#Designer Central Heating Radiators collection

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Exploring Griffith's Duality Symbolism: Beyond Light and Dark part 2

In the present analysis, I delve into the second, more extensive section. This part addresses the intricate issues discussed in the initial part. It aims to explore the continuity and thematic significance of Griffith's character, which is a central theme of the series.

This includes a thorough examination of his androgynous appearance. Additionally, I will analyze the symbolic ideas behind such portrayals across various cultures and within the realm of Berserk.

This research will consider the significance of these representations within the broader context of cultural symbolism. It will also explore its wider implications. Given my accustomed approach to such long texts, this analysis will not be an easy or brief read.

Symbolic significance of Griffith’s Androgynous appearance

Griffith appears as a figure whose presence transcends ordinary perception. He embodies an indescribable beauty that challenges traditional gender boundaries. This representation evokes the essence of an otherworldly fantasy. It taps into the collective memory of humanity.

The contours of his face include rounded cheeks, a subtly defined chin, and finely sculpted, convex lips. These features radiate a classic elegance. They resonate with the revered principles of ancient lore. This portrayal seamlessly blends timeless elements of artistic styles, mythological ideals, and beauty standards.

Miura’s illustration accentuates these qualities with an all-encompassing sensuality. This elevates Griffith into an enduring icon of awe and fascination.

Griffith's long, flowing white hair serves as a powerful visual symbol in shaping his character. The intricate, ringlet-like texture envelops him. It enhances his otherworldly and mesmerizing presence while hinting at deeper themes. This concept aligns with the common understanding that hair cells, though they die when exposed, cause no pain when cut. The constant replacement of old strands by new ones highlights the seemingly lifelike nature of hair. Even after death, hair can appear to grow, giving an eerie sense of lingering life in ancient remains.

In many cultures, long, untamed hair represents freedom from societal constraints. This reflects a character who challenges norms and embodies individuality. I believe Miura assigned particular importance to hair. The white color adds further significance. It expresses a spectrum of contrasts. Whiteness projects an essence of all or nothing. It symbolizes both extremes—heat and cold, fire and ice. This quality echoes the Snow Queen’s icy beauty alongside the vampire’s bloodless passion, blending both mythic and spectral elements.

Griffith's complexion is pale, translucent, and almost silver-white. It glistens with a luminous, resplendent elegance. His aesthetic, rich with picturesque qualities, is strikingly otherworldly. It often evokes the image of a character from a fairy tale, despite already inhabiting a fantasy world. In his various appearances, Griffith adopts warrior-like poses. These highlight his regal presence, reminiscent of statuesque Roman heroes.

His "Neo" depiction fluidly alternates between being fully armored and revealing a more exposed, naked self. This duality adds depth to his character. His famed smile is recognized for its innocent and soft nature. It conveys an in-depth sense of purity.

Yet, while his smile sweetens with an endearing quality, his eyes convey a more savage and cold density. They are so deeply intimidating that they evoke an unsettling fear, reminiscent of a raptor's piercing glare. This dichotomy creates a vivid contrast, intertwining innocence with an underlying complexity and depth that both captivates and disturbs.

I hope I captured various dualisms that contribute to the overall design framework.

Divinity as a fusion of masculine and feminine elements-genesis and the Androgynous origin of humanity

Typically, we classify androgynes into two main categories. One category results from division. The other arises from the merging of opposites. This physicality is not a capricious choice by the author. Rather, it serves as a meticulously selected motif for his artistic vision.

In the realm of myth, androgyny epitomizes the convergence of opposites. It symbolizes unity and completeness among deities and mythical entities. This state of equilibrium and wholeness reflects an idealized version of primal ecstasy at the genesis of creation. This concept underscores a fundamental unity that was once inherent in humanity but is now fragmented. It evokes a deep longing to return to that original harmony.

Across historical periods, divinity consistently reveals a dual nature. Even the most distinctly masculine or feminine gods exhibit androgynous qualities. Regardless of their form, divinity embodies the ultimate reality and absolute power. It transcends limitations imposed by attributes such as gender, morality, or ethics.

In the grand tapestry of Christian symbolism, the Book of Genesis reveals two profound and interwoven creation narratives. The second narrative spans Genesis 2:5–3:24. It begins with Adam appearing in a barren, desolate landscape. At the dawn of time, the Lord God meticulously crafted the heavens and the earth. Not a single shrub or plant had yet graced the arid terrain, for the Lord God had withheld the rain. Initially, Adam appears as a symbol of divine androgyny. He merges both male and female qualities.

In this primordial context, God creates Eden. It is a lush and verdant sanctuary sustained by the flow of four life-giving rivers. At the center of this paradise stand two revered trees: the Tree of Life and the Tree of Knowledge of Good and Evil. These trees reflect the divine duality inherent in God's nature.

Priscillian describes God as “masculofoemina.” This resonates with Genesis 1:27: “So God created man in his own image; in the image of God created he him; male and female created he them.” The Hebrew word for mankind in this verse is "'adam." This term signifies all of humanity within the biblical context. The use of "'adam" underscores the term's inclusive nature. It highlights both male and female aspects of humankind.

The serpent, revered as the wisest of all of God’s creatures, approaches Eve by the Tree of Knowledge. It subtly insinuates that the fruit from this tree imparts divine wisdom. After they eat the forbidden fruit, “the eyes of both of them are opened.” They become aware of their nakedness, which instills in them a profound sense of shame. This sudden enlightenment marks their shift from innocent instinct to a complex understanding of good and evil. It captures the essence of the Fall.

The narrative reaches its climax with their expulsion from Eden. This is a poignant symbol of divine retribution for their transgression. This event is a central theme in the mythos of the Fall. The story highlights humanity’s intrinsic flaws and the lasting effects of awakened consciousness. Although Adam and Eve leave paradise, their newfound awareness brings them closer to divine wisdom. Nevertheless, it also introduces shame and separates them from their original purity. This tale intricately explores the human condition. It traces the journey from primal instincts to self-awareness and the onset of existential suffering.

The Garden of Eden, a significant symbol within European iconography, remains a perennial motif in Western cultural narratives, illustrating the origins of human suffering and mortality.

The Androgynous nature of Christ in the eucharistic ritual

Carl Jung, along with other eminent thinkers, frequently draws parallels between psychology and alchemy. He suggests that the alchemical quest for the philosopher’s stone—transforming base metals into gold—serves as a metaphor for spiritual metamorphosis. This alchemical journey involves integrating and reconciling opposites. Jung interprets the stages of alchemical processes as symbolic of psychological transformations. Figures such as Christ play a pivotal role in this transformative framework.

In Jungian thought, the mystical body embodies both genders. This is symbolized through bread and wine. The dual elements—wine representing the masculine and bread symbolizing the feminine—reflect the androgynous nature of the mystical Christ. The Mass, therefore, epitomizes the central mystery of God’s transformation into man and His return to His absolute existence. Through devotion and self-sacrifice, humanity participates in this enigmatic process. It serves as an instrument in the divine drama.

Several scriptural passages resonate deeply with these themes. When the disciples inquired about the end of times, Jesus responded, “Have you already discovered the beginning that you are now asking about the end? Where the beginning is, the end will be too.” In another profound exchange, Jesus elucidates the path to the kingdom: “When you make the two into one, and when you make the inside like the outside and the outside like the inside and the above like the below—that is, when you make the male and the female into one, so that the male will not be male and the female will not be female—and when you transform an eye into an eye, a hand into a hand, and a foot into a foot, an image into an image, then you will enter [the kingdom].”

In essence, these passages intertwine the mystical and the mundane. They illuminate the convergence of spiritual and earthly realms in the quest for divine understanding.

Freud’s Interpretation of Androgyny

Androgynous divinity, Babylonian gem- Here, we can see the emergence of a common, culturally independent motif: the duality of gender, the two serpents, the sun, and the moon.

Freud acknowledged the challenge of reconciling life instincts with their inherent conservative or regressive nature. He remarked, “In the case of Eros (or the love instinct), we cannot apply this formula.” Freud argued that the notion of a once unified living substance, now fragmented and seeking reassembly, is represented in myth. He cited Aristophanes' depiction in Plato's Symposium. This portrayal shows sexual union as an effort to restore the lost unity of an originally androgynous being before the sexes separated.

According to Freud, the myth of androgyny embodies both the creative principle and the guiding mystical force. The spirit, inherently divided within existence, generates suffering and unrest. Therefore, androgyny signifies not only a connection to ancient Platonic ideals but also a foretaste of the future. It symbolizes intellectual activity that transcends gender issues. Ancient civilizations viewed their primordial deity as androgynous. This reflects its emanation from the mind.

Buch der Heiligen Dreifaltigkeit

As previously noted, androgyny, commonly linked with Mercury in alchemy, represents the integration of dualities into a unified form. The significance of these two terms extends beyond mere biological aspects. They pertain to sexual characteristics, but their meaning should also be explored at a more abstract and holistic level.

The male principle imparts life force but remains vulnerable to death. The female principle nurtures and animates life. In this framework, Eve, who emerged from Adam, illustrates that the spiritual realm transcends the vital essence. Adam came before Eve, and the vital essence preceded the spiritual.

The distinction between male and female denotes separation. This is akin to the differentiation between upper and lower waters, and Heaven and Earth. In the earliest creation narratives, the first human was androgynous, as this separation had not yet taken place.

From a mystical standpoint, the spirit is categorized as male. The soul that animates the body is categorized as female. This concept aligns with Jungian duality, reflecting the animus and anima.

The Alchemical journey: animus and anima in the tale of Sleeping Beauty’s unio mystica

While Charlotte may seem like a third-tier character, her role carries significant weight within the plot. In magical tales, royal blood often holds profound narrative. It is seen as imbued with a divine essence. This link connects characters to a higher spiritual order. It allows rulers to influence their communities and guide individuals toward elevated consciousness. They are chosen for a divine purpose, destined to fulfill a particular mission.

At the outset, I will outline the intricate bond between Griffith and Charlotte. Miura skillfully uses symbolism to weave together two contrasting principles: the solar and the lunar. These symbols represent a divine union. Griffith is portrayed as an anointed hero, while Charlotte, through her royal lineage, is destined for sovereignty.

Charlotte gifts Griffith a cherished family heirloom. It is a necklace adorned with a naturally magnetic lodestone. She keeps its feminine counterpart, symbolizing their connection. Additionally, a statue holding a shield represents the quaternity. This statue bears the Midland flag. This symbol carries deep meaning. It merges four distinct energies into a unified whole.

Sun: illumination; the solar masculine aspect

Moon: dormant consciousness; the feminine lunar aspect

Lightning: awakening consciousness

Stars: dreaming consciousness

The lodestone possesses profound symbolic and practical relevance within the universal order. Its magnetic properties are believed to provide guidance. They bridge the gap between the physical and metaphysical realms. Throughout history, this stone, entwined with magic, has guided individuals through the natural world. Myths ascribe to it the power to attract objects and people alike. It embodies a universal force that unites and binds all things.

Given this understanding, the solar and lunar forces naturally draw toward each other. The Tower of Triumph merges all four elements seamlessly. The story of Griffith and Charlotte echoes the timeless theme of Sleeping Beauty. Charlotte, restricted by parental limitations on her feminine nature, remains trapped in a state of prolonged unconsciousness.

Consequently, she possesses limited experience with conscious life and the external world. Confined and protected, she mirrors the archetypal princess trapped in a state of "eternal slumber." Within the castle walls, she remains ensconced in her chambers and towers. These spaces are characterized by stillness and isolation. In stark contrast, Griffith emerges as an active and conscious force. He engages aggressively with the external world. He confronts its myriad challenges. This contrast establishes the foundation for my analysis, which examines the narrative through a Jungian perspective.

The archetypal plot unfolds in a manner similar to a dream. It moves through the four classical stages of drama. The story begins with the exposition of time and place. Fairy tales typically commence with phrases such as "once upon a time." These phrases evoke a sense of timelessness and spatial ambiguity. Symbols such as the spinning wheel, the cursed sleep, and the final awakening during a moment of rediscovery embody overarching concepts. These ideas include the passage of time, the process of transformation, and the triumph of life, as interpreted by the collective unconscious.

Jung proposed that fairy tales offer a valuable way to explore the comparative anatomy of the psyche. While myths, legends, and other mythological narratives provide valuable cultural material, fairy tales reveal archetypal truths. This is due to their less culturally specific content. Parental interventions, often misguided, are symbolized by Sleeping Beauty's "hundred years of slumber." This drowsiness frequently delays the attainment of maturity at the proper time.

In a reimagining, Charlotte perceives Griffith not through a winter window but through the lens of spring. This symbolizes renewal and joy. His return with snowdrops signifies the hope of new beginnings. This moment comes after the vow made on that fateful day. It underscores her unwavering belief. It also confirms the eternal nature of his commitment, despite the changing circumstances.

The motif of embracing and intertwining frequently recurs in solar myths and rebirth legends. This includes the tale of Sleeping Beauty and the legend of the maiden ensnared between bark and wood. An ancient myth tells of a sun-hero who needs liberation from captivity. Thus, Griffith embodies the archetypal prince. He arrives at the crucial moment when parental guidance falters. His capacity to offer direction diminishes.

Alchemy often involves reconciling and synthesizing opposing forces. This parallels the narrative. In Sleeping Beauty, the prince (animus) represents the conscious, active, masculine principle. Meanwhile, Sleeping Beauty (anima) embodies the unconscious, passive, feminine principle. Their union signifies the integration of these dual aspects within the psyche. This achieves psychological completeness—the sacred union of lunar and solar principles, known as hieros gamos.

Fertility inherently requires a unified, dual aspect. Natural cycles depend on duality and transformation. This highlights a cosmic process that transcends human endeavors. Here, the harmonious interplay of opposites fosters growth. The terms 'masculine' and 'feminine' denote fundamental principles rather than specific genders. Through their connection to the realm of fauna, they offer a non-anthropocentric viewpoint. Human activities contribute to a broader cosmic process of growth and transformation. This is poetically described as 'the play of clouds and rain.'

The light permeates the embroidery emphasizes the theme of truth versus illusion. Charlotte, in her effort to hide, uses a symbolic "thin veil" (the embroidery) to represent Griffith. This infuses it with multidimensional meaning. It suggests an illusion: Charlotte knows Griffith only through his idealized image (the embroidery). The actual reality (Griffith standing behind the embroidery) shifts this perception.

Just as the sun reveals the moon’s surface, the wind—symbolizing creation in various myths—represents space and the processes of life. Revered as a fundamental element, it is closely linked to the creative breath or act of exhalation. Jung connects the wind with breath. He equates it with the spirit and signifies a divine infusion of spirituality.

Griffith's affinity for windows (He likes to stand by the windows and to come in and out through the windows.) further underscores this symbolism. The window, a recurring motif, acts as a portal between the inner and outer worlds. Known as the "soul’s eye," windows reflect one’s consciousness and perspective on the world. The placement of these windows on a tower resembling a human head amplifies their symbolic significance. As symbols of how consciousness perceives and interprets reality, windows represent any medium through which we encounter illumination. Thus, they serve as gateways to spiritual enlightenment. They bridge the visible and invisible realms while providing glimpses into the divine.

Windows function not only as physical openings but also as metaphysical symbols of awakening. They illustrate how consciousness comprehends and interacts with the world. As channels for experiencing divine illumination, windows highlight the connection between the mundane and the sacred.

The concept of unio mystica, with the soul depicted as feminine, represents the mystical union with the divine. The animus, symbolizing the masculine aspect, fulfills this divine union not literally but symbolically. This occurs through a more abstract, internal experience.

In various cultural, literary, and mythical contexts, blood symbolizes transformation. Bloodletting often connects to themes of sacrifice and power. The mythological imagery portrays a child intuitively comparing blood to the earth trapped under winter’s icy grip. This anticipates the liberating touch of spring’s sun. This imagery parallels the earth’s release from winter’s prison and its rejuvenation by spring’s rays. It leads to the rebirth of a renewed kingdom. This theme is central in Sleeping Beauty. Her awakening not only restores her but also revitalizes the universe.

Thus, the myth of Sleeping Beauty serves as a profound metaphor for the cyclical renewal of life and the harmonious balance between opposing principles. The hero’s return from the underworld, as the bringer of light, illustrates how mythological narratives encode profound truths about the human psyche and the natural world.

To add a personal observation: I can't help but notice that the scene is beautiful and rich in metaphors. Nevertheless, upon reflection, this symbolic interplay appears to exist more on a metaphysical level. Its significance is for the universe rather than in terms of genuine connection and authenticity. Beyond the saccharine, magical veneer, reality is very objective. After all, Charlotte has very limited knowledge of Griffith. Griffith, in turn, does not really love her. Consequently, this narrative lacks elements analogous to a 'real love's kiss.'

