Professor Skies

December 24, 2016 7:01 AM
“Welcome back,” Selina greeted the intermediate class. Now that they were this side of midterm, the possibility of CATS was probably seeming a lot more real and pressing to her fifth years. At least, she hoped it was. Whilst she didn’t want to scare any of her students, the exams were important, and took a lot of preparation. This was why the fifth years had been set a holiday essay, which she now prompted them to turn in.

“Today, we are going to be practising inanimate to animate transfigurations, and all of you will be attempting this,” this was a fairly broad category of work, and had formed the bulk of the intermediate studies so far for the fourth and fifth years. The third years had largely concentrated on the opposite process but now they were in a new term, it was time for things to be stepped up a gear. Alongside this, Selina had been teaching theory. There were conflicting views when it came to transfiguring on living objects, and she touched on both sides, as arguing conflicting points of view was bound to come up in the CATS theory papers. However, it was clear which side her personal belief lay, and that was in the Theory of Vanishing Space. This held that, as nothing could cease to exist, vanished objects had to go somewhere. This space came into practise for all other Transfigurations. Rather than altering things at a molecular level, one pushed parts of the item, or creature, out into Vanishing Space, and drew something else forth to replace it. This meant that though the parts of the animal could become disjointed or separated, you were ultimately sort of joining the whole thing back together by the time you had finished, just somewhere else than here. There was a lot of complicated maths that one could learn, should they pursue theoretical transfiguration beyond degree level, but for now it was simply explained as a place where things could go. Sometimes, of course, students did produce less than savoury looking results from their transfigurations. Creatures who were twisted or damaged. Vanishing Space’s answer to that was simply that it was a case of mind over matter; Transfiguration relied heavily on visualisation, a student who was worried about harming the things involved was much more likely to bring forth something that was harmed in the process. It was the realisation of their subconscious mental picture of what would happen. Which, of course, didn’t make it less distressing or unpleasant, but it was something they had to learn to overcome.

“You’re all going to start with rubber balls, and third years you will be trying to make something nice and simple - a slug, or a snail if you feel like really challenging yourselves. Fourth years, please attempt snails, and I think you can guess where the potential for extra credit comes in,” almost all Transfigurations included some kind of design element, and snail shells would be a good way to differentiate between their work. As usual, the shelves at the back were stocked with relevant nature books - detailed did not always have to mean unrealistic, as Mother Nature was usually quite the artist, even when it came to such simple things as the humble snail.

“Fifth years, you’ll have noticed that your balls are being provided in a bowl of water,” she added, as she began sending one to each desk occupied by a CATS student with a wave of her wand. “No points for guessing that you will be working on fish.

“The spell for third and fourth years will both be gastropoda - your visualisations will be the key factor in making the difference, alongside wand movements. For slugs you need a slow straight movement, whilst snails need a slow spiral. Fifth years, you will be using the spell piscis and a small flicking motion.” Selina demonstrated all three spells, producing a snail with a black and white shell, and a shimmering blue fish.

“You may chat quietly with your neighbours, and please try to help each other out. If you have any questions or dilemmas, see me. You may begin.”
Subthreads:
13 Professor Skies Intermediates: progressing at a snail's pace 26 Professor Skies 1 5


Arne Reinhardt, Crotalus

January 12, 2017 9:30 PM
Shell designs.

For what wasn't the first time since he started taking Transfiguration, Arne kind of felt like he should have been paying more attention in some of the other lessons. He knew he had the ability to do well, he just didn't care enough to. After all, he knew what it was he wanted to do. He wanted to be a metal charmer. And his O in Charms class certainly proved he had the ability if he so desired.

However the assignment Professor Skies had given them for the day, to make a really intricate pattern on a transfigured snail shell after having transfigured a rubber ball into said snail, was really exciting to the fourth year. Design work was important when it came to pleasing the customer, especially in his family. The Reinhardts had only become so famous because they were detail orientated craftsmen who worked tirelessly to please their customers. His brains were already full to bursting with ideas for his snail shell.

Just as he was imagining a wonderfully detailed Haida inspired design which came to him as he remembered some of the dancers at the last pow wow he had attended, another, dreadful thought came to him and he leaned over, worry present in his wrinkled forehead as he whispered to his neighbor "just how realistic do you think these shells need to be?"

He was fairly confident in his ability to create the design once the main part of transfiguration work had been finished, it was just the ball turning into a snail part which concerned him. Design work was like Charms, or at least that how Arne thought about it. Design work was a peace of cake.
10 Arne Reinhardt, Crotalus How realistic does my snail have to be? 319 Arne Reinhardt, Crotalus 0 5