#alina capella

[alinacapellabooks]

IT'S FINALLY HERE! THE TENGU AND THE ANGEL IS OUT NOW!

Hello, hello, hello, everyone, I have some very exciting news to share with you all! The Tengu And The Angel, my debut novel, is now finally available to buy! That's right, you can now get your very own copy of my fluffy, angsty, gay friends-to-lovers novel! Oh, but why would you want to, you might be asking? What's the book about! Great questions, my friends, and I'll answer them both for you right now!

The Tengu And The Angel is a friends-to-lovers romance about two roommates falling in love, and learning to let go of their pasts. Eighteen year old Kunio Yoshioka has just fled his abusive mother's home in Northampton, and he's journeying up north in search of a new home, and a fresh start in life. He's armed with nothing but his dreams of being a successful artist, and his vivid imagination. He thinks of his new adult self as a tengu; strong, proud, and capable of things his child self could only dream of. Twenty year old Nathaniel seems to have it all; he's gorgeous, he lives in a beautiful apartment in the centre of Newcastle, and he's the owner and founder of Black Rose, a Victorian gothic online boutique. Kunio thinks of him as angel; he's faultlessly polite and kind, and he goes above and beyond to help him when they first meet, even though he doesn't know him. He's also painfully insecure, and he lives under the thumb of his toxic 'best friend', Theo, who uses his mental illness to control him. When Nathaniel takes Kunio in, the two form a close friendship, which slowly blossoms into love. Can the two of them learn to put their pasts behind, and make their relationship work? Well, you're going to have to read it to find out! Get your copy from Rakuten Kobo, or from the Amazon Kindle Store below!

[mirandamckenni1]

Laboratorium Pieśni - Sztoj pa moru (Што й па мору) OUR CDs: https://ift.tt/HoODmxF NASZE PŁYTY: https://ift.tt/nRGb39x Belarusian traditional song 'Shtoy pa moru' [Out there on the sea] - arranged by Laboratorium Pieśni / Song Laboratory and recorded in Świątynia Dźwięku - Sound Temple in Borsk in Kashubian region (Poland). Białoruska pieśń "Sztoj pa moru" (oryg. Што й па мору - Tam na morzu) w aranżacji Laboratorium Pieśni, zaśpiewana i nagrana w Świątyni Dźwięku - Sound Temple w Borsku na Kaszubach. video: Marta Obiegla (https://ift.tt/g7ub9GY), Dariusz Dawidowski voices / głosy: Alina Jurczyszyn, Kamila Bigus, Lila Bosowska, Iwona Bajger, Klaudia Lewandowska, Magda Jurczyszyn, Karolina Stawiszyńska, Alina Klebba shamanic drums / bębny szamańskie: Metaphoric Tools - https://ift.tt/pgHx5eu https://ift.tt/ldFeWGb http://youtube.com/laboratoriumpiesni https://ift.tt/0QkphXK https://ift.tt/uEPGi8V https://ift.tt/KCun3fd Translation: At the sea, blue sea There was a floating flock of white swans And where did the gray-white eagle come from? It dispersed the flock around the blue sea White down rose to heaven, Gray feathers fell on a green meadow And who will collect these feathers? - A beautiful girl Tłumaczenie tekstu: Na morzu, na błękitnym morzu Tam pływały stada białych łabędzi Z małymi łabądkami A skąd się wziął szaro-biały orzeł Rozgonił stado po całym błękitnym morzu Biały puszek uniósł się do nieba Szare pierze opadło na zielonej łące A kto zbierze to pierze? Zbierze je piękna dziewczyna Many thanks to Asia and Huzy for hospitality and drumming! Wielkie podziękowania dla Asi i Huzego za gościnę i wspólne bębnienie! Thanks to Raman for sharing this song with us, lyric and translation! Dziękujemy Ramanowi za podzielenie się pieśnią, tekst i tłumaczenie! ABOUT US / O NAS: Laboratorium Pieśni – Song Laboratory (world/ethno/spiritual/mystic folk music) is a female group of singers from Poland, created in 2013. Using traditional, polyphonic singing they perform songs from all over the world, mainly: Ukraine, Balkans, Belarus, Georgia, Scandinavia, Poland and many other places. They sing a capella as well as with shaman drums and other ethnic instruments (shruti box, kalimba, flute, gong, zaphir and koshi chimes, singing bowls, rattles etc.), creating a new space in a traditional song, adding voice improvisations, inspired by sounds of nature, often intuitive, wild and feminine. Laboratorium Pieśni – Song Laboratory (world/etno/spiritual/mystic folk music) to trójmiejski, kobiecy zespół pieśniarek, powstały w 2013 roku. Grupa śpiewa i aranżuje tradycyjne pieśni polifoniczne: ukraińskie, bułgarskie, białoruskie, serbskie, albańskie, bośniackie, polskie, a także gruzińskie, skandynawskie, oksytańskie i wiele innych. Pieśni Świata wykonują zarówno a capella, jak i przy akompaniamencie bębnów szamańskich i innych etnicznych instrumentów (m.in. shruti box, dzwonków, przeszkadzajek, fletu, kalimby, mis, gongu), wnosząc w pieśni tradycyjne nową aranżację, przestrzeń improwizacji głosowych, inspirowanych dźwiękami natury, często intuicyjnych, dzikich, kobiecych. via YouTube https://www.youtube.com/watch?v=04fEWQOwUD4

[manascoundrel]

Trophy- Chapter 7

by Yarking Fandom: Dragon Age (general) Summery: Two troubled children meet at the Minrathous Circle. One is a magister’s heir, groomed to be the blood mage general of Seheron, without fear or mercy. Hopefully, that will keep people from noticing how very much an elf he is. The other is last born, least loved and most of his emotions involve academics and cadavers. They love each other, even if they’re not terribly good at it. Warnings for this chapter: talk of ableism, eugenics, victim blaming, more voices, refence to surgically removed body parts for science (brief mention of eyeballs and misc organs, non-graphic), aaaand a... big implied Something Bad at the end of the chapter. Which is vague but so is the thing. AO3: here

The stutter was going to be a problem.

