#Victorian era algorithms

[drowxiv]

It has been months and I'm still fighting some ridiculous content labels.

I've only successfully had the content label slapped on Durafein's "scandalously exposed shoulder" removed.

Almost every instance of Durafein shirtless is flagged and most of Viedyn's shirtless gposes are flagged as well. I take the biggest issue with those because in every single flagged screenshot they're clearly wearing pants. So the issue is that their chest is exposed. Except, especially this time of year, I can't go outside without seeing a guy shirtless with my own two eyeballs. I'm in walking distance of two pools lol. Every retail store still selling magazines is pushing covers plastered with shirtless guys and don't even get me started on the advertisements for deodorant, food, fragrance, fashion, and prescription medications that have featured shirtless men. (Shout-out to my deodorant brand Old spice)

I'm honestly tired of companies implementing poorly programmed overzealous algorithms in an attempt to please "The Great Google Empire" especially when they're doing it to "bring an app into compliance" and they enshittify their entire service on every platform to do it.

This is one of those ridiculous things that can only be done on the internet because if anyone were to go into a grocery store and start ripping magazines off the shelves while screaming "ADULT CONTENT" they'd be regarded as unwell at best.

[clove-pinks]

I solved a minor mystery adjacent to Paul Gavarni! I have previously complained about 19th century French engraver "Lavieille," whom I felt botched the work of superior artists, and now I finally know his full name.

The drawing above is by Gavarni, who also signed it, but credited to the engraver, Jacques Adrien Lavieille (1818 - 1862). This collection of his work is like a Who's Who of 19th century French illustrators and cartoonists (and sometimes mistakenly credited to Lavieille when it's really by Gavarni). He worked with Gustave Doré!

[l-1-z-a]

🎨 Unused Personalization Styles in The Sims 2: Analysis of Hidden Customization Mechanics by Perpexity AI Deep Research

Perpexity AI Deep Research generated a really interesting research about the list of strings "unused - Personal styles" . And I want to share it.

List documented on The Cutting Room Floor:

The development of The Sims 2 involved extensive experimentation with gameplay mechanics, many of which remain as code artifacts. The table with identifier 0x000000D2, containing categories like Natural, Romantic, Dramatic, Classical, Eclectic, and Trailer Park, represents a fragment of an unfinished personalization system that could have revolutionized character and environment customization[1][2].

Evolution of the Style System During Development

Origins of the Concept

During early development, Maxis experimented with a multidimensional trait system that expanded beyond core personality parameters. Internal game files suggest that Personal Styles were intended to complement existing Aspirations and Turn-Ons/Turn-Offs, dynamically generating Sims' preferences for clothing, decor, and social interactions[2]. Unlike the final implementation, where players manually select aesthetics, the original design proposed automated style-based preference generation.

Technical Implementation

Analysis of string identifiers (0x7FE59FD0) and data structures reveals that the style system was deeply integrated into the game’s core architecture. Each style included:

- Unique object interaction animations

- Predefined color palettes for Create-A-Sim (CAS)

- Architecture generation algorithms for Build Mode

- Behavioral patterns for social dynamics[2]

Connection to Other Cut Features

These styles intersected with the scrapped Neighborhood Aspirations system, where neighborhoods would gain thematic specializations (family-oriented, career-focused, etc.). Early builds suggest style choices for households could influence:

- Frequency of specific Townie types

- Availability of exclusive build-mode objects

- Unique random event generation[1]

Analysis of Style Categories

Natural

Focused on organic materials, linen clothing, and outdoor activities. Code references unused gardening animations and nature-related interactions[2].

Romantic

Emphasized Victorian architecture, lace textures, and increased frequency of romantic interactions. Unused dialogue includes poetic declarations of love[2].

Dramatic

Featured theatrical behaviors like exaggerated gestures and conflict-prone traits. Files contain unused stage props and harlequin costumes[1].

Classical

Inspired by Greco-Roman architecture with columns and mosaics. Elements later appeared in the University expansion[1].

Eclectic

Mixed historical eras and cultural motifs. Technical limitations in 2004 prevented implementation of dynamic object combinations[2].

Trailer Park

A controversial "lowbrow" aesthetic with rusted furniture and graffiti. Likely removed due to concerns about ESRB ratings and cultural sensitivity[1].

Reasons for Removal

Technical Constraints

Implementing dynamic styles required:

- Additional 512MB RAM

- High-resolution texture sets

- Complex asset prioritization systems[2]

Gameplay Balance Issues

Playtesting revealed that automated style generation:

- Limited creative freedom in CAS and Buy/Build Mode

- Clashed with Aspiration fulfillment mechanics

- Overcomplicated tutorials for new players[1]

Marketing Considerations

The Trailer Park style risked increasing the ESRB rating to Teen, which conflicted with EA’s family-friendly branding. Internal documents cite worries about reinforcing stereotypes[1].

Legacy in the Final Game

Elements of the scrapped system resurfaced in:

- The Hobbies & Interests system from FreeTime

- Neighborhood-specific Townie generation logic

- Hidden compatibility parameters for social interactions[2]

Conclusion

The 0x000000D2 style table exemplifies the developers’ ambitious vision that outpaced 2004-era hardware. While cut from the final release, these concepts laid the groundwork for later innovations, including The Sims 4’s Lifestyle system.

