#Fermented extracts

[dreamertrilogys]

going into instagram comments is crazy it’s like seeing into a (much MUCH) worse alternate reality like You ppl live such unfathomably terrible lives to me….

[morethansalad]

Mexican-Thai Fusion Horchata (Vegan)

[flockrest]

eavesdropping, are we? / accepting / @gloryseized ( Link )

     "Where did you hear this from."

     The fledgling stills, blinking in unabashed nonplus, as though he had thrown out a complete non sequitur and not a perfectly reasonable question. The implications seem to seize Tulin by the wing a moment later, though; he suddenly ducks his head down, shying away from the boundary he's crossed with twiddling wingtips and averted eyes. Even so, he treads on its edges. "From you, Master Revali."

     From him. Cheeky. He's never breathed a word of those thoughts, adjacent or otherwise, to anyone or anything that would be alive enough to actively divulge them. Tulin wouldn't have any way of knowing about the knight he asks after, if not for the journal that had been returned to Revali in his first few days of roost-ridden recuperation — safekept in his absence, he surmises, by Teba. The boy's father.

     ...It shouldn't rankle him this much. A century of presumed death and a fledgling too curious for his own good — or Revali's. All but confirmed when Tulin blurts, seemingly spurred by his silence, "Sorry! I'm sorry, I didn't— I didn't know you'd still be here."

     He chuffs, not quite laughing nor scoffing. His feathers are no less ruffled for it, but therein lies the crux of everything. Nobody, really, was expecting their Champions to "be here". To come back. Perhaps this was only to be expected.

     Revali doesn't owe anyone his honesty. He hadn't back then — and certainly doesn't now, when he still finds, at times, the beginnings of far bygone names forming on his tongue or strange waves of wistfulness for an existence better left behind washing over him.

     "It wasn't difficult to dislike him," he allows, after a long stretch of folding everything back into himself.

     Tulin perks up, Windlines beneath his wings once more.

     "Speaking with him was often more trouble than it was worth."

     The fledgling nods sagely. He says, with the air of someone simply repeating something he hasn't quite digested yet, "'It's like talking to a stone.'"

     Revali smothers the sound swelling in his chest before it can pass his throat. Yes, he'd written something to that effect, hadn't he? That Tulin would recall such a line, supposedly verbatim — made all the better by the fact he hasn't made the connection yet, between this knight he naively slights and the one he's enthused at length over.

     And why would he? Or any Rito, for that matter. The blasted aches in his wings flare as his thoughts stray towards them, reminding him: a century has passed for all of them. Link, from what he's garnered in the Hylian's recent visits, is no longer even a knight. With the way he fits so perfectly into a space he’s either carved for himself or the others have made for him here, sometime in his journey before defeating Calamity Ganon…to the flock — to this flock — he is no more nor less than just Link. Champion descendant, apparently ( and isn’t that ludicrous in an entirely different sense ), but that's about the furthest they dare to reach. Sometimes, Revali wants to guide those wings to the truth.

     ( Sometimes, he wants to break this rhythm Link has created with his people, if only to have someone flounder for fragments with him. )

     "He was much like Link," Revali says, head turning away and tipping back to gaze at the skies, at nothing and everything.

     He doesn't have to see him to know that Tulin's leaned in with widened eyes, his own head tilted to the side. "Like Link? Really?"

     He doesn't repeat himself. The fledgling — as his equally tiny peers seem to like doing — always makes something of his silence, anyway.

     "Link’s lots better though, right? Master Revali?"

     He does laugh, then: a brief huff of something that might be amused. "Well, he's not any worse."

[leafoflife]

Value in Vitality: Affordable Kratom Extracts for Well-being

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[lompocwinefactory]

The Art of Wine-Making Process: From Grapes to Elegance

Wine, a symbol of elegance and celebration, has a fascinating journey from vineyards to your glass. The wine-making process involves a harmonious blend of nature, science, and craftsmanship. In this comprehensive guide, we will delve into the art of wine-making, uncovering the journey of grapes to the exquisite wines that grace our tables.

Wine-Making Process: Crafting Liquid Poetry

Wine-making is a meticulous process that combines tradition with innovation. The journey starts in the vineyards and spans through harvesting, fermentation, aging, and bottling. Let's take a detailed look at each step:

Vineyard Excellence: Nurturing the Grapes

In the wine-making process, it all begins in the vineyard. Vintners meticulously cultivate grapevines, paying attention to soil, climate, and topography. Pruning, training, and careful pest management ensure healthy grape clusters brimming with flavor.

Harvesting the Bounty: Timing is Everything

Harvesting grapes at the optimal moment is crucial. Vintners assess sugar levels, acidity, and tannin development. Handpicking or mechanical harvesting, the chosen method varies based on grape variety and wine style.

Crushing and Pressing: Releasing the Juice

Once harvested, grapes undergo crushing and pressing. Red wines include skins in the process for color and tannin extraction, while white wines omit this step. The extracted juice sets the foundation for the upcoming fermentation.

Fermentation Magic: Sugar to Alcohol

During fermentation, yeast transforms grape sugars into alcohol and carbon dioxide. Temperature control and timing influence the wine's characteristics. For red wines, extended contact with grape skins enhances color and flavor.

Aging Gracefully: The Cellar Transformation

After fermentation, the wine enters barrels for aging. Oak barrels impart flavors, aromas, and complexity. The aging process can last from months to years, depending on the wine's style.

Art of Blending: Achieving Balance

For some wines, blending different grape varieties or vintages is an art form. Vintners masterfully balance flavors, aromas, and structures to craft a harmonious wine.

Clarification and Filtration: Achieving Clarity

To remove sediments and particles, wines undergo clarification and filtration. This step ensures visual appeal and stability.

