#Angular proxy

[lxvvie]

One Night (I Can't) Stand.

loser!simon x loser!reader

You smelled smoke. Right after the direct sunlight bitch-slapped you awake.

You’d glare if you had the energy, but it was the sun and you were tired. Too tired. Too tired physically, and it wasn’t the type of exhaustion that came from being at work all day with your asshole boss and inept coworkers, oh no, this was… this was that ‘feel good’ tired, the one that came from a lot of—oh!

Oh.

You moved and… you were sore. In all the right places, too. Your body felt heavy and a little like Jello. You took a peek under the covers. Butt ass naked. Ohhh. So you did get some after all. Finally. Look at you, getting dicked down like normal people. After a bar crawl you were practically dragged to under the guise of “team building”. You cackled like some fuckin’ goofball, like you were in on some inside joke only you and the universe knew, and then you felt the bed shift a little next to you, heard a soft exhale, smelled some more smoke, and…

…Wait a minute. Who’d you fuck?

You were almost scared to turn over. The last time something like this happened, you shat where you ate. By proxy. It was one of your co-worker’s friends, some guy named… Jack? Joshua? Whoever the fuck. Anyway, the sex was… mediocre at best, you don’t even remember if you came or not (like who could forget an orgasm?), and afterward, you had to contend with said co-worker’s knowing smile every time you saw her. And then the poor guy asked you out (at her encouragement). Oh, you still cringe at the fallout from that.

Anyway… who’d you fuck again?

You took a deep breath, counted down from five, prepared yourself for the possibility of it being another shit-show, and then—

“The fuck was so funny?” Well, that eliminated… all of your co-workers. Deep voice. Nice, deep voice. Nice, deep, gravelly voice. Big dick energy voice. You think. The stuff fanfiction and bad boy fantasies are made of. Okay, you’ll hold that next cackle in. You turned over to face your bedmate and was immediately greeted to the sight of a pair of big brown eyes staring into your soul. Or, rather, staring through your soul. Same difference. You just know that he’s big. Huge. Physically imposing. Broad-shouldered. Muscular but not, what is it, incredibly defined? You can see the power in his body, and it was something to watch as he rubbed the back of his neck absentmindedly. Muscles under tan-lined skin. Angular, long face. A nose that was broken one time too many. Long eyelashes. Furrowed brows. Five o’clock shadow. Resting bitch face. Buzzcut that was growing out. He was cute in a grungy “fuck you and fuck them, too” kind of way. Mismatched features that matched him and made sense.

Shitty tattoos, though. Mm. A travesty.

So now you’re face-to-face with your bedmate who, from the looks of it, had been up longer than you, had also been watching you if his sitting up against the pillow was any indication, and was nursing one of cheapest cigarette brands known to man (shoutout to your chain-smoking HR rep for getting you hip to this information against your will while at job orientation), and… uh…

“…Who the fuck are you?” Smooth. Real smooth, blurting that shit out. Fuck your foot-in-mouth syndrome. It’s done you more harm than good.

Didn’t really faze the guy much, if any, though. He just quirked a brow. Took another hit from his cigarette. Flicked the ashes into the makeshift ashtray of a cracked shot glass. Exhaled and let the smoke settle over you two. Came back to staring into (or is it through?) your soul. Okay… this is awkward. Well, it was until—

“Who the fuck are you?” came the brusque response. You were taken aback. Don’t know why because you didn’t know the guy from a can of paint, but you were, and if he caught the shadow that passed over your face, he didn’t say anything. The high you had earlier from FINALLY getting some dick came crashing down stupendously upon this asshole’s broad shoulders.

You hate your co-workers and boss all over again.

And you hate that HR rep even more.

[crazylittlejester]

JES I have an evil idea

What if War and Sidney were invited to a ball, so War disguised himself as Linkle so he could go with Sidney and Linkle disguised herself as War so she could go with Athena? But an assassin is at the ball wanting to kill War. Except it's not War, it's Linkle, and War has to watch in horror as his twin sister collapses from poisoned food/being stabbed/other attempted assassination. That was meant for him.

Linkle and Athena would've probably been expecting this, but the shock would still be horrifying because Linkle has witnessed this happen, but never been a victim

War would probably either break down or shut down completely, because it should've been him and now his twin sister's life is in danger

Anyway, I hope you're having a good day :]

what the actual fuck sleepy *pulls out my docs and starts taking notes* this is an awful idea *writes a paragraph* most fucked up thing ever *comes up with several worse ideas* good lord *adds it to the wip pile* who would write something like this

no in all seriousness, first of all AUGH. second: i do have a hc that Linkle dresses up as War when he’s needed at an event but not around. She’s a little taller than him, and shes not as thin and her face isnt so angular, but shes convincing enough as him that people then see the real War and think “oh he looks a little rough…” Linkle just cant speak when shes pretending to be War, but that’s literally what Proxi is for

(I do actually have a fic planned where Linkle is War at an event, and War is just pretending to be some nobleman (theyre all wearing masks so his face isnt super identifiable and no one but the intended target and the chain know its him))

but to have an attempt made on Linkle’s life while she’s pretending to be him and to have War there to WATCH?? delicious thank you for the thought i will be doing something with this at some point and ill gift it to you on ao3

[necroixe]

Js realized I never posted this guy but I have ocs other than Nico I swear lmaoo

This is Noah, formerly known as Micah Vance before he got fucked over by slender man as they all do and ws hit with a healthy dose of cloud strife style retrograde amnesia + identity theft.

Full character file and details under the cut! Be warned– it’s LONG:

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‘ ‘ did you say something, what’d you say?... ‘ ‘

‘ ‘ was that your voice, or was that me? ‘ ‘

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N A M E

Noah Rivers

A L I A S

The ghost

A G E

22

G E N D E R

Male, he/him

S E X

Male

Noah is a human operator proxy.

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"I've never been fucking scared of you," He snapped, and Noah grabbed his jaw.

"I've always hated that."

"What?"

"How often you lie through your fucking teeth."

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A P P E A R A N C E

The most notable thing about Noah is his mask. It's drawn over crudely with charcoal, smudged all over, black around the eyes, the nose, the mouth. But the features are visible. The nose is sharp and angular, and the lips are drawn in a thin line. He wears it so often it's more like his face than his actual face. The only time he takes it off is when he's asleep, and sometimes not even then. His actual face, the one under the mask, has a scar that drags from above his right eyebrow down across his nose to his left jawline. His face is slim, angular, edges hazy against a monochromatic color scheme. The structure of his face is proportionate but it’s usually frowning, brows furrowed, mouth cut into a scowl. His features look like they were cut from alabaster or marble. Would’ve been pretty, maybe, in another universe. His eyes should've been black, but one of them is blinded, grayed over, and the other seems perpetually suited for low light. They are upturned, half lidded at a default and followed by bags, lines, and dark circles. They look bruised or dusky in color. He's bad with bright lights. He has black hair, cut choppy and messy, like he did it himself. His skin is so pale it's almost a sort of gray, the kind that suggests he doesn't see sun often. Lips chapped and dry, always cracked and bleeding, same with his hands, long black nails he likes painting for a reason he can't fully explain. They make his already slender fingers appear longer than they are. Almost clawlike. Noah is thin. He's tall, taller than he remembers, standing at 5’11”. He's built like an alley cat, all sinew and muscle, sharp shoulders, sharp bones. Scars all over his body. Some are new, from fights, other's he's had before he can remember in odd, purposeful places.

V O I C E

Baritone

Rough, and unused. When speaking his voice is barely above a whisper. He’s one of those people with a voice so low you have to lean in to listen. There’s an edge to his tone, a slight southern drawl. Sometimes the things he says sound more like they’re coming from a machine than a person. His voice is muffled when it’s under the mask, he compensates by being slightly louder.

