tablet publishing

Kitten Louis
doush.k - 2017 

For @mindralfairheart who asked me a loooooong time ago to draw Louis with kitten ears.

saferincages  asked:

I have POTS (among other things, thanks @ comorbidity), and one of my go-to remedies when I was feeling especially ill/faint/dizzy were a specific brand of electrolyte tablets, which had a good balance of vitamins/electrolytes, and no sugar. much to my dismay, I just discovered that the company quit manufacturing them? I think I first saw them mentioned here, and they helped me so much, and now I don't know what I'll do to replace them. I was wondering if anyone here had suggestions? thank you!

Neither of us use them, but hopefully our followers will have some suggestions. If anyone does, please reblog with ideas or leave a reply.  If you want to submit something anonymously, you can send it in and we will post it without your name!

Admin J

(Edited to add) “I should have clarified that Nunn tablets were what I was referring to - they’ve been essential to me for the past few years, but they just totally changed their formulas. they’re no longer sugar free, and they’ve split them into two kinds (one called “vitamin,” one called “hydration”), and neither have the same amounts of vitamins and electrolytes (they’re a fraction of the percentages, in fact) that the old formulas had. I’m really disappointed bc they were the only thing that reliably helped.

I’ve been doing some internet searching (so many POTS-related places mention Nuun :\) and found something called “Ultima Replenisher” that seems to have a good balance of electrolytes with no sugar, so it might be a possible replacement, but I don’t know if anyone’s tried it?”

8

characters series 1/?: Ezra Bridger

Before I met Kanan, I only ever thought of myself, but Kanan and the rest, they don’t think like that. They help people, they give everything away, and I see it. I see how it makes people feel. They feel alive, like I do now.

October 10, 2017

This week:

- someone was stabbed over meme sauce

- Tablet, a Jewish magazine, published a blatantly antisemitic article

- I found a smut fic about Pennywise the clown that included the phrase “melodious slapping”

This <I>has</I> to be the alternate timeline in a time travel movie. There’s nothing else it can be. Someone please fix it soon.

I owed the Satan and Me livestream chat a picture of Satan working at McDonalds. I’m still not completely sure how that came about, but here it is? Haha, it was supposed to be the older version, but Adult Satan wouldn’t cooperate, so here’s Young Satan instead. Please forgive my sucky handwriting and lack of digital coloring experience;;

Also, if you’re wondering:

External image

((note that the Adult Satan on the side is the art of the original comic!))

Levi’s Key to the Bembine Table


From Levi’s History of Magic.

“The Isiac Tablet, writes Levi, is a Key to the Ancient Book of Thoth, which has survived to some extent the lapse of centuries and is pictured to us in the still comparatively ancient set of Tarocchi Cards. To him the Book of Thoth was a résumé of the esoteric learning of the Egyptians, after the decadence of their civilization, this lore became crystallized in a hieroglyphic form as the Tarot; this Tarot having become partially or entirely forgotten or misunderstood, its pictured symbols fell into the hands of the sham diviners, and of the providers of the public amusement by games of Cards. The modem Tarot, or Tarocchi pack of cards consists of 78 cards, of which 22 form a special group of trumps, of pictorial design: the remaining 56 are composed of four suits of 10 numerals and four court cards, King, Queen, Knight, and Knave or Valet; the suits are Swords (Militaryism), Cups (Sacerdocy), Clubs or Wands (Agriculture), and Shekels or Coins (Commerce), answering respectively to our Spades, Hearts, Clubs and Diamonds. Our purpose is with the 22 trumps, these form the special characteristic of the Pack and are the lineal descendants of the Hieroglyphics of the Tarot. These 22 respond to the letters of the Hebrew and other sacred alphabets, which fall naturally into three classes of a Trio of Mothers, a Heptad of doubles, and a duodecad of simple letters. They are also considered as a triad of Heptads and one apart, a system of Initiation and an Uninitiate.” (See Westcott’s The Isiac Tablet.)

