#Particle velocity

[little-p-eng-engineering]

Little P.Eng. for Discrete Element Modeling (DEM) Services

In a world driven by technological advancements, the ability to understand granular systems at a particle level has never been more essential. This precise understanding has been made possible through a computational technique known as Discrete Element Modeling (DEM). While many entities offer DEM services, Little P.Eng. has carved a niche for itself as a front-runner in this specialized domain.

Understanding Discrete Element Modeling (DEM)

Before diving into the specifics of Little P.Eng.'s offerings, it's essential to demystify DEM:

DEM is Calculation-based Modeling: At the heart of DEM is mathematics. This method uses precise calculations to predict the behavior of individual particles within a system. By doing so, it can accurately predict the interactions and outcomes when these particles are subjected to various conditions.

DEM Allows for Visualizing Results: One of the standout features of DEM is its ability to provide visual results. Users can observe:

Particle Velocity: Understand the speed and direction of individual particles.

Forces: This includes shear (parallel to the surface) and normal (perpendicular to the surface) forces that the particles experience.

Moments: This refers to the bending and torsional (twisting) moments affecting the particles.

Acceleration and Material Scatter: Track how quickly particles move and the variations in their dispersion patterns.

DEM: More than just Flow Simulation: While DEM is instrumental in predicting the flow of bulk materials, its capabilities extend beyond this. It plays a crucial role in understanding:

Wear Patterns: Predict how equipment will fare over time by simulating particle interaction and the resultant wear.

Mixing: Understand how different particles mix, which is vital in industries like pharmaceuticals and food production.

Center Loading: This refers to the loading pattern where materials concentrate towards the center, crucial in industries like construction.

DEM Programs: The Power Behind the Predictions

Any tool is only as good as the software powering it. When it comes to DEM, numerous programs can be used to perform this intricate modeling:

EDEM: A market leader, renowned for its comprehensive modeling capabilities.

PFC (Particle Flow Code): Known for its versatility, offering both 2D and 3D simulations.

LIGGGHTS: An open-source powerhouse that's both versatile and widely accepted.

Rocky DEM: Its strength lies in simulating realistic particle shapes, crucial for specific industries.

Yade: An open-source tool prized for its extensibility.

Abaqus: A multi-faceted software that, beyond its renowned finite element analysis, offers DEM capabilities.

Ansys Rocky: Building on the Ansys platform's strengths, it focuses on granular flow simulations.

Barracuda Virtual Reactor: Ideal for energy sector applications, especially particle reactions.

Also there are some open sources:

Kratos Multiphysics is developed by CIMNE (International Center for Numerical Methods in Engineering) in Barcelona and covers all kinds of numerical simulations, including DEM/PEM and DEM/PEFM-FEM coupling.

YadeDEM is a DEM package that is specifically designed for geomechanics.

Woo is a fork of YadeDEM with a strong focus on parallel computing and portability.

LAMMPS is a general purpose DEM/PEM.

LIGGGHTS is a general purpose DEM software that includes heat transfer simulations and is based on LAMMPS.

ESyS Particle is developed at the University of Queensland, Australia, with a focus on geoscientic/geotechnical applications.

GranOO is a general purpose DEM.

MercuryDPM is a general purpose Discrete Particle Method (DPM) software.

Little P.Eng.: Setting the Gold Standard in DEM Services

In the expansive realm of DEM, Little P.Eng. shines brightly, and here's why:

Mastery Over Multiple Platforms: Their team is proficient in a diverse array of DEM programs, ensuring they always have the right tool for the job.

A Client-centric Approach: They tailor their solutions, ensuring that each client's unique needs and challenges are addressed.

In-depth Analysis: Beyond merely running simulations, they delve deep, integrating real-world measurements to enhance simulation accuracy.

Applications and Implications of DEM in Industries

The true power of DEM, as harnessed by Little P.Eng., lies in its diverse applications:

Equipment Design: Through DEM, companies can design equipment that's optimized for longevity and efficiency.

Optimizing Production Lines: By understanding how granular materials behave, industries can fine-tune their production lines for maximum efficiency.

Safety Protocols: Predicting particle behavior, especially in industries dealing with hazardous materials, can lead to enhanced safety protocols.

Challenges in DEM and How Little P.Eng. Overcomes Them

DEM, while powerful, isn't without its challenges. The accuracy of simulations is heavily reliant on input parameters. Additionally, the computational demands for large-scale simulations are immense.

Little P.Eng. rises above these challenges through a blend of rigorous experimental data collection and a deep understanding of the DEM software landscape. Their iterative approach ensures that simulations are continually refined for better accuracy.

Conclusion

Discrete Element Modeling (DEM) is transforming our understanding of granular systems. With its capability to provide in-depth insights at a particle level, its applications span a wide array of industries.

In this domain, Little P.Eng. emerges not just as a service provider, but as a trusted partner, guiding businesses towards better efficiency, safety, and innovation. As we venture further into an era where the micro informs the macro, the services of entities like Little P.Eng., underpinned by the power of DEM, will undoubtedly be invaluable.

Read more:

Little P.Eng. for Discrete Element Modeling (DEM) Services: Unveiling the Power of Simulation

The Importance of Discrete Element Modeling (DEM) Studies and What Problems It Can Solve

Tags:

Little P.Eng.

