#Autodidactic Mire

[mianimasenpoeticus]

#Autodidactic Mire #poetry #Intsa original #poem #original poem #1introvertedsage #i.s.a. #lha #new poetry #mire #poetic #lesson #retribution #vitiation of power #presaged your tower #message #mianimasenpoeticus #new poem #original poetry #micro poem #short poem

[1introvertedsage]

Autodidactic Mire

Joining forces With dark horses Tell me, how your cards did fall. Blindly following suit To reasoning turned moot. Attempts to keep another small. Lessons to learn Retribution will burn. Witnessed the Eye of the All. Vitiation of Power. Presaged your tower. Out of the mire you must crawl.

~Introverted Sage~

'When you harm, or attempt to harm another, you harm yourself.'

#Autodidactic Mire #Intsa original #poetry #new #new poetry #original poetry #new poem #Mire #Autodidactic #LHA #1introvertedsage #friends #how many of us have them #reality #poetic

[kudosmyhero]

Teenage Mutant Ninja Turtles (IDW) Micro: Villains #5: Karai

Read Date: April 10, 2023 Cover Date: August 2013 ● Writer: Erik Burnham ● Art: Cory Smith ● Colors: Ian Herring ● Letterer: Shawn Lee ● Editor: Bobby Curnow ●

**HERE BE SPOILERS: Skip ahead to the fan art/podcast to avoid spoilers

Reactions As I Read: ● looks like only two of the five students we can easily see were able to "steel themselves against surprise." ● "What were you before you felt this way?" / "Younger." - oof, felt that one ● Karai is an autodidact. she is … really growing on me as a character

● harsh Leo is harsh ● 👏👏👏👏👏

Synopsis: The issue begins at the Foot Clan's genin training facility in Westchester County, New York. The head teacher Toshiro is leading a group in a training session, teaching them the importance of moving in unison. Karai appears and intentionally surprises the group, seeing which students are startled and which are not. She seeks council from Toshiro. Karai tells Toshiro she is unsure of what direction to proceed in; she struggles to accept her new place in the clan (under Leonardo, now a chūnin). She knows she cannot hope to challenge her grandfather Oroku Saki for control of the clan and win, nor can she leave the clan for without it she feels she is nothing.

She tells Toshiro how in her youth her father Oroku Yori told her stories of the Foot Clan's glory and told her to draw strength from the, but saw that it was apparent that he himself did not, having turned the clan into a legion of lawyers and accountants. On one occasion, she saw one of her father's advising subordinates, Nakamura, speak to him with disrespect, and how he brushed it off with the promise of monetary gain. Caught eavesdropping by her mother, she is sent to he library to occupy herself. It is then that she found the Ashi no Himitsu, the book containing all the history and secrets of the Foot Clan. She studied it in secret, learning everything she could. For years she lived a double life: the prim, proper upper class girl her mother wanted her to be by day, and the ninja her father never was by night. One night, Oroku Saki appeared before her in a dream. He compliments her form, good for one with no formal instruction. Saki admires that she does not fear him. Karai says she has nothing to fear from a dream. Saki slashes her across the hand and asks if one feels pain in a dream. She says he is a ghost then, but still shows no fear. She says she plans on bringing the Foot Clan out of the mire her father dragged it into. Saki tells her that they will do it together. He may be dead, but he tells her that she can bring him back to life.

Karai spent the next few years building the clan's resources, recruiting capable bodies to her cause and eliminating those who were responsible for dragging the clan down. Eventually, Karai hunted down Nakamura, the man who she'd witnessed disrespect her father, and killed him. Without him to aid in the running of the clan, her father eventually died of stress.

