to Furuta (who’s not exactly 100% one of them, in my opinion), but in my opinion it’s a bit pointless to wonder about each Clown’s loyalty to the rest of them because they always did what they wanted and it works that way.

Look at Nico introducing Kaneki’s side to the Great Wheel Act as a “favor”, Furuta had no idea they did this, but they wanted to do this so they did it and I really don’t think that makes them a traitor.
So it’s the same where Uta is concerned: if he wants to give advice to Yomo (assuming it’s him), I don’t see why he can’t do it despite being a Clown, especially since ultimately the Clowns are just all working towards an ending, just like Furuta’s side and Kaneki’s are. 

I hope it makes sense, have a nice day Anon!

Literature Essays and Analysis

Hi everyone!! The lovely @surfers-club​ dropped me an ask on literature so these are my tips on doing well in lit :)

1. Study your text.

This is really important. In order to analyse your text well and in detail, you first need to familiarise yourself with it! Read your text before your classes begin, take note of key incidences in the book, and if you have the time, read up on analysis you can find online (Sparknotes, Cliffnotes, LitCharts) and go over some possible themes you may be studying. However, don’t rely solely on these resources for analysis. I’m studying Lord of the Flies by William Golding and Death of A Salesman by Arthur Miller. LitCharts is one of the resources I use when I’m reviewing my Lord of the Flies notes (also my teacher recommended it) and it covers a lot of themes, including Religion and Spirituality - even though it isn’t in my syllabus. Pick out the imformation that actually matters once your classes start and your teacher goes over the syllabus.

2. Annotate, annotate, annotate.

Everyone has a different way of doing this. My friends like to assign a particular highlighter colour to a character, or use tabs to mark out important quotations. I prefer to stick to using a pen/pencil and a single highlighter to annotate my work because I tend to lack discipline in keeping up a colour coding system. It’s all up to you, but make sure that you annotate your text with the relevant analysis, particularly in class, when the teacher is going through the different quotes and themes. It becomes a lot easier to make notes later on when you annotate your text because you have all the analysis in one book, and the links between different quotes are easy to pick out.

3. Mindmaps.

This isn’t 100% necessary, because everybody’s notetaking style differs, but I find that mindmaps are extremely convenient to use. I make mindmaps of characters and themes - usually focusing on the main characters in the text. For my Lord of the Flies revision, I worked on Piggy, Ralph, Jack, Simon and Roger for my character mindmaps and the themes of Law and Order, Civilisation and Descent into Savagery. Firstly, I take note of the significance of the character (what theme they are closely linked to, relevant symbols, important incidents) and then I pick out important quotations from the entire text. For theme mindmaps, I lookout for linked characters, symbols and incidents, then I pick out the relevant quotes and analysis. This really helped me organise which quotes to remember for the exam, which is particularly useful for close-book exams. It also helped me clearly see the links between characters, symbols and themes, so I definitely recommend trying it out :)

4. Share resources!

In literature, there is no one correct answer. It really helps to have a literature study group where you and your friends can share your different analysis with one another and help each other out. 

5. Review your work regularly.

It is truly shocking how easily we can forget the work we’ve done. At least once a week, go over all your analysis for the text and review it. It helps keep up your understanding of the text as well as keep your memory fresh.

6. Practice essay writing.

I use mindmaps as a way to go over all my relevant notes at a glance, but try to translate your point-form notes into essays for practice. I did so for the analysis on the stockings in Death of A Salesman and it’s significance and it helped me get a feel for the whole process of essay writing: the planning, memorisation of quotes and phrasing of analysis.

Hopefully these tips help you’ll in literature! I’m in no way a stellar student for literature, but I have improved quite significantly recently so I wanted to share my methods with you guys!

Strive on! 

Austin Spare’s Stele of Revealing

Sigil Magick is defined as a magickal system that makes use of occult characters, diagrams, condensed verbal intentions, geometric symbols, mystical alphabets, angular signatures of spirits and other kinds of symbolic or hieroglyphic representations. The word sigil comes from the Latin word sigilum, which means “seal.” Of additional significance is the Hebrew word SGULH or sagulah, which means “some kind of word or action” that has a specific spiritual or magickal impact. The use of sigils in magick has its roots in antiquity, possibly from Hebrew sources, since sigils often accompanied magickal squares, which were used extensively in the Jewish tradition of ceremonial magick. 

