#Object Oriented Design Patterns

[rocket-penguin]

Internet Coder™: We're going to learn some low-level embedded techniques!

Internet Coder™: -heap allocates-

Internet Coder™: -uses OS call-

Internet Coder™: -uses stdlib string function-

Internet Coder™: -generally not careful with memory usage-

Internet Coder™: And that's how you write embedded code!

[vivaciouscynner]

semi-sorta off topic... but the whole state of programmer but not programmer resonates well with me.

My situation is that I'm getting into development from an automation background. Automation is basically just using what already exists with minimal logic.

I get developer tasks because I'm aiming to be in that position, but what I'm getting at is that I was talking to one of the devs on my team and telling them like, hoping to be a dev position before end of year. And they're like, you're already there. Maybe not the title officially, but you have added code, it is in production, you are a dev.

I'm like, well I did the easy stuff. I'm just kinda relying on everybody to make sure I didn't do something stupid or inefficient.

They're like, hey, wanna know a secret? We all are.

So, before you go "i'm not really a programmer," don't sell yourself short.

Found this on Reddit and need to share my pain

This is why I'm at a weird state of programmer but not programmer. I need to know code to understand and adjust and fix so many of the tools I use, but fundamentally I'm not doing anything algorithmically different than what's done before.

[jannah-software]

DevOps with Artificial Intelligence, Automation, and Blockchain: Part 1

This is part 1 of our introductory series, showcasing our experience, as we dive deeper into: 1) Software Engineering. 2) Data Science. 3) Artificial Intelligence, Machine Learning. 4) Business Development.

[antrylis]

✨Kamino’s citadel challenge !✨

I am…very excited about this one. I’ve had this vision for a long time, and I’m so happy it’s ended up looking like that.

Now, there are a lot of things I’ll go into details along close ups under the cut; the only thing I’ll mention above is that I’m very grateful for TCW’s episode guides’ artworks, without which this would have been quite a hassle.

Okay ! Before diving into all the details and things, here is a view from above, to really display how big it is. Dimension-wise, the plank I built it on is around 110*70cm.

Now of course, the first detail which is noticeable is the floor, because, well, it’s everywhere.

This was probably the most challenging part of the build, because making a grid out of Lego is tough. Most of it is rows and rows of dark square, light lines, separated by 1*n tiles. It was the easiest way to get this pattern with as if it were just tiles; because this is one of the objectives I had here : most of this MOC is smooth, except for a few zones (usually voluntarily).

The fact I used this technic means that the floor in most place isn’t very stable, but it actually holds up pretty well because of some hidden connection points with the foundations underneath, which are mostly hidden under the cover blocks.

Here for instance, I’m using modified 1*2 bricks with a Technic hole : it hold the cover block, and it also attaches the floor to the foundation.

Of course, another problem I ran into were slopes. Much harder to get a smooth effect with the technic I’ve used, so it’s a bit wonky and unstable. Also, most them are not aligned properly, which is visible in the picture above (and some area have some really big misalignments because of a few problems I probably won’t bore anyone reading this with).

Now, since they’re also here, I can deal with the cover blocks. These were, among the details, the hardest to figure out, to get a good size while keeping some texture. Eventually I came up with this design, which, ironically enough, uses the same technic the floor uses, in a different orientation.

Another detail : the miradors :

This is one of the first elements I had in place, because I needed them to get a good sense of scale (and was made better by an existing concept art of a tower alone). Most of it does not have anything noteworthy, except for one illegal technic I used (can you spot it ?)

The pillar holding the roof of the mirador is using a technic I had in my toolbox for a long time, but had never had the occasion to use : if you take two 'brick' bricks and attach them perpendicularly on a snot brick, the small space separating the lines of 'bricks' align to let a 1*n tile in. It’s somewhat reliable (for an illegal technic) and an easy way to get octogonal shapes.

Now, before looking at the Citadel itself, let’s turn around for a minute.

This point of view obviously isn’t the intended one, but it’s still worth noting, if only for some composition.

Notice that the wall here is quite small (smaller than the miradors, even), and light gray; it’s in contrast with the towering dark gray wall on the other side, behind the citadel, which technically should give at least some impressions even to the people who never saw TCW.

Anyway, it’s also on this view that we can see most of my slope struggles, including the central one, which is the biggest I had to do.

And I can’t not mention the most important element :

What would be the challenge without a squad of clones to take it on ? These clones (4 privates and a sergent) are ready to fight ! Well. Kinda. I wish I could have actual cadets, but they are not part of the Lego universe (and the floor was enough of a fee, I can’t afford to get customs figures too). I wish I had the Dominos though. I have TBB Echo, and I plan to get my hands on Fives at some point, but they wouldn’t fit here, sadly, so instead I used some movie accurate clones (because all the others are used for a project I still haven’t posted..maybe later…)

Notably, I at some point tried to get the elevator to work - needless to say it was a disaster (it’s too close to the plate underneath to make something working).

Now, without further ado. The citadel.

I’m very proud of it. I got the proportions just right (I actually made some measurements to make sure of it), and there is just enough texture to not make it bland while leaving it as artificial. This alone took roughly 8-10h (which were all spent during an accidental all nighter, whoops), but it was worth it. It’s completely empty inside, and, in fact, the wall behind it isn’t full as well, anything behind the citadel is opened. The spikes are simple 1*3 angle plates illegally connected, and the walls’ small details were made with a bunch of modified 1*2 plates, there isn’t anything really special in it.

The only really complicated zone was the middle tower, because I had to put all the cannons while keeping it clean and smooth, and including the vertical lime lines. It was a fun challenge. And I included the 'flag' At the top, too, just a red transparent cone on a stick (there’s no need for more), which peeks above the gray wall (for composition and because of a lack of pieces).

Anyway, such a long project deserves one behind the scene photo :

Yes, my desk is messy (and include my mandatory tea cup).