Discrete Element Modeling

Mixing

Granular systems

Particle behavior

EDEM

PFC (Particle Flow Code)

LIGGGHTS

Rocky DEM

Yade

Abaqus

Ansys Rocky

Barracuda Virtual Reactor

Calculation-based modeling

Particle velocity

Shear forces

Normal forces

Bending moments

Torsional moments

Acceleration

Material scatter

Flow simulation

Wear patterns

Center loading

Equipment design

Production line optimization

Safety protocols

Computational simulations

Input parameters

Simulation accuracy

Bulk Material Handling & Processing

Engineering Services

Located in Calgary, Alberta; Vancouver, BC; Toronto, Ontario; Edmonton, Alberta; Houston Texas; Torrance, California; El Segundo, CA; Manhattan Beach, CA; Concord, CA; We offer our engineering consultancy services across Canada and United States. Meena Rezkallah.

[i-iii-iii-vii]

[whats-in-a-sentence]

Nevertheless, perhaps unjustifiably, Bohm's approach has never caught on.¹³

13. The Bohm or de Broglie-Bohm approach has never received wide attention. Perhaps one reason for this, as pointed out by John Bell in his article "The Impossible Pilot Wave," collected in Speakable and Unspeakable in Quantum Mechanics, is that neither de Broglie nor Bohm was particularly fond of what he himself had developed. But, again as Bell points out, the de Broglie-Bohm approach does away with much of the vagueness and subjectivity of the more standard approach. If for no other reason, even if the approach is wrong, it is worth knowing that the particles can have definite positions and definite velocities at all times (ones beyond our another, even in principle, to measure), and still conform fully to the predictions of standard quantum mechanics – uncertainty and all. Another argument against Bohm's approach is that the nonlocality in his framework is more "severe" than that of standard quantum mechanics. By this it is meant that Bohm's approach has nonlocal interactions (between the wavefunction and particles) as a central element of the theory from the outset, while in quantum mechanics the nonlocality is more deeply buried and arises only through nonlocal correlations between widely separated measurements. But, as supporters of this approach have argued, because something is hidden does not make it any less present, and, moreover, as the standard approach is vague regarding the quantum measurement problem – the very place where nonlocality makes itself apparent – once that issue is fully resolved, the nonlocality may not be so hidden after all. Others have argued the there are obstacles to making a realistic version of the Bohm approach, although progress has been made on this front as well (see, for example, John Bell Beables for Quantum Field Theory, in the collected volume indicated above). And so, it is definitely worth keeping this alternative approach in mind, even if only as a foil against rash conclusions about what quantum mechanics unavoidably implies.

"The Fabric of the Cosmos" - Brian Greene

[planet4546b]

thinking of the ekp this morning and enjoying it. order of monks going maaaaan it’s getting really annoying inventing new math to try to assign value to a universe that resists that. ugh. and my buddy event horizon going I have an idea……has anyone here played pokemon platinum.

[sciencesolutions]

[rowanintheriver]

you're thinking abt vi as in arcane i'm thinking abt vi as in initial velocity. we are not the same

[ianmiller42]

Guidance Waves

And now for something different from usual: theoretical physics. If that turns you off, so be it, but the reason I am excited is I have now published my ebook “Guidance Waves 2nd Edition”, which I claim is an alternative theory for quantum mechanics. Which raises the question, what does it need to do to be an alternative theory? First, before everyone turns off completely, the main equation is…

[golzar66]

অভিকর্ষজ বা মাধ্যাকর্ষণজনিত ত্বরণ

অভিকর্ষজ বা মাধ্যাকর্ষণজনিত ত্বরণ, অভিকর্ষজ ত্বরণ, উল্লম্ব গতির ক্ষেত্রে গতিসূত্রসমূহ, পতনশীল বস্তুকণার গতি, উত্থানশীল বস্তুকণার গতি, সর্বাধিক উচ্চতা, সর্বাধিক উচ্চতা হতে পতনকাল, বিচরণকাল, নির্দিষ্ট কোনো উচ্চতায় বস্তুকণার সময়, নির্দিষ্ট কোনো উচ্চতায় বস্তুকণার বেগ, প্রয়োজনীয় সূত্রাবলী, Acceleration due to Gravity, gravitational acceleration, Equations of motion in terms of vertical motion, Motion of a falling particle, Motion of a rising particle, Maximum height, Time of flight, Time of a particle at a given height, Velocity of a particle at a given height

[tenth-sentence]

As we saw earlier, if you were to know precisely how things are now (the position and velocity of every particle in the universe), the laws of classical physics would tell you exactly how things were or would be at any other moment you specified.

"The Fabric of the Cosmos" - Brian Greene

[italiantea]

the german word for walk (laufen) can also the german word for run. the min nan word for run (走) is the same as the japanese word for run (走る), which is the same word as the mandarin word for walk (走). the min nan word for walk (行) is the same as the japanese word for go (行く). what was my point again? languages are kinda dumb, I think

[frostgears]

gardening

you did something stupid and now you're here in your itchy twice-a-year dress uniform in this bright busy room in the regimental HQ trying to figure out if you're going to be yelled at, shot, or promoted. the room's full of folding chairs. apparently not enough furniture in here normally to contain all the suits and all the brass.

your "ops coordinator" ("we don't say 'handler', grunt, it gives the civilians weird ideas") got pulled off for a side conversation two minutes after you got here and you haven't seen her since. you're looking anywhere for a familiar face. you're coming up empty. at least the woman next to you looks equally stressed. she must be civvie, some consultant or other; soft face, masses of curly hair. she's wearing a blazer and slacks with big round dataframes.

