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Shimi

@shimi.bsky.social
2K followers 541 following 1.1K posts

Arty bitey deaf old wolf. Lvl 62 Feral storyteller, poet, classicist, scribe, artist, composer & arranger. BA(hons) Fine Art/Sonic Arts. Episcopalian. Lector. Castus, non caelibis Amator animalium.

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Shimi @shimi.bsky.social · 5h
In just a month, we’ve achieved almost halfway to the goal towards getting the initial print run of PACKCOMING funded and delivered. Let’s get all the way. Pre-orders are on sale. ko-fi.com/s/c697131e35
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Shimi @shimi.bsky.social · 6h
ko-fi.com/post/Poetica...
ko-fi.com
Poetica Transexualis → Poetica Luporum
Shimi & Critter published a post on Ko-fi
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Shimi @shimi.bsky.social · 29/09/2026
This Saturday, Oct 3rd at 2pm—I’ll be performing the Wolf of Gubbio. Pets and other animals are very welcome. Those brought will be blessed in a simple, gentle liturgy celebrating the life and teachings of Saint Francis of Assisi, and giving thanks for the whole of creation—not only the human parts.
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Shimi @shimi.bsky.social · 29/09/2026
ko-fi.com/post/A-Cabin...
ko-fi.com
A cabin in the Woods, and Two Books!
Shimi & Critter published a post on Ko-fi
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Shimi @shimi.bsky.social · 26/09/2026
Halfway there to printing! ko-fi.com/i/IX3F627OR4Y
ko-fi.com
PACKCOMING is still available to pre-order! - Click to view on Ko-fi
Follow Shimi & Critter on Ko-fi
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Shimi @shimi.bsky.social · 09/09/2026
You won’t have read a human-to-animal transformation novel quite like this. PACKCOMING is about love, faith & desire—an older woman willingly relinquishing her humanity to become the wolf she always was. Now available to preorder #LiteraryFiction #QueerBooks #Transformation ko-fi.com/s/c697131e35
ko-fi.com
PACKCOMING - (Paperback) A novel about a woman becoming a wolf - Shimi & Critter's Ko-fi Shop
PREORDER — PACKCOMING Packcoming is a 320-page literary novel about love, faith, desire, creaturehood—and an old wolf woman willingly relinquishing h...
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Shimi @shimi.bsky.social · 18/09/2026
Today is the Feast of “Hildegard of Bingen, Mystic and Scholar, 1179.” The collect for today’s early morning Service and Eucharist was lit by the most beautiful orange morning light. I first discovered her music sung in church when I was a child. www.episcopalchurch.org/wp-content/u...
Screenshot of a music player showing the album Hildegard von Bingen: Vespers from her Abbey by the Benedictine Nuns of the Abbey of St. Hildegard. The cover art depicts Hildegard in a golden veil and dark habit, seated and writing at a lectern amid richly colored medieval-style architectural details. The track playing is “Deus in Auditorium.”Hildegard of Bingen, born in 1098 in the Rhineland Valley, was a mystic, poet, composer, dramatist, doctor, and scientist. Her parents' tenth child, she was tithed to the church and raised by the anchoress Jutta in a cottage near the Benedictine monastery of Disibodenberg. Drawn by their life of silence and prayer, other women joined them, finding the freedom, rare outside of women's religious communities, to develop their intellectual gifts. They organized as a convent under the authority of the abbot of Disibodenberg, with Jutta as abbess. When Jutta died, Hildegard, then 38, became abbess. Later she founded independent convents at Bingen (1150) and Eibingen (1165), with the Archbishop of Mainz as her only superior.

From childhood, Hildegard experienced dazzling spiritual visions. When she was 43, a voice commanded her to tell what she saw. Thus began an outpouring of extraordinarily original writings, illustrated by unusual and wondrous illuminations. These works abound with feminine imagery for God and God's creative activity. In 1147, Bernard of Clairvaux recommended her first book of visions, Scivias, to Pope Eugenius III, leading to papal authentication at the Synod of Trier.Hildegard quickly became famous, and was eagerly sought for counsel, becoming a correspondent of kings and queens,
abbots and abbesses, archbishops and popes. She carried out four preaching missions in northern Europe, which was an unprecedented activity for a woman. She also practiced medicine, focusing on women's needs; published treatises on natural science and philosophy; and wrote a liturgical drama, The Play of the Virtues, in which the personified virtues sing their parts and the devil, condemned to live without music, can only speak. For Hildegard, music was essential to worship. Her liturgical compositions, unusual in structure and tonality, were described by her contemporaries as "chant of surpassing sweet melody" and "strange and unheard-of music." Hildegard lived in a world accustomed to male governance. Yet within her convents, and to a surprising extent outside of them, she exercised a commanding spiritual authority based on confidence in her visions and considerable political astuteness. When she died in 1179 at the age of 81, she left a rich legacy which speaks eloquently across the ages.

