#Bioaugmentation

[delta-remediation]

Unraveling the Depths of Bioaugmentation and Biostimulation: A Comprehensive Comparison

Introduction:

If you've ever delved into the field of environmental biotechnology, you've likely stumbled across the terms "bioaugmentation" and "biostimulation". These sophisticated approaches to environmental remediation are both aimed at enhancing natural processes to treat contamination. But what exactly distinguishes one from the other? In this article, we will delve into the specifics of Bioaugmentation vs Biostimulation, breaking down their definitions, applications, and key differences.

Understanding Bioaugmentation:

Bioaugmentation, in its simplest form, is the introduction of a group of natural microbial strains or a genetically engineered variant into an environment to enhance the rate of pollutant degradation. These microbial strains, often referred to as 'augments', are known for their specialized ability to degrade contaminants that the existing microbial community cannot effectively handle. This technique is frequently employed to address the contamination of soil and water bodies with organic pollutants such as oil spills and certain types of industrial waste.

Diving into Biostimulation:

On the other hand, biostimulation involves the stimulation of indigenous microbial communities already present in the environment by providing nutrients, electron acceptors, or substrates that enhance their activity. Unlike bioaugmentation that adds new organisms to an ecosystem, biostimulation works with the existing microbial population, encouraging their growth and pollutant degradation capabilities. Often used in environmental cleanup efforts, biostimulation can enhance the breakdown of a broad range of pollutants, including petroleum hydrocarbons and heavy metals.

Bioaugmentation Vs Biostimulation: A Comparative Study:

Now that we understand the fundamentals of both processes, it's time to compare them head-to-head.

Techniques Involved: While bioaugmentation is about introducing specific microbial strains to boost pollutant degradation, biostimulation works by providing necessary nutrients or substrates to stimulate the indigenous microbial population.

Scope of Application: Both techniques are used in environmental remediation, especially for soil and groundwater. Bioaugmentation has a slight edge in cases where specific contaminants require particular microbial strains for degradation. Biostimulation, however, is often favored for broader applications, given that it enhances the overall microbial activity and not just that of specific strains.

Economic Aspects: Bioaugmentation requires the cultivation and addition of specific microbial strains, which can be costly and technically demanding. On the contrary, biostimulation usually involves adding relatively inexpensive nutrients or substrates, making it a more economically feasible option in many cases.

Environmental Impact: Bioaugmentation involves adding new organisms, which raises concerns about the impact on the existing ecosystem and the potential for creating imbalances. Biostimulation, working with existing microbial communities, is generally viewed as having a less disruptive impact on ecosystem balance.

Effectiveness: Both techniques have proven effective in various scenarios, but their success heavily depends on site-specific conditions. For instance, bioaugmentation's effectiveness might be hindered by the inability of the added microbes to survive in the new environment. Biostimulation's success, on the other hand, could be limited by the potential growth of undesired microbial communities.

Conclusion:

Bioaugmentation and biostimulation, though conceptually distinct, share a common goal: to utilize biological processes for environmental remediation. Choosing between them demands a clear understanding of the contamination at hand, the existing microbial community, and the economic and environmental implications of each approach. As scientists continue to explore these fascinating techniques, our ability to heal the environment using nature's own tools will only continue to improve.

[deltaremediation]

Soil Remediation

Soil remediation is a phrase that refers to different procedures designed to remove contaminants such as hydrocarbons, heavy metals, pesticides, cyanides, volatiles, creosote, and semi-volatiles from dirt. Soil remediation is required to clean and maintain top quality criteria of dirt, water, and air that may consequently advantage commercial cultivation, and wild flora and fauna.

Soil Remediation- Types of Approaches:

There are four main forms of soil remediation methods for the removal of pollutants and contamination from soils which have accumulated enough documentation to provide them prominence being used.

These methods include:

Bioremediation: Bioremediation involves the treatment of contaminated lands by biological means.

The process uses bacterium, particularly targeted to absorb and break down hydrocarbons together with other pollutants from land. The Benefit of the procedure also lies in the fact that whenever contamination is consumed all the germs die off.

Nevertheless, notice that the procedure is more successful in dirt that preserves 70 degrees F of temperature with irregular rain for optimal moisture. And for bioremediation to be efficient in colder climates, soils must be suitably covered and insulated.

