#skeleton modeled after my hips :3 | Explore Tumblr Posts and Blogs

deripmaver · 5 years

Note

🤐 (gagged or muzzled) for the prompt list?

(+ photographed, I got a gagged + recorded request with victor specifically so I decided to fill both here :D)

continuation of this, my jack the ripper au

Content warnings/tags: ABO, serial killers, mentions of mutilation, psychological torture, mild on-screen violence, violence of a sexual nature (not necessarily sexual assault - if you know anything about jack the ripper’s crimes you’ll probably get what i mean? basically he murdered prostitutes and disemboweled them/hacked them up/removed their uteruses so There’s That), sexist slurs, NO MAJOR CHARACTER DEATH

basically Victor Suffers For 2000 Words (what else is new with me lmao)

Victorblinks awake, head throbbing like the worst hangover he’s ever had.He’s disoriented for an instant, and when he groans, trying tostill the strange swirling lights that surround him, he finds thesound muffled strangely.

Andthen it all comes back to him.

Victor’seyes fly open, whole body shuddering,and he jerks forward with ahorrified shriek – but there’s something holding him back,something in his mouth. Hishead throbs miserably, but Victor thrashes, looking from side to sidein a panic. He’s been gagged, the bit of fabric knotteduncomfortably at the nape of his neck – but delicately, carefully,so his hair still splays out underneath him.

He’slying somewhere, arms and legs spread and bound to what feels like anoperating table. It’s freezing, and his body trembles with cold –he’s completely naked still, and a humiliated flush fills hischeeks as he desperately tries to squeeze his knees together, toprotect what little modesty he has.

“Mm,the jewel is awake.”

Victor’shead jerks to the side, exposing his pale neck, and he stares up inhorror at the alpha above him.

Hetries to speak, to say anything, but the gag muffles his words.

Thealpha slaps him, Victor’s head snapping back, and his eyes water atthe warm sting that blooms on his cheeks. He stares up at theceiling, whimpering, fists clenching and unclenching and strainingagainst the bonds that hold him down.

Hisheart pounds in his chest, a caged beast banging against his ribcagelike it’s trying to burst out of his body.

“Istarted gagging them after a while,” the alpha hisses, “They’dalways try to plead with me, to beg me not to hurt them. Likethey deserved mercy, those – those fucking whores,what I did to them was mercy, stopping them from spreading theirfilth – stop whimpering!Shut up!”

Victorstops, immediately, shock and terror making his whole body go rigid.He flinches as the alpha moves, expecting another slap, and hiseyelids flutter reflexively, nervously as a hand comes to caress hischeek. The alpha’s knuckledrags along the sharp bone in his cheek, drawing a high, terrifiedkeen from Victor’s throat, one which he can’t swallow down. Heflinches again, trying so hard to stop the noises coming from hismouth, but a deep pit of terror is welling up in his belly and hefeels bile rising in the back of his throat

Heknows who this alpha is.

Theydidn’t show photographs of the omega corpses, at least not in thepapers – the drawn images and descriptions were gruesome enough.The men and women’s throats cut, their abdomens slashed open withincreasing, bloody rage. Crime scenes a mess of gore, organsremoved with surgical precision. Theomegas uteruses missing, only ever found for one of the bodies –the poor omega who had incurred the killer’s wrath so awfully thathe’d hacked her body and face to bits.

Somebodies were killed at the crime scene, others were taken somewhereunknown, killed and mutilated, then dropped arrogantly inwell-trafficked spots just before dawn.

Victortrembles down to his soul as he stares down who’s taken him – thealpha they called Jack the Ripper, the terror of the whores of EastLondon.

Jack’shands run down his neck,prodding at his scent gland, which emits waves and waves of sourterror into the room. He massages it, chuckling when Victor shrinksaway – or tries to, the bindings preventing him from moving veryfar.

Victorthrashes his head back and forth, tears falling from his eyes. Jacklaughs again, eyes glittering in amusement as he keeps rubbing thespot, a mockery of intimacy.

Hisother hand travels down Victor’s side, sliding over his belly,pressing just below his navel. He prods around that area, between thejutting bones of his hips, as though feeling for something. Victorstruggles feebly, drool dripping down his cheeks from behind the gag,whimpering and crying and pleading incomprehensibly.

WhenJack presses just slightly lower, to the side, Victor squeaks andsqueezes his thighs together as hard as he can, though his anklesburn awfully from the ropes binding him to the table.

Jackfreezes. Victor shudders in relief as the fingers on his scent glandstops massaging, his blood roaring in his ears.

ThenJack hisses, “I don’t want to fuckyou.”

Victorwhimpers in response, body curling inward, just a bit. That’s allalphas have ever wanted with him.

WhenVictor meets Jack’s gaze, terror pierces him like ice-cold steel.There’s hate inthose eyes, something burning and visceral, and for the first time itreally, really hits him.

He’sgoing to die here.

Jacklets out a roar and Victor screams,waiting for the torture to start – but instead there’s a loudcrash as Jack upends atable, bottles shattering on the wooden floor. A sick, medicinalsmell mixes with hot alpha anger and omega distress, and Jack howlslike a crazed beast as he slams his hands against the walls, againsta shelf of medical textbooks, sending the pages flying like rippedflesh.

“Youthink I want to fuck you?”Jack screams, sending a skeleton model flying, showering the roomwith shattered human bones. “You sick, fucking slut, I’ll ripyour heart out, I’ll rip you apart, I hate you, I hateyou-”

Herips a scalpel up from the floor, from the upended table, and heroars in the face of Victor’s terror, his bone-deep sobs, grippinghis neck and squeezingso that the blood pounds behind his eyes, raising the scalpel up sothat it glints in the sickly artificial light-

Jackstares deep into Victor’s bloodshot, red rimmed eyes – andsuddenly, he calms. It’s as if the rage had never been there.

Hereleases Victor’s neck, watching as Victor chokes and coughsmiserably, unable to breathe in deeply because of the gag. Thescalpel comes down to his side, away from Victor’s body, and hetakes a deep, shuddering breath as he re-rights the table and placesthe scalpel on it.

“Notyet,” Jack says, half to himself. “Not yet.” His gaze flits toVictor, calm, hateful.“Can’t ruin your pretty face yet. I’m going to take my timewith you. I know no one’s coming for you. You’re a whore,and no one is looking for you.”

Thathits Victor worse than a punch in the gut.

Noone is looking for him. He was out because Yuuri didn’t come over,because he doesn’t want to be seen with him.

Victorthinks of Yuuri, of his soft, dark eyes, his sweet face – howcherished he made Victor feel, holding him, talking to him likeVictor’s thoughts actually mattered. He thinks of Yuuri in hiscollege dorm room, safe and asleep, perhaps after a night of drinkingwith his new omega friends – far away from him.

AndYuuri will wake up tomorrow to the news of Victor’s body beingfound, naked and mutilated, and Victor will have never plucked up thecourage to tell him he loves him, and Victor doesn’t even know ifYuuri feels the same way, at this point.

Thethought breaks him.

Victorbegins to sob, brokenly, tears and snot dripping down his cheeks andinto the gag around his mouth. He flops back against the table,weeping openly, terror andhopelessness clawing a void into his chest. He’s going to die, he’sgoing to die, and no one will care because no one ever cared abouthim-

Hedoesn’t even notice Jack has moved away from him until cruel handsgrip his chin and force him to look into those hateful brown eyes onemore time. Jack’s face is blurred with his tears, and he blinksfuriously to focus, cheek still stinging from the slap earlier.

“Itold you that you would be the jewel of any alpha’s collection,”Jack says, “And I intend to savor this, to be able to return to it.I gave the others a quick death, slit their throats before I tooktheir wombs. I needed to see how filthy they were, how your wombswere rotting from within. You, though, you, you-”

Jackgrits his teeth, balling his hands into fists, biting his lip so hardit bleeds. Victor stares at him in wide-eyed terror, still weeping,watching Jack calm himself. He takes deep, shuddering breaths,steppingback – then, without warning, he slaps Victor hard,so hard he tastes blood in the back of his mouth, so hard a trickleof blood drips from his nose.

Victorshrieks as his head snaps to the side. For a moment, the shock of itsnaps him out of his misery.

“Youthought you were above them, only letting rich alphas fuck you,”Jack roars, gripping Victor’s cheeks so hard it bruises him, “ButI’ll show you, you’ll see your womb is just as filthyas theirs. You’re nothing. Nothing,do you hear me?”

Victorwhimpers, nodding miserably, beginning to sob again. He’s scaredwhat Jack will do if he doesn’t. God, he wants this to be overalready, he wants Jack to kill him, please, no more of this-

Thesnap of a camera shudder draws his attention, and he stares aroundwildly, wondering what fresh horror Jack’s brought for him.

“Iwanted to capture this on video,” Jack gasps, licking his lipsgleefully, “But I don’t have an assistant to film, so this willhave to do. I want to remember this moment forever, and thanks tothis…”

Thecamera flashes one more time, a puff of smoke rising up from it.Victor swallows. He’s allowedphotographs of his naked body to be taken before, as part of largerpornographic studios, but this, this-

Hefeels violated,once again trying feebly to cover what little he can of his exposedbody. Jack wants to photograph his murder, his dissectionso he can remember it again and again. Oh, god.

Victorshakes his head, looking at the camera pleadingly, and his eyes widenin horror as the camera captures his desperate, inconsolable misery.Each exposure taking time, building up with nothing he can do to stopit. Jack moves the camera a few times, capturing different angles.

Heruns his finger along Victor’s belly, deceptively gentle. Then, hetakes a bit of black ink and draws a thin line along it, tapping thecold scalpel against his belly button teasingly.

Killme already, Victorpleads to himself. Thisis torture, please, stop.