S C E N T

His scent isn’t something that’s easy to pinpoint. It’s almost sterile, but not hospital sterile. He kind of smells like the woods.

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‘ ‘ how many times did i tell you

before it finally got through? ‘ ‘

‘ ‘ you lose. ‘ ‘

‘ ‘ you lose. ‘ ‘

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C O M B A T

Noah has heightened strength and speed, but he’s still human. A human that ignores the capabilities of his own body, but human nonetheless. He’s a skilled fighter, can hold his own against nearly anyone when weapons aren’t involved. He doesn’t like knives. Helpless with them, helpless against them. Noah is a firearms sort of guy. Always has a gun on him, either a pistol, or when he’s hunting he has a rifle. He’s interesting during fights. A textbook masochist. Pain doesn’t elicit the same reaction from him as it would for most other people. At best, he’ll ignore it, at worst, he’s drunk on it.

P E R S O N A L I T Y

Noah doesn’t remember much about his life before meeting the operator, if anything. There are glimpses of a history that doesn’t feel like his in the back of his mind, or when he’s half asleep, or when his brain turns off and he isn’t really thinking. Those are his favorite moments. Where he can pretend he isn’t himself. He’s a murderer. He’s quiet, and secretive, and temperamental. What might’ve at one point been a charming persona, dulled and narrowed itself down to a chassis unrecognizable to people who knew him when he was younger. He’s quick to anger. Restless when things are calm, and when he feels alright. He’s never actively antagonistic, but he doesn’t like other people, and his skin itches for instability. He can never hold down a relationship. Of any kind, platonic, romantic. Always ends up ruining it somehow. And he likes it that way. He doesn’t even know why he’s so angry, he just is. His internal world is indecipherable, even to him. He’s constantly mixing things up, getting things wrong, getting distracted, forgetting things. Which is strange, because in the abstract he’s intelligent. There are moments where it seems like he’s lucid, and he’s calm, easy going, likable, even. He has a dry sense of humor that on boys like him feel more charismatic than it actually is. But the neuroticism always comes back eventually. He isn’t Noah without the neuroticism. Maybe he isn’t Noah at all.

B A C K S T O R Y

He isn't. He grew up as a boy named Micah. A different person, honestly. Relatively normal, all things considered. Had parents, friends, a boyfriend, people that cared about him. A trajectory that should’ve been normal. He would’ve graduated highschool, gone to college, him and his boyfriend would break up and he’d marry a girl, or they wouldn’t and they’d end up together only to divorce later, or something. He thought domestic bliss was a stupid concept. Would give anything for it now.

The operator in his hometown was a story you told to kids. They called him the thin man. Micah and his friends would play in the woods on the outskirts of Haven, hunt for bird eggs, mark fake trails, the woods were sparse enough to not really worry about getting lost or losing each other, you could walk in any direction and reach a clearing in half an hour, or so, until you reached the deepwood, but no one went in there. Not even him. Haven was famous for having people go into that part of the woods and never come out. They said it’s because it was so disorienting, that you could walk in without even realizing it, and before you know it all the branches look the same and you can’t see a path. But when he was nineteen he went in. And he met the reason why no one ever really left those woods.

The concept of a proxy was weird to him. Someone that worked for an invisible force of nature you couldn’t see, but you could feel, and Micah felt him in the form of thick static at the back of his neck. Then again, he was drugged the entire time. It might’ve been that. The man who’d kidnapped him was named Noah. He was older, had a limp, a face he covered up by some sort of mask. Micah couldn’t remember. But he remembered his hands. They were unstable, shook constantly, leathery skin, or maybe gloves. Felt like fire. He remembered the way they’d palpitate when he took a blade, dragged it down his face, or somewhere else on his body. And this man, Micah would think to himself in a sedated haze, would use those hands to kill him. There was no universe where he got out of here in one piece.

The brain does fascinating things under extreme trauma. Noah would’ve made a brilliant psychiatrist in the 50s, because he’d triggered an artificial disassociation in Micah that helped him survive the ordeal at all. Mind over matter, he’d think, over, and over, and over, mind over matter. If he liked how much it hurt it wouldn’t be so bad. He’d make himself like it. If he missed home, his boyfriend’s stupid face so much he wanted to die, he’d tell himself he didn’t miss any of it at all. Where was he now? They’d gotten into a fight the last time he remembered, he wasn’t looking for him, wouldn’t save him, it was a waste of energy he didn’t have the luxury to sacrifice. The sedative helped. He didn’t know what it was. Some sort of depressant. His mind reeled, ran, sludged, brain into liquid. He wondered if Noah did this to everyone. Whatever that static was, it never shut up. A constant, ear grating buzz. Red noise. He’d get sick, Noah would laugh at him. He hated Noah. Hated Noah’s voice, his shaking hands, the smug sort of way he’d talk to him like he’d already won, like he’d already killed him. And he really should’ve. Noah was arrogant. Didn’t think he needed a gun for him, even though he had dozens lining the wall of his basement, an arsenal. And he didn’t. It wouldn’t have been difficult to kill someone locked to a chair and half awake. He was just an idiot. Let Micah slip out, let him kill him. His death was anticlimactic. A face pumped full of lead, features torn asunder. But the static was too loud all of a sudden, and he was nauseous, and his vision dimmed.

The amnesia paired itself with some delusion disorder, courtesy of the operator, he’d realize. He didn’t recognize his face, or his body, a perpetual state of psychosis, of dysphoria. Noah was the strongest thing in his mind. The last thing he really remembered. Maybe that’s why he latched onto the name. The memory of him. Or a voice he didn’t recognize told him it was him, that it was the only thing he made sense. This was Noah’s cabin, he recognized it, recognized the rooms, the temperature, the basement, the bloody, empty spot on the floor where something should’ve been. And then Noah’s cabin turned into his cabin. Noah’s mind turned into his mind. Some things scared him. He didn’t understand why his hands didn’t shake anymore, why he couldn’t stand to see his own face. But he clings to anything familiar. The thin man is familiar. He does what it tells him to.

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“you had no right to kill him.”

A voice said, from nowhere and everywhere all at once, register so alien and low it made his heart flatten to the pit of his stomach.

“a life for a life. your kind values equivocal exchange, no?”

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[renatoferreiradasilva]

Analog Gravity Models Using Viscous Fluids: A Pedagogical and Experimental Approach to Black Hole Phenomena

Abstract

This paper proposes an analog gravity model based on the conceptual flow of viscous fluids through conical surfaces to simulate gravitational effects near black holes. Using accessible materials as thought experiments—such as coffee filters, colored fluids, and fine particulates—we develop theoretical analogies to features like the event horizon, accretion disk, Hawking radiation, and temporal dilation. While no experimental tests were conducted, we outline hypothetical outcomes and educational potential. This work bridges theoretical physics and classroom speculation, offering a low-cost yet conceptually rich approach to understanding black hole dynamics.

1. Introduction

The study of black holes remains central to gravitational physics, yet direct empirical access is fundamentally limited by their causal structures. Analog gravity models offer an alternative path: by reproducing aspects of curved spacetime through controllable laboratory-like thought systems, they provide intuitive platforms for exploring complex phenomena. Inspired by Unruh's (1981) acoustic black holes and Visser's (1998) formulation of analog metrics, this work proposes a viscous-fluid-based analog model grounded in didactic accessibility and physical plausibility.

2. Theoretical Background

2.1 General Relativity and Black Holes

Einstein's general theory of relativity predicts the existence of regions where spacetime curvature becomes extreme, such as near black holes. The Schwarzschild solution describes non-rotating black holes, while the Kerr metric incorporates angular momentum. Key concepts include the event horizon, singularity, time dilation, and frame dragging.