Bottling Elegance: Ready for Enjoyment

As the wine-making process nears completion, the wine is bottled. Corks or screw caps seal the bottles, preserving the wine's integrity. Some wines benefit from bottle aging before reaching their peak.

Unlocking the Flavor: Tasting and Pairing

Tasting wine is an experience that engages the senses. Swirling, smelling, and sipping reveal the wine's nuances. Wine enthusiasts appreciate the intricate interplay of flavors—fruity, earthy, floral, and more.

The Enchantment of Wine Pairing

Pairing wine with food is an art that elevates both. The wine's acidity, sweetness, and body interact with the dish, creating delightful harmonies. From reds with hearty meats to whites with delicate seafood, the possibilities are endless.

FAQs

Q: How long does the wine-making process typically take?

 The duration varies depending on the type of wine. While some wines are ready in a matter of months, others might require years of aging to reach their peak.

Q: Are there different methods of fermentation?

Yes, there are various fermentation methods, including wild fermentation (using indigenous yeasts) and controlled fermentation (using selected yeasts).

Q: Can I make wine at home?

Absolutely! Home wine-making kits are available for enthusiasts who want to explore the process on a smaller scale.

Q: What role does oak aging play?

Oak aging adds complexity, flavor, and aromas to the wine. It's a crucial step in crafting wines with rich textures.

Q: How do I store wine properly?

Wine should be stored horizontally in a cool, dark place with stable temperature and humidity to prevent premature aging.

Q: What is the significance of wine vintages?

 Wine vintages indicate the year the grapes were harvested. Different vintages can result in varying flavors and qualities.

The wine-making process is a captivating blend of science, artistry, and dedication. From the careful cultivation of grapevines to the precise fermentation and aging techniques, every step contributes to the creation of wines that delight and inspire. As you raise a glass of wine, remember the journey it has taken from vineyards to your senses, embodying the craftsmanship and passion of generations.

[howdoesone]

How does one adjust the brewing process for different brewing systems, such as all-grain or extract brewing?

Brewing beer can be a fun and rewarding hobby, but it can also be intimidating for beginners. One of the biggest challenges for homebrewers is adjusting the brewing process to different brewing systems, such as all-grain or extract brewing. Each brewing system has its own unique set of advantages and challenges, and understanding how to adjust your process can help you achieve better…

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[najia-cooks]

[ID: A circle of overlapping semi-circular bright pink pickles arranged on a plate, viewed from a low angle. End ID]

مخلل اللفت / Mukhallal al-lifit (Pickled turnips)

The word "مُخَلَّل" ("mukhallal") is derived from the verb "خَلَّلَ"‎ ("khallala"), meaning "to preserve in vinegar." "Lifit" (with diacritics, Levantine pronunciation: "لِفِتْ"), "turnip," comes from the root "ل ف ت‎", which produces words relating to being crooked, turning aside, and twisting (such as "لَفَتَ" "lafata," "to twist, to wring"). This root was being used to produce a word meaning "turnip" ("لِفْتْ" "lift") by the 1000s AD, perhaps because turnips must be twisted or wrung out of the ground.

Pickling as a method of preserving produce so that it can be eaten out of season is of ancient origin. In the modern-day Levant, pickles (called "طَرَاشِيّ‎" "ṭarāshiyy"; singular "طُرْشِيّ" "ṭurshiyy") make up an important culinary category: peppers, carrot, olives, eggplant, cucumber, cabbage, cauliflower, and lemons are preserved with vinegar or brine for later consumption.

Pickled turnips are perhaps the most commonly consumed pickles in the Levant. They are traditionally prepared during the turnip harvest in the winter; in the early spring, once they have finished their slow fermentation, they may be added to appetizer spreads, served as a side with breakfast, lunch, or dinner, eaten on their own as a snack, or used to add pungency to salads, sandwiches, and wraps (such as shawarma or falafel). Tarashiyy are especially popular among Muslim Palestinians during the holy month of رَمَضَان (Ramaḍān), when they are considered a must-have on the إِفْطَار ("ʔifṭār"; fast-breaking meal) table. Pickle vendors and factories will often hire additional workers in the time leading up to Ramadan in order to keep up with increased demand.

In its simplest instantiation, mukhallal al-lifit combines turnips, beetroot (for color), water, salt, and time: a process of anaerobic lacto-fermentation produces a deep transformation in flavor and a sour, earthy, tender-crisp pickle. Some recipes instead pickle the turnips in vinegar, which produces a sharp, acidic taste. A pink dye (صِبْغَة مُخَلَّل زَهْرِي‎; "ṣibgha mukhallal zahri") may be added to improve the color. Palestinian recipes in particular sometimes call for garlic and green chili peppers. This recipe is for a "slow pickle" made with brine: thick slices of turnip are fermented at room temperature for about three weeks to produce a tangy, slightly bitter pickle with astringency and zest reminiscent of horseradish.

Turnips are a widely cultivated crop in Palestine, but, though they make a very popular pickle, they are seldom consumed fresh. One Palestinian dish, mostly prepared in Hebron, that does not call for their fermentation is مُحَشّي لِفِتْ ("muḥashshi lifit")—turnips that are cored, fried, and stuffed with a filling made from ground meat, rice, tomato, and sumac or tamarind. In Nablus, tahina and lemon juice may be added to the meat and rice. A similar dish exists in Jordan.

Turnips produced in the West Bank are typically planted in open fields (as opposed to in or under structures such as plastic tunnels) in November and harvested in February, making them a fall/winter crop. Because most of them are irrigated (rather than rain-fed), their yield is severely limited by the Israeli military's siphoning off of water from Palestine's natural aquifers to settlers and their farms.