Evenin death, Jack will be tormenting him. Looking at the photos of hisnaked, mutilated body, remembering how he died, what it felt like torun the scalpel along his exposed flesh.

Victorsobs, squeezing his eyes shut. He sobs, and sobs, and sobs, beggingfor someone, anyone to come find him, begging for this to end-

There’sa faint sound, like the click of heels on a wooden floor.

Fora moment, Victor thinks he must have imagined it, but Jack is lookingoff into the distance, so that must mean-

Someone’shere.

There’sa knock at the door.

Someone’shere.

Jackswears, a string of filth that Victor has hardly even heard from themouths of whores. He rushes around, grabbing a thick canvas cloth,and tosses it haphazardly over Victor’s body.

“Ifyou make a noise, I will rip your beating heart from your body,”Jack hisses, his ugly scowl the last thing Victor sees before hisworld is plunged into darkness.

Hisbreathing is so loud, rattling underneath the cloth. He blows hisnose, annoyed, all his sobbing clogging it and making it that muchharder to breathe.

Jack’svoice comes from somewhere far away, sickeningly sweet, the samevoice he’d used to pick up Victor.

“Ah,if it isn’t the rising star of the College of Physicians. Please,please, come in.”

Theother person is soft, timid – his voice doesn’t carry enough forVictor to hear what he’s said. He’s about to start screaming,thrashing – but then Jack says something that makes Victor’sblood run cold.

“Alittle dangerous for an omega to be out alone so late at night, isn’tit?”

No.

“Whatbrings you to my morgue at this early, Yuuri Katsuki?”

No.No, no no no NO-

Victor screams. He screams, and writhes, shouting as loud ashe can, “Run, get out of here, he’ll kill you, Yuuri, no, please,god no-”

The gag steals his words, the blood roaring in his ears. He can’tlet Jack hurt Yuuri, he loves him, he loves him so much, but thebonds are too tight and everything hurts so much.

There’s a crash. Jack is shouting, roaring, raging like a demonfrom hell, there’s the sound of shattering glass-

And Yuuri’s shriek pierces him like a knife.

#whumpy prompts #victuuri #victuuri fic #yuri on ice fic #yoi fic #yuuri katsuki #victor nikiforov #i think the camera part is pretty anachronistic #im not a historian don't @ me #im........ probably going to just write this whole thing out aren't i #enjoy reading the thrilling conclusion 2 years from now lsdkfjghlsdfkj #katineto #my fic

19 notes · View notes

mortalgabby · 5 years

Text

Mermaid Sculpture Part 1

Mermaid Sculpture 1

After planning the appearance of my sculpture I began to build an armature out of two different kinds of wire - flexible garden wire and a much thicker silver wire. I took two pieces of silver wire and attached both ends to a drill. The other ends were held together, then I turned on the drill to twist the wires together to reinforce the armature.

I left a length of untwisted wire at the end and bend it into a rough spherical shape using pliers to begin to make the head. The rest of the twisted wire was used to make the spine and (eventually) tail. I then took two sets of twisted garden wire (to make horns) and attached them to the sphere by wrapping them around multiple times.

I twisted two more sets of wire around the body to create the shoulder/arms and the hips/legs. I also wrapped the joints with extra wire to try and hold them in place. Next, I positioned the wire where I wanted it (changing the shape of the spine and bending the arms and legs) then began to add tin foil to flesh out the character into the shape I wanted her to be. Once I had added a lot of tin foil, especially in small quantities, I encountered a problem - it was no longer sticking to the body. To fix this, I wrapped the entire model in masking tape (which also ended up not sticking properly, so I then had to also add a layer of papier mache to the parts that were the most uneven.

Upon making the arms, I realised that I wouldn’t be able to properly make her hands without having an armature for them - which I should’ve done when making the rest of the body out of wire. To fix this, I made two hand shapes out of garden wire with an extra ‘finger’ on the end that would be glued inside the end of the arm. I created two holes in the ends of her arms and used a hot glue gun to attach the end of the hand inside. I could then cover it with tin foil- but couldn’t add much as I wanted the hands to be fairly delicate and adding too much would require a layer of masking tape to hold together, which would make them too bulky.

At this stage in the mermaid’s creation, she had 3 joint legs as she was inspired by animal skeletons and wendigos (that are commonly depicted with digitigrade legs so walk on their ‘toes’. However later on when I added super sculpey to my model I decided to change my idea as I did not have enough sculpey or time to create the legs properly.

1 note · View note

emilydaisylifeart · 3 years

Text

Beginning to Model: Session 1 - 1st April

Following my last call with Stephen and our discussions and agreements, I am finally at the stage where I can begin to model my puppet. I assured Stephen I would only need a few weeks, maybe two or three with all of my other commitments totalled in, to finish this model, and a few extra days to film it, and I intend to stick to that schedule. I work best when it comes to a large portion of physical work when I do it in chunks, larger sessions where I feel I can accomplish more. I imagine the only things breaking my sessions up will be other work, and drying time for glue and other bondents. This section is being written just before I start modelling; the rest of the post will be post-session. Below is pasted my process for this first day:

-------------------------

1. The Wire Frame

I knew with the height and potential weight of my puppet that the skeleton would have to be fairly hefty and sturdy, so here’s what I did.

I wrapped 4 balsa blocks as a core in a lot of the thick 4mm wire, and curved it around and upwards to make a spine. I made these coils tight, so the balsa blocks wouldn’t fall out.

-------------------------

2. The Body

I already knew I wanted my puppet to be largely fabric, and for a while I was struggling to find a substitute for my styrofoam ball idea, since I was aware that would be too light and wouldn’t support my already-built core. I soon settled on a white sock, suitable for later colouring, stuffed to the brim with stuffing, to make it large enough and round enough. This stuffing method also meant I had wiggle room for the size of the torso, I could make it as big or small as I needed. I did this around the core, and secured and sewed it shut afterwards, leaving me with a spine sticking out. I even considered adding a squeaker for an extra surprise, but it didn’t fit. :)

-------------------------

3. The Chest Cavity & Attatchment

Here’s where there is a larger jump, since I didn’t have my hands free to take any pictures. From here, I attatched the stuffed ball to the chest cavity I had, which remained as a hollowed out bottle part as I planned. I measured out some more wire, and cut the bottle where it would need to thread through. Here came a tricky bit.

I had to find a way to wrap the wire securely around this stuffed ball to make the legs, which came with a lot of trial and error. I eventually settled on this sort of spherical segmented wrap which reminds me of a planet, for whatever reason, and I twisted the wire very tight so as to keep it secure. I also made sure to twist this over and through the torso, so it would NEVER move on its own.

The leg joints at the hip were difficult and required a lot of plier twisting without snapping them, but I got it done. My plan is to cover these up, I just hope I can find a sufficient way to do this. After everything was twisted, I mixed some epoxy and closed shut every moveable gap, so everything was sealed in for good.

-------------------------

4. Planning Out the Limbs

With my base completed, I had to begin to plan out how I was thinking of attatching the feet and other leg accessories. Here is what I found to work with:

I particularly loved the wooden blocks and thought they would make excellent feet. I did consider sawing them down to a nicer shape, but losing size means losing mass, and I didn’t want to risk the model falling over on ill-fitting feet. I chose to leave them as is. The jar lids are supposed to mimic hind legs.

I planned to epoxy the tiny feet loops to the wooden blocks as discreetly as possible. Once again, I considered sawing and inserting them inside, but I decided against this.

This is roughly how the model will appear standing up, sans jar lid which is displayed below. I may have made the legs slightly too short, but I think if they had been any longer, I would be risking bending under the weight. At this height, should there be any bends, the body can simply rest on the heels of the feet and still look normal.

The jar lids are beginning to look a little out of place here now, since I’m not sure if they will cause discomfort in animating. I may leave them out altogether.

-------------------------

Final Thoughts on Session 1

Having finished a good chunk of the base model today, I feel extremely achieved. Something I have had to put off for so long because of various problems is finally being done, and I have to say I have quite enjoyed it. I get the feeling I will enjoy things like creating the head and accessories a lot more, but as far as things go today, I am pleased with my progress. I intend to give things a few days to settle, just so I can watch the limb movement and stability before I continue, but I am certainly excited to continue!

0 notes

0blivion-laughs · 3 years

Text

RAY CAESAR

Many call Ray Caesar the Godfather of Digital Art, and his process is completely digital from its beginning through the printing stage. Though he is certainly seminal in his oeuvre, it is his fantastically disturbing content that has made him a cult favorite, from collectors like Madonna and Elton John to the population at large who not only know of his heartache, but embrace it. Caesar frequently talks of suffering from Dissociative Identity Disorder. Combine this with his time working in Art and Photography Department of The Hospital For Sick Children in Toronto and you are faced with a sea of controversial imagery.

“When you grow up in a dark place filled with fear and pain and cruelty, there is a tendency to find hidden places of pleasure and beauty within that world of the night,” mentions the artist. “I have always thought that the greater potential for evil and darkness that there is an even greater potential for good and light. There is a natural inner drive within the human mind to find balance in any situation and find ways of coping in a sea of turbulence. We are all stronger than we give ourselves credit for and when our conscious mind cannot handle something overwhelming in the darkness of the real world, our subconscious becomes very creative and takes its own path into an inner light. For me art is an expression of living in that duality and a visual voice to express fear and rage and sadness… and hope and calm and ultimately, love.”

SALAD DAYS

I was born in London, England in 1958, the youngest of four and much to my parent’s surprise, I was born a dog. This unfortunate turn of events was soon accepted within my family and was never again mentioned in the presence of polite company.