“The Central Region he ascribes to the Solar powers and the Planetary. In the middle we see above, the Sun, marked Ops, and below it is a Solomon’s Seal, above a cross; a double triangle Hexapla, one light and one dark triangle superposed, the whole forming a sort of complex symbol of Venus. To the Ibimorphos he gives the three dark planets, Venus, Mercury, and Mars placed around a dark triangle erect, denoting Fire. To the Nephthæan triad he gives three light planets, Saturn, Luna, and Jupiter, around a light inverted triangle which denotes Water. There is a necessary connection between water, female power, passive principle, Binah, and Sephirotic Mother, and Bride. (See the Kabbalah by Mathers.) Note the ancient signs for the planets were all composed of a Cross, Solar Disc and Crescent: Venus is a cross below a Sun disc, Mercury, a disc With a crescent above and cross below, Saturn is a Cross whose lowest point touches the apex of the crescent; Jupiter is a Crescent whose lowest point touches the left hand end of a cross: all these are deep mysteries. Note that Levi in his original plate transposed Serapis and Hecate, but not the Apis noir and Apis blanc, perhaps because of the head of Bes being associated by him with Hecate. Note that having referred the 12 simple letters to the lower, the 7 double must correspond to the central region of the planets, and then the great triad A.M.S. the mother letters representing Air, Water, and Fire remain to be pictured, around S the Central Iynx, or Yod, by the Ophionian Triad the two Serpents and the Leonine Sphynx. Levi’s word OPS in the centre is the Latin Ops, Terra, genius of the Earth; and the Greek Ops, Rhea, or Kubele (Cybele) often drawn as a goddess seated in a chariot drawn by lions; she is crowned with turrets, and holds a Key.” (See The Isiac Tablet.)

The essay published in French by Alexandre Lenoir in 1809, while curious and original, contains little real information on the Tablet, which the author seeks to prove was an Egyptian calendar or astrological chart. As both Montfaucon and Lenoir–in fact all writers on the subject since 1651–either have based their work upon that of Kircher or have been influenced considerably by him, a careful translation has been made of the latter’s original article (eighty pages of seventeenth century Latin). The double-page plate at the beginning of this chapter is a faithful reproduction made by Kircher from the engraving in the Museum of Hieroglyphics. The small letters and numbers used to designate the figures were added by him to clarify his commentary and will be used for the same purpose in this work.

Like nearly all religious and philosophical antiquities, the Bembine Table of Isis has been the subject of much controversy. In a footnote, A. E. Waite–unable to differentiate between the true and the purported nature or origin of the Tablet–echoes the sentiments of J.G. Wilkinson, another eminent exotericus: “The original [Table] is exceedingly late and is roughly termed a forgery.” On the other hand, Eduard Winkelmann, a man of profound learning, defends the genuineness and antiquity of the Tablet. A sincere consideration of the Mensa Isiaca discloses one fact of paramount importance: that although whoever fashioned the Table was not necessarily an Egyptian, he was an initiate of the highest order, conversant with the most arcane tenets of Hermetic esotericism.

SYMBOLISM OF THE BEMBINE TABLE

The following necessarily brief elucidation of the Bembine Table is based upon a digest of the writings of Kircher supplemented by other information gleaned by the present author from the mystical writings of the Chaldeans, Hebrews, Egyptians, and Greeks. The temples of the Egyptians were so designed that the arrangement of chambers, decorations, and utensils was all of symbolic significance, as shown by the hieroglyphics that covered them. Beside the altar, which usually was in the center of each room, was the cistern of Nile water which flowed in and out through unseen pipes. Here also were images of the gods in concatenated series, accompanied by magical inscriptions. In these temples, by use of symbols and hieroglyphics, neophytes were instructed in the secrets of the sacerdotal caste.

The Tablet of Isis was originally a table or altar, and its emblems were part of the mysteries explained by priests. Tables were dedicated to the various gods and goddesses; in this case Isis was so honored. The substances from which the tables were made differed according to the relative dignities of the deities. The tables consecrated to Jupiter and Apollo were of gold; those to Diana, Venus, and Juno were of silver; those to the other superior gods, of marble; those to the lesser divinities, of wood. Tables were also made of metals corresponding to the planets governed by the various celestials. As food for the body is spread on a banquet table, so on these sacred altars were spread the symbols which, when understood, feed the invisible nature of man.