Gaius Albus Danarius sat hunched at his desk, lips thin and brow drawn. He had already contacted the circle (discreetly), inquiring about a (discreet) tutor for young Tertius' particular blemish, but there was no overnight solution. There was no answer to be found in blood magic, that he was sure of. His desk was covered in open tomes, the likes of which he would not ordinarily let see the light of day without locking and warding the room. More books littered the floor, uneven, messy, horrible things that tightened the tension along his spine even further. The further away from his desk- a point of origin- the more harmless and more hopeless the sources became. He had given up on finding anything salient when he found himself reading about spirit healers and the absurdity and unlikelihood of fixing the issue in a plain and simple, single spell finally registered.

A spirit healer. Magister Danarius scoffed at the notion, resting his chin pensively in palm. He might as well be looking for a somniari in the heart of the Imperium.

He hated this. A walking shame of his family name out there, sputtering like a slave that was addled from years of processing lyrium. It was a long, black shadow cast on his house's name, a name that he had so painstakingly cultivated to its pristine glory. Past. Spoiled. All due to a moment of impatience and indiscretion.

Looking around the room a final time, Magister Danarius shut his eyes and let out a harsh breath through his nose. He slipped a hand into his pocket, fingers closing around the round, smooth gem there, and sent two pulses of mana into it, summoning his seneschal.

The young woman appeared at the door of his study swiftly, hesitating at the threshold as she looked at the scattered books that littered the typically orderly room.

"Master," she began, gaze traveling along the ground, following the books until she reached his hem, then upward to him folded irritably in his chair. "You seem..."

"Despondent?" Magister Danarius offered with a thin, bitter smile. "Defeated?"

"I was going to say troubled," the seneschal assured. Ever politique. That's why he had hired her.

He clapped his book shut brusquely. "I have a problem, Alina. The worst type of problem, my dear. The kind that involves public shame, and cannot be resolved with magic."

Seneschal Alina looked appropriately dubious. Magister Danarius wasn't certain why- he had just said it couldn't be solved with magic, and blood magic was certainly implied to be included. Her blood was staying right where it was, and besides that, he had better options than her for a sacrifice. She did acceptable work, and would take time to replace, besides.

"I'm sorry to hear that, master," she replied cautiously, bowing as if it were compulsion. You'd think she were liberate with how antsy she was.

"Since I can't throw magic at the problem and have it go away, I'm going to do the next best thing and throw money at it."

"Master?"

Magister Danarius deposited his book atop the pile already on his desk and steepled his fingers. "Tertius' stutter couldn't be fixed before the beginning of his schooling, and to delay enrollment risks making him look unprepared and thus weak. Which makes us look weak, poor-bred and ripe for assassination. I had instructed the boy to remain silent when it was an option, but the charade can't last forever. People will hear, and people will know, and then we wouldn't be in a terribly better position than we were in delaying his education. I've already contacted tutors who teach-" Danarius' scowl grew disgusted- "remedial and delayed apprentices privately."

"You are asking me to adjust our financial records to reflect the payment for his tutors? I can do that, certainly, and make sure to file it under something innocuous sounding so-"

"Yes, yes, that is part of it, possibly. But as I said, it cannot be resolved overnight. I want to display our family's assets to offset as much damage that boy will do when he inevitably opens his mouth. I've already sent in for a high quality foci for his first training staff commission. The purity of the foci will help demonstrate the ample magic in our bloodline, but we need more than that. We can't rest on genealogical superiority when the little disaster appears malformed. We need to distract from that with our house's other assets. If we can't figure out something to distract from his shortcomings, we have the option to send a Crow for Tertius, but that has it's own undesirable effects."

The seneschal said nothing at first, seeming stunned. "Of course," she managed, thickly. "We can't afford to give the house's enemies any ideas by sending an assassin for our own."

Magister Danarius scowled. "Don't be sentimental. I have an heir, and I have a spare. Tertius' only responsibility is trying to avoid tarnishing our family's name, which he has so far managed to compromise by existing and speaking. I'm not convinced that he'll become less of a problem the longer he's in the public eye."

The seneschal bowed, keeping her head turned downward in penitence. "He is fortunate that you've given him the opportunity at all, I'm certain."

"He is," Magister Danarius agreed, coldly. It had been the boy's fault, after all, for not doing the most basic task asked of him and simply obey. It was regrettable that Magister Danarius momentarily lost his composure. It is not something he is proud of (and, in fact, something he hadn't like to dwell on since the incident) but it hadn't needed to be so if Tertius had minded. Willful creature. So like his mother.

After a chilly silence and moment of time, the seneschal risked speaking again. "Did you have something in mind for me to arrange delivered, or were you seeking suggestions?"

"Suggestions. Right now, the Crow is my best option. I'm looking for something better. Something that will tilt impressions into something passably favorable, at least until Tertius' shortcomings can be worked out of him." Magister Danarius' fingertips brushed against his lips and tapped thoughtfully. "Sending a personal slave at his age would look suspicious, he's too young to have any use for one, save perhaps as a personal guard or chaperone. We don't want to give the impression that he needs either of those things- that too would give the appearance of weakness. But slaves with magic in the blood is the vast majority of House Danarius' assets. That's what we're known for."

The seneschal remained silent for a beat, thinking. "Master, if I might make a suggestion?"

"Go ahead, as I said that's why you're here."

"Young Master Tertius' isn't just a Danarius," the seneschal said cautiously, teasing the words out as if braced for offence to be taken. "Since his staff is already a show of your wealth, you could use your ties to his mother's house to distract the students. Wasn't your late wife- Andraste bless her- from a prestigious house herself?"

Magister Danarius' eyes lowered. When he eventually spoke, his words were quiet and unreadable. "Capella was not chosen for her wealth, status, or magical prowess. My duties to the Imperium as a progenitor and househead was fulfilled with my first wife, as you well know."

"Yes, of course, Master. But could you remind me, what was Mistress Danarius' house known for?"

"The most significant thing her family accomplished outside of producing her was their horses. Her... I believe great aunt or somesuch... developed the chargers we use in our cavalry and the Vinter Warmblood. The breed the Archon uses? Well, when he's not traveling via palanquin," Magister Danarius explained. He sounded vexed. "I'm not certain what could be done with that."

Seneschal Alina shifted and gave a very suspicious sounding cough. "If only, master, there were something that every five-year-old desired. Something that would cause enough envy that that was what was reported to the apprentices parents when reporting on young master Tertius."

Magister Danarius closed his eyes. He opened them.

"In my defense," he said, a serpentine smile growing slowly at his thin lips, "it has been quite some time since I've been a five-year-old. But I think I've gathered what you're suggestion."