Most often, sigils, or specialized characters, were incorporated into grimoires and had a traditional use, requiring the wielder to copy them exactly as depicted, even though they had to have been invented by someone at some point in history. These kinds of sigils were carefully crafted using very specific techniques (and not derived from either imagination or revelation), but the methodology used for their creation is typically missing from those same works. (A good example that shows how these sigils were developed can be found in Donald Tyson’s version of “Three Books of Occult Philosophy” originally written by Agrippa - particularly Appendix V on Magick Squares (Llewellyn 1997).)

Some believe that magickal sigils or characters have a power and potency all to themselves, others believe that a sigil has to be activated, at the very least, by the imagination and will of a trained and competent magician. Some grimoires are notorious for the sigils and characters that they contain, lending weight to the superstition that sigils have an independent volition quite separate from whoever invented or wields them. Most often, sigils are reputed to be the specialized symbolic names of angels, demons or various spirits, and the sigil is used to summon and evoke them. This makes a sigil similar in some ways to the “Veve” as found in Haitian Vodoun. Still, sigils used as the symbolic name of a spirit assumes that the sigil is a more pure and direct representation of that spirit’s true nature, and of course, whoever knows the “true” name or nature of a spirit has direct power over it. 

When I perform an invocation or an evocation, I will employ a sigil crafted from the name of the target spirit. That sigil can be derived from a number of sources, but I generally use the Rose diagram from the Golden Dawn Rose Cross, which has the Hebrew letters drawn on the three concentric circles of petals, representing the triple division of those same letters (3 mother letters, 7 double letters and 12 single letters). One could also derive a spirit sigil from one of the appropriate magickal planetary squares, depending on the spirit’s hierarchical association, since there are different squares for each of the seven planets. There is also the Aiq Bkr magickal square that can be used to craft a sigil from a spirit’s name.

Essentially, a sigil is a visual magickal sign of some sort, whether it’s taken from some traditional body of magickal lore (grimoire or tradition), or created by the magician to represent the name of a spirit or to encapsulate a specific intention or desire. Manufacturing sigils became the hallmark of the famous British witch and sorcerer, Austin Osman Spare, who proposed a system of creating sigils by condensing and extracting the forms of the letters from a phrase that stated the magician’s intent. Spare called this methodology “sigilization,” and it was later adopted by Chaos magicians and others who use it as an independent system of magick. Sigilization is employed for casting spells, organizing and deploying an “alphabet of desire” for the same, or building up thought forms. However, it is probably one of the most direct and useful methods for creating a magickal link that I ever seen or experienced.

First, let me define what a magickal link is, and why it’s important in certain kinds of ritual magick. A link is employed whenever a magician seeks to make something happen in the material world. It is usually tangible in some manner and it should model or symbolize the magician’s intention. A link is a symbolic quality that establishes a connection between the magician, his desire, the magickal power raised and the intended target, whatever that happens to be. 

In archaic forms of magick, the link was usually something that was directly “linked” or attached at some point to the target, such as hair, finger nail parings, blood, jewelry or clothing, if the target was to be a person. If the target was more general, then the link consisted of herbs, power objects (stones, crystals, odd shaped pieces of wood), bird or animal parts (or even human parts), bits of metal (magnets, nails) or other curious odds and ends collected while on the hunt for internal occult connections. A table of correspondences would also help the magician sort out and select analogous items consisting of colors, incense, herbs, gem stones, precious and semi-precious metals - the list is nearly endless. 

These various objects would be put together in an artistic manner to symbolize the intent, such as piercing an apple with rusty nails, piercing dried organs or herbs with thorns, or creating a poppet or miniature human shape out of wax or some tuber, adorning it with bits of hair, finger nails or cloth, and then baptizing and naming it for the intended target. The objects would be blessed, charged, assembled, and the final product would be used in a spell to make something happen. The completed link object could be put in a metal container or a bottle, a leather or cloth pouch, and either kept, buried or burned. In some cases words could be printed on the object, or perhaps even a scrap of cloth or paper could be used to contain drawings and words or names. In antiquity, curses were drawn and written out on lead sheets, folded and dropped into a well or stuck between the stones of the victim’s home. 

