#subfixes

[n2la9gmhw]

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[astranauticus]

i think these two should interact

[444names]

Names generated from words that have the letter "X" in them

Abyte Adiae Adminexurt Adnes Adnex Adnexer Affixe Affixon Alkox Anoxids Aposes Aprox Aptes Asedly Asexeses Ataxbijoux Ateds Atexte Auxedboxie Auxes Axablex Axemernes Axers Axies Axiest Axilexy Aximax Aximumes Axioux Axists Axlierts Axogends Axony Axureed Axylexas Axylis...

Banne Beanters Bectert Bethoapt Bexer Bexten Bifedoi Bijous Billed Bilynx Bortrixim Boxba Boxban Boxid Boxidaxinx Boxide Boxinxess Braxempled Broxlexed Buximene Calexpelle Carapt Ceroxier Citexer Clixotic Coadataxy Coadexure Coadmixes Coaxart Coaxen Coaxess Coaxne Combaters Comple Cotelix Coxial Coxin Crexems Deixend Deixess Deless Delix Deoxcused Detellbox Detwis Dewaxlike Dexer Dexolics Dexpose Dexseed Dextexed Dieux Dioutjings Dioxis Dioxosming Dize Doxblexces Eposexple Epoxilexyl Exablex Exadax Exadixed Exala Exalboxhum Exallaxon Examenix Excalten Exces Excid Excidistes Excist Excit Excitex Excitox Exclix Excodoxy Excrux Excults Exels Exenix Exest Exhoximost Exias Exidanx Exidiphing Exids Exies Exietaxmax Exillos Exins Exinxine Exinxixer Exises Exisex Exitears Exitoxyist Exole Exonexcela Exonses Exont Exordie Exork Exorts Exosax Expanx Exper Expergue Expixe Explex Exposax Expuns Expus Exsex Exsexes Extaxes Extaxid Extaxing Extes Extex Extexes Extons Extox Exturt Exturts Extuxes Exuplexing Exurbaxied Exures Exurt Exusexy Exygen Farch Faxale Faxics Faxid Faxinx Faxists Feest Firel Firexpoxy Fixedoxed Fixen Fixent Fixies Fixmaxited Flatring Flaxiders Fleed Flexpox Flextualgy Fluxial Fowlpir Foxarple Foxia Foxyla Foxylips Gamyxemid Goxbaul Hanne Heauxer Heaxer Henia Hexach Hexate Hexcus Hexpex Hexpexsext Hexter Hextex Hexurearal Horax Horaxides Horexpords Humers Hydra Hydrox Hypox Imene Incteroxas Inctlynx Inems Inexte Infis Inxioxane Ixinxes Ixyst Jeutjing Jeuxos Jukeboxfox Klexcis Lefaxlixes Lexin Lexity Lexpaxers Lexte Lexup Lexus Lumixted Lurtedups Luxalgy Luxids Lylix Lyxed Maings Manonyxies Masernsex Mates Maxlike Maxlix Maxoll Maxons Mixae Mixils Mixon Mixtaxing Mixtills Mixtroxits Muremes Myxenony Myxial Nicarwax Nings Noxia Noxtole Outboxing Outjing Ovoxa Oxcid Oxers Oxfows Oxidit Oxind Oxing Oxings Oxinoxeyes Oxise Oxitox Oxser Oxsexprox Oxterux Oxyact Oxyst Pantaxer Pexivia Pexthibeed Pillax Pixons Pixtenly Pixy Plexic Ploides Polexors Pollux Poloi Posexul Posix Poted Poxhapends Poxted Poxy Preboxims Prexcal Proaxones Prosextria Proxarts Proxes Proxing Pyraxmen Pyres Pyrewaxil Pyricers Pyrixtrixt Pyxed Pyxinfixes Pyxots Radidex Reboxi Refixeme Refixos Remixergue Rempt Retaxurbs Retold Retos Rexide Rexis Rexiten Rexthily Rexts Rexyloix Roxial Salaxinxic Salxe Santhotier Saxpects Search Serlate Sexams Sexedranes Sexil Sexin Sexioxazin Sexpecs Sexuretoi Sillylex Simall Simonyms Sixec Sixed Skoxy Skyloxies Soade Somaxale Speximax Sphiblext Sttaxudel Subalt Subfixes Subfixt Subia Subter Synxesix Taidas Taxablexas Taxactaxed Taxemin Taxen Taxenes Taxia Taxic Taxid Taxie Taxiergue Taxiero Taxind Taxistis Taxyle Tedux Teroaxes Testosix Thamy Tolls Tords Toxed Toxinfixes Toxtax Trixuvia Turbias Twisex Twixonyx Unaxids Unaxingen Unbols Unboxing Unfirex Unflexapte Unflexes Unmicoaxes Unmixapox Unthin Unvexuvia Urboxy Uretans Uxeruxes Varavexer Varyxits Verosed Vexhands Vexinchs Vexinx Vexonoxfix Vexsextex Vexte Vialts Voraxy Voximerm Waxecs Waxelies Waxeme Waxias Waxie Waxiereme Waximox Waxires Waxited Waxly Waxols Waxysty Woaxweed Woaxwools Woodion Woombyx Woraxot Xable Xadixieux Xalaxers Xaranexess Xempt Xempts Xenly Xeringen Xeroxitre Xygenox Xylaxams Xylexpexes Xytox Zaxier