In his introduction to the Table, Kircher summarizes its symbolism thus: “It teaches, in the first place, the whole constitution of the threefold world–archetypal, intellectual, and sensible. The Supreme Divinity is shown moving from the center to the circumference of a universe made up of both sensible and inanimate things, all of which are animated and agitated by the one supreme power which they call the Father Mind and represented by a threefold symbol. Here also are shown three triads from the Supreme One, each manifesting one attribute of the first Trimurti. These triads are called the Foundation, or the base of all things. In the Table is also set forth the arrangement and distribution of those divine creatures that aid the Father Mind in the control of the universe. Here [in the upper panel] are to be seen the Governors of the worlds, each with its fiery, ethereal, and material insignia. Here also [in the lower panel] are the Fathers of Fountains, whose duty it is to care for and preserve the principles of all things and sustain the inviolable laws of Nature. Here are the gods of the spheres and also those who wander from place to place, laboring with all substances and forms (Zonia and Azonia), grouped together as figures of both sexes, with their faces turned to their superior deity.”

The Mensa Isiaca, which is divided horizontally into three chambers or panels, may represent the ground plan of the chambers in which the Isiac Mysteries were given. The center panel is divided into seven parts or lesser rooms, and the lower has two gates, one at each end. The entire Table contains forty-five figures of first importance and a number of lesser symbols. The forty-five main figures are grouped into fifteen triads, of which four are in the upper panel, seven in the central, and four in the lower. According to both Kircher and Levi, the triads are divided in the following manner:

In the upper section
1. P, S, V–Mendesian Triad.
2. X, Z, A–Ammonian Triad.
3. B, C, D–Momphtæan Triad.
4. F, G, H-Omphtæan Triad.

In the center section
1. G, I, K–Isiac Triad.
2. L, M, N–Hecatine Triad.
3. O, Q, R–Ibimorphous Triad.
4. V, S, W–Ophionic Triad.
5. X, Y, Z–Nephtæan Triad.
6. ζ, η, θ–Serapæan Triad.
7. γ, δ (not shown), ε–Osirian Triad.

In the lower section
1. λ, Μ, Ν–Horæan Triad.
2. ξ, Ο, Σ–Pandochæan Triad.
3. Τ, Φ, Χ–Thaustic Triad.
4. Ψ, F, Η–Æluristic Triad.
Of these fifteen triads Kircher writes: “The figures differ from each other in eight highly important respects, i. e., according to form, position, gesture, act, raiment, headdress, staff, and, lastly, according to the hieroglyphics placed around them, whether these be flowers, shrubs, small letters or animals.” These eight symbolic methods of portraying the secret powers of the figures are subtle reminders of the eight spiritual senses of cognition by means of which the Real Self in man may be comprehended. To express this spiritual truth the Buddhists used the wheel with eight spokes and raised their consciousness by means of the noble eightfold path. The ornamented border enclosing the three main panels of the Table contains many symbols consisting of birds, animals, reptiles, human beings, and composite forms. According to one reading of the Table, this border represents the four elements; the creatures are elemental beings. According to another interpretation, the border represents the archetypal spheres, and in its frieze of composite figures are the patterns of those forms which in various combinations will subsequently manifest themselves in the material world. The four flowers at the corners of the Table are those which, because their blossoms always face the sun and follow its course across the sky, are sacred emblems of that finer part of man’s nature which delights in facing its Creator.

According to the secret doctrine of the Chaldeans, the universe is divided into four states of being (planes or spheres): archetypal, intellectual, sidereal, and elemental. Each of these reveals the others; the superior controlling the inferior, and the inferior receiving influence from the superior. The archetypal plane was considered synonymous with the intellect of the Triune Divinity. Within this divine, incorporeal, and eternal sphere are included all the lower manifestations of life-all that is, has been, or ever shall be. Within the Kosmic Intellect all things spiritual or material exist as archetypes, or divine thought-forms, which is shown in the Table by a chain of secret similes.