I was a rambunctious youth as was natural to my breed but showed a fine interest in the arts as I drew pictures incessantly on anything including the walls and floors of every room of our tiny house. After some trouble with intolerant neighbors, my family was convinced to move to Canada and it was not long before the burgeoning town of Toronto became our new home. Unfortunately the drawing continued to become somewhat atypical and aberrant and it was impressed upon me that such images might not be suitable for public viewing. In the summer of 69, there was a valiant attempt to stop me from doodling infamous contemptible fascist dictators upside down on my stomach with a ballpoint pen. I was consoled however by the encouragement to continue penciling in faces of flamboyant cowboys such as Gene Autry, Roy Rogers, The Lone Ranger and Tonto on my toenails but was expressly forbidden to talk to them at night. It can be said that there are defining moments in a dogs life that can only be described as pivotal. Mine came when I received a gift of a flesh toned 12 inch plastic movable human doll attired in cheaply made military fatigues called “GI Joseph”. I however named him “Stanley Mulver” and immediately resigned his commission from the light infantry. My Mother helped in this by sewing small business suits and leisure wear out of leftover Christmas fabric embroidered with holly and snowmen, tinfoil shoes and one tasteful Safari suit made of tight fitting powder blue rayon that proudly shone cobalt in the summer sunlight. It wasn’t long before I had begun making enlarged wigs out of gray plasticine. These wigs soon became huge pompadours for Stanley and looked even more grand when I meticulously imbedded small hairs from my daily body and face shavings. This hirsute practice along with walking upright allowed me to fit in with other children even though my father considered it a waste of time. In short, Stanley had become a visage of the Man I could never be, of that elusive self one sometimes glimpses down the tunnel of infinite reflected mirrors. Although ridiculed by my peers, I proudly wore Stanley around my neck at all times as if to say “SEE! This is the man I will be, a good man, a kind man”. I have worked in many fields over the years, attended obedience classes and art colleges, jobs designing horrible buildings in architectural studios, medical art facilities, digital service bureaus, suspicious casino computer game companies, eventually working at computer modeling, digital animation and visual effects for television and film. Some award nominations have been attained and I have been driven in long black liquor filled limousines and walked on hind legs down red carpets in Pasadena while wearing strange smelling rented tuxedos. Things change and summer years come to an end. My change occurred one night when my Mother visited me, which was slightly unusual because she had passed away some months before, a victim to the cigarette habit she could never quite lick. Facing a wall and slowly turning I saw the right side of her face ablaze in light, her hand trying to cover the light as if she were apologetic for having it seep through. Words were said about following rabbits down holes and I was shown galleries of work which were to be my own. My Mother was not the first visitation I have had and it seems she will not be the last. I live in a brick house with my wonderful wife Jane and a coyote called Bonnie. I like eating avocados and I don’t really mind being a dog.

THE HOSPITAL FOR SICK CHILDREN For 17 years I worked in the Art and Photography Department of The Hospital For Sick Children in Toronto from 1980 until 1997. I worked in a department that documented such things as child abuse, surgical reconstruction, psychology and animal research. They were years that I will never forget, years of witnessing great sadness but also great miracles. I often awake in the middle of the night and realize I have been wondering the hallways and corridors of that giant hospital. As I lay there in the dark, I struggle to remember the fading words of those that still haunt my memories of so many years ago. It is so clear to me that this is the birthplace of all my imagery. It is appropriate that I now live my dreams for those that didn’t get a chance to live theirs…. to do otherwise would be a sin.

Much of my work at the hospital was tedious and boring in that I produced tremendous amounts of statistical data before the advent of computers and dealt with a lot of sensitive photographic material and work for publication. Another part of my job was overwhelming in that at any given moment I could typically find myself hovering over a tiny premature infant covered with tons of equipment. I would have to sift through the equipment to make a technical diagram, a teaching tool to allow intensive care nurses to have some idea of all that tangle of machinery that kept that tiny infant alive. Other times I would have to draw a similar thing of some poor animal in the research dept that had the misfortune of being a lab animal. To this day I have developed a profound love for animals that is very important to me. On a few occasions I dealt with forensic material for the court or sensitive medical documentation that would for me be overwhelming. I worked on board games and flash cards for brain damaged children and some of the early computer animations of the cryogenic removal of a brain tumors. Teaching hospitals are like tiny cities and whenever you think you have seen it all, reality slaps you in the face and shows you something that makes you re-evaluate everything. I learned in my life that human hands can be cruel and unkind but more often they can perform heart surgery or write a check to build a new wing of a hospital or just simply brush away a child’s tear.” Miracles do exist but they are often the product of our own actions and the incredible work of of the unsung heroes that care for children.

MY PROCESS

I create models in a three dimensional modeling software called Maya and cover these models with painted and manipulated photographic textures that wrap around them like a map on a globe. Each model is then set up with a invisible skeleton that allows me to pose and position the figure in its three dimensional environment. Digital lights and cameras are added with shadows and reflections simulating that of a real world.First the models are sculpted similar to pushing and pulling the surface of a piece of clay. I am often reminded of being in preschool with my huge chunk of Plasticine. I once modeled a Plasticine shoe but my father forbade me to wear it in public. I then create an inner structure of joints similar to a skeleton that allows me to pose the figure with a spine, shoulders, elbows and even finger joints. Many heads are modeled with many a different expression and these can be blended to create a subtle look similar to the one my wife has when I have done something suspicious.I color the models first in a very simple way, then each surface in the model is wrapped with a texture that may be painted digitally such as a flower petal or from a digital photograph such as a wood surface. I collect textures the way some people collect little silver spoons and I have a story about each texture in my collection such as the one about my father’s hip operation scar or the picture I convinced my gastroenterologist to give me of the inside of my colon. My favorite textures to collect are skin textures, as I have a legitimate excuse to ask people to expose large areas of bare skin.As my work is printed I am often asked about my original, but it exists only in the computer in a dimensional world of depth, width and height. I am fascinated by the concept that this 3 dimensional space exists much as another reality and even though I turn the computer off, I am haunted by the fact that this space is still there existing in a mathematical probability, and the space that we live in now might not be all that different.

0 notes

sobre-tu · 3 years

Text

I guess I’m just here to say I’m sorry.

I’m sorry I haven’t been good, I’m sorry my intentions haven’t been out of heart but have been selfish.

I’m here to apologize on my behalf. My thoughts will travel on and hopefully your understanding can follow the same path I walk along.

I don’t know why I’m changing but I can see that I am.

I’ve slimmed out roughly 35 pounds.

My hips are hills and my ribs dip into valleys.

Pants hang loosely on me like I’m trying to be a skater boy, my ass has essentially shrunken half its original size

But this isn’t me. This isn’t what I want to be.

I can’t tell you how I got here, or even why

But what’s challenging to you is even more challenging for me

I breathe it, I walk it, I dress it, I feed it

And yet it’s choosing to rid of what’s provided

I guess that’s why you’ve outsourced as well.

It’s finding other things necessary

What exactly is most important right now, I’m unsure

But I do know I’m trying my damnedest to nurture it

Perhaps it needs a subtle budge

In which direction is also unclear but I’m hoping a light shines over the horizon soon

Optimism is also something that hasn’t been lingering around far often enough

You can smile until you’re happy or fake laugh until you genuinely chuckle

But what happens when you can’t convince yourself the humor of it all?

I promised myself, like I have before, that I wouldn’t fall back into this place

Yet I haven’t stumbled into once more, but have ultimately leapt into its lap for comfort

What lacks somewhere will be found elsewhere,

Isn’t that a simple beauty of things?

Whatever is lost may be found

What if the giver is a key role?

You better hope they decide to stick around.

I hate that I’m aware of all that I can’t fix and it has made me bitter

They say only you have the power to change things but what if I don’t want to take the steps to act on it?

What if I feel like I can’t?

What if I can’t?

Why would I choose to feel this way if I had the option? whether or not I would?

Why do I cycle through like old laundry, rinse and repeat?

Aren’t I tired?

I know I’m tired, I’m exhausted from swimming because I can’t even swim

I just drown and feel sad I’m drowning and nobody is helping me

But why didn’t I learn how to swim in the first place?

Was I supposed to learn or be taught?

My emotions get the best of me and explosive anger is a trait I wish I hadn’t inherited.

I have yet to find a way to slide past the rage pool boiling within me

But volcanoes erupt and sometimes they’re unpredictable

Luckily for me, I’m aware of most triggers that set me off

However it takes 2 to tango

And more than 2 legs to run away from the lava falling around

Hypocrisy is a funny thing and not in the humorous manner because although I may burst

What gushes out is the brew of only what’s been forming

And not the immediate snap back of the trigger

The egg shells I’ve accustomed to walking over sometimes begin to make a satisfying crunch

Like stepping on leaves in the fall

I begin to stomp like a child within the brush pile

Because you can only shake a soda can for so long

I talk too much but it’s only because nobody has ever listened

I have my own book but have yet to write on a single page

Every last dictation has been recorded with an unfamiliarity by an extended pen

My life is a sequence of foreign affairs to me as my thoughts, intentions, and feelings are defined bilingually

The tongue of those around me are deciding factors in my perception

I can shift codes to any form but the expected model

So I get lost in transit and brushed over

But what if what I have is what you’re looking for and just in the wrong order or at the wrong time

You’d never know

Hear me out and you’d be surprised the holes I can patch while falling into my own.

Finding tonality within conversation has only become more challenging

Everybody is afraid of something different and once I’ve overcome it I’m convinced anybody can

If the least capable, in my mind, can achieve, how can’t those that are thriven?

If you know know ask, no harm no foul, everything that you don’t know can and will hurt you

The only stupid question is the question you don’t ask because you never gave it the chance just like you aren’t giving yourself a chance.

An open floor is one taken up by opportunity.

Stop neglecting the open door, take up space, and be loud about it.