2.2 Analog Models and Acoustic Metrics

Unruh (1981) demonstrated that perturbations in a moving fluid can obey an effective spacetime geometry. Visser (1998) formalized this idea using the notion of an "acoustic metric" in barotropic, irrotational flows. Such analogies have since been expanded to optical, condensed matter, and hydrodynamic systems.

2.3 Viscous Fluids and Flow Dynamics

Viscous fluids obey the Navier-Stokes equations, where internal friction (viscosity) affects momentum transport and flow profiles. In our analog, viscosity functions as a proxy for gravitational strength: higher viscosity corresponds to stronger curvature and longer escape times, reflecting increased temporal dilation.

3. Theoretical Design

3.1 Hypothetical Setup

Transparent acrylic or glass coffee funnel

Paper filter

Colored fluids (e.g., water, milk, diluted honey, oil)

Fine coffee grounds or dyed particulate matter

Smartphone with slow-motion video capture

Graduated cylinder, scale, timer

3.2 Proposed Procedure

Insert paper filter into funnel, add uniform layer of coffee grounds.

Heat fluid to ~70–80°C and mix with colored dye.

Pour 100 mL of fluid into funnel and start timer.

Record flow using slow-motion capture.

Measure total drainage time, note flow profile and retention of particles.

Repeat with fluids of increasing viscosity.

3.3 Variables (Theoretical)

Independent: fluid viscosity, temperature

Dependent: escape time, particle retention, flow profile

Controlled: funnel shape, fluid volume, particulate amount

4. Discussion of Expected Outcomes

4.1 Anticipated Behaviors

Fluid TypeViscosity (mPa·s)Hypothetical Escape Time (s)Hypothetical Particle Retention (%)Hot water~1.0510Milk~3.01530Honey (diluted)~50.03050Vegetable oil~100.05070Undiluted honey~200.08090

4.2 Interpretation

Event Horizon: defined by the point at which fluid irreversibly crosses the filter boundary

Time Dilation: modeled by increasing escape time with higher viscosity

Accretion Disk: represented by spiral flow patterns and lateral particle retention

Hawking Radiation: modeled by particles escaping laterally or in final droplets

4.3 Graphical Projection

A dual-axis conceptual graph demonstrates the anticipated nonlinear relationship between viscosity, escape time, and particle retention, capturing the analogy between stronger gravitational fields and slower, more retentive flows.

5. Educational Applications

This model serves as a theoretical and conceptual tool for teaching:

Time dilation and spacetime curvature

Horizon concepts and causal structure

Energy dissipation and gravitational analogies

5.1 Suggested Classroom Activity

Objective: Simulate gravitational phenomena using accessible fluid dynamics

Steps:

Students predict flow outcomes based on fluid types

Analyze proposed flow rates, retention, and visual flow patterns

Relate findings to general relativistic concepts

Discussion Questions:

Which fluid best models a strong gravitational field?

What does particle retention suggest about information loss?

How does escape time relate to gravitational redshift?

6. Conclusion

Viscous fluid flow through a conical filter provides a compelling analog to black hole environments. While this study remains theoretical, it demonstrates that physical analogies can translate advanced gravitational ideas into observable, manipulable dynamics. The proposed model opens pathways for hybrid instruction in physics, engineering, and philosophy of science.

References

Einstein, A. (1916). "The Foundation of the General Theory of Relativity." Annalen der Physik.

Hawking, S. W. (1974). "Black hole explosions?" Nature, 248(5443), 30–31.

Unruh, W. G. (1981). "Experimental Black-Hole Evaporation?" Phys. Rev. Lett., 46(21), 1351–1353.

Visser, M. (1998). "Acoustic black holes: Horizons, ergospheres and Hawking radiation." Classical and Quantum Gravity, 15(6), 1767–1791.

Steinhauer, J. (2016). "Observation of quantum Hawking radiation and its entanglement in an analogue black hole." Nature Physics, 12, 959–965.

[el-graduado-vidrieras]

Verás, lo de Alemania, al menos para mí, es de traca. Si esto no cambia o si no hay países que se opongan, el final será imprevisible, no por nosotros, sino por el berenjenal en el que se están metiendo ellos solitos con algo que solo dejará sufrimiento económico a la ciudadanía en general.

El plan integral del ejército alemán es de paranoia: Rusia aparece como un riesgo existencial y se habla de unos supuestos preparativos del Kremlin para una guerra a gran escala con la OTAN para finales de la década. Así que el objetivo del Bundeswehr es alcanzar la plena disponibilidad operativa para 2029. Fíjate lo surrealista de la situación: si los rusos quisieran acabar con Alemania, no deberían esperar; digo yo, deberían atacar ahora, cuando el ejército no tiene ni uniformes para vestir a sus tropas.

Es evidente que lo que se pretende es hacer una Europa proxy con este individuo, Merz, que pasó de dirigir el fondo buitre BlackRock a dirigir la cancillería alemana, sin otro programa que el rearme, la militarización y el atlantismo. Esto, en los tiempos que corren, no es más que el taparrabos de las provocaciones contra Rusia.

Se acabaron los tiempos y los intentos de mejorar las relaciones con Moscú. Hubo un tiempo en el que Berlín creyó que la estabilidad política y la paz en Europa podían lograrse mediante el fortalecimiento de los lazos económicos y la negociación con Moscú. Hoy nada de esto es reversible.

Con Merz y otros como él, el rearme y la militarización se han convertido en la piedra angular de su mandato, el plan más ambicioso desde el final de la Segunda Guerra Mundial. Las previsiones de gasto militar representan casi la mitad del presupuesto federal. Para lograrlo, Merz quiere cambiar la Constitución, que pone freno al endeudamiento. Eso sí que es una auténtica salvajada. En 15 años, los países europeos han pasado de preocuparse por la deuda a preocuparse por lo contrario. Dirán que si el problema es la Constitución, se cambia por otra y pasamos a otro asunto del orden del día.

Pero Scholz no cambió nada y a Merz le ocurrirá lo mismo. Como en cualquier otro país, los políticos alemanes ocupan su cargo por las promesas que hacen, no por las que cumplen.

Las prioridades son de locos: incluyen, en nada de tiempo (menos de cinco años), equipar y digitalizar todas las unidades, reintroducir el servicio militar obligatorio, desarrollar defensas antidrones y antimisiles, fortalecer las capacidades ofensivas de guerra cibernética y electrónica, e incluso desarrollar sistemas de defensa espaciales.

Como sabes, durante gran parte de la posguerra, Alemania no solo hacía política, sino que tenía un compromiso moral forjado a partir de las cenizas del III Reich. La Bundeswehr era un ejército parlamentario anclado en instituciones multilaterales, como la OTAN, diseñadas para limitar el patrioterismo. Hoy ni siquiera esto: todo va de industria bélica y negocios.

Lo que nadie de la élite se da cuenta, al menos, es que el problema lo veo en la población. Una encuesta reveló que más del 60 por cien de los alemanes de entre 18 y 29 años se opone al reclutamiento; solo el 19 por cien lucharía si Alemania fuera atacada. El apoyo es mucho mayor entre los mayores de 60 años, lejos de la edad de reclutamiento. Esta brecha generacional refleja realidades muy diferentes.

No se trata solo de patriotismo, sino también de que el Estado alemán ya ha recortado tanto sus prestaciones sociales que tiene muy poco que ofrecer con el país en un grave receso económico. Por su parte, los reclutas no tienen nada y no ven nada que merezca la pena defender hasta el punto de sacrificar la vida. Igual que pasa en otros países como España, dile tú a un joven que se aliste en el ejército para salvar los intereses de los poderosos, porque la soberanía como tal ya se sabe que en Europa hace tiempo que se perdió.