"hey," you elbow her. "what are you in for?"

"gods above and below." she sighs. "everything. but today mostly Neryx-9."

"the ag research station. you were there?"

"hardly," she says. "just came up on my huge list of problems."

"creepy shit. i was front and center for it…"

she cocks her head to listen. you explain.

Neryx-9 had been a cluster of greenhouses on the surface. supposed to be vacant, powered down — actually they'd said "mothballed", then looked at you like you were stupid when you asked what a moth was and what they did with their balls. but not vacant. far from it. you went in with a miniframe. first thing you found was the bodies of the grid authority techs that had called it in. purple mold already growing over them.

"it was wrong," you tell her. "not like that white stuff you get when an open nutripak sits in the fridge too long. i mean, i don't know if that would have been better. i just, i don't know, i didn't want to get any of that stuff on me. frame or no. maybe there was some already on me, but didn't want to get it on anyone else. so i backed out, sat in the airlock, thought about calling for extraction. thought better. backed to the wall, cycled my flight jets until it was starting to get warm even inside the frame, thought maybe i'd cook it off me. my ha– ops coordinator asked me what the fuck i was doing. snapped me out of it, i told her, i need fire. incendiaries."

they'd found them, somewhere. support rigged another airlock outside of the main airlock after you'd yelled at them to keep that shit inside. a miniframe-scale plasma cutter for outside construction work, and some purpose-built low-velocity liquid pyrophoric agent rockets.

the woman in the blazer made a face. "we just have those sitting around?"

"starship boarding actions. when we don't want to breach the hull but we do want to use all the oxygen. splashes around, gets everywhere, but nowhere near hot enough to melt anything structural. only used 'em in sims, of course, not like we get a lot of star traffic. horrorshow shit. or i thought it was, before this."

the outside airlock door opened and you'd taken up what they'd brought you.

you stepped over the bodies of the grid techs into hell. purple and orange jungle everywhere. insane external humidity and particle count. dome after hallway after dome of the shit, growing over the grow lights, growing up the walls, into the vents. you could feel it through your frame, through your suit. it was hungry. it wanted in.

"ma'am, compared to that feeling, that pressure, the first giant critter trying to eat my frame was a relief."

six thick legs, triangular jaws, scales and plates all over, massive paddle tail. it had reared out of a pond and tried to drag you back in with it. it wasn't as heavy as you, maybe, but it was mad as hell and a fast mover, and fuck, what right had anything like that to exist in an abandoned greenhouse? you knew you didn't want to be in that filthy water. who knew how deep it was? it'd clog your exhaust, choke your radiators. you twisted around as best you could in its grip, armed your wrist weapon, and blasted a thousand flechettes directly into its face.

"and that stopped it?"

"well, wasn't much left to be stopped, but yeah. and that's when i found it that it had friends and they could smell blood in the water."

she wrinkled her nose in a way that was either a dataframe input gesture or genuine surprise.

"why not just depressurize the domes, at this point?"

"thought about it. i had breaching charges. but… like i said, this stuff felt like it shouldn't get out. there's not much out there, yeah, but i just couldn't. and i had the cutter, and the rockets. so i decided to make it too hot on the shore for them to get me so easy."

you'd turned the artificial jungle into curtains of flame. the big creatures dove back into the water, giving you a narrow path to keep going. in the burning canopy, smaller things flared and dropped; you hadn't seen them moving until they died.

your handler had been screaming at you to get clear, get back to the airlock, but the flames made that a losing proposition. so you kept going in. Neryx-9 was roughly linear. there was another lock on the far side.

"past the labs, it turned out. and maybe some of those corpses in there had been growing these things, but it looked like the shit got away from them and was growing on them. there were these ribbons of orange moss, growing everywhere, out of containers, branching into foam and fabric and dead flesh — i tried to pull it off someone, before i realized they were all dead, and their skin came off in sheets, brown-black and full of tiny holes. charred, but not. think it was acid."

"something like a lichen."

"yeah, maybe? i learned about those in school. you can see 'em out the windows in a lot of places. they grow on rock, right?"

"they do," she says. "useful. so what did you do then?"

"i set the cutter to max spread and i torched a path through to the far airlock. and i don't mind saying, when i noticed the cutter battery and gas cylinder were doing okay, i started spreading it around a lot more. i just. i had to burn it."

"happens that was the right move," she said. "good instinct."

"please tell me someone did something about that shit."

"well," she smiled, "there's you. you know, you're refreshingly simple. like a cat that somehow had the sense to eat an invasive lizard. and since you didn't drag the bits all over, i tasked a solarsat to finish the job. can't beat a pass with an X-ray cloudpiercer beam for that kind of cleanup."

she wrinkles her nose again, and the general murmuring of a dozen conversations in the room changes as people look to the main wall display, which now shows a collection of greenhouse domes sagging as if collapsed by an invisible weight. the rock under them begins to glow.

