#seven basic tools of quality

[literaryvein-reblogs]

Some Poetry Writing Tips

Rules for Writing Good Poetry

There are no officially sanctioned rules of poetry.

However, as with all creative writing, having some degree of structure can help you reign in your ideas and work productively.

Some guidelines for those looking to take their poetry writing to the next level.

Or, if you literally haven’t written a single poem since high school, you can think of this as a beginner's guide on the basics and have you writing poetry in no time:

Read a lot of poetry. If you want to write poetry, start by reading poetry. You can do this in a casual way by letting the words of your favorite poems wash over you without necessarily digging for deeper meaning. Or you can delve into analysis. Dissect an allegory in a Robert Frost verse. Ponder the underlying meaning of an Edward Hirsch poem. Retrieving the symbolism in Emily Dickinson’s work. Do a line-by-line analysis of a William Shakespeare sonnet. Simply let the individual words of a Walt Whitman elegy flow with emotion.

Listen to live poetry recitations. The experience of consuming poetry does not have to be an academic exercise in cataloging poetic devices like alliteration and metonymy. It can be musical—such as when you attend a poetry slam for the first time and hear the snappy consonants of a poem out loud. Many bookstores and coffeehouses have poetry readings, and these can be both fun and instructive for aspiring poets. By listening to the sounds of good poetry, you discover the beauty of its construction—the mix of stressed syllables and unstressed syllables, alliteration and assonance, a well placed internal rhyme, clever line breaks, and more. You’ll never think of the artform the same way once you hear good poems read aloud. (And if you ever get the chance to hear your own poem read aloud by someone else, seize the opportunity.)

Start small. A short poem like a haiku or a simple rhyming poem might be more attainable than diving into a narrative epic. A simple rhyming poem can be a non-intimidating entryway to poetry writing. Don’t mistake quantity for quality; a pristine seven-line free verse poem is more impressive than a sloppy, rambling epic of blank verse iambic pentameter, even though it probably took far less time to compose.

Don’t obsess over your first line. If you don’t feel you have exactly the right words to open your poem, don’t give up there. Keep writing and come back to the first line when you’re ready. The opening line is just one component of an overall piece of art. Don’t give it more outsized importance than it needs (which is a common mistake among first time poets).

Embrace tools. If a thesaurus or a rhyming dictionary will help you complete a poem, use it. You’d be surprised how many professional writers also make use of these tools. Just be sure you understand the true meaning of the words you insert into your poem. Some synonyms listed in a thesaurus will deviate from the meaning you wish to convey.

Enhance the poetic form with literary devices. Like any form of writing, poetry is enhanced by literary devices. Develop your poetry writing skills by inserting metaphor, allegory, synecdoche, metonymy, imagery, and other literary devices into your poems. This can be relatively easy in an unrhymed form like free verse and more challenging in poetic forms that have strict rules about meter and rhyme scheme.

Try telling a story with your poem. Many of the ideas you might express in a novel, a short story, or an essay can come out in a poem. A narrative poem like “The Waste Land” by T.S. Eliot can be as long as a novella. “The Raven” by Edgar Allan Poe expresses just as much dread and menace as some horror movies. As with all forms of English language writing, communication is the name of the game in poetry, so if you want to tell short stories in your poems, embrace that instinct.

Express big ideas. A lyric poem like “Banish Air from Air” by Emily Dickinson can express some of the same philosophical and political concepts you might articulate in an essay. Because good poetry is about precision of language, you can express a whole philosophy in very few words if you choose them carefully. Even seemingly light poetic forms like nursery rhymes or a silly rhyming limerick can communicate big, bold ideas. You just have to choose the right words.

Paint with words. When a poet paints with words, they use word choice to figuratively “paint” concrete images in a reader’s mind. In the field of visual art, painting pictures of course refers to the act of representing people, objects, and scenery for viewers to behold with their own eyes. In creative writing, painting pictures also refers to producing a vivid picture of people, objects, and scenes, but the artist’s medium is the written word.

Familiarize yourself with myriad forms of poetry. Each different form of poetry has its own requirements—rhyme scheme, number of lines, meter, subject matter, and more—that make them unique from other types of poems. Think of these structures as the poetic equivalent of the grammar rules that govern prose writing. Whether you’re writing a villanelle (a nineteen-line poem consisting of five tercets and a quatrain, with a highly specified internal rhyme scheme) or free verse poetry (which has no rules regarding length, meter, or rhyme scheme), it’s important to thrive within the boundaries of the type of poetry you’ve chosen. Even if you eventually compose all your work as one particular type of poem, versatility is still a valuable skill.

Connect with other poets. Poets connect with one another via poetry readings and perhaps poetry writing classes. Poets in an artistic community often read each other’s work, recite their own poems aloud, and provide feedback on first drafts. Good poetry can take many forms, and through a community, you may encounter different forms that vary from the type of poem you typically write—but are just as artistically inspiring. Seek out a poetry group where you can hear different types of poetry, discuss the artform, jot down new ideas, and learn from the work of your peers. A supportive community can help you brainstorm ideas, influence your state of mind as an artist, and share poetry exercises that may have helped other members of the group produce great poetry.

Source ⚜ More: Notes ⚜ References for Poets ⚜ Writing Resources PDFs

[moose-mousse]

Ice cold take from a decade ago!

"Quality gates are either automatically tool enforced, or they are imaginary"

I am fairly confident in stating that. Because if you claim that your developers will follow the quality gate on their own, you are saying that your people are better developers than the 40 people who got Curiosity to Mars. In this talk by Gerard Holzmann: https://www.usenix.org/conference/hotdep12/workshop-program/presentation/holzmann He shows data, that the programmers who have the highest success rates with rovers on mars, by a LONG shot, do not follow quality gates that was not enforced. So they tested EVERYTHING. To NASA level standards. One of the highest in the world. They made a HUGE codebase. VERY fast. And it was VERY safe. ... and it was cheap. Because clean code is easy to change and easy to write in. And when you get tested seven ways to hell every day, then you have to write robust code. Turns out robust code and testable code is basically the same thing. ALL of the software for that, was written by 40 people. It was CHEAP. So cheap that they barely appeared in the budget. And yet it was tested inside and out constantly and quality gates was enforced with systems

So when your workplace claims that it is simply too expensive to automate the quality gates. Then inform them that it is too expensive to NOT enforce them.

[nanowrimo]

How to Write a Quality First Draft

Every year, we’re lucky to have great sponsors for our nonprofit events. ProWritingAid, a 2023 NaNo sponsor, helps you turn your rough first draft into a clean, clear, publish-ready manuscript. Today, author Krystal N. Craiker shares some tips on how to make sure your first draft has some good bones to start with:

One question I often hear about National Novel Writing Month is, “Won’t my novel be of terrible quality?”

It’s true that writing 50,000 words in 30 days won’t give you a polished manuscript. And it’s always great to embrace the creative mess of the first draft.

However, there are some tricks to ensure that your first draft has plenty of usable content. These tips are also a great way to move your story along when you get stuck.

1. Have a Plan

Pantsers, this might be hard to hear. But having even a basic outline of your story can ensure you stay on track. You don’t have to sacrifice creativity when you outline. After all, you’re still the author creating a story. 

A detailed outline can even act like your messy first draft. The more work you put into planning, the better your first draft will be. When I spend more time plotting, I spend far less time cutting things from my later drafts.

2. Make Every Scene 3D

Okay, I get it. Not everyone is a plotter. Luckily, there are other things you can do to ensure your first draft is good quality. One is adding enough sensory detail to bring your story to life.

I like to use a 3D method: have at least three of the five senses in every scene. It’s a great trick to improve the flow of your scene. Take a few minutes to immerse yourself in your story and write what your characters are experiencing.

You might change it or move it around in your final draft, but you’ll save yourself time during revisions if you add sensory detail from the beginning. 

3. Reword Your Writing

Sometimes we get stuck after one bad sentence. The imposter syndrome kicks in, and the scene just falls flat. 

Ideally, we completely turn off our inner editor during NaNoWriMo. But when you encounter that one pesky sentence, it’s okay to rewrite it. 

You can use a tool like ProWritingAid’s Rephrase. Just highlight your sentence, click Rephrase, and select a new sentence. Rephrase uses your own words and enhances them. And don’t worry about security and privacy—ProWritingAid never uses your writing to train AI.

4. Embrace the Chaos

Of course, the most important thing about National Novel Writing Month is to embrace the messy creative process. It’s okay not to have a perfect manuscript at the end of the month—no one will. 

Everyone will need to revise, edit, and rewrite after November ends. That’s why NaNoWriMo includes "I Wrote a Novel... Now What?" resources. And when you’re ready to turn your mess into a masterpiece, ProWritingAid will be there to help.

Krystal N. Craiker is the Writing Pirate, an indie romance author and content writer who sails the seven internet seas, breaking tropes and bending genres. She has a background in anthropology and education, which bring fresh perspectives to her romance novels. When she’s not daydreaming about her next book or article, you can find her cooking gourmet gluten-free cuisine, laughing at memes, and playing board games. Krystal lives in Dallas, Texas with her husband, child, and basset hound.

Top photo by No Revisions on Unsplash

[itsbenedict]

So this year went... not as good, vis-a-vis doing the things I wanted to do! Breaking down the goals...

Finish the first case of Justice/Arcana and revise the draft

Nnnnnope! I got through most of it, the players figured out the primary trick, but then I kind of hit a wall where I realized that I hadn't done enough to narrow down the culprit based on figuring out the trick. Doing so would require reworking the logistics such that the back room is the kitchen (an offscreen location the first draft never investigated) and characters have sandwich alibis. I've kind of got to go back to the drawing board here.

Finish the SakuraPetalFantasy walkthrough portion of Datasouls (not with the whole combat toy situation, just the rest of it)

Nope! I got chapter 4 done, but chapter 5 is only in an outline state right now. I did spend like a couple months doing Lost in Hearts instead, which built on the concept a little, but I didn't put in the work to finish things up.

Do 24 TFJ recaps, two per month

Nuh-uh. I got about halfway, but in addition to falling victim to my slump in the latter part of the year, TFJ itself kind of came to an unceremonious end due to some structural issues and player conflict. Current plan is to work with Farn to use the campaign as raw material to write a fantasy novel focusing on Saelhen.

Work through all the exercises in Genki 1 and 2, and catch up on WK reviews.

Nope- I mean, I caught up on reviews, but then fell out of the habit halfway through the year, and didn't finish the workbooks.

Date someone. I feel like I look decent and have a lot of desirable qualities that would make this not too hard to accomplish, but I have to put effort into looking or it’s never going to happen on its own. (I am unfortunately of the gender that doesn’t typically get asked out and has to take the initiative.) It’s gonna be tricky since I’m a weird person with weird life priorities and finding someone who’d actually be happy partnering up with that long-term is a tall order.

Haha, no. I wrote up a dating profile thing, and I did get one bite, but then she ghosted and it's been a couple months and it'd be awkward to try and go "hey, uh, are you still there?" at this point. I tried looking around myself, but I don't really know where to look- most dating sites are just hookup apps where you just swipe on faces nowadays, and that's useless to me. Everyone I've ever developed a crush on organically has been one of taken, ace, or lesbian, and at this point I have to assume there's a causal factor and I'm not just unlucky. I think I'm going to have to move somewhere more densely populated to have any shot at finding a good fit.

Actually get that standing desk walk-while-working workflow set up and establish an exercise routine that I keep to for more than half the year

Not quite. I did keep to an exercise routine for exactly seven months, but I didn't get the walk-while-working thing worked out- I haven't found any under-desk ellipticals that aren't extremely precarious and awkward to use while focusing on something else, so I'm thinking I should look for a mini treadmill next instead.

Release a functional version of that Fire Emblem content authoring tool

Nope! That was way more work than I expected- or at least, I expected I'd be able to keep working on it on and off throughout the year, which didn't happen. I did make pretty good progress, though- I'd say it's like, half done?

Replace grody old kitchen sink that has weird white stuff growing out from inside the handle

Okay I did do this one. But that was basically just a matter of ordering a thing on Home Depot and calling a plumber, so like, not exactly an achievement, just something I knew I'd keep forgetting to do indefinitely unless I put it on the list.

Finish the games I’m still playing through from this post

Almost! Still haven't finished The Sekimeiya, though I did make it far enough that I think I've got some kind of idea of how that egg thing works and how things fit together, even if there's a lot of gaps in the specifics.

Find some new source of income reliable enough to pay the bills without making me work more than 20 hours a week. (I’m a programmer, this is hypothetically doable.) Freelancing/contract work maybe?

Sorta? I did quit the horrible company that bought my division, but I stayed on as a contractor for miscellaneous stuff (and insisted on writing the noncompete clause out of the contract in negotiations, which they agreed to), and went back to work for the old company at the same time. At $100/hour, I worked an average of ten hours a week... kinda. The first five months or so, I worked almost not at all, living off my savings and doing odd jobs for less than my monthly expenses. The rest of the year, various disasters occurred and I was working my ass off putting out fires, so I was basically working full-time for much less than a full-time salary. I wouldn't say I nailed the employment situation, but I did keep my head above water.

How Come I Fucked Up?

Four reasons.

First, and smallest- halfway through the year was when the fires started at work and I started having way more stress and way less time. It was hard to focus on anything when something new was breaking and I was on the hook for it for months at a time.

Secondly: two of my grandparents died this year. Not only was this a pretty severe emotional blow, because they were amazing people and it's stupid and unfair that this happened- it also meant lots of traveling, to funerals and family events. It chewed through my budget and necessitated spending more hours on work, and left me exhausted and strung out for several weeks.

Thirdly and fourthly: the Elden Ring DLC came out, and also I got addicted to Pokérogue. I put... a stupid amount of hours into these games. Like two or three hours a day for multiple months. All my productive energy was consumed first by work, and then by vegging out and playing video games due to a lack of willpower.