--

Tertius was the luckiest, most loved, most excited, most grateful five-year-old in the entire Circle.

He had Stardust.

Stardust was a pony. Her real name was something too long for him to hope to remember, let alone manage to say (she was a very fancy pony, apparently, whose long name came from her 'impressive' lineage), but the pony was dappled grey like the softest sprinkle of dust over something that had long been present but never been touched, and had a star on her head as brilliant as fresh milk. Thus, Stardust. He had even got to name her (well, nickname her), and if anyone had anything bad to say about her Tertius was prepared to study for a hundred hours straight just so he'd know how to cast a fireball at anyone who would dare disparage her.

Since the day she arrived, Tertius had found time to make it out the the stables and riding arena every day. Even when the rain was pouring down and the stablemaster had banned him and the other young riders from taking their horses out in the rain (too great was the risk of slipping and injury), Tertius still slipped into the stables to visit her, bribing her approval with the soggy lump of sugar sticking to his palm that had once been a cube.

The stablemaster had caught him once early on and, not believing Tertius when he said he was just there to talk to his mare, made him muck out a stable as penance. In the end he had only managed a small corner before the stablemaster had thrown his hands into the air and given up on making a skinny five-year-old aristocrat heave dung.

"Shouldn't you be in classes? Or running around like kids are supposed to with their friends?" the stablemaster had asked, after watching Tertius visit enough times to know he truly was saying hello to Stardust for the company and nothing more.

Tertius wilted, his fingers scritching Stardust's withers and making her eyes close in sleepy approval. It was true he had classes that day, but the classes were troubling. While most of the students hadn't had their magic grow in yet, their lessons mostly consisted of practicing learning runes, learning the theory behind casting spells and visualizations. The former of which came easily enough to Tertius, but the latter proved to be a struggle.

He was good at picturing things with his mind, which the enchanter had explained was an important part of learning how to cast. Closing his eyes and envisioning with all the focus he had came naturally to Tertius, and was something he had practiced trying to draw things even before he came to the Circle. The difficult part was looking inside to figure out how he felt. The enchanter had assured them all that knowing yourself was absolutely critical in protecting yourself from possession, to know what voices were your own and which voices were coming from beyond.

That exercise was a bit more complicated when he had voices whispering to him that he was pretty sure at this point he wasn't supposed to have. Even when the enchanter spoke of those other voices, she had always framed it as "in the future" and "when you dream" and "asking you for things". None of which seemed to apply to Tertius' particular problem.

In a way, this was good. It meant the distant, unintelligible murmurs weren't demons trying to trick him. Tertius couldn't hear exactly what they were saying, but he had a hunch they weren't asking for anything. Most of the time it felt as if they weren't even aware he was listening, and he never truly felt threatened or scared by the voices, even when they had first arrived. He hardly ever mistook them for sounds in the room that others could hear too, and his accuracy in picking that out only grew keener as he practiced.

But when his only assignments to work on outside of class is to "practice listening to his own internal voice", he felt uniquely isolated having the added need to shut out the whispers that would not go away no matter how he clasped his hands over his ears.

"I like it here," Tertius said, simply. "It'sss, quiet."

That was true as well. The stables were some distance away from the Circle proper, out on the edge of the grounds. The farther he went from the Circle's towers, the softer the voices grew, and when he rode he felt the same peace he did at night, when he squinted down at the anatomy drawings that seemed to sooth the invisible crowd that followed him.

He didn't need to worry about the whispers when he was out visiting the stables and he didn't worry about how his own words clipped and caught on his teeth when he spoke; his only audience the stablehands (mostly disinterested slaves who wouldn't concern themselves with him anyway) and Stardust. He could ride in peace, or sit listening to the patter of rain on the stable's roof as he sketched out the face of the big charger who watched him curiously accross the stable's aisle. He would blow his breath gently on the page, brushing away charcoal dust and errant straw, feeling alone but no longer lonely.

At night, Tertius felt lonely but not alone. He couldn't justify sleeping out in the stables, no matter how quiet he'd promise he'd be or how comfortable he swore the piles of hay were (although he lied- they prickled and poked at him whenever he sat on them, to say nothing of laying down). Even if he did, he imagined he'd wake feeling groggy and strange like when he napped in the atrium or out on his estate's patio. But sleeping back in the Circle meant the voices would forever pester him as he laid down to sleep, and he was constantly being chastised by the patrolling dorm prefect to "snuff that light and go to sleep, Maker's sake!"

At first, Tertius' solution was to sleep practically on top of the dense anatomy reference book he had checked out from the library, holding it like some of the other students held stuffed toys. The whispers were silent only when he had the thing opened, but having it so close felt comforting and right, and when he got bored he'd slip it open to one of the illustrations and squint at it in the dark.

Later, Tertius grew bolder, realizing that the prefects and dorm master had little time to focus on him when he wasn't being genuinely disruptive. He was quiet and obedient during the day, taking so frequent naps that he was asleep nearly as often as he was awake, but that certainly stemmed from his nocturnal adventures after lights out. It had only taken a few days to figure out the patrol's schedule, and after constructing a Tertius-shaped lump with his pillow that he thought was actually quite impressive, he crept between the partitioned beds and slipped silently into the Circle's dark corridors.

It was all very exciting, pretending to hide in the enclaves of the Tevinter architecture and dodging older students as he ghosted through the halls. Outside the dormitory wing few people gave him a second glance, even with how young he was. Granted, there weren't many people up and about at that time of night, but there were always a sprinkling of older students hard at work in the library, academically-induced neuroticism making them interesting subjects for people-watching.

Tertius spent a great deal of his time at night, trotting silent and free between the tall walls of bookshelves and exploring. There was a loft that overlooked most of the lower level, piles of pillows and blankets and low tables for resting food as the students worked, which he enjoyed using to get a bird's eye view of everyone up reading and studying.

There he first noticed how some of the bookcases overlapped reading enclaves, making little hidden dens he could hide in if he squirmed through one of the lower shelves. He tried it instantly, counting out the bookcases carefully and then finally pulling out all the texts in the bottom row. Sure enough, there was space behind the gap of books, enough for him to stretch out with one of the glowing stones they lent out in the library (as lanterns and other open flames were banned near the books) and some food and pencils. Like having his own little room. Delightful!

