#historical tude

[adarkrainbow]

Playin with fire, Transgression as truth (B)

And here is the sequel to this post! Now, I do believe the interpretation gets a little far-fetched sometimes and some hairs are pulled... But it stays a very interesting analysis and theory!

READING « FRAU TRUDE » QUEERLY

Diving deep into the queer possibilities of “Frau Trude,” I offer, but certainly don’t exhaust, queer understandings from both the girl’s and Frau Trude’s perspectives. I read certain passages multiply, without contradiction. More decipherment than conventional analysis, much remains to be explored in my approach. I find the girl too knowing and too anxious to leave her past behind, the witch too desirous of warmth and light, the ending too filled with jouissance, ardor and contentment, heat and brightness to regard the story simply as a caution against curiosity or a warning against an old woman’s nefarious ways. My investigation of “Frau Trude” takes further inspiration from Dinshaw’s assignment of impulse and tactility to her work on late medieval England. Following a “queer historical impulse” (1999, 1), she embraces the radical possibilities for making connections between lives in the past and present. In defining a contingent history, she takes seriously the term’s root meaning L. com + tangere, to touch, as it revises our relation to the disjunctiveness and indeterminateness of queer lives and sexualities. Deliberately celebrating fragmentation, using “new pieces of history,” Dinshaw shows that “queers can make new relations, new identifications, new communities with past figures who elude resemblance to us but with whom we can be connected partially by virtue of shared marginality, queer positionality” (39). Of course, fictional figures may provide even wider lati[1]tude for connecting past and present, existing only to be touched by and to touch the changing generations who read their stories. In this time, in this place, I touch “Frau Trude” queerly

For anyone who has gone through the emotionally demanding drill of “coming out” gay or queer, as I have, reading “Frau Trude” retrospectively as an early narrative model of this painful yet exhilarating process is revelatory. Emphasizing a conscious self-recognition of one’s homo-identity, postliberation “coming-out” narratives now occupy their own category.11 Their widespread acceptance as a popular genre, beginning in the 1990s, inspired my Winnipeg class of that era. We discovered all the motifs of the classic coming out narrative in “Frau Trude”: forbidden attraction; desire to meet the love object; parental restriction on such desire announced in a threat of disownership; stubborn determination to go, regardless of such threat; feelings of fear and self-doubt manifested in menacing images; encounter with the lover, who simultaneously calms the fear and stokes the fires of passion; and, finally, the transformation—no longer just any girl, but now a glowing gay girl. Reading “Frau Trude” as a coming-out story, our interest focused on the young woman’s compulsion, fears, courage, and identity shift. This interpretation dovetailed nicely with Stone’s emphasis on the girl’s quest for self-knowledge and freedom.1

But “Frau Trude” also touches an older, transgressive narrative tradition, alive and well in the nineteenth century and earlier. Our tale aligns nicely with the Sapphic subgenre, those steamy stories of obsession, deviance, desire, and seduction. In these narratives an older woman, schooled in seduction, lures a younger girl willing, in some sense, to learn.13 Even if positioned as an innocent, the girl, drawn to the seducer, sticks around long enough to be debauched, or at least to gain carnal awareness of her intended debauchment.14 The older woman figures as what Terry Castle calls “the apparitional lesbian” in her investigation of lesbian spectrality in novels ranging from Denis Diderot’s The Nun (1797) to Henry James’s The Bostonians (1886) and Radclyffe Hall’s The Well of Loneliness (1928): “Western writing over the centuries is from one angle a kind of derealization machine: insert the lesbian and watch her disappear” (1993, 6). Yet Castle maintains that “the very frequency with which the lesbian has been ‘apparitionalized’ in the Western imagination also testifies to her peculiar cultural power” (7). She is actually “in plain view, mortal and magnificent” (2). In novels, the elder character often holds institutional power—a mother superior, for example—but fairy tales carry the spectral lesbian in the marginalized figure of the witch.1

Tension builds in Sapphic stories as the cat-and-mouse game of lure and seduction plays out. This function of transgressive mutual attraction also drives the “Frau Trude” plot, flying in the face of normative prescriptions for relations between young girls and mature women. Neither the girl’s desire to go to Frau Trude nor Frau Trude’s desire to possess the girl is ultimately interrupted; rather, the plot inexorably draws the two together, promoting their encounter’s inevitable climax. Mutual attraction is the tale’s turnkey, raising the power of desire against all others. Much of the narrative establishes this mutuality, first from the girl’s, then from Frau Trude’s, point of view.

We enter the tale at a point of exasperation and bitter argument between parents and daughter. We’re not hearing this quarrel for the first time. The willful girl insists on going to see Frau Trude then, attempting to diminish parental concern, rationalizes her desire by claiming her real interest lies not in the older woman but in getting a firsthand look at her “marvelous” house and its “weird” contents. This deflection only serves to alert the reader that “going to” Frau Trude is the girl’s real goal.16 The parents try, of course, to block her, excoriating Frau Trude as “a wicked old woman who performs godless deeds.” They are in direct competition with the witch, who appears to have a quite lively reputation. The girl has “heard so much” about her, but from whom? Likely, vicious gossip and innuendo, including suggestions of sodomitical acts, have trailed Frau Trude for some time. Whatever the daughter has heard evidently has not repelled but rather intrigued her. Over time, this feeling has cranked into high gear

I prefer “intrigued” to Stone’s gloss of the girl as “curious” to capture the sense of anxious arousal she manifests. Intrigue is a specific kind of curiosity associated with “arousal of interest,” the “fascinating,” the compelling, and hidden, often sexual, desires. It also names an illicit love affair (Brown 1993, 1405). Where attraction meets prohibition, something more than conventional cognitive curiosity is at stake. This intrigued girl allows nothing and no one to stand in the way of her fascination with the source of her allure, Frau Trude. The parents sense their daughter’s transgressive desire; whatever she wants from the witch is irredeemably contaminating. The monstrous possibility that Frau Trude’s “godless” non-normative state might become hers as well can only be addressed through the ultimate parental threat: “if you go to see her, you are no longer our child.” Disowned, she loses both her legal and her social-emotional status as blood kin, marked effectively as abnormal, unnatural.

Does she care? No. In this charged moment of disavowal by her parents, the girl senses change in herself; she’s already disavowing them. She’s transforming, even as she will soon be transformed. She heads off. Given numerous warnings and thereby chances to retreat from her mission,17 inexorably, she proceeds. Despite meeting three frightening male figures on the steps entering the Frau’s house, she still goes forward. Looking through the window and seeing the devil, she does not turn back; instead, she enters the house to finally meet her witch. Intrigue and attraction trump prohibition and trepidation every time.

This girl is but one case of the curious, willful maids found in Grimms’ tales, from “The Virgin Mary’s Child” to “Fitcher’s Bird.”18 The sin of knowledge (Eve’s error) compounds curiosity with the disorderly impulses of desire and sexuality that spur some fairy-tale girls out into the world beyond interdiction.19 Yet curiosity remains, as Michel Foucault suggests in his introduction to volume 2 of The History of Sexuality, the great stimulus for abjuring propriety to gain the knowledge that sets one free: “As for what motivated me, it is quite simple; . . . It was curiosity—the only kind of curi[1]osity, in any case, that is worth acting upon with a degree of obstinacy: not the curiosity that seeks to assimilate what is proper for one to know, but that which enables one to get free of oneself” (1985, 8).