If you don’t have time, step expending yourself

Rubber bands snap when stretched too far

And on top of our lack of elasticity we’ve created time

24 gloriously dreadful hours with a suggested 8 hours of sleep

8 hours of work

More than half the day gone

1 hour of exercise

3 meals a day

20/24 hours a day gone if you eat an hour per meal

Bathroom breaks

Hope you don’t drink coffee

Or have an eating disorder

Travel time

Don’t work too far now or live too far away from economics

Laundry

An hour in dryer and a half in the wash

Dishes

Grocery shopping

Bills

Messes

Cleaning

Hygiene

Brush your teeth, shower, brush your hair, wash your face

Maintenance

Things break down

Just like you

If you don’t have time, just don’t.

Repairing you takes a lot longer than that squeaky floorboard.

What do you do when you take in a mouthful of food that you cannot chew?

You hold it. You hold it in your mouth.

Don’t think about how the enzymes in your saliva are already breaking it down,

Making you eat the food you don’t want.

In moments time you’ll forget the repulsiveness of meal on your tongue

It’s good for you, it’s tasty, you don’t want it, you need it baby

And why deny what you need

It’s not a guilty pleasure, it’s not a choice, it’s a craving that cannot be silenced until the deed is done

Stop listening to your stomach scream at you and telling yourself you can see the cake

You can see the pasta

You can feel the carbs

You can feel the fucking sauce

Because you can’t

Do you know what you can feel?

Your protective suit of armor literally shriveling up around you and curling over

Because it’s faced no other resource but itself to break down

So now, here, in front of you, in that mirror

Is a sad, sad skeleton glaring back into the gaping orbs of hungry eyes

Starving for anything more that bare minimum effort in picking itself up again after letting itself slam against the cold. Hard. Ground.

Let yourself grow and give yourself the nutrients to do so or you’ll never peak over the rut you’ve sunken in.

Anyways we’ll get back to more later I have some brewing to do.

0 notes

glaucophane · 6 years

Text

Disappointment rex

As the new models for the alpha of Battle For Azeroth come out on Wowhead and MMO-Champion, I find myself more and more torn between two emotional extremes. On the one hand - and even though I exclusively play Alliance, who likely won’t spend much time in the zones populated by these creatures - a whole slew of new dinosaurs and other prehistoric animals are slated to be added to the game, and I could not be more excited for the possibility of tracking down every one in the game world. And on the other, I am deeply, deeply disappointed - not necessarily by the models themselves, but in how badly the people from my field have been unable to communicate what dinosaurs actually look like.

There’s a major disconnect here between stuff that’s known to science, and what ends up filtering in to pop culture.

We’ve already seen this happen before with dinosaurs, with the backlash against the discovery of feathers on certain theropods - specifically on those belonging to Maniraptora, commonly known as “raptors.” While taken as a given in paleontological circles, this idea of feathered dinosaurs has been very slow to catch on in the world at large. The first confirmed feathered dinosaur was described in 1996: Sinosauropteryx, a small compsognathid dinosaur from China, was found with preserved feathers, and the evidence has only compounded since then. And yet we still see naked raptors in Jurassic World, hand-waved away by the progenitor story’s famous use of frog DNA to fill out a spotty genetic code sample. Populating a world with fleet-footed, giant-clawed, efficient hunters is somehow less cool when those same animals are covered in sleek plumage, it would seem.

But I’m straying from the thing that inspired this essay. The thing that’s really just stuck in my craw. The thing that’s been gnawing at me: devilsaurs. If there’s anything that highlights just how badly we’ve cocked up showing the world what dinosaurs look like, it’s the new undead devilsaur model. Because, somehow, it’s more boring than the real things.

While I doubt that the models were accurate before now, having an animate skeleton to look at makes the disconnect between science and pop culture clear as day. I could nitpick at length about how the third digit on the thing’s hand makes my eye twitch, or how the arms are held in an anatomically impossible way, how the shoulder girdle is completely misplaced on the body, that the hips sit too low on the body, and on and on ad nauseum. But there are two things that I think are far more worthwhile to point out:

the absence of gastralia on the skeleton, and

the repetition of the square-ended neural spines and chevrons

The first is a clear example of the disconnect, and I know precisely how it came about. The gastralia, or gastral basket, are a series of “belly-ribs” found in multiple theropod groups, including tyrannosaurs, oviraptors, and compsognathids. They may have aided in breathing but, in spite of their importance, they are frequently left off of skeletal mounts in museums. This is partly a practical decision, because the gastralia are thin and fragile relative to the rest of the body. But perhaps more than that, the exclusion of gastralia has led to a perception of dinosaurs that are far skinnier than science knows them to be. Regardless of whether or not it’s based on T. rex or Allosaurus, the devilsaur is missing a good chunk of its body.

The second is as much a violation of good artistic design as it is bad skeletal anatomy, and also where the design really hits the brakes on my excitement. In a nutshell, the more times an element is repeated, the more it fades into background noise. This is somewhat broken up by slight color variations on the model, but not enough to make it any less dull. And, in an ironic way, it makes the creature seem less like it belongs on Azeroth than the actual creatures from Earth.

The neural spines - the part of the individual back and tail bones that stick upward - and the chevrons - a series of V-shaped bones that attach to the underside of the tail - are not so static on real theropods as they are on the zombie devilsaur. On a Daspletosaurus, between 1/4 and 1/3 of the way down the tail, the neural spines begin to taper backward, becoming more swept-back, while the prezygapophyses - the forward-facing knobs of bone that help keep vertebrae aligned - grow in length and sweep forward. The chevrons below progressively transform from being knife-shaped to being shaped like axe blades, and then finally more like straight razors near the tail tip. The look of the current devilsaur is one of stasis, of tedium, while real-life tyrannosaurs were far more slick and fluid. The art design would rather swap a series of Chiclets for a series of backward-swept blades and forward-swept pikes, which is so far removed from the Warcraft that puts spikes on damned near everything.

I really don’t know where to go from here. I have my doubts that a massive company like Activision-Blizzard is going to be swayed by the likes of my puny blog, and that isn’t even my intent in putting this out here. And as much as this could be written off as venting from an unpleasable fan from a notoriously unpleasable fanbase, it’s not that either. I know I’m one of the few people on Earth that gets to regularly work with these incredible extinct beasts, these creatures that have captivated us for two hundred years, and I want to share that knowledge and experience instead of hoarding it all.

At a time when “well, actually” is the fastest way to identify a pedant with nothing worthwhile to contribute, I don’t want this venting into the void to amount to nothing but nitpicking. More than anything, I hope that this kind of art criticism can be a jumping-off platform, a way to make inroads into bridging the gap between the thing I’ve devoted myself to - paleontology - and the things that I play to unwind after a long week in the lab - video games.

#Spoilers #Warcraft #Battle For Azeroth #paleontology #yes I already have Saurian #it's great but it's still really rough

1 note · View note

hereidinathoreauwrites · 7 years

Text

A Magic School Bus Rides Again Trailer breakdown and speculation (without too much fangirling)

Before we begin, some abbreviations I will be using: (RA) for The Magic School Bus Rides Again, (PBS) for original Magic School Bus show on the PBS network.

“Ms. Frizzle” for Lily Tomlin’s character (the original Frizzle), “Fiona” for Kate McKinnon’s character (Ms. Frizzle the younger)

Let’s begin!

This trailer is only 1:30 in length but there’s a fair amount packed into it. I’ll be providing a lot of screencaps but not every frame so it may be helpful to actually watch the trailer along with this breakdown.

Back to Walkerville Elementary! The school looks like it was kept pretty much identical to the original building from the PBS show (two story brick building with gym attached and parking lot along the side). If they’re keeping everything in line with PBS, RA should see Ms. Frizzle’s classroom as the 2two story brick building with gym attached and parking lot along the side). If they’re keeping everything in line with PBS, RA should see Ms. Frizzle’s classroom as the 2two story brick building with gym attached and parking lot along the side). If they’re keeping everything in line with PBS, RA should see Ms. Frizzle’s classroom as the 2two story brick building with gym attached and parking lot along the side). If they’re keeping everything in line with PBS, RA should see Ms. Frizzle’s classroom as the 2nd or 3rd window on the first floor on the left (alongside the parking lot. Helpfully, the bus is parked about right there!) Solar panels and wind turbines have joined the design, probably as a reflection on modern times and may indicate the show will at one time address renewable energy.

The original 8 are back! From left to right it looks like we have: Dorothy Ann, Phoebe (?), Tim, Arnold, Keesha, Ralphie, Carlos(!) and Wanda. Of these eight, the only one who stands radically changed from their PBS incarnation is Phoebe, whose new incarnation is a PoC. Hard to tell for sure but I’m hoping she’s either Hispanic (unlikely because we have Carlos already) or Middle Eastern. She could also be Indian. Again, it’s hard to tell for sure in animation. Since she’s entirely new, I’m willing to bet they changed her name as well. But for now, I’ll still call her Phoebe.

Some of the others have slightly different designs: Tim now has an afro, Arnold has lost that fabulous striped shirt he had in PBS, DA no longer wears a mini skirt and has a ponytail instead of pigtails, Ralphie isn’t wearing his iconic “R” shirt, Keesha doesn’t have that odd purple over-sized sweater she wore and there isn’t a drop of red on Wanda. All of their clothing has been updated to a 2010 kind of style and the color palette is more diverse than it was before. Each kid has 2-3 colors on them as opposed to the 1-2 colors of PBS’s character designs. This is probably more due to the upgrade to digital than any significant changes in characterization. Their heights are also very variable which for some reason, I find very satisfying. Most of the kids were all the same size in PBS but again, hand-drawn vs. digital. It makes them slightly more realistic.