This was a colossal failure. Like, from July onwards, I got practically nothing done. Half a year of my life, up in smoke! This is not sustainable. I need to do something major to course-correct here.

I think one thing that'll probably be worthwhile is... having failed to find a romantic partner, I need to move in with someone. I can resist the temptation to sit around like a lump doing repetitive videogames as long as there is some witness to my squalor. I'm very comfortable living alone, but I have to fight the temptation to vanish into comfort and never complete any of my many missions. I gotta have a friend around who can see when I'm wasting time, and cares at least a little about whether I'm getting things done.

So current plan is I'm moving to Providence with Farn pretty soon? And I'm going to try to land a flexible full-time position with just one of these companies I'm working with, so I can have health insurance and don't need to worry about being in the red during slow months.

[velkynkarma]

The book you binded looks so cool!!! I've been meaning to get into book binding as well, especially for One Piece fics and I love the format you did it in with Zoro's logo. How did you edit it? Would you be willing to share tips on how you did it? Did you watch book binding YouTube videos?

Thanks, anon! I'm glad you enjoyed! And I'm absolutely willing to share what I learned!

For the general book-binding, I used a couple book binding how-to videos.

Turning Fanfiction Into the Hardcover Book it Deserves by Jess Less

This one helped with:

How to use an old book cover/used book for the cover of the fanfic (you can also MAKE covers, and she has another video on this as well, but I love the idea of recycling old unwanted books into something new and loved)

The basics for formatting the pages (her bit about adding a compass design for the chapters is what inspired me to use Zoro's flag logo)

How to print and prep the pages/signatures

How to finish putting the whole thing together and add some interesting design elements

I especially liked this video because it's very beginner-friendly and casual, which helped the whole project feel a little less daunting. You can get special tools for book binding (there are kits online) but as shown, it's also simple enough to do with a thumbtack and some corkboard if you're low on cash.

That said, I found the stitch in this video a bit confusing, so I used the stitch from this video instead:

Folding & Sewing - Rounded and Backed Cased Book // Adventures in Bookbinding by DAS Bookbinding

Stitch prep is specifically around 7min in if you just want to skip to that. But the whole thing is an interesting watch too. This is more professional bookbinding and he has a lot of other interesting videos if you want to do some more complex things. However I found this stitch to be very straightforward and easy to follow and assemble, so I ultimately used this one when I put together Seven Deaths.

As for my personal tips and things I learned while doing this project?

Turns out Google Docs is kind of useless for this. You'll want actual word processing software like Microsoft Word. If you don't have the cash to spend on Microsoft's ridiculous subscription policy, you can use LibreOffice which is free (I did, and it works very well).

Fics are way longer on paper than they are digitally. Seven Deaths is 'only' about a 50K fic (less, in fact). But it still makes a 200+ page book. Pic a smaller fic to start with while you figure out everything you want to do.

Do some research on good book fonts for the body of your text. You can get crazy with other things (chapter headers or title pages) but pic something recommended for your text body so it's legible.

To add character symbols (like Zoro's flag) you'll need a transparent copy of it to save as a png. Once you pull it into the word doc you can resize and arrange as needed.

Also look at other "real" books you have lying around for ideas for things to add to your book! I turned an author's note into a "Forward", added an "about the author/publisher" section at the back, put in a table of contents, etc. There's other things I want to experiment with next time. Go wild! Have fun!

Test print a couple pages before printing the full project, just to be sure it's actually the right page size, your font is legible and spaced well, etc. If you don't have a printer and you don't want to pay a print shop for some expensive test pages, try your local library! Many let you use their computers and printers for an extremely low cost.

If you don't have a printer (or not one that can do quality printing for 200+ pages) you'll need to go to a print shop. DON'T bother with places like Staples or OfficeMax. I tried this, but their machines automatically staple "booklets" out of your signatures, which messes up your paper and costs extra for this "service." Instead, track down a local print shop in your area. It's easier to talk to them directly about what you want and the quality is better anyway.

On that note, this is an expensive hobby! Printing for Seven Deaths was about $87USD. The quality was worth it, but definitely do not start if you don't have your own printer or a little bit of spending money.

You do not need as much glue or thread as you think you need. Go less. Waste not.

A lot of the end stages is just...waiting...for...glue...to...dry.

You will inevitably, invariably, mess things up on your first project. I sure did! I underestimated the sharpness of some tools and put holes places I didn't mean to; some things glued in a bit sloppily; I didn't set up my page organization exactly right my table of contents ended up on the left page when I envisioned it on the right. But you know what? It doesn't matter! Because at the end of the day you have a book that YOU MADE. And it's still fucking awesome! And now you've learned some things for next time. Do it anyway and have fun with it!

Happy crafting, anon. I hope you are able to add some personal favorites to your bookshelf soon :)

[aperture8]

BG3 Digital Character Book

Enneagramm Typ Description (Wip) Part 1

Actually, all the bottom line is simply notes and scraps of the test results and my interpretation of it… everything a bit confused and not really comprehensible. I just had to write them down and I will pick them up later and write a text which is more understandable...yes, I'm not sure where I want to go with is :D

The Enneagram denotes a nine-pointed esoteric symbol which, as a graphic structural model, is intended to distinguish, arrange and relate nine qualities assumed as fundamental.

[pic from here]

In contrast to the four ancient temperaments choleric, sanguine, melancholic and phlegmatic, the personality chart is used to divide people into nine personality types.

[source: wikipedia]

Once again, it's funny to use such things for for developing a dnd/bg3 character and of course there is justified criticism such as that there are no standardized type definitions.

After answering a lot of questions- nearly the same like for the MBTI comes here the result. It is a mixture of the pure test results and my interpretations and desicion to chose wing 5 for the narrativ. I made a counter check by an AI to see if I get different results - stupid me, of course, yes. 🙄😄

THE CHALLENGER (Type 8)

Enneagram Type 8 in Brief Eights are self-confident, strong, and assertive. Protective, resourceful, straight-talking, and decisive, but can also be ego-centric and domineering. Eights feel they must control their environment, especially people, sometimes becoming confrontational and intimidating. Eights typically have problems with their tempers and with allowing themselves to be vulnerable. At their Best: self- mastering, they use their strength to improve others’ lives, becoming heroic, magnanimous, and inspiring. Basic Fear: Of being harmed or controlled by others Basic Desire: To protect themselves (to be in control of their own life and destiny) Enneagram Eight with a Seven-Wing: “The Maverick” Enneagram Eight with a Nine-Wing: “The Bear”

[source: here]

Key Motivations: Want to be self-reliant, to prove their strength and resist weakness, to be important in their world, to dominate the environment, and to stay in control of their situation.

Core Motivation: Independence and Control Ardreyth's actions are characterized by a tireless urge for self-determination. She considers herself a tool, created and shaped by the Mother Matron and also Bhaal. This desire for self-determination can be interpreted as a kind of survival strategy within drow's society. She uses her role as an assassin to secretly build a network of powerful allies. This makes every murder not only an order, but also a step towards independence from Mother Matron Minaste. However, their pursuit of self-determination (I determine when and where) hides a deeper fear of being vulnerable or manipulable.

->fight against foreign determination

Protection mechanisms to avoid weakness: Ardreyth shows neither physical nor emotional pain. When she is injured during a mission, she retreats to heal alone - no one is allowed to recognize her weakness. Control by aggression: She begins conflicts to demonstrate her dominance and. According to the motto, whoever strikes first has power. A practice fight with Callimar then turns into a showdown.

Key fears: powerlessness and vulnerability A melancholy void, understood as existential despair (more than just being a tool for someone else), represents the type 8 fear of being powerless inside despite all the power.

WING 9 - THE BEAR Diplomatic control fits better than 8 with wing 7, as Ardreyth is patient and prudent and does not act impulsively… she watches before she strikes… one could interpret this as Type 9's striving for harmony, which, however, was distorted by the drow policy. Ardreyth initially lets rivals weigh in on triumph to purposefully humiliate them later. Protective loyalty: Loyalty is a foreign word, an exception here is Callimar. Their loyalty to him should not be regarded as a kind of affection, but as a rational calculation… Only much later, after many years, does an affection and the resulting loyalty develop.

WING 5 - IINVESTIGATOR fits from a narrative point of view because: Type 5 characteristics:Obsession with knowledge: studies, magic, etc. to have as much control over all variables as possible. Emotional distance: Analyzes all people like chess pieces that are useful and when, etc. Exception: Callimar. Paranoid: preparation: for each possibility or scenario there is a plan B (escape tunnel, etc.) Shadow aspect: In stressful situations, she shows paranoid traits, obsessively collects information and causes unnecessary suffering - the price of growing up in a gloomy society and dark desire.

I will write a summary :D

[e-adlirez]

I've read your treasure seekers rambles and ngl your thoughts on Luke as a villain makes me kinda curious on your opinions on most of the villains in the series as a whole :O

Most of the villains (the older ones, I'd say) are really good. Madame Hu is intimidating and probably a mommy people simp for (also the closest to being a proto!Luke), Mortimer MacCardigan is a properly self-centered dick to root against, Dunya is actually kinda terrifying, the corrupt judges in Dancing Shadows probably hit a bit close to home for the competitive performing artists out there, Sammy Sharkfur is capitalism incarnate-- you get the idea, all of them are really good.

The newer books do vary in quality, and they lean more into domestic-ish travel drama and stuff like that. Which I am fine with, don't get me wrong-- it can be done right, and they are done right (coughs and sips tea loudly at Fiesta in Mexico), but when they aren't they do be boring -m-

And then there are the occasional villains like uh Olaf and Ulfur in Frozen Fiasco, and those guys are hella basic, I'ma be real

They're literally the SKINNIEST TWINKS IN EXISTENCE, WHAT DO YOU MEAN THEY MANAGED TO INCAPACITATE NINE GROWN-ASS ADULTS ALL BY THEMSELVES--

I get they can't use tranqs or guns or anything like that but C'MON A CROWBAR AT LEAST LIKE C'MOOONNN SHOW US A THING WHERE THEY'RE LIKE "If you don't want your friend or the pencil pusher to get hurt, you will cooperate with us" OR SOMETHING THAT JUSTIFIES THEM GETTING YA YEETED INTO A SHED BY THESE T W O T W I N K S

Madagascar Madness was kinda better at it since well, they were in the middle of the jungle and the animal traffickers can wrangle aforementioned exotic animals with perhaps ungodly reaction times/speeds (like lizards/iguanas), sooo at least it's somewhat imaginable and understandable that they'd be able to tie up eight people. They prolly used and abused the lasso tool /j

One notable villain in the newer books is the magician from Venice Masquerade-- that guy was cool, a magnificent bastard who was seven steps ahead until the girls figured out how to anticipate his anticipating. (Kinda. Hoping the misdirection thing Marco did when stumping the magician was just a Scholastic blunder because my god did it sound stupid in the English translation)

Anyway yeah the books do what they do well, but I can't deny that I miss the unabashed evilness of the villains in the old books. We need a little more of a big bad getting up in the girls' business enough for the girls to want to do something about it dammit

It's probably a bit of Scholastic cherrypicking the books to publish because like, we do have like, about 19-ish Thea Stilton books that haven't been translated to English, maybe one of them had a big bad we can root against -m-

But I dunno, we wouldn't know

Because they haven't been translated to English -m-

[aesethewitch]

Shufflemancy Testing: 50 Song Playlist Summary

Shufflemancy theory testing is underway. I did a lot of thinking on how I wanted to do this, and it came down to the information I was trying to glean in the end.

My Method

My primary concerns with shufflemancy (and, indeed, other forms of divination using digital tools) are: 1) The interference of algorithms in the shuffle process; and 2) The lack of variety and length in a given playlist.

To address both concerns at once, I came up with the idea of creating several playlists of increasing length. Each playlist contains all songs from the one preceding it, plus an entirely new selection of songs sourced from my many, many playlists and from others' massive playlists at random. They are 50, 100, 200, 500, and 1,000 songs, respectively.

I'm skipping the same number of songs each day (hitting play in the list to start it in Spotify, then skipping 3 songs) while asking the same question at the same time ("What should I expect today?")

Ideally, I would do this every day. But... well, ADHD strikes, and I missed a couple days. Even so, I decided at the start to dedicate a full week to the process, and so I've stuck to seven days to test each playlist.

It's worth noting that I have little to no shufflemancy experience prior to this. I'm aware that my lack of skill and expertise may affect the quality of my divinations with this, so I plan on returning to the 50 and 100 song playlists after the 1,000 song playlist just to be certain my skill level isn't playing into the output.

Once I've completed the circuit and have a baseline using these criteria, it's time to... do it all again, kinda. But with a change! I eventually want to answer the following questions:

Are songs more accurate first thing when I start my day, or are they better done the night before?

Does the number of songs make a significant difference? Does seven skips yield a better or worse result than three? What about five, or ten?

Is a longer-winded dissection of the song's themes, background, and artist more or less accurate than a basic impression? Or, on the other hand, does a bare bones, keyword-based description work best?

Does the information I'm taking down matter? Are the tempo, tone, and length relevant somehow? Or does the title, lyrics that "pop out" at me, and overall themes of the song do the job?

To answer these questions, I'll choose whichever playlist ends up being the most accurate and make individual variations to be tested over a seven-day period.

As I've mentioned before, I'm using Spotify for this test. But once I feel I've done all I can there... I'm swapping platforms. That's right, I'm not just testing shufflemancy itself, I'm testing to see which platform is really best for it!

This whole process is going to take a long while. I plan on updating with full details for Ko-Fi supporters fairly regularly, with a breakdown of songs I shuffled to and my notes during and the day after. Folks on Tumblr will see a basic list of songs and ratings for how accurate it was to the day in question.

With all that said, I've done seven full days with the 50 song playlist. How did it go, you ask?