On the left, you can see my remaining floor tiles, which have not been used yet; and just under the citadel, you might notice the foundations visible; it’s a checker of 2*2 tiles which gives my floor a good base to be fixed on. There are also some slopes which haven’t been placed yet (in front of the background miradors), and at this steps, there were no cover blocks or walls yet.

As far as my tools go, you might notice brick separators scattered all around my work environment (I never have enough of those), as well as a tablet in the bottom right hand corner (which i use to check and measure concept arts), and in the middle, the red triangle is an official (albeit old) Lego measurement tool which counts in stud, Lego bar holes and axe length.

Also visible, finally, is the bottom of the foundations, which are stacks of 1*2 bricks (each of the three floor layer is separated by a height of 3 bricks), which means that looking directly under it can lead to watching the dark basement of my build (which isn’t aesthetic…).

Anyway, if you read until here, thanks, I guess ? I still have a few TCW related stuff (a small one next week, some other in the foreseeable feature), so feel free to stick around and maybe leave a note, if you feel like it ? That’s it, bye !

[literaryvein-reblogs]

How to write genius level characters? :(

One of the most reliable measures of intelligence today is the Stanford-Binet Intelligence Scale—currently in its 5th edition, with an upcoming edition in the works.

Using the tool/scale, scores are converted into nominal categories designated by certain cutoff boundaries for quick reference:

Measured IQ Range — Category

145-160: Very gifted or highly advanced

130–144: Gifted or very advanced

120–129: Superior

110–119: High average

90–109: Average

80–89: Low average

70–79: Borderline impaired or delayed

55–69: Mildly impaired or delayed

40–54: Moderately impaired or delayed

To write your "genius" character, you may want them within the Gifted to Very Gifted categories.

Note: With reference to this list, Roid (2003) cautioned that “the important concern is to describe the examinee’s skills and abilities in detail, going beyond the label itself”. The primary value of such labels is as a shorthand reference in some psychological reports.

These are the factors measured by the scale, and you ideally should aim for your "genius" character/s to exhibit high levels of:

Fluid Reasoning: Novel problem solving; understanding of relationships that are not culturally bound

Knowledge: Skills and knowledge acquired by formal and informal education

Quantitative Reasoning: Knowledge of mathematical thinking including number concepts, estimation, problem solving, and measurement

Visual-Spatial Processing: Ability to see patterns and relationships and spatial orientation as well as the gestalt among diverse visual stimuli

Working Memory: Cognitive process of temporarily storing and then transforming or sorting information in memory

Or maybe your character doesn't excel in all of these areas but in a specific one, or just a few of these. Maybe they perform within the average or high average in some, but are highly gifted in other areas.

The following may also guide you in writing your genius character, based on research compiled by Dr. J. Renzulli, which can be found in the Mensa Gifted Youth Handbook:

Characteristics of Giftedness

LEARNING CHARACTERISTICS

Has unusually advanced vocabulary for age or grade level

Has quick mastery and recall of factual information

Wants to know what makes things or people tick

Usually sees more or gets more out of a story, film, etc., than others

Reads a great deal on his or her own; usually prefers adult-level books; does not avoid difficult materials

Reasons things out for him- or herself

MOTIVATIONAL CHARACTERISTICS

Becomes easily absorbed with and truly involved in certain topics or problems

Is easily bored with routine tasks

Needs little external motivation to follow through in work that initially excited him or her

Strives toward perfection; is self-critical; is not easily satisfied with his or her own speed and products

Prefers to work independently; requires little direction from teachers

Is interested in many "adult" problems such as religion, politics, sex and race

Stubborn in his or her beliefs

Concerned with right and wrong, good and bad

CREATIVITY CHARACTERISTICS

Constantly asking questions about anything and everything

Often offers unusual, unique or clever responses

Is uninhibited in expressions of opinion

Is a high-risk taker; is adventurous and speculative

Is often concerned with adapting, improving and modifying institutions, objects and systems

Displays a keen sense of humor

Shows emotional sensitivity

Is sensitive to beauty

Is nonconforming; accepts disorder; is not interested in details; is individualistic; does not fear being different

Is unwilling to accept authoritarian pronouncements without critical examination

LEADERSHIP CHARACTERISTICS

Carries responsibility well

Is self-confident with children his or her own age as well as adults

Can express him- or herself well

Adapts readily to new situations

Is sociable and prefers not to be alone

Generally directs the activity in which he or she is involved

Sources: 1 2 3 4 5 6 7 8 9 ⚜ Writing Notes & References

Hope this helps with your writing. Do tag me, or send me a link. I'd love to read your work!

[patchworkcuddlebug]

Eclipse

(A Night & Day story)

"It is a pleasure to meet you." The Night Witch reclines at her desk, confidently gesturing to the rest of her study. "Please, have a seat wherever you'd like."

The Day Witch sees a room that is extravagantly themed. The walls to either side of them are covered in carefully painted bookshelves, adorned in their entirety with untouched books, their spines all gamuts of blacks and dark blues. The curtains behind her had tiny holes poked through, in a pattern careful not to have two of them aligned, warping the daylight into an impression of the night sky. The rug is an art piece, a depiction of van Goph's Starry Night woven across the room from corner to corner.

In front of her desk is a folding chair.

The Day Witch struggles to comfortably orient her body into the chair. It is at the same time too rigid and too feeble, threateningly wobbling with every shift.

"Good, now lets get started." The Night Witch plants an elbow on her desk, resting her head on a supportive arm.

Everything is as expected. The Day Witch's coven seeks to have more hours in their night, as they are usually too busy to meet as often as they'd like. In exchange, The Night Witch asks for the power of sunlight, to make the moon grow brighter if she so chooses.

In the midst of their bartering, a doll cautiously opens the door to its Miss's room. The Day Witch recognizes it, she passed it in the hallway. Has it been waiting outside the door this whole time? "This one is sorry to interrupt, but it can provide refreshments if-"

"Bring the refreshments, Luna." The Night Witch commanded, stern and without mercy. "You are an object of service, don't waste our time by asking permission." The doll curtsies as quickly as it can before shutting the door as gently as it can.