"what's a cat?" you blurt out, before the words "i tasked a solarsat" have a chance to sink in. like, her, personally?

"an animal. a dumb little predator that associates with humans. from Terra, way before the Catastrophe. we're not ready for them just yet, but maybe someday."

a door opens to your side, and you both turn to see your handler, looking about at the end of her rope, and next to her, her boss, the major, who reports directly to the colonel.

"shit, there you are. look. you're gonna have to answer some questions. and it's not guaranteed you're going down for this, not yet, so just be honest, but for fuck's sake be brief, don't try to understand or interpret—"

both of their faces blanch. like, almost completely bloodless. eyes wide.

the curly-haired woman in the blazer smiles widely. "don't worry," she tells them, "she already did. she's been very helpful. in fact, i think i might like to keep her." she puts a hand on your knee.

"i'm not sure i understand, ma'am?"

"pilot," the major says, "is there a reason you've been occupying the time of the Director of Planetary Ecology? the woman who keeps this entire planet breathing oxygen and eating something other than rocks?"

and now your face must be bloodless too. the DPE? even you know that position. but you can't remember ever seeing a photo.

"oh, she was just telling me how she improvised containment protocols to prevent someone's experiment with Araukan imports from getting out of hand. clever girl. or lucky, at least."

you risk a glance to your side. she's still smiling. the woman who can steer any bioscience research on this planet, cut off power and water and air to anything she deems anathema to the coming ecosystem, commandeer keystone orbital infrastructure and burn habitats like you burned trees.

"i don't think we can possibly say no, Director," your handler says, carefully.

"no," the Director agrees. "you can't." □

[whats-in-a-sentence]

When we observe a particle, for example, the definite features we see do not generally reflect the fuzzy quantum mixture of attributes it had a moment before we looked.¹

1. This statement ignores hidden-variable approaches, such as Bohm's. But even in such approaches, we'd want to teleport an object's quantum state (its wavefunction), so a mere measurement of position or velocity would be inadequate.

"The Fabric of the Cosmos" - Brian Greene

[orellazalonia]

Arm Dilemma

Summary: Your first time catching Bucky using the dishwasher to wash his metal arm. (Husband!Bucky Barnes x reader)

Word Count: 600+

A/N: Inspired by that one scene in the thunderbolts trailer of Bucky’s arm in the dishwasher lol. Happy reading!

Main Masterlist

Bucky Barnes was many things: a former brainwashed assassin, a super soldier, a brooding Avenger, and surprisingly to many, a man with a very strong opinion about dish soap. You learned that about two months into marriage, when you bought off-brand lemon-scented detergent and he stared at the bottle like it had personally betrayed him in a Cold War mission.

But nothing quite compared to what you discovered one quiet Tuesday afternoon.

You had come home early from work, your arms full of groceries and your head full of plans. Nothing wild, just dinner and maybe a movie if Bucky wasn’t in one of his “I’m too emotionally complicated for romantic comedies” moods. As you kicked the door shut behind you, you noticed two things immediately: first, that the apartment was suspiciously silent. Second, that the dishwasher was running.

Bucky? Voluntarily doing chores?

You set the groceries down slowly, as if any sudden movement might shatter the fragile domestic miracle occurring in your kitchen. You approached the dishwasher with reverence, like you were sneaking up on Bigfoot. You squatted down, peeked through the tiny, cloudy window in the front panel, and your brain short-circuited.

There, nestled between a pasta strainer and a coffee mug with Tony Stark’s face on it, was Bucky’s metal arm.

You blinked, rubbed your eyes, then looked again.

Still there.

You stood in stunned silence for a long moment before you did the only logical thing: you yelled, “BUCKY BARNES, GET YOUR SUPER-SOLDIER ASS IN HERE RIGHT NOW.”

There was a pause. A creak. Then soft, sheepish footsteps.

He appeared in the hallway, shirtless, with only his flesh arm scratching the back of his neck. “Hey, doll.”

“Don’t you ‘hey doll’ me,” You said, gesturing wildly toward the dishwasher. “Why is your vibranium arm in there?!”

He glanced toward the appliance and had the audacity to shrug. “Had peanut butter on it.”

“Peanut-” You choked on your words. “How does a trained assassin get peanut butter on his arm?”

“I was making a sandwich. The jar slipped. It was a high-velocity incident.” He actually looked offended on behalf of his own coordination. “Some of it got into the grooves.”

“You could’ve wiped it down. With a towel.”

He looked at you like you’d just told him to polish a jet engine with toilet paper. “There are micro-particles in the joints. This is precision tech. Do you know what peanut oil does to vibranium?”

You opened your mouth. Closed it. Opened it again. “I’m fairly certain it does not cause spontaneous combustion if left on for twenty minutes.”

He crossed his arms. Or rather, arm. “Steve would’ve backed me up.”

“Oh don’t you dare bring Steve into this- Steve washes his shield with dish soap and a sponge like a normal person!”