That's not to say the Library was the only place Tertius visited during the night. He stayed indoors, true, but he enjoyed sneaking into classrooms while they were not in use, his lantern illuminating the austere trappings of those that were meant for the older students. It appeared that the classroom he attended were purposefully childish with their large-lettered postings and more fanciful hung pictures. For the most part, he couldn't say the classroom for older children were preferable. The exception was one room in the east wing that had a very pretty painting of a horse galloping. That one was okay.

Wherever he went, the whispers would follow. It became a more distant bother gradually, something different about him like his stutter or Stardust, but neither bad nor good. After a time Tertius realized he was probably able to ignore the voices well enough and sleep at night like the others, but slinking around proved to be so enjoyable he elected to spend his free time at night.

That changed one night when he was exploring the northern wing for the first time. He had been amusing himself on the staircases, skipping up and down the steps and counting out the numbers quietly to himself, when he realized he had gone lower and lower. Looking down the hallway, he saw that the tall windows that lined the corridor walls were gone and replaced by panes of stained glass, illuminated from behind by a kind of magic Tertius couldn't make out through the foggy translucent. He was below ground, on one of the Circle's basement floors.

This place called to him.

Not only literally, with the whispers growing louder and most distinct, more recognizable and just inches away from something he could understand, but there was a deep longing in his chest that felt familiar and right. He walked slowly down the hallway, his boots echoing throughout the empty rooms in the dead of night.

As he moved, he peeked into the rooms, silently observing the wide, low-set tables and stools and the abandoned books still open to where people had last read them. Eyes looked blindly down on him from above, drifting in their jars of formaldehyde next to the strange shapes of other, less placeable organs.

The naturalist's labs.

Tertius smiled faintly, taking in the welcoming, chemical smell. He wouldn't have classes here for years yet, but it already felt like home. He skulked across the hallway to the adjacent classroom to see how many of the body parts there he could label, and if the older students had any experiments out that he could observe.

It was only when the familiar ache of tiredness in his small body warned at the impending dawn did Tertius abandon the labs, hopping up the stairs just in time to see the reverse silhouette of the sunrise begin to form and stretch over the floors of the first story's halls. Just in time to run out and catch Stardust for a pet and a kiss before the other kids would be waking up.

--

He returned that night, compelled by the feeling of home and by the still-nebulous voices that spoke just beyond his hearing. The stables were a haven for him during the day, warm and quiet and filled with the earthy scent of sweat and dung, but in the blue cast of the night Tertius felt compelled to the antithesis, the cold and abandoned and chemical, where the whispers commanded him loudest.

He returned again and again, sometimes looking at the big, beautiful diagrams of disected creatures drawn in chalk on the board by lanternlight and later, when his magic began to smolder into life, by the tiny, flickering magelight that was the first spell he and the other children were taught. The first time he had brought his staff down with him to the lab, he had ended up stowing it in one of the rooms for the night, so distracting was the voices. But he remained curious as to their nature, and drawn to experimenting with the phenomena how he could. Ran tests as he ventured deeper and further into the labs, and recorded the changes in the whispers as he heard them in his sketch book, next to drawings of bones.

Naturalist's words, like he read in his books. He'd be a proper researcher, practice for when he grew up.

It was a warmer night when, amongst the whispers, Tertius heard a true voice. He instantly knew it was real, that it was there and present in a way the others had not been, and he leapt up from where he was sitting and reading in the dark to follow this new development, only pausing to grab his sketchbook.

He spirited towards the sounds, excited for even a hint at what they had been saying all this time now that one was close enough to record, and jumped at a shrill scream that ended abruptly.

Tertius wondered in fear for only half a moment, before he crept cautiously forward. He knew the whispers weren't bad, they weren't sounds like that, and when he turned down the next corridor and to the sound he was proven right. One of the doors was left ajar, a low light cutting a yellow line against the ground where it peeked through.

It hadn't been the whispers, Tertius realized, almost disappointed that there would be no resolution or even a new discovery in his own strangeness. But then, he had visited the labs at night many times, and they had always been deserted. Why would that suddenly change?

Tertius inched forward, cringing and flinching at the sounds of wailing and impact, of whispers from present people and what sounded like laughter or sobbing, he couldn't really tell. Gradually, slowly, he gathered up at the mouth of the room and aligned his eye with the sliver of open door.

There were older students there, crowding around and delighted with their entertainment: one of them held a large sack, the kind Tertius had seen slaves haul to the kitchen, filled with foodstuffs. they had one end gathered up as the bag squirmed.

There was something in it.

It was too big. There was someone in it.

The muffled screaming had an origin now, at odds with the laughter of the older apprentices. The one holding the sack loosened the gathered section enough for another to drop something- what Tertius could not see- into the bag and clamp it up behind it, gut-busting laughter following as the thrashing in the bag redoubled.

"Do another one, do another one!" one of the boys goaded in a loud hush.

Tertius didn't wait around and see if the other obliged. He did not understand this, but he knew with the same instinct that told him to hide the whispers that this was wrong, that he needed to tell someone, and he trusted that instinct. He fled.

[musocmusic]

Hohes Niveau mal wieder beim 61. Song Slam im Münchner Theater Drehleier. Bei vollem Haus feierte das Publikum die acht Teilnehmer und setzten dem Jazz Hiphop Kollektiv mit der blauen Tonne – Mango Mindset – die Krone auf. Mehr von Joachim Mack morgen.

Die Anmeldung für den 5. März ist bereits geöffnet. Wer teilnehmen will: Jetzt noch schnell anmelden!

Pfeiffende Eröffnung: nussig

Nimmt sich Zeit: Alina Abgarjan

Bayerischer Rock am Klavier: deEVA

Shakespeare meets Hip Hop: Mango Mindset

Mit Hip Hop Jazz auf Platz 1: Mango Mindset

Markenzeichen blaue Tonne: Mango Mindset

Von Prinz Porno bis Shakespeare: Mango Mindset mischt es alles

Das doppelte Saxofon von Boris und Emmanuel

One-Man-Band dank Gitarre und Bluesharp aus dem Allgäu: Sandesch

Mit flotten Grooves und Stimmung auf Platz 3: Alex Perez & The Lights

Kubanisch-amerikanische Samtstimme und ungarischer Gitarrist: Magnetic Bonbons

A capella und am Klavier beeindruckend: Patricia von Thun

Klassisch-sozialkritisches Songwriting: Uli Schell

Poetry Slammerin kam das Land abhanden: Katrin Freiburghaus

Mango Mindset bei der Zugabe

Die glücklichen Finalisten: Mango Mindset und Alina Abgarjan

Der 61. MuSoC Song Slam in Bildern Hohes Niveau mal wieder beim 61. Song Slam im Münchner Theater Drehleier. Bei vollem Haus feierte das Publikum die acht Teilnehmer und setzten dem Jazz Hiphop Kollektiv mit der blauen Tonne - Mango Mindset - die Krone auf.