50 Song Playlist Breakdown

Day One

Question: What should I expect today? Shuffles: 3 Times Song: "What It Takes" Artist: Aerosmith Rating: 3/10

Day Two

Question: What should I expect today? Shuffles: 3 Times Song: "I'm So Tired" Artist: Fugazi Rating: 1/10

Day Three

Question: What should I expect today? Shuffles: 3 Times Song: "Professional Griefers" Artist: deadmau5, Gerard Way Rating: 3/10

Day Four

Question: What should I expect today? Shuffles: 3 Times Song: "I Wanna Be Your Man" Artist: Willy Moon Rating: 6/10

Day Five

Question: What should I expect today? Shuffles: 3 Times Song: "Megalovania" Artist: Toby Fox Rating: (a generous) 5/10

Day Six

Question: What should I expect today? Shuffles: 3 Times Song: "Halloweenie IV: Innards" Artist: Ashnikko Rating: 7/10

Day Seven

Question: What should I expect today? Shuffles: 3 Times Song: "Fancy" Artist: Iggy Azalea Rating: 0/10

Average Rating: 3.7/10

To see a full breakdown of each day, including lyrics that stood out, my immediate takeaways, and post-reading dissections, visit my Ko-Fi page! The full article is exclusive for supporters -- as little as $1 gets you access to my full backlog.

[locustheologicus]

Ethical Frameworks and a Return to Casuistry.

Ethical Frameworks: At a recent workshop I received this decision-making tool from the Markkula Center which I found extremely helpful. It briefly shows the process that needs to be taken when someone has to make an ethical decision. The process is spelled out below.

The following link from the Markkula center has further resources on this.

Frederic Reamer presents his own framework for ethical decision making for social workers in his book, “Social Work Values and Ethics.” It is not to dissimilar from what Markkula presents above. In describing the process Reamer offers the following preamble:

No precise formula for resolving ethical dilemmas exists. Reasonable, thoughful social workers can disagree about the ethical principles and criteria that ought to guide ethical decisions in any given case. But ethicists generally agree on the importance of approaching ethical decisions systematically, by following a series of steps to ensure that all aspects of the ethical dilemma are addressed, Following a series of clearly formulated steps allows social workers to enhance the quality of the ethical decisions they make. (Reamer, pg. 88)

Reamer shares the following seven points as an ethical framework for social workers.

Identify the ethical issues, including the social work values and duties that conflict.

Identify the individuals, groups, and organizations likely to be affected by the ethical decision.

Tentatively identify all viable courses of action and the participants involved in each, along with the potential benefits and risks for each.

Thoroughly examine the reasons in favor of and against each course of action, considering relevant codes of ethics and legal principles; ethical theories, principles, and guidelines (e.g. deontological and teleological-utilitarian perspectives and ethical guidelines based on them); social work practice theory and principles; relevant laws, policies, and social work practice standards; and personal values (including religious l, cultural, and ethnic values and political ideology), particularly conflicts between one’s own and others’ values.

Consult with colleagues and appropriate experts (such as agency staff, supervisors, agency administrators, attorneys, and ethical scholars).

Make the decision and document the decision-making process.

Monitor, evaluate, and document the decision.

The point of the process is to make an ethical decision. Many times the decision will be pretty straightforward and the process will be pretty basic. But at times a morally complex scenario will present itself and still, an ethical decision will need to be made. But such decisions will be complicated and it not everyone will make the same decision. To this Reamer tells us,

This does not reveal a fundamental flaw in the decision making framework. Rather, it highlights an unavoidable attribute of ethical decision making: complicated cases are likely to produce different assessments and conclusions among different practitioners, even after thorough and systematic analysis of the ethical issues. After all, reasonable minds can differ. (Reamer, pg. 105)

Reamer’s astute observation here brings to mind a former Catholic moral method that is very applicable to those of us who work with complicated clients and cases.

A Return to Casuistry: Ethics is such a vitally tool for addressing difficult challenges. The workshop I attended was on the challenge of using AI in the social service sector but the night before I had another workshop on preparing our migrant communities for potentially draconian policy shifts that will dramatically impact their lives. In both cases we considered real case studies that presented moral dilemmas. I thought more about this ethical process in light of these two issues.

Case studies are an essential aspect of ethics. Moral principles have a very important role to play as well but as the authors Toulmin and Jonsen have written in their book “The Abuse of Casuistry,”

Moral knowledge is essential particular, so that sound resolutions of moral problems must always be rooted in a concrete understanding of specific cases and circumstances. (Toulmin/Jonsen, pg. 330)

In the video below we hear from a comedian/ethicist Michael Schur who explains how a particular ethical case formed a moral dilemma that shaped his ethical lens.

In this TED talk Michael Schur, the creator of the Netflix show “The Good Place,” shares his own ethical formation and the framework that he employed to discern the right action. In the midst of his presentation on the ethical dilemma that so moved him he shares that he was becoming “sick to my stomach” as he morally considered the results of his action. His own conscience, his moral intuition, was playing a key role in this dilemma. This intuition had him review ethical literature to evaluate further his action. At the conclusion of his talk he suggest that ethical cases, like the one he presents, can help shape good moral habits. Schur suggests that developing ethical frames of references will help us become better people. It will help us succeed at making better choices and reflecting on our own happiness and the greater good.

Becoming aware of the philosophical ideal of the moral good, accepted virtues for the development of our moral character, existing ethical frameworks, and moral decision-making processes, will grant us a deeper and richer perspective on who we are and how we can become better and people. To become a better person is a fundamental goal that all humans share and ethics is a tool to help shape our humanity.

Contemporary Catholic moral theology tends to focus more on moral principles rather than methodology. Focused on their concern for “intrinsically evil acts” the Church has periodically focused more on principles as moral absolutes where methods or probable moral positions are given less consideration with certain moral positions. This unfortunate development emerged as moral theology attempted to employ a geometric/mathematical approach to ethics with the assumption that ethical problems could be resolved with a rigorous application of moral absolutes.

But in the world of medical or social work ethics it is important to promote case studies and to perhaps bring back a moral system that promoted this form of moral theology. This is what the 13th - 17th century art of casuistry offered. Stephen Toulmin and Albert Jonsen explored this historical contribution to moral reason and address the contemporary need to bring back this branch of moral theology. The authors define their thesis in this way.

Practical moral reasoning today still fits the pattern of topical (or “rhetorical”) argumentation better than it does of formal (or “geometrical”) demonstration. (Toulmin/Jonsen, pg. 326)

Ethical case studies that address particular moral issues allow the ethical framework to respect the role of one’s conscience in discerning the moral dilemma that we each face. The idea of the primacy of conscience has always been defended by the Catholic Church, but more as an idea than as a practice. Toulmin/Jonsen believe that casuistry can help form a practice that allows us to develop our conscience.

In offering this position Toulmin/Jonsen remind us of the role of synderesis which is a component within the individual conscience based on the theory of natural law. It is defined by Aquinas as “a natural disposition concerned with the basic principles of behavior, which are the general principles of natural law.” The moral principles that our religious and educational institutions develop exist within our own conscience as a natural disposition that can grasp and discern their application within the ethical situations we each face.

Aquinas, then, reserves the word conscientia for “the application of general judgments of synderesis to particulars.” This application can be either prospective, in discovering what is to be done in a particular situation, or retrospective, in testing what is to be done in order to discern whether one acted rightly. (Toulmin/Jonsen, pg. 129)

Through the period that Toulmin/Jonsen call “high casuistry” (15th through the 17th Century) many theologians utilized this ethical method to evaluate unique issues that they had not faced before. Until the middle of the 17th century, when Pascal wrote his scathing work, The Pastoral Letters, casuistry enjoyed a preeminent moral authority that allowed moral theologians like Francisco de Vitoria to address unique and particular issues. Vitoria’s 16th century contribution would establish the framework for human rights language, international law, just war, and the ideals of the enlightenment. These cases emerged as casuist like Vitoria analyzed the situation of Europe as the Reformation took hold and the emergence of nationalism. He also evaluated the Spanish relationship with and obligation to the indigenous community in the midst of the American colonial situation. These contributions surfaced because Vitoria had the ability to consider probable ethical opinions on a range of issues that emerged during that time and we now take for granted. But we now face our own unique moral dilemmas and we require the same flexibility to respond to these ethical issues through a rhetorical approach that considers the best probable ethical opinion to our own case studies.

The Markkula Center, Michael Schur, and Toulmin/Jonsen, would all seem to suggest that the moral development of a person is best achieved by the use of ethical frameworks within particular case studies that present a real moral dilemma. You may not always get the right action or make the best ethical decision, but the more you employ and discern these ethical frameworks, the more you achieve a higher ethical standard, the more you become a better person and attain happiness.

One other point needs to be made. The casuist approach to ethics was both a communal and personal one. A contemporary concern may be that casuist may reinforce a subjective or situational approach to ethics that devalues objective principles to the point of being absolutely relativistic. Toulmin/Jonsen do not agree and Vitoria’s use of casuistry suggests that it was not used this way (beyond the controversies of the moral laxists that Pascal reproached).

For the casuists,… informed conscience might be intensely personal, but its primary concern was to place the individual agent’s decision into its larger context at the level of actual choice: namely, the moral dialogue and debate of a community. Conscience was “knowing together” (con-scientia). The dialogue and debate consisted in the critical application of paradigms to new circumstances, but those “paradigms” were the collective possession of people - priests, rabbis or common lawyers or moral theologians- who had the education, the opportunity, and the experience needed to reflect on the difficulties raised by new cases and to argue them through among themselves. (Toulmin/Jonsen, pg. 335)

As I approach the ethics of social ministry there will be many contemporary similarities that is see with how both medical and social work ethics utilize case studies to hone in their own ethical inquiries. In the case of Catholic social ministry I would like to suggest that the method of casuistry should be redeployed to help us develop an ethical approach befitting the social ministries and mission of the Church.

[sublimedreaming]

⌇  J.E.B  ⌇

⋙⋙⋙  incoming  frequency  ⋘⋘⋘

⌇  basics.

⌇  name  :  jérémie  eliot  broussard

⌇  alias(es)  :  j,  jay,  swampfox,  static,  ghost,  cajun

⌇  gender  :  cis  male  (  he  /  him  )

⌇  orientation  :  heterosexual

⌇  date  of  birth  :  3  nov  2001  (  age  36  )

⌇  occupation  :  radio  station  caretaker

⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄

⌇  physical  &  mental  profile

⌇  height  :  6’1” 

⌇  weight  :  183  lbs  /  83  kg

⌇  build  :  lean,  utility-focused,  long-haul  survivalist

⌇  hair  :  dark,  unruly  curls,  always  a  little  too  long

⌇  eyes  :  blue-green 

⌇  dominant  hand  :  right

⌇  tattoos  :   gator  skull  across  forearm,  “ma  cherie”  in  cursive  over  his  pulse  line,  minimalist  star  band  (hand-drawn)  around  his  bicep,  sigil  of  silence  carved  into  his  upper  ribs—he  did  that  one  himself

⌇  scars  :   a  bite  that  didn’t  kill  him,  jagged  chest  scar  from  a  metal  shard,  faint  self-inflicted  burn  rings  on  his  hand—old,  healed

⌇  conditions  :  untreated  ptsd  ∘  hypervigilance  ∘  mild  hallucinations  (sensory-based)

⌇  schemas  :  abandonment  ∘  guilt  ∘  control  ∘  self-containment

⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄ ⌇  personality

⌇  mbti  :  istp-t

⌇  alignment  :  true  neutral

⌇  temperament  :  melancholic

⌇  enneagram  :  5w6

⌇  zodiac  :  scorpio  sun  ∘  capricorn  moon  ∘  sagittarius  rising

⌇  soul  type  :  sentinel

⌇  spirit  animal  :  owl

⌇  mythic  tie  :  hermes  ∘  the  message-bearer  between  worlds

⌇  6  qualities  :  intensely  observant  ∘  independent  ∘  strange  but  dependable  ∘  loyal  if  earned  ∘  practical  ∘  quietly  protective

⌇  6  flaws  :  emotionally  locked  down  ∘  cryptic  ∘  antisocial  ∘  superstitious  ∘  unfiltered  ∘  eccentric

⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄  ⋄ ⌇  background  check

⌇  origin  :  lafayette,  louisiana

⌇  accent  :  thick  cajun  drawl,  stronger  when  tired  or  alone

⌇  pre-fall  :  coast  guard  signalman  ∘  ran  coastal  comms

⌇  post-collapse  :  wandered  solo  for  seven years,  surviving  off  broken  signals  and  blind  instinct,  joined  blackridge  five  years  ago  after  following  a  coded  broadcast  no  one  else  could  decipher

⌇  skills  :  shortwave  radio  operation,  analog/digital  frequency  splicing,  power  grid  maintenance,  silent  tracking,  encryption  &  cipher  decoding,  swamp  survival  ∘  field  repairs  ∘  mechanical  patchwork

⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄

⌇  behavioral  anomalies

⌇  collects  broken  radios  and  lines  them  up  like  a  shrine

⌇  talks  to  static  like  it’s  an  old  friend

⌇  hangs  talismans  made  of  metal  scraps  from  trees  near  his  tower  “to  catch  bad  signals”

⌇  names  his  tools  (his  wrench  is  “clarence”)

⌇  hums  lullabies  no  one  else  recognizes

⌇  arranges  his  boots  and  gear  every  night  in  the  same  exact  pattern

⌇  carries  a  harmonica—doesn’t  play  it,  just  holds  it

⌇  sleeps  above  the  station

⌇  once  stayed  up  for  96  hours  straight  tracking  a  faint,  broken  voice  across  channels

⌇  carries  a  small  carved  gris-gris  (voodoo  charm)  in  his  coat  pocket—says  it’s  for  protection,  even  if  he  doesn’t  believe  in  much  anymore ⌇has  an  old  beat-up  walkman  and  a  growing  cassette  tape  collection.  blues,  french  folk,  outlaw  country.

⌇  never  says  “goodbye”  on  the  radio.  only:  “you  still  there?”  or  “i’ll  be  listenin’.”

⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄

⌇  likes  /  dislikes

⌇  likes  :  the  sound  of  clean  static,  cassette  tapes  with  old  love  songs,  storms,  quiet  hands,  sharpening  tools,  dark  coffee,  radio  puzzles,  open  spaces  with  no  one  in  them

⌇  dislikes  :  being  touched  without  warning,  people  speaking  too  loudly,  false  warmth,  authorities  or  “official  voices”,  when  someone  asks  what  he’s  thinking,  small  talk

⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄ ⌇  triggers  /  touchstones

⌇  triggers  :  enclosed  dark  spaces,  women  crying  (reminds  him  of  when  he  lost  his  sister),  having  something  he’s  built  destroyed  or  tampered  with,  people  yelling  while  he’s  wearing  his  radio  headset

⌇  touchstones  :  one  mangled  dog  tag,  a  harmonica  that  isn’t  his,  a  black  notebook  full  of  redacted  signal  logs,  a  feather,  taped  to  the  edge  of  the  comm  console,  a  cassette  marked  only  with  “chérie  –  don’t  forget”

⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄   ⋄

jérémie  broussard  was  born  in  lafayette,  louisiana,  on  a  patch  of  bayou  where  the  water  runs  deep  and  the  world  don’t  move  unless  you  know  how  to  move  with  it.  raised  by  a  mother  who  believed  in  god  and  a  grandfather  who  believed  in  grit,  jérémie  learned  early  how  to  live  without  needing  much.  fish,  trap,  fix.  listen  more  than  speak.  trust  slow,  if  at  all.

by  the  time  most  kids  were  learning  how  to  drive,  jérémie  could  track  a  gator  through  fog  and  rebuild  a  generator  from  scrap.  by  twenty-one,  he  enlisted  in  the u.s.  coast  guard—not  out  of  patriotism,  but  for  escape.  there,  he  became  a  communications  technician,  mastering  field  radios,  power  rigs,  and  how  to  stay  calm  when  the  rest  of  the  world  burned.  he  was  good  at  it.  too  good.  they  tried  to  promote  him.  he  refused.

after  a  relief  mission  went  bad—something  he  never  explains—he  walked  away.  packed  up.  went  back  to  the backroads,  the  bayou,  the  silence.  he  drifted  alone  for  years,  surviving  off  the  land  with  the  same  instincts  that  raised  him.  tracking.  fishing.  hunting.  fixing.  if  it  moved,  he  could  follow  it.  if  it  broke,  he  could  rebuild  it.  if  it  threatened  him,  it  didn’t  last  long.

then  the  world  collapsed.

the  fall  didn’t  shock  him.  the  world  had  always  been  broken—now  it  was  just  honest  about  it.  he  was  off-grid  when  it  hit.  alone,  as  usual.  by  the  time  he  made  it  back  to  lafayette,  his  mother  was  gone,  his  sister  was  almost  there.  infected.  he  found  her  still  breathing  but  not  herself.  he  did  what  had  to  be  done.

he  never  speaks  about  it.  but  that’s  the  moment  the  radio  inside  him  changed.

he  wandered  after  that.  spent  seven  years  moving  from place  to  place.  sleeping  in  towers.  rewiring  generators  in  the  dark.  avoiding  the  sound  of  people  crying.  kept  himself  alive  by  listening  to  the  hum  in  the  air  and  the pull  of  instinct.  hunting.  fishing.  tracking.  fixing.  he  lived  like  a  ghost.

eventually,  he  picked  up  a  broken  transmission.  a  voice  no  one  else  heard.  a  signal  hidden  under  static.  it  led  him  to  blackridge—a  half-built  safe  zone  powered  by  hope  and  duct  tape.  he  meant  to  pass  through.

that  was  five  years  ago.

now,  jérémie runs  the  radio  tower  and  the  comms  network.  he  keeps  the  radios  clean  and  the  signals  alive.  he  still  hunts.  still  traps.  still  knows  how  to  track  the  sound  of  trouble  before  it  makes  it  to  the  gates.

most  people  think  he’s  odd.  he  talks  to  static.  leaves  wire  talismans  hanging  from  the  trees.  doesn’t  come  into  town  often.

but  if  your  grid  fails,  if  your  team  goes  dark,  if  a  storm  cuts  the  lines  and  your  voice  is  the  only  one  out  there—

he’ll  hear  you.

and  if  you’re  lucky,  he  might  even  answer.

–  –  –  signal  lost  –  –  –

[waste-lit]

The Crone

Amafray stared down the steam rising from her stack of pancakes, blinking sleep from her eyes. She and Wiggins sat at their usual table at the back of Old Glass Eye’s Tavern. The sun was fresh in the sky and it was too early for most people to stop by for breakfast. The early birds and the seniors would show up around seven or eight. That would be for another two hours. Her stomach felt slightly nauseous from the lack of sleep. She had stayed up the night before reading cover to cover a textbook on aphrodisiac potions, giddy with the idea of testing one out on Wiggins. She was not expecting him to come knocking on her door just after five in the morning. She had to open the door and let him in just so that he wouldn’t wake the other residents. Now she was here, eating breakfast with him when she really wished she could stay in bed. She could feel his eyes on her from across the table. She sighed. “Okay, fine. Why did you just drag me out of bed?”

“A date!”

Amafray perked up, leaning towards him. They almost never went on a real date. She hoped it would be something romantic such as a canoe ride or roller skating. “A date doing what?”

“There’s an abandoned cottage on the edge of town and it’s got tons of stuff in it. It’s got metal and magic.” Wiggins was basically wobbling in his chair with excitement.

Amafray deflated. That didn’t sound romantic or fun. She frowned and crossed her arms across her chest. “You want me to help you loot someone?” 

“No looting, it’s scavenging.” 

“So you want to spend our first date in who knows how long ‘scavenging’ at an old cottage?” Her voice came out acidic and cold.

“There’s lots of things you could use! There’s tools and ingredients you could use for potion making. What do you think?” The look of hope in his eyes was more than Amafray could bear. Her heart throbbed a little. The things we do for love.

“All right, yeah. We can go.” She took a bite of one of her pancakes, suppressing a smile. They lacked flavor except for the sweetness of the maple syrup. Old Glass Eye was not known for the quality of his food.

Wiggins’ face broke into a toothy grin and he rummaged through his knapsack, grabbing a map and flattening it onto the table. Amafray studied the many penciled in paths, locations, and warnings that Wiggins had added to the map over the years. Running her finger over it, she finally landed on The House of Inspired Hands, the temple where she was raised and lived. Scrawled in the alley next to the temple was the word tourist. She noticed that the word was scrawled several other places throughout the city. Standard positions and routes for the city’s guardsmen were marked with little “G”s. Amafray realized that Wiggins must use this map for his thievery and mischief.  Wiggins took his finger and pointed to a small clearing marked in the woods on the edge of town. 

“You promise we’re not stealing?”

“Of course we aren’t. Now, this is where the cottage sits, right in this clearing. See we’ll take this path here,” he traced a dotted line with his finger, “and the cottage is easy to find once you hit the clearing.”

Old Glass Eye stood sentry behind the bar, as he looked out over the tavern. Two young adventurers were planning their next expedition, pouring over a map. It appeared as though they had everything figured out. But Glass Eye knew otherwise. The  man folded up the map and tucked it into his tunic, and the girl counted out several nibs to leave on the table. They reached the door when Glass Eye spoke.

“Be warned,” he said, “there are dangers in the woods.” Amafray could swear that his glass eye was glowing a misty blue. Unsure what to say, they nodded and thanked him, and stepped outside.

The morning air was cool, the air not yet heated by the oppressive mid day sun. The road leading out of town and towards the woods was alive with people going about their days, heading to work and doing their morning chores. A man stood at the corner selling fruit from a cart, and nearby a woman was attempting to soothe a crying baby without much success. Sights, sounds, and smells all battled for attention. Wiggins’ sticky fingers snagged a few coins from passerby’s pockets, and Amafray tried not to notice. She knew it was no good trying to tell him not to steal. She’d already tried. The way she tried to see things was that Wiggins was a good person, who just didn’t always do good things. Amafray worried that he would eventually have to face the law, but so far his small stature and natural stealth had always stopped him from getting caught.

At the edge of the woods, Wiggins pulled out the map and began to maneuver the twisting dirt paths that ran through the undergrowth. The further they went, the narrower and less defined the paths became. They became more overgrown, pricker bushes and brambles lining the sides. Dead leaves piled up beneath their feet, crunching as they walked. In the shade of the trees, shadows danced about, bringing life to the quiet woods. A chipmunk or rabbit scurried into the bushes as they approached, and somewhere in the trees birds were calling out to one another.

They had been in the woods for the better part of an hour when they came upon a small clearing ringed by thorn buses. It was smaller than Amafray expected. In the middle of the clearing stood a ramshackle cottage with a sagging rood and rotting siding. Wiggins was right, the cottage was pretty easy to find. A garden of bright purple flowers growing on long vines grew in the front yard. Their bright colors seemed out of place in comparison to the gloominess of the cottage. As they approached, Amafray realized that the flowers were each so large that she could wear them as hats.

The air was still and all was quiet, and it made the hairs on the back of Amafray’s neck rise. Trouble was brewing. Wiggins moved forward without sound, seemingly unbothered, and she struggled to match his pace. Her own footsteps sounded heavy to her own ears, like a one person stampede. Potion bottles in her knapsack clinked together and she cringed at the noise.

As they passed the vine garden on the way to the front door, Amafray could swear that the flowers tilted their heads, watching them pass through. An uneasy feeling settled in her stomach. Invisible eyes glared at the back of her neck.

“I don’t think we’re alone,” she said, scanning the tree line. “I think we’re being watched.”

“I’m telling you, this place is abandoned. I mean, just look at it.”

Amafray had to admit that Wiggins had a point. The cottage was beyond run down. The windows in the front broken, spiderwebs growing from the remaining shards. The vines had spread from the garden in the front and were slowly climbing up the outer walls. Wiggins gave the front door a slight push and it swung open without resistance. He grinned at her as if to say told you so, and went inside. Amafray looked over her shoulder one final time to make sure no one was watching, and followed him in.

It was dim inside the cottage, but enough sunlight shone in through the broken windows  to light their way and illuminate the dust that hung in the air. Amafray coughed. Even her apartment was cleaner than this. She felt a shiver pass through her and goosebumps rose on her arms, despite it being no cooler in the cottage than it was outside. The floor of the cottage was made of packed dirt and lent it an  earthy aroma. Amafray looked over and saw that Wiggins had his knapsack open and was scouring for any valuables. There were several tables cluttered with miscellaneous items, but most of it appeared to be junk.

“I wonder who used to live here,” said Amafray.

“Whoever it was,” Wiggins said, holding up a dirty green gem to the light, “they were into crafting magic potions. Look, over there.” He pointed towards a corner of the room were a black cauldron sat under some dilapidated rows of shelving. 

Amafray went to the cauldron and began to inspect the shelves. They were full of dried herbs and spices, ground rocks and sands, and pickled animal parts, all an assortment of both rare and easy to find. Who ever had lived here had been a serious potion maker. She ran her fingers over the lids of the jars while she tried to decipher the labels. Handwriting had not been this stranger’s strong suit. When she pulled her hand back, she realize there was no dust on her fingertips. Her guts turned icy. 

“Wiggins, I think someone still lives here.” She looked around her, checking for a hidden silhouette in the shadows.

Wiggins scoffed. “Come on, who would live in a dump like this? Ease up.”

Amafray’s heart began ramping up, despite her best attempts to stay calm. “I want to leave. Now.”

“Oh, relax. It’s fine You’ve just got the nerves.”

Amafray sighed in frustration, a stress headache beginning to form behind her eyes. “Fine, I’m leaving. I’ll wait for you outside.” 

Amafray turned to the doorway and was about to leave when she froze. Standing in the door was a bent old woman, stringy gray hair hanging loose about her waist. Pink scalp showed in patches. Her clothes were made of tattered rags and her teeth were yellow when she smiled at them.

“Listen to you, bickering like lovers.” The crone’s voice was high and raspy, unpleasant to the ear. Around her feet vines slithered into the cottage, new flowers budding and blooming at rapid speeds as it went. They swiveled about on the vine, as though they were looking for something or someone.

Amafray heard Wiggins yelp and turned to see that the vines had wrapped around his legs and were quickly enveloping his small frame. As more flowers sprouted she swore that it appeared that they were drooling. She unsheathed a dagger and went to take a step towards Wiggins. The vines were beginning to crush him and even without a face, Amafray had the feeling that the plant was hungry.

“I don’t believe it’s a good idea to help him, dear,” said the crone. She snapped her fingers and a large dog with gleaming fangs and smoldering eyes materialized between Amafray and Wiggins, blocking her way. It stank of sulfur. Gods, thought Amafray, a real hell hound. She’d only ever read about them in books, and never imagined that she would meet one in person. Now she was wishing that she hadn’t. She let her dagger drop to the floor. There was no use in provoking a hell hound.

“That’s better,” said the crone, her voice an airy rasp. “Now I do believe I am dealing with thieves. How do you plead?”

Amafray shook her head no. The vines had wrapped all the way around Wiggins, gagging him so that he could not respond.

“Speak!” the crone demanded.

“No, we just, we thought-” Amafray stumbled over her words.

“Enough! You lie to me?”

“No, I-”

“Silence!” The room became deathly quiet, the only sound that of the panting of the hell hound. “I have heard all that I must. You are a thief and you must pay.” The old woman pointed a skeletal finger at Amafray and focused her gaze. In a voice much stronger than Amafray could have imagined coming from such an old and feeble looking woman, she bellowed, “LUPIS!”