Israeli military order 92, issued on August 15th, 1967 (just two months after the order by which Israel had claimed full military, legislative, executive, and judicial control of the West Bank on June 7th), placed all authority over water resources in the hands of an Israeli official. Military order 158, issued on November 19th of the same year, declared that no one could establish, own, or administer any water extraction or processing construction (such as wells, water purification plants, or rainwater collecting cisterns) without a new permit. Water infrastructure could be searched for, confiscated, or destroyed at will of the Israeli military. This order de facto forbid Palestinians from owning or constructing any new water infrastructure, since anyone could be denied a permit without reason; to date, no West Bank Palestinian has ever been granted a permit to construct a well to collect water from an aquifer.

Nearly 30 years later, the Interim Agreement on the West Bank and the Gaza Strip (also called the Oslo II Accord or the Taba Agreement), signed by Israel and the Palestine Liberation Organization (PLO) in 1995, officially granted Israel the full control over water resources in occupied Palestine that it had earlier claimed. The Argreement divided the West Bank into regions of three types—A, B, and C—with Israel given control of Area C, and the Palestinian Authority (PA) supposedly having full administrative power over Area A (about 3% of the West Bank at the time).

In fact, per article 40 of Annex 3, the PA was only allowed to administer water distribution in Area A, so long as their water usage did not exceed what had been allocated to them in the 1993 Oslo Accord, a mere 15% of the total water supply: they had no administrative control over water resources, all of which were owned and administered by Israel. This interim agreement was to be returned to in permanent status negotiations which never occurred.

The cumulative effect of these resolutions is that Palestinians have no independent access to water: they are forbidden to collect water from underground aquifers, the Jordan River, freshwater springs, or rainfall. They are, by law and by design, fully reliant on Israel's grid, which distributes water very unevenly; a 2023 report estimated that Israeli settlers (in "Israel" and in the occupied West Bank) used 3 times as much water as Palestinians. Oslo II estimations of Palestinians' water needs were set at a static number of million cubic meters (mcm), rather than an amount of water per person, and this number has been adhered to despite subsequent growth in the Palestinian population.

Palestinians who are connected to the Israeli grid may open their taps only to find them dry (for as long as a month at a time, in بَيْت لَحْم "bayt laḥm"; Bethlehem, and الخَلِيل "al-khalīl"; Hebron). Families rush to complete chores that require water the moment they discover the taps are running. Those in rural areas rely on cisterns and wells that they are forbidden to deepen; new wells and reservoirs that they build are demolished in the hundreds by the Israeli military. Water deficits must be made up by paying steep prices for additional tankards of water, both through clandestine networks and from Israel itself. As climate change makes summers hotter and longer, the crisis worsens.

By contrast, Israeli settlers use water at will. Israel, as the sole authority over water resources, has the power to transfer water between aquifers; in practice, it uses this authority to divert water from the Jordan River basin, subterranean aquifers, and بُحَيْرَة طَبَرِيَّا ("buḥayrat ṭabariyyā"; Lake Tiberias) into its national water carrier (built in 1964), and from there to other regions, including the Negev Desert (south of the West Bank) and settlements within the West Bank.

Whenever Israel annexes new land, settlers there are rapidly given access to water; the PA, however, is forbidden to transport water from one area of the West Bank to another. Israel's control over water resources is an important part of the settler colonial project, as access to water greatly influences the desirability of land and the expected profit to be gained through its agricultural exports.

The result of the diversion of water is to increase the salinity of the Eastern Aquifer (in the West Bank, on the east bank of the Jordan River) and the remainder of the Jordan that flows into the West Bank, reducing the water's suitability for drinking and irrigation; in addition, natural springs and wells in Palestine have run dry. In this environment, water for drinking and watering crops and livestock is given priority, and many Palestinians struggle to access enough water to shower or wash clothing regularly. In extreme circumstances, crops may be left for dead, as Palestinian farmers instead seek out jobs tending Israeli fields.

Some areas in Palestine are worse off in this regard than others. Though water can be produced more easily in the قَلْقِيلية (Qalqilya), طُولْكَرْم (Tulkarm) and أَرِيحَا ("ʔarīḥā"; Jericho) Districts than in others, the PA is not permitted to transfer water from these areas to areas where water is scarcer, such as the Bethlehem and Al-Khalil Districts. In Al-Khalil, where almost a third of Palestinian acreage devoted to turnips is located [1], and where farming families such as the Jabars cultivate them for market, water usage averaged just 51 liters per person per day in 2020—compare this to the West Bank Palestinian average of 82.4 liters, the WHO recommended daily minimum of 100 liters, and the Israeli average of 247 liters per person per day.

As Israeli settlement גִּבְעַת חַרְסִינָה (Givat Harsina) encroached on Al-Khalil in 2001, with a subdivision being built over the bulldozed Jabar orchard, the Jabars reported settlers breaking their windows, destroying their garden, throwing rocks, and holding rallies on the road leading to their house. In 2010, with the growth of the קִרְיַת־אַרְבַּע (Kiryat Arba) settlement (officially the parent settlement of Givat Harsina), the Jabars' entire irrigation system was repeatedly torn out, with the justification that they were stealing water from the Israeli water authority; the destruction continued into 2014. Efforts at connecting and expanding Israeli settlements in the Bethlehem area continue to this day.

Thus we can see that water deprivation is one tool among many used to drive Palestinians from their land; and that it is connected to a strategy of rendering agriculture impossible or unprofitable for them, forcing them into a state of dependence on the Israeli economy.