[sciencespies]

Water propulsion technologies picking up steam

https://sciencespies.com/space/water-propulsion-technologies-picking-up-steam/

Water propulsion technologies picking up steam

This article originally appeared in the Aug. 19, 2019 issue of SpaceNews magazine.

When the Aerospace Corp. launched the Optical Communications and Sensor Demonstration in 2017, one mission objective was to test water-fueled thrusters. At the time, the idea was fairly novel. Two years later, water-based propulsion is moving rapidly into the mainstream.

Capella Space’s first radar satellite and HawkEye 360’s first cluster of three radio-frequency mapping satellites move in orbit by firing Bradford Space’s water-based Comet electrothermal propulsion system. Momentus Space and Astro Digital are testing a water plasma thruster on their joint El Camino Real mission launched in July. And an updated version of the water-fueled cold gas thrusters the Aerospace Corp. first flew in 2017 launched in early August.

“Water is an ideal propellant,” said Mikhail Kokorich, Momentus founder and president. “It can be used as-is in solar thermal, nuclear or electrothermal engines. In addition, water can easily be broken down into hydrogen and oxygen.”

Tethers Unlimited takes the later approach with Hydros-C, a thruster that relies on electrolysis to split water into its constituent elements before burning it in a bipropellant nozzle.

“The result is good fuel economy and good thrust,” said Robert Hoyt, Tethers Unlimited chief executive.

NASA plans to test a variety of cubesat technologies including Hydros-C on its first Pathfinder Technology Demonstrator. PTD-1 is scheduled to fly to the International Space Station in November before traveling to a higher altitude to deploy from a Cygnus cargo tug. Meanwhile, Millennium Space Systems, a Boeing subsidiary, is integrating Hydros-C in its Altair spacecraft bus.

A CLEAN, ABUNDANT FUEL

Tethers Unlimited began investigating water propulsion years ago because water poses no harm to technicians during satellite integration nor to payloads riding alongside small satellites into orbit, Hoyt said. Water propellant also fits into Tethers Unlimited’s long-term vision of creating a sustainable in-space ecosystem.

“Water is a resource around which an economy and marketplace in space could develop,” Hoyt said. Initially, water required to fuel propulsion systems will launch from Earth but later it could be extracted from the moon or asteroids, he added.

Purdue University graduate student Katherine Fowee and postdoctoral research associate Anthony Cofer work on a new micropropulsion system for cubesats. Credit: Purdue University

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Kokorich agreed, saying water is likely to be the first and most important resource mined on asteroids and on the moon. Once mined, companies will propel spacecraft, satellites and in-space transportation vehicles, like the shuttles Momentus is developing, with water, he added.

Deep Space Industries, the firm that developed the Comet propulsion system before it was acquired by Bradford in January, celebrated the long-term vision of extracting water from celestial bodies to fuel spacecraft. Bradford is more focused on the near-term potential for water to fuel missions in Earth orbit.

“It’s non-toxic, easy to transport, easy to fuel up and you can put it on a rideshare without any trouble,” said Bradford Director Ian Fichtenbaum. Small satellites equipped with water-based propellants are welcome on small rockets, he said, adding, “many of the small launchers have no facilities for hydrazine loading and no plans for that.”

BlackSky is preparing to launch an Earth observation satellite built by LeoStella, the Spaceflight Industries-Thales Alenia Space joint venture, equipped with Bradford’s Comet thruster on the next flight of the Rocket Lab Electron rocket. At press time, the launch was scheduled for Aug. 16.

While cubesats with electric and chemical propulsion can win approval to accompany larger satellites on some rockets, the safety review process can be arduous. After enduring that review process, Aerospace Corp. engineers spent years developing steam thrusters.

The first ones flew in 2017 on the two-satellite Optical Communications and Sensor Demonstration mission, also known as AeroCube 7. AeroCube 7 launched as a secondary payload on a ULA Atlas 5 rocket that sent a classified National Reconnaissance Office satellite into orbit.

After some initial problems with ice plugging the nozzle, the Aerospace Corp. turned up the temperature on both thrusters and fired them to move the AeroCube 7 satellites toward one another, according to “The NASA Optical Communications and Sensor Demonstration Program: Proximity Operations,” a paper presented in August 2018 at the Small Satellite Conference in Logan, Utah. An updated version of AeroCube 7’s steam propulsion launched from Cygnus Aug. 7 on AeroCube 10.

Universities around the world also are developing new water-based propulsion systems.NASA awarded Purdue University funding in 2018 to launch a miniature water-fueled thruster, Film Evaporation MEMS Tunable Array, or FEMTA, on Blue Origin’s New Shepard suborbital rocket in 2021. (MEMS stands for micro-electro-mechanical system.)

Aerospace Corp.’s steam-propelled AeroCube 10 launched Aug. 7 from a Cygnus space tug. Credit: Aerospace Corp.

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“What is unique about this flight testing is that the payload will be located on the outside of the launch vehicle so that the FEMTA propulsion system can be tested in real spaceflight conditions (both vacuum and low gravity),” Alina Alexeenko, FEMTA principal investigator, said by email.

FEMTA, a tiny thruster manufactured in batches on silicon wafers, measures one centimeter by one centimeter by 0.3 millimeters. It consumes less than one watt of electrical power and provides thrust that mission operators can tune to levels as low as a few tens of micronewtons, about the weight of a single eyelash, for fine attitude control of small satellites or large deployable structures, Alexeenko said.

The University of Tokyo built a cubesat equipped with Aquarius, a resistojet propulsion system fueled by water. The Aqua Thruster Demonstrator or AQT-D cubesat, which houses an Aquarius thruster, is slated to travel to the International Space Station in September on a Japanese cargo resupply mission. AQT-D will later be deployed from the Japanese Experiment Module, according to “AQT-D: Demonstration of the Water Resistojet Propulsion System by the ISS-Deployed CubeSat,” a paper presented Aug. 4 at the Small Satellite Conference.