Amafray’s stomach dropped and a searing heat spread from her heart and into her hands and feet. She doubled over, falling to her knees, and proceeded to throw up on the earthen ground. She coughed and wiped her mouth with the back of her hand. Then, feeling something strange, she touched her teeth with her fingers. Her canines were elongated and formed sharp points. Lowering her hands, she saw that dark fur was beginning to grow on her arms and backs of her hands. Above everything, she felt an extreme hunger spread through her. Panic rose in her throat and she gasped for air. Amafray had heard of magic like this before, a lycanthrope curse. Soon she would be nothing but a beast in the shell of herself. She fell to her knees and hung her head. Her shoulders shook. “Undo it, please! I’ll do anything! Please!”

The crone smiled, exposing a gap in her teeth. “I will undo the curse on one occasion.”

“I’ll do anything, anything at all!”

“I shall send you on an errand then, a trip to the dry well on the other side of the river. At the bottom of the well is a healing moss named Blue Whisper. Gather some and bring it to me. But be wary of the spirit’s voices, they may try to fool you. Not many people leave the well, at least not the same as they entered.” The crone stepped towards Amafray and held out a round, smooth stone. “This is a guiding stone. Follow the glow and you shall arrive where you need to be. You do not need to tell it where you are going, it already knows. Now be off. If the curse is not broken before the moon rises it will be permanent.

With this the crone turned and disappeared into the daylight, the hell hound at her heels. The vines receded with her, uncoiling from around Wiggins and leaving him in a heap on the floor. Amafray rushed to him and cradled his head in her hands. He smiled at her through panting breaths. With more effort than he would like to admit, he slowly got to his feet, hands clenched into fists at his side. “Well, it seems that we have ourselves an adventure now.”

The guiding stone led them to the river, a steadily moving brook about a half hour’s walk from the clearing. The sound of rushing water disrupted the otherwise still air. There was no bridge that either Amafray or Wiggins knew of, but after hiking alongside the river for a while they came to a spot where several flat stones were raised above the water. The guiding stone glowed brightly. While crossing on the stepping stones, Amafray caught a glimpse of her reflection in the water. Her stomach dropped and her heart raced. She had to take several deep breaths to stop herself from full out panicking. Looking back at her was a girl, but this girl had dark fur growing up her neck and encroaching onto her face. She prayed that they could stop the curse.

On the far side of the river, the land was rockier and they had to maneuver around and over shrubs and fallen logs. They did not have to travel far before coming upon a squat stone well that was crumbling due to neglect and years of exposure to the weather. A rope was tied to a wooden bar that lay across the well’s opening, and it disappeared into the gloomy dark below. Wiggins looked over the edge and squinted, but it was far too dark to make out the bottom of the well. There was no telling how deep it was. In Amafray’s hand, the guiding stone flashed madly. This was the place. Wiggins grabbed the rope and yanked on it hard. It seemed to be weight bearing. Rope held in both hands, Wiggins hoisted himself onto the the side of the well and prepared for the downward climb.

“Are you sure about this?” Amafray nervously twisted her hair between her fingers.

“Well, it’s either this or you could be stuck as a wolf for the rest of your life.” Wiggins smiled, hoping to lighten the mood. Amafray shook her head no. “Then stay put, I’ll be right back. If anything goes wrong I’ll holler.” Wiggins gave her a wink and blew her a kiss before kicking his legs over the side of the well and beginning his descent on the long rope.

Inside the well the air was cooler, and grew chilly the further down he went. The smell of rock and dirt was comforting and reminded him of his home. Wiggins had come from a mining town, and his father was a miner as well as his father before him. When he had come to the city in search of adventure- and riches, he had solidified himself as the black sheep of the family. Looking up, he could see the circle of light above him grow smaller.

The bottom of the well was far from spacious, not even wide enough for Wiggins to stretch his sore arms without bumping his knuckles into the walls. It wasn’t completely dark, however. Patches of faint blue light glowed on the walls of the well. He had found the Blue Whisper. In the quiet, with the outer world muffled by stone and dirt, Wiggins swore that he could hear the moss talking. He leaned in closer.

Wiggins.

He jumped back, startled. Could he be hallucinating? 

Stay with me, here. Stay Wiggins.

The soft glow of the moss beckoned him closer. He reached out a finger to touch it. It was surprisingly soft against his rough fingertips. He lifted his finger and a blue afterglow stained it. 

Join me here, Wiggins. Join us in the well.

Wiggins’ suddenly felt woozy, as though his legs might give out from under him. He fell back a step to regain his balance and heard a crunch beneath the heel of his boot. He looked down. The bottom of the well was littered with bones- humanoid looking ones. Wiggins fought against a panic rising in his chest, stumbling in the dark, and losing his footage. He fell, tripping on a hollow skull, and hit the ground hard. The smell of death surrounded him. On the wall the blue moss’s sickly blue glow grew brighter. It almost sounded as though the moss was laughing at him. The laugh was shrill and jarring, nothing human about it.

 Shaking his head to clear it, he used one of his daggers to scrape a clump of moss from the wall and into a vial that Amafray had given him. As he cut the moss from the stone he could hear it’s screams inside his head. He was careful to make sure that the cork stopper was properly sealed. Holding the vial to his ear, he was able to hear indistinct murmurings. Placing the vial into his knapsack and wiping his hands on his pants, Wiggins looked up to the opening of the well. A circle of blue sky with a branch cutting across in a jagged line. He grabbed ahold of the the rope and began the upward climb. 

At the surface, Amafray sat on th edge of the well and listened to the chirping of song birds as they flew about the trees, building nests and calling for mates. She had always loved to lay in bed in the morning, listening to the birdsong. Now though, she felt something different. Now, she felt hunger. A dull yellow goldfinch sat on a nearby branch, partially hidden by leaves. Amafray crept forward and raised her bow. She moved without thought. She aimed, pulled back the bowstring, and and released. The arrow struck the bird, and it fell to the ground. She set down her bow and walked over. She nudged the lifeless body with the toe of her shoe. It didn’t move. She picked it up and cradled it in her hands. Its feathers were soft and its body warm. The smell of the blood caused her stomach to ache with hunger. Without thought, she raised the bird to her mouth and sunk her teeth in. The metal taste of blood filled her mouth, her hunger inhuman and unstoppable. 

“Amafray?”

Amafray spun around, blood smeared at the corners of her mouth and dead bird in hand. A trickle of blood ran down her chin. “I didn’t want to hurt it.” She let the dead bird fall to the ground and covered her face with her hands as her shoulders shook, smearing blood across her cheeks and nose. “I was just so hungry, I didn’t want to hurt it.” Her voice broke. “I didn’t mean to.” A sob rose in her throat. How could she had been so brutal? How could she have claimed such an innocent life?

Wiggins went to her and began to rub her back in slow circles. She clung to him, smearing blood on his leather armor, but he didn’t mind. “Love, hey, it’s okay. You didn’t mean to do it. I know you didn’t mean to. It’s not your fault, it’s the curse.”

“Promise you’re not mad?” Wiggins could barely make out what she was saying through her sobs. 

“I’m not mad, love.”

“Do you still love me?”

“Of course I do.” Wiggins pushed back her hair and gave her a gentle kiss on her forehead, one of the few places that wasn’t soiled with blood. For a moment they stood there, taking deep breaths and holding one another. After a few minutes, Wiggins stepped back and led Amafray to the river’s edge so that she could wash her face and hands. While Amafray washed, Wiggins discretely took care of disposing the dead bird’s body, throwing it into a nearby bush. 

Amafray sat at the river’s edge, studying her reflection as ripples passed through it. She was definitely a bit furrier, her body hair fuller and darker than normal. Baring her teeth, she could see that her canines had become long and pointed. Her stomach growled. She was still hungry.

“Ready?” Wiggins asked as he came to join her by the water’s edge. “I’ve got the moss.” He held up the vial, its blue glow faint in the bright sunlight. 

Amafray nodded and reached out her hand to Wiggins. Hand in hand, they bagan the trek back to the crone’s cottage, using the guiding stone to lead the way.

The crone was outside when they returned. The vines had vanished, and she was now tending a garden in their place. The plants were full of tomatoes and zucchini, herbs and medicinal flowers. The garden appeared as though it had been there forever, its plants large and leafy. They approached the crone.

“I see you’ve brought me the moss,” said the crone, not looking up from the tomatoes she was tying to stakes, the heavy fruits weighing down the vines. “I can hear the spirits calling to me. Now, bring it here.” The crone held out a bony, pale hand and Wiggins hesitated before reaching into his knapsack and producing the moss. Whispers filled the air. It sounded angry. He handed the vial to the crone.

“The curse, will you lift it now? We’ve completed the task,” Amafray ringed her hands nervously. 

“Not yet dear,” replied the crone, “I have one more task for you before I break the curse.”

“That wasn’t the deal!” Wiggins’ fists were balled at his sides and he glared at the crone.

“True,” said the crone. “Would you prefer to be dinner for my hell hound? You’d be a perfect snack for him.

Wiggins looked away, face red, cautiously scanning the grounds for the massive beast. “Fine,” he said, “Tell us what we need to do. 

The crone straightened and looked at them with a sickening smile of yellowed teeth. “There is a poacher on my lands, I wish for you to bring him to my sister. She will-“ the crone licked her lips, “dispose of him. The stone will guide you.” With that, the crone turned away and went back to her gardening.

Amafray and Wiggins walked in silence, following the guidance of the magic stone, both lost in their own thoughts. Wiggins couldn’t believe the gall of the crone. Who was to stop her from adding yet another task after this? How could he know that she was even able or willing to break the curse? Amafray studied the backs of her hands and frowned at the dark fur that was beginning to cover them She wished she could go back to the river and watch her reflection, try to remember what she looked like before the curse took effect and only a wolf looked back at her in return.

Dropping into a crouch, Wiggins stopped suddenly and held the guiding stone out to Amafray. Its glow was pulsating. They had reached their target. Dappled sunlight shone through the trees, but low lying branches stopped most of it from reaching the forest floor. Ferns grew in abundance in the comfortable shade. 

“Shit, we’re never going to find somebody here, at least not before they find us,” Wiggins whispered, scanning the surrounding underbrush. 

“Wait,” Amafray said, pointing. “In that tree.”

Wiggins looked to where Amafray was pointing and there was a flash of silver amongst the green. Someone was wearing chain mail armor in a  tree stand, and it appeared that they were unaware that they were being watched, back to Wiggins and Amafray. The tree stand was a good ten feet in the air, but it was an easy climb with plenty of sturdy branches to use as footholds. The thick foliage almost kept it out of view, but not completely. Wiggins grinned. Plenty of coverage for a sneak attack.

Wiggins held a finger to his lips and then pointed towards the figure in the tree. Amafray nodded her understanding. Wiggins moved through the ferns and crept to the base of the tree. Reaching up, he grabbed onto one of the lowest branches and hoisted himself onto it. He moved without sound. Amafray crouched in the shadows of the undergrowth and watched as Wiggins made his way up to the tree stand, taking care to conceal himself in the lush foliage. The poacher sat, bow in hand, scanning the woods ahead of him for game, his full attention consumed. He never expected Wiggins’ dagger at his throat.

Wiggins gently pressed the blade of his dagger against the soft blade of the poacher’s throat. “Don’t move,” he whispered into the poacher’s ear.

Startled, the poacher thrust his elbow backwards, sending Wiggins off balance, and he teetered for a moment, enough time for the poacher to wheel on him with a small hunting knife. On the ground, Amafray could see trouble in the tree stand. She hastily grabbed a vial from her knapsack and shook it gently. Red flecks swirled in the orange liquid. She popped the cork from the vial and downed the contents in one gulp. It tasted strongly of cinnamon. A warmth blossomed in her belly and spread outwards into her arms and legs, down to her hands and feet. She lifted an open hand towards the poacher and closed her eyes in concentration. 

On the tree loft, the poacher stumbled backwards as his chain mail began to glow red with heat. He let out a scream as he tried to tear off his armor, burning his hands on the metal. As he struggled, Wiggins took the hilt of his dagger and hit him over the head with one powerful blow. The poacher crumpled into a pile at Wiggins’ feet. Amafray lowered her hand and the glowing red ebbed.

While ambushing the poacher had been relatively easy, lowering him to the ground below seemed to require a bit more thinking. Wiggins lowered the poacher off the side of the tree stand, holding him by the arms. Once the poacher was only a few feet off the ground, he let go and the poacher landed in a pile at the base of the tree. It wouldn’t do if he broke a leg, they still had to walk to find the crone’s sister’s house. 

Amafray moved forward and tied the poacher up with a length of rope from her knapsack so that his arms were bound to his sides and his legs were kept free so that they could lead him on foot. She tore a strip of cloth from her own tunic and stuffed it into the poacher’s mouth to act as a gag. Wiggins approached her and pointed at her newly exposed midriff. 

I’m digging the style,” he said. “It’s cute.” 

Amafray couldn’t help but grin as a red blush spread across her face.

He jestered at their captive. “I suppose we should wake him up, I sure don’t want to carry him.”

Amafray grabbed a canteen from her bag and poured a small portion of water onto the poacher’s face. His eyes fluttered open. Amafray could recognize the look on his face. It was pure fear. She had captured a glimpse of it on her own face when she had washed the bird’s blood away in the river. Fear of what she was becoming. As she looked at the poacher, she knew that she was leading him to his death. Nothing good could come from the crone’s sister. Now she had to kill a man in order to save her own humanity. How was that fair?

Wiggins yanked the poacher to his feet and Amafray took hold of the guiding stone. It glowed softly, ready to lead the way.

The stone led them through the woods, and slowly the trees became more rotted and thinned out as they reached a marshy plane. Water rose up to their knees and their feet sank into the mud beneath. All of the vegetation that had once lived there was now spindly and dead. Whatever evils the crone’s sister contained had spread out into the environment around her. The stone began to pulsate, warm with energy, however Amafray couldn’t see anything resembling a home through the thick fog. She worried that the stone had led them awry, but they carried on. As they continued, a dilapidated shack rose from out of the mists.