LILY TOMLIN! :D The queen herself returns as her iconic character! Ms. Frizzle is voiced by her original VA (who sounds noticeably older but is clearly doing the same voice from PBS) who I can only imagine is back on a limited appearance. Ms. Tomlin has another Netflix show “Grace & Frankie” that is doing quite well and demands a lot of her time. Her appearance here might only be a formality; a passing of the baton. Her hair is the same (couldn’t change that!) but for once, she’s not wearing a dress/heels. PBS’s Frizzle always had an iconic dress matching the theme of the episode and impractical heels that she could do anything in. Those have been replaced here with a very hip but drab vest and what look like hiking boots. AND WHERE ARE THE EARRINGS?! The earrings always indicated a field trip by lighting up or moving. They changed episode to episode as well.

So…this classroom has a glass ceiling? That opens? How well-funded is this school?

Also, Fiona makes a promising entrance by sliding down a rope literally attached to nothing right into the center of the room. Glad to know impractical entrances run in the family. And is that Liz on her shoulder? It is indeed!

First impressions of Fiona: Slightly younger Ms. Frizzle. Apart from the clear age gap in their voices though, there doesn’t seem to be much of an emphasis on their age difference by appearance. They look roughly the same age, almost twins. So that raises the question: if Ms. Frizzle isn’t that much older that she’s retiring, why is she leaving? Will this be addressed? (Probably not)

The biggest difference I noticed is, of course, the hairstyle. I can kind of see Kate’s influence in the design of the hair which I think was a smart choice. It would feel wrong to put the beehive hairdo on a new Frizzle. There is also the necklace, which I think is supposed to stand in for the earrings as the changeable accessory for each episode.

Here, we see the return of our teacher wearing dresses, or in this case, skirts. Given the design, I expect we will see a diverse skirt wardrobe from Fiona that reflects the subject of each episode. And instead of impractical heels, we get semi-impractical flats! Fiona has already defined herself as different from her sister in her stylistic choices but even from her first line, I can tell the teaching style runs in the family. She’s excited, exuberant, and instantly likable: just like her sister.

Before we move on, let’s just take a look at the shots of the classroom we’ve seen so far. Not that the PBS cast ever spent much time in there but could prove interesting:

The classroom seems less…defined than it did when it was 2-D. There don’t seem to be any desks but rather, lab tables. No chalkboard but that is definitely a Smartboard I see on the wall behind the kids. So my guess is Ms. Frizzle embraced all the new technology of the 2010s for teaching her class! Of course, the iconic skeleton is back in the corner of the classroom. Just from this short clip it’s impossible to know but I don’t think he’ll be moving at all this time. He seems like more of the background. Other background items of note: a cactus (reference to the “All Dried Up” episode), a poster of the human body (kind of pointless seeing as it is next to the skeleton itself…) a poster of the human heart, poster of a cell, poster of an atom several plants on the window sill, beakers and graduated cylinders, on the shelves, a model of the human ear on the top shelf, terrarium with an open top (probably for Liz), poster of the solar system on the wall behind Arnold’s head. The classroom might be a good place to look for other Easter Eggs in the full episodes but it could just as easily be just a background for the episodes to start in like it was in PBS. But that Smartboard gives me pause…they might use that thing a lot and something tells me it’s not just an updated detail.

It’s the bus! So…does this one look a little squarish to anyone? Not that the original wasn’t but it was at least rounded like a bus. This kind of looks like one of those NissanCubes. At least it still has the “eyes” and “mouth” of the original. I seriously doubt this vehicle is going to be sprouting a spaceship tail like the original though.

We see the passing of the keys and a sparkle of light. The passing of the metaphorical torch? She who controls the keys controls the magic bus? No idea. But apparently, Fiona feels something shift as she shivers right after bursting with that magic. The bus belongs to her now.

On the bus! This is a different episode from the first, as evidenced by the costume change. Fiona is now wearing a branched pattern as opposed to the floral pattern of the opening (not in this screencap but check the video). The necklace has also changed to a tree branch. Oddly enough, the shirt is the same color…I’m guessing Fiona likes blue long-sleeves?

It seems the red lever has been left in the past. :( Now we have some kind of blue and yellow button of fortune showing the bus as several different vehicles including a crab, a kite, a helicopter, and some kind of construction vehicle? Hard to tell.

But the bus still spins to transform! Good to know they kept that detail.

Now we get into tricky speculation territory since I’m pretty sure about half the stuff in the rest of the video is pulled from the theme song sequence, which doesn’t mean anything for what we can expect in the episodes. I’m willing to bet (since PBS did it) that any animation matching the lyrics is reserved for the theme only and probably wont be featured in an episode. But we’ll see.

First up: the kids in what I’m fairly sure is some kind of atomic structure. We’re getting really small this time! There’s also the return of the themed one-atmosphere suits the kids often donned in PBS. Although this time they seem less color-coordinated to each child’s clothes. In PBS, each kid had their own color suit. This time it seems a little less monochromatic. I’m guessing that’s Carlos in the red and Keesha or Phoebe off to the right in the purple and yellow.

Holy sh*t. Is that Liz? She looks awful. It’s like a stuffed animal. She also doesn’t look very mobile, which is surprising since Liz on PBS was practically a person with how much she did. And why does Liz stick around with Fiona? Wouldn’t she go with Ms. Frizzle? Or is she part of the inheritance as well?

A few short sequences, some of which are probably just theme shots:

So assuming these aren’t just theme song shots, we can probably expect an episode about forests, an episode about the jungle, and another about the Arctic. One comment about the bus: it looks like it doesn’t fully transform like it did in PBS. Here it just kind of sprouted wings and a tail. Huh.

Next up:

AHH! Deep sea fishes! Guess the class is headed to the benthic zone for awhile! Maybe these are all from the same episode where they explore biomes?Deep sea fishes! Guess the class is headed to the benthic zone for awhile! Maybe these are all from the same episode where they explore biomes?

We see the bus as a submarine and the kids in what look like personal submarines? Huh. I guess they’re really taking the technology aspect to heart in this reboot. In a PBS episode, we could expect the kids to turn into something for an excursion outside the bus. Is this a reflection on the role that new tech plays in education? These kids are certainly safer in these little bubbles but it’s like watching through a screen. PBS made it feel interactive; the kids literally became part of the environment they were in and had to learn from the perspective of an animal or object. Or was this another design sacrifice?

Fiona geeking out over a shark in a blue wetsuit is adorable.

Surfing on a soundwave (theme song), the bus as a jellyfish (probably from that same benthic episode), swinging through the stars (theme song and it looks like Keesha instead of Ralphie is the swinger this time), the bus shooting down some kind of electrical wire (another computer-themed episode? Or just a new addition to the theme song sequence?), intestines and mars (theme song), the bus as a crab (maybe that benthic episode is more of a whole-ocean exploration?), and the bus spinning out in the forest from the plane shot and it seems that they are planting trees every time they touch the ground. Maybe reforestation?

Now we get everyone in rock-suits standing at what looks like the entrance to a mine shaft. Ralphie (I’m pretty sure) is shouting “let’s do this!”. So at least we know the kids eventually get into the adventures?

Fiona messing around with buttons. It looks like transformation buttons given that we have fish, a dinosaur, a plane, a guitar, a snake, a video game controller (?), and an apple?. Huh. She also says “I wonder what this one does.” So there is an apparent learning curve to the bus and Fiona is thrilled about how she just dropped her class through the floor.

Now she’s in a fish-themed outfit and it looks like she just sent the swimsuit-clad kids (Arnold’s shark hat! LOL) for a swim so my money’s on an episode dedicated to the ocean in its entirety. There was a MSB book about the different layers of the ocean so maybe we’re returning to the source on those. Given that the next shot is the kids exploring the marine sealife with the bus as a submarine in the background, I bet we’re adapting that book.a MSB book about the different layers of the ocean so maybe we’re returning to the source on those. Given that the next shot is the kids exploring the marine sealife with the bus as a submarine in the background, I bet we’re adapting that book.

Also also, the bus interior is so much bigger now! Hah hah, bigger on the inside…

I’m willing to bet this is either in the theme song, or an opening sequence since I don’t see the bus and that person looks too big to be one of the kids. Maybe one of them is daydreaming about space before an adventure?

Damn this ocean episode is everywhere! And the wetsuits have the bus on the front again!

Now something different:

Carlos, Ralphie and Fiona in pre-historic outfits (haha! Look at the leaf standing in for Ralphie’s hat!) as Fiona presses some kind of button and the background changes from forest to…bubbles? I’m guessing its some kind of simulator? So maybe a history-based episode without time travel? Seems pointless but PBS did have an episode where they used a simulator to test out an artifact so…

Rafting the lava river! (again, theme song). But look at all the precious children! And Fiona having a blast. And Arnold looking like he’s about to crap his pants. Something small I noticed: here Fiona’s necklace is what looks like a Celtic knot and her skirt is kind of a generic blue and green with what looks like a lava pattern on it. I really don’t think this will be an actual episode but…that’s something.

What looks like Phoebe making a suicide leap out of the bus and onto a snow-covered mountain (probably the same ep as Carlos and Ralphie in parkas). We also see the kids driving snowflakes (as opposed to PBS where they became the flakes). Huh. Not gonna lie, the design is pretty cool but…why?

A shot recreated from the original theme song!

Fiona tapping Keesha on the nose and turning her into a leaf. Okay, looks promising. Maybe an episode on trees/photosynthesis? The bus looks like it’s made of wood so maybe they become a tree? Also, this is the same episode as Fiona’s first costume change (with the tree skirt and necklace).