[graywyvern]

( "summoned" via / me )

Colorful pulsations.

"To know something worth knowing, is to make oneself an Enemy of the State." --sayings of Asmodeus

Animated Lomokino.

"aphid rain"

subfix interval something that looks like a plan from a distance

children huddled in their shelter find a game to play with the shadow

Maybe It's Time to Stop and Change Your Perspective.

"AUTUMNITY is autumnness, or an autumnal quality or appearance. Figuratively, it can be used to mean a person’s later life, or the period when they realise they are no longer young." --@HaggardHawks

Evolving sketch.

[centuryloading838]

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[prestashopaddons]

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[latebuthere]

Walkers of the Lonely Path - Update!

There was some sinking feeling in the back of her mind: did this count as desecrating a corpse? They had just died, and here Varen was stealing what could have been their most prized possession, the only thing they called theirs, from their cold, lifeless hands. No one had lifted a prayer for their soul, or did whatever Shemlen do to guide their dead to the Beyond. She didn’t even have a name for them.

By the time she’d ripped the staff free with a high pitched grunt, Varen’s barrier had fallen and the demon had clawed at her arm tearing the fabric away and revealing the chain-mail beneath it. She was sobbing as she cast her spell; ugly tears, as the demon sailed away from her across the ice and disappeared back to the nothing from whence it came.

Cassandra stalked forward, taken aback by the elf’s silent weeping but nevertheless worried that her prisoner and possible murderer of the entire conclave now had a weapon.“Drop your weapon,” Cassandra commanded, feeling a little like an overbearing mother yelling at a sobbing infant. Seemed like overkill.

Varen put on her bravest face, which gave her some comfort but to the outside eye just looked like one shuddering breath and soft sniffle. It was not intimidating at all. “You know I don’t need a staff to be dangerous,” she hiccuped.

 A new chapter has been updated! And some additional art posted alongside some of the chapters. Check them out in the chapter selection; look for the subfix “A.”

Found on AO3, link to follow in reblog.

[tlatollotl]

Building sites in Hong Kong often show a collision between tradition and modernity: bamboo scaffolds, some thirty stories high, envelop skyscrapers under construction (Figure 1; Waters 1998; also Sky-high scaffolds; Bamboo spider-men). The virtues of the material are that it is “primitive without being old-fashioned, time-saving without being insecure, and economical without being impracticable” (Waters 1998:20). Less eloquent explanations are that, unlike scaffolds of metal, bamboo can be stored in the open without risk of theft; the material is also inexpensive, sustainable, flexible, reusable (up to three times, depending on conditions of storage), quickly erected, and cantilevered with relative ease over empty spaces (Waters 1998:26, 30).

Figure 1. Bamboo scaffolding, Causeway Bay neighborhood, Hong Kong (Photograph by Claire Gribbin, Creative Commons License).

