symbolic objects

4

So my friend bought a bone ring in Denmark from a guy who said it was good luck. He’s been sleeping with it for a few nights and has been having stressful dreams. Last night he had a dream he was being attacked in his room by an unknown entity. As he tries to crawl away, the entity stomps on his hand. He wakes up because of the pain and the ring has snapped in half.
Can anyone tell me what the symbols are? I’ve been searching for hours and as far as I know they’re not Scandinavian runes.
We also don’t know if it’s actual human bone…

@sixpenceee

I want people to stop attacking nonbinary people who describe their genders in abstract, flowery terms. And I want them to stop dismissing them as “just teenagers who don’t know any better”, too.

You know why? Because cis people do the same thing all the time and nobody bats an eye about it.

Manhood and womanhood are associated with symbols, colors, animals, astronomical objects, mythological figures, a whole list of things that have no inherent gendered properties, and that’s fine. (A lot of those symbols are stereotypical, but some binary people still embrace them, while others have come up with alternate symbols that better reflect what being a man or woman means to them.)

If men and women can describe their genders in abstract, symbolic, poetic terms, so can nonbinary people.

A witches dictionary

Ever hear some things? Not sure what they mean? Check out this mini witches dictionary with a few of the most basic witchcraft terminology!

Altar: a place to do and practise Magickal things like spells and rituals or meditation. Also used for inspiration and honouring the deceased

Astral projection: projecting your spirit out of your body in order to be somewhere else. Often done by dreaming, can be very dangerous *only to be practiced by experienced witches

Athame: a Magickal tool/object in the shape of a knife or sword, not used for real harm, only symbolic

Balefire: a fire that has been lit/made for Magickal purposes like spells, rituals etc.

Besom: a witches broom used to banish negativity and negative energy

Book of shadows: also known as a grimoire that contains spells, rituals and anything else that is important to the witch who owns it

Call: a term used that means the same as invoking

Cauldron: represents the goddess when doing spells and rituals and is often filled with water or flowers

Cleansing: removing negative energy from yourself, others or spaces you are in

Coven: a group of at least 3 witches who get together and practise spells and rituals and celebrate sabbats or Esbats together

Covenstead: the meeting place of which a coven will meet

Divination: to be able to see into the future using psychic powers or tools and other methods such as scrying, tarot cards etc.

Elements: the 5 elements of the world. Air, fire, water,earth and spirit

Esbat: a gathering/celebration of witches that is not on a sabbat

Familiar: an animal that is connected and used by a witch in their witchcraft, the animal is thought to have Magickal abilities and a strong bond with the witch

Handfasting: a pagan wedding! Time for celebration!!!!

HPS and HP: short for high priestess of a coven (hps) and high priest of a coven (hp)

Intent: a goal/purpose of a spell/ritual/Magickal working

Patron deity: a specific deity you feel a connection with and prefer to use in your magick

Pentacle: a five pointed star representing the elements and is enclosed in a circle and is a symbol for protection on witches and Wiccans that is used a lot

Pentagram: a 5 pointed star much like a pentacle except not enclose in a circle, despite popular belief the pentagram is not a symbol of satanism

Runes: ancient symbols from an ancient Nordic alphabet often used in witchcraft

Sabbat: 8 festivals in the wicca/pagan/witchcraft community that happen every year and are a time for celebration and honouring

Scry: look deeply/gaze into an object in order to see a Magickal effect, when being used it is called “scrying

Sigil: a magick symbol placed on an object as a seal and needs to be charged in order for the power to manifest

Samhain: probably the bigger sabbat celebration in the calendar marking the pagan/witchcraft and wicca community’s new year. The best time for divination work and contacting the deceased as the vein is very thin that night between the spirit world and the human world, so it is also appreciated to celebrate the dead on this night, also know as “Halloween” and is celebrated on the 31st of October - 2nd of November


Please add on more :) 🖤

3

The Magi- A series of I made for my illustration final. 

Frankincense is symbolic of a connection to the divine and of spirituality. 

Gold is symbolic of mortal wealth and often royalty .

Myrrh is symbolic of mortality and life after death. Each of the illustrations is related to the symbolism linked with the object.

What Went Wrong?

I had an immense amount of hope for season 4 of Skam. And even though from the beginning, I didn’t like some stuff or was suspicious of some plotlines, I decided to trust the people who had previously made three amazing seasons of Skam to make sense of everything and to give us a beautiful and meaningful season for Sana as well.

Now that Sana’s season is basically over, however, I am more resigned to bitterness and accepting the fact that they simply couldn’t deliver. I don’t blame Julie. Not really. I did for a while, but now I just…feel nothing. The rage has worn off and what’s left is this deep sadness that comes from knowing something good has gone bad.

I’m being dramatic though! At the end of the day, it’s just a show and it doesn’t really matter. But for a second there, I thought I was watching something monumental occur; like when I watched season 3. To get a show from the perspective of a poc muslim girl in a European country seemed both risqué and innovative. But the problem with such a never-seen-before/never-explored-before concept is that, you won’t know just how wrong it can go.