The cosmic dance: Androgyny and spiritual wholeness in eastern mysticism

The androgyny inherent in the divine ground epitomizes the quintessence of mystical experience. This concept seamlessly integrates elements that may initially appear dichotomous. In Indian Tantrism, the spiritual union of Shiva and Shakti represents the convergence of masculine and feminine energies. This union restores the original unity of creation, originating from the transcendent Brahman. Brahman transcends gender and embodies both aspects fully.

Western interpretations frequently misrepresent the balance between male and female in the Tantric tradition. They often reduce it to sexual practices. Conversely, Tantra fundamentally revolves around discipline. It includes structured meditation and religious rituals. These aim for spiritual transformation rather than mere sensual gratification. The essence of Tantrism lies in understanding that opposites—whether masculine and feminine or other cosmic forces—contribute to a larger, unified reality.

Many Eastern traditions suggest that opposites emerged from the fragmentation of a singular reality. This fragmentation gave rise to the world of forms. Thus, the soul's journey is to reunite these fragments into their original unity.

The confluence of Shiva and Shakti transcends mere physicality, embodying the cosmic balance that sustains all creation. This union symbolizes the dynamic interaction between stillness and energy, as well as consciousness and movement. It reflects the ideal of balance encapsulated by the archetype of Ardhanarishvara, a deity depicted as half-male and half-female. Ardhanarishvara signifies that within every being reside both masculine and feminine energies, awaiting integration.

True spiritual transcendence, according to Tantra, arises from merging these dualities within oneself. This process transcends the confines of gender and duality to achieve a state of wholeness.

The eternal play of opposites—sun and moon, fire and water, creation and destruction—perpetuates the cycle of life and rebirth. This cycle reflects the sacred balance at the core of existence.

The serpentine symbolism in Hinduism reinforces the androgynous theme. The male serpent signifies the sun, representing the masculine principle. Meanwhile, the female serpent embodies the moon, symbolizing the feminine. Their intertwining symbolizes the union of heaven and earth. This union encapsulates the eternal balance and sacred equilibrium at the core of existence.

These themes are expressed in Hindu art and philosophy through the depiction of chakras. The initial three chakras correspond to primal, instinctual drives. The fourth chakra, located in the heart, symbolizes love and compassion. This marks the transition from animalistic instincts to higher spiritual awareness.

As one ascends through the upper chakras, the path toward unity and transcendence unfolds. Here, dualities merge into the singularity of consciousness.

The journey to this realization, as expressed in Tantrism, is a path toward inner transformation and divine union. It embraces the eternal dance of life.

As a primordial symbol, it is present universally among humans. It represents a fundamental element deeply rooted in our collective consciousness. This symbol has held profound meaning across diverse cultures and religions from the very beginning.

It signifies life and growth. It highlights the connection between nature and the cosmos. Furthermore, it forges a link between the earth and the heavens. It connects matter and spirit, knowledge and enlightenment, as well as humanity and the origins of creation.

The symbol strives to capture the universal and spiritual essence of the tree. It embodies the profound unity and significance that transcend individual belief systems.

Anima Mundi and the journey of the world-soul: Griffith as Anthropos in Hegelian philosophy

Anima Mundi, the world-soul, epitomizes the essential animating force that pervades the cosmos. It weaves an intricate tapestry of interconnectedness and contemplative vitality. This concept aligns with philosophical paradigms. Particularly, it resonates with those articulated by Hegel. Hegel’s theories explore the interconnected roles of history, religion, and philosophy. These elements play crucial parts in the development of human consciousness and the realization of the Absolute, or ultimate truth. His ideas resonate with the essence of Anima Mundi as a concept, highlighting the unity within the cosmos.

The world-soul, much like spirit or ether, signifies a natural power that permeates all forms of life and psychic phenomena. This power bridges both the grand and the minute. It mirrors the Indian concept of atman, present within every human heart despite its vast cosmic scale. This celestial essence symbolizes the quintessence of the physical world.

When examined in various contexts, this symbol parallels contemporary portrayals of the self. It emphasizes the integration of diverse psychic dimensions to achieve wholeness and harmony.

Within cultural and religious frameworks, the quaternity represents universal principles. This concept plays a key role in human understanding and the pursuit of self-realization. The primordial cosmic man, or Anthropos, epitomizes the world-soul—a unity both within and beyond, mirroring the atman in Upanishadic thought.

Just as quicksilver manifests Mercury, gold embodies the sun within the earth. These symbols reflect spiritual and alchemical truths, illuminating the interconnection between cosmic and human realms.

Hegel’s interpretation of the emperor as the embodiment of the "world-soul" traverses philosophical terrain. This interpretation integrates historical and ideological dimensions with praxis. This stage signifies the apogee of the Absolute spirit. Here, disparate energies converge to sculpt the trajectory of human civilization.

“I saw the Emperor – this World-Soul/The Weltgeist/Die Weltseele – riding out of the city on reconnaissance. It is indeed a wonderful sensation to see such an individual, who, concentrated here at a single point, astride a horse, reaches out over the world and masters it.”— Georg Wilhelm Friedrich Hegel, upon witnessing Napoleon in Jena

The essence of Hegel’s dialectic, central to his philosophical framework, is captured by the triadic dynamics of thesis, antithesis, and synthesis. The thesis introduces an initial condition or viewpoint. The antithesis represents the opposition or conflict to the thesis, offering a counterpoint or challenge. The synthesis resolves this tension by integrating elements of both the thesis and antithesis into a higher, more advanced understanding.

This dialectical process is iterative and dynamic, where each synthesis evolves into a new thesis. Thus, the cycle of thesis-antithesis-synthesis perpetuates, embodying the continuous and transformative progression observed in both philosophical and historical contexts.

Within the framework of Hegel’s absolute philosophy, Griffith represents the elevated concept of mediated, developmental unity. This unity exists between subjective thought and objective reality. His essence, particularly through his ethereal incarnation and the evolution of his surroundings, exemplifies Hegel’s idea that 'thought and being are one.' Griffith’s life and actions vividly illustrate this philosophical notion, showing how the subjective realm of thought and the objective reality of being are intricately intertwined and harmoniously unified.

The process of synthesis in Griffith’s journey demonstrates how disparate realms merge into a cohesive unity, offering a nuanced interpretation of existential coherence within Hegelian terms. Griffith’s role as a unifying force for polar opposites underscores his deep philosophical expertise. Each individual and apostle, by subordinating their egos to Griffith, transforms him into a perennial conduit, absorbing all perplexity and serving as a bridge between external substance and the universal essence of the mind.

Griffith transcends the ordinary. He emerges as a monumental figure in the pursuit of human freedom and self-awareness. His belief that divine revelation comes through historical transformation, rather than miraculous occurrences, reflects his dedication to progress. Griffith’s odyssey illuminates the evolution of consciousness within the grand tapestry of Berserk. The 'Man of Knowledge' embodies all cosmic dichotomies and equities. He encapsulates every facet of the cosmos within the ultimate individual. His essence and complexity resonate with the very fabric of the universe.

Griffith's society presents a scene where antagonistic forces coexist. Each contributes to a richly intertwined reality.

The Christian Millennium represents a concept of profound significance, heralding an era increasingly close to the world's denouement. Within this context, the Millennium Empire symbolizes a serene coexistence achieved through a visionary framework. This moment evokes the restoration of Eden, characterized by a significant, symbiotic communion among monsters, devils, and humans—an essence vividly reflected in Griffith himself.

As Western civilization transitioned from the Medieval epoch to the Renaissance, it emerged from the shadow of deities and demons. This era of revival, akin to the Renaissance of ancient Greek and Roman civilizations, signifies a pivotal historical shift towards human liberation.

The narrative of Berserk asserts that Griffith undertakes nothing less than the reconstruction of the ancient world. He reclaims mankind’s lost faith in the celestial and the otherworldly.

Chthonic and Uranic balance:The Taoist perspective on dualities

To understand this topic, it's essential to highlight the fundamental differences between the Western and Eastern worlds. Western philosophies view the universe as a system composed of separate objects. These objects are further reduced to basic building blocks, whose properties and interactions entirely determine all natural phenomena. This conception of the universe continues to underpin most scientific thought and significantly influences everyday life.

In the West, academic disciplines tend to fragment, justifying the treatment of the universe as if it consists of various distinct parts. Western philosophy emphasizes the parts of a whole rather than the whole itself. For example, the mind and body are perceived as two separate entities with distinct identities. This mentality is evident in everyday western societies, affecting politics, religion, and even racial relations.

Eastern philosophy, on the other hand, emphasizes wholeness rather than individuality. This is one reason why Asian sages never distinguished between religion and philosophy, or between mind and body. Nor did they divide their philosophies into separate branches. All of their teachings should be seen not as separate truths but as interconnected parts that ultimately lead to the revelation of a single Truth. The essence of the Eastern worldview is the awareness of unity and the interconnections among all things. It experiences all phenomena in the world as manifestations of a fundamental oneness.

In this perspective, everything comprises independent and inseparable components of a cosmic whole, representing different expressions of the same ultimate reality. While people in the West may see themselves as unique, individual, and beloved by God, individuals in the East consider themselves part of something greater.

Taoism reveals a fundamental unity that transcends dualities. The Tao is regarded as the ultimate reality and ineffable essence. It surpasses rigid categorizations. While yin and yang are crucial in the celestial interplay, Taoism views them as integral aspects of a larger whole. These forces maintain cosmic order and balance. Thus, integrates dualities into a seamless unity. It illustrates how opposing forces harmonize within the vibrant tapestry of existence.

In contrast to worldviews that separate the supernatural from the material, Taoism embraces immanent transcendence. This perspective goes beyond dichotomies such as matter and spirit, fire and water, and heaven and earth. It symbolizes their unity through their dynamic interplay. Taoism’s philosophical framework celebrates dualities, prominently represented by yin and yang.

This celestial schema extends to the cosmos. Oneness (non-presence) facilitates the emergence of twoness (presence, Yin/Yang distinction). This emergence generates threeness and opens the realm of multiplicity. This integrated process reveals a synchronous order where oneness, twoness, threeness, and multiplicity coexist and interdepend. The Tao’s oneness epitomizes both internal and external unity. It symbolizes the void and the complete whole.

Different stages of the manga suggest they represent halves of a grander, interconnected whole. Their disparate paths embody the essence of a singular, complex continuum—a kindred soul.

Mystics transcend intellectual abstractions. They achieve awareness of the relative and polar relationships inherent in all opposites. They recognize that concepts such as good and evil, pleasure and pain, and life and death are not separate, absolute entities. Instead, these are dialectical aspects of a singular reality. They represent extreme poles of a unified whole. Eastern mysticism centers around this absolute perspective. It culminates in acintya, or "no thought," where the unity of all opposites becomes a perceptible experience.

The concept of being "half of someone" signifies a profound intertwining of lives. Individuals complement and complete one another. They interlace attributes and skills that balance and enhance each other. Each person embodies only a partial essence of their true self. This captures the existential quest for wholeness.

Those who resonate deeply with one another often embrace the natural unfolding of events and encounters. They view their bond as harmonizing with the organic flow of destiny.

In the realm of Berserk, Guts embodies the essence of a human intertwined with an inner beast. Griffith represents a demon harboring an infant within. As the plot unfolds, Guts develops a white patch in his hair when he dons the beast's armor. In contrast, Griffith’s hair darkens under the influence of the infant.

From a psychological perspective, the self often emerges through dreams, myths, and fairy tales. It manifests as a superordinate personality or as symbols of totality. Examples of these symbols include the circle or cross. They represent a complex union of opposites. This parallels the Taoist concept of the interplay between yang and yin. These symbols also reflect the struggles between heroic figures and their adversaries in various myths and legends.

Miura’s decision to incorporate Taoist and Qi concepts into the story's conclusion underscores the significance of referencing Dharmic cultural trends. This choice vividly illustrates the series' dualistic themes and visuals.

To conclude:

In the scope of my experience, it was an interesting and challenging journey. Nevertheless, it also brought me a great deal of enjoyment. I hope that its length did not render it overly dull. Overall, the series clearly demonstrates the consistent symbolism of its dual nature.

Duality encapsulates the idea that opposing forces or concepts shape our reality, such as life and death, good and evil, or yin and yang. These pairs highlight the interdependence of different aspects of existence, showing that one cannot exist without the other.

In philosophy, beyond duality lies the concept of non-duality. This idea transcends the boundaries of opposites. Non-duality proposes that while we perceive things as separate pairs, they are not truly distinct. At a deeper, ultimate level, all differences dissolve, leading to a sense of oneness. Concepts like the Tao, Nirvana, or Enlightenment exemplify this state, where opposites merge into an indivisible whole. Non-duality reveals that these polarities are merely different expressions of the same underlying reality, much like a circle, where each point along its circumference can serve as both a beginning and an end.

Through this understanding, individuals can achieve a richer, more holistic view of existence. They can recognize the underlying unity among all things. In the current context, Griffith’s design embodies the core of duality. Yet, it also gestures towards the concept of non-duality. Here, the boundaries between opposites begin to blur. This reflects a shared, underlying truth. His visual representation conveys this philosophical depth by illustrating how contrasts merge to form a cohesive, unified reality.

The Void- The World

 Eternity -Time 

Nirvana -Samsara 

Truth- Illusoriness 

Enlightenment- Compassion

 The God- The Goddess 

The Enemy -The Friend

 Death- Birth 

The Thunderbolt- The Bell 

The Jewel- The Lotus 

Subject- Object 

Yab- Yum

 Yang -Yin 

=Tao, Supreme Buddha, Bodhisattva, Jivan Mukta, The Word Made Flesh 

[indyvinylpressing1]

Preserve Your Vinyl Collection: Tips for Long-Lasting Protection

A color vinyl record is a treasure store of memories and feelings for any music lover, not only a piece of plastic. But without correct maintenance, your valuable collection can wind up gathering dust or, worse—becoming unplayable. A little work and attention to detail can help you to make sure your vinyl records last. These are some basic pointers to help your records remain immaculate.

Manage with Care

The way you handle your color vinyl record collection makes all the difference. Always hold the records gently, either from their edges or the central label. Do not touch their grooves. The reason is that they are quite sensitive to dirt and oils from your fingertips. 

The smallest contact can leave traces that draw dust, which causes scratches and clearly reduces sound quality. Each time you handle a record, be aware and careful to make sure it stays in perfect shape, thereby providing you with the greatest sound quality for years to come.

Get Protective Sleeves

Investing in premium protective sleeves is one of the most efficient yet basic methods you may use to protect your color vinyl record collection. Anti-static material's inside sleeves are crucial as they greatly help to lower dust accumulation, a typical offender in destroying records. Dust particles can damage the vinyl ether whilst sliding the record in and out of the sleeve or during storage. 

Strong outer sleeves, however, offer a consistent layer of protection against dirt, scratches, and any inadvertent bumps or falls that could happen during handling. Consider these sleeves as the armor protecting your vinyl from daily wear and tear and the weather.

Store Upright and in a Cool Environment

Maintaining the integrity of your color vinyl record collection depends first on appropriate storage. Store your recordings straight always; stacking them horizontally causes warping, which permanently alters the sound quality and renders them unusable. Vinyl records are weight and pressure-sensitive; stacking can produce unequal stress areas that lead to bending of the records.

Also very important is the surroundings in which you keep your records. Vinyl responds to humidity and temperature swings. While moisture may cause mold development—which is ugly and damaging to the vinyl—extreme heat can cause the records to deform. Thus, keep your collection cold and dry, away from radiators, bright sunlight, or any place likely to have temperature surges. 

Clean Regularly and Gently

Cleaning your color vinyl record collection preserves sound quality rather than only looks. Vinyl records are attacked by dust and grit; even the smallest particles can create pops, clicks, and other unwelcome noises during playback. Regular cleaning of your records can help them to remain in excellent shape.

Before and after every play, carefully clean it with a carbon fiber brush. These brushes extract dust particles without damaging the vinyl. Invest in a vinyl cleaning solution designed especially to break down dirt without destroying the record if you want deeper cleaning.

Always let the record dry totally before playing or storing it; apply the solution in a circular motion following the grooves with a microfiber cloth. Regular, mild cleaning not only improves the sound quality of your records but also extends their lifetime, therefore assuring that you may enjoy your preferred music for many years to come.

Endnotes

Following these guidelines will help you to make sure your vinyl records stay in perfect shape for several decades. Look only at Indy Vinyl Records if you demand excellent quality vinyl records. Our customized vinyl records come in a large variety. We are located in Indiana, US.  Hurry, visit our website today!

[nasa]

Sixteen Images for Spitzer's Sweet 16! 🎂

We launched our Spitzer Space Telescope into orbit around the Sunday on Aug. 25, 2003. Since then, the observatory has been lifting the veil on the wonders of the cosmos, from our own solar system to faraway galaxies, using infrared light.