Al final es posible que, gracias al rearme, el ejército alemán esté muy bien equipado, pero nadie para apretar el gatillo.

Un drama lo mires por donde lo mires.

[faithwounded]

[ FIG ] sender, knowing receiver is hungry, pressures them to eat.

The spectre of Malfoy Manor is its lady; an elegant phantom draped in misty robes that trail behind balletic footfalls like eldritch chains. She moves with the preternatural grace of something dwelling beyond the veil and yet shackled to a failing world and its insidious faults. Drifting through ornate halls and cavernous parlours, and leaving no impression. Even house elves fail to notice their mistress, where once they were receptive to her most subtle nuances, as the witch wastes away in her pursuit of an ideal.

Neither sleep nor sustencance has graced her frame in days, not since that cursed moment Lucius had received his summons. The call had reverberated through every room like a town bell clammering across doomed city, cacophonous and threatening to crack the marble under profound volume. Still, it ricocheted within her skull, hounding and snapping at her heels like damned hellion from a forgotten past. Remnant of a previous life crawled from the grave now gouging at wounds she had thought safely scarred, leaving them to fester, and the ghostly ache of fallen soldiers in a prior war to drive her mad.

Perfection.

Perfection.

Perfection.

Bitter war waged against each individual granule of dust as a proxy for real or imagined flaws she suddenly perceives in herself. Impending failure mantles her form, settles into the fine lines that embrace cerulean eyes, and she flinches from the intolerable softness that curls around angular bones every time she glances in a mirror. A decade of age and luxury the slices uncomfortably into fragile skin and she would carve herself free if she could. Halfway ascended the stairs toward the master suite to compulsively condemn her appearance, disparage every visible indicator of inadequacy that lingers on the edges of her being.

Is the formal dining room ready to receive? Thought collides with narrow frame, poisoned tip of the arrow sliding neatly between delicate ivory ribs to exacerbate anxious pound of her chest, the hollow clenching in her abdomen. Disregards both as inexcusable weakness, exploitable flaws not allowed to marr statuesque visage. Spin on patent heels echoed behind tumultuous current of her eyes which fall behind physical movement, and she can't see the stair on which to place her foot.

Firm hold on lithe waist, masculine fingers nearly envelop entire circumfrence and prevent further stumble. Alabaster fingers curl into luxurious robes in desperate attempt to secure her stance, and her husband is bulwark against the floor of the reception hall rising to meet her. Elegant column of her neck concedes and pale forehead falls to rest against steady shoulder, quiet sigh of relief whispering from petal lips, hidden where only Lucius may see it. The rest of the world is granted only Lady Malfoy, a statue carved immaculately from marble; @scrpcntfathcr is the only one she trusts with Narcissa the woman, and the quiet vulnerabilities that claw her from the inside out.

Quiet insistence that she needs to eat drapes oppressively across narrow shoulders, prompting faint recoil. Spine is gilt in iron as the witch remedies her posture with impeccable precision. Very essence of her being is cast in frigid perfection. "I need to check the table settings…if He is to come, then everything must be in order. I won't allow my stewardship of the home to reflect poorly on you or Draco." Chokes on the words that gouge her throat, and breath is stones obstructing her lungs. "I wasn't prepared… I thought we were done with this part of our lives…"

[izzysdart]

Art and its Proximity to Power

The art we make cannot be divorced from the context it is made in. As much as one can parrot the idea of separating the art from the artist, the person who created a work and the environment it was created in is integral to understanding a work of art—be it a book, a painting, a sculpture, a composition, a building, or more, each work of art is a product of something, and as a result of that "something” it is made with a purpose. 

Throughout history, the purpose of many famous works of art was power. This came in multiple forms. The power a work would create could be through its contents, through who it is made for, or through its ownership. For much of history, those who owned custom works of art were the powerful, thus it comes to reason that the works created for and about them would be their mirror. Art has played a vital role throughout history as a means for different civilizations, organizations, and rulers to exert their authority. Each work presented throughout this tour through history are examples of the influence these motivations have over art, both in its inception and in its survival.  

Steele of Hammurabi, c. 1792-1750 BC, Babylonian. From Sippar, Mesopotamia. 

The Steele, or Code, of Hammurabi is one of the first examples of written legislature in history. Currently displayed at the Louvre, the work is made up entirely of engraved basalt, with inscriptions of Hammurabi's code in cuneiform covering the entire surface. This is with the exception of the engraving on the front of the stone. This depicts Hammurabi and the god Samash, the Babylonian god of justice. This is the only non-cuneiform engraving on the sculpture. The contents of this engraving tie both Hammurabi himself and the words he is delivering to something divine. The engraving is used to give more weight and authority to the ruling Hammurabi is putting in place. That is, supposedly, its purpose.

It is something to note that one of the oldest pieces of written legislature in history is tied to something that makes it a work of art. It feels, almost, that the history of the two is tied together. Art feeds the powerful, and in return the powerful fund the creation of art. This has changed somewhat in modern times, and there was definitely art made for personal consumption even in the earliest times of human existence, but the sentiment rings true for the work we know to be most prevalent.

Bust of Nefertiti, c. 1351–1334 BC, New Kingdom. From Tell el-Amarna, Egypt.

The Bust of Nefertiti is a stucco and limestone bust depicting the queen Nefertiti. It is a portrait, with scans indicating that a full sculpt of the queen was done underneath, with certain features being more smoothed over during the process of making the outer layer (Staatliche Museen Zu Berlin). The bust is lifelike, but idealized, as shown by the previously mentioned features being smoothed over in the final sculpt. It presents a heightened version of the queen, with still vibrant colors and angular features. It glorifies her, and by proxy glorifies her husband, King Akhenaten, by proxy. It is the sort of portrait only nobility of the time could afford.

Parthenon, c. 460-450 BC, Classical. In Athens, Greece.

The Parthenon, though no longer in pristine condition, is a prime example of Classical Greek architecture. It was a temple to the goddess Athena, and contained several notable works of sculpture. Supported on columns and with a fully engraved frieze and pediment, the whole structure is dedicated to the reverence of Athena (The British Museum). The frieze itself also depicts an idealized version of the Athenians. This presentation of idealized forms would influence a number of different artistic movements in the future.

Riace Bronzes, c. 460-450 BC, Classical. Reggio Calabria, Italy.

Recovered from a shipwreck in 1972, the Riace Bronzes depict a pair of men, though who exactly these men are remains unclear (Museo Archeologico Nazionale Di Reggio Calabria). They are a prime example of the statue work one can often find during the Classical era of Greek sculpture. Both are lounging in their poses, with muscular and athletic forms. They each have an arm posed to hold something-- though whatever it is in unknown, but is likely a spear of some sort. Their features and forms are idealized, and given that it is likely that they are meant to depict some sort of mythological figures, this is expected. Greek sculpture during this era placed this idealized form above all else, as it reflected well on the Greeks and by proxy placed them on a pedestal. After all, if all of the gods and goddesses are depicted with features matching your cultures, than those features must be better than others, no? Of course, this is nothing actually objective, but the purpose of sculpting the works in this way is clear: It makes the Greeks look good--more powerful.

The Pantheon, c. 113–125 AD, Roman Empire. In Rome, Italy.