Fairy-tale curiosity links with inappropriate directives conventionally deemed most disastrous for women: I wish, I want, I will. Fulfilling such self-determining commands requires a determined disobedience. The girl’s curiosity demands a decision to disobey her parents and an acceptance that such defiance is tantamount to disownership. Borrowing a phrase from Judith Butler, disobedience is a failure to “repeat loyally” (1993, 220).20 If, as Butler ([1990] 1999) critically assessed, gender and sexuality norms are never original but are based on citation and repetition, then obedience, the reiteration of the normative, is the hammer of carnal conformity. Wilhelm Grimm may have rewritten “Frau Trude” to emphasize the perils of girls’ curiosity and disobedience. But for the queer reader, he unwittingly creates a perfect entrée for identification with a character who, in pursuit of her transgressive desire, declines loyal repetition. Breaking convention, her “failure” sets the girl on her own initiatory journey. As Cristina Bacchilega suggests for “Bluebeard,” “Frau Trude” is not a cautionary tale about learning to control curiosity but is about “a process of initiation which requires entering the forbidden chamber” (1997, 107). Initiation’s goal is revelation: to convert partial knowledge to full. The girl directs her curiosity toward someone she has already “heard so much” about. Something about what she almost knows—or senses—for herself about Frau Trude powers her curiosity and, more important, her shamelessness. Though she eventually feels fear, the girl never expresses a hint of regret or shame for pursuing her desire to know. With non-normative sexual desire at stake, shamelessness propels curiosity’s norm-breaking function. Specifically, for “Frau Trude’s” girl, driven by a compulsion for “unholy” alliance, shamelessness queers curiosity

Even so, she is “trembling all over her body” as she stands before the woman for the first time—with fear but also with the anxiety of first encounter and perhaps a modicum of release. Having crossed the threshold, exiled from her natal home, she stands now inside the house of marvels. Frau Trude allays the girl’s fear of the figures she has met outside. Soothingly, and perhaps with a faint inflection of flirtation, she says they are not phantoms, just the routine men—collier, hunter, butcher—who assist her in everyday living. The figure the girl saw inside the house, a fiery devil, is no phantom either, but a true manifestation of Frau Trude, who emphatically exclaims, “Then you have seen the witch in her proper dress.” Later, I will return to this dramatic self-proclamation of who Frau Trude is; for the interim, I am interested in what she wants. For at this crucial juncture the Frau identifies her witchy nature in the same breath as she unburdens her womanly need: “For you I have long waited, and longed for you” or, as Zipes translates the same passage, “I’ve been wanting you here and waiting for a long time” (1992, 160). How remarkable. The all-powerful devil-witch has been feeling a very human yearning for her cohort, with the exigencies of her longing made explicit by recourse to romantic convention: the confession of temporal anxiety both in terms of duration (waiting) and emotion (longing). Reading Zipes’s and Hutschek’s translations together yields the triumvirate of desire’s expression: wanting, waiting, longing

Witches live in both real (human) and supernatural (magical) time. In her womanly aspect, Frau Trude does not—or cannot—use her otherworldly powers to force the girl to her. As Roland Barthes claimed, “Waiting is an enchantment: I have received orders not to move” (1978, 38; emphasis in original).21 The witch endures such enchantment. She waits, as she must, for the fulfillment of a seduction she no doubt has plotted but cannot complete without the girl’s autonomous desire to seek her out. Seduction’s game depends on waiting and requires both parties to spend some time getting worked up. The girl’s willfulness and Frau Trude’s yearning are dynamic emotional forces in this tale, exerting a mutual pull that resolves in their meeting. The story’s heightened play of attractions is contingent on Frau Trude and the girl knowing about each other. More than suggesting, the story demonstrates explicitly that they’ve been circling each others’ wagons for awhile. Their proximity lends itself to a relational reading of their encounter. The girl’s sense of intrigue concerns her desire to engage Frau Trude, a specific, named woman, while the witch admits her yen not for any girl but for this particular girl.

From the normative outside, predation haunts homosexual relations in literature, theater, and film as well as in life. Sapphic novels hyperbolize the older woman as a ruthless hunter after young flesh. The witch has fared no better; her predatory compulsions are assumed. From the lesbian inside, however, predation’s unidirectional aim is blunted by attention paid to how desires and feelings actually play out. The girl’s attraction to the witch negates any presumption of one-sided sexual greed. And Frau Trude, no hunter, stays at home, saddled with yearning and its attendant anticipatory joys and frustrations.

FIRE UP THE FLAMES OF DESIRE AND PASSION

Having waited too long, Frau Trude wastes no time making her move. Immediately following her declaration of need, the witch changes the girl into fire. The converted girl then blazes for the pyro-prone witch, who sits down to warm herself next to this flame she has so long desired. Both protagonists are highly flammable and fire operates as the tale’s core symbol. Modernity ended our forebears’ need to live daily with open flame as the major humanly controlled source of heat and light. But fire fills the realm of fairy tales, like it did the world of their earlier telling—from hearth to oven, candle to coals, and torch to stake. An essential element, it acted as a force, a tool, and a potent, if ambiguous, symbol representing both creative and destructive forces. Bottigheimer notes that fire in the Grimms’ tales ranges in meaning, “as an image of Promethean progress or domestic comfort, as well as a Satanic symbol.” In a nod to “Frau Trude,” she says “the hearth is where the witch sits” (1987, 25).2

Associated in Christian tradition with martyrdom, purification, and transformation as well as evil and damnation, fire, the tale’s central motif, grounds “Frau Trude” in familiar religious binaries. The Grimms mark the putatively innocent, if willful, girl’s self-martyrdom as well as Frau Trude’s satanic manifestation. Attempting to prevent their unblemished child from seeking Frau Trude, the parents indict her and threaten disinheritance, setting the girl on her Grimm highway to hell. At this point the tale burns zealously, fueled by defensiveness, because as the Grimms were only too well aware, protection of a young girl’s innocence—of her unknowingness—services the perpetuation of family bloodlines, property rights, and economies. Religion stands with the family as a bulwark preventing the realization of young women’s wishes and desires

The Grimms note both the standard sacred/profane and pure/impure binaries, yet the story does not ultimately support the moral divide these oppositions conventionally create. Even if chaste, the girl is not pure. Her willfulness interrupts her trip down the straight path of protected innocence, which is the course of parental, religious, and state authority. The Grimms burn her as punishment for her failure to remain exemplary, her refusal to obey. The girl goes to hell. Stained by her perversity, she dies in flames—becoming the fires of hell—and Frau Trude, the satanic force, lives on to revel in the glow. The Grimms’ warning at the tale’s end provides this equation: play with the fiery devil and you may become the devil’s flame. For the brothers, the story concludes with a teleological clunk. The girl gets what she deserves, and the witch, satisfied with capturing her prey, sits at the hearth blazing with her winnings.2

A queer approach reads “Frau Trude”’s fires differently, drawing on secular and sexual rather than religious connotations. Associations of fire with passion and love include the fourteenth-century “to inflame with passion” (L. inflammare) and “ardor” (L. ardere, to burn), referring to the heat of sexual desire (Harper 2001–10). The girl’s sense of intrigue and Frau Trude’s sense of longing meet in the flames of passion, not damnation. Fire signifies their appetite and its means of satisfaction. Frau Trude, the tale’s fire marshal, manipulates the meaning and use of fire in service of seduction. Though the girl looks through the window expecting to spy Frau Trude, she says she sees instead “the devil with a fiery head.” The woman’s retort simultaneously verifies the blazing manifestation as an identity of hers but quashes any direct equation with the satanic. She immediately reroutes the girl’s claim; she has instead “seen the witch in her proper dress” or “in all her finery” (Tatar 2004a, 368).