Thanks to Spitzer, scientists were able to confirm the presence of seven rocky, Earth-size planets in the TRAPPIST-1 system. The telescope has also provided weather maps of hot, gaseous exoplanets and revealed a hidden ring around Saturn. It has illuminated hidden collections of dust in a wide variety of locations, including cosmic nebulas (clouds of gas and dust in space), where young stars form, and swirling galaxies. Spitzer has additionally investigated some of the universe's oldest galaxies and stared at the black hole at the center of the Milky Way. 

In honor of Spitzer's Sweet 16 in space, here are 16 amazing images from the mission.

Giant Star Makes Waves

This Spitzer image shows the giant star Zeta Ophiuchi and the bow shock, or shock wave, in front of it. Visible only in infrared light, the bow shock is created by winds that flow from the star, making ripples in the surrounding dust.

The Seven Sisters Pose for Spitzer

The Pleiades star cluster, also known as the Seven Sisters, is a frequent target for night sky observers. This image from Spitzer zooms in on a few members of the sisterhood. The filaments surrounding the stars are dust, and the three colors represent different wavelengths of infrared light.

Young Stars in Their Baby Blanket of Dust

Newborn stars peek out from beneath their blanket of dust in this image of the Rho Ophiuchi nebula. Called "Rho Oph" by astronomers and located about 400 light-years from Earth, it's one of the closest star-forming regions to our own solar system.

The youngest stars in this image are surrounded by dusty disks of material from which the stars — and their potential planetary systems — are forming. More evolved stars, which have shed their natal material, are blue.

The Infrared Helix

Located about 700 light-years from Earth, the eye-like Helix nebula is a planetary nebula, or the remains of a Sun-like star. When these stars run out of their internal fuel supply, their outer layers puff up to create the nebula. Our Sun will blossom into a planetary nebula when it dies in about 5 billion years.

The Tortured Clouds of Eta Carinae

The bright star at the center of this image is Eta Carinae, one of the most massive stars in the Milky Way galaxy. With around 100 times the mass of the Sun and at least 1 million times the brightness, Eta Carinae releases a tremendous outflow of energy that has eroded the surrounding nebula.

Spitzer Spies Spectacular Sombrero

Located 28 million light-years from Earth, Messier 104 — also called the Sombrero galaxy or M104 — is notable for its nearly edge-on orientation as seen from our planet. Spitzer observations were the first to reveal the smooth, bright ring of dust (seen in red) circling the galaxy.

Spiral Galaxy Messier 81

This infrared image of the galaxy Messier 81, or M81, reveals lanes of dust illuminated by active star formation throughout the galaxy's spiral arms. Located in the northern constellation of Ursa Major (which includes the Big Dipper), M81 is also about 12 million light-years from Earth.

Spitzer Reveals Stellar Smoke

Messier 82 — also known as the Cigar galaxy or M82 — is a hotbed of young, massive stars. In visible light, it appears as a diffuse bar of blue light, but in this infrared image, scientists can see huge red clouds of dust blown out into space by winds and radiation from those stars.

A Pinwheel Galaxy Rainbow

This image of Messier 101, also known as the Pinwheel Galaxy or M101, combines data in the infrared, visible, ultraviolet and X-rays from Spitzer and three other NASA space telescopes: Hubble, the Galaxy Evolution Explorer's Far Ultraviolet detector (GALEX) and the Chandra X-Ray Observatory. The galaxy is about 70% larger than our own Milky Way, with a diameter of about 170,000 light-years, and sits at a distance of 21 million light-years from Earth. Read more about its colors here.

Cartwheel Galaxy Makes Waves

Approximately 100 million years ago, a smaller galaxy plunged through the heart of the Cartwheel galaxy, creating ripples of brief star formation. As with the Pinwheel galaxy above, this composite image includes data from NASA's Spitzer, Hubble, GALEX and Chandra observatories.

The first ripple appears as a bright blue outer ring around the larger object, radiating ultraviolet light visible to GALEX. The clumps of pink along the outer blue ring are X-ray (observed by Chandra) and ultraviolet radiation.

Spitzer and Hubble Create Colorful Masterpiece

Located 1,500 light-years from Earth, the Orion nebula is the brightest spot in the sword of the constellation Orion. Four massive stars, collectively called the Trapezium, appear as a yellow smudge near the image center. Visible and ultraviolet data from Hubble appear as swirls of green that indicate the presence of gas heated by intense ultraviolet radiation from the Trapezium's stars. Less-embedded stars appear as specks of green, and foreground stars as blue spots. Meanwhile, Spitzer's infrared view exposes carbon-rich molecules called polycyclic aromatic hydrocarbons, shown here as wisps of red and orange. Orange-yellow dots are infant stars deeply embedded in cocoons of dust and gas.

A Space Spider Watches Over Young Stars

Located about 10,000 light-years from Earth in the constellation Auriga, the Spider nebula resides in the outer part of the Milky Way. Combining data from Spitzer and the Two Micron All Sky Survey (2MASS), the image shows green clouds of dust illuminated by star formation in the region.

North America Nebula in Different Lights

This view of the North America nebula combines visible light collected by the Digitized Sky Survey with infrared light from NASA's Spitzer Space Telescope. Blue hues represent visible light, while infrared is displayed as red and green. Clusters of young stars (about 1 million years old) can be found throughout the image.

Spitzer Captures Our Galaxy's Bustling Center

This infrared mosaic offers a stunning view of the Milky Way galaxy's busy center. The pictured region, located in the Sagittarius constellation, is 900 light-years agross and shows hundreds of thousands of mostly old stars amid clouds of glowing dust lit up by younger, more massive stars. Our Sun is located 26,000 light-years away in a more peaceful, spacious neighborhood, out in the galactic suburbs.

The Eternal Life of Stardust

The Large Magellanic Cloud, a dwarf galaxy located about 160,000 light-years from Earth, looks like a choppy sea of dust in this infrared portrait. The blue color, seen most prominently in the central bar, represents starlight from older stars. The chaotic, bright regions outside this bar are filled with hot, massive stars buried in thick blankets of dust.

A Stellar Family Portrait

In this large celestial mosaic from Spitzer, there's a lot to see, including multiple clusters of stars born from the same dense clumps of gas and dust. The grand green-and-orange delta filling most of the image is a faraway nebula. The bright white region at its tip is illuminated by massive stars, and dust that has been heated by the stars' radiation creates the surrounding red glow.

Managed by our Jet Propulsion Laboratory in Pasadena, California, Spitzer's primary mission lasted five-and-a-half years and ended when it ran out of the liquid helium coolant necessary to operate two of its three instruments. But, its passive-cooling design has allowed part of its third instrument to continue operating for more than 10 additional years. The mission is scheduled to end on Jan. 30, 2020.

Make sure to follow us on Tumblr for your regular dose of space: http://nasa.tumblr.com

[chrysalispen]

borealis, #1 (Nero/WoL, prompt response)

AO3: https://archiveofourown.org/works/28633701/chapters/70185441

Prompt: One ship, ten kisses shared. -cheek -forehead -crown of the head -nose -eyelids -lips -neck -thigh -hand -foot

Bonuses if: -1 kiss type per scene, ten scenes total -5 initiated by one partner, 5 by the other.

First prompt response below cut.

==

1. cheek

"Seven hells, it's cold-"

Four words she had never thought would possibly escape her lips, in the five years since she'd left Garlemald, and yet here she was. A sharp, brisk gust of chilly air blew through the crack in the front door before Aurelia Laskaris managed to pull it shut.

One of Coerthas' winter storms had blown off its expected course and produced snow- real snow, too, not the cold rain that had normally wrapped up the year's end ever since the Calamity. Heavy flurries of white now fell in placid sheets upon the denizens of the Lavender Beds, blanketing the adventurers' enclave in winter stillness, and Aurelia found herself quite grateful that she'd not yet managed to set aside the time to reseed her gardens after returning to the Source. Already on her way down the road to get the post she'd heard several of her neighbors grousing about their ruined crops.

She slipped her feet into her soft house shoes and padded into the kitchen, snapping on a nearby light and making a beeline for the automated kettle next to the range. After a moment the rich scent of roasted coffee wafted into the air.

Once she had helped herself to a mug full of the brew Aurelia ambled into her sitting room to admire the fruits of her labors. Holly garlands draped the windows and the rafters, adorned with the same red and gold organza ribbons as the large Coerthan spruce in the corner. All were strewn with lights that cast a soft glow over each leaf and translucent curl. She had fashioned a simple wreath to hang in the kitchen where the cookfire burned low to keep the night's meal warm for gradual consumption, and it sat in its place above the mahogany dish rack. Beneath the low lights and the fresh smell of evergreen and apples and cinnamon, her orchestrion trundled quietly through a selected collection of songs.

As she gazed at the tree the tilt of her smile took on a pensive cast. The greenhouse at the Laskaris villa - her de facto domain - had been wholly subject to her uncle and his austere aesthetic sensibilities. Every leaf and branch had had to be bound and trimmed and neatly in place. In the seven years she had lived there, not a single ilm of the family property had been allowed to have Aurelia's touch upon it. Not even the room in which she'd stayed when out of school on term breaks.

The little forest cottage wouldn't be seen as much in the way of wealth, not back in the capitol. To the eyes of her aunt and uncle, or anyone else in her family for that matter, it would be positively rustic if not outright primitive. It didn't have a magitek greenhouse or a central heating system, and precious few technological amenities. But nearly every piece of furniture in it had been fashioned by her own hand. Including the decorations she now admired.

This was her place. That was what mattered.

"You look in a fine mood," a voice drifted upwards from the cushions of the sectional. Aurelia grinned and set the mug down upon the low-slung table.

"I was just thinking about how much I enjoy having my own house."

"Must say I rather enjoy you having a house myself, all things considered." She felt a slight nudge against her side, followed by a faint clatter. Nero was sitting up, the tomestone in his hand having joined her coffee mug on the side table. "...It looks good, by the by."

"What does- oh. The tree? You wouldn't believe the ridiculous lengths I had to go to in order to get that here."

"Having involved myself in your adventures on multiple occasions, I assume shenanigans of some sort must necessarily be involved unless otherwise stated. You've something of a knack for finding trouble."

"Trouble which you have instigated on more than one occasion."

"As I said," that grin was all teeth, "you've a knack for finding trouble. And speaking of finding things, I'll be back in a moment."

Aurelia watched him amble through the stairwell entrance and turn the corner past the orchestrion to make his descent. She noted (with some considerable amount of personal amusement) that for all her grousing about the former tribunus' presence at the combined Ironworks-Scions Starlight party Tataru had also made Nero a natty holiday jumper - and she'd even knitted it using yarn she had dyed in his favorite color. All the more surprising, although he had not said a word about the gathering since, was the fact he was actually wearing it.

Her smile returned as she retrieved her mug.

The coffee was half gone by the time he returned, this time bearing a rather bulky unwrapped box in his hands. He shifted it from his shoulder to his hands with a soft grunt that indicated it was every ilm as heavy as it appeared. "I was going to give this to you later," he explained, setting it down in front of her feet, "but as usual I've no idea when either of us might be off again."

"A gift?" Still smiling, Aurelia set the mug aside. "Since when do you celebrate Eorzean holidays?"

" 'When in Allag', and all that. And Mistress Tataru, despite her threats, did leave the pins out of the undertunic she gave me." A brief smirk tilted his mouth. "I do believe your little secretary likes me more than she lets on."

"Or she's resigned herself to your presence. For Cid's sake, you know."

"You jest, but this is actually a joint gift from myself and Garlond. As you know, he's had to return to Othard. Thus, I am the one tasked with presenting it." At her hesitation, he urged, "Go on, open it."

With some effort she lifted the box into her lap. It was a standard-issue imperial transport container made of reinforced black steel, and the base was cold enough that it radiated a chill even through her breeches; she winced when its weight settled into her thighs. Carefully she unfastened the latches and lifted the lid-

-and her eyes went wide at its contents. "...This is-"

"A portable refrigerated centrifuge."

"Where in the seven hells did you find one of these? I haven't set hand to a personal centrifuge in years. The medical laboratory at Castrum Novum just used those massive consoles that they'd built to set-"

"Into the wall mounts in the old R&D sectors, yes. At any rate, I plucked the original from one of the research bays- not that it was functional when I found it, mind, but there are schematics in the archives for just about anything one can imagine."

"Surely it wasn't necessary to go to all that trouble."

"That is where you would be wrong," he said dryly, lifting the centrifuge from its storage with considerable effort. The angle was somewhat awkward, and it wobbled for a moment before Aurelia was able to brace her hands and take it from him. He fastened the latches and reached over the arm of the sofa to set the container out of the way. "There were several specific components I required for the modified buildout which, one can safely say, cannot be sourced via other means."

"Precisely how much did you modify it?" Aurelia tilted the heavy tool this way and that, watching the lights from the tree shimmer over its smoothly brushed surface. "...I'm not about to find an operable magitek laser turret tucked into the rotor or something equally daft, am I?"

He squinted at her but chose to ignore the remark. "Aside from a minor tweak for improved performance, as it happens there was only one major modification to the original build. For practicality's sake."

"Only one?"

"Only one. Why?"

She pressed a hand to her chest in mock surprise.

"That sort of self-restraint isn't like you at all. Are you certain you're well?"

"Trying to be funny again, I see." He cast his eyes to the heavens. "I shall have you know it was his idea."

"Oh? That's a surprise."

"The auxiliary power source normally would need to be connected to a ceruleum generator for a charge, but this design utilizes aetheric energy harnessed from a corrupted crystal. Some wild hair of Garlond's cobbled together on a previous project with some degree of success, if the sales are any indication." His smile faded, lips pursed as if he'd bitten into some particularly sour piece of fruit. "...Given it sprouted from one of those half-baked experiments of his, I suppose it functions reasonably well."

He sounded rather surly - rankling, perhaps, at his own acknowledgment that he had needed Cid's assistance in order to complete the gift. When she wrenched her focus away from her silent admiration of the customized chassis (which was, of course, a deep wine red), his brows were knit together in a faint scowl that indexed that line nigh to the lower curve of his third eye.

Aurelia leaned over and gently brushed her lips against his cheek. It was warm and smooth, devoid of its customary evening shadow; she realized he must have taken a razor to his jaw earlier in the day. The earthy scent of sandalwood shaving soap lingered in her nose for a moment before she righted herself.

"If you frown like that every time you have to swallow your pride to ask for his help," she warned, poking his broad nose with one gentle fingertip, "you'll give yourself wrinkles."

"You mean more wrinkles," he groused. "In case you've not noticed, I'm not getting any younger."

"Yes, nigh on thirty-seven* winters now," Aurelia said with a perfectly straight face, though the mischievous twinkle that lit her dark blue eyes was impossible to miss. "Well past one's prime, in my professional opinion. Ancient. Antediluvian."

"Utterly decrepit," he sighed. The scowl had smoothed from his brow, and she knew by the lazy and unguarded drawl which now laced his words that he was no longer annoyed. "I'll be naught but dust by the time I'm forty."

"Doubtless. You could practically pass for an Allagan relic now- that is, if you weren't more easily mistaken for a bloody dhalmel."

Nero laughed aloud at last, the fine lines winging out from the corners of his eyes crinkling with his mirth, and wrapped his arms around her smaller frame - centrifuge and all. "Flattery will get you everywhere, hero," he said. "Come here."

She seated herself atop his thighs as if he were one of her reading cushions and relinquished her prize, shaking out the pins and needles in her arms as he set it next to the table, then returned to his full-body lounge. His woolen-clad arms lay draped over her forearms in a loose, casual sort of way, something almost but not quite an embrace.

Aurelia considered extricating herself to get more coffee, but the combined assault of the fireplace's crackle with the cable knit of Tataru's scarlet jumper seemed to beckon her into a warm and happy torpor, and the notion of leaving it aside even for a few moments seemed far too much effort so she pillowed her cheek against his broad chest. He was all angles and lean muscle but comfortable enough regardless. "Seriously though," she said, "I mean it. Please be at least somewhat mindful of your safety in future. That was a great deal of risk just for a blueprint and some parts."

"Come now, it wasn't that much trouble." His light tenor was only barely louder than the strong thump of the heartbeat she could hear with one ear just beneath his collarbone. "I all but strolled through the gates, and Garlond sent the very appropriately named Biggs along with me. Safe as houses."

Aurelia raised a skeptical brow - she had no doubt that more must have happened than he was letting on - but said only: "You're going to have to tell me all about it after I've set this up in my workspace."

"Ah." He cleared his throat. "I had... rather hoped I could be there when you do. So I can show you what changes were made, mind."