The Collect in the Lesser Feasts and Fasts for today reads: 

God of all times and seasons: Give us grace that we, after the example of your servant Hildegard, may both know and make known the joy and jubilation of being part of your creation, and show forth your glory in the world; through Jesus Christ our Saviour, who lives and reigns with you and the Holy Spirit, one God, for ever
and ever. Amen.

Lessons and Psalm

Ecclesiasticus 43:1-12
Psalm 8
Colossians 3:14-17
John 3:16-21

Preface of the Epiphany
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Shimi @shimi.bsky.social · 16/09/2026
Preorders open for PACKCOMING my new novel about an older woman transforming into a wolf through a new transformation drug, Therionyl; falling in love with her ex, now a coyote and what it is given up in order to gain creaturehood. ko-fi.com/s/c697131e35 #QueerFiction #LiteraryFiction #IndieBooks
A paperback copy of Packcoming by Shimi & Critter lies across a church bulletin in warm, dim light. Its cover shows a wolf’s forelegs, a WLF-7 identification band, and red and blue communication pads. A dark-furred dog rests in the background beside a green toy.

Preorder Packcoming: https://ko-fi.com/s/c697131e35
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Shimi @shimi.bsky.social · 09/09/2026
You won’t have read a human-to-animal transformation novel quite like this. PACKCOMING is about love, faith & desire—an older woman willingly relinquishing her humanity to become the wolf she always was. Now available to preorder #LiteraryFiction #QueerBooks #Transformation ko-fi.com/s/c697131e35
ko-fi.com
PACKCOMING - (Paperback) A novel about a woman becoming a wolf - Shimi & Critter's Ko-fi Shop
PREORDER — PACKCOMING Packcoming is a 320-page literary novel about love, faith, desire, creaturehood—and an old wolf woman willingly relinquishing h...
66029
Shimi @shimi.bsky.social · 06/09/2026
The point I decided to go it alone was being offered 2c a word for someone else to credit my words. HIre human writers. I’ve been a writer, editor and journalist since 1980. Emotionless GenAI text is not what you want to be represented by.
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Shimi @shimi.bsky.social · 06/09/2026
It’s a wrap. Packcoming is my next book, a novel about love, faith, desire, theology, philosophy, the willing loss of humanity — and an old wolf woman rekindling feelings for an ex girlfriend, a coyote.
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Selynn Lee 쉬시턴 / 셀린 리 @selynnlee.bsky.social · 18/01/2026
Tea Break🫖
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Shimi @shimi.bsky.social · 01/09/2026
The 8AM and 9AM readings aren’t livestreamed, but I found another reading: Paul’s Epistle to the Romans 10:5–15, connecting Jew and Greek. A bold claim, argued from Scripture itself, Paul effectively says: ‘Gentiles, you have an in; you too are part of God’s people.’ www.youtube.com/live/XVjwzoM...
youtube.com
The Eleventh Sunday After Pentecost | August 9, 2026 | Saint Mark's, Seattle
YouTube video by Saint Mark's Episcopal Cathedral
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Shimi @shimi.bsky.social · 31/08/2026
I once said, “I think St. Paul is a bit of a windbag.” Of course the Spirit has a wicked sense of humour, and I’ve found myself entrusted with Paul’s Epistles to the Romans for much of this quarter and the last. He remains “a bit of a windbag,” but an effective one. www.youtube.com/live/SyGWk7r...
youtube.com
The Fourteenth Sunday After Pentecost | August 30, 2026 | Saint Mark's, Seattle
YouTube video by Saint Mark's Episcopal Cathedral
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Shimi @shimi.bsky.social · 31/08/2026
Last week my Ministry was given the honour of reading Exodus, the story of the finding of Moses—a story of women undermining kings, laws & empire. The liberation of the Hebrew people from under the yoke of oppression began before Moses in acts of defiance & mercy. www.youtube.com/live/65EzYdr...
youtube.com
The Thirteenth Sunday After Pentecost | August 23, 2026 | Saint Mark's, Seattle
YouTube video by Saint Mark's Episcopal Cathedral
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Basil 🌱 @basil-mage.bsky.social · 30/08/2026
Puppy and flower
Drawing of a puppy and a flower with the caption; "You deserve a life you aren't constantly recovering from"
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Shimi @shimi.bsky.social · 06/08/2026
The Mother, Lykaeon introduces the story after the Blind Wolf’s opening Salvo. 📷 @netsui-prime.bsky.social