Frau Trude’s sartorial metaphor alludes to the red raiment of fire: to see her as she truly is, is to see her “dressed” in her elemental form. Outside the house peeping in, the girl observes only the devil; once inside, she is offered a different interpretation. Frau Trude defines herself as a witch, a kind of magnificently burning woman, whose reference to feminine finery lends a seductive shine to her self-identification. The girl will discover what her compulsion to see Frau Trude suggested: someone quite extraordinary; not a wretched hag, or a slimy ogre, but a woman dressed in finery, queen of her realm, confident in this moment of revealing her truth

What particular truth does she impart in this dramatic instance of encounter? Frau Trude’s associations with fire, witchery, the satanic, the profane, and the godless are suggestive. They point to something the text both conceals and reveals: this witch also can be read as a sodomite, harboring a lesbian desire. Research in related European materials shows the infamous sin against nature bearing a long historical relationship to fire, diabolism, and witchery.25 But according to Mackensen (1934/1940, 225), Frau Trude’s dual nomination as both witch and devil is rare.26 Yet if it codes her as sodomite (lesbian), Frau Trude’s ready substitution of herself from devil and fire to woman and witch makes perfect sense. She exercises a range of sodomitical symbols to announce her intentions. When the girl sees her as fiery devil, she sees Frau Trude as the sodomite symbol she truly represents. Then her declaration as fire-dressed witch doubles the sodomitical symbolism while indexing its humanity. Transferring sign to reality, she becomes the lusty lesbian, the woman who will have what she’s waited for, while the girl finds what she’s wanted, too.

Momentarily they stand face to face conversing. Their discursive foray concerns the actual, but this is also the moment of their truth, revealed by Frau Trude and immediately recognized by the girl. The queer utopian crux of the tale witnesses what Maria Tatar names the “magic [that] happens on the threshold of the forbidden” (2004b, 1). Their truth, to use a worn but worthy cliché, will set them both free. In this singular instant of encounter, they are present and open to each other, their agreement sealed; they enter their own time.

The girl makes no attempt to escape, nor does the witch kill her by throwing her bodily into the fire. Instead, a transformation occurs. Having demonstrated that status change—symbolic and real—can be willfully achieved, Frau Trude touches the girl for the first time, turning her into a block of wood, adequate fuel for the witch’s ardor. By first being made into a neutral source of fuel and thence into flame, the girl is not annihilated but, rather, given the elemental condition that makes it possible for her to meet the fiery Frau on mutual, powerfully erotic terms. The girl, too, dons her “proper dress.” Yearning for her for too long to simply destroy her, Frau Trude instead gives her a new and highly compatible form. The story’s dual flames, which in a conservative reading overdetermine the hellish, queerly provide a point of sexual contact and consummation. Now the girl also lives by burning, for Frau Trude and for herself. Yet she need not only burn. Frau Trude easily could convert the wood block back into girlish form; the Grimms’ “The Drummer” (Zipes 1992, 610–11) features just such reverse transformation of a burning log into a maiden at a witch’s command. Or perhaps Frau Trude may grant the girl her own capability to change at will.

Putting such speculation aside, in the end, the two effect a merger through an elemental medium. The witch, who plays with and can manifest as fire, transforms the object of her desire into a proper partner. Fire plus fire makes for greater heat and passion, with two desires burning together in the harmony and unity symbolized at the tale’s conclusion by the hearth. Erasing differences in human age, station, and history, their passion cannot be acknowledged in the language of human social life, but it can be spoken in flames.

This reading of fire finds consonance with German scholar Elke Liebs’s (1993, 128) suggestion that the burning wood, left at the finale “in voller Glut” (“full blaze” or “gleaming”), refers to the widely understood nineteenth[1]century German symbolism for sexual ripening and first experiences in love. While she does not move to a lesbian interpretation, Liebs, like Stone, leaves the question open as to why the girl blazes exuberantly in the end. Perhaps this gap can be retroactively referred to the contemporary gay colloquialism “flaming” or “to flame,” which refers to flamboyant, often excessive transgression of gender, sexuality, and other norms of behavior.27 Frau Trude’s transformation “flames” the girl, ignites her, releasing her own transgressive lesbian desire. Moreover, by remaking the girl in her fiery likeness, the Frau recruits her as protégé. No longer daughter, the girl celebrates her natal disownership by “flaming” for, and with, Frau Trude. Now, as undying homoerotic flame, she carries Frau Trude’s line forward into a future we discover here. Judgment on relations between witches and maidens too often damns them as fueled by rapaciousness, resentment, or jealousy, resulting in deceptions and negative transformations.28 Frau Trude, however, conceives a positive solution to meet her need. Using her powers to free the girl, she perpetuates their passion by ensuring their likeness as fire, not their opposition as ogre/human. The binary that might separate them goes up in flames. The fiery ending is actually a beginning for these two, whose future of transformations lies ahead for them

THE ONTOLOGY OF “FRAU TRUDE”

Finding Frau Trude’s earliest incarnations in the realm of devouring and death synchronizes her story with a greater complex of patriarchally devised narratives inspiring categorical fear and loathing of woman. They include tales of the biblical Eve and Lilith, the apocryphal Mary Magdalene, figures found in pagan antiquity—including those associated with descendents of major Greek goddesses Hecate and Artemis and mythical monsters such as the fire-breathing Chimera—and early European man-eaters and hags.29 Frau Trude’s Freudian counterpart is the phallic mother, fantasmically endowed with both the mother’s “breast” and the father’s “penis.”30 The complex problematizes the female body, appetite, sex, desire, childbirth, knowledge, and agency and is underwritten in the structural relations its female figures bear to each other, especially in terms of the life/death binary. “Frau Trude”’s early variants fit this narrative model with its reviled protagonist. A strange and estranging female character, living in a house filled with vats of gore and entrails strewn about for decorative effect, her association with misplaced blood; dismembered, disordered flesh; decomposition; and death makes her just one more in a long line of female inverts, perverts, women impossible to convert: witches

Despite its concision, “Frau Trude” provides a more detailed record than most of the multiple associations to be gleaned from witches in fairy tales. Among the most “undisciplined” of female characters (Greenhill and Tye 1997), she is unclassifiable. Largely due to their age and unmarried, nonreproductive status, witches bespeak the anomalous. They are woman/not woman, a biological and social contradiction arousing fears of pollution and requiring severe castigation, even death. Anomalous women pose a danger to the common rule of what Adrienne Rich ([1980] 1993) termed “compulsory heterosexuality”; thus their association with deviant sexualities comes as no surprise

However, witches like Frau Trude are not just out of order; amorphous shape-shifters, they are also out of form. The very qualities that marginal[1]ize them as subhuman can also lend them superhuman transformative potency. Frau Trude manifests four different personas—woman, witch, devil, and elemental fire—and she can choose to become any one of these momentarily, at will. Theatrical by nature, she plays the drama queen: a masculine devil one moment, a feminine witch the next, but always the “showgirl.” She flaunts a transvestite’s gift for rendering gender as a form of artifice (see, e.g., Garber 1992). The girl’s parents accuse “the wicked old woman” of “performing godless deeds,” and certainly, she is a performer par excellence, skilled in questioning the opposition between construction and essence. An icon of “gender trouble,” Frau Trude’s performances fully execute the witch’s anomalous/amorphous status in its ability to destabilize and denaturalize imposed categories of gender completion. As she herself suggests, it’s all a matter of “dressing” the part

Remarkably, her anomalous/amorphous status on the sex/gender/power continuum presents as patriarchy’s problem—not hers. Being impossible, she attains her power of doing the impossible and quickly brings her partner up to speed. The girl’s transformation into neutered wood, then elemental fire queers her into a powerfully amorphous state, too. Structurally, she moves from determinate gender and social categories to becoming, like Frau Trude, an unclassifiable shape-shifter, a flickering flame

In interpreting witches, exploring the relationship between normativity, anomaly, and power is critical.31 But the oppositional power politics of witchery tends to overshadow its less obvious “structures of feeling,” Raymond Williams’s (1977, 128–35) designation for the affective social content in art and literature that cannot be reduced to other systems. Queer scholars take Williams’s lead, modeling affect-centered approaches to non-normative desires, heterogeneous sexualities, and abjection.32 In their keeping, Frau Trude’s story and others like it beg new questions of a queerer, more intimate kind, exposing suppressed, ignored, or coded links between witchery and lesbianism. How do fairy-tale witches feel? Can we read their emotions as well as their powers? How do they change over time? They seem to take pleasure in being alone, but do they also suffer from loneliness? Are they capable of love as well as desire? Are they a special case of the subject whose evolving consciousness has been obscured by structural bias?