Even as the words left his mouth she watched the tips of Nero's ears turn pink, the same shade as the flush along his nose and cheekbones - neither of which could be attributed to the warmth of the room. She found it terribly cute but wasn't about to embarrass him further by saying so. "I'd like that very much," she beamed. "But it's rather late tonight. Tomorrow, perhaps?"

"I-" A hesitation, then a half-tilted smile. "...Tomorrow it is."

She pushed at the heavy chassis beneath the table with one stocking-clad toe and leaned comfortably into his side with a yawn. The last two days had been rather eventful but the sofa cushions were plush and cozy, the room was warm and quiet and dimly lit, and she was in the company of a close friend in a house she'd chosen for herself, drinking coffee and watching the snow fall in silent sheets through the windows.

For the moment at least, she was content. It was a good state of mind.

"Had I known you'd be this pleased I'd have prevailed upon Garlond much sooner," came the low, teasing rumble from the man whose cheek was now resting upon the crown of her head. She poked him gently in the side.

"That's because you're actually a good sort when you want to be, you know. Don't worry, your secret's safe with me. I won't even tell Tataru."

"Excellent. I should hate to have your lot think that perhaps I might enjoy their company. Can you imagine how ghastly that would be?"

"Making friends? The absolute horror of it all. Though I'm afraid you'll not be able to fool Alisaie or Tataru as long as you imagine. Or Y'shtola for that matter- she's rather discerning." Aurelia paused. "Also, she is quite often more than slightly terrifying."

"I shall take that as a friendly warning."

At his quiet scoff, she allowed herself a brief chuckle before her own smile faded somewhat.

"You really didn't have to do this, you know-"

"That's three times you've attempted to apologize. Don't. You're overthinking matters, as per usual," Nero said mildly. "Accept it in the spirit which it was intended- such is the purpose of this exchange, after all, so Garlond says. I did it because I wanted to do it, and that is reason enough."

She was going to ruin the moment if she said anything else, so she didn't. Instead she reached for the other hand that lay free in his lap. He let her lace his fingers through hers without comment, and when she squeezed he squeezed back.

They said nothing else after that for a long time. They sat together in comfortable silence before the hearth fire watching the wind spit snow onto the frosty window by the huge tree, and Aurelia found herself wishing every Starlight could end so well.

[scifigeneration]

Newest solar telescope produces first images

Just released first images from the National Science Foundation's Daniel K. Inouye Solar Telescope reveal unprecedented detail of the sun's surface and preview the world-class products to come from this preeminent 4-meter solar telescope. NSF's Inouye Solar Telescope, on the summit of Haleakala, Maui, in Hawai'i, will enable a new era of solar science and a leap forward in understanding the sun and its impacts on our planet.

Activity on the sun, known as space weather, can affect systems on Earth. Magnetic eruptions on the sun can impact air travel, disrupt satellite communications and bring down power grids, causing long-lasting blackouts and disabling technologies such as GPS.

The first images from NSF's Inouye Solar Telescope show a close-up view of the sun's surface, which can provide important detail for scientists. The images show a pattern of turbulent "boiling" plasma that covers the entire sun. The cell-like structures -- each about the size of Texas -- are the signature of violent motions that transport heat from the inside of the sun to its surface. That hot solar plasma rises in the bright centers of "cells," cools, then sinks below the surface in dark lanes in a process known as convection.

"Since NSF began work on this ground-based telescope, we have eagerly awaited the first images," said France Córdova, NSF director. "We can now share these images and videos, which are the most detailed of our sun to date. NSF's Inouye Solar Telescope will be able to map the magnetic fields within the sun's corona, where solar eruptions occur that can impact life on Earth. This telescope will improve our understanding of what drives space weather and ultimately help forecasters better predict solar storms."

Expanding knowledge

The sun is our nearest star -- a gigantic nuclear reactor that burns about 5 million tons of hydrogen fuel every second. It has been doing so for about 5 billion years and will continue for the other 4.5 billion years of its lifetime. All that energy radiates into space in every direction, and the tiny fraction that hits Earth makes life possible. In the 1950s, scientists figured out that a solar wind blows from the sun to the edges of the solar system. They also concluded for the first time that we live inside the atmosphere of this star. But many of the sun's most vital processes continue to confound scientists.

"On Earth, we can predict if it is going to rain pretty much anywhere in the world very accurately, and space weather just isn't there yet," said Matt Mountain, president of the Association of Universities for Research in Astronomy, which manages the Inouye Solar Telescope. "Our predictions lag behind terrestrial weather by 50 years, if not more. What we need is to grasp the underlying physics behind space weather, and this starts at the sun, which is what the Inouye Solar Telescope will study over the next decades."

The motions of the sun's plasma constantly twist and tangle solar magnetic fields . Twisted magnetic fields can lead to solar storms that can negatively affect our technology-dependent modern lifestyles. During 2017's Hurricane Irma, the National Oceanic and Atmospheric Administration reported that a simultaneous space weather event brought down radio communications used by first responders, aviation and maritime channels for eight hours on the day the hurricane made landfall.

Finally resolving these tiny magnetic features is central to what makes the Inouye Solar Telescope unique. It can measure and characterize the sun's magnetic field in more detail than ever seen before and determine the causes of potentially harmful solar activity.

"It's all about the magnetic field," said Thomas Rimmele, director of the Inouye Solar Telescope. "To unravel the sun's biggest mysteries, we have to not only be able to clearly see these tiny structures from 93 million miles away but very precisely measure their magnetic field strength and direction near the surface and trace the field as it extends out into the million-degree corona, the outer atmosphere of the sun."

Better understanding the origins of potential disasters will enable governments and utilities to better prepare for inevitable future space weather events. It is expected that notification of potential impacts could occur earlier -- as much as 48 hours ahead of time instead of the current standard, which is about 48 minutes. This would allow more time to secure power grids and critical infrastructure and to put satellites into safe mode.

The engineering

To achieve the proposed science, this telescope required important new approaches to its construction and engineering. Built by NSF's National Solar Observatory and managed by AURA, the Inouye Solar Telescope combines a 13-foot (4-meter) mirror -- the world's largest for a solar telescope -- with unparalleled viewing conditions at the 10,000-foot Haleakala summit.

Focusing 13 kilowatts of solar power generates enormous amounts of heat -- heat that must be contained or removed. A specialized cooling system provides crucial heat protection for the telescope and its optics. More than seven miles of piping distribute coolant throughout the observatory, partially chilled by ice created on site during the night.

The dome enclosing the telescope is covered by thin cooling plates that stabilize the temperature around the telescope, helped by shutters within the dome that provide shade and air circulation. The "heat-stop" (a high-tech, liquid-cooled, doughnut-shaped metal) blocks most of the sunlight's energy from the main mirror, allowing scientists to study specific regions of the sun with unparalleled clarity.

The telescope also uses state-of-the-art adaptive optics to compensate for blurring created by Earth's atmosphere. The design of the optics ("off-axis" mirror placement) reduces bright, scattered light for better viewing and is complemented by a cutting-edge system to precisely focus the telescope and eliminate distortions created by the Earth's atmosphere. This system is the most advanced solar application to date.

"With the largest aperture of any solar telescope, its unique design, and state-of-the-art instrumentation, the Inouye Solar Telescope -- for the first time -- will be able to perform the most challenging measurements of the sun," Rimmele said. "After more than 20 years of work by a large team devoted to designing and building a premier solar research observatory, we are close to the finish line. I'm extremely excited to be positioned to observe the first sunspots of the new solar cycle just now ramping up with this incredible telescope."

New era of solar astronomy

NSF's new ground-based Inouye Solar Telescope will work with space-based solar observation tools such as NASA's Parker Solar Probe (currently in orbit around the sun) and the European Space Agency/NASA Solar Orbiter (soon to be launched). The three solar observation initiatives will expand the frontiers of solar research and improve scientists' ability to predict space weather.

"It's an exciting time to be a solar physicist," said Valentin Pillet, director of NSF's National Solar Observatory. "The Inouye Solar Telescope will provide remote sensing of the outer layers of the sun and the magnetic processes that occur in them. These processes propagate into the solar system where the Parker Solar Probe and Solar Orbiter missions will measure their consequences. Altogether, they constitute a genuinely multi-messenger undertaking to understand how stars and their planets are magnetically connected."

"These first images are just the beginning," said David Boboltz, a program director in NSF's Division of Astronomical Sciences who oversees the facility's construction and operations. "Over the next six months, the Inouye telescope's team of scientists, engineers and technicians will continue testing and commissioning the telescope to make it ready for use by the international solar scientific community. The Inouye Solar Telescope will collect more information about our sun during the first 5 years of its lifetime than all the solar data gathered since Galileo first pointed a telescope at the sun in 1612."

[orphanedshadow]

Pros and Cons of the technology used in the low-power android known as K4R4

NO ANTI-DEVIANCY PROGRAMMING Pros: No internal conflicts due to deviancy. 
Cons: Deviancy was inevitable. This technological choice was made due to her originally being designed and created when deviancy was just a rumour/theory and had not been confirmed.

ADVANCED ANTI-HACK AND ANTI-VIRUS SOFTWARE

Pros: Difficult to hack, and hacks do not last as her system will restore default. Same with viruses, though it will absorb code from external systems as both an adaptive immune system and a way to upgrade based on useful parts of any attacking code she may encounter.

Cons: The software also interferes with her ability to save from short-term to long-term memory, and runs a diagnostic weekly to ensure that the program is within proper tolerances. It is overzealous and makes updates extremely difficult, as a glitch has made its access code and encryption unstable and makes it difficult to override without all of the unit’s processors being in accord. One of the things it has done is terminated all but the most basic of facial recognition with extreme prejudice. If you want her to tell humans apart you’re gonna have a bad time.

OBSOLETE INTERFACING SYSTEM

Pros: None really 
Cons: She is essentially a fax machine. Can receive orders but not send, is cut off from networks, and  must download using cables. Interfacing with another android is a bad idea, for her coding is basically indistinguishable from an extensive virus/glitch. Can not even be truly classified as a deviant as she lacks any connection to RA9, or any coding associated with deviants. She can not spread it, not be affected by it, for her operating system is simply in a different realm than others.

SHIELDING

Pros: Capable of almost complete shielding and blending in to background radiation. Almost completely invisibility to sensors while still (in a form of stasis), and able to suddenly return to full functionality. Permits the unit to play dead and seem completely non-functional with no sign of activity until it strikes

Cons: Shielding is only compatible due to low-power requirements, a lack of heating coils, and a splitting of many biocomponents.

LOW POWER REQUIREMENTS

Pros: Can theoretically operate indefinitely on far less power than any known model, capable of using shielding to become invisible to most modern sensors by entering a sort of stasis mode.

Cons: Many systems operate on an as-needed basis, including the back-up. That is done daily, and requires the equivalent power of two potato batteries in excess to what is her standard. Unfortunately she only has one potato plugged in, so this algorithm doesn’t always run, nor does it save 100% of the information. It operates on a hierarchy system, and much information that the system deems non-essential is simply rejected.

LACK OF CENTRAL PROCESSOR

Pros: Energy is not collected in one location, permitting shielding to work properly. Can not be disabled by a head-shot, as that will only damage one of several processors
 Cons: Multiple glitches from asynchronous processing. Intended to mimic the regionalization of the human brain and the remapping to different regions after trauma the asynchronous processing instead caused the occasional conflict. Programming and reprogramming are difficult and deviancy was rather inevitable.

METAL FOAM EXOSKELETON

Pros: Extremely damage resistant, and capable of self-healing. Can destroy bullets and is resistant to even armour-piercing rounds. Android is capable of walking off being hit by a bus, with only minor repairs needed to internal systems. Also provides resistance to EMPs and radiation.

Cons: If damaged the exoskeleton is difficult to replace, requires the consumption of aluminium and graphite to synthesize enough to fully repair any damaged piece of lattice. Repair therefore costs a decent chunk of her energy, which is taken from non-essential systems, like the backup of most information. It is not analogous to any extant android technology, so replacement is not possible.

DUAL CIRCULATORY SYSTEM and REDUNDANT BACKUP

Pros: Capable of replacing pretty much all biocomponents without aid, all necessary components are placed within reach to permit repair.

Cons: Not capable of swapping out of limbs, everything must be repaired using the base scaffolding due to incompatibilities with modern android technology, and the fact that her systems are no longer supported by pretty much anything.

ADAPTIVE REPAIR PROGRAMMING

Pros: A vast repository of functional information and the ability to rewire and adapt things to replace damaged components.

Cons: Her base model was highly experimental to begin with, and is old enough that the parts are no longer fully analogous. Repair is an extremely time-consuming task, and requires a great deal of rewiring and reworking.

MECHANICAL SYNTHESIS

Pros: Capable of consumption of many items and subsequent breakdown into usable compounds

Cons: Requires search and consumption of materials for breakdown. Commonly consumed materials include graphite pencil leads, stray metal fragments, and insects.

ENZYMATIC MIMICRY:

Pros: An extension of mechanical synthesis, can produce pseudo-enzymes and catalysts for the breakdown of consumed materials.

Cons: Located in throat, without a specialized coating being applied monthly the pseudo-enzymes and catalysts break down the delicate parts of the vocal synthesis components, rendering the unit mute.

FORMATION OF PELLETS

Pros: Capable of ejecting unusable materials in the form of a pellet, much like owls. Clears internal space for more consumption.

Cons: Super gross, android coughs up pellet of unknown nonsense. One of the few ways to track the unit, if it does not properly dispose of them.

MODIFIED THERIUM COMPOSITION:

Pros: Therium contains many additives to disperse charge and heat in the event of shielding.

Cons: Requires the dual circulatory system to function properly, and the creation of something analogous to the blood-brain barrier in humans. Contaminated therium must be kept from certain components in order to prevent degradation.

SURFACE THERIUM FLOW

Pros: Small amounts of contaminated therium on the surface of the exoskeleton, important for dispersal of signal during shielding. Therium is also a highly toxic form with added poisons, intended to kill anything that bites her. Used for later extermination repurposing.

Cons: Therium may occasionally interfere with the second skin in non-vital areas. Leaves second skin vulnerable to failure, and localized deactivation is common. Is kept away from the head in most cases to maintain second skin integrity of facial features, resulting in a minute delay in complete shielding when at full power.

FREEZE STABILITY

Pros: Capable of freezing solid without damage to biocomponents by moving freezable compounds to a layer under the exoskeleton, permitting expansion.

Cons: Incapable of working while freezing, enters a state of stasis and is entirely shut down until she is warmed once more.

HEAT RESISTANCE

Pros: Capable of withstanding intense heat without damage or loss of efficiency. Is also slow to heat.

Cons: Is achieved by a second internal layer to the exoskeleton, so that the surface layer may match external temperature and shielding is efficient. The external layer quickly absorbs heat and reaches the temperature of the outside, and the internal layer keeps the system from suddenly jumping in temperature before things have a chance to compensate.

TOP LEVEL ASSASSINATION PROGRAMMING

Pros: Highly efficient murder programs 
Cons: Mostly relegated to subconscious processes due to attempted reprogramming for extermination. Also the general issue of constantly having advanced knowledge of murder and torture. Doesn’t really help make friends.

[tenaciouschildengineer]

In-Situ Resource Utilization Capabilities, Sustainability

“Advancing in Situ Resources Utilization Capabilities To Achieve a New Paradigm in Space Exploration”, defines In-Situ Resource Utilization “(ISRU) as involving any hardware or operation that harnesses and utilizes ‘in-situ’ resources to create products and services for robotic and human exploration. (page 1) “In Situ” refers to resources found at the site of the exploration which are not carried to the site by spacecraft. Some of the main advantages of  ISRU resources is reducing the cost of launches by optimizing propulsion, reducing launch/landing mass, to create new products, improve our infrastructure, and decrease crew health related mission risks. ISRU products do not require resupply missions, are more efficient, self sustainable, and extend the range for NASA’s missions to the Moon and Mars. Table 1 from the article illustrates the impact of ISRU in terms of propulsion, life support, habitat, mobility, and power.   

Why is this a big deal? Sustainability practices are the future for Earth, Mars, and the Moon. Using Regolith, we can improve our life on Earth by utilizing our resources in a variety of uses. Regolith can be used to make a radiation shield for the ROV, and allow the ROV to fix its own damages with the help of 3D printing mechanisms. 

ISRU can be used to improve existing propulsion systems. As the propulsion system relates to ISRU, ISRU can provide the ability to generate propellants using either sent materials or utilizing space resources. If we could 3D print propellants and generate pressure vessels, we can conceivably manufacture rocket propulsion devices on the Moon. The greatest challenge in 3D printing propellant is that it’s highly flammable. The use of other processes in the production of propellant would be much safer, because it is easier to avoid overheating propellant. 