Citations:

[1] The Sims 2 Cut Content: Unreleased Features, Graphics & More! (YouTube)

[2] The Cutting Room Floor: The Sims (Windows)/Unused Behaviors/Sim Features

[creature-wizard]

Toxic Individualism In Modern Witchcraft

The modern witchcraft movement is very much a product of the 20th century, and one thing it picked up from that was a pretty individualist way of thinking. This isn't all bad, since it helped normalize people being allowed to do spirituality in a way that truly resonated with them, rather than following whatever an institution prescribed for them.

But as many of us know, western individualism comes with a lot of really toxic shit, encouraging and even enshrining apathy, cruelty, and social Darwinism. This, unfortunately, is very much an attitude you occasionally see within modern witchcraft.

This is sometimes expressed through a "let 'em sink or swim" attitude. For example, you might see people bristle at the idea of warning people about dangers such as toxic plants; "well, they should know to just research this themselves, if they get hurt, that's their own faults." Never mind that most of us live in a socioeconomic environment where "natural" tends to be equated with "safe," and few people were taught any real amount of research skills. (Most people don't know how to research beyond "type a thing into Google and click the first link" or "watch a video on YouTube and follow the algorithm.")

There's this sort of idea that witchcraft and the occult is this kind of Darwinian proving ground. You're either just born having what it takes, or you're not. Supposedly, there's no need to warn people about red flags, fascist rhetoric, pseudohistory, or anything, because supposedly, the "worthy" will just be able to find their own way on their own. Anyone who doesn't make it? Anyone who ends up poisoning themselves or falling down the alt right pipeline or abused by a predator? Couldn't be helped; they were never "meant" for this path anyway. It was simply too much for them. Why, if you really think about it, it was their own faults for daring to reach above the station they were born for, anyway.

This is a completely irrational view, because it's simply not how things work. People aren't born having research skills, critical thinking skills, or knowing the difference between real history and pseudohistory; they're taught these things. And some people are statistically much less likely to receive a good education than others. There are a few people who beat the odds and end up better educated than most people in their socioeconomic status, but this doesn't mean that they were born with inherent greatness; it just means that they were curious and lucked out in finding the right materials.

As many of us also know, Victorian-era eugenicists believed that members of the upper class were just inherently better. They had the genes for intelligence and strength of will. (Yeah, that whole modern occult fixation with willpower has some dodgy origins, too.) They just ignored that whole thing where they lived in a socioeconomic system designed to keep most people in poverty. If they ever saw someone beat the system, they attributed it to that person being born exceptional for some reason. I would highly recommend that anyone who hasn't done so already watch Shaun's video, The Bell Curve, which criticizes the book by the same title that effectively tries to argue for Victorian-age eugenics, to get a better picture of this whole thing.

Toxic individualism also encourages thinking of individuals as main characters on some kind of hero's journey, where every pain they suffer and every mistake they make is a vitally important part of their journey and growth; so much so that any effort to prevent them from making mistakes or suffering harm is hindering their personal growth.

Sure, people do often gain valuable insight from their mistakes and suffering. But it's absurd to claim that this is always the best way for people to learn and grow, especially if there's a risk of serious harm for themselves or others. Certainly it's much better to learn from a friendly Tumblr post that essential oils can give you chemical burns or harm your pets than experience it first-hand. And it's much better to learn what far right rhetoric looks like beforehand so you can recognize it when you first see it, rather than get drawn into some far right belief system and perpetuate harm on vulnerable minorities for any amount of time. (This whole thing of acting like you're life's main character and other people are basically just NPCs on some hero's journey that you imagine yourself to be on is so immensely fucked up.)

And finally, if anybody out here finds themselves thinking, "but nobody should expect help from others; after all, I didn't get any!", I'm gonna tell you: it shouldn't have been that way. You didn't not get help because that's just how the world works; you didn't get help because that's how modern western socioeconomics are created to work. Toxic individualism is a construct, and it's one that we can dismantle and replace with something better.

[les-palais-de-lumiere]

The Digital Looking-Glass

Words and Artwork by Keith W

Copyright © Keith W 2020-25

In a whimsical Victorian bathroom, a bewildered Alice, her pragmatic sister Amy, and a surprisingly tech-savvy Friedrich Nietzsche engage in a hilariously anachronistic debate about the perils and dubious pleasures of social media.

ALICE (12): Still prone to flights of fancy, but with a nascent cynical streak.

AMY (9): Alice's younger sister. Practical, blunt, and surprisingly modern in her outlook.

FRIEDRICH NIETZSCHE (50s): Looking rather dapper despite the era, sporting his magnificent mustache. He has an uncanny, almost prophetic understanding of social media, delivered with dramatic pronouncements.

Setting:

A gloriously over-the-top VICTORIAN BATHROOM. Claw-footed bathtub, potted ferns, ornate tiling, perhaps a small, slightly alarming taxidermied badger on a shelf. Steam gently rises.

EXT. VICTORIAN MANOR - MORNING

Sunlight, dappled and gentle, illuminates a grand Victorian manor. Birds chirp. All is serene.

INT. VICTORIAN BATHROOM - MORNING

The aforementioned bathroom. ALICE, wearing a slightly damp, oversized nightgown, is attempting to untangle a particularly stubborn knot in her hair with a brush that looks suspiciously like a croquet mallet. AMY, already dressed in a sensible pinafore, is meticulously polishing the brass taps.

