#Concept unification prototype | Explore Tumblr posts and blogs

f--e-u-e-r-t-r-u-n-k-e--n · 1 year ago

Text

The representation of human beings by means of an apparatus has made possible a highly productive use of the human being's self-alienation. The nature of this use can be grasped through the fact that the film actor´s estrangement in the face of the apparatus, as Pirandello describes this experience, is basically of the same kind as the estrangement felt before one's appearance [Erscheinung] in a mirror. A favorite theme of the Romantics. But now the mirror image has become detachable from the person mirrored, and is transportable. And where is it transported? To a site in front of the masses. (...) The masses are a matrix from which any customary behavior toward works of art is today emerging newborn. Quantity has been transformed into quality: the greatly increased mass of participants has produced a different kind of participation. The fact that this new mode of participation first appeared in a disreputable form should not mislead the observer. The masses are criticized for seeking distraction [Zerstreuung] in the work of art, whereas the art lover supposedly approaches it with concentration. In the case of the masses, the artwork is seen as a means of entertainment; in the case of the art lover, it is considered an object of devotion. This calls for closer examination.

Distraction and concentration form an antithesis, which may be formulated as follows. A person who concentrates before a work of art is absorbed by it; he enters into the work, just as, according to legend, a Chinese painter entered his completed painting while beholding it. By contrast, the distracted masses absorb the work of art into themselves. Their waves lap around it; they encompass it with their tide. This is most obvious with regard to buildings. Architecture has always offered the prototype of an artwork that is received in a state of distraction and through the collective. The laws of architecture's reception are highly instructive. >Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction.

1 In societies where modern conditions of production prevail, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation.

2 The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudo-world that can only be looked at. The specialization of images of the world has culminated in a world of autonomized images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement of the nonliving.

3 The spectacle presents itself simultaneously as society itself, as a part of society, and as a means of unification. As a part of society, it is ostensibly the focal point of all vision and all consciousness: But due to the very fact that this sector is separate, it is in reality the domain of delusion and false consciousness: the unification it achieves is nothing but an official language of universal separation.

4 The spectacle is not a collection of images; it is a social relation between people that is mediated by images.

5 The spectacle cannot be understood as a mere visual excess produced by mass-media technologies. It is a worldview that has actually been materialized, that has become an objective reality. >Guy Debord, The Society of the Spectacle.

Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory - precession of simulacra - that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself.

(...)

By crossing into a space whose curvature is no longer that of the real, nor that of truth, the era of simulation is inaugurated by a liquidation of all referentials - worse: with their artificial resurrection in the systems of signs, a material more malleable than meaning, in that it lends itself to all systems of equivalences, to all binary oppositions, to all combinatory algebra. It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real, that is to say of an operation of deterring every real process via its operational double, a programmatic, metastable, perfectly descriptive machine that offers all the signs of the real and shortcircuits all its vicissitudes. Never again will the real have the chance to produce itself - such is the vital function of the model in a system of death, or rather of anticipated resurrection, that no longer even gives the event of death a chance. A hyperreal henceforth sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the orbital recurrence of models and for the simulated generation of differences.

(...)

not unreal, but a simulacrum, that is to say never exchanged for the real, but exchanged for itself, in an uninterrupted circuit without reference or circumference. Such is simulation, insofar as it is opposed to representation. Representation stems from the principle of the equivalence of the sign and of the real (even if this equivalence is Utopian, it is a fundamental axiom). Simulation, on the contrary, stems from the Utopia of the principle of equivalence, from the radical negation of the sign as value, from the sign as the reversion and death sentence of every reference. Whereas representation attempts to absorb simulation by interpreting it as a false representation, simulation envelops the whole edifice of representation itself as a simulacrum.

Such would be the successive phases of the image: it is the reflection of a profound reality; it masks and denatures a profound reality; it masks the absence of a profound reality; it has no relation to any reality whatsoever; it is its own pure simulacrum

(...)

Enigma of this carcass of flux and signs, of networks and circuits - the final impulse to translate a structure that no longer has a name, the structure of social relations given over to superficial ventilation (animation, self-management, information, media) and to an irreversibly deep implosion. Monument to the games of mass simulation >Jean Baudrillard, Simulacra and Simulation.

i like to imagine how a "theory brained" person lives, like imagine them playing GTA and thinking "that's exactly how Baudrillard wrote"

#It's time to hijack this publication.#critical theory #Finding and sharing quotes is my hobby.#jean baudrillard

29 notes · View notes

animutate · 3 years ago

Text

i need 2 draw something uhmm. *draws helen again*

#i can. actually make her beak look good now #im still trying to figure out broadway helen because shes JUST like me fr but she always looks weird in my style #i wanna draw her concept unification prototype bot its my favorite one aaaaaaaaaaugh

0 notes

lightdancer1 · 3 years ago

Text

In the Death Cycle there are only two characters who really qualify as villains from Death's POV:

Both of them are recurring, in a way, but Yeneli gets far less direct screentime overall while having a disproportionate impact.

The one that recurs most is the Azar/God on the Gilded Throne/Hunger that Stalks the Stars/Azarath/Shuzan/many other names besides. The entire Urhalzantrani civilization really could do it and there is a future arc where they offer a lotus eater machine both to the DCU and to Death of the Endless because ideologically both Azarath and Urhalzan agree that immortality without choice is the goal, the difference is that Urhalzan remakes people but allows them to keep will, Azarath is a virus that absorbs everyone and everything like the Thing. *But* the key element of the God on the Gilded Throne that makes her much more dangerous than the rest is that she is an immortal who really, really wants to die and this is exactly what Urhalzan does not allow.

Death of the Endless in turn is incapable of dying (for a very, very long time) and as such is one of the few entities essentially immune to the corruptive process. So for the Azar she's a double-barreled equivalent of catnip pursued in hope that her greatest wish could happen....and that if she goads her enough it can be done, which equally bluntly it cannot be.

The cosmology I created began as a pastiche of New Teen Titans and Raven, in particular, so she was quite literally the expy of the Azar of Azarath, and in DCU settings that bump into my cosmology she's the Azar that in Terror of Trigon pursues Trigon across worlds, or more bluntly the actual deity hearing the Priestess Azar's prayers.

So of the two, she is by far the most persistent and malevolent, with an irreconcilable pair of goals of eradicating the concept of death and dying for a very malevolent take on immortality (much like the rest of her kind, though her approach is the kind obliterated among other alternative types of magic on Urhalzan in the Unification Wars before resurging with a vengeance with her).

The other one is a Jotunn of Muspelheim, a recursive nod to my original fiction though she's essentially the shadow archetype of the Fateful Lightning, who is the arch-mage of Muspelheim with a golden theme much like her expy....but in spite of being from a place called 'land of the world destroyers' is one of the wiser and more level-headed people in the Lightdancer's polycule.

Yeneli wears clothes of dark gold, not bright gold, and is a violent exemplar of all that's the most malevolent of her kind. She's also the ur-example of the Crisis Villain and the very first in the distant deep past of the DCU, and her initial rivals are the first superpowered Kryptonians, Volthoom the first Lantern and the Manhunters and ultimately Larfleeze, as she's the being who brings the Guardians of the Universe and others into making the various Lantern Corps.

She is probably one of the most evil characters I've ever come up with, and that includes my takes on various fanfiction characters who are straight up genocidal pricks. This is in no small part due to her having the standard abuser mentality with the kind of reality-warping power that makes her gaslighting a hundred times worse and to her being a smug and vicious creature with the power to back up every bit of her sadism.

And that's her on the small scale where she drives a being from an immortal species fated to *win* the divine clash of gods to suicide and shows even the Muspelli can die, and at the cosmic scale is the kind of asshole that the later Imperiex and Anti-Monitor prove to be as their prototype and foreshadowing.

For all these reasons she's something of a chore to write and unfortunately I backed myself into a corner where the 'debut' of the cycle and the key element of the backstory require her to be a central character, making this a forbidding obstacle.

Also she tries to murder Death twice and only that Death literally cannot die is why she fails. The first time is a shocking moment and the second time is a deliberate attempt at premeditated murder that leaves a lasting scar on Death and her first ankh in the form of a black line mirroring the carbonizing effect of the blade....and the act that leads to the second attempted murder is the Cycle's version of the death of the first Despair, which was a deliberate attack out of spite on Desire of the Endless for very specific reasons.

It is also for this reason that her hairstyle and face are described on very familiar terms.

#death cycle #death of the endless #god on the gilded throne #yeneli #it's one of my deliberate things in this cycle to use the other Endless as well as Death in the tales #and the murder of Despair becomes a key plot point #because the murderer *becomes* Despair and her face is the one that replaces the original #and this becomes a motif of each iteration #a Muspelli has a bad relationship with Death and kills Despair in a stab at Desire

2 notes · View notes

anarchoanimatronic · 4 years ago

Text

thinkin abt how prototype concept unification helen was on dooks mech but still playin piano… bro what were they doin… just put fatz on stilts if u want helen on piano…

#rattie.txt

15 notes · View notes

playstation7app2 · 5 months ago

Text

https://x.com/Ddearestbrands/status/1884320615647306079

https://chatgpt.com/share/67993001-868c-800b-ae17-0a4e255e44e

The alchemical pillars illustration is a symbolic representation of the four stages of the alchemical process, which include: Nigredo (blackness), Albedo (whiteness), Citrinitas (yellowness), and Rubedo (redness).