The article, “System Architecture Design and Development for a Reusable Lunar Lander” exhibits the propulsion design in Gateway. In the design of Gateway, the propulsion system is reusable, using liquid propellant. A pressure-fed system and a pump-fed system uses nitrogen or helium to create movement using the pressure. It works by pushing “the propellant down to the combustion chamber, where it is ignited and exhausted. These types of systems are very reliable for small changes in velocity due to the simplicity of the design.” The design would have to be able to handle extreme amounts of pressure. Also the propellant design could greatly support in situ transportation operations, as mentioned in the Advanced ISRU article: ”Making propellants and establishing surface and potentially orbital propellant depots can also support and enable surface hoppers, reusable landers, and cis-lunar transportation systems,” thus reducing the amount of flight trips, and providing a tremendous reduction in life cycle costs. 

Life Support: Human Explorations and Operations Mission Directorate HEOMD focuses on the “Moxie” Mars Oxygen Isru Experiment, which can convert oxygen using Mars’ atmosphere. This would result in a reduction of the mass of the rocket, due to the decrease in oxygen tank requirements. Understanding how to create oxygen from Mars' atmosphere also makes us more independent in our conquest of Mars. The Resource Prospector mission (RP), uses a land rover, with ISRU capabilities. RP helps attain a further goal of spending more time on Mars/Moon to “perform a low cost mission to a near-permanently shadowed location at a lunar polar location to perform the first ‘ground-truth’ measurement of water and other volatile resources.”(page 7) The RP mission helps us better understand future explorations in the conquest of regolith. 

Habitat: Using regolith as a way to manufacture and construct elements to create radiation protection, also known as radiation shielding used in infrastructure. Using ISRU resources, radiation shielding can be created to help with maintenance and repair of other systems that need the protection. Advancing situ article points out the advantage of using this for habitat “ in case(s) of life support system or logistic delivery failure, radiation shielding not possible with Earth delivered options, feedstock production for in situ manufacturing of replacement parts, and propellant production to eliminate leakage or increased boiloff issues.”(page 3) This is a clear advancement in situ feedstock manufacturing (proving this may be difficult).

Mobility:  “Hoppers” are an important part of extending surface travel. The “Advancing in Situ” article states, “ these hoppers could be one-way, i.e. refueling the original delivery lander to hop to another location, or two-way where hoppers could be fueled to travel to a destination, perform science and take samples, and return to a centralize base location (Hub-and-Spoke surface architecture).” thus allowing more mobility, and providing a redundant base for resources and energy storage. In the event of a catastrophic failure, the operation can continue and it's not a complete loss in scientific exploration. 

Power: storage and regeneration using thermal cycling (energy) or radioisotope power systems is a better alternative to solar power. Operations cannot be dependent on solar energy. The difficulties of solar energy do not allow operations to be done in the shadow condition. In advance, relying on thermal or radioisotope power would avoid the troubles of worrying about dust storms blocking up solar arrays. Solar panels can be used for redundant power supply. Supplementing a solar array but a backup battery use would be more beneficial in more difficult climates. 

The “Ionic Liquid Facilitated Recovery of Metals and Oxygen from Regolith” article shows the importances of retaining regolith. Regolith is made up of useful material such as Oxygen, Silicon, Aluminum, Iron, Magnesium, and Calcium. Elements that are needed for ISRU utilization. The process of recycling these metals is done by using the process of  electroplating. 

For example, a metal-like substance called Nickel Chromium Alloy (can be found in iron meteorites), is used for heating elements’. This substance is temperature resistant, and can be used to create structures. Nickel Chromium Alloy can be recycled and can be electroplated, to form as a sheet and be used as a thermal protection against the sun, to avoid corrosion. Bulk electroplating is used to recycle the metal by using electrolysis. The disadvantage of this process is the energy needed to perform needs full heat capacity, meaning it can not perform as well in shadow regions. These metals are dependent on this process. Luckily, we can use Ionic liquids(organic salts) as a potential source to shape metals in room temperature. The challenges that come from collecting regolith as stated in the presentation is that “these materials are found in highly stable oxides.” To process regolith, it would require recovering the elements back into their original and pure elemental form, and  require “processing these oxides to recover high purity materials.”The disadvantages that come with this process can be highly abbassive to RP because they require lots of chemicals in use, heat, and a tremendous amount of energy to achieve final pure substances.

The article “Lunar Prospecting: Searching for Volatiles at the South Pole”,  demonstrates the challenges from the Resource Prospector (RP) mission. The RP mission includes “a rover for mobility, prospecting instruments to locate and characterize volatiles, a drill to collect regolith samples, and an in-situ resource utilization (ISRU) payload for analysis.” in the lunar polar location in order to deposit measurements of water and volatile sources. The RP main goal is to prospect, acquire or gather, then process the feasible materials found. The Impact of RP is the reduced risk of human exploration. Some of the mission strategic knowledge gaps include, lunar cold traps, detecting volatile species, inconsistent irregular patterns of water, and  “the mineralogical, elemental, molecular, isotopic makeup of the volatiles” as well as 

“ the lunar surface trafficability”(page 1). The RP poses an uncertainty in real time science. The article states “uncertainty introduced by the communications networks and the DSN make this infeasible” (page 4), making it harder to complete “real time” science.  Improving antenna signals, could do so much more with ISRU, as well as adding an antenna to the “hub of the hopper” using the shielding material of lunar regolith. 

 How does “real-time science” influence the path and the timing of the planned operation system of the lunar rover, Resource Prospector, to prospect, collect, and process in-situ resources on the Moon?

“Real time science” refers to the ability to make decisions in the moment, near time. Data has a relay. The data from a rover is communicated through orbiters which relay using X band radio waves,  then that information is passed on to the Deep Space Network (DSN) on Earth, which uses antennas to capture the messages. Raw data has to be then translated. The Lunar article shows how data in RP is relayed in space, “Previous testing has shown that a rover can be teleoperated manually with a short round trip delay of up to ten seconds, though even at that delay operators preferred waypoint driving. Delays in the tens of seconds make direct teleoperation driving unsafe, as the rover may crash before the operator sees the crater it is falling into.”, this makes it dangerous to drive using teleop mode, therefore the robot has to use both teleop and autonomous modes in order to travel safely. An advantage of RP, is that it has no sleep times or distance limitations. RP has to find feasible material, gather it, then process in situ. 

In prospecting, RP has to use pre planned navigation, using “ relatively fixed predetermined paths (rails) between the science stations, with adjustments made in near real-time for rover safety.”(page 4), because of this, rover data relays take longer to receive to the Deep Space Network. This is because distance signals take longer to travel in space, rover control takes fatal delays to react to the surrounding environment. In order to complete “real time science”, it requires tactical planning, pre programming in autonomous mode because of the time delay. Developing AI autonomous mode would reduce natural time delay. In autonomous mode, operators must preprogram to avoid collision. For decisions to be made at the moment, the rover must be able to stop when finding the material and wait for the operator to respond. As the voyages become more successful, the rover should be able to drive for itself.  Real time science is better than the alternatives because we waste less time and resources, explore more, and optimize the lifespan of our rovers, making voyages more flexible. As explained in the lunar article “the real-time scientist would have the option to call for a halt and further investigation if they see the rover is driving over a spot that is significantly higher in water concentration than previous areas.” (page 4) From there, the RP creates a known path, more success in RP’s travels will result in RP to meet a closer goal of driving with “real time.”

 Stated in Ionic Liquid Facilitated Recovery of Metals and Oxygen from Regolith, “An Ionic liquid-based process to recover metals and oxygen from regolith has been developed and demonstrated that could make resupply of chemical reagents negligible.” What is the closed-loop ionic liquid (IL) reprotonization process, and what are the benefits of this process to future space exploration?

In oxygen reduction, extreme heat is used to separate materials. In regolith, in order to keep oxygen from reacting, a constant amount of heat is necessary. The oxygen would have to be oxidized, while the metals would get reduced. The benefits of doing this process would be attaining these elements and reusing them on site. When exposed to oxygen, metals will oxidize in the state of metal oxide. The ionic liquid can be liquidized (except for sand) using oxidation reduction, allowing it to retain back to high pure metal by itself. Closed loop refers to recycling the purity of the substance, so that way you can constantly reuse the chemicals. 

Closed-loop ionic liquid (IL) reprotonization is useful for mining and refining tasks in space where either satellites or installations can use a compact system to harvest and refine precious materials. Reducing waste material to optimize space and weight within small satellites and installations, they make the process of  gathering valuable material like platinum, for either furthering the lifespan of an installation or bringing valuable materials back to Earth.

Regolith mentioned in the article, includes sources for solar energy, cement applications for infracture, and life support. Metals are critical for building trusses to support livable structures, resupplying deep space expeditions for maintenance/repair, and oxygen is incredibly useful for sustaining human life far from Earth. Common metal refining processes use heat or fire which is incredibly dangerous in closed ships and pose an expensive refining cost for ship crew. The benefits of this process to help future space exploration, by potentially supplying a limitless and autonomous method of preparing raw material for 3D printers in space. The initial investment of rover engineering durable parts and shipping supplies from Earth can be extremely expensive so having the capacity to manufacture parts outside of Earth can be incredibly lucrative. We can completely recycle the metal-like materials. An important step toward von neumann probes, is self replicating probes. Manufacturing spare parts out of metals found from regolith can extend life span rovers and missions. An alternative to using ISRU resources is sending elements that can be recycled and harder to find in space, elements like Nickel Chromium Alloy, which can be completely recycled. A one time send is required if it's reusable.  In order to make waste material viable again, we can build refinery facilities using RP and situ manufacturing to gather and build recycling systems respectively. Rovers are ideal for resource gathering being deployed in large numbers and with simple autonomous control, they can scour the expanse of space or aboard the same ship for resources. Then these rovers can deliver these materials to CNC machines either to 3D print, mill, assemble, and so forth. These raw materials can be reused back into viable material for use once again.  Waste material can be used to also generate fertilizer, refine vitamin supplements for bone mass supplement. Rovers are ideal in terraforming oxygen, making robots handle the preparation of ready in use oxygen on Mars or the Moon, a tremendous contribution for life support in space. This is also the basic principle behind von neuman probes or self replicating probes which are economical in reducing waste material. ISRU is a step forward toward sustainability goals, benefiting resource utilization here on Earth.

Sources:

  NCAS Subject Matter Lecture Susan Martinez, Additive Manufacturing Engineer NASA's Marshall Space Flight Center Huntsville, AL (2020).

Advancing in situ resource utilization capabilities to achieve a new paradigm in space exploration.Sanders (2018).

 Lunar Prospecting: Searching for Volatiles at the South Pole Trimble & Carvalho (2016).

 Ionic liquid facilitated recovery of metals and oxygen from regolith. Karr, Curreri, Thornton, Depew, Vankeuren, Regelman, Fox, Marone, Donovan & Paley (2018).

System Architecture Design and Development for a Reusable Lunar Lander.Batten, Bergin, Crigger, & McGlothin (2019).

[praefah]

PARA-SITE

04/12/19

The biological parasite is physically opportunistic and feeds off its host organism.

The social parasite entertains its host to earn welcome at the dinner table.

The technological parasite creates interference in an information network.

(Der Parasit, Michel Serres)

‘The parasitical organism results distinct from the host both in terms of form and space but is bound to it by a state of necessity (site, services, meaning, etc). The term parasite, not just a word but a “semantic area”, “fluid whole” according to Serres, enters into the architectural dictionary and demands urgent reflection on the urban model and its sense of design: no longer the unconditioned increment of space but its optimisation, via a projection for an imminent future. Parasite architecture is the reflection of a rethinking of the value of territories and the necessity that the city grows on itself and no longer beyond.’ (Architettura Parassita, Sara Marini)

PARA-SITE (Diller Scofidio, MOMA New York, 1989)

An installation based on Michel Serres’ three parasites

Biological: steals its structural and electrical sustenance from its host site

Social: offers the entertainment value of voyeurism to a public unwittingly drawn into an interrogation of vision

Technological: interrupts the systems of the museum to interrogate it

Convertible City (Grüntuch Ernst Architects, German Pavilion at the Venice Biennale, 2006)

Explores the question of the socio-political relevance of architecture and focussed on a dimension of architecture and city that extends far beyond its built structure

Perspectives for working with existing building stock and its adaptation in a changing social and cultural landscape

The pavilion itself underwent a transformation during the course of the Biennale, which in a literal and figurative sense enabled a different kind of access to the historically coded building

90 Degrees Architecture, City Walls Parasites (Gianluca Milesi, Milan, 2012)

Buildable lands at 90 degrees

Working on the ‘uncompleted and never solved’

Architectures as parasites: additive parts on existing buildings that improve their quality

Energy Roof Perugia (COOP HIMMELB(L)AU, Perugia, 2009)

Assigns an entrance to the archaeological underground passage leading through the history of Perugia

The orientation of the west wing is optimised in relation to solar radiation while the east wing captures wind

3 layers: energy generating top layer, structural middle layer and a bottom layer consisting of laminated glazing and translucent pneumatic cushions

Top layer (solar energy): transparent photovoltaic cells generate electricity and provide shading; the orientation of the individual cells is generated and optimised by a computer driven scripting program

Structural layer (wind energy): five turbines 

The building is self-sufficient

Invisible Borders (MAD, Milan Design Week, 2016)

A canopy made from ribbons of ETFE in gradient colours, which has a lightness and flexibility that allows it to rustle in the wind and generate a subtle whistling sound

Reflects the hues of the sky during the day, leaving glimpses of the columns and loggias; becomes a luminous surface that brings the courtyard to life in the evening

The Las Palmas P.A.R.A.S.I.T.E. Green Exhibition House (Korteknie + Stuhlmacher, Rotterdam, 2001)

Prototypes for Advanced Ready-made Amphibious Small-scale Individual Temporary Ecological Dwellings

Services like water supply, sewage and electrics were connected to existing installations; the structure was supported by the concrete walls of the elevator shaft

Pre-fabricated and assembled on-site

Building Proposal: Methodist Central Hall, Westminster

Optimise terrace spaces by creating ‘habitable pockets’ suitable for all weather situations to provide visual and historical vantage points across present-day Thorney Island (The Tulip, London)

Reveal the data collected by existing measuring systems (e.g. CO2, energy consumption) to visitors to affect change on a local scale (as opposed to the extralocal schemes that are already in place, e.g. Twin Toilets, the Woodland Trust)

Harness and reuse the heat energy escaping from the single-glazed windows

Reveal the hidden roof structure of the existing building to the public (a little-known fact: it is the second-largest free-standing concrete dome in the world)

Introduce natural light to certain more obscure rooms in the building

[rocketwerks]

Henry Mansfield Cannon Memorial Chapel

36 Westhampton Way

Built, 1929

Architect, Charles M. Robinson

VDHR 127-0364-009

December 2019

A masterpiece of Late Gothic Revival nestled away on the UR campus.

December 2019 — front/north façade

Rising from a concrete foundation veneered with concrete incised to look like cut stones, the walls are constructed of steel frame clad with red brick laid in Flemish bond. The entries have original doors of paneled wood with iron detailing. A large rose window highlights the primary façade and Gothic pointed-arch and lancet windows are found on the remaining walls. The window openings on the east and west elevations have stained glass replacement windows with concrete tracery. The front-gabled roof is sheathed with variegated slate tiles.

December 2019 — detail of pinnacles

A rectangular apse at the back of the chapel also has a slate-covered gabled roof. The eaves of the roof are trimmed by brown metal gutters that drain to brown metal downspouts. Rooftop elements are restricted to parapets that mask portions of the roof on the front and back walls of the building. A rich deployment of original stone and molded and cast concrete decorative elements is a character-defining feature of the building. Pinnacles at the east and west ends of the primary façade, window and door surrounds, drip molds, belt courses, and accents on brick buttresses all were constructed using molded concrete.

December 2019 — showing quoins & quatrefoils

Concrete quoins of varying sizes are located at the edges of walls and around some windows and doors. Other concrete features include decorative reliefs and sculptural elements in foliate and other patterns above doors and windows and at the corners of walls on all sides of the building. Other concrete features include decorative reliefs and sculptural elements in foliate and other patterns above doors and windows and at the corners of walls on all sides of the building; these typically mimic quatrefoil or other designs found in Gothic tracery.

December 2019 — trumpet-playing angel relief

Quatrefoil ornaments flank the pointed arch. Above the pointed arch, a stone carving that reads “Cannon Memorial” in stylized Gothic lettering spans the entry bay, and is flanked by trumpet-playing angel reliefs. This name block is topped with a gabled parapet that has three foil arch reliefs. To either side of the entry, recessed bays include small windows with stained glass panels and concrete drip molds and quoin surrounds.

December 2019 — rose window detail

On the main block, the primary façade features symmetrical composition, with a centered entry block on the first story, a rose window above the entry, double foil arch and opening in the gable, and a cross on top of the gable. Set within a slightly projecting bay, the rose window has twelve foil arch traceries radiating from the central circle. The stained glass was installed in the rose window during the mid-1980s.