She laments to Toshiro that after rebuilding the Foot Clan and resurrecting its jōnin, he chose another as his second-in-command. If she has nothing to offer but her past accomplishments, she wonders, what use is she? At that point Leonardo arrives and derides her for coming to whine to an old man, for not having the strength to deal with things on her own. Leonardo says that he was sent to evaluate the effectiveness of the training facility, and he has deemed it nearly worthless. Karai tells him that Toshiro is an excellent teacher but he has not been given enough time to train the new recruits. Leonardo tells Karai that her opinion is worthless, and her only worth to him is in how fast she can do what he tells her to. Leonardo continues provoking her, taunting her with her poor ability to lead. Karai attacks him and Leonardo is pleased, eager to put her in her place. During their fight, Karai realizes that Leonardo's movements are slower, less sure. She knows she could finish him once and for all if she chose to. Karai feigns defeat and Leonardo leaves. Toshiro asks why Karai stayed her hand. She explains that if she had killed him, her grandfather would kill her for disobedience. She knows she must change Oroku Saki's mind about Leonardo first. She vows to have her revenge, and makes the decision to look to the future rather than the past.

Two days later, Karai has gathered potential recruits (two of whom are Bebop and Rocksteady) at Shorai Research & Development, one of the Foot Clan's facilities. She tells them they have all been chosen for their understanding that power is what makes one last in this world. She tells them that there is one final test before making the decision on who will be chosen for the procedure. They will fight until the last two standing.

(https://turtlepedia.fandom.com/wiki/Karai_(IDW_issue))

Fan Art: Leo and Karai by ice-mei

Accompanying Podcast: ● Shellheads - episode 46

#idw #idw comics #my idw read #tmnt #teenage mutant ninja turtles #comics #comic books #fan art #fanart #podcast recommendation #karai

[objecteiespai]

TALLER D'IL·LUSTRACIÓ CIENTÍFICA: EL MUR GEOLÒGIC AMB ISAAC CAMPS

DIBUIXEM LES CLAUS DE LA GEOLOGIA AMB ISAAC CAMPSDIVENDRES 6 I 27 DE MAIG DE 2022

Aquest taller es desenvolupa en un dels espais més singulars del Museu, el Mur geològic. Està format per set peces de roca que mostren alguns dels fenòmens que donen forma a la superfície del nostre planeta.

Gràcies a l'il·lustrador Isaac Camps aprendrem a "llegir" el que ens diuen les roques, observant-ne les formes i els colors, i, utilitzant retoladors, farem els dibuixos que acompanyen un estudi geològic.

A càrrec de:

Isaac Camps és un geòleg autònom dedicat a la socialització de la geologia i l'edició científica, camp en el qual du a terme tasques de direcció d'art. És un dibuixant autodidacte que ha impulsat www.GeoloSketchers.cat, trobades que consisteixen en la pràctica col·lectiva del dibuix in situ en espais on la geologia és un element rellevant i visualment atractiu.

Il·lustració: Cingles de Tavertet - 2019 - Isaac Camps

Manuel Romera és metge i il·lustrador. Llicenciat en Medicina i Cirurgia i especialista en Oftalmologia per l'Hospital Vall d'Hebron, es dedica a la neurooftalmologia i la cirurgia orbitària. És professor del màster d'Il·lustració Científica de la UPV/EHU.

Clara Cerviño és biòloga, il·lustradora científica i docent d'Il·lustraciència. Després de llicenciar-se en Biologia a la Universitat de Santiago de Compostel·la i cursar dos màsters a la Universitat de Barcelona, va arribar a Portugal. Allà va tenir l'oportunitat de fer el Curs de Formació en Il·lustració Científica de la Universitat d'Aveiro i combinar, així, les seves dues grans passions, la biologia i el dibuix.

20

#Instagram #Youtube

[trevorbarre]

‘Murder Most Foul’ by Bob Dylan. Part Two.

The front cover to ‘ Rough and Rowdy Ways’ (RRW) appears to feature the shot of a’ juke joint’, that most mythopoeic of American 50/60s venues, that sustained black music, and enjoyment of same, through those decades. In particular, these joints provided a link to pre-rock and roll, doowop, r n’b and other ‘race music’ that Bob Dylan would have consumed in his pre-fame days, both live and through the jukebox (which one punter can be seen sampling on the album cover). JFK, on the rear cover, offers a ‘white’ alternative narrative, and Dylan explores both.