In the middle region of the Table appears the all-form-containing personified Spiritual Essence–the source and substance of all things. From this proceed the lower worlds as nine emanations in groups of three (the Ophionic, Ibimorphous, and Nephtæan Triads). Consider in this connection the analogy of the Qabbalistic Sephiroth, or the nine spheres issuing from Kether, the Crown. The twelve Governors of the Universe (the Mendesian, Ammonian, Momphtæan, and Omphtæan Triads)–vehicles for the distribution of the creative influences, and shown in the upper region of the Table-are directed in their activities by the Divine Mind patterns existing in the archetypal sphere, The archetypes are abstract patterns formulated in the Divine Mind and by them all the inferior activities are controlled.

In the lower region of the Table are the Father Fountains (the Horæan, Pandochæan, Thaustic, and Æluristic Triads), keepers of the great gates of the universe. These distribute to the lower worlds the influences descending from the Governors shown above.

In the theology of the Egyptians, goodness takes precedence and all things partake of its nature to a higher or lower degree. Goodness is sought by all. It is the Prime Cause of causes. Goodness is self-diffused and hence exists in all things, for nothing can produce that which it does not have in itself. The Table demonstrates that all is in God and God is in all; that all is in all and each is in each. In the intellectual world are invisible spiritual counterparts of the creatures which inhabit the elemental world. Therefore, the lowest exhibits the highest, the corporeal declares the intellectual, and the invisible i,. made manifest by its works. For this reason the Egyptians made images of substances existing in the inferior sensible world to serve as visible exemplars of superior and invisible powers. To the corruptible images they assigned the virtues of the incorruptible divinities, thus demonstrating arcanely that this world is but the shadow of God, the outward picture of the paradise within. All that is in the invisible archetypal sphere is revealed in the sensible corporeal world by the light of Nature.

The Archetypal and Creative Mind–first through its Paternal Foundation and afterwards through secondary Gods called Intelligences–poured our the whole infinity of its powers by continuous exchange from highest to lowest. In their phallic symbolism the Egyptians used the sperm to represent the spiritual spheres, because each contains all that comes forth from it. The Chaldeans and Egyptians also held that everything which is a result dwells in the cause of itself and turns to that cause as the lotus to the sun. Accordingly, the Supreme Intellect, through its Paternal Foundation, first created light–the angelic world. Out of that light were then created the invisible hierarchies of beings which some call the stars; and out of the stars the four elements and the sensible world were formed. Thus all are in all, after their respective kinds. All visible bodies or elements are in the invisible stars or spiritual elements, and the stars are likewise in those bodies; the stars are in the angels and the angels in the stars; the angels are in God and God is in all. Therefore, all are divinely in the Divine, angelically in the angels, and corporeally in the corporeal world, and vice versa. just as the seed is the tree folded up, so the world is God unfolded.

Proclus says: “Every property of divinity permeates all creation and gives itself to all inferior creatures.” One of the manifestations of the Supreme Mind is the power of reproduction according to species which it confers upon every creature of which it is the divine part. Thus souls, heavens, elements, animals, plants, and stones generate themselves each according to its pattern, but all are dependent upon the one fertilizing principle existing in the Supreme Mind. The fecundative power, though of itself a unit, manifests differently through the various substances, for in the mineral it contributes to material existence, in the plant it manifests as vitality, and in the animal as sensibility. It imparts motion to the heavenly bodies, thought to the souls of men, intellectuality to the angels, and superessentiality to God. Thus it is seen that all forms are of one substance and all life of one force, and these are co-existent in the nature of the Supreme One.

This doctrine was first expounded by Plato. His disciple, Aristotle, set it forth in these words:

“We say that this Sensible World is an image of another; therefore since this world is vivid or alive, how much more, then, that other must live. * * * Yonder, therefore, above the stellar virtues, stand other heavens to be attained, like the heavens of this world; beyond them, because they are of a higher kind, brighter and vaster; nor are they distant from each Other like this one, for they are incorporeal. Yonder, too, exists an earth, not of inanimate matter, but vivid with animal life and all natural terrestrial phenomena like this one, but of other kinds and perfections. There are plants, also, and gardens, and flowing water; there are aquatic animals but of nobler species. Yonder is air and life appropriate to it, all immortal. And although the life there is analogous to ours, yet it is nobler, seeing that it is intellectual, perpetual and unalterable. For if anyone should object and ask, How in the world above do the plants, etc. above mentioned find footing, we should answer that they do not have objective existence, for they were produced by the primal Author in an absolute condition and without exteriorization. They are, therefore, in the same case as intellect and soul; they suffer no defect such as waste and corruption, since the beings yonder are full of energy, strength and joy, as living in a life sublime and being the issue of one fount and of one quality, compounded of all like sweet savors, delicate perfumes, harmonious color and sound, and other perfections. Nor do they move violently about nor intermix nor corrupt each other, but each perfectly preserves its own essential character; and they are simple and do not multiply as corporeal beings do.”