In beginning to answer these complex questions, we see certain emotional intricacies and contradictions of lesbian sexuality and subjectivity writ in the mysteries of Frau Trude’s tale. Witches do have feelings, and complex ones at that. The Frau’s uncertain future recalls that of the protagonist in novelist Irène Némirovsky’s Fire in the Blood: “It might be impossible to predict the future, but I believe that certain powerful emotions make themselves felt months, even years, in advance, through a strange quiver in the heart” (2008, 134–35). Having felt that quiver, Frau Trude’s desire for the girl provokes new, if uncertain, affective urgencies. She craves, but not the old yearning for flesh to be devoured or for lips to be smacked at the taste of blood. Now she wants the warmth of an overheated girl. Her cravings have altered into longings for sexual relationship and union with another. And along with them have come emotional vulnerabilities and ontological quandaries as well.

Traditionally, ATU 334 resolves in formulaic murder or escape. “Frau Trude” finishes differently, not in determinant action, but in an unresolved mood of contemplation. The flaming frenzy of anticipation and desire modulates, literally and figuratively, to enlightenment, thereby marking the crucial ontological, as different from gendered or sexual, outcomes of our story. Certainly they are wrapped together, but Frau Trude’s tale is striking in the degree to which it ultimately resonates with Sue-Ellen Case’s proposition that queer theory does its real work “not at the site of gender, but at the site of ontology, to shift the ground of being itself, thus challenging the Platonic parameters of being—the borders of life and death” (1991, 3).

The ontological concerns of “Frau Trude” underscore its profound interest in discovering the truth: who knows it, who doesn’t, who wants to know it, who represents it, who can claim it, and, finally, who is absolved by it. Characters pronounce the truth, argue its status, and make its case. The parents think they know the truth about Frau Trude and her godless ways; they defend the “normal” and “natural.” The girl seeks to discover the truth of Frau Trude on her own terms. She wants to “see” the naked truth of this “other” and when she does, she tells Frau Trude the truth of her observation. Their subsequent mutual interrogation tests the truth of the visible until Frau Trude proclaims her truth, dressed in metaphor. Her long-awaited encounter with the girl results in the witch’s moment of truth; she “comes out,” entrusting the girl with the knowledge of who she really is and what she truly wants. All this stress about the nature of truth finally dissolves at the hearth, that ancient symbol of domestic peace and harmony, and the story finishes with the Frau’s distinct pleasure in gaining more light.

Having cried out to the girl right before changing her, “now you shall give me light,” she afterward sits next to the blazing essence to warm herself and also to enjoy a pure moment—perhaps the one she has waited for most—of receiving the fire/girl’s full gleam. Her delight evident, she philosophizes, with satisfaction, in the final line, “For once it burns brightly!” Having touched, transformed, and set the girl burning, the initial passion[1]ate meeting subsides in meditative afterglow. In an observed moment of domestic quietude and contentment, we picture a woman at last brightened by the light of her life. Notably, the Grimms’ prototype for “Frau Trude,” Meier Teddy’s 1823 poem, does not end in the witch’s cry for light, only in her desire for warmth. But by partnering with light in Wilhelm Grimm’s version, Frau Trude gains a new eminence

Light, like fire, is old in symbolic meaning, variously associated with soul, spirit, higher mind, new knowledge, and with life itself.33 This witch, whose long history in the tale world has been defined by darkness, menace, and death, at last sees a glimmer of freedom from her sullied past. As fire, the girl stokes the old woman’s passion, but as light she brings what feels like relief. A queer liveliness pervades the story’s end. Frau Trude no longer kills what she craves. Instead she keeps it near, treasures it, marries it. Gone are the entrails and blood-filled vats that crammed her home in earlier variants of the tale. Now her house of marvels produces visions and transformations, not corpses, and her distinct yet fluid manifestations as fire, devil, woman, and witch mark her own ambivalent state of becoming. The man-eating sociopath of old is changing her one-dimensional, monstrous, murdering ways. Done with those centuries-old defensive, ogreish shenanigans, she is no longer interested in finality; her teleological darkness has morphed into a desire for ontological brightness, a shift from the determinate, death, to the possible, life. She cries out her need for light eagerly as much as gleefully. The witch herself is transforming, undergoing a process of self-shattering that would free her

Frau Trude’s emotional longing for the girl is critical to this move. Long[1]ing and waiting pose different temporal meanings in this story. Waiting tropes seduction and desire, but longing associates with a deeper need for companionship and kinship. Animals, ogres, humans all engage in mating games and stratagems to satisfy base instincts for food and sex. For certain, the witch retains a good bit of all that sordidness. Yet her longing for the girl seems to demonstrate a desire to be better than who she is—or was: not just hungry, not just hormonal. Frau Trude tentatively experiences the warmth of the heartfelt, poised to reap the benefits of light.

As for the girl, her transformation from human to elemental form guar[1]antees a change from gendered mortality to immortal status. Her youthful energy, sexual curiosity, and willfulness converted into fire and bright light, she blazes; she gleams; she is passion and hope all at once. Now she is the symbol of life. The Frau remarks, almost surprised, how brightly the girl’s light shines. She implies that it’s giving her more than she knew to expect, not only passion and light, but the illumination of life itself. Not a figure of innocence betrayed or moral martyrdom, the gleaming girl ends the story as Frau Trude’s redeemer and, by implication, rescuer of a whole class of witches heretofore stranded in the realm of death. She becomes an exemplar of what gay beat poet Harold Norse calls “the fiery force”: “Nothing more than the life force as we know it. It is the flame of desire and love, of sex and beauty, of pleasure and joy as we consume and are consumed, as we burn with pleasure and burn out in time” (2003, xix). Of course, neither the girl nor the witch “burn[s] out in time.” Living outside mortal constraints in the fiery force of their tale, they perpetuate, for our understanding, their queer ontology of pure flame, pure eroticism, and pure light.

The truth at the core of “Frau Trude” dissolves the potency of prejudices stemming from the “inclusion/exclusion,” “who fits/who doesn’t” binary. In this tale, truth and transgression walk together to undo any determinate calculation of the fixed or proper meanings of sex, gender, age, feeling, or being, all finally summarized in the meaning of home. The parents work the inclusion/exclusion binary as the calling card of their authority; they want the girl under their roof and they have the right to disown her. Initially, the girl possesses all the trappings of heteronormative familial inclusion, but she chooses to relinquish them. Accepting exclusion from her family to come to Frau Trude, she initiates the possibility of her inclusion in a new relationship.34 Frau Trude personifies exclusion, as all witches do, and she exploits the fearful power it inspires. But she also endures its loneliness. She chooses the girl to belong to her, so as no longer to feel essentially excluded and alone. Coupled, the two seal a transgressive—and innovative—bond of kinship in their house in the woods. Frau Trude and the girl have, in the end, been absorbed into their own self-created “fit” unopposed, consummated but not consumed.

[dustedmagazine]

Peace De Résistance — Lullaby for the Debris (La Vida Es un Mus)

Like some doomed lovechild of the later Velvets and Diamond Dogs-period Bowie, with the most hypnotically rocking tunes by the Swell Maps (think “Midget Submarines” or “Secret Island”) as close avuncular relations, Peace De Résistance’s new LP Lullaby for the Debris shuffles into earshot. Louche and low-slung, but also jittery and jumpy; groovy and gravid in equal proportions — the record’s feeling tone can be hard to inhabit, but it’s simultaneously so seductively easy to dance to. It just about demands a tapping foot, a shaking hip and a shimmying pair of shoulders, if you can shed enough of our collective state of existential dread to get up off the floor and shimmy. (Shaking is a simpler prospect these days, if you are willing to do so in fear.) This reviewer enjoys moving in tune with “Coddle the Rich” or “I Am,” songs that realize the variety of mordant delight Peace De Résistance excels at creating. Listening to Lullaby for the Debris won’t solve any of the problems generating all that fearful trembling, but the record can take some of the sting out of things. In our current conjuncture, that’s just about enough.