Aha! The Smartboard returns! So apparently there will be some classroom learning this time around. Maybe the classroom will be their think-tank for when they need to solve difficult problems? Oddly enough, it looks like DA is combining Carlos with a flower? Huh. And Fiona is wearing what looks like the same skirt from the lava shot…cant imagine how that’s related to photosynthesis though…

Next we have what looks like the end of an episode, with the kids walking on the ceiling of some kind of stage? No wait…the bus is the stage!! :O Fiona and Liz are off to the side there on the left. PBS sometimes ended episodes like this, with the kids showing off what they learned to others and Ms. Frizzle just watching with pride. So they’re keeping that! Cant imagine what the kids are showing off here though. Antigravity? Magnetism?

Next we have what looks like Tim and Phoebe dancing with some kind of cheerleading robot? There are a bunch of other kids here too that are definitely not the Frizzle 8 so a club or another class? Why would they need a robot though…?

The class getting shrunk over the mine tracks from before. Maybe this is the episode with the atomic structures? Like they shrink down to observe how different arrangement of atoms can mean the difference between coal and a diamond? They are wearing the same outfits from that shot…

Bursting out of a pie! (theme song) Now this is an interesting change. I’m willing to bet it’s just part of the theme since it follows the same formula but there is a distinct change. Namely, this is what looks like a businesswoman not a baker. Perhaps one of the kid’s moms? She does faint though…

Fiona and Keesha in the tree episode (and you can see the conifers outside so probably the same as the plane shot episode! They are also moving slightly so maybe they are just sitting in/stuck in a tree?). Fiona sounds really excited about “being on a roll” so she must be delivering on those field trips and figuring out what all the buttons do! Interestingly enough, only her and Keesha are on the bus. Maybe Keesha stayed behind while the others explored?

The kids near what look like some kind of drive-able go-cart atoms? Looks like they are outside the school on some kind of ride. Where the heck was this when I was in school? Keesha is shouting “let’s go again!” so maybe this is the opening to the atomic structure episode? And Fiona is like “psshhh. Those atoms are lame! Let’s go inside a coal mine!”

AND MS. FRIZZLE IS STICKING AROUND?! AS PROFESSOR FRIZZLE?! HOLY CRAP SHE GOT A PROMOTION!!! And it sounds like she’s either going to be chasing her own B-plots or they’re just giving closure to the end of her tenure as a teacher. Unless they plan to make each episode of RA 30-40 minutes (as opposed to PBS’ steady 23) there probably wont be time to have a B-plot every episode. But this is Netflix, which is not constrained by traditional broadcast limits so they may do just that…A few design notices: she now has a monkey companion named Goldie, and her motorbike appears to have eyes…hmmm.

Summary:

So from this trailer alone, I think we can generously say we saw roughly 11 episodes:

Ocean exploration

Trees/photosynthesis

Robot (from the cheerleading shot, unless this is unrelated)

Space (if not part of the theme song)

Ceiling-walking (again, no idea what this would be for…)

Atoms/Mine shaft

History exploration (the animal skin outfits)

Arctic/snowflakes

Jungle (may be the same as the trees ep)

Computers (may just be part of theme song)

Pie episode (if not just from the opening sequence)

These possible episodes seem diverse and promising. PBS explored some of these topics but not others. The ocean episode is pulled from one of the books so it looks like they may go back to some of the source material. The tree episode looks completely new: PBS did a photosynthesis episode but this seems less like just photosynthesis and more like tree and/or forest ecology. PBS had a mildly disappointing episode on molecules but never ventured into atomic structure so that should be a fun new topic to explore. I thought I read somewhere that there would be an episode on the internet and we did have a shot of them inside some electrical wires so that’s something to look forward to. I’m also really curious about that episode with the animal-skin outfits. What the heck is that one going to be about? If they do end up remaking several of the PBS episodes like the baking episode or the Arctic episode, I wouldn’t mind too much. The space episodes I’m a little more touchy about but those were always fun. Plus, there’s a lot we need to update about space since those episodes aired in the 90’s.

From this breakdown, we can see that some effort was put into redesigning the kids while still keeping them the same characters from PBS. Whether or not they have any actual character, we’ll need to wait for the episodes. From what little they got to say in the trailer, it does seem like they’ll have that same zest but trepidation for adventure that they had on PBS. Much of the action appears to be happening to them so they’ll be the focus of the show, not Fiona (despite the focus the trailer put on her). Kate McKinnon effortlessly captures both the spirit of Ms. Frizzle and channels her natural charm into someone familiar but new. Again though, this is a heavily edited trailer so we’ll need an actual episode to see how she performs. Knowing Kate though, she’ll bring her A-game.

Lots of people have complained about the animation but honestly, the more I watch it, the less upset I am by it. It’s still flowing and engaging and while some backgrounds are dull, the other characters in shots seem engaged and full of personality just like on PBS. And while the bus transformations may get gimmicky, the PBS bus full on stretched and warped and turned into ridiculous things all the time so this aint too far off. One thing I am concerned about is the action of establishing shots and background shots. Something like the benthic shot seems too still, like it’s a single picture instead of a frame of animation. But then there’s the brief shot of the kids interacting with marine life and that seems pretty active. Again, hard to tell from quick clips.

Things not seen:

Janet. I saw no indication that Arnold’s know-it-all cousin from PBS will be making an appearance. She was kind of an honorary Frizzle kid in PBS even when she was acting as the antagonist so I cant imagine she’s not in the reboot somehow. The alternative would be if the show-runners decided to cut her in favor of expanding the other kids at the school or another of the main 8’s families. Janet is from the books though so would they really cut her?

Mikey. Another “honorary Frizzle kid”, Carlos’ engineering-inclined, wheelchair-bound little brother who was always super enthusiastic about helping them out and really quite okay with the strange shit that happened in his brother’s class. I imagine animating him would be easier with digital but he was kind of a minor character, even compared to Janet (2 episodes to her 8). He may have been cut to streamline the cast or (knowing Netflix) he’s being saved for season 2 (once they know if it’s a hit).

Other adults. Apart from the lady eating the pie, we don’t really see any characters outside the class and Fiona. There are the other kids dancing with Tim and Phoebe but it seems we may be looking at a small cast. PBS eventually featured several of the kid’s parents, other teachers, other students and friends of Ms. Frizzle on episodes which added nicely to establishing the lives and personalities of both Ms. Frizzle and the 8.

But in spite of all this, I am excited for this. I really want to see how the science evolves 20 years later and analyze the crap out of the differences in how the field trips are run and taught in this day and age compared to the ‘90s. I want to get to know these kids again and see the world through their eyes. I want to get to know this new “Ms. Frizzle” and see how she takes care of her class.

I hope this breakdown was helpful (it ended up being way longer than I thought it would be…) and gets you excited for The Magic School Bus Rides Again!

#the magic school bus rides again #Magic School Bus #trailer breakdown #screencaps #ms frizzle #Fiona frizzle #lily tomlin #kate mckinnon #episode speculation #will it be good?#hype

6 notes · View notes

womenofcolor15 · 5 years

Text

Kanye & Kim, Winnie Harlow, Luka Sabbat & Kourtney Kardashian Get LIT On The LA Scene + Deets On Ye's 'Star Wars'-esque Low-Income Housing

Kanye West, the Kardashians, Winnie Harlow, and Luka Sabbat hit the LA scene to turn up. Peep their candids, plus deets on Ye's Star Wars-esque low-income housing (or possibly homeless shelters) inside...

Issa party, aye!

After welcoming their son Psalm West two-months ago, Kanye West his wife Kim Kardashian West stepped out on the LA scene for some fun.

The couple got dressed down in all black everything to party it up with model Winnie Harlow, "Grown-ish" actor Luka Sabbat, and Kim's sister Kourtney Kardashian at celeb hotspot Craig's restaurant. The gang was all there to celebrate heir friend Kristen Noel Crawley‘s birthday last night.

We see the Victoria's Secret model has joined the Kardashian-friend fold. Watch out girl...

We're still not really sure what's up between Luka, 21, and Kourtney, 40. They were once rumored to be in a relationship and supposedly broke up a few months later. Either way, it's obvious they still enjoy each other's "company".

In other news....

Ye is reportedly building up some low-income housing that will be inspired by Star Wars' Luke Skywalker's childhood home.

Kanye West is working on building Star Wars inspired low-income homes pic.twitter.com/Y8nwjY89gO

— HIP HOP UPDATES (@RapAccess) July 10, 2019

“Inspired by Luke Skywalker’s childhood home, West has been working with a team to design prefabricated structures that sport the same austere aesthetic, with the goal of deploying them as low-income housing units,” Forbes’ Zach O’Malley Greenburg explains in a new profile of the 42-year-old rapper for the upcoming Aug. 31 issue of its magazine.

The "I Love It" rapper drove Greenburg in his Lamborghini to see the structures in person. Greenburg describes the prototypes as being “a trio of structures that look like the skeletons of wooden spaceships."

West wants the building to become affordable housing, potentially for the homeless. Interesting.

View this post on Instagram

Kanye’s Second Coming: Inside The Billion-Dollar Yeezy Empire... in bio for our #Celeb100 cover story. ( : @jameltoppinphoto)

A post shared by Forbes (@forbes) on Jul 9, 2019 at 5:13am PDT

View this post on Instagram

Kanye West has one of the biggest hits of the decade—and it has nothing to do with music. His Yeezy sneaker empire is the best bet in a generation to topple Air Jordan.

A post shared by Forbes (@forbes) on Jul 9, 2019 at 3:01pm PDT

BONUS:

View this post on Instagram

I meannnnn my baby Psalm is so sweet!!!

A post shared by Kim Kardashian West (@kimkardashian) on Jul 10, 2019 at 2:01pm PDT

Kanye's wife shared a new photo of 2-month-old Psalm West on her Instagram recently. “I meannnnn my baby Psalm is so sweet!!!,” she captioned.

A source close to the family recently told PEOPLE that Psalm’s name is a “good reflection” of where his parents are spiritually.