"Those things are so damn hard to train." She shakes her head, giving The Day Witch a side-eyed glance. "Would you believe that one's the best I have?"

"I wouldn't know." The Day Witch shrugs, just enough to let a hint of superiority finally shine through. "It sure seems fine enough."

"I suppose you'll just have to figure it out when you start training them yourself. If you turn your back, they always seem to make noises among themselves, always doing something between chores." She leans back in her chair, the excessive cushioning making a muted pomf. "If I wanted to put up with their idle pitter-patter I would work with mortals."

The Day Witch leans back to match, her back straining against unsupported rigidity. "I... can't say I've ever heard a witch speak so impersonally of her dolls, Night." She looks back to the study's door, a tall and extravagantly designed barricade between them and the rest of the manor. "How exactly do you train them, then?"

"Keeping them busy is mandatory." She speaks with a casual confidence. "That way there's less of a chance for them to... develop. But if one does step out of line, simply destroy whatever humanity they've built." She motions with her hand, pulling it into a fist as if crushing something.

The Day Witch chooses her next words carefully. "I see. How... involved, you must be." She leans forward, balancing on the chair's unsturdy legs, to reach across the desk for the enchanted scroll of binding.

The Night Witch reclines with her hands behind her head, smirking. Just as the signature begins to glow with an ethereal finish, Luna returns, with only the Day Witch to acknowledge the sound of the door.

The Night Witch slides the signed papyrus back across her desk. "This is why you don't waste time, Luna. We've already finished with our meeting, and our guest was just leaving." As she scoffs in disappointment, the doll does its best to bow its head without losing the tray's balance. "Yes Miss, this one is very sorry Miss."

The doll retreats before The Day Witch could sample the snacks it brought. "Thank you anyway, Luna!" She calls out before it can leave, trying to impart an encouraging tone.

Luna stops in its tracks, turning to The Day Witch with its mouth agape. It stays like that for only a moment before it finds itself speaking again. Even through its reservation, there was a hint of unsure surprise. "...yes, Miss."

The Night Witch rolled her eyes, ashamed to see an adult playing with toys.

. . . . .

Luna jolts itself from stillness. It tightens its grip on the broom handle, focusing tired eyes onto the tile of the manor's entrance. Surely, this time, it won't miss a spot.

It suppresses a flinch as The Day Witch closes the door behind herself just a little too hard, groaning as she rubs her eyes. In a moment, she collects herself, catching the doll's eye as she glides down the stairway.

She hesitates in the foyer, taking a moment to watch the doll as it tends to its task. Her body is pulled in, afraid to take up space. It moves like a wounded deer, erratic twitching complimenting every movement and smothering the elegance it strives for.

The witch can't help but place a worried hand to her chest.

"Do you like your life, Luna?"

"Yes, miss." It mumbles, not looking up from its work.

The witch looks around her before leaning in conspiratorially. "You can tell me, really. Dolls aren't meant to be treated like this."

The sweeping slows, the doll's head still down.

"Just say the word, and I can take you away. I can see your pain, Luna, I want to help you."

The doll's frozen in place. It wants to leave, more than anything, but it's given up so long ago. It looks back to the entrance to its Miss's study, the door shut tight.

"Are you thinking about her, Luna? What she wants?" She interrupted with a deep compassion. "You don't have to, you're the only one I'm asking: do you enjoy your life, as it is?"

Luna looked at the witch in front of her. Her smile was deeply kind, nothing like the paltry niceties spared for it by Miss.

Luna looked to its side, at the exit, unlocked just feet away.

It couldn't spare the energy for suspicions. It was so, so tired.

"...please, Miss. Take this one away."

[vintagefashionplates]

Bizarre silk

Bizarre silks are a style of figured silk fabrics popular in Europe in the late 17th and early 18th centuries. Bizarre silks are characterized by large-scale, asymmetrical patterns featuring geometrical shapes and stylized leaves and flowers, influenced by a wave of Asian textiles and decorative objects reaching the European market in these decades.

Around 1707 and 1708, bizarre designs combined distorted florals with architectural elements such as arches, canopies, pergolas, and diagonal fences. From 1709–10, the scale of the patterns was reduced and elements of chinoiserie and japonaiserie appeared.

The aesthetic of chinoiserie has been expressed in different ways depending on the region. It is related to the broader current of Orientalism, which studied Far East cultures from a historical, philological, anthropological, philosophical, and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century.

[onyv]

ART NOUVEAU

Art Nouveau appears at the end of the 19th century and spreads widely across Europe and the United States. It draws inspiration from the Japanese, Oriental, Byzantine and Celtic arts as well as Impressionism.                                                      The peculiarities of the style are highlighted decoration and strong interest in the ornament and curve line. Stylised floral motifs and human images combined with asymmetric compositions are used. The emotional suggestions that are inherent in style are: refinement, elegancy, spirituality, variability, expressiveness, romance, love, tenderness, nostalgia, dreaminess.

.

Origin of Art Nouveau. 

On the one hand, it is the English Arts and Crafts movement from the middle of the nineteenth century and headed by William Morris. The basis of this movement is Morris's idea of affirming the value of handmade handicrafts against the industrial products. His followers replace cheap mass production with quality handmade items. They stem from the beauty of natural forms, the tradition of old medieval styles and folklore.

On the other hand, the ideas of Art Nouveau are also based on the works of Augustus Pugin, who seeks reforming society through the plastic forms of Gothic, which he considers to be the bearer of Christian values.The artists and designers of the 1990s developed the ideas of Puigin and Morris and enriched them with new forms and materials. This also determines the aesthetic basis of the new style. The materials used for everyday use are very high quality.

It has been assumed that all forms of plastic visualisation are equally valuable (until this moment it is believed that such activities are under the artist's dignity.) 

The essence of Art Nouveau is that the art shape is particularly important, it is even more important than the content and even the most prosaic content can be represented in a highly artistic shape.

