#Sequence Diagram Generator

[a-tools]

Sequence Diagram Generator is an online tool for creating UML sequence diagrams. It could empowers you to effortlessly create comprehensive sequence diagrams to illustrate how actors and objects interact in a system.

[sam-keeper]

Hey Look At This Comic: Calvin and Hobbes

I liked the idea of putting some more daily strip comics into my rss reader, and gocomics DOES post old strips in sequence every day (keeping archival materials in lively circulation 👍), and there IS a site that generates an rss feed for gocomics (they don't provide rss feeds themselves because they want you to subscribe 👎) so, I added the current Nancy run to my feed, alongside Peanuts and Calvin and Hobbes. a few days later it paid off big time with this strip:

I love this strip, but it's a bit weird, isn't it? I'm sure some people read the way you're "supposed to" move panel to panel in a typical comic: left to right across the top strip, then the middle, then the bottom. Easy. I didn't, though. My eyes darted across the page, circled around the upper left hand panels, before zipping to the big point of interest on the page: that big panel of Calvin's teacher as a great pink alien monster! the second panel in strip two, the view through the spaceship porthole of the alien landscape, got orphaned, turned into something I glanced at after the fact as I pieced the sequence back together.

which might just be how comics reading actually goes, in practice. more recent theories of comics, particularly ones coming out of the Franco-Belgian tradition, suggest we take in the page as a whole first before diving in panel by panel. that bottom left corner is also kind of a privileged position on the page, with a beautifully lumpy and toothy monster filling up almost the whole frame. no wonder my eye was drawn there "ahead of sequence"!

is that a mistake? one of my friends, when I posed the question, thought so, that the strip means to build up to that point but the page composition encourages you to read ahead. She also, intriguingly, suggested to me that even though we enter the strip seeing the whole page, we induce a kind of forgetfulness in ourselves so that we don't get spoiled. when we see the monster, do we already know it's there while experiencing it for the first time? (hypnosis, she suggested to me, is "merely a set of circumstances to help the mind do a set of things that it already does every day".)

others corroborated the weird reading orders but suggested it was deliberate. for Sarah, the whole left side of the page draws your eye down compositionally, from Spaceman Spiff's (Calvin's alter ego) gloved hands on the wheel, down to the Z shaped mesa, to the monster. this cuts out almost two thirds of the comic! but for her and a few other friends, that made sense: Calvin is daydreaming in class, and the point where his teacher pops up in front of him to demand his attention is a moment of concrete interest in a hazy sea of nonlinear sensation. another friend drew a diagram of an even weirder reading pattern:

actually, I think this makes some sense. theorist Thierry Groensteen's notion of "braiding" in comics suggests that we're constantly recomposing comics in our brains, not just panel by panel, but over the whole corpus of panels, looking for rhymes and resonances and ways the story relates to itself. it feels a little like panels 2 and 3 rhyme, to me. the frames are long and thin more than any of the others, they both have this prominent horizon line, and they both sit on top of panels 4 and 5. they relate to each other, to the point where I see how you could jump from one to the other, then back up the page and over! if I understand Groensteen right, he's not suggesting we necessarily jump around the page this way, I don't want to put words in his mouth, but I do think one of the implications of braiding and of taking in the whole page is that we might get off track and start wandering through time and space... which is exactly what Calvin is doing, after all.

I love that the actual joke of the strip hinges on these two little panels buried at the bottom of the page: the only shot not from Calvin's point of view, of him looking frazzled after Mrs Wormwood's dressing down, and then a little panel of him holding the book. that's braiding too: we understand the previous and future panels because we draw an analogy between all the perspectives we've seen elsewhere of hands (or claws) and get that Calvin is drifting into a daydream again, taking on a new role. the scenario shifts, and the color scheme changes to a complimentary one (red to green), but both daydreams are much more powerful, on the page, than the interruption by reality.

how do you read the page?

you can read more reviews in the Hey Look At This Comic tag and support me on Patreon.

[sch-com]

my executive function model

I've heard the term "executive dysfunction" thrown quite a lot online, but I couldn't really pinpoint what exactly it means. I decided I first need to understand what executive function is first in order to make sense of it.

After some research (not a lot so take it with a big grain of salt) and self-reflection I developed an executive function model to better understand where I struggle and where I excel.

I identified 8 executive functions, split into primary and secondary, and defined how they interact with each other.