Organic or inorganic links are called “gross links” because they are made from organic or inorganic materials, where the actual physical form and structure determines its use and intended purpose. Writing something down on a parchment, paper, cloth or a thin sheet of metal is a very different kind of link. A drawing or writing represents a transitional kind of magickal object, becoming more of what I call a symbolic link, since it uses symbolic forms to depict and establish the link. 

A symbolic link is more versatile than a gross link, which is normally used just once. A symbolic link often caries no trace of any previous spell on it, so it can be reused for other purposes. A link that could be fashioned to be used multiple times would require that the original intent was the same. For instance, you could fashion a symbolic link for acquiring money, use it for yourself, and then at another time, use it for a friend. So long as there were no identifying factors or names, a general symbolic link can serve multiple purposes.

In the energy model or theory of magick, a link is used to imprint the raised energy before it’s exteriorized to fulfill the magician’s intention. The raised energy can be highly qualified, or not, but it still has to be imprinted with the magician’s desire. In the system of magick that I use, a sigil is employed to facilitate the instrumentation of a link. The act of imprinting the energy is where the magician wills the link, in the form of a sigil, and the raised energy into a unified field. (This technique will be discussed in more detail later in another section.) 

Crafting a sigil to be used as a link doesn’t usually trigger it’s inherent effect or cause the desire to become manifest by itself. This is because one needs to charge or consecrate the sigil after fashioning it, and then apply it as a link within a magickal working where the energy is raised. Others may perform sigil magick as an independent magickal mechanism, so in that situation it’s possible that the act of crafting it might actually trigger the spell. 

Since it is my habit to always craft a sigil just prior to performing a working (and I have never, to my knowledge, crafted one without it being used in a working), it would be difficult for me to judge whether the act of crafting the sigil prematurely triggered a working. I just know that in order for a ritual working to be successful, a link must be fashioned and used to imprint the energy. The two magickal operations performed sequentially are being blended together, but it’s possible to fulfill a working with just the internalized application of the link. Now that I have explained how I use sigilization in my magickal workings, I should probably describe how to actually craft a sigil. 

The general rule for crafting a sigil is to start out by writing a phrase that encapsulates the intention of the rite. It should be written in upper case, then the phrase is reduced to a simple pictographic diagram through a process of reduction and simplification, where the curves, lines, and intersected forms of those actual letters are reduced to a unique set and reassembled into a kind of logo. 

Let’s go through the steps that one would typically follow to produce a sigil, keeping in mind that there are a lot of variations and methods used in this technique. How I do it may not be exactly the same as how others do it, but each practitioner will ultimately find a technique that works for them. 

1. Write out a phrase of your intent; make it as simple and specific as possible. You can also eliminate words like “I” or “desire” or “will” from the phrase since that would be redundant. Just state what you intend or seek to make happen. 

To make things easier, you will want to print this phrase out in all capital letters, but actually, I prefer to add the nuance of having larger and smaller letters in the mix. Using all caps actually helps to reduce the number of linear forms in the sample of extracted letters. 

The act of succinctly stating one’s intention also helps to simplify and refine the intention of a work. It’s better to reduce the intention down to one thing. If you are seeking to make more than one thing happen, then you should employ more than one phrase and then build multiple sigils from them. (It might also be necessary to perform separate workings for each sigil link as well.)

2.  Looking over the phrase, from left to right, eliminate all redundant letters - or letters that occur more than once. Now the phrase should just have all of the unique letters in the order that they first occur.