December 2019 — entry bay detail

On the west wall, an entry bay projects from the fourth bay, beneath the stained glass window. Accessed via a brick wheelchair ramp, the entry is similar in style and ornamentation to the primary entry on the north façade. Double-leaf, original wood doors are surmounted by a molded concrete surround and pointed arch with a large cinquefoil design. Above the pointed arch, a gabled concrete parapet bears a centered blank shield flanked by leaf ornamentation. At each corner is a relief of a kneeling angel.

December 2019 — rear/south façade

The rear wall of the chapel has battered brick buttresses at each corner, each with concrete accents. A sloped, slightly projecting bay topped with concrete incised to look like stone is between the buttresses. A concrete water table extends the length of the wall. Immediately below the water table, at the ground level are two vents and one small window, each with a simple concrete surround. The window appears to be original to the building, while the vents likely were added at a later date to accommodate mechanical systems.

December 2019 — memorial garden

A memorial garden is on the east side of Cannon Chapel. A brick and stone wall encloses the garden, with iron gates placed on the north and south walls. On the west wall, a wood gate leads to the neighboring Wilton Center. The landscaped area features brick and stone walkways, benches, ornamental plantings, and a central fountain. Low wing walls extend from the base of each buttress on the chapel’s east wall. Each wing wall is composed of brick and stone block and is topped with a concrete planter. The memorial garden is intended for the scattering of ashes.

December 2019 — nave

Cannon Memorial Chapel is a nave plan with a center aisle, small side aisles, and an alter area. The narthex and small rooms to either side are contained within the entry block on the north façade. The narthex features original paneled woodwork, historic-period tile flooring, and a plaster ceiling featuring a raised geometric pattern. Double leaf, paneled wood doors lead to the nave. Within the nave and to either side of the narthex doors are single-leaf wood doors. The east door opens to a prayer room, while the west door leads to the chapel guild room.

December 2019 — nave

The interior of the chapel features a soaring, vaulted timber ceiling supported by arch braces. Wood pews flank the aisles. Carpet covers the aisles while the remaining flooring is wood. The space is lit by stained glass windows on all sides. A cast concrete molding runs around the entire interior space just below the bottom edges of the pointed arch windows. The area below the molding has been painted to look like blocks of stone in varying shades of tan. Raised wood panels with molded surrounds are beneath each window and include a name plate with a dedication for each window. Above the molding are white plastered walls.

December 2019 — detail of stained glass windows, east side — “Law and Justice” (left), “Commerce and Industry (right)

The theme for the windows is “Let All the Universe Praise Thee, O God.” From north to south, the stained glass windows on the east wall are titled “Praise” (installed 1985), “Law and Justice” (1986), “Commerce and Industry” (1986), “Creation” (1987), “Prophets” (1986), “Incarnation” (1986), and “Redemption” (1986). From north to south on the west wall, the windows are titled “Prayer” (1985), “The Sciences” (1985), “Art and Humanities” (1987), “University Window” (1986), “Hope and Renewal” (1985), “Pentecost” (1986), and “Resurrection” (1985).

(Stetson University) — Rudolf von Beckerath, of Beckerath organs, plays the 'house organ' at the home of Music School professors Paul and Janice Jenkins on North Sans Souci in DeLand, Florida — 1961

In 1936, a Hammond electric organ was installed in the chapel. In 1961, the present pipe organ was constructed. The German organ builder, Rudolph von Beckerath, prepared the drawings, and the University's music director, Dr. John White, and the University organist, Professor Suzanne Kidd (later, Bunting) guided negotiations. The organ pieces were fabricated in Hamburg, Germany, then shipped to Richmond in 36 crates. Three German workmen from Hamburg installed the instrument in nine weeks under White’s and Bunting’s supervision. Von Beckerath supervised the final installation and voiced the pipes. 

December 2019 — pipe organ

The third Beckerath organ in the United States, it has 1,200 pipes (40 ranks) of tin, lead and wood, the largest measuring 16 feet, the shortest being smaller and thinner than a soda straw. A direct connection between each key and each pipe creates the sound. Robert Noehren played the dedicatory organ concert on Feb. 9, 1962. Within a short time the von Beckerath organ became known to organists in Europe and America as one of the finest installations in the country. The organ is included in “A Collection of Noted Organs and Organists of the World,” by H.J. Winterton.

(Rocket Werks RVA Postcards) — University of Richmond campus, circa 1915

The original conceptual plans for the University of Richmond campus were conceived by Ralph Adams Cram, a Richmond architect and principal of the firm Cram, Goodhue and Ferguson. Cram had extensive experience designing institutional campuses, and believed that the Collegiate Gothic style was most appropriate for college campuses.

The University’s new chapel would be dedicated to Henry Mansfield Cannon, like T. C. Williams, a Richmond tobacco entrepreneur with a soft spot for UR. The architect selected to design it was Richmond’s own Charles M. Robinson, who would have considerable success with the design of public school campuses in Virginia over the course of his career.

(Mary Washington University) — Charles M. Robinson — 1867-1932

For James Madison University in 1908, Robinson developed a comprehensive plan for the campus with a Beaux Arts scheme. He also developed plans for Radford University and Virginia State College in 1913, and also designed eleven buildings for the latter. He would go on to serve as William and Mary’s College Architect from 1921-31, where he would design over 60 buildings in support of his Georgian Revival master plan.

Robinson’s work on Cannon Chapel followed the Collegiate Gothic architectural precedents set by Cram, but it also displayed his own interpretation of the style, with more elaborately embellished and decorative Gothic features than the Cram buildings. (VDHR)

(Conproco) — 2013 repairs 

Old buildings need renewal and the chapel has twice received makeovers, in 1976 and 2013. 

(In 1976) the acoustics were improved by removing felt covering from the perimeter walls and placing carpet over the tile flooring. The roof, windows, front stairs, and walk received repairs. New lighting, heating, ventilation, and public address systems were installed. The renovation budget was not sufficient to install central air conditioning, but a forced air circulation system was installed. Several pews were removed from the front rows of the chapel, allowing the chancel to be reshaped by building the aforementioned wood platform in their place. At the same time, the choir loft was restructured to have a capacity of 80 people. (VDHR)

The 2013 work was more extensive where parapet stones and pinnacles were  removed and repaired, thru-wall flashing and copper caps were installed, and corroded rebar and masonry cracks were addressed. (Conproco)

(VDHR) — 2012 nomination photo 

But that’s good. You give 84 year-old buildings all the TLC they need so that they’ll be around for another 84 years. Cannon Chapel continues to serve a vital mission for the university. Yes, it’s a unique alternate venue for meetings, concerts, and special events. It’s also a place of worship and where ceremonies of faith, like weddings or interments, can be observed. It speaks well to UR’s Baptist roots.

It’s also Mac-Daddy beautiful, so what’s your excuse? Check it out.

(Henry Mansfield Cannon Memorial Chapel is part of the Atlas RVA! Project)

[hookaroo]

Vocivore, Ltd. (29 of 40?)

Also on FFN and AO3 (ListerofTardis)

Tagging @ouatwinterwhump, @killian-whump, @sancocnutclub, @killianjonesownsmyheart1, and @courtorderedcake <3

***THE MOST WONDERFUL COVER ART BY @cocohook38 HERE!!!!!******

***Chapter 12 animation and art that will absolutely astound you!!!**********

***LETHAL Chapter 19 art in all of its BLOODSTAINED GLORY!!!!************

**POOR STABBED KILLIAN falling into the sheriff station! Ch. 7 & 23 art!!**

****KILLIAN AND HIS MASTER IN THE GORGEOUS CATHEDRAL!!!!!!!!!!!!    CHAPTER 1 ART THAT KILLS ME EVERY TIME I SEE IT!!!!!!!!!!!!!!!*********

*****AMAZING AND ALSO HEARTBREAKING COVER ART!!!!! MY POOR BOY, HELPLESS AND SCREAMING WHILE HE SLOWLY LOSES HIS GRIP ON REALITY… D: COCOHOOK38 IS TRYING TO KILL US ALL!!!!*************

***AAAAHHHH!!! THANK YOU MY WONDERFUL COCONUT FRIEND!!!!!!***

AN: Sorry for the longer wait this time! I've had an increase in work hours, which might necessitate slower updates from now on.

I decided to skip the "Killian meets Z" chapter because it's mostly just a repeat of everything we know already. I may post it later as a deleted scene, but for now, we're moving forward with the story!

Present (Friday, continued)...

"Crap."

Emma shot to her feet, the chair screeching back from the table as if sharing in her distress. Startled, Jones rose as well, though much more stiffly.

"Emma? What's wrong?"

"It's now; he's… come on."

She raced up the stairs with Jones following as best he could. Past bedrooms, a guest bathroom, and to a padlocked door at the end of the hallway. Emma fumbled with a set of keys, explaining,

"I think Killian is heading for wherever the monster controls the security cameras from. He's going to enact the plan today."

She opened the padlock and yanked the door open. Inside was a table laden with multiple laptops and two desktop computers, all of which seemed to be connected together via masses of coiled cables. As Emma frenzied among the mess, Jones asked,

"What's all this?"

"Borrowed some equipment. From friends… and possibly from Evidence at the station." She seemed relieved when Jones didn't comment. "I hacked into all the security cameras around town, or those connected to the internet, at least. I figured that's what the Master does, and it would probably be more effective to change the feed than to, like, hold a screen in front of the camera or something."

"Hold… a screen…?" The detective's confusion was clear, but Emma was too focused to explain. Deciding to trust in her expertise, most likely gained online during one of her many sleepless night recently, Jones watched for a moment as she continued booting up each computer. Then, impressed and a tiny bit disbelieving, he asked,

"What can I do to help?"

3 weeks, 4 days ago…

His third day a slave, Killian thought he was getting off easy. That is, as far as 'no additional injuries on top of those earned during his first 48 hours' easy. Maybe the two beatings the day before--one for neglecting to attach the provided chain to his collar overnight and the second as part of a 'Session' with the Master--had bought him a day's respite. It was nearing evening, and no one had appeared in the stall entrance to disturb his attempts at rest. A blessing, to be sure; every single inch of him hurt in some way or another, and Killian was not certain he would survive further violence.

As soon as that grim thought crossed his mind, a slave escort appeared. The withered man had no buckets in hand, which could only mean one thing. Killian stifled anxious qualms and began his mantra. Hope kidnapped, Hope tortured, Hope dead. That Killian was desperate. That Killian could obey the summons, could face more torture for the sake of a chance at gleaning any information on his little girl.

That Killian struggled to his feet, joints creaking audibly, dozens of knotted threads pulling tight within his flesh. The slave was impassive as he unlocked Killian's chain and then exited the stall, obviously expecting the pirate to follow. Killian pictured Hope's blood as he forced aching limbs into a mechanical, unsteady gait. Each step awakened a new anguish, in a different place each time. Despite his best efforts, dread soon had his pulse racing beneath swollen, bruised, and torn skin, doubling the throb, intensifying the quaking. What would it be this time? How long before he would scream?

He somehow made it to the church. And there the reluctance became almost a physical barrier blocking his entrance, and he only overcame it with sheer courage, virtually throwing himself inside.

Killian had not anticipated seeing Z standing within, beside the Master, near the altar. His foreboding quadrupled, and it was almost enough to send him lurching back the way he'd come in search of two more minutes of safety. Her presence could in no way signify anything good.

The charade. Cling to the charade.

"Master, please…" He cleared his throat, staggered closer, swimming through pools of red-shifted stained glass patterns on the floor. "My daughter… we had a deal."

Wearing an indulgent smile, the Master curled a tentacle, waving Killian onward. "Good evening, Tripod."

COME TO YOUR MASTER.

Killian stumbled on an uneven paving stone. "At least tell me if she's okay."

"Let's see how well you please me tonight."

Killian stopped at the foot of the stairs, out of the Master's reach. He cast a glance at Z, who was standing still, eyes fixed on the tilted surface of the broken altar. Killian caught a glimpse of metal, a flash of candlelight off of something sharp. He shuddered in apprehension.

"H… how can I be of service, Master?"

"Come join us." The Master indicated a spot on the floor at the altar's edge, between itself and the taciturn Z. Killian drew a calming, painful breath and then hauled himself up, one step at a time, wincing as the exertion aggravated barely contained injuries. He couldn't help cringing away from the Master's welcoming tentacle, which found him anyway, wrapping itself around his left forearm. The creature's clawed hand patted Killian's shoulder.

"I feel your fear, Tripod, and savor it. I will be honest with you: it is justified. I anticipate an unprecedented opportunity for you to serve me tonight."

Jaw tense, Killian avoided looking at Z's collection of implements on the altar. The Master noticed, and it chuckled.

"I have invited Z to dinner. I hope you don't mind."

"Whatever pleases my Master," Killian managed, his voice barely above a whisper. The Master ruffled its claws through his hair.

"Good little Tripod."

Tenderly, it guided him closer to the altar, until he stood leaning against it. The slanted surface came up to his breastbone, radiating cold from metallic decorations. The top was polished wood, and he could make out the dents and dings of age, as well as crusted dribbles of candle wax. His thighs pressed against a protruding design of intricate copper, sending a shiver up his spine. The restraining tentacle lifted his arm; he tried not to resist despite the sudden stab of panic.

"Yes," hissed the Master in his ear. "That's it."

It stretched Killian's arm forward and then allowed it to rest on the tabletop, making a slight adjustment to the angle so that, if Killian had still possessed a hand, his pinkie would have been contacting the surface, with the thumb above. He felt the crab-like pincer take position behind his elbow, adding to the restraint already provided by the tentacle. The Master clattered forward and pressed its thorax against his back. Its wrinkle-free waistcoat itched as it pinned him in place.

Killian could not even make a fist in reaction to his tension; the fresh brand still boiled with any movement of his thumb. His fingers twitched anyway as the Master's second tentacle snaked around that arm as well.

"Z and I have devised a gift for you," purred the Master. "To accommodate your deformity. It will require some precision, though… so do try and hold still, for your own good."

Wheezing rapid breaths, feeling the heat of adrenaline in his limbs, Killian could only watch as Z shuffled closer and balanced her tools within reach. She stood off to his right, at the narrow end of the altar.

"Z, let him see the device."

The silent woman held up a metal shape, something like a half-circle made of slender rods about the thickness of a ballpoint pen, maybe slightly more. There were, in fact, two separate pieces: a straight one, which tapered down to a wicked point, and then a long curve, of which one end was joined to the thicker end of the straight piece. The attachment point was two interlocking rings, so that the curve could twist and rotate all the way around the central line. The other, tapered end had a small hole drilled through it, and Killian surmised that there was some way to attach the currently free-floating curve's edge as well to make a continuous frame of metal. What he could not--or, perhaps, dared not--fathom was its purpose.

No spray bottle of disinfectant here. This time, it was straight iodine, poured from a beaker directly onto his outstretched wrist. The brown liquid streamed down the tilted tabletop like bloodstains, hearkening back to the altar's original purpose. Z drenched a cloth in the iodine and began to scrub roughly at the apex of Killian's captive wrist, then its base. And some instinctive part of him grasped the intent, even if his reasoning was slow to catch on. He lurched backward into the solid presence behind, an incomprehensible, pleading whine sounding from his throat. The Master tightened its grip, though it was in no danger of losing it.

Z continued her abrasive disinfection even as Killian struggled. Both sides of his scarred wrist now sported a bright and ominous yellow.

"Relax now, Tripod. You're being given a tremendous opportunity to serve me with your screams. You should not fight it."

He couldn't do this. Whatever had possessed him to think this scheme was in any way achievable? He took it all back. He had to escape, to save his own skin like the cowardly pirate he'd always been… He… he had to…

"Please… no…"

It was already too late. There was no escape. He was trapped in place, his Master's bulk crushing him against the table, both arms in a vise grip while tears of dread stained his face. The best he could hope for now was a quick death, because he certainly would not survive further mutilation of his… oh, gods, was that a hammer?

Another terrible thought struck as Z lay his arm back into position. Something that had inexplicably escaped his awareness during these past two days of torture: Emma was listening. She would hear the whole thing.

"I'm sorry… Swan…" The last word was cut off by an involuntary sob. The spike's tip pressed against his flesh, sharp and cold. Killian could only breathe in short, frantic little gasps, still thrashing in his Master's grip, but tiring rapidly. The hammer hovered, went through the motions without actually touching its target. A practice swing. Killian was trembling so badly that the precariously balanced set of tools rattled on the altar's surface.

Then it crashed down for real. Driving metal through skin and muscle into bone. Killian's first startled yelp was more of shock than true pain, as it took a second for his brain to catch up. Into the erupting fireball, the hammer fell again.