I created a diagram that illustrates and summarizes this model, kind of a tldr. The information from the diagram is described in the text in this post though. At the end of the post is an example of how this model applies to me specificaly.

core executive functions

Those I kept the same as in the research I did, as they seem to be more widely agreed upon.

Inhibitory control - suppressing inappropriate behavior, resisting distractions and urges, emotional control

Working memory - holding, recalling, and manipulating information, mental juggling

Cognitive flexibility - switching tasks, shifting attention, tolerating change, letting go of stuck thoughts

secondary executive functions

Those are more adjusted to fit my personal experience, and are in the sequence it which I personaly engage in activities.

Strategic analysis - understanding the problem, reasoning, generating solutions, predicting outcomes; you need to analyze the problem and generate what can be done about it

Decision-making - balancing risk, reward, and long-term outcomes, deciding on course of action; you need to then compare and decide on one of the courses of action from the generated ones

Planning and organization - planning, organizing, breaking tasks into steps, time estimation, prioritizing; once you know what you want to do, you have to plan the actual actionable steps of it, place when you will do them, in what sequence

Action initiation - getting started on tasks, overcoming inertia, avoiding procrastination; you actually need to follow through the plan, go and do the thing you planned

Self-monitoring - monitoring progress, noticing when you're off-task or overwhelmed, error detection, adjusting behavior, self-assessment; once doing the thing, you need to monitor yourself on how you're doing on the task but also notice if something else hasn't become more important

how they interact

The primary executive functions support the secondary, they are like building blocks of them:

1. Inhibitory control

Strategic analysis: prevents rushing to conclusions; allows pause and reflection before jumping to solutions

Decision-making: suppresses impulsive or emotionally-driven choices; supports delay of gratification

Planning and organization: helps avoid distractions when building plans and ignore irrelevant details

Action initiation: inhibits avoidance behaviors or urges to delay ("I’ll do it later")

Self-monitoring: suppresses defensive reactions to noticing errors; allows recalibration

2. Working memory

Strategic analysis: holds problem details, relevant knowledge, and potential solutions in mental space

Decision-making: maintains multiple options, their pros/cons, and predicted outcomes to compare

Planning and organization: tracks task steps, sequences, and dependencies during mental planning.

Action initiation: remembers what the task is and how to begin — even after delays or distractions

Self-monitoring: holds the original goal or plan in mind while checking current performance against it.

3. Cognitive flexibility

Strategic analysis: allows consideration of alternative problem framings or novel solutions

Decision-making: enables reevaluation of options and openness to changing course

Planning and organization: helps adjust plans dynamically if priorities shift or obstacles arise

Action initiation: Supports shifting mental state from rest to task-engaged mode

Self-monitoring: helps switch strategies mid-task, revise expectations, or tolerate outcomes that don’t go as expected

my personal application

Firstly, out of the three core executive functions my weakest one is working memory. I am quite good at the other two though.

Going off that profile of my primary executive functions, I perform as below in the secondary executive functions:

Strategic analysis - I excel at it. My high cognitive flexibility allows me to see a lot of options, and inhibition allows me to focus on analysing a problem for a long time. I compensate for my low working memory by writing things down, visualizing them etc.

Decision-making - I am rather bad at it. After I analyse the problem to its smallest components and generate lots of ideas in the first step, there are a lot of details to keep in mind when comparing them, and this is where my poor working memory struggles. I also have problems with confidence in my decisions, since I can so clearly see so many options possible and their consequences after my analysis.

Planning and organization - another area I am good at, because I can write things down or draw them out thus compensating for my bad working memory. Inhibition allows me to be realistic with my plan, and cognitive flexibility allows me to adapt it to the actual needs.

Action initiation - a real bottleneck in my process. At this stage I usually have so many details I can be easily overwhelmend with my poor working memory. Also it involves deciding to do the thing, and we already know I struggle with decisions. My high inhibition may also cause a lot of hesitation here.

Self-monitoring - I am moderately good at it. I can struggle with keeping the original goal of the task in mind because of poor working memory, but can manage if it's cleary defined and written down. High congnitive flexibility allows me to adjust my actions according to the performance, and inhibition allows me to avoid distractions and reflect without becoming emotional.

As you can see from this picture, I clearly can benefit the most from using various visual aids and allowing myself to "think on paper" rather than forcing myself to hold everything in my brain. I just seem to have small RAM, but my processor is quite strong.