Mother Lykaeon, portrayed by Shimi wearing a grey and white wolf mask and pale, flowing robes, stands barefoot beneath the Ravenna Park bridge at night, introducing the story after the Blind Wolf’s opening invocation. Bathed in warm amber light against deep violet architectural lighting, she leans lightly on a wooden staff, her posture calm, poised, and maternal. A semicircle of glowing LED candles marks the performance space, while audience members sit quietly in the background, watching in silence. At the edge of the stage, a confidence monitor displays the script for the performer. The dramatic backlighting silhouettes the figure, creating the impression of an ancient storyteller stepping into the light to begin the tale, with the immense concrete bridge rising behind her like the walls of a vast natural cathedral.
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HOG HEAVEN @uniboar.bsky.social · 29/08/2026
👩‍❤️‍💋‍👩
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Shimi @shimi.bsky.social · 28/08/2026
Grateful to @artofmaquenda.bsky.social, one of my favourite artists to allow me to photo-composite their statuette with a campsite photo from Terror in The Woods — where Tenebrae was premiered... I went down a rabbit-hole of Lightroom, Photoshop, Texturizer, Capture One, DxO PhotoLab, Affinity Free.
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Shimi @shimi.bsky.social · 28/08/2026
New Angel Hare art on my wall.
Framed black-and-white ink drawing of four woodland animals: two winged hares depicted as angels, accompanied by a fox and badger. Radiating lines and a pale circular halo give the central figures a sacred, icon-like quality.
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Shimi @shimi.bsky.social · 26/08/2026
#Furswap neighbour @mymuzzle.bsky.social caught my eye with a brown leather muzzle. They mean safety, protection, and being held in a chapter in my upcoming novel “Packcoming” This is exquisite work. The leather feels like medical orthotics. My Veterinary kink is very fulfilled. Thank you so much!
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Shimi @shimi.bsky.social · 23/08/2026
I am down at #Furswap Quality Flea Centre and I already have sales! Come by. I have books and prints and a sneak peek of my new Novel, Packcoming which is due to be published very shortly.
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Shimi @shimi.bsky.social · 13/08/2026
Tenebrae opens with Betrayal: Before the Engines of Empire taught us to betray ourselves & one another, we’d already learned to betray our home, Separating us from relationship. If it feels angry & prophetic it’s because it is. We did this to ourselves. No one else. …and we called it civilisation.
A dramatically lit photograph from Tenebrae shows the Blind Wolf emerging from near-total darkness. Wearing a dark robe and a large grey wolf head, the figure looks upward into a narrow wash of red, violet and cold blue light that catches one bright eye, the muzzle, exposed face and folds of clothing while most of the body disappears into blackness. One hand is raised at the edge of the frame in an ambiguous gesture, somewhere between testimony, warning and accusation. The stark theatrical lighting gives the image a severe, prophetic quality, as though the Blind Wolf has stepped out of the dark to bear witness. Photograph by @netsui_prime.

BETRAYAL
A section from the libretto of Tenebrae
By Shimi & Critter

In the last days of the old world, their testimony was this:

We did not lose the animals.
We betrayed them.

Before the fence—
before the collar—
long before we traded ourselves for thirty pieces of silver, and entered into a contract with Empire—
we divided creation
into a human world
and an animal world.
But there had only ever been the world,
and we belonged within it—

[Pulse]
Eyes found one another beyond the fire.
Teeth near the throat.
Warmth against winter.
Nothing lived apart.
Not as symbols.
Not as property.
Not as lesser life.
The world taught us the true cost of standing alone.
We once learned weather from wings.
We once followed hoofprints to safe water.

[On Tablas]

Then we made “animal” the word for everything we meant to stand above.

And that was the first fence.
After that, the others came easily.
We renamed everything for use.
Cow became livestock.
Wolf became threat.
Rat became specimen.
Dog became pet.
Forest became timber.
River became power.
Mountain became ore.
Death became yield.

You see—it was a trick of language. The violence began in grammar.

Then came the ledger. Once we had boiled the world down to property, it screamed, and that scream we named industrial static.