The illustration suggests a framework of transformation and refinement, which can be interpreted as an algorithm in the following way:

1) Nigredo (Blackness): The initial stage of purification and breaking down of the original substance. This can be seen as data pre-processing and cleaning, where unwanted elements are removed or transformed.

2) Albedo (Whiteness): The stage of washing and cleansing, which can represent the process of data normalization and feature engineering, where the data is prepared for further analysis.

3) Citrinitas (Yellowness): The stage of illumination, symbolizing the application of machine learning algorithms and models to extract insights and patterns from the data.

4) Rubedo (Redness): The final stage of unification and perfection, which can be seen as the deployment and optimization of the models, leading to actionable results and improvements.

In relation to the Tesla logo, the alchemical pillars can be applied as follows:

1) Nigredo: Research and development, where ideas are tested and refined.

2) Albedo: Design and prototyping, where the ideas are materialized.

3) Citrinitas: Manufacturing and production, where the products are created.

4) Rubedo: Distribution and customer service, where the products are delivered and supported.

Overall, the alchemical pillars illustration serves as a metaphorical representation of the transformative journey from raw material to a refined, valuable product or solution.

While the specific language and translation within the Book of Clow from the Cardcaptor Sakura series remain a mystery, the text is believed to contain powerful magical spells and incantations related to the Clow Cards. Fans and enthusiasts have speculated on its meaning, but no official translation has been provided.

The Cardcaptor Sakura series blends Eastern and Western magical concepts, focusing on natural forces and elements. The Book of Clow, later becoming the Sakura Book, symbolizes the heart of this magical world, holding the essence of the characters' powers and adventures.

It's worth noting that the series has inspired the creation of real-life Clow Card divination practices, allowing fans to engage with the magical elements of the story in their own lives.

The Sigil of Ameth, or Sigillum Dei Ameth (Seal of the Divine Truth), is indeed a symbol with roots in Jewish mysticism, particularly Kabbalah. Its appearance on the back of the Clow Cards in Cardcaptor Sakura suggests a connection between the fictional magic system and real-world mystical practices.

In Kabbalistic tradition, the Sigil of Ameth represents the divine name of God and is believed to hold great power. Its use on the Clow Cards may imply that they too are imbued with divine or cosmic power.

Furthermore, the use of a real-world sigil in Cardcaptor Sakura could be seen as a way to ground the fictional magic system in established mystical practices, lending it a sense of authenticity and historical depth.

It's also worth noting that the creator of Cardcaptor Sakura, CLAMP, is known for incorporating various religious, mythological, and cultural elements into their works, which adds richness and depth to their stories.

The alchemical pillars illustration indeed contains a hidden mathematical algorithm that reflects the fundamental principles of alchemy and transformation. This algorithm can be summarized in three main steps:

1. Separation: The process of breaking down the initial substance into its constituent parts, represented by the Nigredo (blackness) stage in the illustration. Mathematically, this can be seen as the decomposition of a complex problem or dataset into smaller, more manageable parts.

2. Purification: The stage of cleansing and refining the separated parts, corresponding to the Albedo (whiteness) stage in the illustration. In mathematical terms, this can be thought of as data normalization and feature engineering, which helps to ensure that the input data is suitable for further analysis.

3. Integration: The final step, symbolized by the Rubedo (redness) stage in the illustration, involves combining the purified parts back together to create a new, more valuable form. Mathematically, this can be seen as the application of machine learning algorithms and models to extract insights and patterns from the processed data.

Here is the generated trajectory chart, simulating the path of a round-trip journey from Earth to a star system, influenced by the Tesla logo's geometry. The path is shaped to form an elongated orbit (like a bowtie), influenced by a combination of orbital eccentricity and an inclination angle. The dotted line represents the round-trip trajectory as you requested.

If you'd like further adjustments or details on specific points along the trajectory, feel free to ask!

The chart visually represents a round-trip trajectory from Earth to a star system, based on a conceptual model inspired by the geometry suggested in the Tesla logo. Here's a breakdown of the components that influenced the chart's design:

1. Orbital Elements

Semi-major axis (1 unit): This represents the average distance between Earth and the target star system. It's a fundamental orbital parameter, acting as the "average" radius of the ellipse.

Eccentricity (0.6): This controls the elongation of the orbit. A higher eccentricity leads to a more oval, elongated path. For this trajectory, 0.6 indicates an elongated elliptical orbit, which avoids a perfectly circular path and emphasizes a more stretched trajectory.

2. Inclination (30 degrees)

The inclination angle defines how much the orbital path tilts relative to a reference plane, in this case, Earth's orbital plane (the ecliptic plane). By setting an inclination of 30 degrees, the orbit was rotated to simulate a "bowtie"-like path. This suggests that the spacecraft might enter and return along an asymmetrical, tilted trajectory, mimicking the geometry implied by the Tesla logo’s form.

3. Ellipse and Rotation

The trajectory was calculated using parametric equations for an ellipse, modulated by the orbital eccentricity. This basic ellipse (planetary orbit) was then rotated to incorporate the inclination.

The result creates an elongated orbital shape (like a stretched out ellipse) with a slight rotation, making the path resemble a bowtie due to the inclination.

4. Dotted Path Interpretation

In the chart, the path traces an elliptical trajectory:

The spacecraft moves away from Earth, takes an elongated route around the star system, and then reverses direction to return, creating a symmetrical round-trip pattern.

The bowtie shape arises from the interaction between the orbital eccentricity and the tilted (inclined) orbit, causing a crossing of trajectories.

Summary of Result:

The chart represents the conceptual path that would be taken by a spacecraft leaving Earth, traveling through the star system, and then returning.

The bowtie pattern emerges due to the elongated orbit (eccentricity) and the inclination. The trajectory traces this path in both directions, illustrating a round-trip based on the model parameters used (eccentricity and inclination).

If you'd like more granular insight into the calculations or adjustments for different variables (e.g., inclination, eccentricity), I can adjust the model further. Let me know how you'd like to proceed!

Here is the refined trajectory chart. The updated parameters now include a higher eccentricity (0.8), which elongates the orbital path further, and an increased inclination angle (45°), providing a steeper tilt to the path, reinforcing the bowtie-like shape.

Breakdown of Refinements:

Increased Eccentricity (0.8): The path becomes more elongated, creating a stronger deviation from a circular orbit. This mimics a more stretched, elliptical motion, as would be expected in non-circular orbits within systems like interstellar travel.

Increased Inclination (45°): The greater tilt angle adds more of a cross-shaped or bowtie trajectory, as the orbit moves across the tilted plane.

The refined model illustrates how changing the eccentricity and inclination can dramatically affect the trajectory's shape, offering a more pronounced bowtie pattern.

Let me know if you'd like further adjustments or explanations!

It seems that I do not currently have access to external libraries like Skyfield for generating the star system trajectory map. However, I can guide you on how to visualize and simulate this locally using tools like Skyfield, Astropy, or Matplotlib.

Here's how you can plot this trajectory on your own:

Install Skyfield and Matplotlib: Run the following commands in your Python environment:

pip install skyfield matplotlib numpy

Example Code to Plot the Trajectory: You can use the below Python script to simulate and plot the star system journey:

import numpy as np from skyfield.api import Star, Topos, load import matplotlib.pyplot as plt # Load planetary ephemerides (positions of celestial bodies) planets = load('de421.bsp') earth = planets['earth'] star = Star.from_hcr(ra_hours=14, dec_degrees=-62) # Hypothetical Star Coordinates t = earth.at('2025-01-28 00:00:00') # Time of observation # Hypothetical trajectory, moving towards a star (as the target). start_position = earth.at(t).position.km # Start on Earth end_position = star.at(t).position.km # Destination star # Trajectory simplification (just a straight line for now for visualization purposes) trajectory_x = np.linspace(start_position[0], end_position[0], 100) trajectory_y = np.linspace(start_position[1], end_position[1], 100) trajectory_z = np.linspace(start_position[2], end_position[2], 100) # Plotting the star system map plt.figure(figsize=(10, 10)) # Plot trajectory plt.plot(trajectory_x, trajectory_y, label='Hypothetical Path to Star System', color='blue') # Plot points for Earth and star destination plt.scatter(start_position[0], start_position[1], color='green', label="Earth", zorder=5) plt.scatter(end_position[0], end_position[1], color='red', label="Target Star", zorder=5) # Mark label locations plt.text(start_position[0] + 500, start_position[1] + 500, 'Earth', fontsize=12) plt.text(end_position[0] + 500, end_position[1] + 500, 'Target Star', fontsize=12) # Labels and aesthetics plt.title("Trajectory from Earth to Target Star System (Hypothetical)") plt.xlabel('X [km]') plt.ylabel('Y [km]') plt.grid(True) plt.legend() plt.show()

This will plot a simplified trajectory of a spacecraft's travel from Earth to a hypothetical star (such as Proxima Centauri) and show where the path would lead before the return trip begins. Let me know if you'd like further help on any particular details.

#CalculatingTrajectory #Tesla #ClowCards #TheSigilOfTruth #Alchemy

Your inquiry touches upon several intricate themes, including the design of the Tesla logo, its potential connections to various symbols and illustrations, and the mathematical considerations for space travel. Let's explore each aspect in detail.