[ms-scarletwings]

Honest truth, with every episode of this messed up show I finish rewatching I’m more are more sure that Dib is just as incompetent and short-sighted when it comes to his “mission” as Zim is. But it’s so funny to me that while Zim just makes bad plans, has awful priorities, and improvises a lot by the seat of his pants, Dib’s incompetent in the classical bumbling villain sense. Like, he’s doing the right thing, he generally has clever approaches and insights, makes full use of his resources, yet,

He’s still aesthetically and narratively such an antihero, the poor dweeb.

Observe, my magnificent Venn diagram

Only thing I didn’t want to tack on that because it bears worth of some more elaboration: Both of these two are horrible about recklessly arming their nemesis with tons of free information and striking opportunity that can only be used against them.

And Dib is worse at this, like, so… so much worse. Zim will do the classic ‘Muahahaha, now that I have you right where I want you, here’s a detailed presentation of my entire insidious plan, Batman!’ routine while at least having the class to wait until the hero is being lowered over the acid vat or tied to the train tracks. Dib, as a villain? Would start reciting that same speech while in the middle of trying to kidnap the hero, about 3 and a half steps way too early. It’s actually crazy how fast he will telegraph his next move even when he’s not in a position of having a real advantage yet.

The first time the two met and Dib stood there loudly showing himself as the most perceptive and hostile human in range? And then stood there explaining alien sleep cuffs and what he was going to do with them? And then stood there declaring war and that he’d identified Zim’s base location, swinging said cuffs around in front of the gnome brigade? Granted, he wasn’t aware of Zim’s security at the time, but the essence of that sequence was a pattern that he was more than happy to keep repeating for the next couple seasons.

Also, Zim’s brutalism, while it went to some shudder inducing places, is more expected from a genocidal maniac born from a race of colonial supremacists. It’s part of his theatrics and it’s fun for him in the same way it’s fun for his leaders to blow up innocent ice cream space-trucks and unlucky planets. Dib gets mean with their face offs in a way that’s just dripping with spite. All the time spite. Trivial, personal, petulant spite. Even more than Tak and her grudge, which, should be a lot more surprising to me. But it’s really not.

What it did do instead was remind me of a very interesting quote I once heard, from a Cracked video about online gaming behavior, of all places,

[artbyblastweave]

As a game mechanic, Karma was disadvantageous because it injected obtrusive level of awareness of authorial intent into every situation that raised or lowered your Karma (and in doing so frequently demonstrated deranged moral reasoning in how the points are allocated.) In New Vegas specifically, though, I found Karma advantageous in conjunction with the reputation system, because it tracks your character’s long-term behavior on an axis that the reputation system isn’t measuring. “Principled Person Despised by Authority” and “Omnimalevolent Weasel with A Great Eye For PR” are both well-worn archetypes that a dual Karma/Reputation system is able to model to some extent. It also provides another fun axis on which to engage with your companions- Boone leaves you if you piss off the NCR, Veronica leaves if you piss off the Brotherhood, but Cass leaves if you're just generally, generically a shithead- which is an incomplete venn diagram with those other two, and the contrast can serve as an interesting characterization vehicle IMO.

There are ways in which the affinity system in Fallout 4 was a step forward, primarily in how it lanced the obtrusive authorial judgements and more-or-less coherently tied it into the values of whichever companion you're currently travelling with. It also smoothly got around one failure mode of New Vegas- the incredibly specific, poorly telegraphed and thus frequently inorganic sequence in which you had to bring followers to places in order to trigger their affinity points. However, I've always had the vibe that the intended dynamic for Fallout 4 was that you'd pick and stick with a companion that would mesh with your intended playstyle- but I get the impression that what happens in practice is that players instead alter their playstyle for as long as it takes to juice up each companion's affinity meter, which can result in some pretty wild behavioral swings that you have to put some legwork into justifying from a roleplay perspective. And this compounds with the fact that the game isn't really tracking much else about who you are as a person. Your special stats are way less rigid. Nuanced faction reputation is out the window because factions themselves are sort of sidelined as a relevant mechanic outside the big four, and with the big four it's kinda all-or-nothing as to whether you're in their good books. Side quests tend to be fairly siloed in their impact, and Karma's gone. My decision to open fire on a population center, or lack thereof, feels more acknowledged in New Vegas than in 4. I guess If I were made Fallout Czar I'd probably do a tripartite system- Companion Affinity AND the New Vegas 4x4 faction reputation system AND some re-implementation of Karma, or some analogous system of tracking in which direction you break when asked to make a decision. Deontological vs. Utilitarian. Authoritarian vs Libertarian. Practical vs. Sadistic. Track everything. Break out the quadrants. Make the engine weep blood

[last-sprout]

Last Sprout Dev Diary - Jan 10, 2025

Hello, and welcome to the new year! After the break, I'm here for another dev diary - this one being a bit more about something conceptual. If you want to read the last dev diary from December, you can do so here.