3. Next, eliminate letters that are variations of each other, for instance, “M” and “W” are analogous to each other. Break out of the letters the various analogous structures, like the cross bar in the “E”, “R”, “F”, “A”, “H” or “G”, the curve in the “B”, ‘C”, “D”, “G”, “J”, “P”, “R”, “S” or “U”, and the vertical, horizontal and diagonal lines that are found in the remaining letters. All of the these forms are reduced down to a single form, or dual forms facing left or right. The “O” can become a small circle or it can be fused with the rest of the curves, being a left and right curve joined together. What you have now are just single incidences of multiple structures (essential forms) arrayed in a line, like letters.

4. Assemble the line of essential structural forms together again to create a condensed linear form, which should look something like a pictographic representation or logo of the original phrase. This last step may require several attempts to find a final structure that “looks” elegant and interesting to the eye. You can fashion a single sigil form, or multiple sigils. Using multiple iterations to build a sigil makes for a less cluttered final sigil structure. If you are going to use a name in your sigil, then I would recommend making that a separate sigil form from the actual intention. 

The point of this exercise is to produce a final structure that is simplistic, looks something like a pictograph of the intention, and the letters used in the original phrase can still be perceived in the final shape, although this last condition is not as important as creating a memorable pictograph. 

I usually have to make four or five passes using this process before I am able to condense the form down to something that is esthetically pleasing and interesting to look at. Austin Spare was something of a graphic genius when it came to this kind representation (he could probably do it automatically and in one pass), but you don’t have to measure your results by that very high standard. 

While working out the sigil, I will use a pencil on a scrap of paper, but the final form will be rendered on parchment with a special water-proof ink. It could also be painted on a piece of board, cloth, etched on metal, or even drawn on the floor or wall of your temple. However it is finally done, it will become an important magickal instrument, so the act itself should be executed as if it were a magickal rite, with the intention of the sigil and its associated desire strongly fixated in the mind of the magician. 

Once the sigil is crafted, it will need to be consecrated if it’s to be used in a magickal working. This step is not followed by many who use sigilization magick, but this is how I do it, and it keeps the sigil from being too active until its intended use. I will consecrate the sigil with just a spot of lustral water (carefully applied with a wand) and then fumigated over an incense burner just before performing the working. For the sigil of a spirit, I would use consecrated wine, leaving a small stain on the corner as a sign that the sigil parchment has been activated. 

Although I don’t actually work sigil magick without also performing a working of some kind, the basic idea behind it is to fill the mind with an emotional charge associated with the desire or intention so that no other thoughts or feelings are possible. This is a type of powerful obsession, often accompanied with a deep focused trance. This mind state is gradually built up through the process of crafting the sigil and then it’s elevated once the sigil is committed to its final form, executed in ink on parchment, or in whatever media is elected. The magician holds the sigil before his sight, focusing on the image of the design (not the words that were used to build it), while the emotional sentiments associated with the spell are worked to a climax. Then the sigil is either destroyed or set aside and promptly forgotten, allowing the image of the sigil to work in one’s unconscious mind. The magician can generate an intensely focused climax in a number of different ways, such as an orgasmic release through sex magick, masturbation, or even assuming Spare’s Death Posture. Yet often just intensely focusing the mind for a period of time and then quickly releasing it, is sufficient to obtain a good result.  

I should probably mention two other methods that are used to create a sigil device. These are the methods of fashioning a mantra or using condensed pictures. The mantra technique is similar to the word based sigil, except the reduced set of letters and vowels are arranged to spell out a magickal word or formula. It will most likely (though not always) be a nonsense word, but it will symbolize a specific intent. It will function as a barbarous magickal word of power, which can be used in a chant or as a mantra. A sigil derived from a picture or symbolic images (such as the symbols for the elements, planets, astrological signs, alchemical symbols, or even international traffic signs) uses the same methodology as stated in steps 3 and 4 for building a word sigil, where the forms are broken apart, condensed and reassembled. 

That’s briefly how to formulate and use sigils as links in the discipline of ritual magick. This is based completely on how I do it, so of course, there will be a lot of possible variations. I doubt that two magicians who use this technique do it exactly in the same manner, but I believe that I have revealed the basic steps that most would follow. A more thorough resource on the art of sigil magick is to be found in the book “Practical Sigil Magic” by Frater U.D. (Llewellyn, 1990), which I heartily recommend.