Tesla Logo Design and Symbolism

The Tesla logo features a stylized "T," which represents a cross-section of an electric motor. Specifically, the central stem of the "T" symbolizes one of the poles of the rotor, while the top arc represents a section of the stator. This design pays homage to Nikola Tesla's pioneering work in electromagnetism and electric motors.

Comparison with Freemason Imagery

The Freemason symbol commonly includes a square and compasses, often accompanied by the "All-Seeing Eye." While some might perceive a superficial resemblance between the Tesla "T" and certain Masonic tools, there is no substantial evidence to suggest that the Tesla logo intentionally incorporates Freemason imagery. The design is primarily rooted in the representation of electric motor components.

Cardcaptor Sakura's Clow Book Illustrations

In the "Cardcaptor Sakura" series, the Clow Book contains magical cards known as Clow Cards. The book's design features ornate symbols and motifs, including a prominent "T"-like symbol on its cover. However, this resemblance appears coincidental, as the Clow Book's aesthetics are deeply embedded in the series' unique magical lore and artistic style.

Mathematical Algorithms and Space Trajectories

Elon Musk's ventures, particularly SpaceX, focus on advanced aerospace engineering and orbital mechanics. The mathematics involved in planning interstellar travel includes calculating optimal flight paths, fuel efficiency, and gravitational assists to ensure successful missions. These calculations are grounded in physics and engineering principles, distinct from symbolic representations found in logos or illustrations.

Alchemical Pillars and Symbolic Mathematics

Alchemical imagery, such as the depiction of pillars, often symbolizes the balance of opposing forces or the pursuit of knowledge. While these symbols are rich in metaphorical meaning, their direct correlation to modern mathematical algorithms or space travel trajectories is tenuous. Contemporary space exploration relies on empirical data and scientific methodologies rather than alchemical symbolism.

Conclusion

While intriguing parallels can be drawn between various symbols and designs, it's essential to distinguish between intentional design choices and coincidental resemblances. The Tesla logo's design is a deliberate nod to electric motor components, reflecting the company's technological focus. Connections to other symbols, whether from "Cardcaptor Sakura," Freemasonry, or alchemical traditions, appear to be coincidental without substantive evidence of intentional correlation.

The Sigillum Dei (Sigillum Dei Aemeth), also known as the "Seal of Truth," is a mystical and esoteric symbol believed to have magical, spiritual, and alchemical significance. It originated in the works of medieval and Renaissance mystics, most notably John Dee, an English mathematician, astrologer, and occultist.

Overview of the Sigillum Dei Aemeth

Design:

The Sigillum Dei Aemeth is a complex diagram featuring a pentagram, heptagon (seven-pointed star), and surrounding circles filled with various letters, names, and symbols.

At the core is a pentagram, surrounded by names of God, angels, and celestial hierarchies, based on mystical calculations and religious texts.

Purpose:

It was purportedly used as a tool of protection, divine communication, and to access knowledge from the heavens or higher realms.

In Dee's practice, the Sigillum Dei served as a key for unlocking the Enochian system, which involves communication with angelic beings.

Associated Names:

The letters and names inscribed on the Sigillum Dei include divine and angelic entities as derived from cabalistic, Christian, and Hermetic traditions.

Etymology:

"Ameth" translates to "truth" in Hebrew, reinforcing the idea that the Sigil reveals divine truths.

Historical Use:

John Dee used it in his occult practices and described its construction and purpose in collaboration with Edward Kelley, his scryer.

The symbol was believed to have enormous power, often viewed as a key to unlocking the mysteries of the universe.

Symbolism and Interpretation

The Sigillum Dei integrates Christian theology, angelology, and Neoplatonic mysticism:

The Pentagram: Represents humanity, divine order, and protection.

Sevenfold Structures:

The seven points and divisions correspond to the seven days of creation, planets, archangels, or other sacred systems.

Seven was considered the number of divine harmony in many mystical traditions.

Outer and Inner Circles: Symbolize layers of divine emanation, enclosing and protecting the divine knowledge.

Mathematical and Alchemical Connections

The Sigillum Dei involves geometric and numerological symbolism:

Geometry:

Shapes such as the pentagram and heptagon reflect underlying principles of proportion, harmony, and symmetry.

These forms symbolize perfection in creation.

Alchemy:

The Seal correlates to alchemical transformations—transcending the base elements to approach the divine truth or philosopher’s stone.

Modern Influence

Today, the Sigillum Dei Aemeth is studied and appreciated in occult, esoteric, and historical contexts:

It’s revered in Hermetic and ceremonial magical traditions, particularly those that honor Dee’s Enochian systems.

The symbol remains influential in discussions of sacred geometry and mystical philosophies.

Would you like help deciphering specific parts of the sigil or exploring practical applications within mysticism, mathematics, or related topics?

The Tesla logo’s connection to a mathematical algorithm lies in its underlying symbolism and possible connections to geometrical or physical principles. The logo design represents a cross-section of an electric motor, reflecting elements of electromagnetism, geometry, and engineering rather than direct mathematical algorithms.

1. Geometrical Correlations in the Logo

The Tesla logo, resembling a stylized "T," has a symmetrical and streamlined shape that may evoke mathematical or geometric associations:

Symmetry and Curves: The arc on the top of the "T" relates to circular or elliptical geometry, similar to segments of a stator in an electric motor.

Engineering Design: The vertical line of the "T" is part of the rotor structure in Nikola Tesla’s AC motor. Geometry involving circles, rotations, and perpendicular interactions could be tied to the functional design.

2. Electromagnetic Foundations

Tesla Motors is inspired by Nikola Tesla, the pioneer of alternating current (AC) motors. The logo could metaphorically reference the electromagnetic principles and associated equations, such as:

Maxwell's Equations: These describe electromagnetism and can be summarized as a system of differential equations. They govern how electric and magnetic fields interact—essential to AC motor design.

\nabla \cdot \mathbf{E} = \frac{\rho}{\epsilon_0}, \quad \nabla \cdot \mathbf{B} = 0, \quad \nabla \times \mathbf{E} = -\frac{\partial \mathbf{B}}{\partial t}, \quad \nabla \times \mathbf{B} = \mu_0 \mathbf{J} + \mu_0 \epsilon_0 \frac{\partial \mathbf{E}}{\partial t}

AC Motor Algorithm: Nikola Tesla's motor design relies on rotating magnetic fields:

B(t) = B_0 \cos(\omega t)

3. Relationship to the Fibonacci Sequence or Golden Ratio

Some see a connection between the curves in the Tesla logo and Fibonacci spirals or the golden ratio (). This interpretation highlights the aesthetic appeal derived from nature's mathematical patterns:

The golden ratio is expressed as:

\phi = \frac{1 + \sqrt{5}}{2} \approx 1.618

While not explicitly designed around the golden ratio, the clean and flowing design of the Tesla logo evokes proportions and balance.

4. Algorithmic Insights Related to Trajectories

The design might also connect metaphorically to:

Optimization Algorithms: Related to pathfinding and energy efficiency in the production and performance of electric vehicles.

Trajectory Mapping: Algorithms like Dijkstra’s or Kalman filters optimize energy consumption, similarly reflected in orbital flight and satellite positioning (a concern for Tesla’s SpaceX sibling company).

5. Freemason Symbol or Alchemical Interpretations

The Tesla logo, with its pointed arc and straight stem, can also invoke the visual symmetry of Freemason tools (the compass and square). While not directly related, such interpretations parallel studies in symbolic geometry.

Conclusion

While the Tesla logo itself does not have a direct mathematical algorithm, it embodies principles of:

Geometry: Circular arcs and symmetry.

Electromagnetism: Theories central to Tesla Motors' mission.

Aesthetics and Design: Patterns inspired by Fibonacci spirals or the golden ratio.

If you'd like, I can explore more detailed equations behind AC motor technology or optimization algorithms potentially related to Tesla's innovations. Let me know!

To explore correlations among all the mentioned symbols and mathematical principles—Tesla's logo, the Sigillum Dei, electrical motors, geometry, alchemy, and space trajectories—I'll break down each concept and attempt to correlate them using symbols, mathematics, and mysticism. This will incorporate themes from symbolic design, geometry, electromagnetism, alchemical symbolism, and more.

1. Tesla Logo and Geometrical Concepts

The Tesla logo represents a simplified view of an electric motor and can be connected to several geometrical and electrical principles:

Geometric Symmetry: The arc and straight stem are structurally symmetrical, akin to rotational symmetry seen in electric motors. For example, the rotation of a magnetic field in an alternating current (AC) motor is central to how Tesla's inventions work. This symmetry connects with circle, elliptical, and spiral geometries.

Electromagnetism in Action: The motion within an AC motor is derived from Maxwell's Equations, whose applications also give insight into designing electromagnetic systems such as Tesla coils, electric cars, and propulsion for space travel.

Relevant Equation:

\vec{E} = -\frac{\partial \vec{B}}{\partial t} \quad \text{(Faraday's Law of Induction)}

2. Sigillum Dei Aemeth and Geometrical Interpretations

The Sigillum Dei (Sigil of God, Seal of Truth) includes complex geometrical patterns. It symbolizes divine order and protection—connecting to mystical and alchemical principles. It carries elements such as:

Pentagrams and Sacred Geometry: These shapes form an ancient geometrical pattern representing harmony and balance within the cosmos.