Listeners familiar with Bits and Pieces (2022), the first LP Moses Brown released under the Peace De Résistance name, will encounter some similar sounds and textures here. Brown hasn’t effected significant changes to the project’s sonic identity: glammy punk with a grimy bit of a funk on it. These new songs are more polished without losing much of the ragged quality that distinguishes the project’s musical atty-tude. Brown sounds sorta jaded, sorta grossed out, but not entirely hopeless. And maybe that’s not such a great thing: it would be so much easier just to shrug and mumble a cynical “fuck it.” Having hope means that you can’t turn entirely passive. What a drag.

So we get songs like “40 Times the Rent” and “Fast Money,” curling their lips at capital’s unjust disparities of wealth and the increasing difficulties of affording space in which to exist and have something like a private life. Those are intractable problems also addressed by Institute, the Austin-based punk project Brown participates in. Peace De Résistance is more glam than anarchic, and Brown’s loose-limbed grooves clash with his sprechtgesang vocal style, akin to a more nasally and dissipated Leonard Cohen, c. I’m Your Man. Like Cohen, Brown makes that relatively flat delivery feel urgent, mysterious and reckless, even as the music strikes more decadent stances.

It's a complicated sound, despite its druggy and dissolute surfaces. The songs’ content demands to be taken seriously, and depending on your politics, you may find the sentiments of smartly written tunes like “Ain’t What It Used to Be” (about gentrification and its historical erasures) and “Pay Us More” (yep) sharp and moving, critical and edging toward something like aspirational struggle. The music is both less sanguine and more oriented toward pleasure. The combination of style and content isn’t jarring so much as weirdly on edge, a pose of careless aloofness that wants to lose its cool. This reviewer enjoys those surface-level pleasures enough to hope that Brown can stave off the hotter affect. But the political won’t wait, and the debris is accumulating noisily, however effective Peace De Résistance’s lullabies might be. Harsh daylight will cut through those black-lensed Ray-Bans soon enough.

Jonathan Shaw

[orange-lazarus]

Oh ok I guess I’ll update. Been out of MHS for this whole school year (currently the end of Feb 2024). I don’t think I’ll go back because I want to continue to keep the kids home. I got a weird job working at Lilac Hedge Farm, packhouse doing produce on MT and every Saturday I work at the store. It’s fine but the money I make is not for adults with adult bills. So now I’ll be in complete limbo again soon. I want to work in a school for decent professional money but only part time and that is not a thing. Not for my licensure anyway. I’ve thought about dental assisting which is fucking insane because I historically hate teeth and especially other peoples’ teeth. I got turned down for a shitty 18/hr Sunday job at WAM which I’m ok with because that would have been every Sunday and the lady sounded like a pretentious bitch that I wouldn’t want to work for anyway. I’m not an art person I guess. I’m just me and I’ve happened to spend my entire adult life teaching art stuff to teenagers.

Jace is getting four teeth pulled Friday under general anesthesia and I’m slightly terrified. Eli is good. He’s actually put on a little weight being home and eating plenty and not being sick nearly as much as when he’s in a school building. Also has developed a snappy tude sometimes and also Jace referred to himself and Eli yesterday as “preteens” so hold up while I go die a little.

I had a dream last night that Justin’s surprise party was a total flop and he wasn’t even there. But for some reason Chris peacock and Nate were there and we all had to get on a plane to go home. We were simultaneously in Salem so Nate was taking Jace around to show him some demon statues. Regular stuff.

[jackalgirl]

So I’m noodling away at heraldic art for the Society of Creative Anachronism (among my many other projects), and I had to trace some art.  I must stress that this is -- as faithfully as I can render it -- a relatively accurate trace of the original artwork (although since I’m trying to produce line art, I can’t capture things like painted color brushwork and shading).  For one thing, the expression on these animals’ faces is 100% not me and again, I should point out that this is perfectly period artwork, thus absolutely suitable for formal registration of devices in the SCA.

I get that the boar is a bit miffed.  I’d be, too, in its place.  But that hedgehog is clearly up to no good.

Cites: first image: “The Armorial of Sir David Lyndsay of the Mount” (1532-34). Second image: Gilbert Dethick's “Book of Arms” (1564).

[mishinashen]

Italiens d’Albano by Jean-Baptiste-Camille Corot, 1834

In the early years of the 19th century there were two approaches to landscape taken in French art. The classical tradition, modeled after the great Italian landscapists Annibale Carracci and Salvator Rosa and the French painters Nicolas Poussin, Claude Lorrain and Gaspard Dughet, was experiencing a renaissance, fueled by the theories of Pierre-Henri de Valenciennes. These artists maintained the idealized historical landscape while at the same time renewing it with a more realistic depiction of nature. The artists who embraced this ideology all traveled to Italy, were inspired by the great French and Italian masters of the 17th century, and were all painters of historical landscapes, humanistic in approach and recomposed in the studio. During his early years, and under the tutelage of Achille-Etna Michallon, the young Camille Corot was introduced to this school of artistic thought.

In contrast to this imaginary, idealized landscape of the Neoclassicists, another approach to painting was realistic, intimate and faithful to the topography of the actual sites, drawing more on the example of Dutch and Flemish painters of the 17th and 18th centuries. These two tendencies should not be viewed as opposites and the ease with which the French painters of the early 19th century assimilated aspects of both theories cannot be ignored. Admiration for Poussin was compatible with enthusiasm for Ruisdael, while embracing the work of Claude did not discount the contributions of Hobbema.

At this time, French artists also discovered the realism of the late 18th century English landscape artists, particularly that of John Constable and Joseph Mallord William Turner. These English artists set forth a new vision with an emphasis on realism and expressiveness which would also influence Corot throughout his long career.

Corot entered the studio of Michallon in 1822 where he threw himself into landscape painting. Michallon died shortly thereafter, but he exerted a profound influence on the young Corot who wrote: ‘I made my first landscape from nature at Arceuil under the eye of this painter, whose only advice was to render with the greatest scrupulousness everything I saw before me. The lesson worked; since then I have always treasured precision’ (T. Silvestre, Histoire des artistes vivant, français et étrangers: Études après nature, Paris, 1853, p. 75).

Michallon passed on to Corot his feelings for the Classical landscape tradition and through his first teacher, Corot developed the foundation of his own art, finding a balance between the realism of plein-air painting and the application of memory and imagination to works composed in the studio.

The young artist made his first trip to Italy in 1825 and remained there until 1828. While there he made numerous landscape and figure studies, architectural studies and spent a great deal of time studying the effects of light created by moving or still water and worked to master the play of light in space. Once back in France, Corot took great satisfaction in his Italian stay. He had amassed numerous studies which now embellished the walls of his studio, he had developed an excellent and unique technique for capturing nature and he had grappled with and succeeded at composing a large studio landscape which had been accepted by the Salon.

For Corot at this time, the study was an essential element that preceded the studio landscape. When working in the studio itself, the artist could dispense with the study, and instead rely on his memory and impressions. Italy had nourished his visual memories, and it was in this moment that Corot developed his passion for creating the souvenirs which would so dominate his later artistic career. The views he painted entirely or partially from nature on his return from Italy are regarded as among his most beautiful and accomplished. The artist demonstrated a complete mastery of perspective, light and construction that would pervade his life’s work and serve to inspire a generation of artists that would follow him.

In the years immediately following his return from his first trip to Italy, Corot exhibited frequently and regularly at the Salon. In 1831, he exhibited four paintings, in 1833, he exhibited one painting, and then in 1834, he showed three paintings, probably including the present lot under the title Site d’Italie. During this period, the paintings that he showed at the Salon had essentially two themes: views based upon his studies and memories of his trip to Italy, and views of the forest of Fontainebleau.