Turnips, as well as cabbage and chili peppers, are also grown in the village of وَادِي فُوقِين (Wadi Fuqin), west of Bethlehem. In 2014, Israel annexed about 1,250 acres of land in Wadi Fuqin, or a third of the village's land, "effectively [ruling] out development of the village and its use of this land for agriculture." Most of this land lies immediately to the west of a group of settlements Israel calls גּוּשׁ עֶצְיוֹן ("Gush Etzion"; Etzion Bloc). Building here would link several non-contiguous Israeli settlements with each other and with القدس (Al-Quds; "Jerusalem"), hemming Palestinians of the region in on all sides (many main roads through Israeli settlements cannot be used by anyone with a Palestinian ID). [2] PLO executive committee member Hanan Ashrawi said that the annexation, which was carried out "[u]nder the cover of [Israel's] latest campaign of aggression in Gaza," "represent[ed] Israel’s deliberate intent to wipe out any Palestinian presence on the land".

This, of course, was not the beginning of this strategy: untreated sewage from Gush Etzion settlements had been contaminating crops, springs, and groundwater in Wadi Fuqin since 2006, which also saw nearly 100 acres of Palestinian land annexed to allow for expansion of the Etzion Bloc.

All of this has obviously had an effect on Palestinian agriculture. A 1945–6 British survey of vegetable production in Palestine found that 992 dunums were devoted to Arab turnip production (954 irrigated and 38 rain-fed; no turnip production was attributed to Jewish settlers). A March 1948 UN report claimed that "[i]n most districts the markets are well-supplied with all the common winter vegetables—cabbages, cauliflowers, lettuce and spinach; carrots, turnips and and beets; beans and peas; green onions, eggplants, marrows and tomatoes." By 2009, however, the area given to turnips in Palestine had fallen to 918 dunums. Of these, 864 dunums were irrigated and 54 rain-fed. This represents an increase in unirrigated turnips (5.8%, up from 3.9%) that is perhaps related to difficulty in obtaining sufficient water.

Meanwhile, Israel profits from its restriction of Palestinian agriculture; it is the largest exporter of turnips in West Asia (I found no data for turnip exports from Palestine after 1922, suggesting that the produce is all for local consumption).

The pattern that Ashrawi called out in 2014 continued in 2023, as Israel's genocide in Gaza occurs alongside the continued and escalating killing and expulsion of West Bank Palestinians. The 2014 annexations, which represented the largest land grab for over 30 years and which appeared to institute a new era of state policy, have been followed up in subsequent years with more land claims and settlement-building.

Israeli military and settler raids and massacres in the West Bank, which had already killed 248 in 2023 before the حَمَاس (Hamas) October 7 offensive had taken place, accelerated after the attack, with forced expulsions of Palestinians (including Bedouin Arabs), and harassment, raids, kidnappings, and torture of Palestinians by a military armed with rifles, tanks, and drones. This violence has been opposed by armed resistance groups, who defend refugee camps from military raids with strategies including the use of improvised explosives.

Support Palestinian resistance by buying an e-sim for distribution in Gaza; donating to help two Gazans receive medical care; or donating to help a family leave Gaza.

[1] 918 dunums were devoted to turnips according to the Palestinian Central Bureau of Statistics (PCBS) report for 2009; the 2008 PCBS report attributes 253 dunums of turnip cultivation to Al-Khalil ("Hebron") for 2006–7.

[2] Today, Gush Etzion is connected to Al-Quds by an underground road that runs beneath the Palestinian Christian town of بَيتْ جَالَا (Bayt Jala).

Ingredients:

Makes 2 1-liter mason jars.

500g (4 medium) turnips

1 beetroot

1 medium green chili pepper (فلفل حار خضرة), halved

2 small cloves garlic, peeled

1 liter (4 cups) distilled or filtered water

25g coarse sea salt (or substitute an equivalent weight of any salt without iodine)

Some brining recipes for lifit call for the addition of a spoonful of sugar. This will increase the activity of lactic-acid-producing bacteria at the beginning of the fermentation, producing a quicker fermentation and a different, sourer flavor profile.

Instructions:

1. Clean two large mason jars thoroughly in hot water (there is no need to sterilize them).

2. Scrub vegetables thoroughly. Cut the top (root) and bottom off of each turnip. Cut each turnip in half (from root end to bottom), and then in 1 cm (1/2") slices (perpendicular to the last cut). Prepare the beetroot the same way.

If you need your pickles to be finished sooner, cut the turnips into thinner slices, or into thick (1/2") baton shapes; these will need to be fermented for about a week.

3. Arrange turnip and beet slices so that they lie flat in your jars. Add garlic and peppers.

4. Whisk salt into water until dissolved and pour over the turnips until they are fully submerged. Seal with the jar's lid and leave in a cool place, or the refrigerator, for 20–24 days.

The amount of brine that you will need to cover the top of the vegetables will depend on the shape of your jar. If you add more water, make sure that you add more salt in the same ratio.

[sensualnoiree]

astro notes: the moon & her phases 🌚

The Moon, with its soft, glowing presence in the night sky, has captivated human beings for millennia. Beyond its physical beauty, the Moon holds profound symbolic and esoteric meanings in various mystical traditions, particularly in alchemy. Dive into the alchemical and esoteric properties of the Moon, explore its significance as a symbol of inner transformation, spiritual enlightenment, and the depths of the human psyche.

Cycle of Transformation: The Moon's phases, from the dark New Moon to the full illumination of the Full Moon and back again, symbolize the cyclical nature of life, death, and rebirth. This mirrors the alchemical process of transformation, where base materials are purified and transmuted into a higher form.

🌑 New Moon: The New Moon marks the beginning of the lunar cycle, where the Moon is not visible in the sky. Symbolically, this phase represents the darkness before the dawn, the void from which all creation emerges. In alchemy, it corresponds to the initial stage of the alchemical process, known as Calcination. This is the stage where the base materials, representing the raw and unrefined aspects of the self, are broken down and purified through the fires of transformation.