© Frater Barrabbas

This set of pistols was owned by the Marquis de Lafayette, who gave them to George Washington. Washington carried them through the Revolutionary War. For a time they were also carried by Andrew Jackson, before ending back up in the hands of the Lafayette family. In 2002 they were auctioned by Christies and sold for $1,986,000.

Lot Description

THE LAFAYETTE-WASHINGTON PAIR OF STEEL-MOUNTED “SADDLE” PISTOLS 

Marked by Jacob Walster (w. 1761-c.1790), Saarbruck, France (now Germany), circa 1775-1776

Each with octagonal to round barrel of “Damascus” steel embellished with silver and gold wire inlay, the steel locks with chamfered edges and engraved borders, the tails engraved with a panoply of arms, all mounted on European walnut stocks with relief carved detailing holding wooden rammers with bell-shaped horn finials and iron cleaning tips, the first barrel markedWALSTER, the second marked A SAARBRVCK, both housed in an American Black Walnut case, 1830-1847; together with four accompanying manuscripts comprising an envelope addressed to Geo. W. Lafayette; a presentation document signed by J.L. Martin addressed to Geo. W. Lafayette, the verso inscribed by G.W. Lafayette (figs. 8,9); Madame Hennocque’s copy of M. Edmond de Lafayette’s 1890 will (figs. 10,11); a copy of the exhibition catalogue, “Les Etats-Unis & La France au XVIII Siecle” (Paris: Hotel Jean Charpentier, 1929)
17¾in. long (5)

Provenance

The Marquis de Lafayette (1757-1834)
George Washington (1732-1799), by gift
William Robinson (1782-1857), by inheritance
Andrew Jackson (1767-1845), by gift
George Washington Lafayette (1779-1849), by bequest
Edmond Lafayette (1818-1890), son
Antonin de Beaumont (d. 1910), nephew
Marie de Beaumont (Mme. Edmond Hennocque), daughter
Charles Marchal, 1958, by sale
Charles Dresser, a French private collector
Couturier Nicolay Paris (Auctioneers), Collection de Monsieur X: Tres Important Ensemble D'Armes a Feu et D'Armes Blanches du XIVe au XIXe Siecle, 19 October 1983, lot 124


Pre-Lot Text

Presented by the Marquis de Lafayette to George Washington during the American Revolution, these pistols stand as a supreme testament to the enduring friendship between America’s most revered historical figures and their struggle for American Independence. After just a quarter century following Washington’s death, the pistols were recognized as important icons of the New Republic and in 1824 were given to Andrew Jackson in support of his quest for the presidency. Not only did the pistols pay homage to the battlefield successes of America’s first and seventh presidents, but they also provided a symbolic link between military prowess and political leadership. With the return of the pistols to the Lafayette family in the mid-nineteenth century, the pair came to symbolize Franco-American ties and the mutual quest for liberty. Today, the pistols stand as one of the most important pair extant and the story of their illustrious ownership speaks to the ideals and aspirations of America’s founders.

GEORGE WASHINGTON AND THE MARQUIS DE LAFAYETTE

The life-long friendship between George Washington and Lafayette began in August 1777 at a dinner party in Philadelphia.1 Just two months earlier, Lafayette had arrived in South Carolina, a twenty-year old French aristocrat intent on fighting for the American cause. He later recalled,

The moment I heard of America, I lov’d her. The Moment I knew she was fighting for freedom I burnt with a desire of bleeding for her–and the moment I schall be able of serving her in any time or any part of the world, will be among the happiest in my life.

The Ford Government

“Ad Astra Per Aspera”

From @cirilee ‘s 500 Fords AU

A friend and I have come up with how the inner workings of the Fordciety would function! It starts with an inner circle- the Council of Fords- that have the biggest influence over the AlphaFord.

The council includes: GeekFord, NerdFord, Sci-Fi Badss Ford, Paranoia Ford and AdventureFord.

GeekFord: well, a geek! He is the Ford that embodies what Ford is typically passionate about- DD&MD anyone? He appears in the Elf costume that appears in the DD&MD episode. He is also the one who is extremely interested in the paranormal.