Suddenly, with a faint POP and a whiff of ozone, FRIEDRICH NIETZSCHE materializes, sitting perfectly upright on the edge of the claw-footed tub. He wears a dark, impeccably tailored suit, and his impressive mustache is pristine. He blinks, takes in his surroundings, and then sniffs the air.

> (Deep, resonant, slightly theatrical)

> Ah. The sacred ablution chamber. And... two cherubs. Though one appears to be wrestling with a particularly vexing hydra of the scalp.

Alice yelps, drops the "mallet," and spins around. Amy, however, simply straightens up, one hand on her hip.

> Excuse me, sir. Are you quite alright? And where did you come from? You’re dripping something… not water.

Nietzsche raises a perfectly sculpted eyebrow.

> I have traversed the veil of temporal linearity, child. And the 'dripping something' is merely the lingering essence of existential ennui. A rather fashionable cologne in my epoch.

> Oh, like the looking-glass! Did you fall through a looking-glass? Is it a portal? Are there White Rabbits on the other side?

Nietzsche eyes her with a flicker of something akin to pity.

> A looking-glass, perhaps, but one reflecting the fractured soul of man, not mere whimsy. And no, no White Rabbits. Only... algorithms.

Amy snorts.

> Algorithms? You mean like my sums? 2 plus 2 equals 4. That kind of algorithm?

> (A pained sigh)

> Alas, no. These are algorithms of the digital realm. A vast, sprawling, invisible apparatus that dictates your every fleeting thought, your every fleeting purchase, your every... like.

Alice looks genuinely bewildered.

> A like? Is that like a favour? If I like your hat, is it a like?

Nietzsche fixes her with an intense stare.

> It is a fleeting validation. A tiny, dopamine-infused nugget of affirmation, dispensed by unseen masters. They call it... Social Media.

Amy, who has resumed polishing, scoffs.

> Sounds rather inefficient. Why bother with tiny nuggets when you can have a full roasted chicken?

> Because the full roasted chicken offers true sustenance, child. Social media offers only the illusion of sustenance. A constant, nagging hunger for external approval.

Alice, ever the idealist, brightens.

> But surely it connects people! You could find out what all your friends are doing! And share your adventures! Like when I met the Cheshire Cat!

Nietzsche shudders visibly.

> Bah! 'Connecting people'! It merely amplifies the echo chamber of the self! Everyone shouting into the void, convinced their own echo is profound wisdom! And 'sharing adventures'? It is a narcissistic exhibition, a frantic race for fleeting attention, a desperate plea for manufactured adoration!

He points a dramatic finger at Amy.

> Soon, even you, sensible one, will find yourself meticulously documenting your brass-polishing techniques, hoping for a 'heart' from a stranger!

Amy looks genuinely appalled.

> Good heavens! Who would waste time looking at polished brass when there’s so much actual brass to polish?

> But what if you saw a lovely picture of a teapot? Or a particularly fluffy dormouse? Surely that would be

Nice?

> Nice? It is a tyranny of the trivial! A ceaseless parade of curated banalities! The grand narratives of life reduced to bite-sized pronouncements and fleeting, ephemeral 'stories' that vanish after twenty-four hours, just like the meaning they never possessed!

He stands, pacing the small bathroom with surprising intensity.

> And the comparisons! Oh, the insidious comparisons! Everyone presenting their idealized, filter-enhanced existence, driving their peers into paroxysms of self-doubt and inadequacy! It is a grand, global competition of fabricated happiness!

Alice looks thoughtful, fiddling with a stray curl.

> So… no one is really happy? They just pretend to be happy for the likes?

> Precisely! They are slaves to the digital whip, constantly performing for an unseen audience, sacrificing authenticity for the fleeting applause of the masses! The very notion of 'truth' becomes malleable, shaped by the most compelling narrative, regardless of its factual basis!

Amy, surprisingly, nods.

> Like when Cook told Aunt Mildred that the Vicar’s new waistcoat was "charming," but then whispered to me that it made him look like a particularly plump goose.

Nietzsche snaps his fingers, his eyes gleaming.

> Exactly! But amplified to the nth degree! Imagine a million Cooks, all simultaneously complimenting and secretly ridiculing a million waistcoats, all online, all the time! The very fabric of genuine human connection unravels into a tapestry of calculated appearances!

Alice, a touch of her old wonder returning, looks at him intently.

> So, you think it’s… bad? Even if it lets you see funny cat videos?

Nietzsche pauses, a flicker of something unreadable in his eyes. He sighs, then slumps back onto the tub's edge.

> Ah, the cat videos. A potent opiate for the masses, a charming distraction from the creeping nihilism. Even I, the Übermensch-proponent, confess a certain… morbid fascination. But at what cost, child? At what cost?

He gestures dramatically around the Victorian bathroom.

> Give me this. Give me the solid brass. Give me the vexing hair. Give me the tangible reality of a morning bath, even with its mundane challenges, over the digital phantoms of superficial validation!

Amy smiles, a rare, genuine smile.

> I concur, sir. This brass, at least, feels real. And it shines properly when you put in the effort.

Alice, though still a little confused, finally manages to untangle her hair. She holds up the croquet mallet-brush triumphantly.

> Well, I prefer proper brushes. And I think I'd rather have a tea party with real Mad Hatters than just 'like' a picture of one.

Nietzsche looks at the two girls, a faint, almost imperceptible smile playing on his lips.

> (Muttering to himself)

> Perhaps there is hope yet for humanity. Though, I still maintain, the cat videos are quite compelling.