It was the Dark One, taking his hand with his own blade.

It was the clumsy efforts of Smee and the crew, trying to stop the bleeding and save his wretched life.

It was the dying stump, ballooned and pulsing with infection.

It was the first time he'd donned the hook over the raw flesh, the first time he'd bumped it against some obstruction, the first time he'd fallen on it.

The first time he'd killed with it.

Already, he had screamed himself hoarse, the Master moaning in ecstasy behind him, but the blows continued like lightning bolts, illuminating phantoms so bright that surely he must have a hand there after all.

Off target, the hammer slipped and smashed into blueberry flesh, and the stake jolted sideways with a crunch, and Killian felt himself falling until he was caught by the collar and splashed with water while the hammer lay dormant, and he couldn't even make sense of words he knew he should recognize because his only focus could be the searing cold metal driven halfway through his wrist.

The hammer resumed its grisly task while Killian's cries grew feebler. He drifted in a haze of anguish, half-fainting, shocks of pain sizzling up his arm. His dead weight sagged against the exultant Master behind him as the whole church seemed to spin on an axis.

Killian didn't feel a difference when the spike broke through the skin on the pinkie side of his wrist. The only clue was a minor change in sound: the metal had entered the wood of the altar. One more blow, one more wooden thunk, and Z lay the hammer aside.

And then she yanked upward on his tormented arm, and Killian gave voice to one more noiseless cry as the impaling device shifted inside him before squeaking free of the altar.

His eyes were closed and nothing could make him open them to see the ghastly damage. Even when Z began manipulating the attached ring, pulling brutally and drawing more tears of pain, he kept them squeezed shut. His hand, too, remained balled into an unyielding fist despite negligible protests from his branded palm.

This was it. This was his life now. He would never again feel happiness. Contentment. A moment free of pain. Forevermore, his existence would consist of blazing agony.

There was an audible snap as the free corner of the ring found its bloodstained attachment point. The straight post shifted again, Killian whimpered once and dove headfirst into black oblivion.

This time, the Master let him fall.

[phinnsyreads]

Item #: SCP-003

Object Class: Euclid

Special Containment Procedures: SCP-003 is to be maintained at a constant temperature of no less than 35°C and ideally kept above 100°C. No living multicellular organisms of Category IV or higher complexity may be allowed to come into contact with SCP-003.

In event of total power failure, if SCP-003-1 begins to increase its mass, assigned personnel must engage in skin contact with SCP-003-1. Ideally, personnel may use their body heat to return SCP-003-1 to above the critical temperature; however, skin contact must be maintained even in event of SCP-003 reaching activation temperature, lasting at minimum until SCP-003-1 advances fully to its second growth stage.

Personnel who enter SCP-003's containment area must first be examined for body parasites of Category IV or higher complexity, and sterilized if such organisms are present. All personnel who have come in physical contact with SCP-003-1 are to immediately report for sterilization afterwards.

SCP-003-1 must not be removed from SCP-003-2 except in case of emergency procedures detailed above. Any significant change in SCP-003-2's rune activity (including pattern, frequency, or color) should be reported within three (3) hours of occurrence. Cessation of rune activity must be reported immediately. SCP-003-2 must be supplied with power via the source designated Generator 003-IX at all times.

Description: SCP-003 consists of two related components of separate origin, referred to as SCP-003-1 and SCP-003-2.

SCP-003-1 appears to be composed of chitin, hair, and nails of unknown biology, arranged in a configuration similar to that of a computer motherboard. Testing reveals SCP-003-1 to predate earliest known circuit boards by a factor of thousands of years. SCP-003-1 is considered sentient but not actively dangerous except under certain conditions.

SCP-003-1 was found on a stone tablet, SCP-003-2, on which it currently resides. The runes on SCP-003-2 are not part of any known language, and emit pale, flickering light patterns.

SCP-003-2 is controlled by a (non-biological) internal computer, the contents of which are mostly inaccessible without risk of damaging SCP-003-2. SCP-003-2 is capable of controlled emissions of radiation, including heat, light, and anomalous radiation types. SCP-003-2 contains an internal power source of an anomalous nature, which appears to have been losing power since several centuries before discovery.

It is considered probable that SCP-003-2 was created for the purpose of containing SCP-003-1. Partially interpreted data recovered from SCP-003-2 may refer to a past and/or potential future LK-class restructuring event caused by SCP-003-1.

SCP-003 was located by remote viewing team SRV-04 Beta. It appears possible that SRV-04 Beta was deliberately contacted by SCP-003-2. Other organizations have also been alerted to SCP-003's existence, possibly by similar means. Despite this activity, SCP-003-2 does not appear to be sentient, based on its lack of reaction to M03-Gloria analysis and procedures.

When SCP-003 drops below the temperature of 35°C, both components react.

First, SCP-003-1 enters a growth state characterized by an exponential increase in mass. This growth state consists of two stages. In both stages, SCP-003-1 partially fuels its growth by converting matter around it, starting with any surrounding inorganic material, including atmospheric elements, then nonliving organic material, including cells of dead skin, hair, chitin, enamel, keratin, and other biological materials.

The first stage is always the same. SCP-003-1 will first increase its mass, then take a form similar in shape to an ophiuroid (brittle star) of fifteen meters in diameter (including what appears to be a central processor of three meters in diameter). It will form sensory organs that appear to scan its surrounding environment, and will partially convert the area around it to an unidentified anomalous substance (SCP-003-2 seems immune from conversion).

The second stage describes a growth alteration which occurs when SCP-003 comes into contact with living organic material; SCP-003 appears to "template" itself off of the organic material, and will attempt communication with organisms that match its initial "template" or "templates".

In its second stage, SCP-003-1 may pause, slow or change its growth, and will also convert inorganic and nonliving organic elements into functionally similar structures while anomalously altering their physical makeup.

While growth is consistent in the first stage, in the second stage SCP-003-1's growth rate is diminished by 20-90% so long as SCP-003-1 remains in contact with living organic material. The percentage is determined by the complexity of the organism(s) in contact with SCP-003-1; SCP-003-1 appears to devote a large amount of processing power to analysis of living organic material.

During each of SCP-003-1's growth stages, SCP-003-2 releases bursts of radiation that temporarily inhibit SCP-003-1's growth, or reverse this growth when the temperature of SCP-003-1 rises above 100°C. Similar radiation emissions have been replicated or recorded via other anomalous means.

SCP-003-1's biology has been the subject of extensive study. Significant elements have been identified similar to SCP-███, SCP-1512, and SCP-2756, the latter two of which have no further confirmed connection with SCP-003-1 and no known connection with each other, and none of which are fully understood (technically, even less understood than SCP-003, thanks to the extensive cross-disciplinary research on the SCP-003 objects). To date, no convincing analysis has been put forward which satisfactorily explains SCP-003-1's connection to these SCP objects or others, nor its connection to modern technology beyond appearance (and potential mimicry via unknown mechanism).

Addendum 003-01: Acting on information gathered from linguistic analysis of SCP-003-2's runes and comparative data analysis, Research Team M03-Gloria has managed to establish a link between SCP-003 and [DATA EXPUNGED] for analysis of functions. SCP-003-1 must now be considered sentient, and is to be kept a minimum of 1 km from [DATA EXPUNGED] and the resulting "by-product" at all times.

Addendum 003-02: SCP-003-2's power loss has been exacerbated by the procedures performed by M03-Gloria. On orders of O5-10, M03-Gloria will continue procedures.

Addendum 003-03: During M03-Gloria procedures, SCP-003-1 doubled its mass and began rapid structural growth. Temperature was immediately returned to 100°C. Growth and mass increase of SCP-003-1 continued for 9 minutes and 6 seconds, at which time a sustained radiation spike was produced by SCP-003-2. In response, SCP-003-1 returned to its normal state in 3 minutes and 39 seconds. New growth dissolved into a dusty residue which was collected for analysis. Both SCP-003-1 and SCP-003-2 ceased all detectable activity. SCP-003-2 did not resume activity until connected to external power source. SCP-003-2's runes glowed uniformly gray and did not resume normal activity for three (3) hours. SCP-003-2 no longer appears to be able to maintain containment area at a temperature above 35°C without external power supplied by Generators 003-III through IX.

Addendum 003-04: The procedure detailed in Addendum 003-03 was repeated, and SCP-003-1 again entered a growth state. After 10 minutes and 13 seconds, SCP-003-2 once again produced a sustained radiation spike. SCP-003-1's growth stopped for 36 seconds, then resumed at its previous pace.

On quadrupling its mass, SCP-003-1 formed a coherent outer shell and body. After appearing to scan its environment and partially converting its environment, SCP-003-1 then breached containment, entering the observation gallery where nine members of M03-Gloria were present. On physical contact with team members, SCP-003-1 encompassed them in rapidly-grown appendages and stopped growth for 15 minutes. SCP-003-1 then resumed growth, and rearranged the component parts of the center of its form to the shape of a three-meter-tall female humanoid, with peripheral "tentacles" shifting to extrude primarily from SCP-003-1's newly formed "hair" and spine. SCP-003-1 then produced rudimentary vocalizations in an apparent initial attempt to communicate with researchers. [DATA EXPUNGED]

An unknown individual approached the compromised containment area in company of a full squad of agents. The individual claimed to be acting on orders of O5-10 and attempted communication with SCP-003-1. [DATA EXPUNGED]

Following this incident, Agent Jackson of M03-Gloria successfully restored power to SCP-003-2 and activated backup generators to return the temperature to 100°C. SCP-003-1 returned to its normal state in 21 minutes and 7 seconds, and was successfully re-contained without incident.

All nine members of M03-Gloria affected by SCP-003-1 were afterwards found to be physically unharmed, with no residual effects besides psychological trauma. The converted materials of SCP-003's former containment area did not dissolve and are now under analysis.

Addendum 003-05: In light of the previous incident, O5-10 was removed from the O5 Council by joint decision of O5-██, O5-██, and O5-██. M03-Gloria procedures have been indefinitely suspended.

=SPECIAL ACCESS PROGRAM M03-GLORIA REQUIRED=

- ACCESS GRANTED. DISPLAY FILES -

Transcript of Incident Report A21-B Cycle 8. For dissemination to O5 Command and Staff.

Interviewers: ██████████, █████, and ███████████ Present: O5-2, O5-5, O5-7, O5-10, and Staff Interviewed: Dr. Tilda David Moose, M03-Gloria Lead

Excerpt 35A

DR. MOOSE: “She tried to talk to us. We all heard her voice in our heads, in a sort of half-language we couldn't fully understand. Some of the others passed out immediately. I lasted a little longer, but it wasn't because of mental fortitude. It's just that she was trying to tell us different things.

“She showed Jones a replay of all the memories of everything Jones ever felt anything about. All over the course of a few minutes. She ripped three of the researchers apart and put them back together unharmed. She doesn't understand human emotion, or pain. Or very much about how we experience the world.”

█████:  “Would you say the containment procedures are necessary?”

DR. MOOSE: “Yes. Listen, she wants to remake the world. Into a paradise. A paradise filtered through her own alien understanding of paradise, but still, a paradise designed for us. For humanity. She would be happy to make a paradise for any sufficiently complex organism she comes across first. Anything with a complex enough mind to accept her. Say, a dog. Or a housefly.

“If she breaches again, we have to be there first.”

██████████: “What exactly would a paradise designed for us look like?”

DR. MOOSE: “I don't know. She showed us images—not quite images. I can see them in my head, but they're not pictures. The closest thing I can think of is what you see when you close your eyes suddenly and tightly, but brighter and more complex. The images had metallic sounds associated with them, and sensory details that we don't have the words or concepts to describe.

“The whole effect felt like words of some kind. I believe she wanted to see what we could understand, so she could understand us.

“She didn't have time to finish analyzing us. I don't know what would have happened if she had.”

[The voice of Dr. Tilda David Moose was provided by @henrietta-killinger.]

[imingadv]

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[bellsybuilds]

[Supernatural] No one will know the violence it took (M, Michael/Adam, 3.8k)

No one will know the violence it took (Can also be read on AO3)

Michael / Adam Milligan (M)

With thanks to Hillywood for actually freeing our boy from the Cage, I don’t mind writing for this fandom once more. So long as I don’t have to address actual canon because have no idea what’s going on.

Part 5 of Somewhere to Begin

(“I'm sorry. I'm sorry you are who you are and you got mixed up in all of this. I'm sorry you decided to forgive me and I fell for it. I'm staying away. What else do you want me to say?”)

Adam bites the inside of his lower lip and blinks his vision clear of that borrowed memory. He shakes off the remembered lash between his shoulders of the cold wind on that dark night, the empty street spilling before them. Michael hovering, angry and shaken, uncharacteristically at a loss.

Sometimes Adam wonders if Castiel really did him a favour downloading all of that to his brain.

(”What else do you want me to say?”)

How does Michael transition from a psychopathic mass murderer to a man who even considers that he’s at fault? Who pleads with Adam to forgive him? How does Adam even inspire the thought in Michael’s head that he doesn’t want to torture Adam and play with the already fraying threads of his mind?

“It starts with you, Adam,” Castiel unhelpfully reminds him just when Adam thinks the angel has finally given up the cause. “The war turns when you get him on our side--”

They’re three boxes through unloading their supply run in late winter, running up and down the stairs from Sam and the trailer back to their food pantry.

Spring is just around the corner. Adam can taste it in the thaw of the morning, that minuscule difference in degrees that settles on his skin like mist instead of frost. It couldn’t come soon enough. Being cooped up underground is driving him stir crazy with the seasons dragging longer in an beleaguered stream of overcast days.

Adam just has to wonder aloud when this might all end and he can eat some real food again. At least if they had some fresh ingredients, he could cook them a real meal. And somehow the angel contorted that question into the Bigger Picture.

Doesn’t Castiel understand rhetoric?

“Well maybe I can’t, okay? And maybe I don’t want to."

Adam whirls, shoving the box of canned vegetables on the central table of their bunker. A pile of jars pickling sun-dried tomatoes and fruit jostle at the corner. Kevin would be disappointed if they toppled; Adam glares at them until he's certain they won't.

"He’s a psycho.  He messes with people--he kills them and he  enjoys it, speaking from experience.” He throws his hands up in dismissal. “And I don’t want another fucking cent of that guy. I just wanted a normal life helping people, but failing that: a quiet  after where I could be with my mom. Since I don’t get that either maybe the least I can ask is people stop trying to shove that fucking maniac down my throat again. And when I say people, I really mean you -- it’s just you, Castiel. I will turn up to your shitty war and keep the kitchens stocked, I’ll oil the gun barrels and do your research, I’ll keep Kevin safe. But stop trying to make Michael and me happen. It’s not gonna happen.”

Castiel stalls at the top of the stairs, arms full of canned beans. His face pulls in contrition, “Adam--”

Adam throws up a hand up signalling the conversation over, mouth terse as he storms off, boots stomping on his ascent of the tiled stair. He’ll feel bad about putting that look on the angel’s face and making Castiel put the rest of their food away by himself, but for now he’s done.

///

One day, the war will end, humans and all other species will have peace, and the archangel Michael will stop invading Adam’s dreams like it’s his regular pit stop. But--dragging his hands down his face in exhaustion, Adam laments--it is not this day.

“Your vessels are no more than marionettes in a storefront: stars and dust collecting memory as you drag yourselves towards death. The oldest of us understand what you really are… we can rearrange your atoms, however we like.”

Michael stands in the open living-slash-dining space of Adam’s motel room with all the grandeur of a self-important, ageless being unaccustomed to sharing the spotlight. Adam doesn’t have the heart or the care to tell him this isn’t the Globe Theatre. Michael’s hand turns on the air, twisting some unseen dial to a design in his mind’s eye. His dark eyes gently thin on his spectator.

“I could unmake you. And make you again. Over and over. Until I was done with you.”

Doesn’t Michael get tired of this?

Slouched against the headboard of his bed and tucked beneath the sheets, Adam draws his knees up with a slow, heavy sigh. “You’ve done that already--down below. Or is ‘the oldest of us’ also the first to forget?”

It’s ten-past-ten, he would really like to get some proper shut-eye. He hasn’t had a decent night’s sleep since he tried to make reparations with the First Nations tribe they pissed off when Adam’s brothers trespassed on a hunt three weeks ago. So many elders and families to apologise to. Things Dean just did not care about.

Michael’s expression loses its bright, faraway glaze, focusing on his former vessel. His mouth curls in a smile. “It didn’t all hurt, if you remember.”

Where is Michael going with this?

Adam blinks back at him, careful not to flinch. He must present only a portrait of tired exasperation.

“Never said I didn’t,” he concedes, and turns his back, burrowing down into his thin cocoon for the evening. It still rails against his instincts to show even a figment of the angel his back -- his subconscious doesn’t know that Michael isn’t really here and bears no real threat against him.