Bamboo tends to be seen as quintessentially oriental. Its tender shoots, processed to remove toxins (cyanogenic glycosides, also in cassava), find their way into many dishes, and an entire sub-genre of Chinese painting, the “Four Gentlemen” or “Noble Ones,” focuses on its depiction along with peers like the plum blossom, chrysanthemum, and orchid (bamboo embodies the summer, the others, respectively, winter, autumn, spring; see also Cahill 1997:187–192; see also Bickford 1999:147, on literary and visual traditions of bamboo and other plants; Hsü 1996:25, on links to gentlemanly virtue). The experience of a bamboo forest, as Houston has experienced it on the outskirts of Kyoto, figures among the “100 Soundscapes of Japan” under protection by the Japanese Ministry of the Environment (Torigoe 1999).

But bamboo occurs more widely than that, and with consequences for understanding the ancient Maya. According to one source, “New World bamboos account for approximately half of the total generic and specific bamboo diversity” (Clark 1990:126; for Guatemala, see McClure 1973:88, 105, 106). An ethnobotany of the Tzotzil in Zinacantán, Chiapas, accords a page to them, and gives the plants a full array of local terms: bix (the generic category, “all bamboos, reeds or sprawling, reed-like plants,” Breedlove and Laughlin 2000:150), muk’ta ne kotom, yaxal otot, antzil bix, ton bix, chanib, and k’ox ne kotom (Figure 2; re: muk’ta ne kotom, “large coati tail,” there is a ko-to-ma on La Rejolla Stela 1:I9 [files at the Corpus of Maya Hieroglyphic Inscriptions, Peabody Museum, Harvard University], but the context is unclear; note, too, that the term “bamboo,” evidently of Malay origin, did not enter European languages until the 1590s or later, etymology). Some grow to over 20 m long, within “ravines in the understory of tropical deciduous forests in the lower temperate and lowland areas” (Breedlove and Laughlin 2000:150). Others are cut by men but brought home to women for use in looms, or do service as banner poles or the staffs of shamans (Breedlove and Laughlin 2000:150). A vigorous shake of a staff will protect the shaman from watchdogs. Many native species are known in Guatemala (bamboo in Guatemala). Today, in the Peten, the northernmost province, workers on archaeological projects used saplings or bamboo in equal measure, depending on proximity (Andrew Scherer, personal communication, 2017).

Figure 2. Bamboos among the Tzotzil Maya (Breedlove and Laughlin 2000:plate 10).

While charged with working on the stuccoes of the Diablo pyramid at El Zotz, Guatemala, one of us (Taube) noted the presence of scaffold images with unusual attributes (Taube and Houston 2015:219–221). Criss-crossed poles had cross-wise stripes (a sign of darkness or even the color red? [see Stone and Zender 2011:124–125]), symmetrical volutes at what appeared to be natural joins in the material, and signs of lashing to keep the frame solid (Figure 3A). It soon became clear that the sign appeared on a variety of so-called “accession scaffolds” ranging in date from the San Bartolo murals of c. 100 BC to stelae at Piedras Negras, Guatemala, of Late Classic date (Figure 3C; Taube and Houston 2015:fig. 5.12). Other such trussed scaffolds exist, as on Stelae 1 and 2 at Cancuen, Guatemala, but there with what appear to be ta/TAJ signs for “pine,” also a lightweight material (Maler 1908:plates 12.2, 13.1; Figure 3B). For the first set of images, Taube conjectured that the vegetal material was none other than bamboo, in which small tufts shoot directly out of the surface (the culm internodes), often at joins (Figure 4).

Figure 3. Bamboo in Maya imagery: (A) Diablo Structure F8-1 Sub IB, with cross-bands indicated (image by CAST); (B) Cancuen Stela 1, east side, with queen, pine struts cued (Maler 1908:plate 13.1); and (C) Piedras Negras Stela 11, base (drawing by David Stuart).

Figure 4. Bamboo: (A) trunk with tufts at natural breaks [culm nodes] (Creative Commons); and (B) curling tufts, Sagano Bamboo Forest, Arashiyama district, Kyoto, Japan (photograph by Stephen Houston).