For example, they could easily figure out what not to do in season three, by simply watching all the wrong moves other shows had made through the years. While Sana’s season needed delicate and thorough research to first: capture the essence of the culture and background she came from and then secondly: to use it in the fabric of the show in a natural and organic way. They also needed to have space to deal with the daily problems of muslim girls in modern Norway’s society and on top of that all, they had to make no mistakes and create interesting drama through it all.

Looking at it like that, I feel bad for Julie and the pressure she must have been under. I think considering how bad things could have gone…. they went moderately bad. And yet, ironically we can claim it’s the best of its kind because no one else has done anything remotely close to it before, either.

However, I’m not resigned to just accept this as an excuse and forget just how badly things went. Because this looks like a terrible accident to me, and no matter what I do, I find myself thinking things like “if only this part had been different”, “if only they hadn’t done that.”, if, if, if. So I’m gonna rewatch all nine episodes of Sana’s season and attempt to write a piece explaining just what I thought went wrong.

1.The pacing: Perhaps one of the most obvious things that went wrong with this season and that everyone noticed, was the pacing. This piece will be full of bitter nostalgia so let the first one be a callback to the amazing trailer. I will never forget the day we got season four’s trailer after four months of waiting. Everything about it seemed just perfect. Every detail seemed like a symbol, a throwback, a small wink to the viewer: “look! We put that there for you to find!”. And the ultimate message seemed to be that “it’s about to go down” and it will go down in a very complex way, too! A chain reaction! Millions of meta pieces were written. A thousand different takes on the chain of reaction and what each dilemma could be was written. So when the season started, we were all waiting for something to happen. We waited….and waited… and waited… and waited…. We waited for weeks! But what happened was that a tension, thick as butter, just kept on building for five weeks. And then BOOM! All hell broke loose! And yet…and yet nothing had happened yet. We actually had to wait two more weeks for something to really happen and suddenly by the eighth week, everything was resolved again! In short, the plot was one giant anticlimax! The conflict that kept on building to seem like an unavoidable fall out, a tsunami of dramatic interactions, ended up being resolved off screen. The real problem seemed to be the pacing. If the show had built the conflict in three episodes, presented us with the supposed dilemma in episode 3, tried to fix that in episode 4 and had the deeper, real conflict happen in episode 5, then had the after math in episode 6, and started to fix it in episode 7, have the characters figure it out in episode 8 and the resolve it in episode nine, then it would have made sense! Writing it down like that, it almost feels like that’s what happened! But clearly something prevented the cycle from feeling like a natural arc. Which brings us to the second problem:

2.Crowded narrative: So what was Sana’s season about? The imbalance of her Muslim/Norwegian identity? Being a muslim in an atheist country? Falling for a non-muslim boy? Falling out of touch with friends? Jealousy? Anger issues? Making up with family? Getting a Russ buss? What was this season about?

Ignoring the subplots (because there was so many of those I shiver just thinking about them!), there was three main plots for Sana in this season:

1.Finding a balance between her Norwegian identity and the people in that part of her life with the muslim/Moroccan side of her identity and the people in that part of her life.

2.the problem of being a muslim girl falling for a non-muslim boy and trying to keep true to her faith while still trying to not the love go to waste.

3.Finally making the last move in her friendship with girl squad and really being honest with them about her feelings and problems.  

However soon these problems morphed into different things entirely:

1.Getting a bus and proving to everyone that she can be a part of this Norwegian tradition like any other Norwegian girl.

2. Trying to let go of the boy who was both unsuitable for her and who her best friend had feelings for.

3.Dealing with the collision of her Moroccan and Norwegian on terms that were not her own.

Each of these plots kept on getting more complicated and more tangled to a point that they were not exactly resolvable. They were instead just forced into a state of equilibrium. Which was anti climactic to say the least!

*sigh* now let’s face the subplots! There were so many subplots! And at one point, it felt like these plots will wrap up in that infamous trailer “chain reaction”. But with the season already over, it’s become abundantly clear that that was never the case!

The subplots as seen from the very first clip on are:

1. Vilde and Magnus’s relationship (initially taken as a way to introduce lesbian Vilde but ending up being about trust and cheating. Resolved in episode eight’s sixth clip)

2.Noorhelm (the most unnecessary unearthing of a clearly failed relationship that somehow got revived again…*whispers*why?! Resolved in Episode nine’s third clip)

3.Balloon squad (Sana’s brother’s group of friends and the most adorable addition to Skam this season. I’m not sure what their conflict was supposed to be but last time we saw them they were pretty happy and content so I guess resolved in the last hei briskeby video) (actually they were there to destroy stigma surrounding poc/muslim boys and trying to create empathy towards them)

4.Getting a bus (resolved in the fifth clip of episode 8)

5.Hvem er Mikael?!(Still a mystery tbh but generally accepted to be the last guy Even tried to kiss…unsuccessfully I might add. Resolved in the last clip of episode 4?!then again in last clip of episode 5 and again in the last clip of episode 7…)

6.Sana and her mother (not really a conflict point but still she started from hiding things from her to telling her stuff. Resolved in the fourth clip of episode 9)

7.Even’s past (I honestly don’t know why this had to be mentioned but whatever. Resolved in the sixth clip of episode 8)

8.Yousana (resolved with an open ending in the fifth clip of episode nine aka Sana’s last clip)

9.Elias (Sana’s brother has issues! He’s drinking, he’s fighting with his mom, he’s rebelling and maybe even questioning his faith. This wasn’t resolved! This was just mentioned and to this day I’m haunted. What is happening with Elias?)