NerdFord: Focuses on math and the hard sciences, is relied on for experiments and solving equations. All the other Fords on the council see his value, and none question him. He gives the facts- no opinions. The other Fords like him for that.

Sci-Fi Badass: This Ford rose to power on the other side of the portal, and was essential for survival. He started to emerge as Ford discovered the spacecraft under the town. He comes up with battle strategies and ides against Bill.

Paranoia: Paranoia Ford surfaced after the discovery of Bill’s betrayal. We see him in action when he holds a crossbow to Stanley. He is partly crazy, but has saved Ford from a lot of scrapes with his caution. The rest of the council sees his value, but takes what he says with a grain of salt. He is no longer as active as he used to be, since Ford returned to Earth.

AdventureFord: He wears an indiana jones hat (because you know Ford would) but otherwise appears in his outfit as he was falling into the portal. He is the Ford that aches for discovery, and the one we see in Ford’s earlier years in Gravity Falls, and even a little bit into Bill’s time with him. However, he tends to charge into situations and be reckless. This makes Paranoia Ford uncomfortable.

THEN COMES ALONG THE SECOND BRANCH! They tend to be close to at least one member of the council, and hold a relatively fair sway in the government. (under the cut, because this is long already)

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Mbaba-Mwanna-Waresa

The next few posts are going to look at beer goddesses. There are an abundance of beer deities to write about so why not start with one of my favourites: Mbaba-Mwanna-Waresa

Mbaba-Mwanna-Waresa was the Zulu goddess of fertility, the rainbow, agriculture, harvest, rain and beer. She not only taught her people to sew and reap but also taught them the art of brewing. Zulus believe She made the first beer for Her people and for that She is one of the most revered goddesses of the Zulu people.

Not only did She introduce Her people to beer She also lived in a round hut made of rainbow arches in the clouds! Whenever the thunder roared in the skies the Zulu people knew this was Mbaba-Mwanna-Waresa playing her thunder drums and that She, as a rain goddesses, would soon pour much needed rain from Her home in the clouds. She was also the Goddess of rainbows and has been known to create rainbows to signal it is time to start drinking.

Rainbows are also a representation of the link between heaven and earth, a symbol of the link between Gods and man. The story goes that Mbaba Mwana Waresa could not find a suitable husband in the heavens, so She searched all of the land in South Africa to find a mortal husband, defying all of the other gods. She came across a young cattle herder named Thandiwe in a small village. He sang of his love of the land and his voice captured Her heart. Mbaba-Mwanna-Waresa knew that mortals could be fickle and unpredictable. She wanted to test his love for Her so She traded places with a young mortal girl names Nomalanga while She disguised herself as an ugly hag. She did not fool Thandiwe. He recognised Her immediately and proved himself to Her. They married and to this day, if you believe in Zulu mythology, live happily ever after in Her hut made of rainbow arches in the clouds. 

“The octagonal shape has a particular significance. In Islamic architecture, this shape is a symbol of ascent to heaven by the Prophet and by man. The octagonal structure is a step in the mathematical series going from a square (symbolizing fixity of the earthly manifestation) to a circle (symbolizing the perfection of heaven). Traditional baptismal fonts are also of this shape. However, in the tombs erected for saints, the lower part is square with an octagonal drum inserted as a transition between the cube and the dome, to symbolize the saint as the link between man and God. The octagonal structure of Jerusalem’s Dome of the Rock became the model for domed sanctuaries and saints’ tombs from Morocco to China.”

Raza Rumi: “Delhi by Heart: Impressions of a Pakistani Traveller.”

Stand by You

Characters: Dean Winchester x Reader

Based on Stand by You by Rachel Platten

You stood in the kitchen of the bunker preparing breakfast. Pancakes. The boys always liked it when you cooked pancakes. Of course Dean would drown his in syrup, while Sam preferred bananas and powdered sugar on top of his. You had been with the boys for a little over a year; you guys had become a little hunting trio, even though you mostly helped with research. It was a Saturday morning, and strangely enough you had no cases. The boys were sitting in the library, looking for any sign of the Darkness or Cas. Of course, they weren’t finding anything. So, you had decided to make breakfast in an attempt to cheer them up. Truth be told, you could use a little cheering up too.