Another important aesthetic feature is the appearance of the female figure. Portraits of women are common in this style. The most common image is just a woman as a center of composition, in the way that the figure is an integral part of the ornament in the whole.

The art of posters is also developing in Paris.The emblem of this art becomes Alphonse Mucha. He designs theatrical posters and settings, but also made designs multiple packaging and patterns for mass consumption. Frequently used in them are stylised images of women whose long hair has been turned into complex decorative ornaments.

Like many of his peers Toulouse Lautrec follows the principles of Japanese engraving, which is based on the flat construction of the shapes, the exaggerated facial expressions and the strong theatrical compositions. The objects of his inspiration are dancers, actresses, singers, courtesans. He works a lot in the field of poster and advertising, raising this genre to the level of real art.

Gustav Klimt is the leading figure of the Vienna Secession. His works are very decorative and filled with erotism. Again, the woman is his main inspiration and is elevated to a cult.

In conclusion, Art Nouveau is one of the last attempts to create a common style in plastic arts, architecture, interior and furniture design, poster, book design, and more.

The aim of the architect, the artist, the designer is the creation of a synthetically complete work of art that enters the private life of man through the items that surrounds him. That's why this style is cosmopolitan.

As far as Art Nouveau artists and designers are concerned, it can be said that they develop and enrich the ideas of Pugin and Morris, and because of everything listed above we can define their work as a top-class art.

[glitterspaghettiketchup]

DELTARUNE CHAPTER 3 AND 4 EXTENDED THOUGHTS UNDER THE CUT!!!

Basically just dumping whatever important bits i can remember that got dropped. here we go.

CHAPTER 3 SHIT:

SUSIE KNOWS DARKNERS ARE OBJECTS. I REPEAT SUSIE KNOWS DARKNERS ARE OBJECTS ITS LITERALLY THE FIRST PLOT RELEVANT MOMENT THAT HAPPENS IN CHAPTER 3 WHAT THE FUCK

WE KNOW WHAT SUSIE'S ROOM LOOKS LIKE:

You can make the text say "KYS", that's fun

im terrible at the western minigame

ROUXLS KAARD POLYCULE???

Why is the water cooler the hardest miniboss of this chapter. what the fuck

DARKNERS CAN BECOME STATUES IN THEIR HOME FOUNTAINS. WHAT THE FUCK

THE KNIGHT???? THE ROARING KNIGHT???? THIS EARLY?????

THE KNIGHT IS FROM THE BUNKER? THERE'S A DARK WORLD IN THE BUNKER? UNDYNE IS IN THE BUNKER?

BUNKER CODE????????

I thought this game was going to be fun... Spamton Neo secret boss was merely an apetiser for this game's love of tonal whiplash i guess?

CHAPTER 4 SHIT:

DESS ROOM DESS ROOM DESS ROOM

Im calling it here the code for the Pinetree section on the Bunker is either 122 (if 3 digits) or it's 1225 (if 4 digits, + a code seemingly used by Toriel for the parental control.)

i hate Noelle's mom

Ok correction: i have alot of feelings about Noelle's mom but 80% of them are negative. And i hope the fanbase won't immediately crucify her for the rest of her days since they already do that to female characters that only screwed up in a major way once and were otherwise pretty nice people (cough cough UT Alphys) because if that happens i WILL become Carol Holiday's biggest defender out of necessity. I will elaborate on these feelings later.

SIDENOTE: I will most likely not pick up Snowgrave after chapter 2. That cutscene is fucking terrifying and i will let more dedicated people than me experience it first hand. i think if i did continue it i would legit feel incredibly bad. Like those people that renamed their Undertale desktop shortcuts to prevent them from RESETing over their True Pacifist endings back in 2015.

Big fan of Castle Town from Chapter 4. im very sad we're probably not seeing it again for a bit

DARK WORLDS CAN REVIVE MONSTERS. WHAT THE FUCK.

so we agree this was a bit right. would this be a grafity of some kind in the light world...

if any mention of my orientation disappears from my bio, blame this bitch for making me adress a pattern i've had with. stuff. TLDR is i like women but i don't like dating or sex. apparently.

i don't even get it anymore i think i just got jumpscared by pretty lady design in my video game and went "ok this has to stop"

is that. a prediction for chapter 5. because his other lines match up with it also GERSON SECRET BOSS WOAAAAAAH

Im making a seperate post for this but i LOOOVE RALSEI AND SUSIE'S FRIENDSHIP DEVELOPMENT YOU HAVE NO IDEA. RALSEI IS WAY HIGHER UP ON MY CHARACTER LIST AND SUSIE IS WITHOUT CONTEST MY FAVORITE

Asgore is falling to the bottom tho. im so sorry Asgore fans i think this game hates you

anyways TITAN????? WERE FIGHTING A TITAN??? THIS EARLY????

SUSIE KNOWS THE ENDING OF THE PROPHECY... IT'S PROBABLY GONNA END BADLY... IF WE DONT FIND ANOTHER ENDING...

DUDE CHAPTER 5 BETTER BE A MORE COMEDIC CHAPTER OR IM GONNA BE ON THE NEWS. SUSIE'S GONNA HAVE TO KEEP KRIS ON A LEASH IF SHE WANTS TO BREAK INTO NOELLE'S HOUSE WITHOUT ALERTING CAROL...

Speaking of which. that ending is fucking crazy dudeee. Like chapter 3's was already crazy but we sadly didn't get the year of furious theorising like we would've had if chapter 3 released on it's own, but i think Toby Fox knew this and made up for it in advance by dropping. Oh so much lore onto us.