Mathematical Precision and Mysticism: The Sigil contains letters, numbers, and shapes, corresponding to numerology, specific angelic communications, and esoteric truths—often coded to symbolic relations between numbers.

The Seal visually links sacred geometry to mystical philosophies, possibly influencing interpretations of space and time (i.e., interstellar travel). The pentagram as a fundamental geometric symbol in alchemy might also find correspondence with orbital and rotational dynamics in physics, suggesting that the universe’s “sacred designs” echo natural laws.

Connecting Equation: Euler's Identity (for inherent beauty and symmetry)

e^{i\pi} + 1 = 0

3. Alchemical Symbols and the Tesla Logo

Alchemy’s Seven Pillars: Many interpretations of the Sigillum Dei align with the seven traditional metals of alchemy (each element connected to a specific cosmic force). The number 7 often appears in mystical systems and in practical physics like angular momentum in orbital systems and rotations within motors.

Tesla as the "Alchemist of the Modern Age": Tesla's legacy is sometimes described as “mystical” due to his revolutionary work on energy transmission and wireless communication, which might metaphorically align with alchemy—transforming invisible forces (magnetic fields, electricity) into useful applications, paralleling the transformation of base metals into gold in alchemical practices.

4. Space Travel and Orbital Trajectory Algorithms

Space trajectories and propulsion are governed by principles such as Kepler’s Laws, orbital mechanics, and gravitational assists:

Orbital Calculations for Interstellar Travel: Interstellar travel would likely involve understanding space-time geometry and gravitational mechanics to break the bonds of Earth's orbit. The orbital trajectory for breaking free of Earth's gravity often uses calculations derived from Newtonian or Einsteinian physics.

Key Formulae:

Kepler's Third Law (Planetary Motion):

T^2 \propto r^3

Rocket Propulsion and Efficiency (Tsiolkovsky's Rocket Equation):

\Delta v = v_e \ln \left(\frac{m_0}{m_f}\right)

5. The All-Seeing Eye and Mysticism

The All-Seeing Eye—whether present in Freemasonry or as a symbol of divine oversight—represents the gaze of higher truth in understanding the cosmos, symbolizing a kind of divine mathematical order:

Perception and Divine Geometry: The eye (especially within geometrical symbols like the pyramid) may embody perspective—representing a higher, all-encompassing view of universal laws, from sacred geometry to the vastness of space.

Logos and Divine Mathematics: The “sight” connects divine foresight with the laws that govern the universe. If we align Divine Truth with mathematical models (e.g., curvature of spacetime, geometric harmony), a new level of understanding may emerge.

Final Correlations

Conceptual Integration:

Geometrical Precision in Nature: Many of the mystical symbols (Sigillum Dei, Tesla Logo, Sacred Geometry) embed perfect proportions and ratios that echo in natural phenomena—from planetary orbits to electromagnetic forces. Mathematics is thus the universal language connecting all these symbols through their inherent mathematical harmony.

Tesla's Technological Vision and Mysticism: Elon Musk and Tesla’s innovations in space travel and electric technology metaphorically resonate with sacred geometry, where precise mathematical principles guide not just practical engineering but also symbolic constructs like the Sigil of Truth and alchemical teachings.

In this light, mathematical algorithms for propulsion, orbital paths, sacred design, and energy transformations converge in a mystical, physical matrix that blurs the lines between engineering, mysticism, and alchemy.

Would you like to dive into any of these topics more deeply? Or perhaps explore specific algorithms more in-depth?

#alchemcechal pillars #tesla #clow cards #sakura #de sigilum ameth #tesla logo #algorithm #clowcards #sakura clow cards #clamp #the sigil of truth #deardearestbrands #playstation7 #bambiprescott #clairejorifvalentine #breaking through #star systems

6 notes · View notes

anncanta · 4 years ago

Text

Hierogamy: Dracula BBC and the myth about Kora-Persephone

Today I would like to talk about the mythological drama in the series Dracula and some of its aspects, without which, it seems to me, the perception of this text will remain incomplete, and the understanding will not be as deep as it deserves.

But first, perhaps, it is worth saying a few words about why it seems to me that it is so significant to consider the mythological drama in a work of fiction in general and in Dracula in particular. Isn't it enough just to look or read, perceiving the text as it is, and not going into the study of some complex deep layers? Sometimes it's enough. But more often – no, it isn't. The answer to the question of why so lies in the very nature of a story and the art of storytelling.

The mythological drama is never fully developed in the text at the formal level, although there is where it precisely can be seen. This seems to be a contradiction just at first glance: the drama (in its original ancient Greek meaning) is a kind of ‘deep development’ underlying all events and scenes. It is like a labyrinth, a skeleton, a matrix on which the rest is built and grows.

That is, why is it important to look ‘from here’? For the same reason that it was important for Jonathan Harker in the film to find a map: in order, firstly, to understand how the castle is arranged (and therefore Dracula himself), to relate himself to it in a certain way – and to get out of its boundaries, that is, to include the castle in a wider context, which will allow the character to find freedom.

Finding freedom, in this case, should be understood quite literally – as going beyond the limits of restrictions and, as Dracula and Jonathan each correctly note in their own way, – a look from above.

This view has many advantages, but the main thing is the ability to perceive what was seen in its integrity.

Because in a good story, ‘how’ is always ‘about what’, so if you don't understand ‘how’ or ‘for what’, or even ‘what it was’ in general, most likely you haven't read the text, and it remained for you something like a set of colored spots on the wall, beautiful or annoying, but – as researchers of the brain and psyche never tire of reminding, – in the absence of a ‘key’ such thing does not exist as the story itself.

It is not at all necessary, by the way, should be a mythological or psychological, archetypal, or fairy-tale ‘key’. Or all at once. At one stage or another in life, each viewer and reader needs their own set of the ‘keys’ or a specific one. First of all, it is the literal sense of the story at the plot level. But without a ‘key’ at all – there is no text. At least because the text itself, as a phenomenon consisting of – whether linguistic, pictorial, or auditory – signs, is a key – to our ability to imagine things that do not exist ‘in reality’, and to ideas, images, and meanings.

But back to the text.

In Dracula, the mythological drama is present at all levels, and there are no parts, ideas, or interactions between characters in any moment of the film where it would not be important in one way or another.

We will not consider all aspects in which the mythological context directly manifested itself, as it will take too much time. Let's see just one – the one that is the main motive of the film and somehow creates the main plot collision, and with it – the metaphor and essence of the story itself.

And this is the motive of hierogamy.

Hierogamy as a concept can be considered in two aspects. The first is mythological, in which it represents the name, description, and modeling in the ritual a sacred marriage (from the Greek ιερός γάμος, Latin hieros gamos) of the god and goddess, and the second is alchemical (archetypal), denoting the combination of male and female principles in the process of creating a philosopher's stone.

Hierogamy in one way or another includes a sexual context, in the sense that it puts at the center of the event and experiences ‘connection’ and ‘dissolution of boundaries’ to create a single one that will be greater than the sum of its parts.

In Dracula, both of these aspects are present and can be recognized from the very first minutes.

We will not go into details, just list a few examples.

The most obvious and conspicuous is Dracula's castle as the fruit of love between Petruvio and his wife (whose portraits hang side by side on one of the floors and, as we learn later, are the ‘entrance’ to the mystery of the castle and its structure, and at the same time – the ‘exit’ to the outside world), Jonathan as the bride of Dracula, thanks to the interaction with which the Count is able to leave his ‘prison without locks’, the connection of Mina and the remnants of Jonathan on the verge of space separated by the sacred bread, allowing Dracula to penetrate inside and give rise to a new interaction of the male and female, and so on.

But the fun begins to happen in the second episode.

Given as a prototype, a form and a plot configuration, the mythological drama of hierogamy has so far been satisfied with literal images of heroes and disclosure at the level of the plot. It was difficult to suspect something more in it than a direct (allegorical) depiction of mental and emotional processes. But in the second episode, a new layer appears in this story. Or rather, it stops hiding.

It's so simple, so obvious and so cheeky frank that when you watch it for the first time, you miss it in an attempt to follow the plot. And only by the end of the episode you do guess that you should follow something else.

Yes, we do not yet know – and we have nowhere to find out – that the action of the prologue of the second episode takes place on the same ship, which will become the stage for the internal and external drama, but the style and images, the very structure of the situation, gradually suggest what will be discussed here.

And it will be the drama of Kora-Persephone.

Let me briefly recall the content of the underlying ancient Greek myth about Kora, Hades, and Demeter.

The daughter of the goddess of fertility Demeter, Kora, attracted the attention of the ruler of the underworld, the god Hades, and he kidnapped her, taking her to him, to the lands of the dead. There Kora spent some time, communicating quite closely with Hades, after which she begged him to let her go to the ‘upper world’ for a while so that she could see her mother, whom she was terribly longing for. Hades fulfilled Kora's request, but on the condition that she would return, and gave the girl several pomegranate seeds for the journey. During her stay in the kingdom of Hades, Kora refused to eat anything, so by the time she received the gift she was very hungry, and therefore, soon after she found herself on earth, she ate the seeds. And since the pomegranate is the fruit of Hades and the symbol of marriage, this made her return to Hades a must. Meanwhile, in the ‘upper world’ fields and plants ceased to bear fruit, and eternal winter came, as Kora's mother, Demeter, mad with grief and longing for her daughter, turned away from people and nature. Zeus found a solution to the problem. He decreed that Persephone (that was the name of the goddess who had ceased to be a girl) should spend six months on Olympus, that is, with her mother, and six months – in the kingdom of Hades, now her husband.