You plugged in your phone and pulled up your most recent playlist, pretty much the only one that didn’t consist of classic rock. You hummed a bit as the first couple of songs played, not really paying attention as you were mixing the batter. Then, your newest obsession came on. You had only listened to it 85 times since yesterday, but it didn’t matter. Stand By You by Rachel Platten made you think of the boys. Specifically, Dean. You had been harboring a slight crush on the older Winchester for, well, since you’d known him. Truth be told, you were head over heels in love with him. You hadn’t said anything, though. He was so stressed with finding Amara and worried about putting you and Sammy in the line of fire that you kept it to yourself. The two of you were close, though. Very close. You flirted with each other constantly. So much so that Sam was always encouraging you two to admit your feelings to each other. You cuddled on the couch together, you snuggled when the motel rooms were too cold, and you made each other laugh at stupid jokes. You fit perfectly in the curve of his body as your legs lay across his early in the morning as you enjoyed your coffee. Everything indicated you two were a couple, except for the fact that you… well… weren’t.

You put the thought out of your mind as the lyrics began to flow through the room. You turned the volume up and began to sing along, completely forgetting that the boys were right around the corner.

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All Saints and All Souls in Italy

Dolcetto o scherzetto? (Trick or treat?) For a while now, you'l hear some Italian kids uttering this on Oct 31, American Halloween night. This celebration is based in Celtic traditions and Pagan customs, but All Souls and All Saints Day has been part of Italian culture long before the American cousin came along. Italy celebrates All Saints on Nov 1 and All Souls on Nov 2nd. As with everything else, exact traditions vary by region. The holiday of All Souls is so old that it is traced back to Ancient Greece. Greeks would celebrate Gea, the God of Earth and the Dead, who would come back to be part of Earth post mortem: in Gea we see the dualism in a God being both creative and destructive, like Tellus, the Roman God of Life and Death, also celebrated in ancient times.

During these 3 days, it is believed that dead people come back to meet the living and to receive support and also to give light and hope. In the Veneto, Friuli, Apulia and Abruzzo, people in the past would empty pumpkins to place candles inside as to light up the dead’s path. In Lombardy, empty pumpkins would be filled with wine to restore the dead - people also used to leave a bucket or a vase of water to quench their thirst of the dead while on their nightly meanderings. In Piedmont they would leave an empty seat at the table prepared for the dead coming by, while in Sardinia they would not clean the table after dinner so the dead could come and eat after them. Children would knock at people’s doors saying “the dead, the dead” to beg for sweets and money. In Emilia-Romagna poor people would beg, asking for food in exchange of interceding with the dead. In Basilicata and Calabria, some communities would set a banquet at cemeteries where the relatives were buried and invite people to join. In Apulia, teens and peasants would ask for shelter and be seated at the table with wine, Taralli bread, and chestnuts. All Saint’s was also celebrated with gifts: in Manfredonia (Apulia), sweets would be given to children who would hang their “sock for the dead” at night, and in the morning they would find them filled with treats. Some of these places have maintained these traditions. In some towns of Apulia, the “Festa dei Falò e teste del purgatorio” (“bonfires and purgatory’s heads party”) is still running.

People celebrate on All Saints as it was institutionalized in 609 by pope Bonifacio IV, when Church reinterpreted a pagan tradition, giving to it a Christian meaning. It’s one of the oldest traditions in Italy and it’s celebrated during the night between Nov 1 and 2. Bonfires are lit in every corner of the city in memory of the dead. The gorse it’s burned, as it’s one of the most volatile woods, to symbolize the link between the Earth (people) and the Sky (dead); the bonfires keep burning all night. It is believed that thanks to the fires, the dead will find the path and would come and visit their old homes, they’d warm up and continue on their journey. In Sicily, too, the tradition is still alive. In Palermo, All Saints is dedicated to children and it’s a sort of Christmas’s replica, with kids getting gifts in the morning or treasure hunting for them and, once found, going to the cemetery to thank the dead. Most of Regions today celebrate All Saints with desserts, too, many of them having the shape of bones or hands. Food has always been linked to this celebration, esp. some ingredients like chickpeas that during Greek domination were cooked at the end of winter to celebrate Dionysus and Hermes. Wheat is another important ingredient, symbol of prosperity but also symbol of the end, as to collect the grain you have to cut the spike. Death and rebirth…That’s why eating wheat during All Saints it is a ritual not only associated with the ancient Eleusi’s celebrations to honor Demetra – the Harvests God – but also to propitiate. Still in the South, desserts are made with wheat. In Campania, esp. in Naples, the “torrone dei morti” is prepared, a dessert with almonds and chocolate. 