10.PM girls (The true let down of this season. There was no need to make 50% of the 99 girls evil, but nothing we can do about that. Resolved in the fifth clip of episode 8)

11.Vilde (Vilde was acting super weird all season long! From Islamophobic behavior to spreading stuff about Sana behind her back and such. Vilde deserved better because we never saw her acknowledge her wrong behavior but somehow this was already resolved by the end of the fifth clip of episode 8)

12.The syng fight (supposedly a climax for the other plots and subplots but it’s an even bigger mystery than all the plots combined. I don’t know anything about it! Nothing made sense but apparently already resolved by the sixth clip of episode 8)

13.Jamilla and Sana’s friendship (resolved in the fifth clip of episode 7)

14.Hacking and cyber-bulling (resolved by the fifth clip of episode 8)

15.Sana finishing her prayer (resolved in the last clip of episode 9)

I…I just think there was too much happening! 

All this aside, this season had one giant problem. Like a zit on the nose. Big, red, angry and full of gross pus. And that is the third problem…

3.Noora: To think I started watching the show for Noora! Oh Noora, Noora, Noora! I am so sick of Noora! The woman, the mirror, the foil, the ever-present heroin of Skam! It was so easy for Eva and Isak to fade into the backgrounds of the seasons that were not theirs but for some unfathomable reason, this is just not going to work out for Noora!

While Noora’s mirror presence in season 3 was dignified and reasonable, the ever-changing mirror/foil/symbol/metaphor/object of hate or jealousy-take your pick-  presence that she had this season was stifling! Present in almost all clips or at least the long clips, with a very tangible presence and a very lingering subplot, Noora mirror-foilingly(!) stole the show from Sana. Here’s how she did that.

In the very first clip of season 4, it’s mentioned that Noora is still not over William while he has apparently moved on to dating a new person. This sets the main plot into action, by girl squad trying to find someone for her to move on with. Which leads to a cute tête-à-tête between her and Yousef. But this is quickly side-tracked by Sana wittingly telling Noora to avoid muslim boys.

So basically, Noora and her boy trouble were the spark that started the season. This later affected other plots such as the Vilde+Magnus one, the Even backstory, Yousana and balloon squad.

Soon after this, we get a long clip in which Noora explained-with a painstakingly slow pace- why she really left William in London. An explanation that nobody needed and that just created the opportunity to restart an old storyline despite it being over for months. Long story short, from trying to help Noora move on to Noora kissing Yousef, from Sana being jealous of Noora to hacking and a lot of tears, basically this whole season was a chain of Sana’s reactions to Noora’s actions. The only plot that was there from the very first clip to the second to last one. The only story that evolved and developed, right beneath our noses while we were busy wondering about more important things like: “whether Sana will ever talk to her friends or not?” (she won’t) or “what the syng fight was about?” (nothing important!) or “what really happened in Bakka?” (What’s Bakka?!) or “Is Vilde lesbian?” (no!) or “will Yousana make it?” (eh…). And while we were busying ourselves with these silly small plots around the season, Noora and her epic romantic adventures were developing steadfastly towards a big climax that was delivered in the last clip of episode 8. A clip that was formerly reserved for a very important and dramatic plot twist in the main’s life.

So while all those never-explored-before plots were all just dismissed, the same old story of Noora got to be the main plot of the season. And that’s fine! But when they said we were getting a Sana season, it just led us to believe Sana would be a bigger part of her own main plotline.

I always thought Sana was the ultimate main for Skam, because in the past three seasons, she was the single character that held a real sway over the plot. She delivered important speeches and pushed the plot in a whole new direction with each of these talks. I thought she was ultimately the character we were meant to get to know. But I was wrong. Because Skam was always about Noora.

4.Bad research: While we all know that the authenticity and uniqueness that is provided in Skam’s plots is curtsey of the interviews they did with actual teenagers and the inspirations they took from their real life experiences; it is undeniable that the main reason season three became such a success was because they sought out the counsel of a professional. While we don’t know if they didn’t really do this for this season, it at least feels like they went in blind to write it. We know they spoke with muslim teenagers, but perhaps it would have been better to try to familiarize themselves with Sana’s situation on a sociological and psychological level as well. Maybe have a religion expert on the show? Or a sociologist who had studied the social disorders that second generation immigrants have to deal with? Someone who could guide them into writing a story that was perhaps a bit more respectful to these children’s experiences rather than a dramatic roller coaster of unexplainable events that led to nothing but drama.