The influence Ancient Grecian architecture had on that of Ancient Rome is made clear in the Pantheon. The style of its front face is similar to the Athenian structure whose name could be mistaken for the Pantheon, the Parthenon. It has a pediment and frieze, which sit atop the sort of columns one would expect to see in Ancient Greek architecture. These elements were borrowed in an effort to make the Roman Empire feel more established. The Romans are the primary source for much of our knowledge of Greek art and architecture, as they preserved many famous works through copies and casts (Marconi). There is respect in this action, but also an element of superiority. The majority of the Greek works we know of exist only as Roman copies. It makes one remember quite immediately that the Romans were the ones who came after-- who outlived the Greeks. It makes their rule feel more prevalent.

The influence, then, that both Greek and Roman architecture has had on modern architectural styles must be mentioned. Their traits can be seen clearly in government buildings throughout the US. Just as the Romans used these traits to establish themselves, so too does the US government. Even if not made out of the same materials, the pale white pillars of the White House or the entrances of the Pentagon speak to the message that these styles provide. It makes a place feel strong-- powerful, even.

Equestrian Statue of Marcus Aurelius, c. 166-180 AD, Roman Empire. From Capitoline Hill, Rome, Italy.

The influence of Hellenistic Greek styling can be seen in the Equestrian Statue of Marcus Aurelius. Meant to pay reverie to the Emperor Marus Aurelius, the statue is cast out of bronze and uses the typical features one would find in Roman sculpture. Aurelius has tight curls, and strong, stoic features as he extends an arm as if addressing the crowd from his horse. The subject of this statue is of particular interest in this case, as it depicts an emperor. The statue places Marcus Aurelius at a place physically higher from the viewer, creating an immediate sense of disconnect and superiority. In order to address the viewer he must look down. The borrowed elements of Greek sculpture become especially interesting in this context knowing that the subject of sculpture in Ancient Greece was primarily mythological figures-- gods. In this instance, however, the person being depicted is not a god, but an emperor. The connection to power and to worship, however, remains.

Horyu-Ji Temple, 607 AD, Asuka Period, Buddhist. In Ikaruga, Nara Prefecture, Japan.

The Horyu-Ji temple was a complex created for the reverence of Buddha and, eventually, became a site of reverence for the prince that led its construction, Prince Shotoku. It is one of seven temples constructed by the prince, who was one of the leading figures in Buddhism's rise to prominence in Japan (Jayadi). Following his death, the temple would become a place to venerate or honor him. It is, in some ways, a standing testament to his legacy.

It also showcases a tie between religion and architecture, as any temple does. Architecture has long been a way to commemorate one's beliefs, or to elevate them to a more righteous status. It creates a space which is meant specifically to exemplify a specific train of thought. They make the divine feel less ambiguous and give them a space that feels more grounded and real. It makes the power people claim these forces have manifest in a way one can visualize. Regardless of the truth of any which religion, the influence they have over people cannot be denied, and the place it can be seen most prominently is through art.

Maqsud Kashani, Ardabil Carpet, c. 1539–1540 AD, Persian. From Kashan, Iran.

The Arabil Carpet is the oldest surviving carpet in the world (Victoria and Albert Museum). Who it was commissioned by remains unknown, but it does contain the signature of its creator, Maqsud Kashani, alongside an excerpt of poetry. It is delicately and meticulously woven, with symmetrical, geometric designs throughout the weaving. The designs is also quite floral, weaving into each other and making up the geometric shapes throughout the carpet. It was presumably commissioned for the shrine of Shaykh Safi al-Din Ardabili, and was found there in the late 1800s.

The works that fill a place for the divine are just as important as the structure of the place. They showcase the concept's, or person's, importance. It makes the devotion people feel towards religion or religious figures physical in the same way architecture can. It gives a physical space for the power they hold.

Notre-Dame de Paris, 1345 AD, Gothic. In Paris, France.

The Notre Dame is perhaps one of the most well known Gothic Cathedrals in the world. Its structure, built upon gothic arches, buttresses, and stained glass-- like many gothic cathedrals of the time-- was built with the sole purpose of worship. The architecture of gothic cathedrals is built upon the concept of grandness. The structures it inspired were able to soar to heights not seen before, and it was all done to capture a bit more of the essence of the divine. The glass windows, in addition to depicting biblical stories, captures light in a way that makes it feel physical. Much like many works of architecture before it, the Notre Dame gives a physical presence to the God it was built to worship. It is on the backs of buildings like these that people are made to remember the power that these different religions--whichever they are built for-- are meant to have. As Elizabeth Boyle O'Reilly said, "We may live without architecture, and worship without her, but we cannot remember without her."

Art and Architecture has served as a means to legitimize the political and religious power of different figures and civilizations throughout all of history. In many ways, this is how art has survived, just as it is how history has survived. It is a symbiotic relationship. The creation is funded by the powerful, and in return art allows the powerful to not be forgotten. It is often said that history is written by the victors, and thus it must be noted that those history books are often built upon the backs of the art those victors left behind. It is art that gives them the ultimate power-- of being remembered.

Sources

Jayadi, Mahendradatta. “Prince Shotuku and His Controbution to Buddhism in Japan.” Prince Shotoku and His Contribution to Buddhism in Japan, Mar. 2012. Academia.

Louvre. “Code de Hammurabi.” Musée Du Louvre, collections.louvre.fr/en/ark:/53355/cl010174436.

Marconi, Clemente. The Oxford Handbook of Greek and Roman Art and Architecture. Oxford, Oxford University Press, 3 Nov. 2015.

Museo Archeologico Nazionale Di Reggio Calabria. “Level D.” MUSEO ARCHEOLOGICO NAZIONALE DI REGGIO CALABRIA, www.museoarcheologicoreggiocalabria.it/the-collections/livello-d-2/?lang=en.

O’Reilly, Elizabeth Boyle. How France Built Her Cathedrals; a Study in the Twelth and Thirteenth Centuries. Harper & Brothers, 1921.

Staatliche Museen Zu Berlin. “Staatliche Museen Zu Berlin: The Bust.” Staatliche Museen Zu Berlin, 2012, www.smb.museum/en/museums-institutions/aegyptisches-museum-und-papyrussammlung/collection-research/bust-of-nefertiti/the-bust/.

The British Museum. “An Introduction to the Parthenon and Its Sculptures.” The British Museum, 11 Jan. 2018, www.britishmuseum.org/blog/introduction-parthenon-and-its-sculptures.

Victoria and Albert Museum. “V&a · the Ardabil Carpet.” Victoria and Albert Museum, V&A, 2019, www.vam.ac.uk/articles/the-ardabil-carpet.

[chimeraflowposter]

Advanced JavaScript Web Development: Pushing the Boundaries of Modern Web Applications

In the ever-evolving landscape of web development, JavaScript has emerged as the cornerstone of modern web applications. Its versatility, coupled with the rise of powerful frameworks and libraries, has transformed the way developers build interactive, dynamic, and scalable websites. Advanced JavaScript development is no longer just about writing scripts to manipulate the DOM; it encompasses a wide array of techniques, tools, and paradigms that push the boundaries of what is possible on the web.

One of the key aspects of advanced JavaScript development is the use of Single Page Applications (SPAs). SPAs load a single HTML page and dynamically update the content as the user interacts with the app, providing a seamless and fluid user experience. Frameworks like React, Angular, and Vue.js have become the go-to tools for building SPAs. These frameworks leverage the Virtual DOM to optimize rendering performance, ensuring that only the necessary parts of the UI are updated, rather than reloading the entire page. This approach significantly reduces latency and improves the overall responsiveness of the application.

Another critical concept in advanced JavaScript development is asynchronous programming. With the increasing demand for real-time data and interactions, developers must handle multiple tasks concurrently without blocking the main thread. JavaScript’s event loop and Promises have been instrumental in achieving this. The introduction of async/await syntax has further simplified asynchronous code, making it more readable and maintainable. Additionally, WebSockets and Server-Sent Events (SSE) enable real-time communication between the client and server, allowing for features like live notifications, chat applications, and collaborative tools.