You stomped to the dishwasher and pointed at it like it had wronged your ancestors. “Do you know how expensive this is? If you break it with your high-tech Marvel Lego piece, I swear to God-“

“It’s on the bottom rack,” Bucky mumbled, sulking now. “Delicate cycle.”

You pinched the bridge of your nose and took a deep breath.

“I swear, one day you’re going to wash your soul in the laundry hamper because you got it dirty.”

He gave you a lopsided grin, the one that still made your heart do a traitorous little flutter even after years together. “Would you still love me if I did?”

You tossed the towel at his face. “Only if you remember to use fabric softener.”

It then became a running joke. You’d leave sticky notes on the dishwasher that said “NOT FOR BODY PARTS,” and he’d respond by leaving his own sticky notes over your notes with “WARNING: May Contain Metal Parts. Proceed With Caution!” It was domestic life with Bucky: chaotic, a little ridiculous, and somehow the best kind of normal you never thought you’d have.

And despite his broody past, his spy instincts, and the tendency to sometimes treat modern appliances like alien tech, Bucky Barnes was yours.

Even if he occasionally mistook a dishwasher for a tactical cleaning unit.

[sciencesolutions]

[ruesol]

You dream about a nameless and faceless man making you see stars in the darkness of your room (Ghost x reader) NSFW

Notes: dubcon-ish, fem!reader

main masterlist

Droplets of rain hit your window with a velocity that would make one think that you were tapping your fingers at a fast pace against the glass. You sighed as you cleared out the books from your shelf and begrudgingly placed them on your desk for some routine dusting.

Chores were not your favorite spare time activity but what else could you do? Your plans to go on a picnic with your friends had been cancelled by the rain and sitting in your bed for hours on end made you feel agitated.

You had switched out your normal neon white lights for a warm yellow one. Your singular long floor lamp dimly brightened the whole room in contrast to the darkness outside. Your laptop played an old romance movie from the 1950s.

You didn’t even enjoy content from old Hollywood. You just liked the sound of the crisp trans-Atlantic accent with occasional jazz music in the background. Perfect ambience for a quiet night in.

Well, the night would’ve stayed quiet for longer if thunder hadn’t struck right when Audrey Hepburn began to belt out her high note in Show Me.

You yelp as you drop your duster, coughing as the dust particles float into the air and attack your nose. “Blasted lightening,” you mumbled to yourself as you leaned down to grab the duster from the ground.

You thought your vision was giving out on you again. You had passed from low blood sugar before and the symptoms often occurred when you bent down too quick. However, it was because your lamp began to flicker.

You looked towards your laptop and it suddenly became the only source of light in your room. You sighed as you reached towards the outlet. The light that indicated if it was on or not was dull. “Blasted lightening.” You muttered for the second time.

You got up to get your flashlight from the bed side table but as you were about to turn around, you felt two hands firmly grip your waist on either sides.

Your blood ran cold. You were the only person at home. Granted, that your abode wasn’t a fortress, but you always double locked your door and had a Doberman that was an ode of tyranny to anyone but you.

“Who are you?” His grip on your waist tightened at your question. He pulled you into his chest, ass pressed against his tented front. Something about him smelled familiar but you couldn’t point it out.

‘Anyone who’s been in love will tell you that this is no time for a chat!’

Audrey Hepburn’s voice sounded eerily excited. Almost like she was encouraging what was going in your room.

“What are you doing?” You asked again, fearful.

A large calloused hand grabbed your chin and stroked its rough fingers down your neck, to the center of your clothed chest, and finally stopped right where your diaphragm would be. “Shhh.” He leaned down and whispered in your ear.

You whimpered as slotted his knee between your legs and pushed your pelvis onto your table. “Please, leave me alone or I’ll call the police.” You weren’t sobbing but you sure were on the verge of it.

“You won’t need to once I’m inside you.” His voice felt like grainy and rough gravel after rain. His other hand that was situated on your waist began to bunch of up your flimsy night grown around your waist, however, the slinky material made it hard for it to stay in one place so he let out a growl of frustration before ripping it into pieces.

You gasped as he pressed his clothed centre to your almost bare ass once again. “Please, let me go.” You don’t hold back from crying this time so you could at least appeal to the mystery man’s humanity.

He turned you around, and you were grateful that you could finally try and put a face to your violator.

The dimness of the room didn’t do much but show you that he was wearing a balaclava and had blue eyes. Almost like they were glowing. Like he wanted you to only see them and nothing else. The sense of familiarity while gazed at them returned and you quit sobbing for a moment.

The masked man took that as consent and carried you to your bed, surprisingly being gentle while laying you down. You opened your mouth to plead once again but he was quick to pull up the bottom of his balaclava and slot his lips against yours.

‘Haven’t your lips longed for my touch. Don’t say how much. Show me, show me.’

You had never kissed such chapped lips before but the way your lips moved against his made you feel like you had done this a thousand times before. His hands began to explore your body, gently squeezing you in places where only you knew how sensitive you were.

Before you knew it, your tongue began to lick his bottom lip every time his lips met yours, teasing him. His breathing quickened and he snarled, pulling your chin down with his rough thumb and shoving his tongue in your mouth.

This was unlike you. You’re not someone who makes out with strange men!