5.Scattered storytelling: The most respectful way to put this is to say that (as mentioned before) since there were too many subplots happening in the season, none of these stories got to be told in a linear way. The stories got told in snippets, set too far apart that plots got lost or complicated simply because they had to wait in line for weeks, to take up where they left off last time we heard about them!

Take Yousana for instance, one week we see them talk, then for a whole week we hear nothing then we see Yousef kiss Noora. Then again we get a clip about Sana moving on but two weeks later, she talks about him again and decides to give it a chance.

For another, Sana’s faith. While initially it seemed as though we might see her practice her faith in some way, to actually normalize Islam, that plot was forgotten half way through the season and only got mentioned again in the very last clip.

Consistency was not the strong suit of this season for sure. Perhaps because this was the last season. Maybe they just ran out of a good way to see things through or to connect the things they wanted to connect.

But no matter how you will try to tell yourself that there was a good reason for the things that happened this season, you can’t deny how unfair this season was to Sana.

Before the season started, there were so many people talking about how a Sana-centered season was “needed” at times like these. But political climate and social anomalies aside, this season not only didn’t help any of those noble causes it was supposed to serve, but also pushed its narrator aside in favor of a more sought after story that only had dramatic value.

One-armed Bandit Tarot

*Slot Machine Spread*

The archetypical slot machine typically have three reels of symbols, but there’s nothing wrong with adding more reels (rows of cards) if you are so inclined and if it fits a particular reading you would want to do.

In this example, I will use 3 card reads, which literally could be anything that’s supposed to be read in a linear fashion (past, present, future - mind, body, spirit etc.)

You will need: A deck of cards, a coin or something similar (like a stone)  and at least one six-sided die.

With your, or your clients question in mind, shuffle the cards in your normal fashion. Cut the deck as normal, and deal out three rows of cards, each with six cards in them.

Offer a coin as a symbolic gesture. This could be a magical coin if you have that, or you could make one for this specific purpose, or if you like to do post-apocalyptic witchcraft, you could use a bottle cap, or any kind of stone or an object of symbolic value to you or your client would do. 

Pull an imaginary lever. Roll the die one time for each row. Turn over the card corresponding with the number on the die. There you have your results.

You could variants on this if you would like. Like for instance, use more rows, as mentioned, or put more, or less, cards in each row, if you own polyhedric dice. You know, D4, D6, D8, D10, D12, D20. Or use a random number generator either online or on an app on your phone. 

You could even turn all the cards over before rolling the dice and pretend you are allowed to step up or down a number of times in order to make a more favourable read. 

Have fun! 

Different Types of Magic

A note by the poster: this list is not extensive; these are not the only varieties of magic that exist or can be used, but are merely examples of some of the more common or well-known branches of practiced magic.

Elemental

In this particular  type of magic the Elements of Fire, Earth, Air and Water are given their own directional focus to create added power and give extra energy to your spells. You will no doubt find that you tend to favor one particular direction, but you should be able to use all of them.

Color

Perhaps the simplest form of magic is that which involves color. This method of working is also used in conjunction with various other forms of magic. Color can enhance, alter and completely change moods and emotions and therefore can be used to represent our chosen goal. At its simplest, it can be used alone and in dressing an altar. 

Herbal

Herbal magic is often used alongside many other forms of magic. Used as talismans and amulets – for example in a pouch or bag – herbs become protective; the oil from herbs can also be used in candle magic. There are many different types of herbs available for use in this way. Each herb has its own specific use, but frequently is used along with many other herbs and oils to produce a desired result.

Candle

In candle magic, man discovered the ability to control light and this is one of the oldest forms of magic as well as one of the most simple. Using candles to symbolize ourselves and our beliefs means that we have access to a power beyond ourselves. Candle magic also forms an effective back-up for most other forms of magical working.

Crystal

Every stone or gem has its own attribute which can be used in magic. Crystals are used extensively in healing because of the vibrational impact they can have. Because of this, they lend themselves to the enhancement of any spell making or magical working. Even ordinary stones have their own power and can be used as repositories for all sorts of energies and powers.

Knot

Knot magic works partly with the principle of binding, which is a type of bidding spell, and also with that of weaving. It utilizes ribbon, rope, string, yarn, or anything that can be knotted or plaited to signify our aspiration. It is a type of representational magic, and is used in conjunction with many of the other forms. The techniques of color, form and use of energies are all used in its practice.

Representational

Representational magic involves using an object that represents something or someone for whom you are working the spell. It helps in concentrating the energy and visualizing the desire and the end result. Representational objects should never be used for negative purposes. [This is an opinion of the book’s original author, and not one that is shared by the poster.]

Symbolic

In this system different symbols, rather than objects, are used to represent various ideas, people or goals. These symbols can be personal to you, or such things as Tarot cards, runes, sigils, or numerology. You will often use symbolic magic in your magical workings and will soon develop your own preferred symbols.

Talismans, Amulets and Charms

These devices use all the other forms of magic in their formation, but principally representational and symbolic magic. They are ‘charged’ (given power) magically and usually are worn or carried on the person for protection or good luck. Many are worn around the neck, perhaps as jewelry, or carried in a pouch and incorporate crystals, herbs or other magical objects. There are many types of each of these objects and you will gradually learn to differentiate between them.