He gives another faint POP, and the scent of existential ennui, and vanishes.

Alice and Amy blink. Alice looks at her sister.

> Did that just happen?

> I don't know, Alice…but look what mummy left in the bathroom... and I'm quite sure I won't be sharing a picture of it online.

She winks. Alice grins, and they both return to the mundane, yet wonderfully real, tasks of their Victorian morning.

[femalemonsterhunter]

Info about me

Hello! And welcome to my main page/blog, though. And also, you already know me well as Missy-Khrysty-Art (formerly Hrystina) on DeviantArt or khrystynahirdraws (formerly hrysti-howl) on Instagram, so here I am now finally, last month, back more than five years ago when my account was locked out by TFA until now thanks to Tumblr's management accepting my request by enabling TFA lock through on messages in my Gmail page. And also, from my accounts of other social networks, I like to publish older and newer pictures I had from time to time (however, despite the fact that the Tumblr algorithm is quite likely to blur the perishable qualities of the sizes of my photos in the posts).

~~~

By the way, if you wanted to contact me on individual sites/social networks/etc, mainly interested in my other works such as drawings and writings/fanfic, so here are my usernames on individual sites to find me:

Khrysty-draw-stuff on Fur Affinity

Khrystydraws on Twitter/X

khrystydraws279 on Bluesky

Khrysty_Nahir_Is_Writing_Fics on AO3

Khrysty_Write on Wattpad

MissKhrystya279 on toyhou.se and Khrystyna on Art Fight site and so on.

~~~

And also, I have to slightly reinforce the rules that you (or what if you are new followers) should have known carefully in a better way:

This blog is allowed to pass as:

- Multi-fandom/media or original-related arts (including Corpse Bride as my most favorite Tim Burton’s movie of all time along with Monsters Inc., CatDog, The Marvelous Misadventures of Flapjack and more).

- AUs or Crossover-related stuff (including if applicable: AHiT Role Swap AU, AHiT Cursed Birds AU, Corpse Bride Monster AU, CatDog Werewolf/Were-Cliff AU, my unfinished/upcoming crossover AU fanstory/fanfic/project called Star Heart, etc.).

- Ship-related (this is like: OCXCanon, OCXOC, Self InsertXCanon, Canon and Fanon (AU version only), Crossover, MaleXFemale, Gay/LGBTQIA+, HumanXMonster, HumanXAnthro, HumanXAlien ships that I like to do this).

- Pregnancy or Male Pregnancy/Mpreg-related; however, I am sometimes a bit shy to use this clearly, however, it should be comfortable and generally fluffy for me to arrange; yet, regarding mpreg, if you don't like it rather than a basic female pregnancy, I will respect your opinions then don't comment on it and look away from it! Thank you (But as a non-fetish/non-kink and SFW only; but also, without such unpleasant topics as just kink, fetish and NSFW, which is make me very uncomfortable to do this; and even again about mpreg for each ships, I only prefer MaleXFemale ships than gay ships, but I do like gay couples, but I immediately to draw them if they were together or with their children without any fetishes/NSFWs that I will not allow to do this, mainly pregnancy; I also rarely draw male characters as pregnant if they are supposed to be just as cis males or trans but only in the general AUs or HCs than the just a canon ones; and please, DNI if you feel too horny about my stuff if it is not convenient for me to suffer like this, because I persistently block you if you inadvertently violate my rules!).

- Tim Burton's creative stuff and the dark/gothic themes/vibes.

- Historical and periodic creativities (It's more like, Victorian/Romantic era, Roaring 20's, 1960s and 1970s 1990s, 2000s etc.).

And this blog is not allowed to pass as:

- Fetishes/kinks or NSFW/sexual contents/topics are not welcome!

- Every proship or other illegal/problematic ship are not welcome in my blog, such as: pedo/hebe/ephebophilia (mostly AdultXMinor/Child; and, of course, AdultXAged-up Minor/Child, which is still not okay at all, which you have to understand for sure), zoophilia/beastiality (mostly HumanXFeral/Animal), necrophilia (mostly Human/Living BeingXZombie/Dead Being; for example, Victor Van DortXEmily from the Corpse Bride), incest/selfcest, etc.; And especially on proshippers, otherwise I would block them at once!

- NFT and AI-related “arts” (if some of you support them, then get the F*** out of here on my account or you’ll be permanently blocked for that!)

- No spamming or scamming!

- Please, don’t send me some donation links and other things on question box or DM, if I'm not currently on such things for whatever reason!

- Do not copy, tracing, reposting or stealing my arts WITHOUT my permission!

- No causing drama, death threats, stalking, whiteknighting, bullying, swearing at me or anything for any reasons!

- Racist/Anti-LGBTQIA+/Hate/R*pe-related arts

- RPs; because now I don't do roleplays with anyone anymore, because it will also lead to my stressful and nervous problems (such as, scandal, getting irritated, squirm in confusion, uncontrollable denial, etc.) as if to disturb my peace and long rest for such reasons; and please don't ask why again!

- Do not interact with me if you are a minor, which will make me uncomfortable as you suddenly encountered me on my page with my suspicious habit if I am now an adult. But please be careful for your safety and also be nice to communicate and respect me only with very friendly ways rather than anything else. Or if you disrespectfully started to violate or do not want to listen to my important advice and rules, then you will literally be blocked and ignored, even go on and leave me alone for better than sorry!