If this is the first one you're reading, I'm @oneominousvalbatross, and I'm the tech side of the sprout team! This week I mostly worked on status effects, but I want to take some time to talk about a broader, more conceptual topic, and save the full breakdown for next week.

My poor boy, who has every disease.

Something I don't think I've really specified before in these dev diaries is my background in game dev, or, rather, my lack of background. I started seriously learning how to code a bit over a year ago, and entered my first game jam in February of 2024.

(The game was barely functional, but it did exist so like, there's something.)

My academic background is in philosophy (simultaneously the best and worst thing tbh), and apart from being pretty good with computers in a broad sense I didn't really have much to go on for this project. I'm bringing this up because I'm going to be talking about something that I had to figure out for myself, but that might be like, compsci 105 or something if you went through school for it. That said though, if you have always kind of wanted to make games, you can absolutely make games! I didn't think I was a math person, or a coding person, until I started doing it.

Game Development is Hard

I'm going to assume that software development in general is hard, but I haven't really done that, so I'm talking about game dev. I spent around two weeks not touching the game, and when I came back, the first thing I noticed was just how hard it was to get my head back around something with this many systems! This was also something I ran headlong into when working on that game jam, I reached a point in like, a week where I couldn't touch any system without potentially breaking every other system.

The solution I use, and the reason why I could come back to this without completely losing my mind, is to reduce the number of access points into a system to the absolute bare minimum. For example, we can look at the animation system. It's really complicated! It needs to be able to swap the sprites out on a variety of different renderers, it needs to be able to adjust animation speeds, control shader parameters, and it needs to be able to queue up multiple animations in sequence, plus it needs to send out events on animation end so that I can use them to time up other game actions.

If I was to condense all of this into a few sentences: A system can be as complicated as it needs to be, but try to envision it in its own little box, with precisely one entrance/exit. If you need to spawn a projectile, you should really just be able to go, like, SpawnProjectile(projectile), with as little external work as possible. This means if you need to completely rewrite how spawning projectiles works, you can do that, and all the other classes that spawn projectiles can still just do their thing.

A helpful diagram

The way I would've done this originally would have been to have, like, a SpriteAnimator class with a 'speed' field. I'd set it to one by default, and then whenever I need that speed to be different, I'd have whatever object needs to change the speed go in and set the speed to whatever. If you've done a lot of programming, you probably immediately realized the tons of problems this could cause - problems into which I ran headlong.

What do you do when you want one animation to play at a certain speed, then go back to the previous speed when it's done? If you do, do you assume that the speed was set to 1 before, and just reset it, or do you have one of the two objects involved store the previous speed to go back to it? If you do, what happens if, halfway through an animation, another object butts in to adjust the speed again? Say you're playing an animation at half speed, and then a speed buff gets applied that's supposed to last for a minute. Your speed buff goes in, sets the faster speed, the animation suddenly starts playing faster, then when the animation is finished, the object that was waiting to reset the speed goes back in and sets the speed to 1, leaving the animation playing at the default speed when it's supposed to be faster.

These kinds of problems will always be a risk, but in my specific case I split the speed at which an animation plays out into three places. First of all, an animation has a frame rate, which is meant to never change. We do most of our animating at 12 fps (on twos, I think is what you call it in the traditional animation world? idk, not a 2d animator), and each animation object keeps track of its frame delta (1 / frame rate) so that the controller can progress through the frames at the right speed.

However, we don't submit the animation to the controller in its unaltered form. Instead, we have a data structure called a PlayableAnimation. This contains the animation itself, but it also has the speed at which the animation should be played, as well as some other useful info that might change between two instances of the same animation. A controller maintains a stack of playable animations and can look at the individual speed of each one as it progresses through.