They shack had no windows and there was no door in the empty door frame. The roof sunk in the middle and appeared to be on the verge of caving in. As they grew closer, they could see there was a large figure slumped in a battered rocking chair outside the front of the shack. It was a large woman, grotesque and swollen. Of course, thought Amafray, a flesh crone. They weren’t just delivering the poacher, they were providing lunch. 

As the trio approached, the flesh crone rose from her chair and strode forward them, her steps lumbering and heavy. As she approached Amafray could feel the air around them grow colder, yet she was covered in a nervous sweat. The flesh crone was surrounded by a shall of evil. Silently she pointed a fleshy finger at the poacher. Wiggins pushed him forward, towards the crone and she clamped a hand onto his shoulder. She took in a deep breath, smelling him. The flesh crone stared at Wiggins and Amafray for a moment with her beady black eyes before turing and bringing the poacher into her shack. They disappeared into the gloom of the shack. From inside they could hear a scream, muffled by Amafray’s makeshift gag, the sound of a heavy cleaver chopping, and then nothing.

Amafray and Wiggins stood motionless for a moment after the silence had settled before they allowed themselves to relax. Both of them had goosebumps despite the muggy air.

“Let’s get out of here,” Wiggins whispered. “Who knows if she’ll want desert.”

Amafray took out the guiding stone with shaking hands, and they began to follow the glowing light back to the crone’s cottage.

They walked in silence on the way to the cottage, both lost in their own thoughts. The sky was beginning to turn pink, and golden light filled the forest. The moon would be rising soon, and then the spell would be impossible to remove. Amafray quickened her pace and reached out for Wiggins’ hand. It’s weight and worth brought her some comfort.

“Will you still love me if we can’t break the curse, if I’m a werewolf forever?”

Wiggins squeezed her hand. “Of course. I’ll love you forever, no matter what. I’ll even get you a bone to chew on.” He grinned and Amafray playfully punched his arm.

As they reached the cottage, twilight was beginning to fall over the clearing. The vegetable garden had been replaced by a frog pond filled with white water lillies that glowed softly in the dark. Chirping frogs filled the air. Lightening bugs were beginning to light up like stars just out of reach. Wiggins strode confidently past the garden and rapped his knuckles against the front door, Amafray close behind him. Her stomach felt twisty and sick, and she was unsure if it was part of the curse or her own nerves. Would the crone even hold her end of the bargain?

Wiggins was about to knock again when the door swung inward to reveal the crone. She gave a wide smile and Amafray noted that she was missing several teeth that she could have sworn had been there earlier.

“Ah, yes,” the crone said. “You have been successful in your endeavors.”

“The antidote,” Wiggins demanded. “We did your errands, now give it to us.”

“Yes, yes. Come in.” The crone waved Wiggins and Amafray into the cottage. They went in hesitantly.

The crone ushered them over to a cluttered work bench covered in vials filled with liquids of varying colours and jars containing a variety of ingredients, some of which Amafray could not recognize. The crone picked up a vial containing a silvery liquid that had shimmering specks in it. She gave it a swirl.

“Is this the antidote?” asked Amafray. A quesy warmth was spreading in her belly.

“Yes, my dear. But there is one more ingredient that is required.”

Wiggins bristled and balled his fists tight. He was about to protest when the crone raised her hand. “Don’t fret my dear, the final ingredient is here with us now.”

“Well, where is it?” Wiggins asked?

“I require a drop of her true love’s blood.” Amafray and Wiggins both stared blankly at the crone. She sighed and pointed to Wiggins. “You. I need a drop of her blood.”

Wiggins nodded in understanding and took a swiss army knife from the inside of his tunic. He selected a small but sharp pearing knife and held it to the tip of his fingertip. He made a small cut, barely deep enough to break the skin. A few drops of blood beaded on his finger. The crone uncorked the vial and held it towards him and he let the blood drip down into the vial. The specks within the antidote began to glow.

The crone held out the vial to Amafray. She took it, then looked to the crone and to Wiggins. They nodded back to her and she put the vial to her lips. As she drank the liquid she could feel a soothing coolness spread throughout her body. Her body tingled and she closed her eyes until the feeling passed. When she opened her eyes she looked at her arms. No longer furry. She smiled big and looked up to Wiggins and the crone, beaming.

Wiggins came forward and took Amafray in his arms, burying his face in her hair and kissing her head. “I’m so happy you’re okay. I was so worried about you.”

“It’s all thanks to you,” said Amafray. “You’re my true love.”

[skin-care-news]

Beauty Brands USA: Revolutionizing Skincare with Sokörpe’s Compact Intelligent Skincare & Body Care Machine

The beauty and wellness industry is constantly evolving, with new technologies and products emerging to meet the ever-growing demand for advanced skincare and body care solutions. Among the frontrunners in this industry, Beauty Brands USA stands out as a leader in providing innovative, high-quality equipment to aesthetic professionals. As the exclusive distributor of Sokörpe’s Compact Intelligent Skincare & Body Care Machine in the United States, Beauty Brands USA offers a transformative tool that promises to elevate the standards of skincare and body care services. In this comprehensive article, we explore the features, benefits, and impact of this revolutionary machine, along with insights into why Beauty Brands USA is the preferred partner for skincare professionals.

Key Features and Technologies

Seven Treatment Heads: Each head is engineered to perform specific functions, enabling a personalized treatment experience for clients. Whether it’s anti-aging, acne treatment, or body contouring, the machine’s versatility is a major asset.

61 Treatment Programs: The extensive selection of programs allows practitioners to offer everything from basic facials to advanced treatments like Nano-Needle Mesotherapy and Endermomassage, ensuring comprehensive care for clients.

Nano-Needle Mesotherapy: This advanced technology delivers active ingredients deep into the skin, promoting collagen production and skin rejuvenation. It’s an effective treatment for reducing wrinkles, fine lines, and skin sagging.

Endermomassage: Available in both small and large sizes, these tools effectively treat cellulite, stimulate collagen production, and enhance skin firmness. Given the lucrative cellulite reduction market, which is expected to grow significantly, this feature offers substantial revenue potential.

Oxybrasion: This gentle yet effective exfoliation method uses oxygen to remove dead skin cells and improve circulation, leaving the skin refreshed and radiant.

Full Spectrum LED Therapy: The machine includes the full range of LED lights, each offering specific benefits:

Red Light: Stimulates collagen production and reduces inflammation.

Blue Light: Targets acne-causing bacteria and reduces oil production.

Green Light: Evens out skin tone and reduces pigmentation.

Yellow Light: Improves circulation and reduces redness.

Purple, Orange, and White Lights: Each providing unique therapeutic benefits, from healing to skin revitalization.

The Beauty Brands USA Advantage

Exclusive Distribution and Quality Assurance

Beauty Brands USA prides itself on being the exclusive distributor of Sokörpe’s machine in the United States. This exclusivity ensures that practitioners are receiving a genuine, high-quality product, backed by the company’s rigorous quality control standards.

Comprehensive Support and Training

To maximize the benefits of Sokörpe’s machine, Beauty Brands USA provides extensive training and support. This includes initial setup guidance, detailed instructions on utilizing the machine’s various features, and ongoing support to help practitioners refine their techniques.

Marketing and Business Development Support

Understanding that successful implementation goes beyond just having the right equipment, Beauty Brands USA offers marketing and business development support. This includes providing promotional materials, training on effective marketing strategies, and tips for attracting new clients.

Financial Viability and Market Impact

Cost-Effective Investment

Sokörpe’s machine is competitively priced at $5,795.00 plus tax, making it an affordable option compared to other high-end devices. For instance, comparable machines for Endermomassage and Hydrafacial treatments can cost between $30,000 and $50,000, making Sokörpe’s machine a cost-effective investment for aesthetic professionals.

Revenue Generation Potential

The machine’s versatility allows practitioners to offer a wide range of treatments, each with significant earning potential. For example, Nano-Needle Mesotherapy sessions can cost between $250 and $600 each, with clients typically requiring multiple sessions. This can quickly lead to substantial revenue growth, with some practitioners reporting monthly earnings of up to $50,000.

Clinical Efficacy and Safety

Proven Results

Clinical studies have demonstrated the effectiveness of the technologies used in Sokörpe’s machine. For instance, LED therapy has been shown to reduce acne, stimulate collagen production, and improve skin elasticity. Similarly, Nano-Needle Mesotherapy and Endermomassage have proven effective in skin rejuvenation and cellulite reduction.

Safety Profile

Safety is a paramount concern in aesthetic treatments. Sokörpe’s machine is designed with safety in mind, featuring settings and protocols that ensure safe operation. This makes it suitable for a wide range of clients, including those with sensitive skin.

Real-World Success Stories

Case Studies and Testimonials

Numerous skincare professionals across the United States have integrated Sokörpe’s machine into their practices, experiencing significant business growth and client satisfaction. Testimonials often highlight the machine’s versatility, ease of use, and the impressive results it delivers.

Market Expansion and Client Retention

With the ability to offer innovative treatments that are not widely available, practitioners can attract new clients and retain existing ones. The machine’s comprehensive treatment options also enable practitioners to provide personalized care, further enhancing client loyalty.

The Science Behind the Treatments

LED Therapy

LED therapy involves the use of different wavelengths of light to penetrate the skin at varying depths. This triggers biological processes that rejuvenate and repair the skin. Each wavelength, represented by a different color, offers specific benefits:

Red Light (630-700 nm): Promotes collagen production and accelerates healing.

Blue Light (405-420 nm): Kills acne-causing bacteria.

Green Light (515-525 nm): Reduces pigmentation and evens skin tone.

Yellow Light (570-590 nm): Improves circulation and reduces redness.

Purple, Orange, and White Lights: Offer additional benefits like healing and revitalization.

Nano-Needle Mesotherapy

This treatment involves the use of nano-sized needles to deliver active ingredients directly into the dermis. It is effective in stimulating collagen and elastin production, which helps reduce the appearance of wrinkles and improve skin texture.

Endermomassage and Oxybrasion

Endermomassage uses mechanical stimulation to reduce cellulite and improve skin firmness. Oxybrasion, on the other hand, is a non-invasive exfoliation method that uses oxygen to cleanse and rejuvenate the skin.

Sokörpe’s Compact Intelligent Skincare & Body Care Machine, distributed exclusively by Beauty Brands USA, is a revolutionary device that offers unparalleled versatility and effectiveness. With its seven customizable treatment heads and 61 unique programs, it provides a comprehensive solution for skincare and body care needs. Beauty Brands USA’s commitment to quality, innovation, and support ensures that practitioners can maximize the potential of this incredible machine, transforming their businesses and providing exceptional results for their clients.

If you’re a skincare professional looking to elevate your practice, Sokörpe’s Compact Intelligent Skincare & Body Care Machine is the investment you need. With its affordability, extensive support, and proven results, it’s the key to unlocking new levels of success and client satisfaction. Don’t miss out on the opportunity to offer the latest and most effective treatments—partner with Beauty Brands USA and make Sokörpe’s machine a part of your practice today.

[crash-stop]

DIGITAL ALCHEMY – RETROSPECTIVE OF JACQUES PERCONTE

Dubbed as a contemporary alchemist who “bewitches pixels”, French visual artist Jacques Perconte has been disrupting video and digital signals since his student years at the University of Bordeaux in the 1990s when he discovered the world of net art. Fascinated by possibilities of the digital medium and informed by the history of experimental filmmaking, DIY and hacker culture, Perconte has been developing for the last 20 years a unique aesthetic and ethical approach to digital filmmaking, with an aim to reveal the hidden landscape beneath the surface of the digital image. Much like filmmakers such as Stan Brakhage, Emmanuel Lefrant or Jürgen Reble who subjected the photochemical film to physical, mechanical or chemical modifications in order to reveal the material properties of the medium, Perconte utilizes a wide range of digital tools to explore and deconstruct the basic constituents of the digital image, approaching the medium, as he once said, more like a handyman that an engineer or a mathematician. Opposed to dominant uses of digital technology in cinema as well as to “high definition ideology” which strives for constant improvement of image quality, his works purposely seek to destroy the figurative image as a way of constructing something different – in his case – abstract, impressionistic, vibrant visions which offer spectators a new perceptual experience. As Vincent Deville argues, we deal here with a paradoxical situation – “putative act of deconstruction reveals itself to be an act of creative liberation”. Perconte’s primary tool of destruction is compression which he often uses intuitively, by trial and error, leaving the pixels to move, merge, superimpose or dissolve in the seemingly endless flux. In this short retrospective, we will see seven of his works spanning from early 2000s to present, with Nature being his constant motive and source of inspiration. These landscapes comprising forests, sky, sea and mountains are gradually pixelated and transformed into a vision of pure color, where, as Perconte says, “we no longer see the image of the landscape, we see the landscape of the image”. His works thus not only seek to question the ontology of the digital image, but also of nature. Glitch tools are then used to “force nature to reveal itself, to access and explore its mysterious origins and functions, just like alchemists tried to comprehend nature by making the invisible visible, whether through mythology, science, alchemy or arts” (Manon Thiery). Perconte, finally, invites us to renew our own perception of reality, to feel rather than see the image, immersing us in an emotional transtemporal experience – a true glitch spectacle.