The rise of Progressive Web Apps (PWAs) has also revolutionized the way users interact with web applications. PWAs combine the best of web and mobile apps, offering offline capabilities, push notifications, and fast load times. Service workers, a key component of PWAs, act as a proxy between the browser and the network, enabling features like caching strategies and background sync. This ensures that users can access content even in low or no network conditions, significantly enhancing the user experience.

In the realm of performance optimization, lazy loading and code splitting have become essential techniques. Lazy loading delays the loading of non-critical resources until they are needed, reducing the initial load time of the application. Code splitting, on the other hand, breaks down the JavaScript bundle into smaller chunks, which are loaded on demand. Tools like Webpack and Rollup facilitate these processes, allowing developers to create highly optimized and efficient applications.

Security is another critical consideration in advanced JavaScript development. With the increasing complexity of web applications, vulnerabilities like Cross-Site Scripting (XSS) and Cross-Site Request Forgery (CSRF) have become more prevalent. Developers must adopt best practices such as input validation, secure authentication mechanisms, and the use of Content Security Policy (CSP) to mitigate these risks. Additionally, the adoption of HTTPS and secure cookies ensures that data transmitted between the client and server remains encrypted and protected.

The future of JavaScript development is also being shaped by emerging technologies like WebAssembly (Wasm) and Web Components. WebAssembly allows developers to run high-performance code written in languages like C++ and Rust directly in the browser, opening up new possibilities for computationally intensive tasks. Web Components, on the other hand, enable the creation of reusable and encapsulated custom elements, promoting modularity and reusability in web development.

In conclusion, advanced JavaScript development is a multifaceted discipline that requires a deep understanding of both the language and the broader ecosystem. From SPAs and PWAs to performance optimization and security, developers must continuously adapt to new tools and techniques to stay ahead in the rapidly changing world of web development. As JavaScript continues to evolve, it will undoubtedly remain at the forefront of innovation, driving the next generation of web applications.

Make order Tg Bot or Mobile app from us: @ChimeraFlowAssistantBot

Our portfolio: https://www.linkedin.com/company/chimeraflow

[learning-code-ficusoft]

How to Deploy Your Full Stack Application: A Beginner’s Guide

Deploying a full stack application involves setting up your frontend, backend, and database on a live server so users can access it over the internet. This guide covers deployment strategies, hosting services, and best practices.

1. Choosing a Deployment Platform

Popular options include:

Cloud Platforms: AWS, Google Cloud, Azure

PaaS Providers: Heroku, Vercel, Netlify

Containerized Deployment: Docker, Kubernetes

Traditional Hosting: VPS (DigitalOcean, Linode)

2. Deploying the Backend

Option 1: Deploy with a Cloud Server (e.g., AWS EC2, DigitalOcean)

Set Up a Virtual Machine (VM)

bash

ssh user@your-server-ip

Install Dependencies

Node.js (sudo apt install nodejs npm)

Python (sudo apt install python3-pip)

Database (MySQL, PostgreSQL, MongoDB)

Run the Server

bash

nohup node server.js & # For Node.js apps gunicorn app:app --daemon # For Python Flask/Django apps

Option 2: Serverless Deployment (AWS Lambda, Firebase Functions)

Pros: No server maintenance, auto-scaling

Cons: Limited control over infrastructure

3. Deploying the Frontend

Option 1: Static Site Hosting (Vercel, Netlify, GitHub Pages)

Push Code to GitHub

Connect GitHub Repo to Netlify/Vercel

Set Build Command (e.g., npm run build)

Deploy and Get Live URL

Option 2: Deploy with Nginx on a Cloud Server

Install Nginx

bash

sudo apt install nginx

Configure Nginx for React/Vue/Angular

nginx

server { listen 80; root /var/www/html; index index.html; location / { try_files $uri /index.html; } }

Restart Nginx

bash

sudo systemctl restart nginx

4. Connecting Frontend and Backend

Use CORS middleware to allow cross-origin requests

Set up reverse proxy with Nginx

Secure API with authentication tokens (JWT, OAuth)

5. Database Setup

Cloud Databases: AWS RDS, Firebase, MongoDB Atlas

Self-Hosted Databases: PostgreSQL, MySQL on a VPS

bash# Example: Run PostgreSQL on DigitalOcean sudo apt install postgresql sudo systemctl start postgresql

6. Security & Optimization

✅ SSL Certificate: Secure site with HTTPS (Let’s Encrypt) ✅ Load Balancing: Use AWS ALB, Nginx reverse proxy ✅ Scaling: Auto-scale with Kubernetes or cloud functions ✅ Logging & Monitoring: Use Datadog, New Relic, AWS CloudWatch

7. CI/CD for Automated Deployment

GitHub Actions: Automate builds and deployment

Jenkins/GitLab CI/CD: Custom pipelines for complex deployments

Docker & Kubernetes: Containerized deployment for scalability

Final Thoughts

Deploying a full stack app requires setting up hosting, configuring the backend, deploying the frontend, and securing the application. 

Cloud platforms like AWS, Heroku, and Vercel simplify the process, while advanced setups use Kubernetes and Docker for scalability.

WEBSITE: https://www.ficusoft.in/full-stack-developer-course-in-chennai/

[anumberofhobbies]

NASA web page linked to within that Flicker post mentioned in previous. There is great beauty in the universe.

This is largest photomosaic ever assembled from Hubble Space Telescope observations. It is a panoramic view of the neighboring Andromeda galaxy, located 2.5 million light-years away. It took over 10 years to make this vast and colorful portrait of the galaxy, requiring over 600 Hubble overlapping snapshots that were challenging to stitch together. The galaxy is so close to us, that in angular size it is six times the apparent diameter of the full Moon, and can be seen with the unaided eye. For Hubble’s pinpoint view, that’s a lot of celestial real estate to cover. This stunning, colorful mosaic captures the glow of 200 million stars. That’s still a fraction of Andromeda’s population. And the stars are spread across about 2.5 billion pixels. The detailed look at the resolved stars will help astronomers piece together the galaxy’s past history that includes mergers with smaller satellite galaxies. NASA, ESA, Benjamin F. Williams (UWashington), Zhuo Chen (UWashington), L. Clifton Johnson (Northwestern); Image Processing: Joseph DePasquale (STScI) Download this image (10,552 x 2,468)(9 MB) Download this image (42,208 x 9,870)(203 MB) Without Andromeda as a proxy for spiral galaxies in the universe at large, astronomers would know much less about the structure and evolution of our own Milky Way. That’s because we are embedded inside the Milky Way. This is like trying to understand the layout of New York City by standing in the middle of Central Park. “With Hubble we can get into enormous detail about what’s happening on a holistic scale across the entire disk of the galaxy. You can’t do that with any other large galaxy,” said principal investigator Ben Williams of the University of Washington. Hubble’s sharp imaging capabilities can resolve more than 200 million stars in the Andromeda galaxy, detecting only stars brighter than our Sun. They look like grains of sand across the beach. But that’s just the tip of the iceberg. Andromeda’s total population is estimated to be 1 trillion stars, with many less massive stars falling below Hubble’s sensitivity limit. Photographing Andromeda was a herculean task because the galaxy is a much bigger target on the sky than the galaxies Hubble routinely observes, which are often billions of light-years away. The full mosaic was carried out under two Hubble programs. In total, it required over 1,000 Hubble orbits, spanning more than a decade. This panorama started with the Panchromatic Hubble Andromeda Treasury (PHAT) program about a decade ago. Images were obtained at near-ultraviolet, visible, and near-infrared wavelengths using the Advanced Camera for Surveys and the Wide Field Camera 3 aboard Hubble to photograph the northern half of Andromeda.