It’s since the colder the ambient weather will be, the longer the reclamation time the process will take. Popular Bioremediation Services Company Suppliers – Solutions, Delta Remediation Inc.

Thermal Soil Remediation: This method includes heating contaminated material in this PTU to evaporate hydrocarbon impurities and water.

Here, polluted materials are often treated at temperatures of 650 F to 900 F, and after that Discharged from the PTU to a cooling unit, which is a mixer, or auger where water is added to get cooling and dust control.

The treated material is then discharged from this cooling unit through a conveying system, ready to get testing, and subsequent recycling.

The actual time the procedure takes in treatment depends upon different factors like the depth of this hydrocarbon pollution, the concentration level of contaminating, the pH factor of this dirt, and the permeability of the dirt.

Encapsulation: The process of encapsulation doesn’t filter contaminants from dirt so much as it separates them. This could be done in lots of ways, but probably the most typical way includes mixing the contaminated dirt with lime, cement, and concrete, leading to preventing the contaminants from spreading to wash soil.

Originally published at https://deltaremediation.com

[alpaca-clouds]

The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

[owlbear33]

thinkin'bout factions in wargames, specifically, I'm thinking about the sort of biopunky magic as science, uses fleshy abominations as troops sorta faction that I've seen pop up now 3 times, I think, and I'm wondering if it's actually a thing

My first encounter with this faction is The Alchemists Of Dirz from the old, now sadly very defunct wargame, Confrontation, from Rackham Miniatures, the faction I would have played If I'd had the money for wargames in my early teens, they were a weird bunch of scientists hiding in the desert, producing clone soldiers and biological abominations to try and conquer the world

More recently, I've seen Conquest: The Last Argument of Kings, from Para Bellum Games, a very pretty if a bit edgy wargame, The Spires first struck me as being heavily inspired by the alchemist, as far as I can tell, they're a bunch of weird extradimensional wizards producing clone soldiers and biological abominations to try and conquer the world, and sure they're not exactly the same in look or theme, but there are similarities

Have you seen Corvus Belli, the creators of the well-known Infinity, has a new fantasy skirmish wargame, I took their faction quiz, taking all the magic as science options, and the factions they've given me is the Scions of Yaldabaoth, a group of rebel-ish elf mages, who serve the architect of flesh, and though I think there's a little less clone soldiers, they still go in for bioaugmentation and biological abominations

so, is this a thing? are there other examples that you can think of? particularly in fantasy wargames, but also elsewhere in fantasy

[snarktocrab]

Fuck you, Ravnica! If you're dumb enough to get bioaugmentations this weekend, you're a big enough schmuck to come to Big Jin's Labs. Bad Deals! Parts that kill you!! Germs!!! If you think that you're gonna find a bargain at Big Jin's, you can kiss my ass! It's our belief that you're such a stupid motherfucker, you'll fall for this bullshit! Guaranteed! If you find a better deal, SHOVE IT UP YOUR UGLY ASS!! You heard us right, SHOVE IT UP YOUR UGLY ASS!!! Bring your pet, bring your stories, bring your twin! We'll compleat her! That's Right! We'll compleat your sister! Because at Big Jin's Labs, you're oiled six way to Sunday! Take a walk to Big Jins's! Home of challenge casting! That's right, challenge casting! How does it work? If you can get across 6 feet of glistening oil and not get infected, you get no down payment. Don't wait, don't delay. Don't fuck with us, or we'll rip your spark out! Only at Big Jin's Labs: The only biomancer that tells you to fuck off! Hurry up, asshole! This event ends the minute after you write us a check, and it better not bounce or you're a dead motherfucker! Go to hell! Big Jin's Labs: Phyrexias's filthiest and exclusive home of the meanest sons of bitches of the Progress Engine. Guaranteed!

[howlingguardian]

It's akways weird when you consume something that started a trend, or in this case basically spawned an entire subgenre.

I finished reading Neuromancer earlier today, and now I can see its DNA in so many other cyberpunk works. The evil megacorps and the seamy underworld; the cybernetics and bioaugmentation; themes of capitalist greed and materialism, of technology and its abuses, of AI and people both being used as impersonal tools...

I did enjoy it, but the prose of the book felt crowded, like it was trying to shove so many details into my brain with little explanation. It made it a bit harder to sink into it.