Text by Ejla Kovačević

[glitchartistscollective]

DIGITAL ALCHEMY – RETROSPECTIVE OF JACQUES PERCONTE

Dubbed as a contemporary alchemist who “bewitches pixels”, French visual artist Jacques Perconte has been disrupting video and digital signals since his student years at the University of Bordeaux in the 1990s when he discovered the world of net art. Fascinated by possibilities of the digital medium and informed by the history of experimental filmmaking, DIY and hacker culture, Perconte has been developing for the last 20 years a unique aesthetic and ethical approach to digital filmmaking, with an aim to reveal the hidden landscape beneath the surface of the digital image. Much like filmmakers such as Stan Brakhage, Emmanuel Lefrant or Jürgen Reble who subjected the photochemical film to physical, mechanical or chemical modifications in order to reveal the material properties of the medium, Perconte utilizes a wide range of digital tools to explore and deconstruct the basic constituents of the digital image, approaching the medium, as he once said, more like a handyman that an engineer or a mathematician.Opposed to dominant uses of digital technology in cinema as well as to “high definition ideology” which strives for constant improvement of image quality, his works purposely seek to destroy the figurative image as a way of constructing something different – in his case – abstract, impressionistic, vibrant visions which offer spectators a new perceptual experience. As Vincent Deville argues, we deal here with a paradoxical situation – “putative act of deconstruction reveals itself to be an act of creative liberation”. Perconte’s primary tool of destruction is compression which he often uses intuitively, by trial and error, leaving the pixels to move, merge, superimpose or dissolve in the seemingly endless flux. In this short retrospective, we will see seven of his works spanning from early 2000s to present, with Nature being his constant motive and source of inspiration. These landscapes comprising forests, sky, sea and mountains are gradually pixelated and transformed into a vision of pure color, where, as Perconte says, “we no longer see the image of the landscape, we see the landscape of the image”.His works thus not only seek to question the ontology of the digital image, but also of nature. Glitch tools are then used to “force nature to reveal itself, to access and explore its mysterious origins and functions, just like alchemists tried to comprehend nature by making the invisible visible, whether through mythology, science, alchemy or arts” (Manon Thiery). Perconte, finally, invites us to renew our own perception of reality, to feel rather than see the image, immersing us in an emotional transtemporal experience – a true glitch spectacle. Text by Ejla Kovačević

[4cplconsultancy2005]

7 QUALITY CONTROL TOOLS FOR PROCESS IMPROVEMENT

“As much as 95 per cent of all quality-related problems in the factory can be solved with seven fundamental quantitative tools.”

-Kaoru Ishikawa, The inventor of Fishbone Diagram

In today’s customer-centric market, quality is an integral factor in the growth and sustainability of any business. Businesses go the extra mile to provide the best and excellent customer experience to ensure customer satisfaction. Hence, efficient quality management which has the highest impact on customer experience is one of the most essential features for any business.

Introduced by Kaoru Ishikawa, the seven basic tools of quality also known as 7QC tools are very effective in quality management and quality assurance process. So, businesses who want to ensure competitive and excellent quality of their products and services can utilize the proven 7QC tools for structuring a strategic plan for quality improvement.

LIST OF 7 QC TOOLS

Cause and Effect Diagram

Cause and Effect Diagram also known as Fishbone Diagram helps in identifying the potential causes of an effect or a problem. In addition to sorting ideas in respective categories, it also helps in understanding the areas of opportunity through effective brainstorming. Fishbone training empowers you to identify the potential cause in the problem.

Control Chart

Control charts are used to study how the processes have changed over a period of time. Further, by comparing current data to historical control limits, one could lead to the conclusion about whether the process variation is consistent as in under control or unpredictable as in out of the control due to being affected by special causes of variation.

Pareto Chart

Pareto Chart is based on the 80/20 rule where it shows the significant factors that have the highest impact on the identified problem.

Check Sheet

Check sheet is a structured process which helps to collect and analyzing data. It is an effective tool that can be for a variety of purposes.

Histogram

Histogram is commonly used a graph that shows the data and its frequency of distribution to help users identify each different value in a set of data occurs.

Scatter Diagram

Scatter diagram shows the relationship between two important factors i.e. pairs of numerical data, one variable on each axis to demonstrate the relationship.

Stratification

Stratification also known as a flow chart or run chart is a technique that separates the data gathered from a variety of sources so that patterns can be seen i.e., the path an entity has taken through a defined process.

Utilizing the 7 QC tools in six sigma or quality management process helps in taking a systematic approach to identify and understand the risk, assess the risk, control fluctuation of product quality and accordingly provide solutions to avoid future defects.

WHEN SHOULD YOU USE 7 QC TOOLS?

7 QC tools can be carried out during the quality management, quality improvement process, six sigma implementation processes or even the regular PDCA cycle for the quality purpose for enhanced quality management.

In the first phase of measuring and identifying, Fishbone Diagram also known as cause and effect diagram, Pareto Chart and Control Chart can be utilized. In the next phases of assessment and analysis, Scatter Diagram, Histogram and Checklist can be carried out. The Control Chart can be utilized consistent quality improvement.

BENEFITS OF 7 QC TOOLS

The 7 QC tools are structured and fundamental instruments that help businesses improve their management and production process for achieving enhanced product quality.

From assessing and examining the production process, identification of key challenges and problems to controlling the fluctuation present in the product quality and providing solutions for prevention of defects in future, the easy to understand and implement, 7 QC tools are very effective. Some of the major business benefits of 7 QC tools are listed below.

Provides a more structured path for problem-solving and quality improvement

Easy to understand as well as implement yet extremely effective

A scientific and logical approach for problem-solving

Follows the 80/20 rule i.e. gain 80% result with 20% efforts

Improve the quality of product and services

Helps in identifying and analyzing problems during the process

Fishbone training aides in root cause analysis and problem-solving

Encourages team spirit and fosters a healthy culture

Identifies roots cause and solve it permanently

Enhance customer experience and customer satisfaction

Based on the data-driven process and customer-centric approach, 7 QC tools implementation is one of the most effective processes that too in the shortest amount of time.

4C team of certified professionals has provided 80+ implementation of 7 QC Tools and 120+ 7 QC Tools Training. By solving 200+ quality problems, 4C has empowered clients to reduce the 80% cost of poor quality.  To accelerate your quality management process and reduce your cost of poor quality, contact our experts now.

[yluvsblog]

Activating Your Energetic Centers: A Comprehensive Guide to Chakra Art for Holistic Well-being

I. Introduction: The Transformative Power of Visuals in Energetic Harmony

The human body, far from being merely a physical form, is understood in ancient traditions as a complex system of vital energy centers known as chakras. Rooted deeply in the spiritual philosophies of Hinduism and Buddhism, these chakras are described as spinning vortices of energy, strategically located along the spine. They serve as crucial hubs for the flow of life force, often referred to as Prana or Chi, which intrinsically connects an individual's internal energy field to their external environment. The state and flow of energy within these centers profoundly influence an individual's physical vitality, mental clarity, emotional balance, and spiritual awareness.

A profound avenue for interacting with and influencing these energetic centers is through visual art, specifically known as "chakra art." This art form transcends mere aesthetics, serving as a powerful medium intentionally designed to balance and align the chakras, thereby promoting healing, fostering meditative focus, and encouraging spiritual growth. The inquiry into an "activating image" delves into this potent, yet often subtle, connection between artistic expression, human consciousness, and holistic well-being. This report will explore how such an image functions, moving beyond simple visual appeal to uncover the practical energetic application of visual stimuli for personal transformation and enhanced vitality. The very nature of this exploration seeks to provide a tangible tool for self-improvement, directly addressing the implicit desire for personal growth and well-being that drives such a query.

II. Decoding the Seven Chakras: Foundations of Your Energetic Blueprint

To comprehend how an image can influence the body's energy system, a foundational understanding of each primary chakra is essential. There are seven main chakras, each with a Sanskrit name, an English equivalent, a specific location along the spine, and a distinct role in the human energy system. The quality of energy flow through each of these centers significantly shapes how an individual experiences life on spiritual, mental, emotional, and physical levels.

The journey begins at the base of the spine with the Muladhara, or Root Chakra. Represented by the color red, this foundational energy center governs our most basic survival instincts and needs, including sustenance, shelter, and safety. It is the anchor that promotes stability, grounding, and a sense of security in the physical world.

Moving upward, just below the navel, lies the Svadhishthana, or Sacral Chakra. Associated with the color orange, this center is a vital source of emotional well-being, creativity, and sensuality. It governs our capacity for pleasure, passion, and the fluidity of emotions.

The Manipura, or Solar Plexus Chakra, located around the navel area, is linked to the color yellow. This powerful center is a vital source of personal power, self-esteem, and motivation. It influences our sense of identity, determination, and ability to act in the world.

At the center of the chest is the Anahata, or Heart Chakra, represented by the color green. This chakra serves as a vital source of love, compassion, and emotional balance. It acts as a crucial bridge, connecting the lower, more physically oriented chakras with the higher, spiritual ones, fostering the capacity to give and receive love unconditionally.

The Vishuddha, or Throat Chakra, located in the throat area, is associated with the color blue. This center is paramount for clear communication, authentic self-expression, and speaking one's truth with integrity.

Between the eyebrows resides the Ajna, or Third Eye Chakra, linked to the color indigo. This chakra represents the center of intuition, insight, and inner vision, enabling deeper perception and spiritual awareness.

Finally, at the very top of the head, is the Sahasrara, or Crown Chakra. Associated with the highest frequency and the color purple or white, this chakra signifies connection to higher consciousness, spiritual enlightenment, and the ultimate realization of divine consciousness.

It is important to note that while these seven principal chakras are the focus for spiritual elevation, ancient texts also describe "seven lower chakras" located below the Muladhara, extending down to the heels. These lower centers are traditionally associated with more primal, instinctual states of consciousness, governing emotions such as fear, anger, jealousy, confusion, and deep depression. Therefore, the concept of "activation" of the primary chakras is not merely about stimulating energy, but rather about promoting an upward flow of this vital energy. True activation involves transcending the influence of these lower, more instinctual states, guiding consciousness towards higher, more enlightened expressions. This understanding refines the purpose of chakra art as a tool for spiritual elevation and purification, directing energy constructively rather than simply stimulating it.

To provide a concise overview, the following table summarizes the key aspects of each primary chakra:

Table 1: The Seven Chakras at a Glance

| Chakra Name (Sanskrit & English) | Location | Primary Associated Color | Core Meaning/Function |

|---|---|---|---|

| :--- | :--- | :--- | :--- |

| Muladhara (Root Chakra) | Base of the spine | Red | Stability, grounding, security, survival instincts  |

| Svadhishthana (Sacral Chakra) | Below the navel | Orange | Emotional well-being, creativity, sensuality, passion  |

| Manipura (Solar Plexus Chakra) | Navel area | Yellow | Personal power, self-esteem, motivation, determination  |

| Anahata (Heart Chakra) | Center of the chest | Green | Love, compassion, emotional balance, healing  |

| Vishuddha (Throat Chakra) | Throat area | Blue | Communication, self-expression, truth, clarity  |

| Ajna (Third Eye Chakra) | Between the eyebrows | Indigo | Intuition, insight, inner vision, spiritual awareness  |

| Sahasrara (Crown Chakra) | Top of the head | Purple/Violet or White | Higher consciousness, spiritual enlightenment, divine connection  |

This table serves as a foundational guide, allowing for immediate comprehension of the individual components of the chakra system before delving into their integration and influence through visual art.

III. The Vibrational Spectrum: Colors as Keys to Chakra Activation

The profound connection between chakras and color is not arbitrary; it is rooted in the understanding that each chakra resonates with a unique vibrational frequency, and its corresponding color is believed to share this resonance. This concept, popularized by Christopher Hills in the 1970s, links the theory of chakras with the principles of light frequencies and vibration, much like how a prism separates white light into its constituent colors based on their distinct wavelengths.

The spectrum of chakra colors, from the Root to the Crown, largely follows the order of colors in the visible light spectrum, progressing from lower to higher frequencies:

* Root (Muladhara): Associated with Red, this color resonates with strength, physical energy, stability, and power. It possesses the lowest frequency, approximately 400 THz.

* Sacral (Svadhishthana): Orange is its color, symbolizing warmth, passion, creativity, sensuality, and the joy of life. Its frequency is approximately 484 THz.

* Solar Plexus (Manipura): Yellow embodies pure energy, clarity, joy, optimism, personal power, and motivation. It resonates at approximately 508 THz.

* Heart (Anahata): Green symbolizes growth, healing, nature, equilibrium, unconditional love, and compassion. Its frequency is around 526 THz.

* Throat (Vishuddha): Blue represents clarity, calmness, truth, intelligence, freedom, and self-expression, with a frequency of approximately 606 THz.

* Third Eye (Ajna): Indigo is the color of inner depth, intuition, wisdom, insight, and spiritual awareness, resonating at approximately 668 THz.

* Crown (Sahasrara): Purple/Violet or White signifies the highest frequency (Violet around 789 THz, White being a combination of all colors). These colors symbolize connection to higher consciousness, spiritual enlightenment, purity, and illumination.

This consistent link between chakra colors and specific vibrational frequencies provides a fundamental explanation for the effectiveness of chakra art. The visual experience of color, therefore, acts as a form of subtle energy work. When an individual views chakra art, the colors present in the artwork are believed to introduce or amplify the specific frequencies needed for chakra balance and activation, thereby promoting energetic harmony. This principle forms the basis of "Chakra Color Therapy," where intentional exposure to these specific colors—whether through clothing, environmental design, or visual art—is believed to help balance and align the chakras, fostering emotional and physical healing.

IV. Sacred Geometry and Symbolism: Unlocking Deeper Energetic Connections

The efficacy of chakra art extends significantly beyond mere color, delving into the profound impact of sacred geometry and intricate symbolism. These visual elements function as intricate energy blueprints and a sophisticated visual language, profoundly enhancing the art's capacity to influence human consciousness and energetic fields.

Mandalas as Central Elements: A prime example of this is the widespread use of mandalas in chakra art. The word "mandala," derived from Sanskrit, means "circle". These intricate, meaningful patterns typically begin with a central point and radiate outward in circular or geometric forms. Mandalas are far more than decorative elements; they serve as powerful tools for meditation, healing, and energy balancing, acting as spiritual maps that guide practitioners through meditative paths. Their inherent circular and radiating structure symbolizes unity, wholeness, and the cyclical nature of life. When applied to chakras, this design facilitates the integration and harmonious flow of energy across all centers. This makes mandalas a particularly potent form for activating the entire chakra system simultaneously, as their design inherently promotes a holistic and unified energetic experience, essential for comprehensive well-being.