Kitty Empire, in her largely positive review of the new album in The Observer of 21/06/20, herself a post-baby boomer (born in 1970) tried this comment on for size:

“Is it a last baby boomer hurrah?”

As I suggested in the previous blog, maybe she’s right. No-one else from this generation seems able to step up to this particular plate, but the ‘generation-identity’ industry is now up and running, and beyond parody - the war babies, the boomers, the millennials, Gens X, Y and Zee. As the Duke said: “there simply are two types of music, good and the other kind”. Obfuscating this by a certain ‘ageism’ (which some journalists are trying to promote, through inter-generational ‘splitting’, one tactic of which is to encourage mutual projective processes, involving envy and resentment) do not reflect well on Empire - if one were to continue of the theme of age, one might well ask why a 50-year old is still reviewing pop music? As a millennial, what right does she have to be commenting on south Korean K-Pop, the music of an entirely different generation? No fool like an old fool, as they say.

 Luckily, I am above such petty passive-aggressive stuff. Ideally.

‘Kitty’ Empire, however, won’t let it lie:

“Were it not for the presence of bluesmen, jazz men and rock and rollers, Dylan, a one-time quaker of the social order, would emerge as a rather square and fusty autodidact. He remains mired in the groups of the 20th century and longer ago, an unexamined position of high boomerism”.

This is attention-seeking journalism, and taken from a position of asinine condescension. For a start, Dylan was a ‘war baby’, born in 1941 (so-called ‘baby boomers’ spanned 1944-1964), so please get your socio-cultural stereotypes accurate, Ms. Empire. Bob Dylan is 80 years old next year, so some degree of ‘fustian’ is to be expected. But ‘fustian’ also implies a degree of ‘pretentious speech and writing’, according to Wiki, so I’d like to call out Kitty Empire’s use of ‘square’, a term which was becoming outdated even by 1970, the year of Kitty’s birth, thus demonstrating her own fustiness. So come on, expecting a 79-year old to be writing songs that demonstrate 2020 gender-identity awareness is a daft and condescending as an journo approaching a review of the world’s most famous songwriter without her own ‘agender’.

‘Twas ever thus. ‘Desolation Row’, for example, mixed modern rock/pop/blues references with more arcane ones, all “...fighting in the captain’s tower”. So nothing to see here. Empire’s comments about the perceived lack of female referencing is woke genderising personified. Dylan has always referenced women, from Hattie Carroll onward, and his love songs are world famous, for good reason. There are few songs as complex and resonant of lost love as “Tangled Up In Blue”, to take just one small example. The BTL comments to Empire’s review are most interesting, but I’ll finish with Alexis Petridis, another critic who is also hovering around the 50th birthday milestone, and his more measured assessment of RRW:

“This isn’t perhaps the most comfortable communique to issue in the middle of a global pandemic, but then the man behind it has seldom dealt in soothing reassurance” (5-star review in the Guardian of 13/06/20).

Just think back to 1962′s ‘Hard Rain’s A-Gonna Fall”. Dylan’s ‘boomerism’ is far from ‘unexamined’, and it remains as relevant and powerful as it was in ’62, however Kitty Empire wants to spin it.

[gcnenineteen-blog]

Okay, screw it, I really am going to turn the woman from this image into the inspiration for the first magician Vannay ever apprenticed under. 

He left Gilead at 29, having learned all that he knew of magic autodidactically and in great part through his own theory, building on the meager foundations of knowledge left behind in Gilead from the era of Arthur. It wasn’t enough for him, not nearly enough, but absent any teacher, the only way he had to learn was the slow process of firsthand observation and inference, which necessitated constant travel in search of myths, relics, sites of power, and practitioners. He wandered and researched independently for three or four years, but only found his first magician of genuine, worthy note in the wilderness north of the Shavéd Mountains - and she was Kwamboka O’-the-Mire.