On a personal note, it's got me thinking about hackers and street samurai and hi-tech augmentation, so there's that. Might look up some films later.

Also, given the chance, I think I'd get some little cyber-claws too. Not for fighting or anything- I just suck at peeling oranges.

[walkingnorth]

So I recently reread Always Human and, besides the pleasure of revisiting probably my favorite scifi webcomic, found myself wondering anout the worldbuilding of this setting. So basically I am asking if you have written up anything about the setting in terms of worldbuilding, or if not could you please give me a overview of the world of Always Human? Thanks.

Hello, thank you very much, I'm so glad you like it :) hmmmm "an overview of the world of Always Human" is a very big, open-ended topic and I'm not sure how to go about answering it. Idealistic sci-fi with ubiquitous bioaugmentation?

I've answered more specific questions about the worldbuiling before https://alwayshumancomic.tumblr.com/tagged/always%20human%20asks/chrono https://walkingnorth.tumblr.com/tagged/always%20human%20asks/chrono Perhaps if you skim through the above (not all the asks are about worldbuilding, but many are) and then if that prompts more specific questions about the worldbuilding you can ask again, and I'll answer those? This is just so open-ended, I don't know what to say ^^;

[interplanaranathema]

Lachesis facts

Lachesis, being a psyker based in strictly biomancy, has an ability to meld and attach body parts to their body with relative ease.

Combining this with their supreme genetic manipulation, Lachesis has made augments to assist themsles and their legion.

Their augment of choice is a handmade beast body that they fuse to become a walking predator of a cantaur-like being. Fearsome claws and plates of bio-made ceramite and metal in assisting during combat. Lachesis is quick and fearsome with this mount.

However, they barely had used this mode on joint missions with their brothers since it could be seen as heretical. Some, such as Horus, has seen the legion's bioaugments in use, including this battle mount.

As with everything, Lachesis will mutate according to their association. On this battlemount, their ears will elongate to become pointed and more sensitive, their already mutated mouth will sharpen according. With some long campaigns, Lachesis had started to develop ceramite body plates as well as claws due to prolonged exposure.

This is a rough sketch of what it'll look like

[thewandererslibrary]

Serpentine Sorting System

Hey Wanderers!

Just a friendly reminder we have an SSS event currently ongoing. Don't know what SSS is? No worries! Check out this helpful forum post.

The prompt for this round is:

"In a world that runs on cybernetics and bioaugmentations, the ultimate form of entertainment has arrived: brutal kaiju deathmatches."

If you want to help worldbuild, be sure to check out the channel for it on our Discord! A hub page on the site will be up soon.

[exspiritment]

this isnt the drabble but

the lab escape was mostly spirit’s idea. like. at eight, she decided this was the best way to survive: banding with burns, harris, and the daughter of their evil scientist overlords to destroy the lab including every other experiment like can i emphasize enough how much she and the others like, betrayed their fellow prisoners

how much spirit, who heard every dead labrat, was betraying every labrat who now would die because of the destructive capabilities of especially burns and also harris

and juniper, the daughter of 2 mad scientists - never directly experimented on (meaning bioaugmentation or genetic alteration) — going along with it? at fourteen, yes — not trying to right the wrongs of her lineage, but going along with a dazed and crazed eight-year-old’d psychotic escape plan — one that relied as much on spirit’s extrasensory knowledge as juniper’s observations of her own parents. 

so easy to say the escape was the product of burns gone too far, of harris’s ruthlessness and daddy issues at their earliest and most fierce. more on those if you ask me about them. 

but i think a lot about what spirit and juniper did, knowingly and not knowingly. i think about how all the labkids have trapped each other with the combined guilt over this horrid, monstrous thing. i think abut how juniper and spirit carry it the most because of who they are and who harris and burns arent.

[delta-remediation]

Hydrocarbon Remediation: Understanding the Process and Benefits

Hydrocarbon remediation is a crucial process that helps clean up soil and water contaminated by hydrocarbons. These compounds, made up of hydrogen and carbon atoms, are commonly found in petroleum products such as gasoline and diesel fuel. When they enter the environment, they can pose a significant threat to human health and the environment. In this article, we will explore the process of hydrocarbon remediation, its benefits, and how it can be useful for businesses.

What is Hydrocarbon Remediation?