But you couldn’t help but moan into his mouth as his hands rubbed your slit through your wet panties. Between kisses, you huffed out a small “stop” but you both knew that you were saying the opposite of what you wanted.

His kisses began to become sloppier. His lips chaffed against the apples of your cheeks as you huffed and puffed with every stroke of his fingers, slowly pushing the gusset of your panties between your slit.

“At least take them off, you oaf.” You grunted pushing his hand out of the way and then placing them back in the same spot after removing the piece of clothing.

The man let out a sarcastic chuckle before plunging two fingers, knuckle deep, into you. Your neck stretched as your head leaned back, almost showing you the wall behind your head in your field of vision.

The still clothed man began to litter kisses on your neck, sucking on certain spots while nipping on others. He ended up biting one spot too hard and you let out a whine. This compelled him to rock himself against you.

It was filthy. Your fan was off because the electricity had gone out so the room was engulfed in a sweaty dew of sex. Your hair was a mess from all the rubbing against your pillow and you had a total stranger using your body as he pleased.

‘Sing me no song, read me no rhyme, don’t waste my time. Show me!’

Your moans grew louder as you were about to reach your climax but the man pulled his fingers out. You let out an angry groan. “You wanted this! Why’d you stop?” Your breathing was quite heavy as you grabbed on to his hand to plunge his wet fingers back into you again.

However, his arm was rigid. “Don’t tell me what to do.” He mumbled before flipping you over. “Ah!”

You heard the sound of clothes falling to the ground before you felt the entirety of your back being covered by the blanket of naked human warmth. He had managed to place his tip right in front of your entrance. “Any last words?” The man joked.

“You’re going to be speaking your last words if you don’t do as I- oh!” You let out a loud moan as he thrust into you with no warning.

It was all too much. The constant thrusting, the music in the background that didn’t make the atmosphere the least bit sexual, his breath against your neck and your face rubbing against your silk pillow.

He pulled you onto your side and began rubbing your clit with every thrust. Your breathing grew fast with every stroke and thrust while he quit his nonchalant home invader act and began to moan louder and louder into your hair.

You closed your eyes tightly to brace yourself for your orgasm but it never came. Frustrated, you opened your eyes, to see your worried boyfriend, Simon, staring back at you.

“You alrigh’? You were breathin’ really hard and sweating. Thought you had a nightmare.” You were embarrassed over his concern.

Here he was, staring at you, all troubled and confused, while you had a dream about having sex with a faceless man. A home invader of all people too.

“It was just a disturbingly vivid dream.”

‘Haven’t your arms hungered for mine? Please don’t explain, show me!’

Your head turned towards the tv as Audrey continued to sing. You remembered playing one of her movies before accidentally falling asleep.

“You look out of it. Need me to help you with anything?” Simon said as he stared at your dazed expression.

You were about to tell your sweet boyfriend to not be too concerned but then you paused.

The man was wearing a balaclava. Your boyfriend owned a balaclava.

It was raining outside in your dream. It’s raining outside at the moment.

You were wet. And you’re still wet.

“Honey, could you go get your balaclava.” Your saccharine voice asked him.

“Why?” Your still confused lover asked, wondering how the piece of cloth could possibly be useful to you.

“I want to makeout with you while it’s on.”

“Ah, so it was that kind of dream.” The dirt blond said as he walked towards his side of the closet. You let out a hum in agreement.

By now, Audrey had begun singing against her costars face.

Your boyfriend returned with his classic skull balaclava on and you playfully gestured him to come closer with your fingers. Your man did as you asked and leaned over you in all his muscled glory.

But before you could pull him in for a kiss he went on to grab the remote to switch off the tv. You gently grasped his hand before he could do so.

“No, leave it on.”

[canmom]

I've been watching Star Trek, and also been learning about boats. Like, a big boat is more stable in the water, so you don't get tossed and turned so much when it's rocked by waves or turning.

Now, on Star Trek, they do the dramatic tilt-y cam and actors flinging themselves around. This makes sense when the ship is hit by weapons, but sometimes they do it when they are navigating asteroid fields and such. The original Enterprise (from the 60s) is 288m long, similar to a modern cruise liner, 127m wide, 73m wide, and 190,000 tonnes. Surely even a high-speed jaunt through an asteroid field would be barely felt on the bridge (which is the tiny raised part in the centre of the saucer)?

Hello anon! You're not wrong that like, there is a lot of artistic license in Star Trek's treatment of astrophysics.

The 'asteroid fields' seen in Wars and Trek are presumably inspired by the asteroid belt in our solar system between the orbits of Mars and Jupiter. It is true that there are a lot more big space rocks in the asteroid belt than there are in much of the rest of the solar system. However, space is really very big so there's a lot of room for big rocks. Spacecraft are routinely able to pass through the asteroid belt without coming anywhere near an asteroid (which is good, because at space velocities, collisions are really catastrophic).

The largest asteroids such as Ceres are nowadays classified as 'dwarf planets'; they might be as big as around 1000 kilometres in diameter, which is about 1/12 the diameter of the Earth. Many other asteroids are also hundreds of kilometres big. With the dimensions you've given me, if the Enterprise collided with such an asteroid, it would be a 'bug on a windscreen' kind of situation and the Enterprise would certainly not come off better for the experience.