Source:
[“The Ultimate Book of Spells” by Pamela J. Ball]

anonymous asked:

Okay so when your building and your story relies on a religion, how do you go about building the basis for that belief system? How to build a belief system?

Hi there!

Building an interesting religion from the ground up can be difficult. It can really help to look at the whole thing from…exactly that. The ground up.

Consider the religion’s cosmology. How did things start? How important is that story to your world and your characters?

Pick out a top three-five stories that really resonate within the world. Which ones is it just a given that someone on the street would know? Outline them or write them out. So, if you’re doing this exercise for Christianity, you might say, “Noah’s Ark, David and Goliath, Daniel and the Lion’s Den, Jonah and the Big Fish.” Having a few popular stories will add depth, but it doesn’t have to explicitly explain everything about the world, or even the religion.

Think about symbols or objects that hold value to the people. What do they represent? How ubiquitous are they?

Give your world variety when it comes to philosophy, application, and opinion. Not all adherents will agree on everything, and sometimes they will so vastly disagree that their religion will look like two, even if it’s rooted in the same place (Catholicism vs. Protestantism). Having everyone believe the same thing is not only boring, it’s unrealistic. 

The basic rules of this religion should appeal to your characters (and likely your reader’s) sense of rightness and goodness. Even if the modern version of this religion has altered, its roots should be founded in good. That can be twisted through unwritten laws, control, misinterpretation, and all that, but letting us see at least a hint of what was meant to be will give the system more nuance and believably than anything strictly evil or weak.

Consider the god(s), their mortality, how they appeal to the people, how their ruling system works, how involved they are, and how revered they are by the people. 

Sometimes, if you have a religion of your own, it can be difficult to think outside of that box. You alter something you see as normal to make something new, when you’re actually just making it more like something else that already exists. So if you need a little extra inspiration, read up on old religions, modern religions, and think about how you can deviate in a way that feels fresh. 

(I might maybe do a brainstorming series posts on religions and beliefs..? Any interest??)

Happy writing!

****Edited to add that the Brainstorming Series post is now live. Check it out HERE.
Common Literary Devices

Reading through A Tale of Two Cities made me want to revisit some AP English notes, so here you go:

  • Allusion: an indirect reference to an existing work
  • Apostrophe: speaking to an inanimate object (ex. Hamlet to the skull)
  • Hyperbole: exaggeration
  • Irony: in simple terms, something that happens that wasn’t expected (ex. a firetruck catching on fire)
  • Juxtaposition: placing two contrasting things or ideas close to each other
  • Litotes: understatement used for emphasis, usually involving a double negative (ex. “Not unkind”, meaning the positive “kind”, but in a lesser way than simply saying “kind”)
  • Metaphor: an illustrative comparison, usually involving the words “is”, “am”, “are”, “was”, or “were”
  • Onomatopoeia: words that read how they sound (ex. sizzle, slosh, cuckoo)
  • Personification: giving human characteristics to an animal, object, or intangible concept (ex. Mother Nature, Father Time)
  • Simile: a comparison involving “like” or “as”
  • Symbolism: using objects or animals to represent ideas or qualities (ex. dove as purity, innocence, and/or hope)

Rhetorical/Persuasive Strategies

  • Ethos: establishing credibility/authority (ex. “I’m an expert.”)
  • Pathos: establishing emotional connection (ex. “Save the cute animals!”)
  • Logos: logical reasoning (if “p”, then “q”); deductive reasoning (general to specific; think Sherlock Holmes); inductive reasoning (specific to general; think scientific method, start with hypothesis, find info to support it)

Syntactical Devices, deal with sentence structure

  • Alliteration: a sequence of words that begin with the same letter, usually a consonant (ex. “the snake slithered silently”)
  • Anaphora: sentences or clauses that begin with the same word (ex. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…”)
  • Asyndeton: a lengthy sentence with successive words/clauses not connected by conjunctions (ex. “she packed shirts, pants, socks, her trusty alarm clock; with these, she was fully prepared for her journey.”)
  • Repetition: self-explanatory
  • Parallelism: sentences with the same structure (ex. “girls danced in yellow dresses; men stood with stoic stares” Structure: noun, verb, prepositional phrase)
  • Polysyndeton: a series of clauses connected in a single sentence by conjunctions (ex. “I am a certified doctor and nurse and psychiatrist and neurologist and a murderer of assholes.”)

Roman Bronze Hand of Sabazios, 3rd Century AD

Bronze hands characterized by three raised fingers (thumb, index and middle finger) were offered to the Phrygian deity Sabazios, whose cult developed in Rome during the Empire. They often display a multitude of attributes (a bust of Mercury, a pine cone, a vase, a serpent, a lizard, etc. but the symbolism of these objects is not well known. Hands such as these were designed to stand in sanctuaries or were attached to poles for processional use.

Claim (Bucky Barnes x Reader)

Hey guys! So I’ve been on a Bucky itch for a few days and thanks to @emilyevanston​ doing a nifty little Cards Against Humanity writing challenge, I got to quell that itch. Thanks for that! Anywho, I hope you all enjoy it because I had fun writing it!