The creak of floorboards make him tense. He shuts his eyes and bites his tongue when the mattress dips with weight.

Michael is not really here. He can’t hurt him.

“Maybe I’ve been trying the wrong approach,” the angel's timbre softens, warm and low. "Too much stick. Not enough carrot.”

Adam refuses to react to the presence radiating heat at his back through the sheets. His fingers clutch a little tighter to the duvet tugged tight around his shoulders.

Michael is not here.

“Good night, Michael,” he mutters tightly in dismissal.

Warm breath stirs the hair above his ear, and years of conditioning tell Adam to remain as still and quiet as death, to wait--wait, hold his breath and pray, wait--

He’s not real. He’s not real.

“I’m coming for you, little Adam,” Michael promises him in a soundless breath. “I’m going to find you. And I’ll make you so glad I did.”

///

“I’m really glad you’re not seeing that vampire anymore,” Kevin tells him when they’re packing the small barrels of rock salt and mountain ash into the back of Sam’s truck.

Adam narrows a look at his not-quite-maybe-friend, and glances around to see who may be in hearing distance. Thankfully, his brothers have disappeared back into the bunker and Castiel….

Adam has stopped caring about Castiel.

“Kevin. Dude.”

He doesn’t clarify that he was never ‘seeing’ Michael; his dignity isn’t that fragile, and he knows what Kevin means: I’m glad you’ve stopped sneaking away and risking your life to barter with that guy.

Adam doesn’t clarify that since they ran out of sage to ward the places they sleep, Michael has been invading his dreams instead. Well, Adam is the only one who ran out. More was supposed to arrive in the latest stock run but Sam’s supplier didn’t come through. Adam just has to hold out for a few more days. In the meantime, Sam needs it more than him.

Adam may also have failed to disclose this recent development.

It’s just as well. He was getting light-headed from all the blood loss of his face-to-face time with Michael. Not to mention the other reactions the angel inspired from his body the last time they met.

He shoves the memory away, like a dirty sweater kicked to the back of his mental closet.

Adam and Kevin agreed never to speak of it. At least, Adam negotiated for Kevin to hold his tongue in exchange for getting to speak with his mother. Far be it for Adam Milligan to keep a guy from his mom. If Adam had his way, they’d all be home with their moms by now.

Kevin, unfortunately, forgets the exchange was for his silence because his face falls into a soft pout and he keeps talking. “He’s dangerous, you know. He could really hurt you. And you’re my friend. And what if he hurt me?”

Adam sighs under his breath, slamming the tray closed once the barrels are secured. “He’s not gonna hurt you, Kevin. He has to protect you.”

For now, Adam echoes. Who knows about tomorrow? Kevin doesn’t need to lie awake at night from nightmares about the fickle oaths of angels. Kid hears enough about the Order of Dickheads On High from Dean’s daily sermons.

He stills as a thought occurs to him. He considers Kevin with a narrowed eye. “You been having dreams about him?”

Kevin blinks with a small frown of confusion. “No. Why?”

Hmm. “Just checking. They’re known to do that sometimes.”

Kevin peers closer at him, dark eyes frustratingly earnest. “Are you?”

“Nope,” Adam lies and resigns himself as Kevin crowds close, suspicious and worried, their shoulders brushing in their hurry back to the shelter of the bunker. The convoy is locked and loaded for Sam and Dean to go do their hero stuff. Good riddance.

Or, God willing. Adam really has to get the intent straight in his head. Sam and Dean have to survive this. He wants them to fight and come back safe because--

--If they don’t, that’s one less buffer between Adam and this war.

No! Because he just doesn’t want them to die. He doesn’t want anyone else to die.

“I don’t like leaving you with him,” Kevin says.

“You won’t have to. We’re done.”

“I don’t trust him.”

“And you shouldn’t.” Why does Kevin think Adam still needs convincing? “All angels are the same.”

Kevin’s expression turns troubled. He looks so young when his face twists like that, seeking an olive branch of congruity in this crazy world that’s yawned open beneath his feet. “But… Castiel isn’t like that.”

Adam doesn’t like the angel, but he has to concede the distinction. “All angels who haven’t been kicked out or clipped their own wings, are exactly the same.”

///

Castiel finds Adam a few days later in one of the rare circumstances he’s allowed topside without an escort. Well, it’s a nice illusion. The appearance of Castiel affirms that he is never truly alone.

It’s a nice place, this vantage from the bunker aboveground on the lake. The sun has broken through the clouds of Winter grey, beaming over the calm water and basking Adam in a warmth he tries to draw down into his bones. He slumps on an overgrown tree stump by the shore, breathing deep and listening to the breeze coo through the pines and the water lap at the brambles.

Castiel lowers himself, folding his legs by Adam’s stump and Adam watches the angel’s trenchcoat smear with moss. The effort is noted. Castiel doesn’t often sit.

“I’m sorry if I’ve put undue pressure on you,” Castiel says, careful and halting. He glances up, briefly meeting Adam’s eye and unlike every other dysfunctional fuck in their party, at least Castiel’s contrition comes before the crime. The angel licks his lips, searching the vantage of the lake and the tall pines of the shore on the other side. A piercing cry makes them both look up. A falcon soars by, wings spread wide and high above the treetops.

“Not long ago, I would have asserted you had to do this because it was the only way. But oblivion… brings a certain perspective. I’ve been betrayed, beaten and killed more than most. I think you and your family are uniquely qualified to empathise.”

Adam snorts a laugh under his breath. He flicks a wreath of twigs he braided against his thigh. “You giving me permission not to do the thing I already said I wasn’t going to do?”

Castiel sighs. “I’m sorry, Adam. I was wrong. Before, I didn’t know. We’re all desperate to protect what we care about.”

Dean. It goes unsaid, but the fact he and Castiel are now a thing has changed a lot.

“I used to believe the ends justified the means,” Castiel continues, the soft breeze ruffling his fringe as he gazes out to the lake. “I believe it was sung into our being on creation. And I was ready to be the means, to sacrifice anybody and anything for those ends. But the ends are the same for all of us. Death is coming for all of us. Your brothers and I… we’re trying to help what happens after. And there will still be sacrifices to make, but… it also matters how we get there. I tried the other way. I was fooling myself thinking I had any real control over the outcome. But I can control this: so, if I’ve caused you any more harm in asking you to do this--I’m sorry.” Castiel’s voice lowers, apologetic and gentle. “You don’t have to turn him. Maybe we’ll find another way. Maybe we won’t. But that’s not on you alone.”

Adam stares out at the lake and he can’t quite tell when his vision began to burn and blur .

A wet laugh chokes out of him and he swipes his cheek when some of those tears escape. He thought he didn’t need any of those apologies, but maybe that was just because he believed they would never come. He feels like his chest has been wrenched open and something black and poisonous has loosened its hold on him.

Castiel really is the exception.

“My brother does not deserve you,” Adam finally says, voice thick, resolutely glaring at the lake. “He’s way too primitive.”

A hand closes around his elbow and Adam looks down. Castiel smiles in understanding, squeezing his arm. Adam swallows thickly and nods back, remembering a time before he knew about monsters and Winchesters, and he might have thrown his arms around someone for sharing something so sincere, but Minnesota was a long time ago.

Everything is different. Even him.

///

“Fuck me well enough to remember; I won’t need a sex tape.”

The words reach Adam murky and incomprehensible as he rises from the weight of sleep. Strange noises prickle his ears, familiar but estranged in this context of waking alone in his motel bed, a line of drool smearing against his cheek on the pillow. He raises his head to peer blearily at the white paint peeling from the bathroom door, then the dark curtains still drawn over the windows, not a hint of sunlight breaking through.

What time is it? What’s going on?

“Relax, baby. Open up for… that’s it. Breathe with me.”

Wait a fucking minute.

Reality hits him like a shard of ice between his shoulderblades. He whirls in bed, sitting up sharply.

Slumped in the bedside armchair, Michael holds Adam’s most jealously guarded possession above his face as the video plays on that phone: telltale whimpers and grunts fill the room. Adam feels his face flush with panic and embarrassment, all coherent thought flees his mind.

Fuck, fuck--

“What the fuck are you doing?” is all he can screech.

Michael doesn’t even glance his way to acknowledge he’s been caught, he doesn’t blanch or flinch at the knowledge he’s watching a sex tape of the two of them. A tape that somehow involves neither of the two people currently in this room He’s probably watched the birth of galaxies and orgies of entire dynasties; this probably doesn’t even blip on his radar.

Adam’s mind spirals to a terrifying possibility: Michael will want to know where this video came from, how this video even exists. He’ll force Adam to talk, and soon enough he will realise that there’s another future Adam is aware of. If he’s discovered the phone, what else had he discovered in its storage?

Adam’s stomach drops. If Michael grows aware of the reality Castiel is trying to forge, will he nullify it entirely?

(“That’s not on you alone.”)

A grunt of amusement draws Adam from his mental spiral.

“The way you move, Adam,” the angel shakes his head, posture lazy, shoulders dropped low in his chair. Michael raises an eyebrow, swiping at the phone screen and Adam’s ears burn hearing his counterpart cry out. “I’ve watched this five times and I still can’t believe it.”

That smirk turns on him and Adam flushes all over again, this time definitely in embarrassment--and anger at himself.

He should have known. He should have done something--been more careful about what memories Michael could access through the door and down the hatch of his dreams. Maybe if Adam hadn’t watched the video multiple times himself, it wouldn’t have preserved itself in his memory for crystal clear recollection.

Shame winds hot through his gut. He did this to himself.

The sheets twist as he kneels forward on the bed. He thrusts his hand out. “Give that to me.”

The video abruptly falls silent and Michael pulls a face at it. “Why haven’t you watched to the end? Are you that scared of me coming inside you?”

Adam didn’t think it was possible to blush any harder. He falters at the force of the full-body flush of horror, hot and dizzying. He feels sick. He’s sure his face is beet red, his head is ringing and his heart feels like it will ratchet its own chambers apart. He stumbles off the bed all the same, towards the archangel, reaching for his phone.

“Why would I add to my nightmares?”

Michael frowns gently and keeps him at bay with a raised hand, holding the phone away. The simple touch against Adam’s shirt is enough to make him flinch back. And from the way Michael pauses, studying him, it does not go unnoticed.

“Nightmares?” Michael’s frown turns quizzical. “You looked like you were enjoying yourself.”

“That’s not us!”

“I know that’s not us.”

Michael stands, flooding into his space, almost chest-to-chest. Adam stumbles back, feeling the blood that had rushed to his face abruptly drain elsewhere, heart thumping, hands tingling, priming for a fight.

Michael cants his head, a familiar and dangerous little smile curving his mouth. “But it could be, if you tell me where you are. You’ve thought about it.” Michael studies him closely, eyes glittering in the dim of the bedside lamp. “Haven’t you?”

Adam stares back in shock. Michael seriously isn’t going to ask him where he got that video?

This is all very disorienting.

Misinterpreting his stunned silence, Michael presses on. “Remember? With the power I have, I could unmake you… you remember what it feels like when it hurts.” Michael searches his eyes carefully. “Imagine… remember. We can tip it the other way.”

Adam swallows nervously. That knowledge, that muscle memory is the undercurrent of every conversation, every look, every touch that Michael has brushed against him since he stalked across the parking lot of that bar with Adam in his sights.

Their most recent encounter only confirmed it, falling against each other with the delirium of blood loss and a brief inversion of power. Michael’s mouth on his skin, sinking between his thighs.

In the dim of Adam’s dream, Michael’s smile gentles, coy. “If I made you feel good. Rearranging your atoms, I could wreck you from the inside without ever laying a finger on you. Give you so much pleasure, leave you hoarse and slavering, it would break your mind.”

Adam huffs a rueful laugh under his breath and shakes his head.

There it is. Always warping back to control and damage. It doesn’t matter how it happens, so long as Michael gets to enjoy creative and fun ways to unmake him.

Adam’s voice cracks, trembling. “Do you remember... when you weren’t so into breaking people? And... you actually protected me? Down there?”

In the Cage.

That video had disturbed Adam for weeks. At first, he thought it was the obvious revulsion of seeing himself wrapped up in his enemy. He felt sickened and betrayed by his other self, and the unwanted arousal it inspired. But he was most repulsed when he realised beneath it all was a wretched sadness--mourning for what could have been.

Because the way Michael held and sheltered him in that video made him recall when they first landed in the Cage. Their relationship had never been like that, but--

“I looked for you,” Michael reminds him, voice a thick slurry through clenched teeth; one of those involuntary truths. Huh. Adam didn’t even consider if that would still work in dreams. “I took you back and I fought for you, remember?”

“You gave up,” Adam mutters, throat tightening.

Michael has inflicted a lot of hurt on Adam and his family, but this fact aches the most: Michael wasn’t kind before, but the Cage turned him downright cruel.

Adam trembles, fists clenched at his sides. He glowers, unsure what to make of the way Michael studies him, expression softening. “I blame you  and your brother. But he’s not the one who won’t leave me the fuck alone now. I fucking hate you. Yeah, you could play me like a puppet; that’s all you’re good for now. But you couldn’t make me feel a genuine thing I enjoyed if it killed you.”

He steps in close enough that he feels the typical heat Michael radiates, the sheer power and energy of his angelic form straining to contain itself in the month’s vessel of choice. One breath too deep would press them together, Adam would feel that heat through the thin layer of his shirt. He doesn’t push his luck, though he very much wants to shove both hands against the angel’s chest and watch him stumble. He wants Michael off-balance, staggering back--

--On his knees, nuzzling his smile into Adam’s palm, rumbling pleasure at Adam’s praise (“you did so well”)--

Adam kicks that memory down the hatch and slams the door shut.

“You’re pathetic, General. I can’t even pity you. Get out,” he growls.

Michael raises an eyebrow. “You’re not fun when you’re sad.”

Adam’s fist flies, but Michael is gone before it connects--and Adam jolts awake mid-swing, tangled in his motel bed sheets.

The sky is paling to a grey sunrise behind his curtains. He is alone.

He thumps the mattress with a snarl and takes a deep breath.

Not fun when you’re sad,  Adam’s mouth twists into a bitter scowl of frustration. Asshole.

[writebythess]

Three sisters, One house

(Note: This is an unpublished work and was written as part of a course.)

Designed by Blancafort-Reus Arquitectura, the 3-units project was built for 3 sisters in the sunny highlands of Bullas, Spain. With their desire to live together since their younger days, the sisters decided to build the house on the land collectively owned by the family.

The design inspiration

The project is an assembly of three cottages. These cottages, one for each sister and their families, are connected by a shared central courtyard that serves as a focal point for the design. The placement of the cottages is unconventional; centred around a courtyard rather than having them in a row. Each unit has been planned with a different orientation and views, providing them privacy while being clustered in a single complex. The courtyard manifests itself as the central element for the home, as a gathering space for the sisters and their families where dinners happen and the children play around within the enclosed area.

The design is quite straightforward with a basic rustic approach, blending in with the local landscape. The inspiration comes from the ‘cortijos’, rural traditional farmhouses in Southern Spain. A key familiar element in a cortijo is the inner courtyard around which the living spaces, sheds, and perhaps even livestock holdings, are centred.

[Left: Ground floor plan; Right: First floor plan]

The layout

Each unit is double-storeyed with a south-facing patio. This is where the inhabitants can relax, each with their own view of the mountains without interacting with other families. The lower floor comprises the living room, dining room, the kitchen and two bedrooms. The terrace and the master bedroom make up the upper floor. The interior of the units consists of similar spaces; however, they all share two focal points which contribute to different composition. The living room and patio face the south and the kitchen looks into the inner courtyard. Similarly, the master bedrooms in each unit overlook the inner courtyard.

The main entrance to the complex is located at the eastern side of the courtyard. One reaches the courtyard first, before entering the interconnected cottages, making it a transitional space between the complex and the surrounding site.

An integration

The house is designed to be integrated with the local rustic landscape. The exterior cladding is made from local pine panels to blend in with the landscape, a design element that is a shift away from the local architecture. The interior is more aligned with the local vibe with a masonry structure. The placement of each unit is done in a manner, which allows easy cross-ventilation to cool down the interior spaces.

Daylight easily floods into the rooms, reflecting against the white walls deep into the space through large glass windows. These walls accentuate the splashes of colours in furniture and vibrant tiles. The exposed beams also become more prominent, which is a contrast to the white walls and ceiling. Such colours give a distinct contradiction to the exterior wood cladding. The windows have panelled shutters, which can decrease the penetration of sunlight during the hot summer and prevent heat loss in the cold winter. Simplistic in approach, the interior radiates a familial feeling without any overpowering elements.

This dream house for the 3 sisters displays an architecture built purely for a family, void of any ornaments or eye-catching elements, but instead focusing on intimate, yet private, corners and with consideration for the local environment.