But the scream would not stop.
So we muzzled it.

We learned not to listen to what remained alive.

We built walls high enough to hide what we had done to the world around us.

We took the face.
Then the name.
Then the covenant.
We were given a world to serve
and chose instead to possess it.

We called that possession progress.
We rewrote our covenant as a contract with Empire. 
And when every other body had been owned, cut, and stripped of its name— we turned on ourselves.

[Pausa.]
We renamed what looked back at us, forgetting we had made none of this.
We found excuses and reasons to cheat the world.
Word by word.
Piece by piece.
We trained the creature in us to distrust its own body.
Hunger.
Grief.
Rest only by permission.
Toil without remission.
Neither sowing.
Nor reaping.
No storehouse.
No gods. No masters.
So we forged our own:
Algorithmic creations whispered in our ears: “We are your gods now.”
And for our self-made idols,
Creation became raw material to feed an approximation.
We fed them every thought,
every grievance, every appetite.
We breathed an imitation of life into them while they returned our hunger— automated, amplified, accelerated beyond mercy, beyond all human scale.

[Ictus incudis]

Worker.
Consumer.
User.
Target.
Content.
Resource.
Data.

We counted our steps.
Measured our sleep.
Sold our faces.
Traded our friendships for attention.
Fed our loneliness into machines that learned how to sell it back to us.
We mistook being watched for being known.
We mistook being measured for being seen.
We mistook endless choice for freedom.And at last—we domesticated ourselves. We learned to carry the leash inside our own skull.

[Pausa longa]
[Lupus caecus succumbit.]

Sit.
Work.
Buy.
Smile.
Produce.
Obey.
The Machine did not hate us.
It did not need to.
We were no longer our own, for we had been bought with a price.
We fed the Machine.
We fed it forests.
We fed it oceans.
We fed it the air we breathed.
We fed it the lives of creatures.
We fed it the bodies of workers.
We gave it our hours.
Our names.
Our children.
Our dead.
We became its Engines
and called the noise
“civilisation.”

[Pausa. Arpeggia.]

But enough was never enough.
The Machine always demanded more.
We rewarded those who remained calm while we tore the living world apart.
We called grief weakness.
We called fury disorder.
We called resistance a failure to adjust.
Then we named those who would not yield:
Undomesticated.
Unreasonable.
Dangerous.
Animal.
And that was the final insult: not merely to deny our oldest kin their name,
but to use that name for everything we feared within ourselves.

We spat the word downward
and did not realise
it had always been
our own holy name.

[Fractura]

We taught our own cubs to hide their teeth.
We clipped the wings of anything
that tried to escape our grasp.
We drugged the restless.
Caged the frightened.
Killed the disobedient.
And called obedience… love.
And still we could not become less animal, but chose instead to become animals trained to betray animals.
Products purchasing products made from the lives and labour of our relatives.

And still the human world reassured us:
Everything is fine.
Growth must continue.
There is no alternative.
Someone else will suffer.
Someone else will clean it.
Someone else will die.

[Pausa]

Do not look behind the wall.
Do not ask whose blood made it cheap.
Do not ask why the river is silent.
Do not ask where the insects went.
Do not ask what taught you to betray your own wild heart.
Do not ask what had to be killed in you before you learned to call this normal.Do not ask.
Do… not… dare… ask.

[Pausa]

Because you might remember.

[Subito intus. Intime et accusatorie.]

You might remember
that the separation was never natural.
The animals did not abandon us.
We abandoned them.
We abandoned the creature within ourselves, then punished every living thing
that reminded us ours was still alive.

We called their terror instinct.
We called our terror reason.
We called their homes wilderness.
We called our devastation development.

[Pausa]

But beneath that lie was an older lie—buried so deep it made no sound—
the lie that made all the others possible: that we stood outside creation, that we could cut ourselves free from the only home we ever had, and live; that we could be saved by condemning
what…
we…
were…

[Pausa.]
[Silentium tene.]
[Tabulae]

So ended the testimony of those who saw too late what the human world had become.
But beyond the last tower,
beyond the failing signal,
beyond the roads splitting open
beneath the weight of all they carried—
she was waiting.
Lykaeon.
Mother of the scattered.
Keeper of the old paths.
She who remembered us before we were made useful.
She did not come to save the Machine.
She came to gather those the Machine had discarded.
The strays.
The feral ones.

Those crying beneath the Engines.
Those of us who never fully learned to pretend we were not animals.
She called from a darkness older than fear:
Come away from the algorithm.
Come away from everything that taught you to betray the animal you are.