Summary: When Bucky Barnes sees a child (a la Clint Barton) lick a popsicle, the long journey of claiming objects with his saliva begins. Soon, you find that it might not be such a bad thing. (PROMPT: Licking your things to claim them as your own.)

Warnings: None (unless you count slobber). (Let me know if you need anything else tagged. I want you to be comfortable when you read my work.)

Keep reading

How The Perceiving Pair Experiences Memories

SUBMITTED by lover-of-grey-matters

In general, first, we experience the ‘direct’ information through the sensory function. Next, the intuitive function builds around it and provides as with larger interpretations/trend that is not directly traced to the information, but is ‘indirectly’ gleaned from it.

Put another way, the sensory function inputs data in an excel file. The intuitive function builds as graph from it that gives you the big picture the raw datum don’t.

The sensors are more aware of the 'data input’ process and the 'graph-building’ happens somewhat subconsciously. The intuitives are more conscious of the graphs but cannot always trace them back to the data.

(Important: hence, intuitives are not magical prophetic beings, their predictions are always grounded in sensory information and are not conjured from thin air, they are just less aware of it themselves.)

Si/Ne:

Memories are first 'sensed’ through the personalized, impressionistic view that the individual already possess. The memory itself is very personal and subjective (how I perceived what happened). The past is used as a reference point, and there is a consistent 'compare and contrast’ going on with the present.

Next, Ne attaches external, objective, all-encompassing symbolism to it. Si creates a sensory database, a library of memories that is categorized to the librarian’s taste. Ne looks at the database, and uses it as a framework to spin a web around it based on the 'order’. Another way, Si memories are 'enlarged’ through Ne. Thus, by personalized memories expanded and given symbols a personal mythology is born.

Si/Ne, to me, is like a tainted convex glasses: first, your impressions are colored to the tonality of your world and then they are magnified.

For higher Si users, they will be less aware of the objective symbolism and default to the 'database’. The 'graphs’ will get back to them, either to steer them in the direction that they forgot when focusing on the data (best case), or to bite them back in the ass as a forecast they refused to accept because 'the data input never looked like the trend forecast will be this so I will ignore it.’ The lower Ne serves as a 'what could change’ to Si’ stability, and the person can ignore it, use it, or freak out by it.

Example: Eddard Stark from A Song of Ice and Fire. Had a personal myth of Starks and the winter, had a sense of belonging in the order that helped navigating the North through struggles against geography. Clung to the memories of Robert’s Rebellion and Lyanna, not objectively as 'what happened’, but subjectively of 'what happened to me.' But when things go awry from the safe future he had planned for his children in the North and he had to go South, he freaks out. At King’s Landing, outside his 'library’s coziness, he starts being more oblivious to the obvious 'patters’ in the external world (Littlefinger’s behavior, Sansa’s attachment to Cersei, etc.) 

For higher Ne users, they will keep exploring how many charts and graphs can it possibly output and spring from one potential trend to another. But they will forget the data. It will get back to them as memories they don’t always reference but they knew it was somewhere there, shaping everything, as details they have a love-hate relation with and as orders they keep forgetting by should remember.

Example: Tyrion Lannister from A Song of Ice and Fire. Hopping from one potential to another, improvising, making the most of it. But beneath the 'free spirit’ there is someone who cannot get over 'where do the whores go’ and is haunted by his past. Unlike Eddard, the ghosts of his past are not always there for him to see, he can pretend they don’t exist. But after his trauma, there was no escaping from it, and he spirals into depression of 'shit happened, shit happens, shit will happen.’

Se/Ni:

Memories are objective, factual. However, they are something of raw. Se uptakes data indiscriminately and in volumes. There’s no referencing, just a continual flow of information.

Then Ni boils the data down to  the core. Se’s raw information is refined into 'patterns’. In the process, personal symbolism is attached to it, giving the initially objective memories stamps of personalization.

Thus, by objective memories stripped to  a core, a personalized ideology is born.

Se/Ni is to me something like a high-throughput filter, objectively takes up everything to filter out a few compounds.

Higher Se users will be less invested in the filtered core and more interested in putting as much through the filter as possible. The Ni visualization will hit them sporadically, in form of an insight they should not ignore, or an inevitability they should not forget about by dabbling in the moment.

Example: Harry Potter. His intuitions are mostly correct, but they are not his default. His default is the world around him. But he had to face the inevitable from time to time, though it was never his jam, and it’s always stressful for him. (also, his memories are not impressionistic but factual: Dursleys are like this, this happened in the graveyard, etc.)

Higher Ni users will forget about the sensory data that contributed to their insight from time to time. They will forget that the filtering happened only after the sensory input, without which the projections can be wrong.

Example: Sayuri from the Memoirs of a Geisha. Also remembers objectively, but tends to remember them through her personal symbolic interpretation. (Hatsumomo looks to me like a cat looks at a prey, Pumpkin is no more interesting to her than a leaf strewn in the yard, the water is going upward so may be I can too?) And this symbolism is second nature to her, not just part of her storytelling style, but also part of her worldview.