Specific Chakra Symbols and Meanings: Each chakra is associated with unique symbols and geometric patterns, each carrying profound spiritual and energetic significance. These symbols are considered "energy blueprints" that communicate deep meaning and resonate with specific energetic functions.

* Root Chakra (Muladhara): Its symbol features a square, representing rigidity, stability, and foundation, providing a stable structure for the entire chakra system. A four-petalled lotus symbolizes different aspects of consciousness: mind, intellect, consciousness, and ego. An inverted triangle within the symbol represents the earth element, reminding us of grounding energy.

* Sacral Chakra (Svadhishthana): Depicted with a six-petalled lotus, which represents qualities to overcome, such as anger and desire. Circles within the symbol represent the cycles of life, while a crescent moon symbolizes change, adaptability, and the fluidity of emotions, strongly connected to the water element.

* Solar Plexus Chakra (Manipura): Features a ten-petalled lotus, representing ten energy currents or Pranas within the body. An inverted triangle symbolizes energy moving upward from the lower chakras, associated with the fire element and the concentration of energy.

* Heart Chakra (Anahata): Its symbol is a twelve-petalled lotus, signifying divine qualities like peace and forgiveness, and representing the 72,000 energy channels (nadis) within the body. A hexagram, formed by two interlocking triangles (one pointing up, one down), symbolizes the blending of male and female energies and its crucial role as the central chakra connecting the lower physical and higher spiritual systems.

* Throat Chakra (Vishuddha): Illustrated with a sixteen-petalled lotus, often associated with sixteen Sanskrit vowels vital for clear communication. An inverted triangle within a circle represents the gathering of knowledge toward enlightenment and a purified mind, linked to the ether element.

* Third Eye Chakra (Ajna): Consists of an inverted triangle within a circle, representing the descent of higher wisdom into human consciousness and the unity of consciousness. It is surrounded by two lotus petals, symbolizing the two major energy channels (Ida and Pingala nadis) that meet at this center, as well as the integration of intellect and intuition. The AUM seed syllable is often at its center.

* Crown Chakra (Sahasrara): This symbol is simply a divine circle and a thousand-petaled lotus, representing divine connection, enlightenment, prosperity, eternity, and unity with the universe and the Hindu god Brahma.

The intricate details and profound meanings embedded within each chakra's symbol reveal that energetic activation is far from a simplistic visual trigger. It is a complex engagement with a rich, ancient symbolic language that represents the subtle energetic anatomy and philosophical principles of the human being. For instance, the Heart Chakra's 12 petals representing 72,000 nadis  or the Third Eye's two petals symbolizing the Ida and Pingala nadis  are not arbitrary design choices. They are carefully encoded visual languages carrying profound energetic and philosophical significance. This implies that the effectiveness of an activating image is significantly amplified by the viewer's conscious understanding and engagement with these symbols, transforming passive viewing into an active process of energetic and spiritual resonance.

To provide a quick reference for these complex symbols:

Table 2: Chakra Symbols and Their Significance

| Chakra Name | Key Symbol(s) | Symbolic Meaning | Associated Element | Sanskrit Seed Mantra |

|---|---|---|---|---|

| Root (Muladhara) | Square, 4-petalled lotus, inverted triangle | Stability, foundation, consciousness aspects, grounding | Earth  | LAM (लं)  |

| Sacral (Svadhishthana) | 6-petalled lotus, circles, crescent moon | Overcoming qualities, life cycles, change, fluidity | Water  | VAM (वं)  |

| Solar Plexus (Manipura) | 10-petalled lotus, inverted triangle | Energy currents (Pranas), upward energy flow | Fire  | RAM (रं)  |

| Heart (Anahata) | 12-petalled lotus, hexagram (2 interlocking triangles) | Divine qualities, 72,000 nadis, blending of energies, central connection | Air  | YAM (यं)  |

| Throat (Vishuddha) | 16-petalled lotus, inverted triangle within circle | Sanskrit vowels, knowledge, purified mind | Ether  | HAM (हं)  |

| Third Eye (Ajna) | Inverted triangle within circle, 2 lotus petals, AUM | Higher wisdom, unity, Ida/Pingala nadis, intellect/intuition | All elements  | AUM (ॐ)  |

| Crown (Sahasrara) | Divine circle, 1000-petalled lotus | Divine connection, enlightenment, unity with universe | Beyond elements  | Silence  |

This table serves as a vital resource, compiling and presenting symbolic information in a structured format. This allows for a concentrated grasp of the symbolic language, which is not merely decorative but intrinsically linked to the energetic and psychological functions of each chakra. This deeper understanding is essential for the viewer to consciously engage with the art, thereby enhancing the activation process.

V. Chakra Art: A Visual Pathway to Balance and Healing

Chakra art represents a vibrant intersection of spirituality and creativity, serving as a powerful conduit for spiritual exploration, healing, and meditative focus. Its core purpose is to balance and align the energy points within the body, which in turn enhances spiritual and physical well-being.

The historical roots of chakra art are deeply embedded in ancient Indian spiritual traditions, primarily Hinduism and Buddhism. Early references to chakras can be found in foundational texts like the Vedas and Upanishads, with the widely recognized seven-chakra system gaining prominence from 16th-century Tantric texts. In these traditions, the visualization of energy centers played a crucial role in meditation and enlightenment practices, and chakra art was not merely aesthetic; it was deeply integrated into temple architecture and utilized as spiritual maps to guide practitioners on their inner journeys.

In contemporary times, chakra art has experienced widespread adoption and significant relevance beyond its traditional contexts. It is now utilized in diverse settings, including yoga studios, meditation centers, and even corporate environments, to cultivate an atmosphere conducive to relaxation and focus. Furthermore, its application extends into holistic therapies, where it is increasingly employed by mental health professionals to establish a meditative mood for patients dealing with anxiety and stress. The application of chakra art in such varied modern settings, particularly in corporate environments and for therapeutic purposes, signifies a broader societal acceptance and recognition of its practical, therapeutic benefits beyond purely spiritual or aesthetic contexts. This suggests that the energetic activation sought by individuals aligns with a growing trend of integrating ancient wisdom into contemporary well-being practices, highlighting the tangible and measurable impact of engaging with such art.

Chakra art employs specific artistic styles and themes to achieve its energetic effects:

* Color Schemes: A dominant and intentional use of each chakra's specific color is fundamental. Artists often employ varying shades of these colors to convey depth, energetic vibration, and nuanced meaning.

* Geometric Patterns: Geometric shapes and patterns, especially mandalas, are paramount. These designs symbolize the infinite aspects of life and are meticulously crafted to aid in meditation by serving as powerful focal points for contemplation and concentration.

* Figures and Symbols: The incorporation of various figures and symbols is crucial. Examples include the lotus motif, frequently seen in heart chakra art to represent purity and spiritual awakening; spirals; tree roots imagery for stability in root chakra art; flowing water symbolism for the sacral chakra's fluidity; and the crescent moon.

* Visualization and Meditation: Many creators of chakra art draw direct inspiration from their own meditation and visualization practices. They translate these inner visions into their artwork, a creative process that not only fuels artistic expression but also enhances their personal spiritual development. This deeply personal origin, in turn, aids the viewer's meditative experience, creating a powerful energetic feedback loop.

VI. Crafting the Activating Image: Essential Visual Characteristics

An image designed to effectively activate all chakras must meticulously integrate several key visual characteristics, moving beyond a mere representation to become a dynamic tool for energetic balance.

Firstly, the image must achieve holistic integration. Rather than simply depicting individual chakras in isolation, a truly activating image harmoniously integrates all seven energy centers within a unified, cohesive composition. This conveys a profound sense of interconnectedness and balance throughout the entire energetic system.

Secondly, vertical alignment is paramount. The most common and effective depiction positions the seven chakras vertically along the human spine. This arrangement directly reflects their natural anatomical and energetic placement within the body, creating a clear and intuitive visual pathway for energy flow.

Thirdly, the use of radiant light and vibrant colors is critical. Each chakra should be represented as a distinct, glowing point of light, radiating its unique and vibrant color: Red for Root, Orange for Sacral, Yellow for Solar Plexus, Green for Heart, Blue for Throat, Indigo for Third Eye, and Violet or White for Crown. The intensity of these "radiant lights" and "vibrant colors" is essential for conveying energetic flow, vitality, and the very concept of "activation" through visual resonance.

Fourthly, the inclusion of key symbols is indispensable. The specific symbols and geometric patterns unique to each chakra—such as lotus petals, squares, triangles, crescent moons, hexagrams, and the AUM syllable—should be clearly and accurately incorporated. These symbols significantly enhance the symbolic depth of the image, resonating with the specific energetic functions and profound philosophical principles of each center, thereby amplifying the image's activating potential.

Fifthly, while not strictly necessary for all activating images, incorporating a mandalic structure for the overall composition or for individual chakras can significantly enhance the image's meditative and balancing qualities. Mandalas inherently promote a sense of unity and wholeness, serving as powerful focal points for contemplation and drawing the viewer into a deeper state of energetic engagement.

Sixthly, the inclusion of a human form as context is highly effective. Often, the chakras are depicted within or superimposed upon a human body silhouette or a meditating figure, such as one in a lotus position. This visual bridge creates a relatable human context, allowing the viewer to effortlessly project and visualize the chakras within their own energetic system. This transforms passive observation into an active, embodied experience, which is crucial for personal energetic activation. By seeing the chakras mapped onto a human form, individuals can more easily internalize the visual information and connect it to their own subtle anatomy, facilitating a more direct and potent activation.

Lastly, an effective activating image should convey a strong sense of implied energy flow, even as a static visual. This dynamic quality can be achieved through subtle visual cues such as "waves that symbolize their specific frequencies" , radiating lines, or a clear visual progression from the lower (Root) to the higher (Crown) chakras. This visual emphasis on flow directly addresses the concept of "upward effects" of energy, which, as discussed, promotes positive manifestations like enthusiasm, creativity, joy, and generosity. The understanding that energy can flow "upward" (leading to beneficial states) or "downward" (leading to stagnation or negative expressions) means that mere stimulation is insufficient for holistic well-being. Therefore, an image designed for comprehensive activation must implicitly or explicitly suggest this dynamic, upward movement of energy, guiding it constructively away from inertia and towards higher states of being.

Examples of such activating images include:

* A vivid vector illustration depicting the seven chakras as colorful circular symbols with Sanskrit names, aligned vertically on a bold dark background, potentially superimposed on a human silhouette.

* A depiction of a meditating figure in a lotus position, with each chakra represented as a glowing point of light in its distinctive color along the spine, surrounded by subtle waves symbolizing their specific frequencies.

* A composite image featuring individual chakra mandalas, each intricately designed in its associated color and symbol, arranged in a vertical sequence to represent the complete energetic system.

VII. Engaging with Chakra Art: Recommendations for Personal Activation

While an image can be exquisitely designed to resonate with the energetic system, true "activation" is not a passive reception; it requires active, conscious engagement from the viewer. The image serves as a powerful catalyst, guiding and amplifying an internal process.

To harness the full potential of chakra art, mindful viewing is essential. This involves focused and sustained gazing at the image, allowing the vibrant colors, intricate symbols, and overall composition to resonate deeply within one's being. This intentional focus helps to quiet the mind and open the energetic channels.

Furthermore, the image can be a powerful focal point during meditation and visualization. Individuals can use the visual cues to guide their inner experience, visualizing the energy flowing dynamically through each chakra. This practice involves seeing the energy expanding, balancing, and moving harmoniously upwards from the root to the crown, cleansing and invigorating each center as it ascends. This transforms the static image into a dynamic, interactive tool for self-practice, emphasizing that true activation is a co-creative process between the visual stimulus and the viewer's intentionality.

Incorporating affirmations while viewing the image can significantly enhance the activation process by consciously reinforcing desired qualities and energetic states, thereby aligning mind and energy. Specific affirmations can be tailored to each chakra:

* Root Chakra: "I am thriving. I am secure, grounded, and stable."

* Sacral Chakra: "I am creative. I embrace my emotions, sensuality, and joy."

* Solar Plexus Chakra: "I am abundant. I am confident, powerful, and purposeful."

* Heart Chakra: "I am loving. I give and receive love unconditionally, fostering compassion and forgiveness."

* Throat Chakra: "I am grateful. I express my truth clearly, authentically, and with integrity."

* Third Eye Chakra: "I am aware. I trust my intuition, insight, and inner wisdom."

* Crown Chakra: "I am joy. I am connected to divine consciousness, enlightenment, and universal wisdom."

To maximize the image's energetic influence, individuals can create a sacred space by placing the activating image in a personal meditation area, yoga studio, bedroom, or living area. This intentional placement helps to cultivate an atmosphere conducive to relaxation, focus, and spiritual practice.

Finally, personalization of the chakra art can deepen the individual connection and amplify the effectiveness of the activation process. Individuals are encouraged to seek out or even create an image that personally resonates with them. The accessibility of digital tools like Adobe Illustrator or Photoshop makes creating personalized chakra art a viable option for those with a keen interest in exploring their spirituality artistically.

VIII. Conclusion: Embracing Your Holistic Energetic Journey

The integration of chakra art into one's life offers profound and holistic benefits, extending across physical, mental, emotional, and spiritual dimensions. Engaging with these visually rich representations can lead to enhanced physical vitality, greater mental clarity, improved emotional balance, and significant spiritual growth. Individuals often report an improved overall sense of well-being, reduced stress and anxiety, and a deeper experience of inner peace and harmony.

Understanding and consciously working with one's energetic centers through the accessible and beautiful medium of art is an inherently empowering endeavor. The journey of chakra activation, guided by these potent visual tools, is a continuous path towards holistic harmony, self-discovery, and profound transformation. Through conscious engagement with the vibrant world of chakra art, individuals unlock an ongoing potential for energetic balance, personal growth, and self-realization, enriching their lives in multifaceted ways.