In the midst of the Table is a great covered throne with a seated female figure representing Isis, but here called the Pantomorphic IYNX. G. R. S. Mead defines the IYNX as “a transmitting intelligence.” Others have declared it to be a symbol of Universal Being. Over the head of the goddess the throne is surmounted by a triple crown, and beneath her feet is the house of material substance. The threefold crown is here symbolic of the Triune Divinity, called by the Egyptians the Supreme Mind, and described in the Sepher ha Zohar as being “hidden and unrevealed.” According to the Hebrew system of Qabbalism, the Tree of the Sephiroth was divided into two parts, the upper invisible and the lower visible. The upper consisted of three parts and the lower of seven. The three uncognizable Sephiroth were called Kether, the Crown; Chochmah, Wisdom; and Binah, Understanding. These are too abstract to permit of comprehension, whereas the lower seven spheres that came forth from them were within the grasp of human consciousness. The central panel contains seven triads of figures. These represent the lower Sephiroth, all emanating from the concealed threefold crown over the throne.

Kircher writes:

“The throne denotes the diffusion of the triform Supreme Mind along the universal paths of the three worlds. Out of these three intangible spheres emerges the sensible universe, which Plutarch calls the ‘House of Horns’ and the Egyptians, the 'Great Gate of the Gods.’ The top of the throne is in the midst of diffused serpent-shaped flames, indicating that the Supreme Mind is filled with light and life, eternal and incorruptible, removed from all material contact. How the Supreme Mind communicated His fire to all creatures is clearly set forth in the symbolism of the Table. The Divine Fire is communicated c to lower spheres through the universal power of Nature personified by the World Virgin, Isis, here denominated the IYNX, or the polymorphous all-containing Universal Idea.” The word Idea is here used in its Platonic sense. “Plato believed that there are eternal forms of all possible things which exist without matter; and to these eternal and immaterial forms he gave the name of ideas. In the Platonic sense, ideas were the patterns according to which the Deity fashioned the phenomenal or ectypal world.” (Sir W. Hamilton.)

Kircher describes the 21 figures in the central panel thus: “Seven principal triads, corresponding to seven superior worlds, are shown in the central section of the Table. They all originate from the fiery, invisible archetype [the triple crown of the throne]. The first, the Ophionic or IYNX Triad, V S W, corresponds to the vital and fiery world and is the first intellectual world, called by the ancients the Aetherium. Zoroaster says of it: 'Oh, what rigorous rulers this world has!’ The second, or Ibimorphous Triad, O Q R, corresponds to the second intellectual, or ethereal, world, and is concerned with the principle of humidity. The third, or Nephtæan Triad, X Y Z, corresponds to the third intellectual and ethereal [world] and is concerned with fecundity. These are the three triads of the ethereal worlds, which correspond to the Father Foundation. Then follow the four triads of the sensible, or material, worlds, of which the first two correspond to the sidereal worlds, G I K and γ δ ε, namely, Osiris and Isis, Sun and Moon, indicated by two bulls. They are followed by two triads–the Hecatine, LM N, and the Serapæan, ζ η θ, corresponding to the sublunary and subterranean worlds. These complete the seven worlds of primary Genii ruling the natural universe. Psellus quotes Zoroaster: 'The Egyptians and the Chaldeans, taught that there were seven corporeal worlds (i. e., worlds ruled by the intellectual powers); the first is of pure fire; the second, third, and fourth, ethereal; the fifth, sixth, and seventh, material; the seventh being the one called terrestrial and hater of light, and is located under the Moon, comprising

randomcanbian  asked:

I was in awe (still am tbh) after finding out that you know ancient Sumerian, but I've read that transcriptions of the tablets were published in 1884, and that the 1st credited scientific work on Sumerian language was published in 1879. Altho yeah, suspicion about Sumerian being something older than Akkadian began around 1850, but Im assuming it was kept within the scientific community? tl;dr did you learn Sumerian by talking to Assyriologists, or did the vampire community have their own experts

I’m pretty much using Sumerian and Akkadian interchangeably, because nobody cares except the archaeologists. By 1871 there were all kinds of rumours about the account of the Chaldean Flood in certain circles– some fellow named Smith was just about to publish a translation. And a girl could get an advance copy, if you knew who to kill for it. True, it turned out to just be the eleventh tablet, but who knew that then?

2

 Grading: The Apps

While some publications — primarily magazines — choose to publish separate, specifically made editions to get their content out to tablets and to the tablet-reading audiences they may otherwise be missing, some organizations choose to do tablet-optimized RSS feed readers. Two such publications are the New York Times and the USA Today, both of which provide extensive digital products to their readers.

Content: A

The good:

Both of these apps funnel in all of the content published by the two news giants. They both feature expansive news, sports and lifestyle content, just as they would in print, so there’s no real lack of content.

The Times has much more in the way of world news. The USA Today has much more lighter, lifestyle-type content. You get what you pay for.

Both apps, unlike magazines and some news readers, do update constantly throughout the day. So, if a story breaks in the afternoon, it’s available in the app right away, too.

The meh:

Speaking of paying for. The Times app is wonderful. It looks clean. The content’s nice. But … there’s this subscription, thing. Any news content that’s deeper inside the app than the “front page” — except the Business Day section — is subscriber-only content. In business-model terms, it makes sense. In Jake-wants-to-read-sports-news terms, it’s frustrating. And something that doesn’t stand between me and reading the USA Today. So.

Design: B

There’s only so much you can do with a reader app like these, but there’s something unique about the two of them, and their apps mirror their print designs.

The good:

The Times app is so clean. It, like the USA Today app, has a front page. You open both apps, there’s a page with the day’s top stories. The Times takes a much more newspapery approach, including the first two paragraphs of each story before “jumping” to the full story — actually, the reader taps the story and is linked to the full text.

The second page of the “front” for the Times — the section is actually labeled as “Top news” — is a much grayer page, with a three-by-three grid of more stories, each with a tiny headline and just more than a paragraph to tease readers. No photos. Nothing interesting. This should probably be under “The meh." 

USA Today does something similar, but the only text that appears on the "front page” is the first sentence or a short synopsis of the story. Its page acts much more like a table of contents than anything else. Today’s front is deep, too, with something like 30 story refers running in a scrolling panel — compared to the Times’ 12-story “front.”

The meh:

The pages “inside” are remarkably unremarkable. They — in both apps — have a headline, a photo and the text. And … that’s it.

The Times app navigates with left-to-right swiping between pages and stories, the USA Today swipes left-to-right from story to story, but up-and-down if a story occupies more than one page. Occasionally there’s a video in place of a photo. Sometimes, theTimes runs multi-page stories with no art. To USA Today’s credit, there’s rarely a story without a photo. But… That’s it.

Functionality/Intuitiveness: C

OK, maybe a C is harsh, but there’s just not much functionality built into either of these apps. They’re by no means difficult to use. There’s just nothing to use.

The good:

Videos are clearly marked with a big button. Page navigation is clear in the USA Today with arrows along the bottom of the page, indicating whether the story swipes down or left-to-right. The Times uses colored dots along the bottom of the page to indicate which page of a story the reader’s on.

The Times has a share button and a text-enlargement button that are clearly marked and easy to use. USA Today does, too. They’ve each done the simple things well.

The meh:

There’s just nothing going on. You swipe page-to-page. You watch the three videos inside the app for the day. All of that is wonderful. But there aren’t any interactive graphics. There aren’t any photo galleries. There aren’t any features that make me thing “Wow, this is so much better than the print edition would be.”

That’s what they’re missing.