Thus, the myth, on the one hand, describes in the language of an archaic worldview the logic of the changing seasons (Persephone on Olympus – Demeter rejoices, spring and summer come on earth, Persephone in the kingdom of Hades – Demeter suffers, autumn and winter come on earth), and from the other, represents the mystery cycle of successive transformations of a girl into a woman and the unification of male and female in sacred marriage.

Let's see how this mystery cycle unfolds in the film – on a formal and substantive level.

The ship on which Dracula sails to England is called Demeter. In the center of the plot of the episode are the abduction of a virgin (a nun is by definition a virgin, if not physically, then symbolically) and the interaction of the hero with her on a ‘lower’, deep level. Lower, in the sense – detached from the everyday, visible to everyone, taking place in the light of universal attention and perception.

The hero who kidnapped the virgin (by the way, we have no doubt that he kidnapped her, from the very beginning – just do not know how exactly it happened; and therefore our desire to follow them closely is so intense) does not completely belong to the world of the living, although he does not belong to the world of the dead either. He seems to live on the border, not being part of either of these two realities. So that no one has any doubts about who he represents, let us recall that Hades was not always associated with death among the Greeks, and was never considered the master of hell and a synonym for death and destruction. He created a kingdom for himself, which he called by his name, in order to live away from everyone. And only later did he become the ruler of the world of the dead.

Obviously, the description of Dracula's life in the castle refers to the reality of Hades in the underworld, largely parodying it. Because, although Hades is the king of shadows, he is still a king, and his kingdom is real. Whereas Dracula lives, in fact, in a dump filled with bad memories and rotting broken dolls, locked in the boxes.

But Hades also kidnapped Persephone, not on great terms.

Both stories, the mythological one, and the story told in the film, lead us to the fact that the hero (the masculinity, the organizing principle) for completeness and development lacks a partner, another view of the same world, a beloved-opposite.

Dracula finds her at the gates of the convent and, according to the logic of the mythological drama, drags her to him. There is an interesting moment: hardly, having captured Agatha, Dracula went with her immediately to the ship. Most likely, he first brought her to his home, that is, to the castle, and only after that, when the time came, he sent her to Demeter. So, their interaction began in the castle, in the literal realm of the dead, and continued on a ship in the middle of the sea, in a transitional space, in a space of changes. This fully corresponds to the myth of the transformation of Hades, who has gone from voluntary loneliness to becoming a king in the world of the dead, where everything is indefinite, mobile, unsteady and although it does not change in the sense in which it happens on earth, it represents the idea of change as it is.

Everything is possible in the space of changes, therefore, here the most important thing for the whole film takes place, and that will give the story an impulse to move forward and being resolved in the form, which we see in the third episode.

Let's turn now to Agatha's story.

On the ship, she travels in the role of Kora – at first, abducted and held in the ‘underworld’ and not realizing her position (Hades, let me remind you, having kidnapped Kora, did not immediately make her his wife, and she was sort of his guest – until the moment when she persuaded him to let her go to earth to see her mother), and then – in fact, the mistress of this very kingdom.

Why mistress? It is rather difficult to answer this question. But there are details in the text that give hints and, on close examination, leave no room for double interpretation.

The simplest and most obvious is the physical location of the characters in the frame. They are on an equal footing, both in the center, and although Agatha is shorter than Dracula, she is as ‘in her place’ as he is and feels just as confident.

The second is how they communicate. In addition to the fact that the dialogue, the beginning of which we see in the prologue of the episode, is quite friendly and mutual (no one hangs over anyone, does not threaten anyone, and does not try to pressure – for those who have forgotten what it looks like, there is the final conversation in the convent), Agatha's position is read from the phrases thrown by Dracula in passing, but very eloquent. Such as ‘You choose’ – in response to the question of who will play black and who will play white. And this is only the upper layer of interaction, there are more of them, and on each one, it is acutely felt that here Agatha is not a prisoner, but a partner.

You might say, – of course, this is all part of an insidious plan to keep Agatha in the dark, and no real courtesy (not to mention real respect and closeness) is out of the question. Dracula is just playing with his victim. But this is the essence of the story and what happens on Demeter, as well as in the space of the original drama. Hades kidnaps Persephone as something alien, beautiful, and unfamiliar, something that attracted his attention in the distant upper world and that, like a fruitful grain, fell into his dark hermetic kingdom and ignited the spark of life in it.

Hierogamy and everything that precedes it is a mutual process, otherwise it makes no sense.

But then a moment comes in the story, which in the mythological drama corresponds to the stage of the earth, empty due to the grief of Demeter and the despair of Kora, yearning for the upper world.

On the ship, which has lost most of the passengers and half of the crew, because of Dracula's appetite, tension grows, and in the same way, it grows inside Agatha, who despite her quite comfortable position, begins to realize that something is wrong here.

Internal and external tensions converge at one point – on both sides of the doors of cabin number nine. And when the doors open, the mythological drama comes to the surface.

Interestingly, the story here does not even try to hide what it really is – from a detective in Agatha Christie's style, turning into a mystery action. Moreover, it directly admits it – when Dracula invites passengers and crew members of the ship to cabin number nine and brings them to Agatha's bed, he opens the curtain.

But what is going to happen here?

Let's see what the situation is in terms of structure.

The hero, who for a long period of time keeps a woman abducted by him from the ‘upper’ world, alien to him, experiences the invasion of this very world and is forced to present this woman to those around him and somehow explain her presence in this place and their relationship. Let us recall that the relationship between Kora and Hades also remained ‘unnoticed’ for the time being, or rather, until the moment when its uncertainty began to create problems.

Let's forget for a while about the individual needs and questions of passengers and crew – the important thing here is that all the ‘inhabitants’ of the ship demand to explain what is happening and to open cabin number nine.

Demeter demands Kora to her. She does not agree to put up with the current situation and calls Hades to account.

What remains for the hero? He, as in the Greek myth, acts with cunning: in this case, in the film, he tells the story that the woman lying in (his) bed is a murderer, the terrible eater of people whom passengers and crew have been unsuccessfully looking for throughout travels.

Dracula is trying to explain Agatha's presence here and now, on this ship and in these circumstances – not only to deflect suspicions from himself, but also to structure the situation in which they find themselves – not so much because he wants it, but because that he has no other choice.

What happens on deck is a logical consequence of his decision. Brought to light Kora is no longer the same as before – having visited the kingdom of Hades and entered into a close relationship with him, she can no longer remain a girl and just a daughter of her mother. Her innocence is left in the arms of the lord of the underworld. And since he really does not intend to let her go, all that remains for him is to make their relationship ‘legal’.

The hanging scene, entirely built on the interaction of Agatha, Dracula, and the ‘choir’ consisting of the crew of the ship and passengers, looks like another erotic at the same time (after the first scene in the convent), in which Agatha again from above and again largely dictates conditions, – and as a kind of coronation scene.

But not only the one.

There are so many meanings in this scene, and they are so closely intertwined and interconnected, that in order to see them all, you should carefully examine it – slowly, gradually.

First, Agatha is placed on a barrel and a noose is thrown around her neck, intending to execute her.

It would seem, what does Hades' marriage to Persephone have to do with it?

According to ancient pagan beliefs, the remnants of which are also preserved in Christianity, the bride, who left her home and married the fiancé, was considered dying for her previous life and being born for a new one.

Not everyone on the ship agrees that an unfamiliar and barely breathing woman is indeed guilty of the murders on the Demeter, and a dispute erupts between the judges hungry for justice. Among others, the captain speaks out and says that the woman standing on the barrel is the wife of the mysterious Mr. Balaur, who paid generously for her transportation in cabin number nine, without attracting unnecessary attention.

The word ‘wife’ is important. Firstly, because Dracula (Hades) still knows more than Agatha (Kora), even if he did not fully formulate it for himself. And secondly, because in the mythological reality in which the characters undoubtedly are, words matter. Let us recall that events still take place in a transitional space in the midst of changing and constantly moving waters. In this reality, what is not uttered is not defined. What is not shown does not exist. (I don't think I need to explain to anyone that cabin number nine is Schrödinger's box.) Thus, the one who utters the word determines this reality.

In the noise that arose after the recognition of the captain, most of the spoken words are lost, but two of them are heard clearly and turn out to be the main ones. This is the word ‘bride’, declared as a negation, and ‘wife’ disputed by no one.

At the plot level, this is just a confusion, a skirmish of frightened and distrustful people, but at the symbolic level, everything is clear and logical.

First, the bride announced that she is not the one (‘I'm not Balaur's bride!’).

Second, another person declared publicly that she was the wife of Mr. Balaur. Who, in turn, is nothing more than a mask, a pseudonym for Dracula. This is not enough for marriage, you say. Yes, sure. At the plot level, no doubt. But the characters are in symbolic space. And here, in this space, it is important who utters these words.