🌘 Waxing Crescent: As the Moon begins to wax, or grow larger, after the New Moon, it enters the Waxing Crescent phase. This phase symbolizes growth, intention setting, and the planting of seeds. In the alchemical journey, this corresponds to the stage of Dissolution, where the purified elements begin to coalesce and take shape, laying the groundwork for further growth and development.

🌗 First Quarter: The First Quarter Moon marks the halfway point between the New Moon and the Full Moon. Symbolically, it represents a time of challenges, decisions, and action. In alchemy, this phase corresponds to the stage of Separation, where the purified elements are refined further, and the unnecessary or detrimental aspects are discarded. This is a crucial step in the process of transformation, where clarity and discernment are necessary to move forward.

🌖 Waxing Gibbous: As the Moon continues to wax, it enters the Waxing Gibbous phase, where it approaches full illumination. This phase symbolizes refinement, integration, and preparation for the culmination of the cycle. In alchemy, this corresponds to the stage of Conjunction, where the purified elements are brought together and integrated to form a harmonious whole. It is a time of synthesis and alignment, as the individual aspects of the self merge into a unified whole.

🌕 Full Moon: The Full Moon is the peak of the lunar cycle when the Moon is fully illuminated in the night sky. Symbolically, it represents illumination, fulfillment, and the realization of intentions. In alchemy, this corresponds to the stage of Fermentation, where the purified elements reach their peak potency and transformation is complete. It is a time of celebration and revelation, as the alchemist experiences a profound sense of union with the divine and the cosmos.

🌔 Waning Gibbous: After the Full Moon, the Moon begins to wane, or decrease in illumination, entering the Waning Gibbous phase. This phase symbolizes reflection, gratitude, and the release of what no longer serves. In alchemy, this corresponds to the stage of Distillation, where the essence of the transformed elements is extracted and purified further. It is a time of consolidation and integration, as the alchemist reflects on the lessons learned and prepares for the next phase of the journey.

🌓 Last Quarter: The Last Quarter Moon marks the halfway point between the Full Moon and the New Moon. Symbolically, it represents surrender, letting go, and clearing space for new beginnings. In alchemy, this phase corresponds to the stage of Coagulation, where the purified elements solidify and take on their final form. It is a time of resolution and closure, as the alchemist integrates the lessons of the journey and prepares to embark on a new cycle of transformation.

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[theladysunami]

Many other people have already posted their thoughts on the various peaks of Cang Qiong Mountain sect, so I figure I might as well throw my own thoughts and preferred headcanons out there.

First, my thoughts on the peaks we know exist but don't know much about in terms of their specialties:

Xian Shu Peak: Textiles Peak

This is my favorite headcanon for the all women's peak! The textiles industry is a big part of Chinese history, and was traditionally considered to be women's work, so it would only make sense for it to be Xian Shu Peak's peak specialty. It's not just one specific skill either, as spinning, weaving, dying, garment making, embroidery, rope/cord-making, etc. are all a part of the industry.

As they are a cultivation peak, I expect some of the products of their work to be defensive robes with talismans or incantations stitched into the fabric, Qiankun bags or sleeves, spirit trapping pouches, etc. If rope making is included in their preview, they could also be involved in making immortal binding cables, nets, and so forth.

Ku Xing Peak: Rites, Rituals and Purification Peak

We don't know much about Ku Xing Peak except that they live an aesthetic lifestyle. As it's common for individuals to take on certain aspects of aestheticism (simple clothes, restricted diets, abstinence, etc.) before engaging in many types of rituals, I'm inclined to believe a peak that practices aestheticism at all times would be particularly well suited for such tasks.

I tend to imagine their peak being similar to the Gusu Lan Clan, minus the music aspect (music being Qing Jing's purview). They could specialize in things like summoning spirits, communing with the dead, dispelling resentment, exorcisms, purifying objects or locations, properly laying the dead to rest, etc.

Since SVSSS predominantly focuses on demons, not ghosts, it's only natural a peak that deals more in spiritual cleansing and laying the dead to rest wouldn't be involved in the plot much.

Zui Xian Peak: Potions and Elixers Peak

While lot of fanfics make jokes about Zui Xian being a peak for alcoholics (which is completely fair, as this is the dick joke filled world of SVSSS we're talking about), my first thought upon learning of Zui Xian Peak's specialty was the immorality granting heavenly wine in the Journey to the West. Looking into the matter more, I've since learned that wine has actually been a huge part of Chinese medicine since the Han Dynasty. The traditional character for medicine even includes the radical for wine!

With this kind of precedent, it seems only logical that Zui Xian Peak doesn't merely make alcohol for social and/or enjoyment purposes, it's quite likely to be the ‘external alchemy’ peak of Cang Qiong Mountain. I expect they grow and process at least some of their own herbs and ingredients, along with performing other alcohol and potion making tasks like brewing, distilling, extracting, fermenting, filtering, infusing, and so on.

Next, my thoughts on what the three mystery peaks might be:

I am not going to try and name these peaks, as I struggle with naming things even in my own native tongue.

Hunting, Trapping and Scouting Peak

Having read MDZS before SVSSS, I found the distinct lack of archery in SVSSS to be quite peculiar. As the peak of scholars and strategists, I suppose it's only logical Qing Jing Peak focuses on the four scholarly arts (the guqin, strategy games, calligraphy, and painting), rather then the six arts of Confucian gentlemen (rites, music, archery, equestrianism, calligraphy, and mathematics), but that does leave several ‘arts’ free to be claimed by other peaks! This inspired me to think up a hunting and scouting peak, where disciples excel at archery and equestrianism.