On top of that, there's a final speed modifier that can be submitted along with the playable animation, without changing its values. This way, if I want to play an animation at double speed for whatever reason, I don't necessarily have to set the value for the entire controller, I can just say this animation should be faster, and nothing else. Some animations have different frame rates, or are re-used with different speeds for different purposes, and I can do all that configuration without having to put all that weight on one field.

All of this sounds wildly complicated, and it kind of is, but importantly, if you're playing an animation from any other system, all you do is type in "Controller.PlayAnimation(animation)". You can also go like, "Controller.PlayAnimation(animation, speed: 1.5)" if you want it to play faster, but all of that stuff is handled completely without additional input. This is what lets me come back to the game and keep working on it when it's been months since I've touched a part of it.

Why This is Relevant Right Now

Status effects seem simple, but they kind of need to touch every other system at least a little bit, which is why I spent all that time talking about making systems. A status effect needs to be able to do things like apply damage, but it also needs to be able to play animations or sounds, and it doesn't always want to play those things on the source of the effect.

Some demos for the animations different status effects will use.

Plus, this is a roguelite, so we need to be able to add and modify status effect stuff within the upgrade system, which might mean modifying the magnitude of the effect, changing colors on animations, or tying other things into the effect when it goes off! As long as each of those systems has the cleanest possible entry/exit points, this is doable, but it's been a long battle making sure the game can keep moving forward and not get mired in constant bugfixing and complexity management.

I have a lot of cool game design thoughts on the effects themselves, but I think I'll leave that for a later week. As per usual, thanks for reading, feel free to send any questions or thoughts here or to @oneominousvalbatross, and I'll see you next week!

[justanotherwriter140]

Kung Fu Panda 2 Scene Analysis + Discussion Post

Hey, all! Here's a KFP2 scene analysis because I felt like it. 🤷‍♀️

I have an itch to scratch and I'm going to make all of you read about it. I've been revisiting KFP2's remarkable storytelling methods—namely for conveying strong emotions without relying on dialogue and putting more faith in the narrative—and when I got to the harbor scene, I couldn't help but write something up on it. In general, writing short essays on scenes/sequences is a great writing exercise that I would recommend for fellow writers because it's a big help when you're trying to emulate a certain style or feel in your work. KFP2 is a great movie and I love it, so I often refer back to it when I'm struggling.

In short, this is me gushing. I know as a fandom we've talked this part of the movie to death a hundred times over, but it's a scene that deserves it. I'm going to be focusing on the aspects of it that interest me most, but the final battle following this scene is just as worthy of being fawned over. I am a KFP fan through-and-through and every scene (in this film especially) deserves its own discussion post. Unfortunately, I'm employed.

I've never done a dedicated sequence analysis before, but I've been delving back into studying animation and that paired with my long-time love for storytelling is more than enough to make me want to do a Tumblr deep dive on this 20~ second master-class in storytelling.

To begin, let's take a look at what's happening here:

Po swims to Tigress to make sure that she's okay. He holds her hand and gets close to her, which is something we can assume he would never do otherwise. I'll cite the attack-hug; we witnessed his (albeit completely understandable) reaction to Tigress initiating physical contact, and his instinct was to freeze in place. It tells us that physical contact is uncommon and maybe even a little awkward for them, and yet, he grabs her hand without hesitation.

My heart...ugh. I was little when this came out and I was STUPEFIED. I also realized I wanted to make movies, though, so I guess it worked out. 🤷‍♀️

Plus the little thumb-hold from Tigress. I'm nauseous. Kill me.

It's also worth mentioning that despite the fact that Po audibly says her name, she doesn't respond to hearing him. She responds to feeling him. She doesn't start to lift her head until he touches her.

Earlier in the film, it had been made a point that she "feels nothing," which was intended to refer to both her hands and her emotions. She physically and mentally beat herself up for 20 years until she couldn't feel the hurt anymore.

Even so, it only takes Po to unravel that. This is the movie further cementing the franchise-long theme of Po bringing inner peace to the valley. On a more personal note, it's also the movie telling us that Tigress's jadedness only goes as far as she lets it. She is capable of recovery, capable of feeling—it only matters that she allows herself to have those moments.