The secret behind EXO teaser pictures ^o^

SM loves secret meaning with its Artists, we can see that with Tohoshinki albums as The Secret Code, Tone (link), Time …

EXO is from the beginning a group with a lot of symbols. Its history, its member’s names, realease dates, logos, the link between M and K, supernatural powers …
The latest teaser pics seemed too strange to be only art pics.

So study them !

  • First, the most simple, the 4 photos without mirror all dressed in white on black background :

Xiumin / Baekhyun / Lay / Chanyeol

The EXO showcase is announced for April 15. It’s the day of a lunar eclipse. So, they represent by their position, the lunar cycle:

New moon / 1st Quarter / Full moon / Last Quarter

That’s easy. But it is not just that.

  • Let’s see the 8 other pics : one mirror, specific body position and clothing color. Plus contrasts : color / black & white, blur / net.

All these symbols are related to ’Bagua’ from Chinese Feng shui.

Indeed, the Trigrams are symbolized by member’s arms (stretched / folded) and (stand / sit) position. Thus, there are 8 matches with the 8 elements of Feng Shui (and its meaning) and many contrasts or associations between EXO members.

Kai / Luhan - Earth / Sky
Sehun / Kris - Wind / Mountain
Tao / DO - Thunder / Lake
Suho / Chen - Water / Fire

It may have mistakes, sorry for that, it’s just my opinion. There are also some similarities with MAMA era’s superpowers…
Currently, rumors are about ‘The Phantom of the Opera’ concept, I think is rather Ying / Yang concept…
Interesting, isn’t it ? That’s a lot of clues about new EXO concept.

  • But, there are still questions:

Why is Xiumin, Baekhyun, Lay and Chanyeol which have been choosen for the luanar phase ?
What is the meaning of the new maze-shaped logo ?
And what will be their new supernatural powers ?

I can’t wait to find out more ! It’s so exciting !!!! >o<

  • By the way, according to Chinese King Wen, father and mother of the world would be Heaven (Qian-gua) and Earth (Kun-gua), gave birth to other Feng Shui elements that make up our world. By extrapolation, Luhan and Kai are the real parents of EXO ^ ^
What Does Bill Want With: Dipper Pines?

Aha, Dipper’s “name” is pretty much a combination of both symbols that are associated with him. So, let’s look into BOTH of these! A sequel to my previous symbolism theory: http://awkward-and-fluffy.tumblr.com/post/115565640627/bill-cipher-and-shamans

And I’ll be elaborating on Dipper’s section from this: http://awkward-and-fluffy.tumblr.com/post/115439379602/potential-vessels-for-bill-cipher-and-more

We’ll see what else Bill could want with Dipper, as well as others on the wheel (in future posts).

Pacifica’s symbol is mostly covered in the previous post, too. It was pretty simple, but I have plans for a future post on her family and the town’s mysterious history.

Mabel is next on my list, though her symbolic roots are going to need more research just to be certain I’m on the right track with her. I definitely want to write about Mabel, because her possible purpose for the show intrigues me! (These two shall receive equal love in my theory posts, worry not <3)

Alright, what’s behind the more evident symbols of Dipper? I covered potential animal symbolism that Dipper may have, and a little on his birthmark. However, it’s time to go deeper and this time around I’ll only talk about pine trees and the Big Dipper - as well as what these symbols may have connection toward in Gravity Falls. Why does Bill have a seemingly favored focus on Dipper too?


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