Hydrocarbon remediation involves removing hydrocarbon contaminants from soil and water. This process comprises various techniques and methods used to remove the contaminants and restore the affected area to its natural state. Some of the techniques used in hydrocarbon remediation include:

Excavation and Treatment: This technique involves digging up contaminated soil and transporting it to a facility where it is cleaned and treated.

Excavation and Storage/Disposal: This technique involves digging up contaminated soil and transporting it to a facility where it is stored indefinitely.

Bioremediation: This process involves using microorganisms to break down the hydrocarbons in the soil. The microorganisms can either be found naturally and stimulated (biostimulation) or cultured and then added to the soil or water.

Chemical Oxidation: This technique involves using chemicals to break down the hydrocarbons in the soil or water. The chemicals react with the hydrocarbons and convert them into harmless substances.

Air Sparging: This process involves injecting air into the soil to increase the oxygen levels, promoting the growth of microorganisms that can break down the hydrocarbons.

Soil Vapor Extraction: This technique involves using a vacuum to extract the hydrocarbons from the soil. The hydrocarbons are then collected and filtered through carbon.

Benefits of Hydrocarbon Remediation

Hydrocarbon remediation has several benefits, including:

Environmental Protection: Hydrocarbon remediation helps protect the environment by removing harmful contaminants from the soil and water.

Health Benefits: Hydrocarbon remediation helps protect human health by removing harmful contaminants from the environment.

Cost Savings: Hydrocarbon remediation can save businesses money in the long run by reducing liability and avoiding potential fines and lawsuits.

Regulatory Compliance: Hydrocarbon remediation helps businesses comply with environmental regulations and avoid potential penalties.

Hydrocarbon Remediation for Businesses

Hydrocarbon remediation can be particularly useful for businesses that deal with petroleum products, such as gas stations and oil refineries. These businesses are required to comply with environmental regulations and are liable for any contamination that occurs on their property. Hydrocarbon remediation can help businesses avoid potential fines and lawsuits, protect the environment and human health, and demonstrate a commitment to environmental protection that can enhance their reputation and attract environmentally conscious customers.

Delta Remediation, the bioremediation solutions provider, offers bioremediation services as a part of hydrocarbon remediation to break down hydrocarbon contaminants using specific microorganisms with the ability to break down even the most complex hydrocarbon chains (bioaugmentation).

Conclusion

In conclusion, hydrocarbon remediation is a critical process that helps protect the environment and human health. The process involves various techniques and methods used to remove hydrocarbon contaminants from the soil and water. Hydrocarbon remediation has several benefits, including environmental protection, health benefits, cost savings, and regulatory compliance. For businesses that deal with petroleum products, hydrocarbon remediation can be particularly beneficial in terms of liability reduction, reputation enhancement, and attracting environmentally conscious customers.

[deltaremediation]

We come to sites and leave it cleaner than we found it; not only do we clean up the soil but we go above and beyond our work to remove all the garbage both soil and underground.

Although remediation specializes in cleaning only the contaminated soil, our team takes pride in leaving the environment cleaner than we found it. Not only do we clean the earth, we go above and beyond our work to remove all the garbage both in the soil and underground, leaving job sites looking better than when we arrived.

We take pride in our work and our customer reviews validate this!

[aquariumdechlorinator]

Maximizing Efficiency: Understanding the Wastewater Nitrification System

Introduction to Wastewater Treatment

Wastewater treatment plants play a vital role in ensuring environmental sustainability and public health. Among the many processes involved, plant treatment nitrification process is a cornerstone for removing nitrogen compounds from wastewater, preventing their release into natural water bodies where they can cause harm.

The Significance of Nitrification

Nitrogen compounds, if discharged into water bodies untreated, can lead to eutrophication, harmful algal blooms, and depletion of oxygen levels, posing serious threats to aquatic life and water quality.

Understanding the Wastewater Nitrification System

Overview of the Process

Ammonia Oxidation: Ammonia is first converted into nitrite by ammonia-oxidizing bacteria (AOB).

Nitrite Oxidation: Nitrite is then oxidized into nitrate by nitrite-oxidizing bacteria (NOB).

Factors Influencing Nitrification Efficiency

Temperature: Nitrification rates are optimal in the temperature range of 20-30°C.

pH Level: Nitrification is favored in slightly alkaline conditions (pH 7.5-8.5).