On the prima materia of witchcraft

For me, witchcraft is animistic, as well as mystical. There is a reason there is no dichotomy for me. As an animist, I understand the world to be inspirited, animated with the movement of sensuous intelligences at every scale of being.

In the cosmology posited in many traditional witchcrafts (particularly the lore of the major initiatory Houses), the shape of reality is a 3-ness: the Underworld, the Middleworld, and the Supernalworld. Because this shape exists at every scale, it is reflected in the notion of every entity (parts of the Whole) having 3 souls or selves, native to each condition.

The Fetch/Free Soul is native to the Underworld, the Breath Soul/Spirit is native to the Middleworld, and the Daimonic Self to the Supernal. It’s interesting to note that many ancient peoples understood the Celestial realm as a special place within the Underworld, the Stars within the Earth. I myself have seen the Door at the Bottom of the Wyrding Well (the Deepest Depths of the Great Below) that opens into the Great Above, a black sky of Utter Night and the Silvery Stars twinkling therein.

Typically I refer to the Underworld and the Supernal as the Vertical-Axis, the Innerworld from whence everything comes and returns to. All of reality is movement to and fro. I understand this place in the “Middle” as the Horizontal-Perceptual World, where time appears to move in one direction just as the Sun crosses the sky East to West, from horizon to horizon. Here we spring up from the inside of a body, are birthed and grow and perceive, unfolding our lives before sinking back into return/decay at Death. The Whole is the Crossroads, the place where the Vertical-Axis and the Horizontal-Perceptual meet, and center defines circumference.

I believe that the Fetch visits the Vertical-Axis nightly, in dream. That the dream condition and the death condition are the same. When we die our Fetch will go to be with our Ancestors from whence we extend, while our Breath Soul (for most), our waking consciousness and colorful weave of identities, will depersonalize and return to the Wind of the World, the thunder/perfect mind of the Master. Our Daimon shall guide the Fetch home. Only those most favored by the Elphen Queen will escape this Fate.

But let’s return to the topic at hand. In dream we have a body, though it easily shapeshifts, and is also primarily ancestral. I also know with certainty that folks who are called witches can enter a “Twilyte” state, the Witching Trance, and walk the blade-edge bridge between waking and sleeping in a phenomenon called the Witches’ Flight or Transvection.

This state allows the practitioner to unite the worlds and stand at the meeting place of the axes, in lore called “riding the Hedge,” where they can affect phenomena in the Horizontal-Perceptual world while effectively “lucid dreaming.” Truly this is a state beyond waking awareness, sleep, or even ordinary dream as Chumbley posits. But there is certainly a body that engages these things.

For me, there is no such thing as the immaterial, only the living world around us intertwined with the subtlties of the pre-/post-mortem states of consciousness. The cosmos is predatious, eating and birthing itself like Ceridwen eats and births Taliesin. We can experience a body in each of the worlds, and realize there is no spirit without body, there is no substance that is not holy, animate.

It’s why, for instance, witches use the senses and the body to engage in sorcery; why materia magica *is* spiritual substance for us. Things are what they do. Everything is a process happening. Every herb and root, water, salt, mommet, tool or implement–they are alive with magic, with life-force, with sorcerous power.

These are beings we weave our spells with, not merely inanimate objects whose symbolism/aesthetic fascinates the mind. Witches use song, dance, sex, fasting, feasting, transgression and ecstasy, the fluids of the body, the parts of animals (other bodies), movements called “shamanic passes,” symbols drawn or carved–these all form the “body” of spiritual forces and beings as we encourage them to act in the Horizontal-Perceptual World through intention, desire, will, and relationship (including pacts and bonds). They become a part of us, as the truth of who we are is much more than discrete individuals but morphic fields all blending together into the Wholeness.

We are a train of beings, a chain of ancestors reaching back, and spirit allies reaching forward, all forming the Tree of Life with our rooting and branching. The three selves, our ancestors, familiars, fate-followers, allies–this all forms the greater family that we embody in the here-and-now. Try not to escape into idealism or the fantasy of any other existence apart from the hear-and-now, the world of the senses. It is a trap of delusion and will get you lost in folly and inaction, and split your soul into pieces.

Focus Implements

Focus implements are objects corresponding to a area of magic which can be used to help channel and focus energy when performing rituals and spells. This is quite beneficial for beginning practitioners and for advanced magic-users when they are tired or are having trouble concentrating. The implements must be attuned to the practitioners energy which requires you to keep them near you or on your person for a period of time. This length of this period differs for each individual. Then when you require the item you think of what you want to accomplish while holding the item. As you get more and more advanced in your practice you can learn how to wield it through your aura. Thinking of the goal for long enough activates the implement and reduces the amount of concentration needed to maintain the working.

Think of this process as learning how to use a gun. First you must learn how to use it. This is the attuning period during which you become familiar with the implement. Then focusing on your goal is the same as loading and aiming the weapon. The more you familiarize yourself with it the easier it becomes for you to use. Eventually the implement becomes an extension of yourself, just like a sniper and his rifle.