Born so long ago she might well have walked in Arthur’s time, Kwamboka was an oddity among oddities: born while her parents were attempting to flee a thinny rapidly expanding across their homestead, she found herself and her mother in the space between worlds at the moment she drew her first breath, and the effects from that point were irrevocable. Her mother died of what we might have called acute radiation poisoning within days, but Kwamboka - she who was born crossing a river - suffered far deeper and more lasting damage. Glaucoma was the first sign, robbing her of sight long before she could actually have used it, but what had truly been altered was her brain, and her relation to space-time. She had become “unmoored” in time and place - a babe of six months one day, a girl of eight the next, of every world and no world, and where her physical eyes had been shut forever, a third had been opened within her mind. She would have made a magnificent Breaker, but instead, after many hundreds of years, she found the mountains, and she found the bog, and she found what lived within.

The corrugated steel sign leaning crookedly outside of the crab-fishing hamlet Vannay found on the edge of the bog read “DUNWHICH” in English, but the size of the settlement had dwindled so much that it scarcely deserved a name, and the locals, when they would talk, called it and all the area around The Barony o’ The Lady. There was a cult in the swamp, it was revealed in time - at night one could see foo’ lights amid their dancing torches, could hear them singing - and they worshiped a wrathful goddess who possessed two forms, both woman and titanic snake. The villagers must abide by the Lady, or they would catch no food, and any who wandered too far would be devoured - but if they served well, they would be defended from all danger, and a select few might even go to the Lady’s side. 

The reality, as it turned out, was that the village had gained the dubious favor not of a goddess, but of a powerful sorceress, paired with a child of the Old World. The snake had lived in the mire for centuries beyond counting - an anaconda, warped by radiation into a thing of unspeakable size, whose growth was now only determined by how long it could manage to find enough food to sustain itself. It had reached the point of difficulty, where natural hunting could sustain it no longer, and Kwamboka had taken advantage of this state of affairs for her own gain. A powerful user of the Touch, she could access all of the knowledge and experience of everyone and everything the beast had consumed in its long, long life, and this acted as an amplifier for her own power, so long as she could keep the serpent fed. 

A cult had been the natural solution, a consistent stream of fanatically willing sacrifices to send down the gullet of the beast when its hunger swelled every several years. And so she had begun to use her magic to confer favor and punishment on the villagers as it fit her purpose, and over the course of generations found them quite easy to train. By the time Vannay arrived in the hamlet the sect was flourishing, and he was quick to swear his allegiance to The Lady - if only to be permitted to stay long enough to observe her. His magical ability and intellect were both noticed, and within a year’s time he found himself both under Kwamboka’s tutelage and among her numerous lovers, somewhere between master and student, and mistress and supplicant. 

There was a period when he became truly enthralled both with her and the faith she had created, learning how to call lightning from the sky by conduction, to pass through solid matter by mastering the truth of atomic bodies, to read portents in entrails and commune with beings to whom human thought was entirely alien. He stayed drunk on power and the promise of more for nearly six years - but he was well aware from his own liaisons in Gilead that the moment he stopped being challenging and novel, she would lose interest. Not only would she lose interest - but she would likely choose to capitalize on the power she had fostered in him by consuming him and taking it for herself, harvesting the crop she had sown.

He had planned to escape on the summer solstice, the longest day of the year in which the great serpent would have the least time to hunt him, but Kwamboka struck ahead of him, and it took every trick he had learned from her, a few he had deduced for himself, and three weeks fleeing through the great woods to see him safely in then-flourishing River Crossing, beyond where her gargantuan familiar was willing to roam. He there met Talitha the First, she whose distant descendant would meet Roland Deschain, and that worthy woman wore the same cross around her neck that would one day be laid at the foot of the Dark Tower.

#;; HEADCANON #;; MUSINGS : VANNAY #jay uses vannay's crazy extensive history to come up with weird stories part whatever