However, most asteroids aren't quite so big. Here's a log-linear graph of the size distribution of asteroids:

There's about a million asteroids a kilometre big, and about ten million a hundred metres across; at some point the asteroids become too small for us to track, but I assume this approximately power-law distribution holds down to some small size.

Now, that sounds like a lot of asteroids, but the thing is they're spread across an absolutely enormous region of space. They cover a range of orbital radii of about 1 AU, which is to say the distance between the Earth and the sun, and a range of orbital inclinations about 20 degrees:

So, assuming we had about 10 million asteroids of 100m or bigger, that turns out to be about 1E-27 asteroids of that size per cubic metre of space. Which is to say you'd need to explore a cube of about 900,000km on a side to find even one asteroid that big. Space is really, truly, extremely very big. So, far from this kind of scene (src)...

...you'd be lucky to see even one rock outside the window. As Wikipedia puts it:

Contrary to popular imagery, the asteroid belt is mostly empty. The asteroids are spread over such a large volume that reaching an asteroid without aiming carefully would be improbable.

Now, OK, that's our solar system's asteroid belt. What about in deeper space? The thing is, big space rocks don't tend to just hang out. Our solar system's asteroid belt is presently thought to be a result of Jupiter disrupting the coalescence of planetesimals into a planet during the formation of the solar system. So in general, without a Jupiter, either your big bundle of space rocks has enough kinetic energy to spread out into space like a gas, or it doesn't and their mutual gravity causes them to collapse into a big clump, forming something planetish.

The Star Trek/Wars picture of a bunch of space rocks just kind of floating around doesn't make any sense on astrophysical timescales; about the only way you might see that is if some kind of much bigger rock has very recently exploded, and especially if you're in orbit around something or other which can keep the particles reasonably close together. The rings of Saturn are a great example, consisting mainly of bits of ice smaller than 10m. Saturn's rings are probably the closest place we know to a scifi asteroid field, but they are also incredibly thin, in many parts only tens of metres across.

So in short 'asteroid fields' in the depths of space are kind of not a thing. But what if they were?

On a boat, you are held against the water by gravity; you have various restoring forces, e.g. if the boat dips under water, it gets pushed back out by buoyancy. This causes, in physics-speak, oscillations on various timescales. The dynamics of ships are very complicated, but it has a lot to do with the buoyancy of water rather than collisions with solid objects. Here's Casual Navigation, pretty much my go-to source for any questions about how boats work, explaining the physics of ships rolling, and ways we mitigate that:

Water buoyancy applies a kind of 'soft' force spread relatively evenly across the surface of a ship, so the ship responds mostly rigidly by rolling around, maybe flexing a bit. But when ships actually hit something hard, even something like a sandbank, it tends to go very poorly for them.

In general, a spaceship is not very much like a boat. Space is, notably, a place where there aren't any fluids. Most of the ways that vehicles move on Earth don't really apply in space.

On the ocean, land or even air, objects in motion tend to stop (or at least fall downwards) due to friction and drag, and you need a constant supply of energy to stay moving in a straight line. In space, the opposite is true - you keep moving along your orbit unless you provide energy to change direction. Rocket acceleration is very limited and you try to do as little as possible. With real spacecraft, you mostly move along a ballistic trajectory, applying 'burns' with your rocket at just the right moment to push you onto a new trajectory - or you have a very weak but efficient engine like an ion drive which very gradually nudges you onto the trajectory you want.

In hardish scifi, we can handwave a lot of this complexity away by imagining amazing futuristic technologies like fusion torches and antimatter drives, which allow us to follow 'brachistochrone' trajectories, where you accelerate at something like 1g all the way up to the midpoint of your trajectory and then flip around and slow down. These have their own worldbuilding implications (which is to say the difference between a really fast spaceship and a weapon of mass destruction is basically which way you point it), but it allows you to get on with your plot without having your characters spending years in transit.

Star Trek is not hard scifi, although it sometimes likes to cosplay as it, so trying to apply this kind of standard is a fool's errand. Still, let's consider it. In Star Trek, spaceships move around in two ways. They have something called a warp drive, which allows FTL by distorting spacetime - it is presumably inspired by the Alcubierre metric (edit: no it isn't, it actually predates Alcubierre and he took inspiration from star trek in naming his solution a 'warp drive'), a solution to the field equations of general relativity that allows you to move a 'bubble' of spacetime at FTL speeds. There are many reasons to think the Alcubierre metric wouldn't actually work, or be survivable inside the bubble if it did; how it would interact with matter in the path of the bubble is unclear, but it seems quite likely it would scrape it all up at the front of the bubble and then perhaps release it at the destination in a blast of ultra-high-energy radiation. At least getting hit by asteroids is not a concern...

For slower-than-light travel, Star Trek ships apparently move around with something called an 'impulse drive', which is just a fusion rocket. (We shouldn't ask questions like 'where do you keep the reaction mass' or 'why doesn't the spaceship spin when the force vector is off-axis').