Italiens d’Albano was composed in Corot’s studio in 1834, most likely just before his second trip to Italy which lasted only six months. The work incorporates the artist’s memories of this picturesque area just outside Rome where he spent a significant amount of time during his first excursion abroad. The classical influence of his formative years under the tutelage of Michallon and his second teacher Jean-Victor Bertin is clearly demonstrated in Italiens d’Albano; however, all of the elements that contributed to the successes of his later career and earned him the title ‘Poet of the Landscape’ are evident in this charming painting.

The artist has adroitly mastered the aerial perspective, leading the eye of the viewer from a point above the landscape itself, down the winding path, through the light green meadow and to the shores of Lake Albano. The artist’s penchant for dividing the landscape into distinct fore, middle and background is accomplished with the addition of figural groups; the caped figure walking the path by the two seated women, the man in the red vest walking up the hill, the shoreline of Lake Albano and the architectural element in the far background all work together seamlessly to take the viewer on a walk through a landscape. The effects of light and shadow on the landscape itself, from the darkened rocky outcroppings that dominate the right side of the painting, to the sunlight illuminating the middle ground, to the shimmering water under the clear Italian sky in the near background, demonstrate the burgeoning abilities of an artist who would ultimately become the spiritual link between Poussin and Sisley, Claude Lorrain and Monet.

[brujahinaskirt]

nobody asked but imo, the key to writing a good brujah emotional/political profile is this: that kitschy biker gang rager trope? DON'T let it be the first stone you lay down when you start building a new character.

(or leather jackets. or combat boots. or spiked baseball bats. or whatever the fuck the cool kid brujah fashion "aesthetic" is; you get my point)

you can definitely use those things in moderation, sure! especially if your character is mindfully tailoring their appearance to please crowds. but there has to be more under the surface of your character than "authority-hating badass motherfucker" if you're looking to have a rich (not to mention unique) writing/gaming experience.

instead of starting with BAD BIKER BRO, I try to remember that underpinning all of that boiling bubbling la revolucion spirit, and even underpinning the Carthaginian True Brujah scholarship, is the concept of witch. not wizard. witch.

this seed is super critical to my interpretation of the clan, and has been my characterization linchpin in analyzing/designing pretty much any brujah psychology i've written, any century or location or demographic, literal witchiness or metaphorical witchiness or emotional witchiness. i think this concept is both a lot less reductive and a lot less restricting than the 'tude-heavy late 90s rebel-without-a-cause Starter Brujah pack I see a lot of people encouraged to use as their masquerade archetype.

(and it's potentially less generalizing -- as long as you don't go out of your way to do fucky culturally/religiously disrespectful things with it -- since Brujah canonically tend to have a high POC embrace percentage compared to clans historically associated with Western wealth/royalty echelons. surely i don't have to spell it out that "brown people vampires are NATURALLY ANGY" is uh. not a real great place to start if 1. you're not an advanced enough writer and 2. you don't know enough about world history to handle this without falling into extremely offensive tropes.)

tl;dr: you might want to try starting your next brujah character concept process by thinking about witch rather than biker gang badass, my babes. what you decide that means for your character is up to you.

[queenlua]

i am charmed to learn that Chopin, had he been born in our modern era, would likely be a twentysomething burnout-recluse, who gets by via SAT tutoring here and there, and sporadically posts his music to Tumblr in-between nastily shitposting about people he hates

(also i am dismayed to learn that HL Mencken was one of his haters!  all my favorite historical figures should be buddies!!!)

[andersonlsgy994]

Miley Cyrus and button up baseball jersey style women shirts cheap: 10 Surprising Things They Have in Common

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[fumpkins]

Brazil raises $8.4 bn in 5G tender

Brazil is seeking to take advantage of fifth-generation mobile technology to speed up the advancement of its commercial and agribusiness sectors and bring super-fast web to the cell phones of its 213 million individuals.

Brazil raised $8.4 billion in financial investments and license costs in a worldwide tender to construct and run among the world’s greatest 5G information networks, Communications Minister Fabio Faria stated Friday, hailing a “great success.”

The outcome—46.8 billion reais ($8.4 billion)—came in simply shy of the $9 billion the federal government had actually anticipated.

But Faria was positive at the close of the two-day auction, informing a press conference the outcome “beat all expectations.”

Winning quotes went to business consisting of Telecom Italia’s regional subsidiary, Tim; Spanish group Telefonica’s Brazilian system; and Claro, owned by Mexican telecoms tycoon Carlos Slim’s America Movil.

Six newbies to the Brazilian market likewise made winning quotes and will now end up being mobile service providers, which ought to increase competitors and advantage customers.

Brazil, Latin America’s greatest economy, is seeking to take advantage of so-called fifth-generation mobile technology to speed up the advancement of its commercial and agribusiness sectors—along with bring super-fast web to the cell phones of its 213 million individuals.

The tender, which drew 15 bidders in all, was for the right to construct and run various “blocks” of the frequency spectrum for 20 years.

Brazil likewise tendered the advancement of a different network that will be booked for federal government interactions.

Bidding for the latter omitted all devices from Chinese telecoms huge Huawei, the target of United States espionage allegations that had actually put Brazil in a bind, requiring it to browse a turbulent tech standoff in between Beijing and Washington.

The 2 significant world powers are likewise Brazil’s biggest trading partners and the nation came under pressure from both sides over the guideline for its 5G network.

That led it to delay the tender from early 2021 as at first set up.

Despite the post ponement, experts concurred with Faria that the tender came off well for Brazil.

“It was an absolute success,” stated Marcos Ferrari of Conexis Brasil Digital, a group representing 5 of the bidding companies.

“There was a lot of appetite from the market,” he informed AFP.

The tender was a win-win for recognized mobile service providers and brand-new arrivals to the Brazilian market, stated Eduardo Tude, head of the consultancy Teleco.

“On the one hand, current operators got the spectrum they’ll need to develop 5G with the necessary bandwidth. On the other, there was space for new players. That’s a very positive development,” he stated.

Connected tractors, telemedicine

President Jair Bolsonaro called the tender “historic” on Thursday, as he opened the bidding in Brasilia with a symbolic bang of the auctioneer’s hammer.

Brazil hopes 5G technology will open brand-new horizons for its economy, varying from linked tractors and crop-monitoring drones for the thriving farming sector to self-driving vehicles and telemedicine to bridge the vast South American nation’s facilities spaces.

“Consumers won’t see that much difference, aside from faster download times for movies and videos. But from the standpoint of industry, this is going to open up a whole new reality for factories, agribusiness, the productive sector,” stated Ferrari.

Faria, the minister, stated releasing 5G would have a “major impact” on Brazil’s financial development over the next years.

Winning business will be needed to present service in Brasilia and the 26 state capitals by August 2022.

Other cities of more than 30,000 individuals can anticipate service in between 2025 and 2028.

The tender likewise included tasks to broaden and update web gain access to in remote locations, along highways and in public schools, in a nation where 40 million individuals still do not have gain access to.