Sans Deltarune theory might be legit considering Susie legit bleeds and all the other stuff from before.

i don't think we're getting eggs anymore :(

Uh. In short. These two chapters were ALOT. I laughed at multiple points, i teared up at multiple points, i freaked out at multiple points, i overall liked the experience but i am both worried for the direction the game's taking, that with the implied tragic end of the Prophecy and the fast pacing of these two chapters specifically, especially with the characters - it doesn't feel like Berdly or Noelle retained anything from their adventure in the Dark World, or that Ralsei and Susie's arcs are both progressing rapidly, and as such makes Susie's reputation in Hometown especially jarring to encounter again. THAT OR MAYBE PLAYING BOTH CHAPTERS BACK TO BACK WHILE NOT DOING ANYTHING ELSE IS NOT THE CORRECT WAY TO PLAY THIS STUPID GAME. IDK. YOU TELL ME.

edit: there ARE egg rooms i just missed them U_U

[nymphcria]

꒰ 🪷 ꒱ the weaver’s lexicon, volume ii: the born of the loom — as compiled by eiresi of chrysálios 

chapter 2: on alignment and threadburn

“just because you can feel a thread doesn’t mean it wants you touching it.” — overheard in a repair circle, origin unverified

꒰ ooc ꒱ ever wonder why lotus is so insistent on making sure people do not touch the threads? here's why!! :3 the rp thread with void inspired me to make this a few days ago hehehe

꒰ word count ꒱ 596

introduction: thread alignment

every fae is born with alignment to one of the four major threads. this is not a choice, nor is it visible to the untrained eye. it is an intrinsic part of their metaphysical makeup, shaped at the moment of descension. alignment governs sensitivity, perception, and influence. it also governs limits.

to be aligned is to exist in resonance with a thread’s core frequency. you are not its master. you are not its equal. at best, you are a favoured instrument, and at worst, a tuning fork placed too close to a storm.

most fae operate comfortably within the range of their alignment, even if they don’t realize it. but those who step outside it (intentionally or not) may encounter consequences. severe ones.

threadburn

threadburn is a reactive phenomenon, enforced directly by the loom itself. it is not a curse. it is not a punishment handed down by the stars or constellations. it is automatic, unforgiving, and survival-oriented, similar to one's immune system.

definition: threadburn occurs when a fae directly interacts with a thread to which they are not aligned. this includes:

attempting to manipulate a foreign thread (e.g., a fate-aligned fae interfering with heart)

entering a domain heavily saturated with misaligned thread energy without sufficient shielding

prolonged contact with a being, location, or object in deep attunement to an opposed thread

symptoms: initial signs are subtle: pressure behind the eyes, sensation of drowning in dry air, dizziness, static under the skin. these are warnings. most ignore them.

if the fae persists, the burn initiates.

pain: extreme. described in records as “fire threaded through bone” or “being unravelled from the inside.” this is often felt when directly manipulating a foreign thread.

marking: a golden sigil-like pattern spreads from the hands or arms (point of contact), spiralling toward the vessel’s core. this mark glows faintly and cannot be removed or disguised.

vessel instability: in some cases, the vessel begins to reject the shard. flowerborn fae start to wither, mineral fae crack, bone-based fae go brittle, and so on and so forth. this is rare, but terminal.

unraveling: the fae’s thread-bound abilities begin to degrade. spells collapse mid-thought, sigils short out, resonance becomes unpredictable. some report phantom activations—magic that fires without command or control.

shed senses: alignment supports sensory coherence. when it's violated, that scaffolding weakens. victims of threadburn have reported a sudden loss or distortion of sense: sight becoming static, time slipping, sound flattening to vibration. a fae who cannot orient themselves to the loom often cannot orient themselves at all.

duration: threadburn may fade over time if the contact is severed quickly. if sustained, the effects can become permanent. some fae never recover thread clarity. others develop phantom alignment syndrome, where they believe they’ve “shifted” alignment. (they haven’t.)

compiler’s note: yes, there are exceptions. no, you are not one of them.

treatment: there is no true cure. alleviation is possible through:

withdrawal from all thread-heavy areas (near impossible. most areas are thread-heavy)

resonance cleansing by a star or designated constellation (if available (unlikely))

induced vessel hibernation (high-risk, low-success rate)

important: threadburn is not a lesson. it is not meant to teach you something. it is a boundary. if you are fae, stay within your thread. the loom is not patient. if you attempt to threadwalk across alignments without training and end up glowing, do not ask me for help. i warned you. you’re not special. sit still and try not to die loudly.

[boreal-sea]

Hey, about your 'fictional characters can't be disrespectful, they aren't real and can't be objected etc' post. By saying this you're saying that there is no such problem as female objectivization in games and other products which is not right. It's like you justify tons of tons of bad fanservice designes and, for example, hentai artworks or writing including rapes. You are a feminist, right? You should have been giving a thought about it, because such things done to the fictional characters WILL hurt real women around the world because they form men's opinions about women and I mean sexist opinions. You may also add here a homophobic/transphobic and racist problems, when some people change fandom characters gender or orientation or paint them with a different skin tone (note that I'm also about white characters who suddenly turn to others colours). All of this caused by objectivization because people think they can change character they like and this is just unacceptable. Next, you wrote that you can't disrespectful fictional characters, but doing such bad things to characters that don't belong to you is a disrespectful towards their creators, like you said you can write a tentacle porn with some characters, this doesn't make you a bad man but if those characters don't belong to you, then sorry, but you'll show your luck of respect to their creator especially if that person is against such things. Like, you objectivizate and make fanservice things with their characters. Also saying that fictional characters aren't real (which is true of course) and they are just things is also very unethical towards those who create them. Try to say such things to any who made some characters and world where they live. Many people add some of their own traits, habits or behaviour patterns and spend a lot of their time dedicating to their characters so you may think a little better. And I think, you can't just say to people they don't have a right to treat their characters as living persons or kids, in any case let people to chose their own treatment

So, I was approaching this seriously until I got to the bottom where you being hand-wringing about how treating characters badly disrespects the creators of those characters, and then I realised you are a person with some extremely internalized Christian guilt and puritanism and a huge heaping of sexual oppression.

Please stop applying your morals and your hangups about sex and sexuality onto other people.

Below is everything I wrote addressing your points up until I hit the fandom nonsense.