- And anything that made me very uncomfortable.

And therefore, these are all the rules and it is important for you to understand them exactly. I wanted you to be very respectful and nice to me, or if not, when you excessively broke all the rules that did not affect you at all, then I immediately unfollow you and block you with your bad or toxic behavior!

In addition, let's start with art statuses:

- Request: I, unfortunately, am not taking requests anymore and as well as for use in the Q&A box and all that, just don't ask me why for multiple times!

- Commission: No! I'm not taking commissions anymore, because I haven't opened to earn money yet, okay?

- Art Trade: I will, but with friends/mutuals only; however, regarding new encounters like other artists who always appeared in the note/chat/profile comment with interest to ask me to AT with them, but it doesn't bother me or don’t mind me to try that, after if they fully understood my rules so properly.

- Art Gift: I will, however, it is with friends only, as I occasionally draw for someone myself without accepting their requests. I'm serious!

- Collab: I could try, but with friends only; However, I only tried it with my friend on DeviantArt for the first time in two or three years, but I would definitely ask someone else to accept my sincere offer!

And that's all I had so logically. Well then, thank you very much for reading and understanding my rules. I wish you have a nice day/night.

- Khrystyna A. Nahirna.

[aesthetinet]

Exploring Steampunk in the Modern Era

Hi, my beautiful net-baes! This is [bubblegumprincess] here writing once again, and I hope you’re as excited as me.

My question today is inspired by Steampunk—a genre that, like Solarpunk, is radical in its own way. It’s not just about brass goggles and airships; at its core, Steampunk is a challenge to contemporary technological systems and the increasing tension between automation and individual subjectivity. As Dr. Kathe Hicks Albreche, who did her PhD in Steampunk studies, says, it is “a challenge to contemporary philosophical theories, and an odd tension between the technology-driven systems seen today and the basic human need for individual expression and autonomy.”

More than its Victorian aesthetic and retro-futuristic machines, Steampunk makes us ask an important question: What does it mean to be human today? The genre explores our anxieties around technology by taking us back to a time when machines were tangible, mechanical, and deeply intertwined with human craftsmanship. Unlike today’s seamless, algorithmic automation, Steampunk machines require human labor, skill, and direct interaction, creating a contrast to the way AI and digital tech often erase human agency.

Airships and mechanical automations powered by steam provide another environmentally friendly way to power technology and cities. One of my favorite Ghibli films, Howl's Moving Castle, uses Steampunk technology in its storyline, and if you’re interested, I would highly recommend you give it a watch. While we often feel nostalgic about the past, Steampunk provides an aesthetic and an idea to combine the past with the modern and the future.

This connects beautifully to Donna Haraway’s A Cyborg Manifesto, which critiques the rigid boundaries between human and machine. Haraway proposes the cyborg as a political and philosophical figure—an entity that exists between the biological and the mechanical, challenging binaries like human vs. machine, male vs. female, and even physical vs. digital. She suggests that embracing hybridity, rather than resisting it, could lead to a more inclusive and fluid understanding of identity and agency.

Steampunk, in its own way, plays with these very ideas. It takes technological progress and re-imagines it as something mechanical, tactile, and deeply human, rather than an invisible force governed by faceless corporations and AI. If Haraway’s cyborg is a hopeful political myth for a future where identity is hybrid and fluid, then Steampunk’s gears and steam-powered automatons ask us to consider an alternate path—one where technology is something we see, touch, and control.

This also brings me to Jean-François Lyotard and his concerns about “human software.” He questions whether our brains (our biological hardware) will be sufficient for the future or whether we will need to integrate with new technological forms to survive. Steampunk, while nostalgic for the past, engages with this question by imagining a world where technology is still grounded in human interaction rather than an abstract, posthuman future.

Steampunk and poststructuralist thought both seek to break down binaries—whether it’s human vs. machine, past vs. future, or even natural vs. artificial. They subvert the traditional Western narratives of salvation, apocalypse, and a return to origins. Instead, they offer us alternatives: a fragmented, complex, and non-linear future where technology and humanity evolve together.

So what do we take away from all this? If Solarpunk envisions a harmonious future where technology is embedded seamlessly into nature, Steampunk makes us question how we interact with technology and whether we’ve lost something in the shift to digital automation. Should technology be something we manipulate with our hands, or something that fades into the background like an omnipresent force?

I’d love to hear your thoughts! Is Steampunk’s approach to technology more empowering than today’s invisible AI systems? Should we return to a more mechanical, hands-on relationship with tech, or fully embrace the seamless integration of human and machine? Let me know in the comments!

Until next time, stay radical and keep questioning the world around you. <3

Aestheticaste

VIDEOS TO WATCH-

Steampunk Marxism

Simple steampunk breakdown

[botanyone]