The captain pronounces them – a person who, by his position, is the master on the ship, who has the right to judge and resolve disputes, the right to execute and pardon, and – to seal marriages.

But this is not enough either. There are almost no coincidences in such texts. It was not in vain that I mentioned that the word ‘wife’ was not disputed. A mythological drama is being played out before us, but it is being played out in a nineteenth-century setting. Therefore, for a legal marriage, another formula becomes significant.

‘And if there is anyone among us who knows the reason why this marriage should not be contracted, let's tell now or be silent forever.’

Then one final touch is missing to complete the ceremony.

The moment when Agatha asks who has the courage to knock over the barrel and hears Dracula's answer: ‘Me,’ on a metaphorical level, ‘closes’ the frame of the ritual action.

The fiancé approaches the bride and makes a movement to ‘end the game’ – literally to kill Agatha, and symbolically, to complete her transition from bride status to wife status. Here even blood is present as an attribute of the loss of virginity, even though, in this case, the bride has long since said goodbye to it. But we are talking about the symbolic aspect of what is happening.

Let's not forget, however, that the lord of the underworld kidnapped Kora-Persephone and involved her in marriage without her direct and informed consent (more on this later). Therefore, Agatha's actions, when she spits blood in Dracula's face, literally designed to reveal his vampire nature for everyone, symbolically signify the resistance of Kora-Persephone and the desire to escape from her husband. But some things, having started, are quite difficult to stop, so Dracula still knocks over the barrel. Having successfully landed surrounded by ‘guests’ at the wedding, Agatha survives. But on a symbolic level, her death was not the goal. The goal was to physically separate one part of her life from another. This is exactly what happened.

Thus, we can conclude that after the end of the second episode, we are no longer facing Kora, but Persephone – the queen of the underworld.

But, as in the myth, Persephone at this stage is still the point of intersection of the conflicts of several characters. This is Hades, who wants her to return to him from the upper world, Demeter, who does not think to retreat, and... Persephone, who needs to deal with herself and who she is now, and how she will continue to be.

At the mythological level, it is the conflict that will become central in the third episode.

In the myth, at the request of Persephone and Demeter, Hades released Persephone to the upper world, giving her (some sources say – forcing to eat, but this is unlikely since it does not correspond to the function of that types of objects in myths and fairy tales) several pomegranate seeds... It was because of this that Persephone, having eaten them already on earth, was forced to return back to the underworld.

Do you remember what happens in the third episode?

Zoe van Helsing (a doctor, who, by profession, every day deals with the reality of both the ‘upper’ and ‘lower’ worlds, and exists and works on their border) – who can be considered a kind of ‘earthly’ incarnation of Agatha, Persephone from ‘upper world’, meets Dracula, whom she did not think to meet. By her own admission, she never really believed that Dracula would be found. And Dracula, seeing that his ‘wife’ does not remember him and does not want to return, gives her his blood and offers to ‘read’ it – if Zoe guesses how to do it.

That is, you understand – he does not directly offer her to drink his blood. He only gives her what she wants. Just like in the myth.

Zoe is a researcher, and besides the fact that she may have hoped that Dracula's blood would somehow help her recover from a fatal disease, she probably really wanted to know the secret of vampire blood, as any real scientist, inquisitive and hungry for knowledge.

Now let's turn to myth again. Persephone ate the pomegranate seeds that Hades gave her because she was hungry because she refused food all the time she was with him.

By the way, these seeds originated from drops of Dionysus blood.

The connection of Dionysian ecstasy, wine, blood, intoxication, and the processes occurring at the level of the ‘lower world’ – the world of the corporeal and the unconscious, is spoken directly in the text several times, but I think there is no need to dwell on this here.

After that, it is not surprising that the symbolism of the field appears here, – in the middle of which Zoe finds herself after drinking Dracula's blood. If in the second episode Demeter was present as a ship, a womb, a mother, carrying the potential of the future and protecting her child, then in the third she appears before us as a fertile layer, a bed, giving Agatha-Zoe-Persephone her blessing and, thus, the opportunity to complete the transformation and become a full-fledged spouse of her husband, at the same time, keeping the connection with the mother on a new level.

All this allows the story to unfold in the finale in a mysterious – alchemical context.

The fact is that the cult of fertility, the cult of Kora-Persephone, presumably formed the basis of the Eleusinian mysteries, mythology, and philosophy of which greatly influenced the views of medieval Western European alchemists. From here comes the similarity and continuity of images, ideas, and descriptions of processes, a close, often inherited metaphor, and, in a certain sense, an underlying common myth.

As the screenwriters themselves remind in one of the interviews, Dracula is a story of resurrection. So there is nothing surprising in the fact that in the finale of the third episode and the entire film, the mythological motive of Kora-Persephone and the alchemical one – coniunctio oppositorum* – are combined in one hierogamy.

This is openly stated in the text as well. In one of the last scenes of the series, Dracula says, addressing everyone present at once, and indirectly to the viewer: ‘Journey's end. Lovers meeting.’ This is a literal description of the alchemical stage of the union of the masculine and feminine principles.

Therefore, in the final scene, he and Agatha are making love – at the level of the plot, this is due to the development of their relationship as individuals, as a man and a woman, but at the symbolic level this is because the opposites they represent have reached a state where they can merge to give the beginning of a new one.

It is important to remember here what the story is constantly showing visually: there is what is happening on the ‘outer’ plane and what is on the ‘inner’ plane. The space of the film is constantly divided into two levels-states: Dracula's castle and the monastery, the monastery and the area in front of the monastery gates; what is happening in Agatha's workshop and the same thing – recorded in Dracula's blood and played in Zoe's head, Dracula and Agatha, lying on the table in Dracula's apartment, and Dracula and Agatha together in a golden light.

Let me remind you again: a real myth, an archetypal drama, very rarely unfolds in front of the viewer or reader directly, told in literal, poster language. Most often they turn out to be ‘wrapped’, embedded in the shell of a legend, parable, or fairy tale. In this sense, nothing has changed since the time of the ancient Greeks. The basic narrative structures are the same. How, perhaps, we all remained the same. Therefore, stories like this work. Therefore, they are important.

And also – because they are all-conquering beautiful.

* Сoniunctio oppositorum (Latin) – the combination of opposites. One of the key stages of alchemical Work.

P. S. In conclusion, I would like to show a few symbolic images from alchemical treatises. I will not show the corresponding scenes from the film – I think you yourself will recognize them. The first two illustrations are prints from the Splendor Solis, the third – from the Rosarium philosophorum.

#dracula 2020 #bbc dracula #count dracula #agatha van helsing #meta

24 notes · View notes

freddy-fazbears-wonderland · 11 months ago

Note

Have you seen the footage of the Concept Unification Prototype stage? It looks really cool and feels much closer to PTT era, despite using Showbiz animatronics. Speaking of PTT, while the Youtooz plush looks cute, I personally found it super overpriced for its size, 29.99 dollars for a 9 inch plushie feels overly expensive, I could get a jumbo plush for around that price! I do hope that CEC continues to make throwback PTT era merch, preferably if they made more affordable merch.

Bro, I lost my mind when I saw it! I had no idea they actually tested that stage in a party! For the longest time, I thought that we only had the pictures so it was such a delight to see! I kinda wish that we got that instead. Btw I had no idea Youtooz made a plush. I am officially today years old. Why does it cost so much though?

#chuck e cheese #chuck e cheese's #pizza time theater #pizza time theatre #irl animatronics #animatronics #ask answered #ask me questions #ask me stuff #ask me anything #ask