Water propulsion enthusiasts are celebrating all the innovation. “Just as oil powered the industrial revolution on Earth, water will power the space industrial revolution,” Kokorich said.

Until then, spacecraft manufacturers and launch providers are simply relieved to find fuel workers can handle without donning Self-Contained Atmospheric Protective Ensemble, or SCAPE suits.

Join us on Facebook or Twitter for a regular update.

#Space

[inkoholiczka]

Mikołajki Folkowe za nami, relacje i wideorelacje też, pył bitewny, zdawałoby się opadł… Ale to tylko złudzenie! Mam dla Was, Inkoholicy, wywiad, którego przeprowadzenie było dla mnie zaszczytem. Znakomite pieśniarki z Laboratorium Pieśni poznałam jak to ja – przypadkowo, przez internety, zachwycona doszczętnie ich wykonaniem „Kappee” w moim ukochanym fińskim języku. Jednym z moich muzycznych marzeń było usłyszenie tych kipiących piękną, naturalną, pierwotną wręcz energią na żywo – i udało się, i to w moim własnym mieście! Kim są dziewczyny? Laboratorium Pieśni – Song Laboratory (world/etno/spiritual/mystic folk music) to trójmiejski, kobiecy zespół pieśniarek, powstały w 2013 roku. Grupa śpiewa i aranżuje tradycyjne pieśni polifoniczne: ukraińskie, bułgarskie, białoruskie, serbskie, albańskie, bośniackie, polskie, a także gruzińskie, skandynawskie, oksytańskie i wiele innych. Pieśni Świata wykonują zarówno a capella, jak i przy akompaniamencie bębnów szamańskich i innych etnicznych instrumentów (m.in. shruti box, dzwonków, przeszkadzajek, fletu, kalimby, mis, gongu), wnosząc w pieśni tradycyjne nową aranżację, przestrzeń improwizacji głosowych, inspirowanych dźwiękami natury, często intuicyjnych, dzikich, kobiecych. Zapraszam na rozmowę ♫ Inkoholiczka: Na samym początku chciałabym podziękować Wam za znakomity koncert w czasie tegorocznych Mikołajków Folkowych. Wiem już, co Wasza muzyka robi w słuchaczach – ale co ona robi w Was, gdy śpiewacie? Jak ją przeżywacie w czasie koncertu? Laboratorium Pieśni: My również bardzo dziękujemy – za obecność i ciepłe słowa. Bardzo, bardzo nam miło słyszeć, że nie tylko na nas tak silnie działa tradycyjna muzyka. Co do pytania: Cóż, doświadczanie pieśni polifonicznej jest pewnie takim zjawiskiem, na którego temat każdy śpiewak czy pieśniarka mogliby napisać osobną, własną opowieść. To po prostu bardzo indywidualne przeżycie – jednocześnie duchowe, performatywne, emocjonalne, wspólnotowe. Każda pieśń odwołuje się do trochę innej rzeczywistości, mówi o różnorodnych doświadczeniach, więc można powiedzieć, że jak sobie podróżujemy muzycznie podczas koncertu od Ukrainy przez Białoruś i Polskę po bardzo szeroko pojęte Bałkany, to mamy cały kalejdoskop różnych przeżyć w tych pieśniach zaklętych. I to już w indywidualnej gestii każdej z nas leży, w jakim stopniu uwewnętrznia te emocje podczas koncertu. I: Wiem, że swoje pieśni wyszukujecie w najdalszych i najbardziej pierwotnych zakątkach Europy – jak jednak wygląda proces tworzenia pieśni od pierwszego „zasłyszenia” do momentu, gdy już stoicie na scenie? LP: Przestrzeń laboratoryjna i warsztatowa, w której tworzymy jako zespół, jest taką naszą bazą do kreacji pieśni. Na początku jest etap oswojenia się z pierwotną formułą, wypracowania wyjściowych harmonii. Później przychodzi czas na improwizację, na nową aranżację i na wszystko to, co indywidualizuje pieśń. Materiał sobie dojrzewa, pączkuje i w końcu – jest. I: Który moment tworzenia jest Waszym ulubionym? Bardziej pierwsze spotkanie z Utworem, czy może oklaski po koncercie? LP: Ojej, trudno wskazać ulubiony moment tworzenia. Laboratorium Pieśni dostarcza tyle „ulubionych”, pięknych momentów, że można dostać zawrotu głowy. Moment odkrycia cudownej pieśni tradycyjnej, przyjęcie jej na warsztat, moment pierwszego wykonania – wszystko to jest wyjątkowe. I: Wasza muzyka jest muzyką korzeni – słychać w niej nuty słowiańskie, bałkańskie rytmy, klimaty Europy północno-wschodniej. Macie jednak doświadczenie z występami za granicą – jak reagują na Waszą sztukę cudzoziemcy, odcięci od naszej historii, z innymi tradycjami? LP: Publiczność zagraniczna, często ta dość oddalona kulturowo od muzyki słowiańskiej czy bałkańskiej, bardzo przychylnie reaguje na naszą muzykę. Ludzie są niesamowici – tańczą, modlą się, medytują, przytulają się, czerpią w taki otwarty, bezpardonowy sposób przyjemność z naszego koncertu. To jest bardzo piękne, bardzo wzruszające. Muzyka znosi językowe i kulturowe bariery, okazuje się, że wszystkich nas ona zabiera do przestrzeni otwartości serca. I: Jaki projekt, współpraca najbardziej zapadły Wam w pamięć? LP: Spotkało nas wiele niesamowitych przygód muzycznych na przestrzeni ostatnich lat i chyba o wszystkich pamiętamy bardzo dobrze. Najświeższe wspomnienie to L.U.C i płyta Good LUCK, na której gościnnie wystąpiłyśmy. Obchodzimy też w grudniu taką małą wewnętrzną rocznicę naszego wspólnego wyjazdu do Radżastanu, który był mocnym, pięknym doświadczeniem – koncertowym, warsztatowym, kulturowym i muzycznym. I: Wyobraźcie sobie, że nie zupełnie ograniczają Was fundusze ani czasoprzestrzeń – jaki projekt byście zrealizowały? Zorganizowały festiwal? Odwiedziły jakieś miejsce? LP: Tak naprawdę to realizowanie zespołowych projektów i marzeń ma największy sens właśnie wtedy, kiedy one są wpisane w czasoprzestrzeń, ograniczenia budżetowe, różne inne składowe rzeczywistości. Póki co, mamy przed sobą nowy rok i nową płytę – Rasti. To jest taki projekt, o którym każda z nas dużo myśli i cała masa pracy za nami i przed nami, żeby tę płytę pokazać (i zaśpiewać) jak największej grupie osób. I: Na koncercie krzyczałyście, że wyśpiewujecie swoją kobiecość – czym ona jest dla Was? Jak ją rozumiecie, jaką rolę odgrywa w Waszej sztuce? LP: Jesteśmy kobiecym zespołem, więc sama nasza struktura już nas do czegoś zobowiązuje (śmiech). Z pewnością kobiecość i ogrom doświadczeń, które się z nią wiążą, są silnymi czynnikami kształtującymi naszą twórczość. I też pieśni tradycyjne – same w sobie – są rezerwuarem kobiecych opowieści. A jaka ta „nasza” kobiecość jest? No, gdyby chcieć wbić takie złożone i zmienne zjawisko w ramy jakichś pojęć, to zaraz nam się ta kobiecość wywinie i pokaże sto swoich twarzy. Każda nas nas – jako pieśniarka, jako artystka – ma pewnie swoją opowieść o kobiecości. A twórczość stwarza warunki do tego, żeby jej różne oblicza wyśpiewać. I: Jak znalazłyście siebie nawzajem? Wiem, że Alina i Kamila były na początku, lecz jak trafiałyście do Laboratorium, jak budowałyście zespół? LP: Tak, z grubsza: Alina i Kamila prowadziły warsztaty Akademii Laboratorium Pieśni w Gdańsku. Tam spotkały się z Lilą, Karoliną i Aliną Klebbą – i zaiskrzyło, po czasie poczułyśmy, że to jest „TO”, ta konstelacja. W orbicie pieśniarskiej, jeszcze przed założeniem Akademii, byłam ja – Iwona, no i Magda – która z Aliną śpiewała od kołyski, bo jest jej siostrą (śmiech) Tak sobie śpiewałyśmy po chatkach, po lasach…I się nam zespół wyczarował. I: Koncert czy Wasze nagrania dostępne są dla wszystkich – jednak bardziej dostępne jesteście w czasie zamkniętych warsztatów. Jak wygląda ta interakcja? Czy uczestnikom, świeżo oderwanym od komputera i codzienności, ciężko jest się otworzyć na siebie nawzajem i na Was? LP: Nasze warsztaty to spotkania nie tylko z nami – początek warsztatów to tak zwany „prysznic” dla naszych myśli, wyobrażeń na temat siebie i swojego głosu. Dużo pracujemy z ciałem, oddechem, dźwiękiem. Następnie wspólnie śpiewamy pieśni tradycyjne. Z naszych obserwacji i wieloletnich doświadczeń warsztatowych możemy śmiało powiedzieć, że spotkania w śpiewie, w pieśni są bardzo otwierające, odrywające od rzeczywistości codziennej, rozwijają uważność na drugiego człowieka. Podczas 2-dniowych warsztatów weekendowych organizujemy również krąg pieśni indywidualnych, czyli każdy uczestnik – jeśli oczywiście ma chęć – dzieli się swoją pieśnią. Uczestnicy śpiewają przeróżne pieśni/piosenki – czasem opowiadają przy tym bardzo osobiste, intymne przeżycia. Często nie zdajemy sobie sprawy jak wiele ważnych historii i emocji kryje się w głosie. I: Dziękuję pięknie za rozmowę. Mam nadzieję, że będziemy jeszcze mogli gościć Was w Lublinie! LP: My również dziękujemy i mamy nadzieję na powrót do Lublina, było nam tu wspaniale! To tyle! Dziękuję Laboratorium raz jeszcze za rozmowę (zajrzyjcie koniecznie na ich stronę!), a jeśli chcecie zasmakować raz jeszcze Mikołajkowego szału i zobaczyć fragmenty koncertu dziewczyn w CSK – zapraszam do oglądania teledysku z wydarzenia: Źródło grafiki: oficjalna strona FB Laboratorium Pieśni