Bring your hunger.
Bring your shame collared to it.
Bring what survived.
Because here, in Tenebrae, we enter darkness—not because darkness is evil, but because it is one of the last things we have not learned to sell back to ourselves as hope.

Come home.

[Exeunt.]



Copyright 2026 Shimi All Rights Reserved
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Shimi @shimi.bsky.social · 11/08/2026
“Relief and Uncertainty: The lesson forgotten.” Libretto and how The Rumour Engine came to form in our communities. 📷 @netsui-prime.bsky.social
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Shimi @shimi.bsky.social · 11/08/2026
“Relief and Uncertainty: The lesson forgotten.” Libretto and how The Rumour Engine came to form in our communities. 📷 @netsui-prime.bsky.social
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Shimi @shimi.bsky.social · 11/08/2026
The Rumour Engine 📷 @melodywolf.littlewolfpup.com
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✦snack✦ @snackpony.bsky.social · 08/01/2025
♡ checking on you ♡
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Shimi @shimi.bsky.social · 07/08/2026
Perhaps the most visually arresting part of Tenebrae is “The Rumour Engine”. Four lasers track me representing scrutiny, judgement & the eyes of Phema, the Greek God of rumour & reputation. Others noted it resembles stigmata, crucifixion when a community turns against us 📷 @netsui-prime.bsky.social
Alt text: During The Rumour Engine sequence of Tenebrae, Mother Lykaeon stands with her back to the viewer in a pale, translucent embroidered toga and grey-white wolf head. Four narrow red laser beams converge on and pass across her body from different directions, representing scrutiny, judgement and the relentless gaze of rumour. Dozens of warm candles form a glowing boundary across the dark forest floor, while audience members watch from the shadows beyond. Harsh violet stage light burns through the darkness from the upper right, leaving Lykaeon isolated at the centre of intersecting lines of red light.
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Shimi @shimi.bsky.social · 07/08/2026
So Tenebrae became a dramaturgic tale of Empire, of human & animal, predator & prey. Empire is an ordering of the world: domination, extraction & control, where creature is set against creature & no-one remains safe from it. Alt Text has loads of added contextual info. 📷 @netsui-prime.bsky.social
Wide nighttime view beneath the massive concrete arches of Ravenna Park bridge during Tenebrae. Mother Lykaeon stands alone in the foreground, silhouetted with her wolf headdress and staff carrying a candle before a curving line of glowing candles. Two confidence screens flank the performance space, while an audience gathers up the earthen slope behind her. Intense violet stage lights illuminate the crowd and towering bridge structure, with most of the surrounding forest disappearing into darkness.
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Shimi @shimi.bsky.social · 06/08/2026
The Mother, Lykaeon introduces the story after the Blind Wolf’s opening Salvo. 📷 @netsui-prime.bsky.social
Mother Lykaeon, portrayed by Shimi wearing a grey and white wolf mask and pale, flowing robes, stands barefoot beneath the Ravenna Park bridge at night, introducing the story after the Blind Wolf’s opening invocation. Bathed in warm amber light against deep violet architectural lighting, she leans lightly on a wooden staff, her posture calm, poised, and maternal. A semicircle of glowing LED candles marks the performance space, while audience members sit quietly in the background, watching in silence. At the edge of the stage, a confidence monitor displays the script for the performer. The dramatic backlighting silhouettes the figure, creating the impression of an ancient storyteller stepping into the light to begin the tale, with the immense concrete bridge rising behind her like the walls of a vast natural cathedral.
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FenGirl @foxlite.bsky.social · 09/05/2025
Tarot card commission, for my friend Alex over on telegram <3
A variation on the 'Strength' tarot card, depicting the commissioners fursona; a canine with light brown markings and dark hair, She is holding a bunch of roses over a grey wolf creature-
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Shimi @shimi.bsky.social · 04/08/2026
I love being an old wolf who plays flutes, wears a toga and who orates and tells stories. How cool is it to be approaching my mid 60s and living among a community of much younger, fiercer, more attuned to survival critters who accept & encourage this sort of behaviour. 📷 @netsui-prime.bsky.social
The Blind Wolf playing flute (vertical side profile)