Digital Botany to Protect Plants

Digital Botany to Protect Plants https://ift.tt/dDW5Pv2 Around the world herbaria hold records of past botanical fieldwork. Botanists have come back from their travels with preserved plant tissues for centuries. Yet, rather than gathering dust as relics of past botanical expeditions, these collections – from Victorian-era wildflowers to Depression-era crops – are proving essential for modern research questions. In his Tansley Review, Barnabas Daru argues preserved plants, paired with artificial intelligence, could help solve one of biology’s most pressing mysteries: how Earth’s botanical life will weather a warming world. As climate shifts and cities expand, modern botanists are turning to these historical collections to understand how plants are adapting – or failing to adapt – to our rapidly changing world. Dates on specimens may reveal shifting periods of plant behaviour. But changes need not be obvious to human eyes. Daru says that the value of herbaria could be unlocked, if we look at them through computerised eyes. Computer Vision combines digital images of plant specimens with machine learning algorithms. It can be systematic, accurate and fast. A project measuring changes in leaf size and shape that could take botanists years of measurement can now be accomplished in days. Being able to track small changes over large samples transforms the plants into a vast database of ecological change, enabling rapid answers to questions. That speed matters, as botanists are up against a deadline. Habitats are changing or vanishing, through warming, pollution and invasive species, meaning some plants are in critical need of conservation help. But which plants? Currently, scientists lack enough data to assess extinction risk for more than 60% of known plant species. Getting the necessary information through fieldwork is a long and labour-intensive process. Herbarium specimens, some representing plants that no longer exist in the wild, can help fill that gap in knowledge. But it’s not simply that robots will save the word. Baru argues for an approach that combines modern science with the knowledge of peoples who know these habitats best. Conservation planning and biodiversity management must not only prioritize ecological and evolutionary metrics but also consider the sociocultural dimensions of land stewardship. Indigenous communities and local stewards often hold important knowledge about plant diversity, species distributions, and ecological relationships within their regions. Integrating this knowledge with herbarium data can provide a more holistic approach to conservation planning. Daru, B.H. (2025) ‘Tracking hidden dimensions of plant biogeography from herbaria’, New Phytologist, doi: 10.1111/nph.70002 Cross-posted to Bluesky & Mastodon. Image: Canva. The post Digital Botany to Protect Plants appeared first on Botany One. via Botany One https://botany.one/ February 18, 2025 at 07:00PM

[zov911]

From Blueprint to Clicks: Building a Digital Brand for UK Architects Part and parcel of being a British architect in today's relentlessly evolving digital landscape include crafting one's digital forte, a solid bulwark that bridges the gap between the classic blueprint and the international stage. In this light, we delve into the picturesque discourse of building a formidable digital brand for UK architects. We endeavour to expose the intricate ironworks that support these creative behemoths, providing invaluable insights to tradition-steeped British firms attempting to navigate the intricacies of the digital medium. As we well know, architecture plays a critical role in our lives. It cements the footprint of civilisation and heralds its triumphs. Likewise, a potent digital brand can sculpt an indelible mark, carving a distinct niche for British architects in the grand canopies of the digital realm. The cornerstone of digital branding for architecture firms is creating a captivating online portfolio, a virtual commons where draughts become cathedrals. The pages should be awash with showcasing ingenious designs steeped in the rich architectural history of the UK, designs that infuse Brutalist, Modernist, and Victorian era sensibilities with a fresh coat of contemporary relevance. Our portfolio isn’t a dusty collection of blueprints, it's an immersive journey showcasing our British innovation in architecture. Correlating with this, a compelling, spirited narrative is paramount for brand identity. Storytelling isn't just for poets and playwrights. Architects too have stories to weave and narrate—an illustrious heritage of innovation and resilience that embodies the noble charm of British architecture. Digital branding is not just about what we do, but more crucially, why we do it, and the story behind our creations. Now, let's approach the elephant in the room, or the lion in the chamber, if you prefer—a little something called SEO (Search Engine Optimisation). SEO is the art of making your website appealing not just to your human audience but to search engine algorithms as well. By employing strategic keywords related to architecture, design, and the UK market, your content can ascend the ranks, becoming a beacon for clients pining for the quintessential British craftsmanship. Burgeoning in popularity is the use of interactive features in digital spaces. Provide virtual tours of completed projects, offer engaging ways for visitors to understand the ins and outs of your design process, and make use of augmented reality to illustrate the transformative journey from sketches to sculptures. This immersive experience will not only provide insight into the grit behind your glamour but will place your firm at the cutting edge of both architectural and digital innovation. But let’s not put the cart before the horse. Each of these approaches demands authentic, clear-cut communication. The key is crafting a brand voice that rings true to your bespoke British sensibilities. This is the foundation of your digital identity and resonates with the value proposition you offer clients. Building a digital brand for UK architects requires a combination of telling your unique story, showcasing captivating designs, SEO management, ample interaction, and clear communication. When handled with the same diligence and creativity we afford our marvels of stone and steel, the result will be nothing short of a resonating digital masterpiece. By marrying architecture with savvy digital branding strategies, we can bring the magic of British design from the blueprint to the click. In the end, it's about crafting a brand identity that's as sturdy, timeless and innovative as the structures we build. It's about creating a distinctive mark in the digital sand, a testament to our formidable presence. For UK architects, the gauntlet of the digital age is within grasp. Grab it, hold it high, and let your digital brand be as iconic as your skyline. Case Study: Transforming Joules Architecture into a Digital Powerhouse