DO Levels: Dissolved oxygen (DO) is crucial for the activity of nitrifying bacteria; adequate aeration is essential.

Presence of Inhibitors: Compounds like heavy metals or certain chemicals can inhibit nitrification and need to be controlled.

Strategies for Enhancing Nitrification Efficiency

Advanced Aeration Techniques

Utilizing fine bubble diffusers and surface aerators can enhance oxygen transfer efficiency, ensuring optimal conditions for nitrification.

Bioaugmentation

Introducing specialized nitrifying bacteria cultures can supplement the existing microbial community, boosting nitrification rates and resilience.

Process Optimization

Regular monitoring of key parameters such as ammonia, nitrite, and nitrate levels allows for timely adjustments in operating conditions to maximize nitrification efficiency.

Challenges and Innovations in Nitrification

Addressing Seasonal Variations

Seasonal changes in temperature and organic loading can impact nitrification rates, necessitating adaptive strategies such as adjusting aeration rates or implementing seasonal process modifications.

Dealing with Shock Loads

Unexpected spikes in ammonia concentration or hydraulic loads can stress the nitrification system. Implementing buffer tanks or emergency bypass systems can mitigate the effects of shock loads.

Harnessing Technology for Monitoring and Control

Advancements in sensor technology and automation allow for real-time monitoring of key process parameters, enabling proactive management and optimization of the nitrification process.

Conclusion

The wastewater nitrification system is a critical component of wastewater treatment plants, playing a pivotal role in nitrogen removal and safeguarding water quality. By understanding the intricacies of nitrification and implementing innovative strategies, wastewater treatment facilities can maximize efficiency, minimize environmental impact, and contribute to sustainable water management practices.

[tritonmarketresearchamey]

Bioremediation Technology and Services: Market Analysis 2024-2032

The global bioremediation technology and services market is set to advance at a CAGR of 7.97% during the forecasting phase 2024-2032. Request Free Sample Report

According to Triton Market Research, the Global Bioremediation Technology and Services Market report is sectioned by Type (In-situ Bioremediation, Ex-situ Bioremediation), Service (Wastewater Remediation, Soil Remediation, Oilfield Remediation, Other Services), Technology (Biostimulation, Phytoremediation, Bioreactors, Bioaugmentation, Fungal Remediation, Land-based Treatments), and Regional Outlook (North America, Europe, Middle East and Africa, Asia-Pacific, Latin America).

The report highlights the Market Summary, Industry Outlook, Impact Analysis, Porter’s Five Forces Analysis, Key Buying Impact Analysis, Industry Components, Market Maturity Analysis, Key Market Strategies, Market Drivers, Challenges, Opportunities, Analyst Perspective, Competitive Landscape, Research Methodology and scope, Global Market Size, Forecasts & Analysis (2024-2032).

Based on Triton’s analysis, the global bioremediation technology and services market is set to advance at a CAGR of 7.97% during the forecasting phase 2024-2032. 

Bioremediation technique encompassing phytoremediation, bioaugmentation, and biostimulation, offers an eco-friendly approach to tackle diverse environmental challenges, serving as a sustainable alternative to conventional remediation techniques.

Rising integration of nanotechnology and growing innovation in metagenomics and genomics are creating ample opportunities for the bioremediation technology and services market. Nanotechnology enables the development of advanced materials and techniques with properties tailored for environmental cleanup, such as increased surface area for adsorption, enhanced reactivity, and improved transport of contaminants. These nanomaterials can target specific pollutants, allowing for more precise and targeted remediation efforts. This significantly widens the scope of the studied market globally. 

However, uncertainty pertaining to the site and the long duration of the process restricts the development of the bioremediation technology and services market. 

Asia-Pacific is estimated to become the fastest-growing region globally. The surge in population alongside urbanization and industrial expansion, coupled with heightened oil and gas consumption, has fostered numerous contaminated sites. Consequently, heightened awareness regarding the adverse effects of pollution and governmental regulations aimed at environmental preservation has elevated the need for bioremediation services, which significantly fuels the market’s growth. 

The notable companies thriving in the bioremediation technology and services market include Carus Group Inc, Sevenson Environmental Services Inc, Aquatech International LLC, Drylet Inc, Xylem Inc, Soilutions Ltd, Verde Environmental Group, RT Environmental Services Inc, Regenesis Remediation Solutions, and Ivey International Inc. 