Brazil opens 5G tender, looking for $9 bn in financial investment

© 2021 AFP

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New post published on: https://livescience.tech/2021/11/07/brazil-raises-8-4-bn-in-5g-tender/

[biointernet]

An introduction to human biophoton emission

An introduction to human biophoton emission Key Words: Ultraweak photon emission, Biophotons, Skin, Consciousness, Acupuncture

An introduction to human biophoton emission Summary Background: Biophoton emission is the spontaneous emission of ultraweak light emanating from all living systems, including man. The emission is linked to the endogenous production of excited states within the living system. The detection and characterisation of human biophoton emission has led to suggestions that it has po- tential future applications in medicine.  Objectives: An overview is presented of studies on ultraweak photon emission (UPE, biopho- tons) from the human whole body.  Methods: Electronic searches of Medline, PsychLit, PubMed and references lists of relevant review articles and books were used to establish the literature database. Articles were then analysed for their main experimental setup and results.  Results: The, mostly, single case studies have resulted in a collection of observations. The collection presents information on the following fields of research: (1) influence of biological rhythms, age, and gender on emission, (2) the intensity of emission and its left-right symmetry in health and disease, (3) emission from the perspective of Traditional Chinese and Korean Medicine, (4) emis- sion in different consciousness studies, (5) procedures for analysis of the photon signal from hands, (6) detection of peroxidative processes in the skin. Of each article the main findings are present- ed in a qualitative manner, quantitative data are presented where useful, and the technological or methodological limitations are dis- cussed.  Conclusion: Photon emission recording techniques have reached a stage that allows resolution of the signal in time and space. The published material is presented and includes aspects like spatial resolution of intensity, its relation to health and disease, the aspect of colour, and methods for analysis of the photon signal. The limited number of studies only allows first conclusions about the implications and significance of biophotons in relation to health and disease, or to mental states, or acupuncture. However, with the present data we consider that further research in the field is justified. Schlüsselwörter: Ultraschwache Lichtstrahlung, Biophotonen, Haut, Bewusstsein, Akupunktur Zusammenfassung Hintergrund: Die Abstrahlung von Biophotonen ist eine spontane ultraschwache Lichtstrahlung, die von allen lebenden Systemen ausgeht, auch vom Menschen. Diese Strahlung hängt mit der en- dogenen Erzeugung erregter Zustände im lebenden System zusam- men. Die Entdeckung und genauere Charakterisierung der mensch- lichen Biophotonenstrahlung hat zur Annahme geführt, dass es dafür zukünftige medizinische Anwendungen geben könnte.  Ziel- setzung: Die Arbeit stellt einen Überblick dar über Studien zur ultra- schwachen Photonenstrahlung (Biophotonen) des menschlichen Körpers.  Methode: Elektronische Literatursuche in Medline, Psych- Lit, PubMed und Handsuche der Literaturverzeichnisse relevanter Überblicksartikel und Bücher wurden benutzt, um die Literaturbasis herzustellen. Einzelne Artikel wurden anschließend auf ihr experi- mentelles Design und ihre Ergebnisse hin analysiert.  Ergebnisse:Die meisten Studien waren Einzelfallbeobachtungen und resultier- ten in einer Sammlung von Beobachtungen. Der Überblick präsen- tiert Informationen zu folgenden Forschungsgebieten: (1) Einfluss biologischer Rhythmen, des Alters und des Geschlechts auf die Biophotonenemission, (2) Intensität der Emission und Rechts-links- Asymmetrie oder -Symmetrie in Gesundheit und Krankheit, (3) Bio- photonenstrahlung aus der Perspektive der Traditionellen Chinesi- schen und Koreanischen Medizin, (4) Biophotonenstrahlung in ver- schiedenen Studien zur Bewusstseinsforschung, (5) Vorgehenswei- sen zur Analyse des Photonensignals gemessen an den Händen, (6) Entdeckung peroxidativer Prozesse in der Haut. Die Hauptergeb- nisse jeder Arbeit werden qualitativ präsentiert, quantitative Daten werden dargestellt, wo sinnvoll und nützlich. Die technologischen und methodischen Begrenzungen werden diskutiert.  Schlussfolge- rung: Die Technik zur Erfassung der Biophotonenemission hat eine Stufe erreicht, die eine gute Auflösung des Signals in Zeit und Raum erlaubt. Die publizierte Literatur wird zusammengefasst und enthält Informationen über Aspekte wie räumliche Auflösung der Intensität, Beziehung der Strahlung zu Gesundheit und Krankheit, Aspekte der Farbe bzw. Wellenlänge der Strahlung und Methoden zur Analyse des Photonensignals. Die begrenzte Studienzahl erlaubt jedoch nur erste Schlussfolgerungen über die Implikationen und Reichweite der Biophotonen in Bezug auf Gesundheit und Krank- heit, in Bezug auf Bewusstseinszustände oder in Bezug auf Anwen- dungen wie Akupunktur. Auf jeden Fall sind wir der Meinung, dass der gegenwärtige Forschungsstand weitere Forschung auf dem Ge- biet rechtfertigt. Introduction Historical Aspects Research on human biophoton emission has appeared in the literature since the 1970’s. Its nature is generally descriptive and aetiology and the emission is generally understood to re- flect the physiology of the human organism . The ultra- weak light emission originating spontaneously from living sys- tems (UPE, ultraweak photon emission, biophoton emission, or short: biophotons) ranges in intensity from a few to approx- imately 102 photons / (s × cm2). It is thus not visible to the naked eye and cannot be captured with commonly used opti- cal detectors. The spectral range is 400–720 nm. The biological origins and concrete mechanisms of this light emission are not yet well understood. To study the role of biophoton emission in living systems and in order to clarify its basic mechanisms, highly sensitive measuring instruments are required that allow non-invasive and non-destructive recording. Basically, three types of systems have been developed to register UPE. Photo- multipliers have evolved to extremely low-noise single photon counting systems in which cooled photomultiplier tubes are placed in a vacuum chamber to provide absolute stability of the signal and maximum noise reduction. Photomultipliers allow the study of biophoton emission utilising quantum sta- tistical properties in actual living systems to clarify its basic mechanisms. A second system utilised to study UPE also pro- vides spectral analysis. For spectral characterisation a spectral analyser system using a set of sharp cut-off, optical filters in the wavelength range from ultraviolet (UV) to infrared (IR) is commonly used. A third system to fundamentally characterise UPE utilises a spatial distribution measurement or imaging of biophoton emission. This is usually performed with ultra-sen- sitive two-dimensional photon counting devices, as special equipped charged-coupled devices . This introductory review comprises two parts. The first part presents historical aspects of biophoton research and touches upon pilot work of many professional disciplines from the pe- riod 1975–1995. The second part informs about additional re- search and systematically presents information on human bio- photon emission in relation to health and disease, the aspect of colour, and methods for analysis of the photon signal. Of each article, the main findings are presented in a qualitative manner, quantitative data are presented where useful; tech- nological or methodological limitations are discussed. Method This review concentrates on biophoton emission as extremely weak light emanating from the whole and intact human body. It does not take into account UPE from special internal organs or isolated body fluids. On the basis of our own databases, we systematically compiled all citations found in literature searches until end 2003: bibliographic database by electronic search of Medline, PsychLit, PubMed, references lists of relevant review articles , books , and by contact with researchers in the field. Each article was analysed for its main experimental question(s). 78 Forsch Komplementärmed Klass Naturheilkd 2005;12:77–83 Early Attempts to Record the Human Envelope of Radiation Research in human photon emission started at least three decades ago. Early publications illustrate how fasci- nated their authors were by previous reports of ‘an envelope of radiation surrounding living organisms’. Utilising a DC- photomultiplier, their studies produced a graphic record on a XY recorder. The photomultiplier was mounted in a light- tight darkroom scanned with a photomultiplier tube to demonstrate that there were no leaks of light. The subjects stood in front of the photomultiplier tube without clothes from the waist up. The protocol avoided signals which resulted from static electricity and fluorescence of dyes. The re- searchers utilised a photocathode with a maximal sensitivity at 400 nm and almost zero activity at 650 nm, thus minimising thermal effects. A major difficulty encountered in these early experiments was the inherent internal noise produced by the photomultiplier tube, which was of the same order of magni- tude as the measured signal. To differentiate between signal and noise, the signal was integrated and the average current for the integration period was determined. The researchers re- ported a statistically significant 11% increase of the signal above background noise. In this early research, experimental subjects were asked to voluntarily increase emission intensity by breathing deeply and by producing vibratory movements of the body. Only some subjects were able to produce an increased signal, oth- ers failed to do so. However, the increase of the signal did coincide with the subjects’ attempts to increase their ‘energy fields’. Controls did not produce an increase in the signal. According to the researchers temperature changes could be ruled out as the cause for signal increase. Different inani- mate objects with emissions similar to that of the human skin, and heated to varying temperatures between 30–90 °C, did not increase the phototube output. Moreover, small fluc- tuations in room temperature gave a negligible increase in dark current. Introduction of Sensitive Photomultipliers to Characterise Human Biophoton Emission Edwards and colleagues published a study on human body photon emission in 1989 and 1990 . This study was carried out as part of the Dove Project, in United Kingdom. Its setup consisted of a photon detection system mounted in a sealed housing with a quartz window, at a constant tempera- ture of –23 °C. The mean dark noise in these experimental conditions was around 60 counts per second (cps). The dark- room was specially constructed, and the researchers took care for the use of special materials in that room as well as regard- ing subjects’ clothing. The authors recorded the temporal vari- ation of the emission of the hand with measurements every 1.5 h over a 28-h period. Variation with time was observed, but the data were not sufficient to allow any conclusion about Read the full article

[justangrymacaroni]

i think i can relate the most to mercutio in R&J because…?