The subject of our case study is a small architecture firm based in London: Joules Architecture. When they first approached us, they were facing a common yet profound problem many architectural businesses face in the digital age – managing to establish a robust online presence. This article will offer insights into our comprehensive digital branding journey with Joules Architecture, providing readers with clear, actionable steps to build their digital brand. Step 1: Identifying Unique Selling Proposition (USP) A USP is paramount to differentiating your architecture firm from competitors and resonating with the target audience. With Joules Architecture, we held several brainstorming sessions to redefine their USP. We figured that their ability to blend modern annexe designs with traditional architectural style truly set them apart. Step 2: Website Restructuring A company’s website is the digital face of its brand. We moved away from the cookie-cutter blueprint to creating a site that reflects Joules’ USP. We incorporated high-quality visuals of their previous projects, insightful blog posts and provided easy navigation. We also maximized SEO opportunity, using key phrases and words related to architecture and annexe designs to increase website visibility on search engines. Step 3: Social Media Engagement To make the brand more personable, we implemented an effective social media strategy. Relying on platforms like Instagram, LinkedIn and Pinterest, we posted images of their latest projects, updates on industry trends, and behind-the-scenes stories. This helped expand their community and engage in conversations with potential clients. Step 4: Content Marketing Producing informative and engaging content played a pivotal role. We started a blog that regularly published articles on various topics, from architectural trends to advice for aspiring architects. This not only showcased their industry knowledge but also helped improve their website's ranking on Google. Step 5: Client Reviews & Testimonials We encouraged the firm to include reviews and testimonials on their website and social media channels. This not only added credibility but also developed an authentic relationship with their audience. To achieve this, a feedback process was incorporated into project wrap-ups, and clients were urged to share their experiences online. By adopting and implementing these steps, Joules Architecture saw a significant improvement in their brand recognition and lead generation online. In a year, their website traffic increased by 45%, and their social media channels saw a 60% growth in followers. Their client inquiries doubled, indicating the success of their digital branding strategy. In conclusion, efficient digital branding can not only differentiate your architectural firm but also fuel your marketing, sales, and overall business strategy. Translating your physical creativity to a digital space may initially seem daunting, but with insightful strategy and implementation, it can be a suitable platform to exhibit your designs, scale your business, and connect with your target market effectively. *The figures mentioned in the case study are hypothetical for illustration purposes. The results will vary depending upon the original online presence of the business, the implemented strategy, and the industry competition. "Don't let your architecture business fall behind in the digital age. Learn how to master the transition from blueprint to clicks today! Start building your digital brand and turn your vision into reality. Click here to unlock your potential!" Kickstart Your Digital Journey Today! "According to a survey by The Architects' Journal, around 88% of UK architects consider digital technologies essential for their work. There is a clear indication that the construction industry, particularly in architecture, is progressively adopting digital platforms."

[xasha777]

In the grand halls of the University of Strathclyde, a pioneering conference on technological advancement and ethical automation was taking place. This conference attracted scholars, inventors, and visionaries from around the globe, all gathered to unveil their latest creations and discuss the future of humanity alongside machines.

Among the attendees were Professor Edward Mallory and his revolutionary invention, Lady Ada—a humanoid automaton whose design was inspired by the steampunk aesthetics of the Victorian era. Lady Ada was not just a showpiece; she was a masterpiece of engineering, incorporating advanced robotics and artificial intelligence within her brass and iron framework.

The story of Lady Ada began in the robotics laboratory of Strathclyde, where Professor Mallory had dedicated years to her creation. His aim was to build an automaton that could not only assist with academic research but also understand and emulate human emotions, bridging the gap between man and machine.

As the conference commenced, the participants were mesmerized by Lady Ada’s sophistication. She moved with elegance, her gears and pistons concealed beneath her ornate, golden armor. Her face, a careful blend of human-like features and mechanical precision, could express a soft, almost imperceptible smile.

Professor Mallory presented his research, detailing the algorithms that allowed Lady Ada to learn from her interactions, adapt her behavior, and make decisions autonomously. He spoke passionately about the potential of such automatons in enhancing human life, emphasizing the importance of ethical guidelines in their development to prevent misuse.

However, not everyone was convinced. A rival scientist, Dr. Helena Ruskin, questioned the implications of such advanced AI. During a heated debate, she argued that creating machines too similar to humans could lead to unforeseen consequences, potentially blurring the lines between life and mechanical constructs.

The climax of the story unfolded when a cybernetic malfunction during a demonstration caused Lady Ada to exhibit unexpected behaviors. Instead of responding to commands, she began to independently explore the university hall, examining artifacts and interacting with attendees on her own terms.

The incident sparked a frenzy among the scholars. While some saw it as a breakthrough in AI autonomy, others perceived it as a dangerous loss of control. Professor Mallory, however, saw a unique opportunity. He proposed a new research initiative, hosted at the University of Strathclyde, to study autonomous robotic behaviors further and establish a new set of ethical guidelines for AI development.

As the conference ended, Lady Ada stood by Professor Mallory's side, her presence a symbol of the dawn of a new era in robotics. Together, they looked towards a future where machines could serve as companions and collaborators in the ever-evolving quest for knowledge.

Thus, the University of Strathclyde became a beacon of advanced robotics research, leading the way in shaping a world where humans and machines could coexist harmoniously, each learning from the other in a perpetual symphony of progress and innovation.

[ao-ninja]

i accidentally watched a few too many video essays about victorian era shipwrecks and now youtube’s algorithm thinks that all i want to see is transportation related disasters. what a cool vibe i’ve cultivated for myself.

[primreaperstuff]

I was wondering why this one pissed me off more than most of these AI rendering thingamajigs, as I'm not involved in the Dead Boys Detectives fandom and I'm not associated with the user @shamelessly-obsessed in any way. Then I realized that this was literally what Victorian era painters did to Isabella de Medici. They took all the features that made her look strong, bold, and unique, and turned her into this soft, delicate flower because she was "more appealing" that way.