The market is currently dominated by established players who wield significant control. Any prospective newcomer would face substantial barriers to entry, including high capital requirements for technical products and labor, as well as a considerable time frame needed to secure a foothold in the market. Given the robust competition, establishing a new presence becomes a formidable challenge. As a result, the threat posed by new entrants remains low.

[orgrevolution]

Tech Meets Nature: A New Era in Wastewater Treatment Solutions

In the quest for sustainable and effective wastewater treatment, a new era is unfolding where technology seamlessly converges with the power of nature. This article explores the groundbreaking developments that mark the intersection of technology and nature in wastewater treatment, ushering in a transformative phase that holds promise for a cleaner and more sustainable environment.

1. The Fusion of Tech and Nature in Wastewater Treatment

As environmental challenges escalate, the integration of technology with natural processes emerges as a beacon of hope. This section introduces the concept of blending technological innovations with nature's inherent capabilities to create holistic wastewater treatment solutions.

2. Nature-Inspired Treatment Systems: Biomimicry in Action

Exploring the profound insights that nature offers, this segment delves into biomimicry in wastewater treatment. Drawing inspiration from natural processes, such as wetlands and mangroves, technological solutions are designed to emulate and enhance the efficiency of nature's own purification mechanisms.

3. Advanced Biological Treatment Technologies

The marriage of technology and biology takes center stage in this section, highlighting advanced biological treatment technologies. From membrane bioreactors to bioaugmentation, these innovations optimize the breakdown of organic matter and nutrient removal, reflecting a harmonious coexistence of technological precision and biological processes.

4. Smart Monitoring and Control Systems

Introducing intelligence into wastewater treatment, this segment explores smart monitoring and control systems. Harnessing the capabilities of artificial intelligence and sensor networks, these technologies optimize operational efficiency, anticipate system requirements, and ensure real-time adjustments for enhanced performance.

5. Green Energy Integration for Sustainable Treatment

The article examines the integration of green energy sources into wastewater treatment processes. By incorporating solar, wind, and other renewable energy solutions, these systems not only reduce the environmental impact but also pave the way for more energy-efficient and sustainable wastewater treatment practices.

6. Decentralized Treatment Solutions: Empowering Local Environments

Shifting the paradigm from centralized to decentralized approaches, this section explores how technology empowers local environments. Decentralized wastewater treatment systems enhance adaptability, reduce infrastructure demands, and address specific community needs, aligning with nature's decentralized and adaptive systems.

7. Eco-Friendly Chemical Treatments

Technology facilitates the development and implementation of eco-friendly chemical treatments, minimizing the environmental footprint of traditional chemical processes. This section explores the use of green chemicals and innovative treatment methods that ensure effective pollutant removal while promoting ecological balance.

8. Challenges, Progress, and Future Vistas

Acknowledging challenges in the integration of technology and nature, this section discusses ongoing progress and future vistas. From addressing scalability concerns to fostering public awareness, the article provides insights into overcoming obstacles and forecasts the continued evolution of these transformative wastewater treatment solutions.

Conclusion: Paving the Way for Sustainable Synergy

"Tech Meets Nature" signifies not just a convergence of two realms but the birth of a new era in wastewater treatment. By harnessing the power of technology to work in harmony with nature, we embark on a journey toward sustainable and efficient solutions. As these innovations unfold, they herald a cleaner, healthier environment and mark a significant stride in our collective commitment to preserving the delicate balance of our ecosystems.

[whataboutfractions]

FUCKING WHAT girlboss malewife behavior ehat episode was that I'm gonna go watch it; sidenote: I also am so baffled as why she has hair sticking from underneath her cap and have juggling the idea of bombermen having hair Or as some way to stylize she clipped some extensions to make it appear that she does

the stuff with her husband appears in ep 42! however, do be warned that it's a very small portion of the episode, which is primarily focused on bagura, iein, and mujoe's backstory, so if you go into it expecting a full girlboss-malewife focus you'll be disappointed

as momo's hair retains the same style but is affected by age when we see her in the show's current time, i've thought it was a biological thing - not a strictly natural one, though, since i linked it into my general widespread bioaugmentation headcanon to explain the breadth of differences seen among jetters bombermen