[webscrapinghq]

Challenges of Job Postings Scraper

Scraping job postings from websites can be highly beneficial, but it also comes with several challenges. Here’s a detailed look at the obstacles you might encounter when building or using a job postings scraper:

1. Legal and Ethical Challenges

Terms of Service (ToS) Violations: Many job boards explicitly prohibit scraping in their ToS. Violating these terms could lead to legal repercussions or being banned.

Copyright Issues: Extracting and using data without permission might infringe on copyright laws.

Data Privacy Concerns: Some job postings may include sensitive information, requiring compliance with privacy laws like GDPR or CCPA.

2. Technical Challenges

Dynamic Content: Many job sites use JavaScript frameworks (e.g., React, Angular) to load content dynamically, making it challenging to scrape.

CAPTCHAs and Anti-Bot Mechanisms: Sites often implement tools like CAPTCHAs, rate-limiting, or IP blocking to prevent automated scraping.

Frequent HTML Structure Changes: Websites often update their layouts, breaking scrapers and requiring constant maintenance.

Pagination Handling: Extracting data from multi-page results requires robust handling of pagination, which may include infinite scrolling or complex AJAX requests.

3. Data Quality and Consistency

Incomplete or Inaccurate Data: Inconsistent formatting or missing fields (e.g., salary, location) can lead to poor-quality data.

Duplicate Postings: Identical jobs may appear across multiple pages or sources, requiring deduplication processes.

Irregular Job Titles and Descriptions: Variations in job titles and unstructured descriptions can complicate categorization and analysis.

4. Scalability

High Volume of Data: Job postings are constantly updated, and large-scale scraping can strain resources, leading to performance issues.

Server Resource Management: Managing proxies, handling large datasets, and avoiding server overload requires robust infrastructure.

5. Localization Challenges

Language Barriers: Scraping multilingual sites may require language detection and translation for meaningful analysis.

Regional Restrictions: Some websites restrict access based on geographical location, necessitating the use of proxies or VPNs.

6. Ethical Use of Data

Reputation Risk: Misuse of scraped data, such as reselling or republishing without proper attribution, can damage your reputation.

Impact on Target Websites: Excessive scraping can lead to server load issues for the targeted website, creating ethical concerns.

7. Integration with Existing Systems

Data Normalization: Standardizing scraped data to fit into existing databases or workflows can be complex.

API Compatibility: Scraped data might need to integrate with ATS (Applicant Tracking Systems) or analytics platforms, requiring additional processing.

8. Monitoring and Maintenance

Website Monitoring: Continuous updates are needed to keep the scraper functional as websites evolve.

Error Handling: Unexpected errors (e.g., server timeouts or changes in data structure) must be handled gracefully.

you can directly contact for web scraping service provider for better results

[stevenmark04]

Understanding Design Patterns in Software Engineering

Design patterns play a crucial role in software engineering by offering reusable solutions to common problems encountered during development. They provide a standardized approach to designing software systems, making them more robust, maintainable, and scalable. This article explores the concept of design patterns, their types, and their significance in modern software engineering.

1. What Are Design Patterns?

Design patterns are proven templates or blueprints for solving recurring design problems in software development. They are not specific pieces of code but rather conceptual frameworks that guide developers in structuring their solutions effectively.

Key Characteristics:

Reusability: Promote code reuse across projects.

Scalability: Provide frameworks that adapt to growing requirements.

Best Practices: Reflect tried-and-tested solutions used by experienced developers.

Origin:

The concept of design patterns was popularized by the "Gang of Four" (GoF) in their book "Design Patterns: Elements of Reusable Object-Oriented Software" published in 1994.

2. Why Are Design Patterns Important?

Design patterns streamline the development process by:

Benefits:

Improving Code Readability: Standardized patterns make it easier for teams to understand and collaborate on code.

Facilitating Maintenance: Encouraging clean, modular design simplifies debugging and updates.

Encouraging Flexibility: Patterns promote loosely coupled code, enabling easier modifications and extensions.

Reducing Development Time: Leveraging existing patterns saves time compared to designing solutions from scratch.

3. Types of Design Patterns

Design patterns are broadly categorized into three types:

a. Creational Patterns

These patterns deal with object creation, ensuring flexibility and reuse.

Examples:

Singleton: Ensures a class has only one instance and provides a global access point.

Factory Method: Defines an interface for creating objects, allowing subclasses to alter the type of objects created.

Builder: Separates the construction of a complex object from its representation.

b. Structural Patterns

Structural patterns focus on class and object composition, ensuring the system’s components work together efficiently.

Examples:

Adapter: Allows incompatible interfaces to work together.

Decorator: Dynamically adds behavior to objects without modifying their code.

Composite: Composes objects into tree structures to represent part-whole hierarchies.

c. Behavioral Patterns

These patterns deal with communication and interaction between objects.

Examples:

Observer: Defines a one-to-many dependency between objects so that when one object changes state, all dependents are notified.

Strategy: Enables selecting an algorithm’s behavior at runtime.

Command: Encapsulates a request as an object, allowing parameterization of requests.

4. Commonly Used Design Patterns

a. Model-View-Controller (MVC)

Purpose: Separates an application into three interconnected components: Model, View, and Controller.

Use Cases: Web and mobile application development.

b. Dependency Injection (DI)

Purpose: Decouples object creation from its usage by injecting dependencies at runtime.

Use Cases: Frameworks like Spring and Angular.

c. Proxy Pattern

Purpose: Provides a placeholder or surrogate for another object to control access.

Use Cases: Lazy initialization, access control, and logging.

5. When to Use Design Patterns

Design patterns should be applied when:

A problem recurs frequently in your projects.

You need to ensure your code adheres to industry best practices.

Collaboration is necessary, and team members benefit from standardization.

Scalability and maintainability are critical for your application.

However, avoid overusing patterns where simpler solutions suffice, as this can lead to unnecessary complexity.

6. Challenges in Using Design Patterns

While beneficial, design patterns can present certain challenges:

Learning Curve: Understanding and applying patterns requires practice.

Overengineering: Improper use can lead to overly complex solutions.

Pattern Selection: Choosing the right pattern for a specific problem can be challenging.

7. Future of Design Patterns

With the rise of new technologies, design patterns continue to evolve:

AI and ML Integration: Patterns are being developed to optimize AI workflows and data pipelines.

Cloud Computing: Microservices architecture has led to new patterns like Circuit Breaker and API Gateway.

DevOps: Patterns like Infrastructure as Code (IaC) are gaining prominence in CI/CD pipelines.

Conclusion

Understanding design patterns is essential for software engineers aiming to write efficient, scalable, and maintainable code. By mastering these reusable templates, developers can tackle complex problems with confidence and consistency. While they require time and effort to learn, the long-term benefits in productivity and software quality make them invaluable. As technology continues to evolve, staying updated with emerging patterns will ensure that developers remain at the forefront of innovation.

[tallysgreatestfan]

I am either cis or questioning, so I don't really manage to formulate this in more detail than this, but:

Thinking about how cyborgs can be read as being both a feminine symbol (the organic body) and a masculine symbol (technology) in one, and so go beyond a cis understanding of gender.

And Dr. Cable already in the book transcending the expectations towards a female villain, and feeling quite uniquely gendered. And then in the movie she is actually played by Laverne Cox, being implied to be a trans woman by proxy, and she is very feminine, but not to be submissive, but to show her power.