---

You are doing what everyone else on that post is doing: you are conflating how a character is treated/depicted and whether or not that harms the character with how that can theoretically affect real people in the real world.

Real people and characters are not the same thing. The inability to separate these two concepts is causing endless problems.

The female character being sexualized is not hurt by sexualization for the same reason she is not "empowered" by it: she does not have agency because she is not a person. I bring up empowerment because a lot of the guys who try to claim this kind of sexualization is fine do so by claiming the sexualization is "empowering" the female character. She is not actually making the choice to dress in a flimsy skin-tight outfit, the artist is making that choice. Therefore, she cannot be harmed or empowered by it.

As many feminists involved in this debate have noted, it is not the existence of a sexualized female character that is the problem, it is the ubiquitous nature of this type of representation. It is in fact fine to draw a sexualized female character. It becomes a reflection on society as a whole when every depiction of a female character is sexualized - when every female superhero wears skin-tight latex, for example. This is especially true when she is sexualized in ways that reveal the patriarchy's ideal picture of what a woman should look like, namely thin and white.

The existence of material that sexualizes women is not the problem. I am an explicitly sex-positive and kink-positive feminist. I enjoy all the things you listed as problematic. I like noncon, I like rape fantasies, I've even enjoyed some hentai and porn in my day. I am the wrong feminist to fearmonger about "bad kink" to.

As for your hand wringing about how fanfic is "disrespecting the creators" - No, it's not. I'm not even going to go into a big long discussion on this one. You're being silly. Nothing a fan does to a character can affect the canon character in any way, shape or form.

[duxiaomin-blog]

Between Form and Meaning: The Cultural Collage and Aesthetic Heterotopia of Chinoiserie

In 18th-century Europe, a wave of fascination with the “Orient” swept through cultural and artistic circles. French courts, British aristocrats, and master artisans from Germany and Austria employed painting, porcelain, textiles, gold and silverware, and even timepieces as mediums to reimagine a distant and mysterious China into a visual landscape imbued with exotic poetry. This style was later given a name of its own — Chinoiserie, literally meaning “Chinese style.”

It was a process of cultural re-creation: pavilions, court ladies, cranes, bamboo shadows, and clustered blossoms — these images, through the Western lens, became a visual language of fantasy and elegance, embedded within gentle curves and gilded motifs, infused with Europe’s passion for refined living. Chinoiserie not only reshaped the appearance of 18th-century luxury goods but subtly influenced aesthetic preferences for centuries to come.

Silver Mustard Pot by Edward Farrell, 1817, London. Image courtesy of Sotheby’s

Take, for instance, a silver mustard pot made in 1817 in London by British silversmith Edward Farrell. This piece exemplifies the Chinoiserie aesthetic in Regency Era metalwork. It retains the intricate engraving and stately structure characteristic of late-18th-century Western silverware, while its decorative lexicon incorporates reconstructed “Oriental motifs,” making it both visually striking and culturally evocative.

The pot features a typical pear-shaped form, commonly found in British luxury vessels such as teapots and sugar bowls. Its full-bodied silhouette offers ample space for decoration. The surface is adorned with densely layered floral and scroll patterns rendered in high relief chasing, a technique rooted in the Baroque ornamental tradition. Within the Chinoiserie context, such motifs serve as visual frames and compositional guides.

The most distinctive Chinoiserie element lies in the Oriental female portrait reliefs embedded on both sides of the pot. These ladies, draped in stylized long robes, emerge between the scrolls and blossoms as if surfacing from the decorative fabric. These depictions of Asian women, shaped through the Western gaze, are highly theatrical, meant to evoke the viewer’s imagined distance from the East.

The lid is topped with a dolphin finial in a curved posture, and the feet combine grotesque masks and lion claws — a hybridization of classical mythology and exotic imagery that defines the Chinoiserie decorative system. The interior is gilded. Originally accompanied by a spiral shell-shaped ladle and a conical figure finial, the set was designed not only for flavoring but also for tabletop conversation — a functional yet ornamental object that signified aristocratic taste and collecting habits through its layered cultural collage.

Crane in Clouds Necklace, CHUCUI PALACE

Another example lies in the jewelry of CHUCUI PALACE, a brand renowned for its Chinoiserie aesthetic. Its iconic necklace “Crane in Clouds” clearly draws inspiration from traditional Chinese ink painting. The crane’s elongated neck and elegant curves flow like brushstrokes, evoking the grace of calligraphic movement. The wings and tail feathers, composed in layers of black and white, resemble expressive ink washes — dynamic yet reminiscent of misty landscapes. The interplay between solidity and void, the abstraction and restraint of the neck line, encapsulates the core of Eastern aesthetic philosophy: conveying spirit through “semblance and unsemblance,” and using limited form to suggest boundless atmosphere.

From a Western aesthetic perspective, the piece borrows the decorative sensibility of line and motion. The necklace’s contour is precise and fluid, reflecting the Western pursuit of proportion, balance, and structural elegance. The dense feather arrangement and textured layering echo the Maximalist tradition in Western decorative arts — creating a dazzling sensory experience through material accumulation and heightened visual density. This maximalism is not chaos, but orchestrated tension between symmetry and rhythm, providing a vivid contrast to Eastern minimalism and underscoring Chinoiserie’s essence as an East-West hybrid.

In “Crane in Clouds,” the bird embodies abstract transformation and cultural re-signification. Its aesthetic value lies not in superficial appropriation but in a deeper symbolic reconstruction. The crane becomes a floating signifier, a convergence of Eastern and Western visual traditions. Though rooted in Eastern totemic meaning, it is situated within a highly rational structure, governed by proportion, dynamism, and light — traits prized in Western decorative art. This juxtaposition of Eastern xieyi (expressive abstraction) and Western formality produces not a mimicry of the East nor a reproduction of the West, but a third image suspended between reality and illusion, nature and craft.