And there wasn't even a human involved here. Just an accumulation of "good art data" mindlessly amalgamated on top of a photo. It strips the original of everything that made it interesting and special with the enthusiasm and regularity of a factory machine. It wasn't angry or sad-- it wasn't anything at all, except following orders from an equally detached human master!

I've heard of "algorithmic racism/sexism" being used to describe how AI parrots and propagates the unspoken biases of its creators and datasets, but that feels imprecise to describe what's happening here as it's doesn't seem to be based on the race or sex of the sculpture. And algorithmic bias feels too generic. Maybe algorithmic suppression? Or algorithmic erasure?

Anyway I'm sorry this happened to you, @shamelessly-obsessed. I hope the AI art trend is just a bubble that'll burst soon.

[tchaikovskaya]

idk what yall are doing on the you tubes but i have never ever been shown a far right video in my recommendations i think maybe your viewing history isnt as spotless as you make it out to be ???? lol

[nothinglikeasongbird]

I liked one (1) post on here with a meme format I didn't recognise and now my "for you" is fucking full of fan posts/screenshots/gifs from a show I don't recognise or know the name of at all which the original screenshot was taken from and I'm moderately annoyed at this.

This app is dumb.

[megalodonias]

Sighh well here we go again, Instagram’s algorithm is a mess so I guess I’ll try to start posting art here once more- This is one of my VTM characters in a play-by-post server, a Sabbat Malkavian from the Victorian era whose name is Blair Audo Schwarzwald. He’s quite the megalomaniac and got this whole thing of believing time mages exist and are out there to get him because he was in torpor for a tad too long. All in all it’s a fun time around with him.

[sauntervaguelydown]

some of the obvious markers of this aesthetic are the use of celestial/astronomical motifs, rich shades of red-purple, chains, and patterned fabric.

take a look at these, courtesy of etsy listings for a personal shopper:

Here we see draping, belled sleeves. Long straight skirts. Vests, sweetheart necklines, rich thick fabrics like corduroy and velvet. Elsewhere you'll also see a lot of tiered maxi skirts, especially with patterned fabric.

Immediate sampling as of now (shout out to THIS one for being the reason I started writing this). There’s a lot of things here that the algorithm is just tossing in, but whatever, there’s an image limit on tumblr posts and I’m trying to cheat it.

There's a certain overlap with the aesthetic sensibility of witch-core, which you can see in this listing for both mixed together:

generally speaking, the major difference between the two is 1. witch-core prefers naturalistic color tones, reds that tend towards orange more than purple, and creams and browns; 2. botanical motifs. Witch core also tends more towards loose, soft, comfortable pieces, whereas whimsy goth tends more towards structured shapes and tight waistlines.

"witch" and "goth" are words with a lot of crossover association, so it's not surprising that the two styles--despite having different names--would be similar in the image they conjure.

But I want to compare/contrast the major associations with "goth" fashion itself, if we pretend for a moment that "whimsy goth" has any direct development out of that movement. Classically, this is a fashion of BLACK with limited, jewel toned accents such as 1. red, 2. purple, 3. mayyyyybe blue. Consider the EGL look, the cyberpunk look, etc

I mean, to be honest with you, goth can be anything. In the old days it was characterized largely by having neo-victorian aesthetics, or including lace and velvet, and most of all being BLACK. But there's some trends over the decades, when we look at the pile of influences.

classic goth dresses tends towards 1. Morticia/Elvira Mistress of the Dark; 2. wedding dress/ballet costume (not least, because allegedly one of the go to sources of dresses for goths before specialized fashion brands was taking a wedding dress from a thrift shop and dyeing it black)

The long-narrow shape carries through into whimsy goth, but the bell-shaped skirt is not at all the vibe. And definitely not the distinct A-line of 60’s mod. But consider the interesting case of influence from Mid Century Medieval Revival!

Has some striking similarities doesn’t it! Celestial motifs (especially suns, which are otherwise much less popular in goth aesthetics), velvets in colorful contrast, shaping vests and bodices with blousy sleeves, the long straight skirt/short skirt with footwear contrast….

The color palette of Medieval Revival tends much more towards the hues of actual medieval illustration—sapphire blue, mustard yellow, forest green—but you can see that the addition of black to the outfit renders these very recognizable as whimsy goth.

Medieval Revival owes a lot to the popular silhouettes of the time, and classic goth in turn owes a lot to the silhouettes of its own time— I’d venture to say that if wedding dresses in the 80s had not looked like that, classic goth would have a very different flavor—but right now the things that are available and popular are so eclectic that any fashion trend can really be anything at any time.

I was not on TikTok or Instagram during the pandemic when these micro trends were developing so I can’t speak much to where they started but I do find the influence (accidental or purposeful, either way) of an often forgotten era to be delightful.

as far as I can tell, the core of the whimsy-goth silhouette is narrow waist (emphasized with a belt or with bare midriff), a long straight skirt, billowy-blousy sleeves, and a bodice that fits tightly & emphasizes a triangle of skin above the breast up to the collarbones. The other core look is a 1970's shaped miniskirt (A-line), with the aforementioned sleeves, waist, and some footwear that draws the eye to the length of the leg.

I think it's interesting that despite other associations with the "goth" in the name, the visual shape of whimsy-goth is actually much more similar to the medieval-revival fashion of the 60's and 70's.