Tally definitely feels like a girl in "Uglies", a mischievous and adventurous girl, but still just a girl. And she is forced to be even more feminine as a Pretty. But as she becomes a cyborg (Special), something about her gender starts to feel more complex. She is meant to be a weapon, she is aggressive and destructive and lost connection to her emotions. She looks angular and intimidating. And, and this is not directly described, but feels consequent, she likely is very muscular and tall. After she managed to gain back her own humanity, this masculine body is the happiest and safest she ever feels in her own body.

Love how the movie gave Shay short hair already as Ugly, bringing this vague sense of her subverting girl gender rules already as Ugly in the forefront. Like Tally, she is forced to be feminine as a Pretty, but unlike Tally, she consensually - albeit with manipulation through Dr. Cable - chooses to become a Special. And now she too feels like just describing her as woman, even butch woman, is not nuanced enough, just as she became a cyborg. Like for Tally, this is the body that feels the most her for her.

[ketan-patel19]

Essential Tools for High-Quality Web Development Services

For web development services, having the right set of tools is crucial to streamline the development process, enhance productivity, and ensure top-quality outputs. Here are some recommended tools across different aspects of website development services:

1. Code Editors and IDEs

Visual Studio Code (VS Code): A lightweight yet powerful code editor with built-in Git support and a wide range of extensions.

Sublime Text: A fast, feature-rich code editor with extensive customization options.

JetBrains WebStorm: A robust IDE specifically designed for JavaScript development, offering powerful features for modern frameworks.

2. Version Control

Git: A distributed version control system essential for tracking changes and collaborating on code.

GitHub: A platform for hosting Git repositories, code collaboration, and project management.

GitLab: A comprehensive DevOps platform offering Git repository management, CI/CD, and more.

3. Front-end Development

React: A popular JavaScript library for building user interfaces.

Angular: A powerful framework for building dynamic web applications.

Vue.js: A progressive JavaScript framework for building user interfaces.

Bootstrap: A front-end framework for developing responsive and mobile-first websites, crucial for any website development service.

4. Back-end Development

Node.js: A JavaScript runtime for building scalable server-side applications.

Django: A high-level Python web framework that encourages rapid development and clean, pragmatic design.

Laravel: A PHP framework known for its elegant syntax and extensive feature set.

5. Database Management

MySQL: A widely-used relational database management system.

PostgreSQL: An advanced open-source relational database system with a strong reputation for reliability and feature robustness.

MongoDB: A popular NoSQL database for storing and retrieving large volumes of data, often used in web development services.

6. API Development

Postman: A collaboration platform for API development, testing, and documentation.

Swagger: Tools for designing, building, documenting, and consuming RESTful web services.

7. Containerization and Orchestration

Docker: A platform for developing, shipping, and running applications in containers.

Kubernetes: An open-source system for automating deployment, scaling, and management of containerized applications.

8. CI/CD Tools

Jenkins: An open-source automation server for continuous integration and delivery.

CircleCI: A CI/CD service that supports rapid software development and publishing.

Travis CI: A CI/CD service used to build and test software projects hosted on GitHub.

9. Project Management and Collaboration

Jira: A project management tool for planning, tracking, and managing agile software development projects.

Trello: A visual collaboration tool that creates a shared perspective on any project.

Slack: A messaging app for teams that supports collaboration through channels, direct messages, and integrations with other tools.

10. Design and Prototyping

Adobe XD: A vector-based tool for designing and prototyping user experiences for web and mobile apps.

Figma: A collaborative interface design tool that allows multiple designers to work simultaneously.

Sketch: A digital design toolkit for macOS focused on UI/UX design.

11. Performance and Testing

Selenium: A suite of tools for automating web browsers for testing purposes.

Lighthouse: An open-source tool for auditing web performance, accessibility, SEO, and more.

Jest: A JavaScript testing framework designed to ensure the correctness of any JavaScript codebase, important for website development services.

12. Security

OWASP ZAP: An open-source web application security scanner to find security vulnerabilities in web applications.

Burp Suite: A suite of tools for testing web security, including a proxy, scanner, and intruder.

13. Monitoring and Analytics

Google Analytics: A powerful tool for tracking and analyzing website traffic and user behavior.

New Relic: A suite of performance monitoring tools to observe application performance, infrastructure, and user experience.

Datadog: A monitoring and security platform for cloud applications, essential for maintaining professional web development services.

These tools can help streamline your web development services, improve productivity, ensure high-quality outputs, and maintain secure and efficient applications. Depending on your specific project requirements and team preferences, you can choose the tools that best fit your web development service workflow. For those looking to enhance their website development services, these tools are indispensable in creating robust, high-performing websites that meet client needs and industry standards.

[web99official]

Progressive Web Apps (Pwas): Transforming User Experiences in the Australian

In the fast-paced digital realm, where user experience is king, Progressive Web Apps (PWAs) have emerged as a game-changer. Recent statistics reveal that over 85% of Australians now use smartphones to access the internet. This seismic shift has prompted businesses to reimagine their online strategies.

Also, progressive Web Apps (PWAs) are transforming user experiences in the Australian landscape by offering fast, reliable, and engaging web applications that work across devices and browsers. PWAs are web applications that use modern web technologies and best practices to deliver a native app-like experience to users. They can be installed on the home screen, work offline, send push notifications, and access device features.

In this blog post, we will explore the power of PWA,the technical breakdown of PWAs, their offline accessibility, and their performance enhancements for Aussie websites. Also, how Web99 can help businesses to fly with PWAs.

Unveiling the Prowess of PWAs

Picture this: a user lands on your website, and instead of the traditional sluggish loading times, they’re greeted by instant responsiveness. That’s the magic of PWAs. These web applications are designed to load swiftly, engaging users immediately. Their secret? Caching. PWAs store essential resources locally, like images and scripts, slashing loading times and granting users uninterrupted access even with spotty internet connections. This is a boon for Australia, where regional areas often grapple with internet disparities.

Offline Accessibility of PWAs

One of the main benefits of PWAs is their offline accessibility. PWAs can work even when there is no network connection, or the link is poor or unreliable. This is possible because of the service worker’s ability to cache resources and serve them from the local storage. The service worker can also implement different caching strategies depending on the type and priority of the resources. For example:

Cache first: This strategy tries to serve resources from the cache first and only fetches them from the network if they are unavailable in the store. This is suitable for static assets that rarely change, such as images, fonts, stylesheets, etc.

Network first: This strategy tries to serve resources from the network first and only falls back to the cache if the network fails. This is suitable for dynamic content that needs to be updated frequently, such as news articles, blog posts, etc.

Stale while revalidate: This strategy first serves resources from the cache, fetches them from the network in the background, and updates the cache with the latest version. This is suitable for content that needs to be fresh but not critical, such as social media feeds, comments, etc.

Offline accessibility of PWAs can improve user satisfaction and retention by providing a consistent and reliable user experience regardless of the network condition. It can also reduce data usage and bandwidth consumption by serving resources from the local storage instead of fetching them from the server.

Technical Breakdown of PWAs

PWAs are built with standard web development technologies or frameworks like HTML, CSS, JavaScript, React, Angular, etc. However, they also use some specific features and components that make them progressive, such as:

Service workers: Service workers are scripts that run in the background and act as a proxy between the web app and the network. They can intercept requests, cache responses, handle offline scenarios, sync data, and send push notifications.

Web app manifest: Web app manifest is a JSON file that provides metadata about the web app, such as its name, icon, theme colour, orientation, display mode, etc. It helps the web app to be installed on the home screen and to have a native app-like appearance.

App shell: App shell is the minimal HTML, CSS, and JavaScript code that provides the basic structure and UI of the web app. It is cached by the service worker and loaded instantly, regardless of the network condition.

Responsive design: Responsive design is a web design approach that adapts the layout and content of the web app to different screen sizes and orientations. It ensures that the web app is user-friendly and accessible on any device.