https://inkoholiczka.wordpress.com/2018/12/20/inkowywiad-laboratorium-piesni/

[juaninavarrodibuja-blog]

~~> Exposición Colectiva SUDESTADA 100<~~

Este mismo viernes, dentro del Festival, se inaugura en la Sala 6 la exposición Sudestada 100. Una extensa e impresionante exposición de 100 artistas, con selección para nada exhaustiva, que intenta dar un gran paneo por la enorme diversidad y calidad de la producción local.

Con cuidada curaduría de Angela Corti.

Participan: Alina Calzadilla, Ana Paula Méndez, Ana Sanfelippo, Andrés Agosin (Monk), Ariel López V., Camila Torre Notari, Catriel Martínez, Cecilia Afonso Esteves, Christian Montenegro, Clara Lagos, Claudia Legnazzi, Cristian Turdera, Cynthia Alonso, Damián Conci, Daniel Roldán, Daniela Achoyan, Daniela Arias, Daniela Kantor, Daniela Ruggeri, David Paleo Nunes, Decur, Delius, Diego Parés, Don Ponzoña, Elda Broglio, Ernan Cirianni, Eugenia Mello, Federico Porfiri, Florencia Capella, Florencia Delboy, Frank Vega, Rëgina, Iván Riskin, Isol, Jazmín Varela, Jo Murúa, Joaquín Camp, Johanna Wilhelm, Jorge Quien, José Villamayor, Josie Bartolomé, Juan Manuel Puerto, Juan Pez, Juan Vegetal, Juani Navarro, Katana, Krysthopher Woods, Langer, Laura Varsky, Lautaro Fiszman, Lucía Brutta, Lucila Biscione, Lucila Domínguez, Luis Gory, María Elina Méndez, María Luque, María Victoria Rodríguez, Mariana Ruiz Johnson, Mariano Grassi, Marina Zanollo, Marquitos Farina, Martín Vitaliti, Martín Laksman, Martín Orza, Matías Malizia, Matías San Juan, Max Cachimba, Miren Asiain Lora, Muriel Bellini, Natalia Colombo, Natalia Lombardo, Nicolás Mealla, No Tan Parecidos, Otto Zaiser, Pablo Elías, Pablo Gamba, Pablo Lobato, Pablo Picyk, Pablo Vigo, Pablo Zweig, Patricio Oliver, Patricia Tewel, Pedro Mancini, Podetti, Polaco Scalerandi, Roberto Cubillas, Sabina Álvarez Schürmann, Santiago Fredes, Sémola Souto,Silfrom Pencilory, Sole Otero, Un Faulduo, Vale Boquete, Valeria Cis y Vero Scherini.