1. gets involved in a bloody family feud for funsies

2. starts talking about fairies but then gets Deeply Invested and needs to be calmed down

3. serving looks and dick jokes 24/7 

4. after fighting a fight he himself caused by his own goddam actions, he uses his last dying breath to put the blame on someone else like a petty bitch

5. rude with a ‘tude

6. in some historical performances, the play tended to “go south” after he died, which is the biggest compliment anyone can give anyone after they die

7. he actually wants to keep the peace between the families, but he goes about it by starting shit with every fucking person

8. would probably be down for either killing tybalt or fucking him

9. there’s a rumor that shakespeare had to kill him off for fear he would steal the show, which is how i want my enemies to think of me

10. let’s face it, he talks big game but is probably awful in bed

[mviamitchell]

avery roth / 25 / cab driver & author / the enclave / grumpy old man who means well  / pb: suki waterhouse

needs: more friends, more people for her tell-all book, the hamilton/james reynolds/eliza hamilton to her maria reynolds, lots of things!

daman reddy / 25 / musician / historic seafront / dumbass extraordinaire / pb: soon!!!

needs: more friends please!!!, his bandmates (the braindeads, 1 drummer, 1 guitarist, 1 bassist), childhood friends, his sisters (1 older, 1 younger), ex girlfriends, lots of things!

sawyer hirsch / 30 / boxer / rosa catalina (for now) / dude with a ‘tude / pb: soon!!!

needs: other fighter friends, childhood pals, ex-boyfriends/girlfriends that he was kind of a dick to, his final sibling, drinking buds, lots of things!

[wefightwhenwefall]

I’m making a webcomic! Check out the links below if you’re interested!

Synopsis: A tween with a 'tude and her ghost ancestor team up to solve a historic murder. Maybe they'll teach each other a little bit about life along the way?

Read it on Webtoon: https://www.webtoons.com/en/challenge/the-rules-of-life-and-how-to-cope-with-them/list?title_no=254418

Read it on Tapas:  https://tapas.io/series/TROL

[sternenzelt]

1 & 2

1: describe your idea of a perfect dateI think the two main points would be cognitive exchange and physical comfortability. So, for a first date, as an example, going to the movies and afterwards dinner in a leisurely place. Or maybe just binging a shared favourite series at a home and chilling on the couch. In any case, bonus points for cats or shared naps.For later dates it's vaguely the same but it would be really nice to do something together that shows we know each other's interests and hobbies - like visiting a historical site, for my personal preferences.2: whats your "type"Yeesh, I'll have to distinguish here. First of all, I think I'm more picky with women than with men. I have a high preference of women with open, red(dish) hair and some wild or dominant 'tude. Though I have been romantically attracted to shyer ones too, idk if it's also that sexual? Maybe I'm just unknowingly bullshitting here. But then again I've never even kissed a girl yet (it's about damn time). Anyway, guys, are like... Pls gimme dat basic human decency and respect, yes? Also, intelligence, and being able to discuss (tho that's true for any gender). Tall is nice, dark hair and curls are nice. Glasses are also nice. With every other gender I don't even think about types too much cause it's such a wide field and I think in conclusion what's true for the yellow space on the pan flag is also true for the pink and blue one:Hot is hot. *bows to audience and leaves stage*

[spicynbachili1]

Heroes Of The Storm is adding an original character, Orphea

After smooshing a long time of Blizzard historical past into mega-crossover MOBA Heroes Of The Storm, the studio have introduced brand-new, unique, never-been-seen character is becoming a member of the battle. Orphea, whose title I consider is “Inheritor of Raven Courtroom and daughter of the Raven Lord”, hasn’t been in any Blizzard sport earlier than, which is… bizarre? Maybe they needed to create a selected kind of character and, with a lot of Blizzard historical past mined out, the closest they might discover throughout the lore was a wizard whose most notable deed was promoting Jaina bubblebath as soon as. Right here, come meet Orphea.

Blizzard introduce her thusly:

“The destiny of numerous realms hangs within the steadiness with Orphea, Inheritor of Raven Courtroom and daughter of the Raven Lord, as one of many few poised and able to threat the whole lot in to place a cease to her father’s darkish plans. Heroes of the Storm introduces its first Nexus-born Hero, and he or she wants your assist. Will you stand with Orphea towards the Raven Lord?”

Yeah, positive, if she doesn’t wish to tidy her room I’ll assist with that. Somebody’s bought to face up for the animes. However what’s she truly like in-game? This video explains:

I consider Orphea is arriving within the subsequent main replace. Apparently she’ll have choices for impolite ‘tude too, going by a few of her outfits on this video revealing upcoming beauty doodads:

That janitor search for Leoric is predicated on old, old contest-winning fan art.

from SpicyNBAChili.com http://spicymoviechili.spicynbachili.com/heroes-of-the-storm-is-adding-an-original-character-orphea/

[ferrybaker0-blog]

Gooey Is the Theme at a Santa Anita Food Fest

What to Know

Saturday, Nov. 3

Noon to 4 p.m.

$30 Meltdown Package

In general?

Food festivals, which are perfect and plentiful around Southern California, tend to be defined by a particular dish or meal type, say, like cheeseburgers, or tacos, or pizza.

But to say that the gathering at Santa Anita Park on Saturday, Nov. 3 will be gooey is also completely correct.

It will also be melty, and toothsome, and those little soft and warm strings of cheese that occur when you pull apart a grilled cheese sandwich are part of the tempting theme.

Naming a festival, though, "Little Soft Strings of Cheese Between Two Halves of a Grilled Cheese" is rather a mouthful, however, and probably won't fit tidily on a poster.

Smorgasburg Meltdown, however, certainly does, and the "Meltdown" part of the event name tells you so very much: This party will all about cheesestuffs that have been heated to a gooey, ooey, and deeply delicious level of soft-a-tude.

The "Smorgasburg" part of the name reveals that, yes, Smorgasburg LA is behind the bash. But rather than taking the gooey-ooey-tacular to ROW DTLA on a Sunday, the eat-it-all market's usual home and day of the week, the historic racetrack in Arcadia will be the place to be on Nov. 3.

Set to show at Santa Anita with all of their meltable meals? Cheezus (mmm, grilled cheeses), Big Mozz (yep, mozzarella sticks), and a few other favorites.

If you want to try a quartet of pull-apart-able favorites, The Meltdown Package is what you'll want to score. The $30 package gives you the chance to try four cheesey items, and four brews, too, and some ways to get in on the horse-cheering fun.

For the details, get gooey and/or ooey at the event pages found on the Santa Anita Park site or Smorgasburg LA's social media. (And, indeed: Smorgasburg LA is back at ROW DTLA for its usual market on Sunday, Nov. 11 with Hecho in LA.)

Copyright NBC Owned Television Stations

Source: https://www.nbclosangeles.com/news/local/Gooey-Is-the-Theme-at-a-Santa-Anita-Food-Fest-499019441.html