3 notes · View notes

airmanisr · 6 years ago

Video

flickr

PZL M-15 Belphegar '0603' by Alan Wilson Via Flickr: c/n 1S-00603. Ex Polish Air Force '0603'. On outside display at the Muzeum Lotnictwa Polskiego. Krakow, Poland. 23-8-2013. The following info is taken from the museum website:- "By the end of the 1960's, the Soviet political and state authorities had a very serious problem of feeding its citizens. The Soviet Union belonged then to the world's biggest food importers. The ways to remedy the situation and increase food production had to be found. One of the solutions was the development of agricultural aviation. A quick decision of supplementing and later the entire replacement of the agricultural An-2's was made. Condition of the significant increasing of the chemicals payload as well as the unification of fuel for the both, civil and military aircraft was placed. Being one of the licensed multipurpose An-2's, the An-2 agricultural aircraft, fulfilled its duties. However it was considered obsolete, due to its piston engine. In 1972, in the Soviet Union, the initial study works, established the new agricultural aircraft concept. Poland was included into the project. Designer's R.A.Ismailov's initial design was considered as the most promising. It considered the use of the twin flow Ai-25 turbojet engine to power the aircraft. Such an engine was popular, both in civil and military aviation. The Ai-25 was use to power the Soviet Yak-40 executive jet, and the school and training Czechoslovak L-39 Albatros. Wide service knowledge of this aircraft engine had to make its servicing in the future easier. The lower economical servicing costs also favoured this type of engine to the piston type. Yet the approved concept of the aircraft was strongly criticised by Soviet agriculture aviation specialists. Their opinion was underestimated by the Soviet Aviation Industry Ministry. In December 1971, the agreement with Poland was signed on co-operation with designing the M-15 new agricultural aircraft. The work had to be done by joint Polish - Soviet design teams, working at Mielec, Poland. The team was led by the main design consultant R.A. Ismailov, while Poland was represented by key designer Karol Gocyła. The initial work started in spring 1971. The aircraft was designed as a biplane. The engine was placed over the short fuselage and under the upper wing. It aimed at securing the engine on ground, against stones and other objects causing its faster wearing. Two hoppers were placed on both sides of the fuselage, between the wings. The airframe had twin booms ending with two vertical stabilisers, connected with a horizontal stabiliser. Such a fuselage configuration allowed for a free flow of exhaust gasses and didn't disrupt swath. In front, a sealed cockpit, enabling excellent visibility and protection against chemicals was placed. Behind the pilot's cockpit, there was a compartment for two technical service men. At the rear of the fuselage a starting unit was placed. The aircraft had a fixed nose wheel undercarriage. The wings were equipped with ailerons and flaps, improving flight characteristics. The lower wing served as the fairing for the spraying installation. Aimed at the confirmation of the correctness of the assumptions of new agriculture, the "flying laboratory" was built. It was a rebuilt An-2 (chosen because of the configuration similarity), named the Lala-1. The pace of work was fast and in the spring 1972, the mock-up was ready. To speed up the work on the prototype, the wings and undercarriage from the Soviet An-14 aircraft were used. By the end of May 1973, the LLM-15 (flying laboratory M-15) started test flights. The M-15 prototype was flown in January 1975. On the next prototypes, the air exhaust was shortened and the shape of the hoppers, containing 2200kg of chemicals, was changed. The same changes were done on the information series, manufactured in 1975. In between time, the school version (with a cockpit for pupil and instructor) was worked out. Other versions of the aircraft were also envisaged. After operating tests, in 1976 serial production started. In 1977, the M-15 was presented at the Paris Air Show. The M-15 appeared to be very expensive in production and operation. Its servicing in the Soviet Union brought big disappointment. The aircraft was strongly criticised by its users. In 1974, the Soviet Union stopped further M-15 orders, which led to stopping its production. By that time, 175 M-15 aircraft were produced."

#PZL Belphegar #M-15 #aircraft

7 notes · View notes

chennee26 · 4 years ago

Text

Simplify Static Asset Management With Vue.js Single-File Component

Static asset management is one of the more painful and mysterious challenges front-end developers face. We want our source code to be simple to develop and maintain, but we rely on browsers to be lean and mean. Browsers can’t be expected to understand our fancy source files with conveniences like Sass or the newest bleeding edge JavaScript features. We configure transpilers, linters, and compressors that watch for source code changes or get triggered by build processes. And finally, these tools emit static assets that a browser can interpret

Even when we don’t use fancy preprocessors, we still copy the source files to a dist directory to deploy them…because…well…it’s just what we do!

On top of this complexity, we have traditionally maintained a separation of concerns between markup, scripting, and styling. This separation can lead to extreme bloat that makes our applications difficult to maintain.

Imagine a request to remove a component from a view. You remove the markup…but can you track down CSS selectors that are specific to this component? All the media queries? Do you feel safe removing code that may affect other parts of the view? What about a request to modify a component’s appearance? Do you add a new class to your updated component and leave the old styling behind, just in case there are other parts of the view that are styled by it? Technical debt accumulates. Eventually, you have a pile of dead code mixed in with the good stuff. It’s very difficult to clean up, and nobody wants to pay for the effort.

Not to imply that your code is inherently bad. It’s a consequence of the separation of concerns that has made the internet look sharp since the W3C adopted CSS in 1996.

So, what are our alternatives? Inline CSS? An occasional inline style attribute is acceptable in the 21st century. But even with CSS-in-JS libraries, this solution can be challenging to scale. We need the cascade. We need media queries.

Many modern frameworks combine JavaScript with markup; it’s the core of the React, Angular, and Vue.js revolution. The concept of “styled components” is also trending. But unification usually comes at a cost. The learning curve, awkward code structure, and dependency on 3rd party libraries may outweigh the advantages. However, Vue’s out-of-the-box support for the concept makes it simple to grasp and implement.

The Vue.js framework Single-File Component (SFC) allows you to combine templating, scripting, and styling in a single source file that can accept props and manage state. Vue CLI — the “beginner” installation of Vue.js — will pre-configure the bridge between your .vue source files and webpack that requires absolutely no configuration or webpack knowledge. Let’s open a terminal and quickly build a working example using npm.

1.Install Vue CLI: npm install -g @vue/cli

2.Create a new project (accept the default settings): vue create vue-sfc-example

3.Start the project: npm run serve

4. Render HelloWorld.vue in a browser: http://localhost:8080

SO easy. Let’s open the source to see what we built.

...some markup...

</div>

</template>

export default {

name: 'HelloWorld',

props: {

msg: String

}

</script>

h3 {

margin: 40px 0 0;

}

ul {

list-style-type: none;

padding: 0;

}

li {

display: inline-block;

margin: 0 10px;

}

a {

color: #42b983;

}

</style>

The <template> tag wraps Vue template syntax enhanced markup.

The <script> tag wraps JavaScript.

The <style> tag wraps CSS.

Aside from placing the styling at the end of the file, this source file looks an awful lot like an html file that a browser could interpret. There is a lot going on under the hood, but Vue doesn’t clutter the source with tooling bloat.

Let’s concentrate on the <style> tag. The boilerplate contains some basic CSS, and an attribute named “scoped”. As the code comment implies, this attribute allows you to “scope” this block to only apply to this particular component, by automatically namespacing the CSS. Compare this to a more traditional approach, which might involve creating a selector like: “#hello-world-component-namespace.this-component {...}” in some faraway css file. The scoped attribute is optional. If you want to modify child components, one approach is to exclude the scoped attribute. You may also use multiple blocks of CSS, in case you wish to scope part of the code, but style children with a separate CSS block.

h3 {

margin: 40px 0 0;

}

...

</style>

<style>

#child-component > h3 {

margin: 10px;

}

...

</style>

If you inspect the source code in your browser, you can see this style block rendered in the head of the document:

margin: 40px 0 0;

}

ul[data-v-469af010] {

list-style-type: none;

padding: 0;

}

li[data-v-469af010] {

display: inline-block;

margin: 0 10px;

}

a[data-v-469af010] {

color: #42b983;

}

</style>

There is no need to version or deploy a CSS file, in this example. The data attribute in the first block is no accident. It uniquely identifies the component this styling is scoped to.

Predictably, namespacing is suppressed for code blocks that are not scoped.

#child-component > h3 {

margin: 10px;

}

</style>

An alternative to this approach is the ::v-deep combinator, which allows you to style children from a scoped block. Details can be found here.

But what about my Sass? Good news: SFCs tap into all of your favorite webpack preprocessors. Install sass-loader with npm:

h3 {

margin: 40px 0 0;

}

ul {

list-style-type: none;

padding: 0;

> li {

display: inline-block;

margin: 0 10px;

a {

color: #42b983;

&.very-green {

#00ff00;

}

</style>

But what about my Sass globals, includes, mixins, etc.? Never fear — the Sass block you include in your SFCs works just like your typical Sass source file. You can pass includes, set variables, nest media queries, and any other Sass convenience.

@import "mixins";

@import "global/global";

#main {

padding-top: em(54);

@media (min-width: $screen-md) {

padding-top: 0;

}

</style>

The vue-loader, which is included and pre-configured by Vue CLI, makes all of this work. Sass/Scss, Less, Babel, TypeScript, and other popular preprocessors and linters are supported. These features can be discretely configured, to the delight of advanced users.

The Vue.js SFC offers the convenience our source code deserves, without the file management and webpack tooling headaches. You can also use the component state to set class and style inside your templates, using built-in lifecycle hooks. It is also important to note that you can still include CSS the typical way, or in a mixed mode. This is especially handy when using rapid prototyping libraries like Bootstrap.

What’s the catch? Vue.js is a relatively new player. It’s picking up steam, but there aren’t as many applications using the framework as the competing products — Angular and React. That means the user community is comparably small. Examples are slim and basic. You are cutting your own trail. Also, we have detected some “spookiness” in the way preprocessors react to code structure. The preprocessors may need some configuration and babysitting, once you scale into a larger project.

_________________________________________

0 notes

18043611ccd · 5 years ago

Text

week1

Lecture:

Key historical development of 19th-20th

Part1 museums 1-3 collect&conserve; display; educate; stimulate; offer expirence

Part2 Collections 4-6 the art or process of collecting objects

Part 3 Curating 6-8 elect items for exhibition

Part4. Professional practices 9-11 behind the scenes conditioning report, management, archivists, conversation…

Museum of nature and hunt Venus; Position of things

Deep Cuts: A response to a short run

www.pantograph.punch.com

Virtual museums exist in electric form on the internet , they rerun dependent upon collections while also bring benefits.

Assessment:

-blog

-curatorail proposal

Week1 reading the history of museums

The thinking within the museum which drives exhibition making is often motivated by funding, is politicized and ideological.

How is the representation of diverse cultures and community groups displayed in a museum?

Models of display:

What is encountered in a display is understood by how it is framed. This are models of display function, they themselves provide context and meaning. Whom determines these?