Side profile of the Blind Wolf performing on a long wooden flute beneath the trees at night. The wolf mask’s luminous white eyes and sharp silhouette stand out against the darkness, while warm stage lighting catches the performer’s hands and flowing black robe with leather trim. The opening music introduces the prophetic guide of Tenebrae, whose vision comes not through sight but through insight.The Blind Wolf, an apocalyptic prophet from the spoken-word oratory-ritual Tenebrae, plays a long wooden flute while wearing a black wolf mask with glowing white eyes. Warm amber stage light illuminates the performer against a black background, the red trim of the dark robe echoing the colour of the flute. The character is said to have been born blind, yet sees beneath the surface of things.The Blind Wolf standing barefoot on the forest stage, holding a long wooden flute before beginning the ritual. The black wolf mask with luminous white eyes and the flowing robe trimmed in leather are lit by warm stage lighting, while the surrounding darkness hints at the woodland setting of Tenebrae. The character serves as the prophetic herald who leads the audience into the story.Blind Wolf speaking (vertical portrait)
Portrait of the Blind Wolf during the opening monologue of Tenebrae. Wearing a black wolf mask with glowing white eyes and a flowing black robe edged in red, the performer addresses the audience beneath the forest canopy. The character is an imposing prophetic figure, a son of Mother Lykaeon, born blind yet able to perceive truths hidden beneath appearances.
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Shimi @shimi.bsky.social · 04/08/2026
The opening salvo of Tenebrae is delivered by The Blind Wolf. Very much an apocalyptic prophet modelled on seers and sages, a dark and imposing character. Son of Mother Lykaeon, he was born blind and yet can see deep beneath the surface of things. 📷 @netsui-prime.bsky.social
Close-up of the Blind Wolf during the opening monologue of Tenebrae. The black wolf mask with pale eyes dominates the frame while warm stage lighting illuminates the robe’s red trim and expressive hands. The character’s calm but commanding presence establishes the performance’s mythic and contemplative tone.Close side profile of the Blind Wolf speaking with both hands held open in measured, deliberate gestures. The wolf mask’s glowing white eyes suggest inner vision rather than physical sight. As the opening narrator of Tenebrae, the Blind Wolf is portrayed as a prophetic son of Mother Lykaeon who sees deeply between the surface of things.The Blind Wolf raises one hand toward the sky while the other remains open before the audience, as though revealing an unseen truth. The wolf mask’s pale, sightless eyes contrast with the darkness surrounding the stage. This prophetic figure introduces Tenebrae, speaking of unseen realities and inviting the audience to look beyond appearances.The Blind Wolf addresses the audience with both arms extended in welcome and warning. Wearing a black wolf mask with luminous white eyes and flowing black robes, the character opens Tenebrae as an apocalyptic storyteller whose blindness symbolizes a deeper kind of sight. Warm theatrical lighting isolates the figure against an almost completely black background, focusing attention on the gestures and spoken word.
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Shimi @shimi.bsky.social · 03/08/2026
A tale was told as old as time itself.
A wide evening photograph taken beneath the towering concrete bridge in Ravenna Park, moments before the performance of Tenebrae begins. Massive bridge columns frame the scene, creating a cathedral-like space beneath the roadway. At the centre, a series of bridge supports recede into the distance, illuminated in vivid purple light that draws the eye deep into the structure.

In the foreground, a crowd gathers in near darkness, with people standing, sitting, and milling about as they wait for the performance to start. To the right, a white pop-up tent glows warmly from within, lit from underneath by bright lights that silhouette volunteers and equipment inside. The illuminated tent contrasts with the surrounding shadows, serving as a welcoming hub amid the audience.