A singular advantage of Maya text and image, where both stand in close relation, is that, if plausibly interpreted, one helps to explain the other. It is possible that two spellings buttress the reading: one comes from a tomb painting at Río Azul, the other from the name of the Temple of the Foliated Cross (or at least its interior temple) at Palenque (Figure 5; see also the spelling on the altar of Temple XXI:G10). The example at Palenque may be our best point of entry, for it appears to contain bamboo struts, as well as two other elements (a snouted being and K’AN crosses). The one missing element, other than the NAAH for “structure,” are three vertical sprouts of vegetation. That is, an epigraphic control exists in which bamboo and its glyphic referent appear to be isolable. In fuller form, as at Río Azul, another part of the sprouted glyph appears, in this case a sign with vertical lines and horizontal dots. This glyph recalls another, a slightly distinct one, with tufts rather than leaf-like extrusions, that carries a proposed reading of AK or AKAN, “grass” (Stuart 2005:180 fn.59).

  Figure 5. Bamboo in imagery, possibly in text: (A) East wall of Río Azul Tomb 6 (photograph by George F. Mobley, courtesy George Stuart); (B) glyphs of the Temple of the Foliated Cross, Alfarda:H1 (drawing by Linda Schele, photographer unknown); (C) roof of interior shrine, Temple of the Foliated Cross, bamboo cross-struts with K’AN crosses, corresponding to elements of name glyph (drawing by David Stuart); and (D) wall panel from interior shrine, Temple of the Foliated Cross (drawing by Linda Schele, Schele and Mathews 1979:#302).

But what to make of the sign that appears to refer to bamboo, the element with three vertical shoots? Pondering this evidence, Houston posited a reading of JAL because of the subfixed la syllable at Río Azul; a second such version, spelling ch’o-ko ?JAL-la yi-?cha-ni AJAW, is far later, from a jamb in Temple XIX at Palenque [Stuart 2005:fig. 20a]). Moreover, the YAX-JAL-la NAAH, “Green-blue Bamboo House” (a notional arbor?), seemed quite similar to the term for “bamboo” in Tzotzil: yaxal otoot (the latter being the word for “dwelling,” see above).

Of further interest were the following entries in Ch’orti’ Maya, the language closest to most of the inscriptions (Wisdom 1950, with the usual substitution in that language of r for l in some contexts):

harar                 ‘reed [generic], carrizo (a tall wild grass), arrow’

harar ak           ‘cane grass, reed grass [generic]; zacate amargo (tall wild carrizo-like grass)’

noxi’ harar       ‘a wild cane’

…and the telling gloss,

mak te’ harar   ‘vara de bambu (lowland dwarfish bamboo)’

Makte’ is simply a term for “fence” (“enclosure-tree/wood”), here specified as to construction material. Note too that, in cognate terms, j substitutes for h in many other Mayan languages, hence har/hal equates in such cases to jal (Kaufman 1983:1158). The usual trajectory of glyphic research is for someone else to have been there first. So too here, in a lexical listing by Erik Boot (2009:26, 82). Boot however, focused on “reed,” when other plants, namely, varieties of bamboo, might have been the actual target here.

The implications for Maya civilization are potentially momentous. Bamboo is one of the fastest growing plants in the world. The Guinness Book of World Records mentions species known to thrust upwards at 91 cm a day (Guinness). The rhizome-dependent pattern of growth in bamboo also makes them, to many a gardener’s dislike, hard to control yet endlessly abundant under certain conditions. Was this, in fact, an overlooked resource in Mayanist research, planted, tended, harvested, and widely employed when other vegetation proved scarce because of deforestation?