Since mounted archers became a significant aspect of Chinese warfare in the 4th century BC, thanks to King Wuling of Zhao, I'd say having cultivators of this sort in a Xianxia setting is perfectly reasonable. Giving Cang Qiong Mountain sect scouts also nicely fills the gap in their martial capabilities. Without this peak they have strategists, weapon craftsman, ground troops, and suppliers, but no reconnaissance forces!

I also consider this peak to be the rough equivalent of the ‘Beast Taming Peak’ so many works are fond of. Who else could breed and control hundreds of spirit eagles for the Immortal Alliance Conference but a group of cultivators focused on scouting missions? As supernaturally superior mounts and spirit (hunting) dogs would be incredibly helpful to them, they'd likely engage in horse and dog breeding programs as well! Their skill as hunters and trappers would also permit them both to provide game for Cang Qiong Mountain sect, and to aid in the rounding up of various living monsters for both alchemical ingredient harvesting and for releasing at events like the Immortal Alliance Conference.

In summary, this peak would produce disciples skilled at equestrianism, archery, falconry, animal husbandry, scouting, herb gathering, hunting, trapping, etc. For anyone familiar with D&D, I did basically make a Ranger peak here, but I stand by that decision!

Artifacts, Arrays and Invention Peak

Every time I read a work with some variation on the "Mad Scientist Peak" I adore it, so naturally I have to include this type of peak as well. This peak would be for the Wei Wuxians of the cultivation world, hoping to revolutionize cultivation society!

Their focus would be mathematics, spell geometry, arrays, talismans, non-medicinal alchemy (aka ancient materials science), engineering and of course artifact recovery, study and creation. The crystal mirror ‘surveillance equipment’ from the Immortal Alliance Conference? These guys would be the ones that developed it!

Agriculture, Earthworks and Architecture Peak

While I admittedly don't know the nuances of feng shui, I am at least aware there is far more to it then what you usually see in western depictions. In MDZS, it's noted that an area having bad feng shui (like Yi City) can cause premature death, disaster, and an increase in all sorts of nasty supernatural phenomena! With this in mind, a peak that focuses on connecting to and harmonizing with one's environment seems perfect for the final Cang Qiong Mountain peak.

I don't imagine this peak doing much of the actual building in the sect (that's An Ding's job) but when it comes to designing the sect's buildings, or altering its geography through earthworks, they're the ones to talk to. I also see them as producing at least some of the sect’s food supply, using their skills to encourage a positively supernatural abundance of plants.

In short, disciples of this peak would be skilled with things like architecture, earthworks, geography, topography, irrigation, agriculture, element manipulation, etc.

If SVSSS’s heavenly realms have anything akin to TGCF’s elemental masters, there is probably an unusually high chance they come from this peak.

[thedansemacabres]

An Introduction To Wine for Dionysians

A photo from my wine class, the pink being my Chambourcin and Sangiovese rosés. 

[ID: An image of two wine glasses on a stainless steel table. The first glass, closer to the observer, is bright pink. The second glass, to the right of the pink one is a salmon colour and slightly blurry.] THIS POST IS SLIGHTLY BASIC, IN MY OPINION. It’s not exactly hard to research wine, especially now that the industry is beginning to have new winemakers such as myself. But this is my job and passion, so I thought it may be useful in the end. Especially for us Dionysians, most who never engage in the winemaking process—which is fine, but it does offer a more intimate knowledge of his realms. So as a winemaker myself, I want to share the wonders of winemaking with others. This post is meant to be a quick introduction to wine from a viticulturist and enologist. 

SOME TERMINOLOGY 

Entering the world of wine does require a basic understanding of some jargon. To make it easy, I have listed some common terms: 

Anthocyanins — the red-purple colour compound in red grapes

Bret — short for Bretannomyces, this is an endemic yeast to Europe and often a pest in wineries. This yeast creates leather, hide, barnyard, etc., flavours and aromas in wine. This is often desirable in small amounts in certain styles, but can quickly overpower a wine.

Fault — an issue with the wine, typically in flavour, aroma, colour, or taste. Faults are subjective and sometimes may be beneficial. A key part of wine sensory analysis is tasting faults. 

Macerate — a process in which colour and flavour is leached from the skins of the grape. This is most common in reds and is aided by ethanol. 

Noble Rot — a form of Botrytis Cinerea that is beneficial within the wine process to make sweet wines. 

Press — a winemaking device that extracts juices from grapes to make wine

Terroir  — the characteristic taste and flavor imparted to a wine by the environment in which it is produced.

Vintage — the year the grapes were harvested and are typically fermented in the same year, however, this is not always the case.

ANCIENT, OLD WORLD, AND NEW WORLD 

The wine world has often been divided into “old world” and “new world”, but I have personally taken a liking to the classification of some wine regions as ancient world wine regions. These regions would be Georgia, Armenia, Assyrian lands, Greece, some parts of Italy, and more. Ancient winemaking is well, winemaking in regions that have continuously made wine with the same or similar techniques over thousands of years. An ancient wine that I always recommend to Dionysians is Retsina. 

Old world wine is essentially European wine. While this term has its issues, it is the one that the wine industry understands. Europe has been making wine for hundreds of years, thousands in some regions. Old world wine is known for the less fruity, more aged styles, along with producing table wine. These wines also tend to be oaked, in which the wood imparts flavours into the wine which is dependent on the type of wood used. Bret is also common in the old world, which is often a hit or miss with consumers. 

New world wine is wine made in wine regions that are relatively new, associated with more scientific approaches to wine. Another way to look at it is wine regions that are or were colonies of Europe, though a few new world wine regions do not have this history. New world wine is often associated with brightness, fruity flavours, higher alcohol levels, etc. 