Beyond the bridge, dense green woodland encloses the venue on both sides, emphasizing the unusual setting where urban infrastructure meets forest. The interplay of darkness, purple architectural lighting, warm tent light, and the quiet anticipation of the audience creates a dramatic atmosphere, capturing the final moments before Shimi, the storyteller steps onto a dirt circle designated as a stage for Tenebrae.
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Melee Bandit 🔜 BFC @meleebandit.bsky.social · 02/08/2026
Renegade scribbles :3
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Wolf Conservation Center 🐺 @nywolforg.bsky.social · 31/07/2026
Photos like this remind us that wolves are sentient animals who form deep social bonds with their families. They experience joy, connection, and loss and deserve our compassion and protection.❤️
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Shimi @shimi.bsky.social · 27/07/2026
I’m reprising Tenebrae in Ravenna Park, Seattle, next Saturday (8/1), 7–10 pm. NOTAFLOF. Joined by @dirtsecret.bsky.social & @lunarrabbit.bsky.social performing their incredible & creaturely musics. Plus tea, vendors, an evening of poetry and ritual beneath the trees. Please come by & join the howl!
Promotional poster for A Sermon in the Forest. Against a dark woodland at dusk, a performer wearing a white wolf headdress and flowing cream robe raises a glowing candle, illuminating their outstretched arm. Handwritten white text reads “Shimi & Friends present” above the title A Sermon in the Forest. The poster advertises a performance of Tenebrae, described as “a ritual of music, poetry & sound art,” with supporting performances by Moon Rabbit and FRRN. Additional text lists poetry, live music, vendors and a tea tent. Event details at the top read: 8/1/26, 7–10 pm, Ravenna Park. The overall design evokes a mysterious, candlelit ritual in the forest.
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Shimi @shimi.bsky.social · 31/07/2026
Getting ready for Saturday’s second performance of Tenebrae. As a child I was haunted by the image of wolves and kynokephaloi in togas. and here I am in the last quarter of my life actually getting to be one.
 A full-length portrait of a wolf-headed figure walking barefoot beneath a forest bridge. The figure wears layered, earth-coloured robes tied with a white cord and carries a wooden flute across the body. Dappled sunlight filters through the trees, illuminating parts of the clothing and the forest floor while the concrete bridge pillars recede into the distance behind.
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stray/animals @creatureindex.bsky.social · 30/07/2026
Wolf heads writhing, a were paw is on the right of them, a blurry canid figure with loose skin draped on it is in the bottom left corner
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Shimi @shimi.bsky.social · 30/07/2026
Yoo! Besties! @animalinstinctprod.bsky.social
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Shimi @shimi.bsky.social · 29/07/2026
“My friend bought your book and they lent it to me, I hope thats ok” Yes, absolutely! Yes, yes—all my yes! Books are not to be hoarded but gifts of love and care to be shared. That my book was loaned to another is an expression of their love for you—using my work? Thats an incredible honour.
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Shimi @shimi.bsky.social · 27/07/2026
I’m reprising Tenebrae in Ravenna Park, Seattle, next Saturday (8/1), 7–10 pm. NOTAFLOF. Joined by @dirtsecret.bsky.social & @lunarrabbit.bsky.social performing their incredible & creaturely musics. Plus tea, vendors, an evening of poetry and ritual beneath the trees. Please come by & join the howl!
Promotional poster for A Sermon in the Forest. Against a dark woodland at dusk, a performer wearing a white wolf headdress and flowing cream robe raises a glowing candle, illuminating their outstretched arm. Handwritten white text reads “Shimi & Friends present” above the title A Sermon in the Forest. The poster advertises a performance of Tenebrae, described as “a ritual of music, poetry & sound art,” with supporting performances by Moon Rabbit and FRRN. Additional text lists poetry, live music, vendors and a tea tent. Event details at the top read: 8/1/26, 7–10 pm, Ravenna Park. The overall design evokes a mysterious, candlelit ritual in the forest.
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Shimi @shimi.bsky.social · 24/07/2026
Went to St. Bread on Portage Bay waterfront earlier in the week. I was entranced by the stained glass window of maybe St. Honoratus of Amiens? Could be St. Nicholas of Tolentino associated with blessed bread distributed to the sick. I didn’t ask. The bread there was good and wholesome.
A tall, pointed stained-glass window set within a white architectural frame. The window depicts a haloed saintly figure with reddish-brown hair, dressed in flowing turquoise and deep blue robes. In one hand, the figure holds a golden palm frond, traditionally a symbol of martyrdom; in the other, they cradle a round scored loaf of bread.

A radiant gold halo fills much of the background, surrounded by vivid blue glass and a narrow green border resembling leaves or vines. At the top of the window is a small turquoise circular emblem containing stylized interlocking letters. The bold black leading, jewel-like colors, and symmetrical composition give the image the appearance of a modern icon rendered in stained glass.
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Shimi @shimi.bsky.social · 23/07/2026
For a while I’ve dreamed of squeezing my heavy studio rig (1st pic) I perform with into an iPad (2nd Pic). I got the first version of it working, (kinda-ish) for Tenebrae at Terror in the Woods. Now I’m refining it; AUM hosts flute processing, Stagetraxx & bass pedals wirelessly connected.
A computer screen showing the Wiring view of Gig Performer, titled “Shimi’s flute setup,” running on a Mac mini M4. The patch is a large modular performance rig combining live flute processing with software synthesis controlled by MIDI bass pedals. On the left, “Audio In (Scarlett 4i4 USB)” branches through multiple chains of processors, including Gain and Balance, MythPre, AU Dynamics Processor, AU Multiband Compressor, AU Peak Limiter, AU Reverb 2, AU Filter, Valhalla Shimmer, and several instances of Valhalla Supermassive. Blue virtual cables carry the processed flute signals into a sixteen-channel Audio Mixer and then to “Audio Out (Scarlett 4i4 USB).”