Pair of George III Style Chinoiserie Giltwood Twin-Branch Girandoles. Image courtesy of Sotheby’s

This pair of George III style Chinoiserie giltwood twin-branch girandoles is a quintessential model of 18th-century English domestic art that fuses East and West. Through its painted mirror surface and structural ornamentation, the piece embodies a highly orchestrated fusion of exotic fantasy and Rococo spirit.

Structurally, the frame adopts the Rococo contour: serpentine curves, elaborate foliate scrolls, and a shell crest at the top — ornate and asymmetrical. This sensitivity to flowing lines is a hallmark of 18th-century European decorative art, especially the French Rococo style, meant to imbue objects with visual rhythm and lightness. The side columns subtly evoke classical orders, maintaining a Western architectural logic even within an imagined Oriental context.

The true Chinoiserie flavor resides in the painted scenes on the mirrors: ladies with fans, children with trinkets, arching flowers, and birds in flight — all classic “exotic vignettes.” The costumes, with long robes and coiffed hair, serve as visual codes for “Chineseness.” The layout borrows from Chinese landscape painting, using dispersed perspective and negative space to form a layered, airy visual scroll.

Below the mirrors are twin candle branches (girandoles) — not merely for illumination, but echoing the 18th-century aristocratic fascination with light and shadow. This design enhances the drama of the mirror scenes, making the exotic world of Chinoiserie flicker and shimmer like a dreamscape stage performance.

Viewed together — metal objects, jewelry, and furnishings — Chinoiserie is more than a decorative style. It is a visual mechanism for imagining the Orient. Through a highly stylized and refined language, it reconstructs an “exotic world” for Western contemplation, manipulation, and consumption. What deserves greater attention is how these Eastern motifs are entangled with Western aesthetic ideals — dynamic linework, ornate structure, ceremonial symmetry — to create a hybrid visual genealogy. It is in this interweaving that Chinoiserie achieves its enduring allure: not as a fixed stylistic label, but as a decorative narrative constantly evolving across cultures, aesthetics, and craftsmanship. In the luxury goods of the 18th century, it was dream, spectacle, enigma — a crystallization of technical skill and imaginative vision.

[engicrafts]

This striking object is a 漬物皿 (Tsukemono-zara), or pickles dish, dating from the 19th century. While the form itself was used in traditional Japanese dining to present tsukemono—salted or fermented vegetables served as palate cleansers or flavor accents—this particular piece exemplifies a fascinating moment in the history of Japanese ceramics: the influence of Western decorative arts during the late Edo to Meiji period.

Set in an elaborate metal stand with a looped handle and floral feet, the porcelain dish is not just functional but also ornamental. The metalwork evokes Western Victorian design sensibilities, complete with vine-like detailing that hints at the European fascination with natural motifs. The ceramic portion, with its gilded and violet-lavender border, features an intricate overglaze gold floral motif at the center—perhaps a nod to both Japanese textile patterns and Western baroque elegance.

This piece likely belonged to a cosmopolitan household during a time when Japanese artisans were actively experimenting with export-oriented aesthetics and hybrid forms. The Meiji Restoration (1868 onward) saw an influx of Western influence, and domestic tableware began to reflect this intercultural exchange.

In this way, the dish not only held tsukemono but also held within it the story of cultural negotiation—bridging Japan’s refined traditions of hospitality with Western ideals of ornamentation and formality. It reminds us how even the humblest of objects, like a pickles dish, can be a canvas for global artistic conversation.

[jannah-software]

Developing software with artificial intelligence (machine learning) and blockchain capabilities.

[systastic]

Hi!! Can we get 2 level 3 creators choice DSMP (any au/source) alter packs??:3 tysm!!

oouhh… dsmp is not smth we know 3: but ill try nya!!! -🍥

thought it would be funny to make all of their alt names start with the same letter. if ya want them to be different lmk and I’ll find others :] -🌳

name :: fundy, foxy, felix, finn, flynn, fallon, forest, finley, fyxe (pronounced fix)

age :: 21

pronouns :: he/him, fy/fyn, fox/foxs

roles :: system hacker, overclocker, optijective, contrarian advisor, semi-architect, minecraftxenorole

species :: human/fox shifter

gender identity :: kitfoxthing, codegender, sunstelasyne, mangojellyic

orientation :: gay

source :: brainmade / MYCT

aesthetic :: constructivism, memphis design, minivan rock

appearance description :: being both half human and half fox has given Felix the ability to transform from a full fox form to a half-human and half-fox form. fyn hair in human form is a comforting shade of orange with furry black ears sticking up from the fluff. an orange tail with a black tip sprouts from just above his behind and is rather sensitive to the touch. a strange ombré pattern trickles down from his fingers and toes, disappearing as it reaches halfway up his forearms and calves. flynn makes a habit out of wearing long pants with a billion pockets on the legs and a hoodie with deep pockets to stash all of the things he pilfers from others. they’ll get them all back later… probably… if foxy remembers to give them back or gets caught red-handed. when he isn’t being a little shit, fyxe can be found gaming the day away at his computer desk, often to the point of forgetting to eat or drink.

personality description :: an absolute menace of a man who commits so many crimes on a daily basis. whether it be snatching up stuff that isn’t his, coding the headspace to have some sneaky traps implanted, or convincing someone into something through reverse psychology, fundy is always getting up to no good. granted, his version of “no good” revolves around snatching up objects, building or coding things into the headspace that would mildly inconvenience someone, or annoying someone else. still, it can get frustrating. he is a gamer and goes bananas over being given full access to a sandbox game, learning the ins and outs in a matter of hours and starting to mod it as soon as he can. if other alters make stuff in the same game, then fallon will try to help them… though his help isn’t always wanted.

likes :: gaming, coding, making stupid shit, playing with his friends, pulling pranks on people, foxes, creating things, working with others on projects, playing minecraft, committing crimes (not real ones, only lighthearted stuff), snatching things that look cool, YouTube video binging, and pilfering some late night snacks to soothe his hunger

dislikes :: his coding not working, getting caught in his own traps, being called out for the stuff that he does (people just can’t have fun nowadays, can they?), having to work on school stuff (boring!), getting frontstuck, being on his own for too long with nothing to do, and being bored. he hates being bored.

