Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories. This process of world-building encourages an encyclopedic impulse in both readers and writers. We are drawn to master what can be known about a world which always expands beyond our grasp. […]
Transmedia storytelling expands what can be known about a particular fictional world while dispersing that information, insuring that no one consumer knows everything and insure that they must talk about the series with others (see, for example, the hundreds of different species featured in Pokemon or Yu-Gi-O). Consumers become hunters and gatherers moving back across the various narratives trying to stitch together a coherent picture from the dispersed information.
They contain a built-in memory given by self-resonance with a morphic unit’s own past and by morphic resonance with all previous similar systems. This memory is cumulative. The more often particular patterns of activity are repeated, the more habitual they tend to become.
By providing both food and microhabitats for many species, coarse woody debris helps to maintain the biodiversity of forest ecosystems. Up to forty percent of all forest fauna is dependent on CWD. Studies in western North America showed that only five per cent of living trees consisted of living cells by volume, whereas in dead wood it was as high as forty percent by volume, mainly fungi and bacteria. Colonizing organisms that live on the remains of cambium and sapwood of dead trees aid decomposition and attract predators that prey on them and so continue the chain of metabolizing the biomass.
The list of organisms dependent on CWD for habitat or as a food source includes bacteria, fungi, lichens, mosses and other plants, and in the animal kingdom, invertebrates such as termites, ants, beetles, and snails, amphibians such as salamanders, reptiles such as the slow-worm, as well as birds and small mammals. One third of all woodland birds live in the cavities of dead tree trunks. Woodpeckers, tits, chickadees, and owls all live in dead trees, and grouse shelter behind woody debris.
Source: Coarse woody debris – Wikipedia
Hausōs is also described as dancing: Uṣas throws on embroidered garments ‘like a dancer’ (nṛtūr iva), Ēṓs has ‘dancing-places’ (χοροί) around her house in the East, Saulė is portrayed dancing in her gilded shoes on a silver hill, and her fellow Baltic goddess Aušrinė is said to dance on a stone for the people on the first day of summer. […]
Another common trait of the Dawn goddess is her dwelling, situated on an island in the Ocean or in an Eastern house. In Greek mythology, Ēṓs is described as living ‘beyond the streams of Okeanos at the ends of the earth’. In Slavic folklore, the home of the Zoryas was sometimes said to be on Bouyan (or Buyan), an oceanic island paradise where the Sun dwelt along with his attendants, the North, West and East winds. The Avesta refers to a mythical eastern mountain called Ušidam- (‘Dawn-house’). In a myth from Lithuania, a man named Joseph becomes fascinated with Aušrinė appearing in the sky and goes on a quest to find the ‘second sun’, who is actually a maiden that lives on an island in the sea and has the same hair as the Sun. In the Baltic folklore, Saulė is said to live in a silver-gated castle at the end of the sea, or to go to an island in the middle of the sea for her nocturnal rest. […]
Source: Hausōs – Wikipedia
The dawn goddess Eos was almost always described with rosy fingers or rosy forearms as she opened the gates of heaven for the Sun to rise. In Homer, her saffron-colored robe is embroidered or woven with flowers; rosy-fingered and with golden arms, she is pictured on Attic vases as a beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird.
Source: Eos – Wikipedia
Ushas (Vedic Sanskrit: उषस् / uṣás) is a Vedic goddess of dawn in Hinduism. She repeatedly appears in the Rigvedic hymns, states David Kinsley, where she is “consistently identified with dawn, revealing herself with the daily coming of light to the world, driving away oppressive darkness, chasing away evil demons, rousing all life, setting all things in motion, sending everyone off to do their duties”. She is the life of all living creatures, the impeller of action and breath, the foe of chaos and confusion, the auspicious arouser of cosmic and moral order called the Ṛta in Hinduism.
Source: Ushas – Wikipedia
The gusle (Serbian Cyrillic: гусле; Bulgarian: гусла) or lahuta (Albanian: lahutë) is a single-stringed musical instrument (and musical style) traditionally used in the Dinarides region of Southeastern Europe (in the Balkans). The instrument is always accompanied by singing; musical folklore, specifically epic poetry.
The gusle player holds the instrument vertically between his knees, with the left hand fingers on the strings. The strings are never pressed to the neck, giving a harmonic and unique sound. Singing to the accompaniment of the Gusle as a part of Serbia’s intangible cultural heritage was inscribed in 2018 on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO.
Gusle are also indirectly important to the whole of Western civilization. The Homeric Iliad and the Odyssey are the generally considered foundational works of literature of Western civilization along with the Torah and the Christian Bible. As the verses pertain to a war and events long before the abjad script was known to the Greeks, it was proposed that Homeric hymns were sung, not written, and were passed down through generations of singing epic bards, who were, like Homer, often blind. This was finally proven as probable in the 19th century when the German classicist Heinrich Schliemann discovered the gusle tradition not far from Greece after observing a Serbian bard reciting a lengthy poem in a similar style.
Source: Gusle – Wikipedia
The central idea is that the visible, three-dimensional universe is restricted to a brane inside a higher-dimensional space, called the “bulk” (also known as “hyperspace”). If the additional dimensions are compact, then the observed universe contains the extra dimension, and then no reference to the bulk is appropriate. In the bulk model, at least some of the extra dimensions are extensive (possibly infinite), and other branes may be moving through this bulk. Interactions with the bulk, and possibly with other branes, can influence our brane and thus introduce effects not seen in more standard cosmological models.
Source: Brane cosmology – Wikipedia
The unique feature of the system is that no promissory instruments are exchanged between the hawala brokers; the transaction takes place entirely on the honour system. As the system does not depend on the legal enforceability of claims, it can operate even in the absence of a legal and juridical environment. Trust and extensive use of connections are the components that distinguish it from other remittance systems. Hawaladar networks are often based on membership in the same family, village, clan, or ethnic group, and cheating is punished by effective ex-communication and “loss of honour”—leading to severe economic hardship.
Informal records are produced of individual transactions, and a running tally of the amount owed by one broker to another is kept. Settlements of debts between hawala brokers can take a variety of forms (such as goods, services, properties, transfers of employees, etc.), and need not take the form of direct cash transactions.
Source: Hawala – Wikipedia
This Aeolus lived on the floating island of Aeolia and was visited by Odysseus and his crew in the Odyssey. After their misadventure in Polyphemus’ cave, Aeolus gave them hospitality for a month and provided them a west wind to carry them home to Ithaca. He also provided a gift of an ox-hide bag containing all winds but the west. Odysseus and his crew members traveled steadily and anxiously for several days, but with his native land in sight, Odysseus sank overpowered by sleep. His men proceeded to indulge their curiosity to see the costly presents which they thought the bag contained, opened it unwittingly, and out burst the imprisoned winds with such a roar that the force drove the ship back to Aeolus’ island. Aeolus refused to provide any further help, because he believed that their short and unsuccessful voyage meant that the gods did not favour them. This Aeolus was perceived by post-Homeric authors as a god, rather than as a mortal and simple Keeper of the Winds (as in the Odyssey).
Source: Aeolus (Odyssey) – Wikipedia