Simply put:

Ancient — regions such as the Fertile Crescent, Palestine, Assyrian lands, Greece, parts of Italy, etc., 

Old — Europe, including wine regions more similar to the new world such as Slovakia

New — Generally colonised countries, the largest example being the United States. 

TYPES OF WINE 

Most people grasp the basics: white wine comes from white grapes and red wine comes from red grapes. However, of course, it gets more complicated from here. To list it simply:

White wine is wine made from white grapes that are removed from the skins. 

Red wine is made from red grapes left to macerate on the skins. 

Orange wine is made from white grapes left to macerate on the skins.

Rose is made from red wines removed from the skins.

Pink wines are wines made through blending white and red wine, considered of lesser craftsmanship than a rose by most winemakers 

Commercial wines are typically whites, reds, and rose/pink. Orange wines are seldom found outside of Slovenia and Georgia due to tradition. Overall, the wine world considers orange wine strange, however the market has been increasing in recent years. 

Wine is also a term applied to fruit wines (fruit other than grapes). Legally in most regions, wine can only be applied to fermented grapes—though of course, nobody listens to that. Essentially, I like to phrase wine as anything made from fermented fruits, roots, and tree-sugars. Cider is technically wine, but this is defined in the USA by tax brackets—below 8% ABV is a cider, over is an apple fermented product/wine. 

WINE STYLES

To put it simply: there are thousands of wine styles. I cannot summarise them here, however I will try to summarise some of the common styles I know of.. ‘Old world’ and ‘new world’ are also considered broad styles. 

Dessert Wines 

Dessert wine as a term is dependent on location, as in the USA it is any wine over 14% ABV. In the UK, it is often classified as a sweet wine drunk before a meal. It is also usd colloquially for sweet, high-alcohol wines that are drunk with dessert. A bit of a meaningless term, but it is used regardless. 

Sweet Wines

Sweet wines are wines that have residual sugar from fermentation. Most wines are finished dry, which is when the yeast consumes most to all available sugars and converts them into ethanol. This can be intentional or the result of a stuck or dead fermentation. Sweet wines are known for getting people drunk quickly and giving a particularly nasty headache. 

Table Wine 

Table wine is perfectly named, as these are common wines that are meant to appear at the dinner table and be paired with food. Italy is famous for creating popular table wines such as Chianti and Prosecco. The table wine market is however slowly dying. I personally liken table wines to Dionysus Hestios. 

Straw wine 

Straw wine is wine made from grapes that have been dried. This makes very sweet wines due to the lack of water. 

Rot wines 

Rot wines, also called Noble Rot wines, are a unique form of sweet wines created by noble rot. In viticulture, botrytis is a fungus that often ruins clusters by mummifying grape clusters. In the right conditions however, it instead only takes the water content in a grape berry over a series of days before perishing. Rot wines often occur near rivers, lakes, and other regions with mist and then scorching sun. This fascinating process creates natural sweet wines—many of which demand high price points, such as sauternes that are priced at over one thousand euros. Another form of rot wine I enjoy is Slovak tokaji. 

In my personal practice, these wines hold a special spot due to my focus on divine rot. Dionysus wise, I think these wines possess such a unique quality of him—they are dead yet not, and Dionysus may be found in the marshes where rot blooms. 

Sparkling Wine 

Often known as champagne, sparkling wine is wine that when opened/poured will fizz with carbon dioxide bubbles. This is usually due to secondary fermentation, in which yeast are inoculated to ferment trace amounts of sugar to create the carbonation that appears when you open the bottle. Sparkling wine can only be labelled champagne if it is from Champagne, France. With the climate crisis however, champagne may disappear and Southern England has been contending to become the next major sparkling wine region. 

There are lesser quality sparkling wines made by injecting carbonation into the metal wine vats. This is common with sparkling juices that are not fermented. 

Fortified Wines

When you think of Port, that is a fortified wine. These wines are mixed in with ethanol, typically spirits, to increase the alcohol content of the wines. This makes them less likely to spoil and creates a unique flavour profile. 

Some traditional fortified wines are Port, Sherry, 

Cooking Wines

These are wines that are not typically used for drinking, but rather feature as a culinary ingredient. This does not mean low quality however, as some cooking wines such madeira can fetch a very high price point. 

BARRELS

Barrels are enchanting. Even if I see them daily, there is a bit of romance to working with them. Wines are put in barrels for storage and for flavour. The most common wood used in wine are oaks, with French oak (Quercus robur) and American oak (Quercus alba) being the most common and stylistic. Barrels are a core aspect of traditionally ageing wine, as the barrel allows enough oxygen into the liquid to be beneficial. For those who do not know, oxygen degrades wine over time. This is why cheaper wines quickly turn bad, as they were not designed to age. 

The flavour-changing profile of wood-contact on wine works through phenols and other compounds interacting with the oak, creating vanilla flavours. For other woods, a similar process occurs, such as Pine creating a pinewood taste, chestnut increasing the perception of sweetness, etc. Research is being continued on alternative woods in winemaking. 

Barreling is not the only source of flavour profile in wine. Wines gain their flavour from three sources. This is simply:

Primary: flavours derived from the grape

Secondary: flavours derived from yeast. Yeast often create secondary flavour compounds, such as floral, herbal, spicy, etc notes. 

Tertiary: barrel and ageing flavour. 

When doing wine tastings, these are excellent factors to begin wine analysis. Deciphering these notes allows one to build a palette and understand more of the expanses of vinification. 

GRAPE CULTIVARS 

Grape cultivars, also called varietals, are what impart unique flavours into a wine at the primary level. Each cultivar gives its own unique flavour profile. The most commonly planted grapes are the noble varieties, which were prized by French nobility—these being grapes such as Chardonnay and Sauvignon blanc. 