So, as far as space rocks, the big concern is that at high velocities, collisions with any tiny meteorites on your path have more and more energy, much like being shot with a bullet. It's less about shaking the ship around and more about damaging it, because at this kind of scale and energy, rigid things don't tend to stay rigid when they collide. Real solutions to this problem include things like layers of thin 'whipple shields' which break up the meteorite into small fragments before they hit the spacecraft. There's some crazier ideas out there, like spraying hot droplets from your engine's cooling system ahead of the ship to intercept dust grains and catching them with magnetic fields as you accelerate forwards.

I don't know that much Trek lore, but my understanding is they have some kind of magic 'shield' that prevents damage when they git hit by weapons. This presumably stops any space rocks from smashing right through the decks. But as you observe, the rapid camera shaking doesn't make a lot of sense either: it suggests some kind of shock going through the structure of the vessel. The ship is somehow getting hit by something with enough momentum to shake it violently but not throw it off course or severely damage it. That's not really how structures on this kind of scale work.

Of course, the main purpose of the screen shake is dramatic: you need to convey the characters are in a dangerous situation, and if they're all just sitting calmly in the set watching things play out on the screen, that doesn't really 'sell' it. Just like a wrestler pretending to be injured, you need your actors to convey the stakes of the space battle, and throwing themselves around the set is a very cheap way to do it. The asteroid field serves as a scifi version of a choppy sea or ice floe, adding an extra element of constant tension; it doesn't really matter that it doesn't make sense.

Much the same dramatic techniques are still used in more recent scifi, even relatively hard scifi such as The Expanse - observe the use of camera shake (though milder than in Star Trek), reaction shots, characters helpfully providing commentary ('they were expecting that', 'I'm putting us into a spin'). Or this scene; we link the action 'outside' (the full 3DCG space scenes) to the action 'inside' by changes of lighting (there's no real reason for turning the lights blue during combat except that it looks cool), bullets punching through the ship (so scary), and characters getting pushed around by g-forces. The plot contrives for the ships to do a close flyby while strafing each other with machine guns. This is a thrilling scene, and it relies on much later iterations of the 'shake the camera' concept - to link what is happening 'outside' to the characters we care about 'inside'.

Here is a breakdown of what is apparently the first, iconic Star Trek battle scene from which everything else follows:

This sequence is essentially taking most of its cues from submarine movies such as The Enemy Below: the two ships are attempting to figure out where the other is and get in an advantageous position. It is mostly a prediction battle between the two captains, both presented as honourable gentlemen types in what is essentially a duel. The mechanics of the ships is largely based on thin scifi skins over boat stuff.

In general, Star Trek takes various measures to make the captain and bridge crew the main people who 'matter' to a story, which keeps the cast and sets to a manageable size. The thing is, of course, that modern ships are much bigger than the sort of historical ships that could be imagined to be led by a charismatic captain having heroic exploits. There are thousands of people supposedly on board the Enterprise, but you wouldn't know it from the way the characters act.

It's notable that the inspiration here is a WWII movie, pretty much the last time big ships fought big ships. (Star Wars also takes most of its cues from WWII). The principle activity of modern warships seems mostly to be making a political gesture by floating around somewhere, maybe launching some missiles or planes. It's been a long time since we've seen ships having battles with other ships, and ships were a lot smaller then. A military officer is, as I understand it, someone who's a lot more like a politician or company manager, whose job is to keep a large and complex organisation running smoothly. (No doubt you remember the old saying about logistics and tactics.)

So more than the dubious engineering of having the bridge rattle around, I think 'the bridge crew are all charismatic geniuses from whom all the action flows' is the really big liberty that Star Trek takes with its storytelling, from which a lot of other things follow.

Everything in the sequence from Balance of Terror is designed to ratchet up tension for the bridge officers as much as possible - and we see the screen shake and actors getting thrown about here too. In a naval battle, this makes sense: a big explosion near your ship will cause a wave in the water which will rock the ship. In space... not so much. For example, a big shake happens when a nuclear weapon goes off near the Enterprise. A nuclear weapon deployed in space is mainly there to cause heating, not to push things around. But the big moves of the battle are punctuated by everyone getting thrown about: it's a way of saying 'something important just happened'. If the nuke went off and we didn't hear anything, but Kirk was just like 'ok cool, that missed us, good job' it would feel less significant.

Over time I'm sure this device got diluted down until nearly anything would result in people flopping about! But yeah, tl;dr: it is purely a dramatic convention leaning hard on WWII movies, not something that makes a lot of within-the-fiction sense if you think about it at all.

What would space battles look like in real life? We can only speculate, of course, it may never come to pass at all. But if it does, probably it's going to be more a story of shooting expensive missiles at extremely long range to hit things that are too far away to see without a telescope, rather than thrilling close-range dogfights or tense naval mind games. And with humans being very squishy and not taking well to extreme acceleration, you probably want to avoid having them on your ships if you can help it. Which is a bit of an obstacle for a dramatic presentation, unless you want to focus on the disconnect between the comfy air-conditioned drone control room and the horrible destruction being wrought on the ground - and honestly that is a very relevant thing to want to do in the present era.

Plenty of people would still presumably be in harm's way in the space war. But the problem is that in general, the story that people want to tell with military fiction is about heroic characters whose individual efforts make a difference to the course of The War. Not just someone having a bunch of meetings full of incomprehensible acronyms and then randomly dying to a missile that was launched from the other side of the solar system that their side's interceptor system failed to catch.