These are examples of implements and the areas of magic which they can be used for:

Abjuration aka Protection (Includes banishing, warding, shielding, etc)- Amulets, bells, religious symbols, bracers, brooches, coats, cloaks, etc.

Conjuration aka Summoning (spirits, invocation, etc.)- Bowls, compasses, figurines, lanterns, mirrors, etc.

Divination- Glasses, card decks, cellphones, mp3 players, etc.

Enchantment aka Bewitchment (Includes charming, making magical items, befuddlement, manipulation, etc.)- Censor, musical device or instrument, necklaces, etc.

Evocation aka Energy Manipulation- Gloves, wands, staves, etc.

Illusions- Crystals, prisms, lenses, etc.

Necromancy- Coins, skulls, bones, etc.

Transmutation- Belts, vials, hats, etc.

There are others of course, just think of the objects used in mythology and their powers. Alternatively think of objects and their symbolic associations. I usually carry a couple items on me in case I find myself in a pinch. Thanks for reading!

elliotenjolras  asked:

I'll be obvious and say Les Mis?

hahaha I got three of these and they’re all Les Mis Which Is Fair XD

  • Want as my mentor:

oooh hard call. Uh. My mentor for what, I guess is the question. Hmm. I’d like  to get through that ridiculous 19C Certain Kind of Radical Sexism™ that Enjolras has and get him to teach me his superhuman Social Organizational skills, because that is obviously useful, but failing that I’d take Valjean for a gardening mentor, I guess? 

  • Bake cupcakes for:

…Eponine. And Gavroche and Azelma! I would bring over the decoration stuff and we could have a cupcake party. 

  • Lend my books to:

…I have heard horror stories about Lending Books in Canon Era France 
Mabeuf, though. Mabeuf would never hurt a book. 

  • Put thumbtacks on the chair thereof:

Gillenormand’s got about that level of Spite Vengeance comin’ >_> 

  • Have a crush on:

Victor Hugo and also actual historical Frenetic Romanticism didn’t have to call me out like this, I feel so Attacked 

  • Pack up and leave if they moved next door:

I mean the Thenardiers are the VERY OBVIOUS CHOICE 

  • Follow as captain of a ship:

Enjolras is the obvious obvious choice and also the one I’m going with, sign me up for the good ship Competence and Reasonable Delegation of Responsibility 

  • Pick as my partner in a buddy movie: 

Legle, definitely. His MacGyvering skills are clearly underrated, and I need someone who won’t freak out  because the Freaking Out is MY job, thankew.

  • Marry:

..I’m currently old enough that a significant number of the characters just make me go CHILD and the others are mostly traumatized well beyond being reasonably ready to accept the responsibilities of a marriage

uh

probably Joly, he’s a good dude and we can have a good old-fashioned Friendly Marriage For Show and have a Mutual Understanding about extralegal partners. And since it’s only a Technically Marriage, I wouldn’t have to worry too much about him being a ….Younger Actual Adult than I am interested in >_> 

plus you know he’s never going to tell you that you’re Not Actually Ill and I really need that guarantee from anyone I’m even gonna pretend to live with if I’m gonna avoid turning into a supervillain

  • Want as my boss:

Well NOT VALJEAN  sorry dude your personnel policies are shit terrible

Y’know what, probably Mabeuf?  He seems really undemanding. It’s possible he would never even realize he was supposed to be the boss, which works for me. I’d just hang out and read his books and ask him about his books and sometimes help in the garden and we could be Very Happy about it all. 

  • Sue:

GET WRECKED and pay extensive back child support THOLOMYES

  • Want as my best friend:

…can I have nine answers? 
(uh, okay, Prouvaire. **shrugs** I know where I am with Fandom Nerds.) 

A flag is not something you design. A flag is something that’s torn from the soul of the people. It belongs to everyone.
—  Gilbert Baker, creator of the Rainbow Flag, in conversation today with curatorial assistant Michelle Millar Fisher

Watch the discussion today via Periscope. 

                                      FILIPINO MYTHOLOGY WEEK

Join mythos-theos in celebrating the Philippines and all of its mythologies from May 31st to June 6th! Filipino mythology is grossly underrated and misunderstood by the general populace, and we aim to change that one edit at a time. Tag #mythos-theos in your edits, artwork or writing and we’ll gladly reblog. The prompts below are general on purpose, as the Philippines are home to many different ethnicities and therefore several different mythologies.

Day 1: Gods
Day 2: Goddesses
Day 3: Mythical Creatures
Day 4: Folk Tales/Myths
Day 5: Mythical Locations/Places
Day 6: Demigods/Heroes
Day 7: Mythical Objects/Symbols

Resources: @diwatahan @pinoy-culture @silahis all have masterposts, links and information on the different cultures and myths of the Philippines.

youtube

I made a video explaining the differences between symbols, groups, and drawing objects in Adobe Flash/Animate. Some of this won’t be new to a lot of people who use Flanimate, but I wanted to be thorough. Still, hopefully someone will find this helpful.

Pega belongs to @missbutlerart