“Kanye has been going through a spiritual revival lately. Every name has a meaning that is personal between Kanye and Kim and the child,” the source said, adding that the rapper “reads the Psalms a lot. He talks about the Psalms he loves. So on that level, the baby name isn’t a surprise.”

Oh.

Photos: Backgrid/MEGA

[Read More ...] source http://theybf.com/2019/07/11/kanye-kim-winnie-harlow-luka-sabbat-kourtney-kardashian-get-lit-on-the-la-scene-deets-on-

0 notes

ineffablecatblog · 7 years

Text

Myself and I: weight and shape.

WARNING: I’m gonna talk about eating disorders and mental health issues, so if you know you’re gonna be easily triggered by that, please consider not reading my post. Also, if you’re in trouble, please get help. <3

(Also, sorry for the shit photo quality. Ok thx bye <3)

Ahhh... the everlasting issue that rules a big part world: looks.

Before I start preaching, I’m gonna tell you my journey so far.

It probably started with other people. Models. Girls that open Victoria’s Secret Shows with their glorious wings spread from their back. Elegant, sexy, cute. On the cover of fashion magazines, in bikinis, with their perfect long hair flowing in the wind of the waves. Naturally sexy beautiful. Isn’t this, what a girl dreams of?

At least this was what I dreamt of since I looked in the mirror at age 12 and said to myself: You are too fat. I had been a healthy, normal child until I got to 5th grade and my mental health (that was crumbling apart from multiple events in my life coming together) took effect on my body, making me gain weight. I wanted to be skinnier, “more beautiful”, more “elegant”. I wanted the “perfect body” so people would like me (not that they didn’t, but I had no idea that I was so mentally ill). My best friend in 6th grade was skinny, and no matter what she ate, she did not gain a single little gram ever. Little did I know that she was insecure about that, I just saw how funny and beautiful and skinny she was and how the boys and our friends liked her. I heard people talk about how they needed to lose weight, even if they were in a normal, healthy shape. So, if they needed to lose five pounds, I needed to lose ten.

It got worse and worse for a few years. 2013 was probably the worst year of my life. Age 15, it wasn’t just about losing my baby belly rolls and a pound here and there. I stood in front of my mirror, looked at myself, and then I looked at pictures on Instagram and tumblr. Of people with thigh gaps, and small arms, and their ribs sticking out. And I was determined to disappear. My goal wasn’t to just be skinny, I didn’t want people to ask me if I had lost weight, I wanted people to be concerned for my health because I wanted to be a skeleton - underweight. Can we just hold on for a second and acknowledge how sick that is? I starved myself, I threw up, binged on unhealthy food and cried. I was depressed, which also came with other effects. That was my life for a long, long while. At least two years I also spent every day at the gym. I. Needed. To. Be. Skinny.

People in my life left and came, and I met a boy that was anorexic by the end of 2013, or maybe even at the beginning of 2014. I’m not going into detail about him, but he’s an important part of my story. Him and I, we had nothing in life. We hated our own bodies as much as we clung on to each other. We kept each other from killing ourselves, as far as we could, and it luckily somewhat worked out, as you can tell by me writing this post right now. If it wasn’t for him, it’s safe to say that I would been dead for a long time right now. If you ever happen to read this, you know who you are and you know that I love you so much and I��m so proud of you. He recovered pretty well, but it took a long time. And so did I. At least that’s what I thought.

Time passed, and I kinda got “better”. I didn’t want to starve myself as much anymore, started therapy for multiple reasons (mainly my bpd and the behaviour that came with it) at the beginning of 2015 and found a way of thinking more and more towards accepting myself.

I then looked at people on Instagram with big butts, big thighs, big hips, and I thought “If they’re not skinny and still look this good, I don’t need to be skinny. I wanna look like that, not like a stick!” And I thought that this meant I had defeated my eating disorder, because I didn’t want to be skinny anymore. Obviously, I was wrong. I was still not happy with my body, I just had different but also unrealistic standards for myself. My bones just aren’t structured to give me a big, juicy booty with strong thighs, a curvy middle with a teeny tiny waist. I just couldn’t see that the model industry had changed and that this was still something everyone else was telling me. I thought I wanted to look like that for myself.

I just wanna quickly interrupt and talk about Kylie Jenner for a second, because that is exactly what that girl did. She was stick skinny, got surgery and suddenly had an a$$, tits and curves that were never there before. I see and realize that now, but I wouldn’t have two years ago. This girl just decided to not go through puberty, not accept herself and not move on. And this is an A+ example of why young girls have to go through the sh!t I have gone through and still am going through. She is the unrealistic, abnormal image of what I wanted to look like at age 17.

I have mixed feelings about the “selflove” campaign that has been going strong since about two years ago now. People have started promoting acceptance from yourself towards your own body. And they’re telling you to LOVE YOURSELF, and to SHOW YOUR CURVES!

I’m gonna show you a couple of pictures, since that is what influences people on the internet the most. We like visuals, and that’s okay.

As you can see, I’m not stick thin. I still have fat on my body, but I’m not overweight. I am confident, because I show my body on the internet like that, right? I love myself, otherwise I wouldn’t be showing off my figure, right? Selflove2kblablabla, right?

While this seems so real, it’s still so full of lies.

What you don’t see is that I needed about 20 attempts to take these pictures. 1) because my hands were shaky - because I hadn’t eaten more than two muffins and a slice of toast (unintentionally!!!) 2) because I needed to find good angles, lighting and poses 3) because I kept repositioning my sweats so they would compliment my body. What you don’t see is that I am heating up the oven to make myself some dinner full of carbohydrates. What you don’t see is that I also literally dug into food right after I took these.

I’m now gonna post something that I have probably never really posted online before, so this is in fact a very big deal for me.

Relaxed. I have literally the worst posture on the planet, I have hip rolls and belly rolls and I have rolls on my back. BUT ALL PEOPLE HAVE ROLLS, ESPECIALLY WHEN THEY SIT DOWN.

It is complete and utter bullshit if you think differently.

My point here isn’t that you should look like me or act about it like me. I’m not here to say “hey, look how skinny I am” or “hey, look how curvy I am” or “hey, look how many flaws I have”. I’m not here to be fricking all-loving Jesus about every shape and form that the human body can have, because there ARE unhealthy bodies that are underweight or overweight and that do in fact need to be taken care of. I don’t even surely know if I even have a point here at all. I have also already realized that my fingers can’t keep up with my train of thoughts, and a lot of things are unfinished here and might not really make sense to you. But have you ever met someone with the nicest smile and the cutest laugh and the warmest heart and thought: “Damn, they really need to take care of their weight, phu!” Because you very well know that if the character is golden, it doesn’t matter which case holds it. You know very well that you don’t care what someone looks like as long as they treat you well (unless you’re a f#cking tw#t). So, if you don’t look at someone and judge them by their body shape, why would anyone that is in their right mind do that to you?

I know that this doesn’t mean much to somebody who struggles. I know that I still need to remind myself of this (at least!!!!) five times a day because I still struggle.

Maybe I’ll always struggle. I just today said “I want to lose weight” and that’s because I know I will have better chances at learning figure skating (on ice) if I am stronger, a bit fitter and more flexible, which means I’ll have to train and work out.

But do you spot the difference here? This is about achieving a healthy, non-look-related goal for myself. If I had to gain weight to be better at this sport, I’d do it. This is not about wanting to be skinny, this is about wanting to improve skills. I might not even have to lose the few pounds, but it’ll probably come naturally once I actually start training and eating healthier.

I don’t know what I’m saying, neither do I know if you got something out of this post at all, and I’m sorry that this is still so “pure” and unstructured, I haven’t figured out how to properly structure and theme and plan a blog post yet, but I want to share words about my issues with social media and weight, and what better place to start than from within?

Please let me know what you think! Feel free to anonymously leave me a message or reply to this post! <3

#2 #myself and i #weight #tw eating disorder #trigger warning #tw depression #tw borderline #tw body horror #tw body image

9 notes · View notes

healthandfitnessrecipes-blog · 6 years

Text

What You Need to Know About Your Fascia

https://healthandfitnessrecipes.com/?p=10003

By Dr. Mercola

The 2018 DW Documentary, “The Mysterious World Beneath the Skin,” delves into the workings and functions of your fascia, the fibrous connective tissue found throughout your body. Remarkably, this thin layer of tissue accounts for about 20 percent of your body mass.

As explained by Dr. Jerry Tennant in his book, “Healing Is Voltage: The Handbook,” your muscles are stacked one on top of the other in a specific order (much like batteries in a flashlight) to form a power pack. Each organ has its own battery pack, which is a stack of muscle batteries.

These muscle batteries are in turn surrounded by fascia, which acts as a semiconductor — an arranged metabolic molecule designed to move electrons at the speed of light, but only in one direction.

Together, the muscle stack and the surrounding fascia serve as the wiring system for your body, carrying the voltage from the muscle battery inside, out, through the fascia and to the appropriate organ. In addition to moving electricity, fascia also acts as a hydraulic pump, and is responsible for moving fluid around your body.

As noted by Dr. Dana Cohen, a doctor of internal medicine and author of “Quench: Beat Fatigue, Drop Weight, and Heal Your Body Through the New Science of Optimum Hydration,” a book about optimizing hydration, your fascia is actually a movement system for water in your body. To activate this system — and optimize cellular hydration — you have to engage in physical movement.

Pain Transfers Through Fascia

Fascia has long been overlooked, but its functions are now starting to be investigated at greater depth. According to the featured film, fascia may actually play a significant role in pain, especially back pain. The reason for this is because the fascia is one interconnected system, and when it loses its suppleness, pain can transfer from one region to another.