On the right, a red “MIDI In” block sends MIDI through red cables to several green synthesizer modules, including two instances of Vital and several SynthMaster Player instruments. Their audio outputs pass through additional Valhalla Supermassive effects and a four-channel mixer before joining the main output. An unused eight-channel mixer sits near the lower centre. The densely interconnected patch resembles a digital modular studio, showing the complete flute-effects and bass-pedal synthesis system assembled for live performance.An iPad resting on a quilted bedspread displays the same live-performance concept rebuilt in AUM. Five vertical mixer channels are visible, labelled “Preamp Input 1,” “Preamp Input 2,” “Stagetraxx 3,” “4: Model D,” and “5: Audiokit Synth One.” The first two channels receive USB audio from the flute microphones and contain stacked processing modules represented by circular icons, including high-pass filters, Apple Audio Unit effects, dynamics or limiting, Eventide effects, panning, and individual level controls. Both microphone channels are currently muted.

The StageTraxx 3 channel supplies the performance backing tracks. The Model D and AudioKit Synth One channels provide the synthesizer voices triggered by the bass pedals. An Apple AU Delay editing window is open over the synth channels, showing a frequency graph, a dry/wet mix of 51.4 percent, and a low-pass cutoff of 15,000 hertz. Across the top are transport controls, a tempo of 120 BPM, the USB 1+2 output meter, and a DSP reading of 42 percent. The layout is more compact and touch-oriented than the Mac version, forming a portable iPad recreation of the flute-processing, backing-track, and bass-pedal synthesizer rig.
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Shimi @shimi.bsky.social · 21/07/2026
We have a repeat of Tenebrae in a Park in Seattle and we need volunteers. Want to help put on a show? Are you free on 8/1. Click on the link below! forms.gle/YKX5NNgW6df2...
forms.gle
8/1 “Sermon In The forest” volunteer form
This is the 2nd performance of Shimi’s “Tenebrae” following its debut at Terror in the Woods! We need a small team of volunteers and security. Please apply below. Thank you for your help and considera...
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Reposted by Shimi
𝖘𝖆𝖙𝖆𝖓𝖎𝖈 𝕜𝟡 𖤐🜏 🏳️‍⚧️ @hellhound.industries · 20/07/2026
Life is "too short" if you spend it chasing guilt. Satanism is about living authentically, embracing hedonistic joy, helping others by choice rather than command, and creating your own meaning.
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Shimi @shimi.bsky.social · 20/07/2026
“The forest is not elsewhere. It is kept or lost. And how we hold one another. Tend the forest. Tend one another.”
A photograph of Shimi wearing her wolf mask in a red Vivienne Westwood Anglomania dress (“vian”) holding a tree branch. She is framed to the left and right of stone walls and stands at the threshold of a path that leads deep into the forest.
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Shimi @shimi.bsky.social · 20/07/2026
The lighting @hellhound.industries set up for Tenebrae’s premiere at Terror In the Woods was amazing. This fit the mood beautifully. Wonderful Work and it was truly an honour to be able to close out the show which something written for that event. Thank you.
Shimi is kneeling on a forest floor playing a wooden flute in the early morning summer 5AM light. She is wearing a red toga dress and  is kneeling on a rug of deep plush fur. Around her are various LED candles.
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Shimi @shimi.bsky.social · 18/07/2026
Final set checks before packing to heading out to premiere Tenebrae. I have been able to boil down my live performance rig to something portable and if the iPad futzes. The iPhone can take over. equipment I no longer need to carry. 🐾
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Reposted by Shimi
Wolf Conservation Center 🐺 @nywolforg.bsky.social · 16/07/2026
Earlier this week, Wyoming Game and Fish Commission cut the wolf hunt limit by more than half as the population is at a 20-year low. As of Jan. 1, there were 132 wolves in the wolf management area in northwest Wyoming. 🔗 bit.ly/4vsJ4Ut
cowboystatedaily.com
Wyoming Game And Fish Commission Cuts Wolf Hunt Quotas By More Than Half
With northwest Wyoming’s wolf population at a 20-year low, the state Game and Fish Commission on Tuesday cut the wolf hunt limits by more than half. Some…
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