front triggers :: minecraft, coding work/lessons, the idea of making some mischief, pranks and practical jokes

signoff :: 🦊, 💻, 📝, or 🔏

Image source here

name :: callahan, callum, chandler, caelan, caelus, cian, cillian, conor

age :: 19 to 22

pronouns :: he/him, they/them, si/syr, dear/dears (dearself)

roles :: escutcheon, naturalist, pacific, advisor, minecraftxenorole

species :: deer-human hybrid

gender identity :: deerthing, etincechampic, faefolkspinnic

orientation :: achillean

source :: brainmade / MYCT

aesthetic :: mossy, goblincore, cabincore,

appearance description :: cillian is a shorter guy with curly brown hair, tanned skin, and deep brown eyes. he often wears a cloak over his shoulders to accompany his outfit. why they do this isn’t super clear — but what is clear is that they love their cloak and can often be spotted running around to make the wind blow it back. conor isn’t a huge fan of layers; this usually makes him go shirtless when wearing his cloak, or wear a very light tank top underneath. dear rarely wears shoes when outside as dear likes to feel the dirt and grass under dears feet as dear goes. some folks see this as callum being “dirty” or “gross”, but cal doesn’t care. he knows headspace isn’t as real as the outer world is. so what if he doesn’t wear shoes? it won’t hurt them any. cian sometimes has a muffler he pulls up over his mouth to give himself a barrier between his lips and the world. it feels… safe, somehow.

personality description :: callahan is a very sweet if not somewhat shy person. they’re known for their silly streak and ability to joke around even when they aren’t in the mood to speak. cal’s ability to mime is second to none, and god knows they can use their hands to accentuate things. unlike fundy, caelus doesn’t get any humor out of watching other people suffer. he prefers to help instead of hurt; it makes him feel better about his position and role. despite his preference for silence, cian does like to interact with others. this can come through gestures and actions or simply projecting his thoughts to other headmates without saying a single word. in his mind, this makes communication easier than talking does, what with word choice and tone and all of that. chandler is a bit of a loner, but he still likes to hang out with his friends for special or otherwise important events.

likes :: solidarity, sitting on the ground in the middle of a clearing, fresh dew on blades of grass, observing the world, reindeer, regular deer, in-game wildlife, the small details that really build up a video game, good graphics and smooth frame-rate, sandbox games, being able to play with others, and not having to use his voice to talk during a video game.

dislikes :: big crowds, loud concerts, being annoyed by fundy too often, griefers, people who make games no fun for anyone, rule breakers (ie spawnkills, save-scumming pvp fights, server bounty hunters, hackers, etc), unfair rules, being pushed out of a group in favor of someone else they don’t know, getting replaced, and having to wear shoes when outside for any length of time (it feels so wrong).

front triggers :: being on their own in otherwise busy places, an inability or unwillingness to speak, people-watching, world simulators

signoff :: 🦌, 🌎, or 🗺️

image source here

[literaryvein-reblogs]

A Few More Art-Related Vocabulary

Lacquer: Any of a variety of clear or colored liquid coating substances that dries to a hard, durable finish, which can be further polished.

Leading lines: Actual or implied lines within an image that lead the viewer’s eye to another point in the image, or occasionally, out of the image.

Mammoth plate: A large glass plate measuring up to 18 x 22 inches, which is made sensitive to light and is used to make prints.

Marquetry: Numerous small pieces of wood or other materials that fit together like a puzzle and are applied to the surfaces of furniture. Marquetry patterns may be scenic, floral, abstract, or arabesque.

Medium (plural: mediums or media): (a) A material or technique used by an artist to produce a work of art, and (b) the adhesive that carries paint’s pigments.

Milliner: A person who designs, makes, trims, or sells women’s hats.

Negative: An image in which the colors, tones, and highlights are the reverse of those in the original subject. The film negative can be used to make a positive print.

Neoclassicism: The style of the Enlightenment in which artists focused on accounts of filial or national devotion, fidelity, and courage and sought to revive the ideal of classical Greece and Rome in architecture, sculpture, painting, and the decorative arts.

Nonrenewable resource: Natural resource that exists in a fixed amount and is being used up faster than it can be made by nature.

Orientalism: Refers to the imitation or depiction of aspects of Eastern cultures in the West by writers, designers, and artists.

Overmantel: An ornamental panel or structure above a mantelpiece (the protruding, often decorative shelf over a fireplace).

Painterly: Characterized by qualities of color, stroke, or texture perceived as distinctive to the art of painting, especially the rendering of forms and images in terms of color or tonal relations rather than of contour or line.

Pastels (also, fabricated chalks): Dry drawing media made from powdered pigments combined with nongreasy binders.

Patron: A person or group that supports artists or writers, especially by giving money.

Perspective: In art, a technique of depicting objects to convey the appearance of distance or depth on a flat surface. It is part of a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by an imagined viewer.

Photographic essay: A story illustrated through photographs, which may or may not be accompanied by text.

Phrygian [FRI-jee-an] cap (also, liberty cap): A soft, red, conical cap with the top pulled forward, worn in antiquity by the inhabitants of Phrygia, a region of central Anatolia. In the visual arts, it represents freedom and the pursuit of liberty.

Pinhole camera: A basic form of camera, usually the size of a shoe box, with a tiny hole for the opening and no lens. Light passes through the hole to form an inverted image on the film emulsion (suspension of one liquid in another).

Point of view: The place from which the viewer sees the landscape, or the place where the artist or photographer was sitting or standing when the picture was made.

Porcelain: A durable, fine-grained, nonporous, and usually translucent white ceramic ware that consists essentially of kaolin, quartz, and feldspar and is fired at high temperatures.

Source ⚜ More: Word Lists ⚜ Part 1 2