In other words, when you experience pain in an area, the actual cause and origin of that pain often stems from a completely different area. For example, Thomas Myers,1 an expert on fascia and coauthor of “Fascial Release for Structural Balance,” says he gets the best, long-term results in patients presenting with plantar fasciitis when treating the fascia in the lower leg, hamstrings or even the base of the neck.

According to Myers, the low back is a weak spot for most people, but the fact that it hurts there doesn’t mean a back problem is causing the pain. The pain may be sourced in the arches of your feet, knees, hips or shoulders, for example. Jan Wilke, Ph.D., is conducting sports medicine experiments in an effort to verify the anatomical chains proposed by Meyers and others.

His findings confirm that, for example, when moving the foot, the fascia in the lower thigh does glide back and forth, and by stretching the leg, mobility in the upper cervical spine of the neck increases. These findings suggest there is in fact a “force transmission across the fascia connections.” Wilke also suspects force is transmitted not only vertically throughout the body, but also horizontally, which is what Myers contends.

Living Fascia

The film also features Dr. Jean-Claude Guimberteau, a French hand surgeon, who singlehandedly has changed how medical professionals view fascia. While fascia has previously only been investigated using cadavers, Guimberteau wanted to understand its workings better in order to improve his own surgical techniques.

He came up with the ingenious idea to insert an electron microscope camera under the skin of a live patient. Footage is included in the film, but you can also see the water movement in action in the short video above. “It seems totally chaotic, but it isn’t,” Guimberteau says, adding the fascia is “a perfectly efficient system,” and one that makes life possible.

As noted in the film, “fascia exists everywhere in the body, in many shapes and consistencies.” Surface fascia is located directly beneath your skin, whereas deep fascia surrounds your muscles and organs, including your brain. Dr. Carla Stecco, who is also featured in the film, has made great contributions to our understanding of fascia by producing the first atlas of the human fascial system.2

This is the first time in human medical history that the entire fascial system of the human body has been systematically documented. Research by Robert Schleip, Ph.D., reveals fascia is made up of fibroblasts — cells that produce collagen and other fibers — held together by a surrounding matrix. Essentially, the fascia is primarily built out of collagen.

Physical Movement Is Essential for Healthy Fascia

Collagen is what allows your body to close a wound and is an important part of your body’s healing system. However, too much collagen can cause problems, and excessive collagen growth is a result of inactivity. One test showed that after keeping a broken arm in a sling for three weeks, the connective tissue had already begun to overgrow.

What Schleip’s research shows is that exercise is extremely important to maintain healthy fascia function — a finding that prompted Schleip himself to start doing daily jump rope exercises. Without adequate physical movement and exercise, the connective tissue structures start to overgrow, losing flexibility and suppleness. As mentioned earlier, cellular hydration is also impeded.

Overly tight fascia can even compress nerves and muscles, resulting in pain, either at the site or elsewhere in your body, via force transmission. The fascia is arranged in two layers, and when you move, those layers slide back and forth across each other. Healthy fascia has the ability to shift or slide about 75 percent of its total length.

This sliding ability, it turns out, plays an enormous role in back pain specifically. When comparing the fascia in people with and without back pain, fascia researcher Dr. Helene Langevin3 discovered that the main difference between the two is the ability of the fascia in their back to slide across each other with ease. Whereas healthy fascia can move about 75 percent of its length, in people with back pain, this movement is reduced to about 50 percent.

Like Schleip, Langevin believes excess collagen production is responsible for this reduction in the fascia layers’ ability to slide. Animal experiments demonstrate that exercise can counteract this overproduction, further confirming Schleip’s findings.

Healthy Fascia Is Important for Inflammation Control, Wound Healing and Pain Relief

Langevin also found that inflammation is decreased and wound healing is sped up through movement, such as gentle stretching. Why is that? Langevin found that when you stretch, the fibroblasts expand by up to 200 percent. The expansion of the cell causes it to transmit chemical signals ordering the muscle to relax. Langevin explains:

“What we found is that the stiffness of the connective tissue is actively regulated, minute by minute, by the fibroblasts. So, this is a dynamic, active cellular regulation of connective tissue tension. That could be important, because what we’re finding is that when you do acupuncture for example on the tissue, fibroblasts actually respond and expand and that helps the tissue relax. The same thing [occurs] with stretching.”

Another fascinating fact about fascia: It responds and contracts — completely independently of the muscles, nerves and organs it surrounds — to chemical messengers. Even more interesting, Schleip has discovered fascia responds not only to chemical messengers of inflammation but also to chemicals associated with emotional stress.

“It was a breakthrough for us to learn that the fascia also reacts to that, very, very slowly and sustainably,” Schleip says. This is more scientific proof supporting the idea that emotional stress can cause physical tension and pain. Last year, I wrote about the late Dr. John Sarno, who exclusively used mind-body techniques to treat patients with severe back pain.

He believed you unconsciously cause your own pain, and that pain is your brain’s response to unaddressed stress, anger or fear. The fact that fascia responds to your emotional state (via the chemicals produced by these states), helps explain why Sarno had such a remarkable success rate.

The culprit in question is a signaling molecule known as TGF, the release of which is triggered by stress. “If I’m tensed up for weeks, even in my sleep, it’s mainly the red muscle fibers that are tense. [But] they relax fairly quickly. It’s the white fascia tissue, the sheath around the muscle … that [gets] hard,” Schleip says.

Fascia Tensegrity

The fascial system is now thought of as a tensegrity system. Tensegrity is a combination of the words “tension” and “integrity,” and tensegrity modeling helps us understand how the fascia works as a complete system to hold your body together.

The conventional view of the skeleton as a more or less rigid structure of connected bones is extremely misleading. As explained by Myer, your skeletal bones actually float freely, completely separated from each other. What holds the bones together is the connective tissue system. Were you to magically remove all the connective tissue in your body, your bone structure would collapse in a heap on the floor.

Similarly, the conventional view of the spine is that it’s a rigid “pole” of stacked vertebrae with cushioning discs in between. The tensegrity counter model, demonstrated by Schleip, reveals a very different picture of the spine. The vertebrae do not actually rest on or press down on each other.

Rather they too are free floating, held together by the tension of the connective tissue. As long as the fascia maintains the proper amount of tension on each vertebra, your spine will remain erect and pain free — even if you have disc degeneration.

The Importance of Water

As mentioned in the beginning, fascia also plays a crucial role in the movement of water. In fact, the connective tissue is made up of about 70 percent water, and physical movement helps keep this water moving. Hyaluronic acid acts as a lubricant for your connective tissue. As explained in the film, the hyaluronic acid forms a “sponge-like network that binds large quantities of water.”

As a result, the less hyaluronic acid you have, the less mobile you are, as your fascia will be drier, less supple and less able to slide properly. Here again, movement has been shown to be a crucial component. Low water content in the fascia makes it brittle and less elastic. Experiments reveal manual fascia manipulation techniques such as Rolfing help increase water reserves and suppleness of the fascia.

The force of the pressure appears to be key. When sufficient pressure was exerted on the fascia, it would actually fill up with more water once the pressure was released than it had before the pressure was applied. In other words, Rolfing helps press the old water out of the connective tissue, encouraging it to refill with fresh reserves.

If done hard enough, several times, the connective tissue ends up moister than it was before. The reason for this appears to be that hyaluronic acid flushes in along with the water, thereby improving the tissue’s ability to hold water. Massage, if done deeply and slowly enough, will also help. However, the most effective strategy is active movement.

The Importance of Exercise Recovery

With regular exercise, the fibroblasts increase their ability to produce fresh collagen. You can actually improve the quality of your fascia in as little as three days of active movement. However, severely agglutinated fascia — connective tissue that is firmly stuck together due to excess collagen production, caused by inactivity — can take up to one year to completely regenerate.

As you exercise, small tears in the fascia will occur, just as micro tears in your muscle occur during strength training. To allow the fascia to regenerate and heal, you’ll want to recuperate for two to three days after vigorous exercise. Schleip recommends “alternating high doses of tensile stress with a two- to three-day break.”

Is Fascia Pain Sensitive?

Dr. Siegfried Mense,4 professor of anatomy at the University of Heidelberg, is studying whether fascia itself is sensitive to pain, which would necessitate it to contain some sort of nerve fibers or nerve endings. Indeed, Mense discovered back fascia contains rather dense clusters of nerve fibers.

In other words, the fascia does have pain receptors, and this too may help explain otherwise inexplicable back pain. The question is, how can you determine whether the pain originates in the fascia or in the muscle? This can be quite difficult. That said, tests reveal that the pain response of the fascia is greater than that of the muscle itself.

As noted in the film, the fascia is really a “key organ of sensory perception,” and since stress has a direct impact on this connective tissue, that means your central nervous system is also a key component. Your sympathetic nervous system connects your brain to virtually every organ in your body. When triggered, your sympathetic nervous system responds with “fight or flight.”

A hypothesis brought forth by Mense is that the sympathetic nervous system may influence fascia via sympathetic nerve fibers embedded in the connective tissue. When those fibers are irritated through stress, chemicals are released that cause blood vessels to contract, thereby causing reduced blood flow and pain. He believes this may explain why many experience worsening back pain when they’re stressed.

Take Care of Your Fascia for Optimal Health

As you can see, your fascia is a vastly underestimated component of your body. The good news is it’s fairly simple to optimize the function and health of your connective tissue. All you need to do is to move your body more. Walk more. Exercise more. Stretch. There are many reasons to get more movement into your day, and now you can add caring for your fascia to that list. Doing so may help address any number of different aches and pains, especially back pain.

Source link

0 notes

jakehglover · 6 years

Text

What You Need to Know About Your Fascia

youtube

By Dr. Mercola

These muscle batteries are in turn surrounded by fascia, which acts as a semiconductor — an arranged metabolic molecule designed to move electrons at the speed of light, but only in one direction.

Pain Transfers Through Fascia

Living Fascia