In the Orient, bamboo goes into buckets and all manner of receptacles, medicines, building materials, delectable food (again, if processed). A list from a traditional village in China dizzies with possibilities: “They live in bamboo houses, eat bamboo shoots, wear bamboo hats and shoes, cook food in utensils made of bamboo culm internodes, walk over bamboo bridges or cross rivers on bamboo rafts, and farm with bamboo tools” (Yang et al. 2004:161, Table 4). Such broad use, including use in the making of musical instruments, occurs throughout the indigenous Americas (Berlin et al. 1974:131; Judziewicz et al. 1999). Utensils in some Maya imagery might have been made of this perishable material, providing, according to one proposal, the formal source of Maya cylinder vases, later reproduced in fired clay (Bruhns 1994). The segmentation of bamboo also characterizes the depiction of atlatl or spear-throwers at the beginnings of the Late Classic period (Figure 6). Bamboo would have been grown, selected for desired width, and cut to suitable length.

Figure 6. Possible use of bamboo atlatl or spear-throwers (K2036, Photograph by Justin Kerr, © Justin Kerr).

Other thoughts intrude: were the external holes in walls at Tikal simply for ventilation, or did some serve as footings for bamboo scaffolds? The relentless assault on plaster in the tropics, with the logical need for future repair, might explain these features (Figure 6, upper left; see also Coe 1990:figs. 209, 321; also, Penn Tikal Archive, #C63-004-0021, for close-up views of Temple I and its comparable holes). That is, provision was made for continued refurbishment or washes of lime-plaster. The complete decay of some vault-struts, now seen only as holes, many round, raise the possibility that at least some of them were of bamboo. Moreover, at Piedras Negras, Guatemala, Houston and his team found bushels of bajareque, mud placed on wattle that had baked into near-ceramics by random (or set) fires in buildings. The bajareque often preserves evidence of cylindrical wattle, perhaps also of readily harvested bamboo (unfortunately, few sections are long enough to detect its distinct segmentation); a similar find, wit. Such remains were found with wattle-and-daub at Cerén, El Salvador (Lentz and Ramírez-Soza 2002:34). And if deforestation were at all relevant, as appears to be true in many places, bamboo, with its rapid in growth and varied use, might even have been cultivated.

Figure 7. Upper left, back of Structure 5D-23, 1st-B, rear elevation, holes highlighted in red (Coe 1990:fig. 129), and, lower right, bajareque, Operation PN11A-3-4 (photograph by Stephen Houston).

A chart of biosilicates extracted from the main aguada or reservoir in El Zotz, Guatemala, reveals a possible signature of this cultivation: the abundance, in the Late Classic period, of “native grasses,” which may represent the residue of bamboo (Figure 8; Beach et al. 2015:272). Bamboo has been found in late tombs in Río Bec, Mexico (Dussol et al. 2016:67), as well as in Chinikiha, also in Mexico (Trabanino and Núñez 2014: 156), but it seems also that the “great anatomic homogeneity of the monocotyledons [a flowering plant category to which bamboo belongs], as well as the lack of an anatomic reference collection specific to neotropical bamboos,” complicates their precise detection (Dusoll et al. 2016:67, for quotation, 63). Further, as archaeological residue, bamboos are fragile, preserve poorly, and “rapid combustion [of them] generally does not produce charcoal remains” (Dusoll et al. 2016:66). Another specialist underscores the problems of identification: “Poaceae pollen [in the taxonomic family that contains bamboo] is very plain in appearance via light microscopy, and the palynologist must always be careful not to confuse maize pollen with the similar-looking pollen of other grasses, aquatic grasses, or bamboos” (Morse 2009:177, citing Horn 2006:368). For his part, Kazuo Aoyama (personal communication, 2017), the most expert practitioner of microwear analysis in the Maya region, has actually tested bamboo and found it indistinguishable from other woods and pithy material in its effect on lithics (Aoyama 1989:202; Aoyama 1995:131; 1996:Tables 3.13. 3.14). Its “signature” appears to be ambiguous.

Perhaps, as has been suggested for pine, such plants were more commonly used than supposed, to be grown, moved, and traded as valued resources (Lentz et al. 2005). Its working, if discernible as to family or genus, may yet appear as residue on Maya stone tools (Andrew Scherer, personal communication, 2017). Or, like bamboo in many places, the plants grew to copious extent but became less salient in Maya lives as the forests (and other vegetal materials) recovered, populations declined, and need dropped. Of sufficient importance to appear in Classic art, and in dynastic and godly shrines, bamboo had receded in cultural and practical importance: it had become the stuff of shamans’ staffs yet sidelined from widespread use.