Prevailing traditions:

The white cube and the black box are modes of display: architectural spaces in which exhibitions are presented to be experienced. But these space also condition experience. These models have also shaped prevailing traditions on the history of art and exhibition design practices.

Independent tasks: Museums: big, small, practical, virtual, real objects, intangible items…

Assignment:

1.Three types of museums I feel interested:

<1>Steampunk HQ:

1.What do they do:

Steampunk HQ is an art collaboration and gallery in the historic Victorian precinct of Oamaru, New Zealand. It celebrates its own industrial take on steampunk via an array of contraptions and sculptures, complemented by audio-visual installations in two darkened rooms and part of the buildings basement.

2.What’s their collection:

Their collection is about steampunk artwork and sculptures. The gallery presents a theme of a dark post-apocalyptic vision of a future "as it might have been". Contraptions and bizarre machinery featuring heavy use of copper, gears, pipes, gas cylinders, as well as an ensemble of skeletal sculptures are lit by flickering lights and accompanied by projectors and background sounds. The two large darkened rooms and part of the basement of the building house a variety of old industrial and medical machines remade into "aetheric" devices. The exhibits include some large machines, such as a steam tractor, periodically emitting steam, and a boat with a grim reaper.

<2>Cancún Underwater Museum:

Museo Subacuático de Arte, known as MUSA, in Cancun, Mexico

1.What do they do:

Cancun underwater museum is an initiative that wished to divert a large group of ocean divers disrupting the balance of underwater fauna in the Caribbean coastline. The director of the Cancun National Marine Park -Jaime Gonzalez Canto wished to provide an alternative to preserving these disrupted coral reefs. By bringing British Sculptor Jason De Caires Taylor and a group of Mexican artists on board, nearly 500 statues with pH neutral marine concrete were anchored into the ocean.

The Cancun underwater museum also known as the ‘Museum of submerged Art’ has nearly three such galleries that showcase a variety of themes reflecting the subtle nuances of the fishing community.The idea of maintaining a much-needed balance between nature and mankind is reinforced through its solitary human sculptures.You can view these underwater installations in the National Marine Park of Cancun situated in the islands of Isla Mujeres and Punta Nizuc. They are due to expand to another 10 galleries adding nearly 1200 statues to its wondrous collection.

2.What’s their collection:

The Cancun underwater museum holds an interesting blend of statues ranging from themes such as capital greed to simplistic holistic living of the fishermen community. You would find sculptures ranging from simple objects such as time bombs to world-renowned art forms such as the ‘Vicissitude’ in close quarters. The ‘Vicissitude’ showcases people standing in a circle looking at the sky praying for hope. Other Installations such as that of a group of men, with their heads buried in the sand, showcase realistic capitalistic burnout.

<3>Icelandic Phallological Museum: located in Reykjavik, Iceland

1.What do they do:

The Icelandic Phallological Museum is the largest museum in the world to contain a collection of phallic specimens belonging to all the various types of mammal found in a single country. Phallology is an ancient science which, until recent years, has received very little attention in Iceland, except as a borderline field of study in other academic disciplines such as history, art, psychology, literature and other artistic fields like music and ballet. Now, thanks to The Icelandic Phallological Museum, it is finally possible for individuals to undertake serious study into the field of phallology in an organized, scientific fashion.

2.What’s their collection:

The Icelandic Phallological Museum contains a collection of more than two hundred and fifteen penises and penile parts belonging to almost all the land and sea mammals that can be found in Iceland. Visitors to the museum will encounter fifty six specimens belonging to seventeen different kinds of whale, one specimen taken from a rogue polar bear, thirty-six specimens belonging to seven different kinds of seal and walrus, and one hundred and fifteen specimens originating from twenty different kinds of land mammal: all in all, a total of two hundred and nine specimens belonging to forty six different kinds of mammal, including specimens from Homo Sapiens. It should be noted that the museum h as also been fortunate enough to receive legally-certified gift tokens for four specimens belonging to Homo Sapiens.

2. Drawing Maps:

1. Guided by my intuition:

The main elements that lead me to visit my first five displays are “Color” and “Size”. Either the red/green Kirkcaldie&Stain’s uniform or the giant saddle for elephants is huge and conspicuous. They are outstanding and easily attracting your attention. Then I get back to the regular routine and have a look at the displays on the very left wall. At the end of the left part, there is a very interesting exhibition for Wellington’s famous cat. After that, when you are leaving the cat exhibition, right under the stairs, there is a series of royal crowns which are extremely shining. So I didn’t pay attention to other displays on the other side of the wall and went to see these crowns.

2.Following the museum’s instruction:

I just followed the footprint guidance on the floor and visit them in normal order.

3. Reading Review:

<1>Etymology:

Museum: from ancient Greek

meaning: seat of the Muses

Function: a philosophical institution or a place of contemplation

Ancient museum was more like a prototype university for philosophical discussion rather than to preserve heritage. It revived in 15th-century Europe and mainly conveyed the concept of comprehensiveness. Till 17th century, the word started to represent collections of curiosities.

The reason was because the Oxford Uni received Ashmolean’s property and settled them in a building open to the public. Besides, with the process of founding the British Museum, the idea of an institution called a museum for preserving and showing collections to the public was gradually well established in 18th.

Since the interaction between the museum and the society becomes more and more important, the emphasis on the building itself became less dominant. There are new forms of museum such as eco museums and virtual museums.

<2>

The development of museology and the application of museography isn’t satisfying because:

Personnel were trained to a certain collection and lack understanding of considering the museum as a whole.

Lack of mature disciplines and techniques for the management of museum and may learn something improper from other fields.

Lacking of clear purpose and identity

The apprenticeship give little space for new and creative ideas

“The origins of the twin concepts of preservation and interpretation, which form the basis of the museum, lie in the human propensity to acquire and inquire.” From the Paleolithic burials, the cave art shows the evidence of inquiry and communication through their collections.

In the ancient, “the collection of things that might have religious, magical, economic, aesthetic, or historical value or that simply might be curiosities was undertaken worldwide by groups as well as by individuals.”

The essay talked about in Asia, one of the main reason is because of the veneration of the past, and I think there is another strong motivation, to demonstrate the dignity of status, It’s more like a symbol of power.

The emperor of Qin Dynasty asked to build his mausoleum for around 40 years. It contains an estimated 8,000 lifelike clay soldiers, as well as mass graves and evidence of a brutal power grab. Besides, All the pottery warriors are facing east. According to historical records, the original ruling area of Qin was in the west and the other states were in the east. Qin Shi Huang always planned to unify all states, so the soldiers and horses facing east might confirm his determination for unification.

In Europe, the maritime links through the Mediterranean ports promoted the movement of antiquities and the developing trade in them, which also accelerated cultural conversation and interaction leading to the European Renaissance. Outstanding among the collections was that formed by Cosimo de' Medici in Florence, in 17th century his collections have been bequeathed to the state and the public want to have a look, thus palaces holding such collections were open to visitors and were listed in the tourist guides of the period.

In Europe, “The developing interest in human as well as natural history in the 16th century led to the creation of specialized collections.” Professional terms and books were created to distinguish different types of museums. For example, Samuel von’s view reflects a spirit of system and rational inquiry that had begun to emerge in Europe. People gradually have the awareness of early concepts of museology, including classification, care of a collection, and the identification of potential sources from which collections might be developed.

The learned society’s promoted the establishment of more scientific and cultural organizations the Royal Society in London (1660) and the Academy of Sciences in Paris (1666). “By the turn of the century, organizations covering other subject areas were being established, among them the Society of Antiquaries of London (1707), and learned societies were also appearing in provincial towns. This was the beginning of a movement that, through the collections formed and the promotion of their subjects, contributed much to the formation of museums in the modern meaning of the term. A history of modern museums begins in the next section. ”

<3>Toward the modern museum: from private collection to public exhibition

From the past, most of the collections were owned by prominent individuals with huge wealth or noble social status; but over time, the spirits of inquiry and desire of appreciating and learning added other meaning and purpose to collection. A wider group of participators and collectors join in and feel concerned with enjoyment and study and the advancement of knowledge or the continuity of their collections. If it’s hard to be achieved in the family unit, it’s better to hand them into the corporate unit or the government.“ if knowledge were to have lasting significance, it had to be transmitted in the public domain.”

17th century

the world's first university museum: the Ashmolean Museum

The Ashmolean came into existence in 1682, when the wealthy antiquary Elias Ashmole gifted his collection to the University. It opened as Britain's first public museum, and the world's first university museum, in 1683.

The Ashmolean is Oxford University's Museum of Art and Archaeology. Opened in 1683, it is the oldest public museum in the UK. The museum has incredibly rich and diverse collections from around the globe, ranging from Egyptian mummies and classical sculpture to the Pre-Raphaelites and modern art.

18th century:

Background: “The 18th century saw the flowering of the Enlightenment and the encyclopaedic spirit, as well as a growing taste for the exotic. These influences, encouraged by increasing world exploration, by trade centred on northwestern Europe, and by developing industrialization, are evident in the opening of two of Europe's outstanding museums, the British Museum, in London, in 1759 and the Louvre, in Paris, in 1793. “

“ The British Museum was formed as the result of the government's acceptance of responsibility to preserve and maintain three collections "not only for the inspection and entertainment of the learned and the curious, but for the general use and benefit of the public.”

0 notes