La exposición inaugura este viernes a las 15hs en el marco del festival y se podrá visitar hasta el 27 de Marzo, en la sala 6 del Centro Cultural Recoleta.

Auspician: Pizzini y Cynar.

#sudestadadedibujoeilustracion #sudestada100 #festivalsudestada#centroculturalrecoleta #angelacorti #musarañaproductora

[alinacapellabooks]

Aaaaaand it’s officially my birthday. I’m now 26. Here’s to surviving another trip around the sun. ^_^

[alinacapellabooks]

I will never buy books written by AIs. I support fellow writers, not machines, and if you can't be bothered to write your book, why should I be bothered to read your book?

[alinacapellabooks]

HUGE ANNOUNCEMENT! THE TENGU AND THE ANGEL RELEASE DATE!

Hello, hello, dear followers, and all else who are viewing this post! I have some very exciting news for you all! My debut novel, The Tengu And The Angel, will officially be releasing on Kobo, and Amazon, on the tenth of December, 2023, so there'll be plenty of opportunities for you to grab your copy! Oh, but why would you want to grab a copy, you might ask? What's the book about? Those are brilliant questions, my friends, and I'm going to tell you the answers right now!

The Tengu And The Angel is a friends-to-lovers romance about two roommates falling in love, and learning to let go of their pasts. Eighteen year old Kunio Yoshioka has just fled his abusive mother's home in Northampton, and he's journeying up north in search of a new home, and a fresh start in life. He's armed with nothing but his dreams of being a successful artist, and his vivid imagination. He thinks of his new adult self as a tengu; strong, proud, and capable of things his child self could only dream of. Twenty year old Nathaniel seems to have it all; he's gorgeous, he lives in a beautiful apartment in the centre of Newcastle, and he's the owner and founder of Black Rose, a Victorian gothic online boutique. Kunio thinks of him as angel; he's faultlessly polite and kind, and he goes above and beyond to help him when they first meet, even though he doesn't know him. He's also painfully insecure, and he lives under the thumb of his toxic 'best friend', Theo, who uses his mental illness to control him. When Nathaniel takes Kunio in, the two form a close friendship, which slowly blossoms into love. Can the two of them learn to put their pasts behind, and make their relationship work? Get your copy, and find out, in December 2023!

Meet The Characters:

Kunio:

Nathaniel:

[alinacapellabooks]

In 500 years' time, if students are forced to analyse my books in college, I'm going to give them such a headache. Whenever a future English professor reads my work and says, 'The curtains were black to subtlely hint at the main character's grief and depression', my ghost, or the android housing my consciousness when my human body expires is gonna appear next to them like, 'OMG, I can't believe you got that reference!'

[alinacapellabooks]

I'm feeling all of the things right now. The Tengu And The Angel is coming out tomorrow. My first book is coming out tomorrow. I never thought I'd make it this far, but now I'm this close to achieving my dream of being a published author. AAAAAAAAAAAAAAAAaaaaaaaAAAaaaaAAAAAaaaAAaaAAAAaaaaA

[alinacapellabooks]

A quick question

How would you all feel if I started doing book reviews on here? Some of my moots' books are on my reading list for this year (A Day For Ghosts, and The Stars May Fall to name just two), and I wanted to know if people would wanna see me review my moots' books when I've read them? As an indie author myself, I know how hard it is to get books out there, so I wanna do my bit to help promote the people whose books deserve more love. ^.^

[alinacapellabooks]

Sometimes I talk to fanfiction writers, and they're like, 'Oh, Alina, I don't have the confidence to write original fiction like you do, I'm not good enough for that' but then they'll turn around and write an AU that's like, 'Helluva Boss, but Blitzo and Moxxie are human, and also the children of a kindly farmer living in Victorian England'. Girlypop, you ARE good enough to write original fiction, because you basically just did. Stop doubting yourself, and show your original work to the world. It's good, I promise.

[alinacapellabooks]

Get to know me tag!

Thanks for the tag @deanwax!

Last song: Abnormalize by Ling Tosite Sigure. It's on one of my character playlists for Night Of The Blue Moon

Last TV show or film: The Ballad Of Songbirds and Snakes. I don't care much for films, as I don't have the attention span necessary to sit still and do nothing for that long, but since I loved the book, I had to see the film. It was good, but it would have worked better as a series in my opinion, as it cut way too much from the book

Currently watching: Nothing right now, but I'm excited for Hazbin Hotel

Currently reading: We Could Be So Good by Cat Sebastian. I'm a sucker for gay historical romances, and this one's set in 1950s New York, at a newspaper press. Also while it's not explicitly stated, one of MCs, Andy, is very heavily implied to be autistic, so points for good autistic rep

Sweet, spicy, or savory?: I love sweets, especially red velvet cake, and Haribo gummies. I'm also very fond of Lindt nuxor, and stracciatella lindor truffles

Last thing I searched online: Daki flan. Daki flan plushies are very difficult to come by where I live, and it was just my luck that a store near me happened to have a fresh shipment of giant daki flan plushies in stock. One is now on its way to me

Last thing I searched for writing purposes: Silver pointe shoes. When coming up for a design for Ariel (MC of my WIP, Night Of The Blue Moon)'s magical girl costume, I wanted to create something that was both practical and pretty, and since Ariel did ballet as a teenager, pointe shoes seemed like the perfect option

Current obsession: We Could Be So Good. I'm very, very in love with this book right now. The domestic 1950s newspaper gays took my heart, and they won't give it back. AAAAAA

Tagging some of my newest followers, @elaraslove and @estellamiraiauthor

[alinacapellabooks]

Finally laid out my goals for 2024. The list so far is:

-Finish, and publish the first book in my Night Of The Blue Moon series

-Learn more about book marketing so that I can make my books succeed financially

-Start work on the next part of Night Of The Blue Moon, and a sequel for The Tengu And The Angel (Which, at the moment, will be told from Nathaniel’s perspective instead of Kunio’s)