Figure 8. Diagram of biosilicates, including possible bamboo pollen from El Zotz, Guatemala (Beach et al. 2015:Fig. 12.5).

Acknowledgements  

This essay benefitted greatly from discussions with David Stuart, who drew our attention to the Boot citation. Our good colleague, Jeffrey Moser, helped with sources on Chinese painting, Kazuo Aoyama commented on bamboo and microwear, Barbara Arroyo provided a key source, and Andrew Scherer offered comments on plant use in Peten, Guatemala.

References

Aoyama, Kazuo. 1989. Estudio experimental de las huellas de uso sobre material lítico de obsidiana y sílex. Mésoamerica 17:185–214.

Aoyama, Kazuo. 1995. Microwear Analysis in the Southeast Maya Lowlands: Two Case Studies at Copan, Honduras. Latin American Antiquity 6(2): 129–144.

Aoyama, Kazuo. 1996. Exchange, Craft specialization, and Ancient Maya State Formation: A Study of Chipped stone Artifacts from the Southeast Maya Lowlands. Ph.D. dissertation, Department of Anthropology, University of Pittsburgh.

Aulie, Wilbur, and Evelyn W. de Aulie. 1978. [ed. Emily F. Scharfe de Stairs] Diccionario Ch’ol de Tumbalá, Chiapas, con variaciones dialectales de Tila y Sabanilla. Mexico City: Instituto Lingüístico de Verano.

Beach, Timothy, Sheryl Luzzadder-Beach, Jonathan Flood, Stephen Houston, Thomas G. Garrison, Edwin Román, Steve Bozarth, and James Doyle. In Tikal: Paleoecology of an Ancient Maya City, edited by David L. Lentz, Nicholas P. Dunning, and Vernon L. Scarborough, 258–279. Cambridge: Cambridge University Press.

Berlin, Brent, Dennis E. Breedlove, and Peter H. Raven. 1974. Principles of Tzeltal Plant Classification: An Introduction to the Botanical Ethnography of a Mayan-Speaking People of Highland Chiapas. Academic Press, New York.

Bickford, Maggie. 1999. Three Rams and Three Friends: The Working Lives of Chinese Auspicious Motifs. Asia Major 12(1):127–158.

Boot, Erik. 2009. The Updated Preliminary Classic Maya‐English, English‐Classic Maya Vocabulary of Hieroglyphic Readings. Mesoweb Resources .pdf

Breedlove, Dennis E., and Robert M. Laughlin. 2000. The Flowering of Man: A Tzotzil Botany of Zinacantán. Abridged edition. Washington, D.C.: Smithsonian Institution Press.

Bruhns, Karen O. 1994. The Original Maya Cylinder Vase? Mexicon 16(2):71.

Cahill, James. 1997. The Yuan Dynasty (1271–1368). In Three Thousand Years of Chinese Painting, 136–195. New Haven: Yale University Press / Beijing: Foreign Languages Press.

Clark, Lynn G. 1990. Diversity and Biogeography of Neotropical Bamboos (Poaceae: Bambusoideae). Acta Botanica Brasilica 4(1):125–132.

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[siriusfoxfriend]

Chapped lips

Biting them

Surly souped up metaphors

"Get out of the bathroom I'm pooping"

Internal dialogue

I can avoid her for as long as I want

Decision

Made

Done

Where is he

Is he here tonight

Just got into town

Staring off into the distance

Ego distant

Internal landscape

"Am I a bitch"?

Formatting mistakes peered

Through like a phonograph

Roots subfixings

Still shitting my life in isolation

Motivation procured by you

Oh dear am I fucked by honest dreams

Childhood fucked me onto a pedestal

Of non conforming convenience

What an ironic message

Played on repeat by my brain

Turds

I still wallow in stall

Avoidance omnipotent

Avoidance freelancing

I'm dealing with my poetic problems

On tepid hourglass walls

Alone again

Hot cocoa omegas

My exits as good as entries