Grape cultivars can change their profile depending on where they are grown, called terroir. As an example, a French Cabernet Sauvignon is completely different from a Napa Valley Cabernet Sauvignon. Terroir encompasses soil, weather patterns, climate, etc. Another example is that wines made in years of heavy wildfires often taste smoky and Australian wines taste burnt due to the extreme sun exposure. 

Profit and market trends have caused lesser known and cultural grapes in many places to become extinct or endangered. There are movements and efforts to preserve these cultural vines and many wine drinkers are interested in the unique experiences rare cultivars can provide. 

Cultivars also often have regional and cultural significance. The Bacchus grape has been found to grow excellently in southern England, Agiorgitiko is the most common Greek red grape, Sangiovese is the grape for Tuscan Chianti, etc. In the new world, Grape cultivars often take on new significance, such as Sauvignon Blanc in New Zealand. As obscure grapevines become more popular, regional and forgotten grape varieties have been reappearing. 

Hybrid vines, which are some of my favourite, are the result of viticultural science. These are vines bred to exhibit certain traits, whether as a ‘find out’ project or specially designed for certain wine regions. These are often called French-American hybrids, however hybrids are also being produced in Korea, Slovakia, and other countries. One of the most commonly planted hybrids is Chambourcin, called ‘king of the hybrid reds’, due to its striking fuschia red or barbie pink rose and desirable flavour profile. I have made a post over these hybrids before and they are readily searchable for anyone interested. 

There are thousands of cultivars and new cultivars are created each year. The world of wine is ever expansive when it comes to grapevines, just as Dionysus always brings something new. There is always something new to try, or a new spin on something familiar. Yet when we crave a taste of something familiar, traditional varieties and vintages are around to return to. Wine is both new and old, alive and dead, familiar and yet ever-changing. 

HOW TO BEGIN IN WINE 

Beginning in wine is as simple as buying wine. Advancing understanding then comes through sensory analysis, experimentation, trying new and different wines, historical research, and much more. I doubt most people will be like myself, who decided to get an associates degree in winemaking and make it my secondary career. Honestly, it’s much more fun as a hobby than a job. 

I recommend experiencing the differences between reds and whites, along with sampling table wines with and without food. Picking out grape varietals is also fun, but may be subtle. As an example, a sauvignon blanc is immediately recognisable for its bellpepper note, but I have developed the skill to taste the general region where sauvignon blanc was grown (it is my favourite white wine grape). 

I have touched upon sensory analysis and terminology with it, such as palette and body, but I will reserve that for another post. Trying wine and research is the best way to begin—and there is no such thing as beginner wine in my opinion. There are wines that are harsh, different, and likely undesirable to someone who is used to sweet juice and unchallenging sweet drinks, however I believe it limits a wine explorer when you limit yourself to “beginner wines”. Finding that brings you joy matters most, whether that is a classic sweet wine or mouth-punching red. And pour some out for Dionysus, the sweet lord of the eternal winepress. 

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References

Bird, D. (2011). Understanding Wine Technology, 3rd Edition: The Science of Wine Explained. Board and Bench Publishing. Puckette, M., & Hammack, J. (2018). Wine Folly: Magnum Edition: The Master Guide. Penguin UK.

Wilson, J. (2019). Godforsaken grapes: A slightly tipsy journey through the world of strange, obscure, and ... underappreciated wine. HARRY N ABRAMS.

Wine microbiology. (2007). In Springer eBooks. https://doi.org/10.1007/978-0-387-33349-6

[leafoflife]

Cultivated Elegance: Unveiling the Craft of Fermented Kratom

Immerse yourself in the refined world of Fermented Kratom, where botanical sophistication meets ancient wisdom. Through a meticulous fermentation process, this unique strain achieves a heightened potency and distinct flavor profile. Elevate your Kratom experience with the depth and richness of fermented nuances. Indulge in the complexity and craftsmanship of Fermented Kratom, carefully curated to offer a truly exceptional journey. Unveil the secret behind its allure and embark on a path to botanical elegance.

[solarpunkbusiness]

Mycotech: The Indonesian Startup Biofabricating novel materials from mushrooms

Called Mycotech Lab, the company was inspired by tempeh, the traditional Indonesian food made from fermented soybeans, and came up with its own technology to grow its ethical and carbon-friendly mycelium-based materials. 

Mycotech Lab decided to experiment with the fermentation process used to make tempeh to make a new fabric out of the complex root structure of mushrooms, otherwise known as mycelium. It was a lengthy trial-and-error process that kicked off in 2016, but “finally, we found one mushroom with a mycelium that can be made into binding material,” said Erlambang Ajidarma, head of research at the startup, in conversation with Reuters. 

The final product, developed with fungus grown on sawdust that then gets scraped off and dried and cut into different sizes, is Mylea, a fibrous but tough material that acts just like the real thing. It’s waterproof, pliable, durable, and most importantly, is far more sustainable than existing plastic-based synthetic leathers or carbon-intensive real leather made from hide. 

Mycotech also uses natural dye extracted from roots, leaves and food waste in the region to colour their leather alternative, which again is a process that is far less polluting than traditional tanning processes used for real cowhide that leaves behind solid and liquid waste that contains chromium and other hazardous compounds.

Since its inception, Mycotech has managed to grow its client base with no marketing budget because the demand for sustainable alternatives has grown alongside awareness of the damaging effects of animal-based materials in the fashion industry. 

We the Fungi

Bio Binderless Board | Sustainable non-adhesive binder board from Mylea™ byproduct to meet modern architectural and design standards

Biodegradable Solid-Composite | Utilizing mushroom mycelium that grows and is shaped into desired form and utilities.