She looks up. She's relieved. She couldn't save China, but she saved Po. She didn't fail in protecting him this time. She did her job. There's a beautiful contrast between what she's feeling and what he's feeling but they share a point—kind of like a venn diagram. Both feel some kind of relief, however brief. As for their differences, Tigress's defiance is weakened and Po's is ignited. He takes on that weight for her.

The way her head slowly falls back down makes me think she's too exhausted to keep her head up any longer. She had used all of her strength to hold onto Po and look fully at him, face to face, to be sure he was alright. Tigress is the most capable member of the group, but where her most important strength lies is revealed here as well as in the rest of KFP2: in her compassion and care for others.

Po looks at Shen with scathing, genuine contempt. He's taken away too many people Po loves, and Po won't let him take away another. He's thinking about the valley, about his friends, Mr. Ping, and his duty to defend China and bring evil-doers to justice. We see the resolve in his eyes. He'll do what he has to.

The angle of the image is also worth mentioning. With the way the "camera" is tilted—now at a direct eye-level as opposed to a few shots before when Po was almost slouching below mid-frame—Po looks bigger in this shot. He's being framed as a protector. Defender of China. The Dragon Warrior. He's really, truly stepping into this role.

Tigress bows her head and Po takes on the weight, which is a huge contrast to the rest of the film. Before this scene, Tigress is the one being strong, being smart, taking charge, and leading the group. Throughout the mission, Po was consistently reckless, stubborn, and distracted. We know why. This bit is his amendment. This is him saying and meaning, "I've got this."

And then he pushes Tigress away. The little look I caught in this screenshot lingers for only two~ seconds, but what I love about animation is that everything is intentional. He watches her float away for an extra few seconds because it meant something to someone that he did.

AND THEN SHE REACHES FOR HIM. Whose idea was this? We need to have some words. You guys were evil and I love it.

She's exhausted, hurt, and is likely carrying the crushing weight of China's defeat on her shoulders, and yet, she reaches for him. It wouldn't even be for her own comfort, either, but because she still has the urge to save him. Even in her state of being borderline unconscious, she still has that instinct—that care. She can't watch her friend be killed.

I pause on this whenever I watch this scene over. To me, this frame perfectly encapsulates Po as a character. We see him facing impending doom in the form of a massive ship with a monstrous-looking cannon strapped to the front, harboring a psychotic peacock fully intending to kill him—just like he killed Po's mother—when he gets the shot.

Despite this, Po only pushes Tigress—a loved one, and while it's far more impactful to the story that it was her, it could have been anyone and the point still stands—out of the way. He moves her out of the line of fire and lures the danger away. That simple action of pushing her away is the epitome of "show, don't tell" used correctly and tells the audience everything we need to know.

And then he goes and stands on a floating chunk of fallen ship (not even solid ground!) and fights solo against an entire fleet of weaponized ships. And then he wins in what's arguably the coolest, most badass way possible.

This—this frame, not the fight itself—is easily his most heroic and selfless moment and it's my favorite frame in the KFP trilogy.

Thanks to all who read this through for indulging my intense love for this specific sequence! This analysis isn't objective, obviously, so if there are any disagreements, I'd really like to talk about them! I'm always looking for different perspectives and ideas, and I'm sure there's a fan somewhere who interpreted this scene wildly differently. I'd also just really love to hear any additional thoughts if there's something I missed. And if another scene gets you super excited like this one does for me, tell me all about it!

An update for my readers: Chapter 6 of The Days is well on its way and I can't wait to share it with you—there's some fun stuff in there and I'm really excited to post it. Thanks for reading, guys! :)

[goshenightie]

Not a lot of people pay attention to this, but most Nanook's/Destruction's blessings in the Simulated Universe are Astronomy related!!

Let's start from the 1 star blessings (not gonna add images because the MAX is 10 images lmao):

Eternally Collapsing Object

(This blessing could be a reference to) The magnetospheric eternally collapsing object (MECO) is an alternative model for black holes initially proposed by Indian scientist Abhas Mitra in 1998 and later generalized by American researchers Darryl J. Leiter and Stanley L. Robertson. A proposed observable difference between MECOs and black holes is that a MECO can produce its own intrinsic magnetic field. An uncharged black hole cannot produce its own magnetic field, though its accretion disk can.

Instability Strip

The unqualified term instability strip usually refers to a region of the Hertzsprung–Russell diagram largely occupied by several related classes of pulsating variable stars: Delta Scuti variables, SX Phoenicis variables, and rapidly oscillating Ap stars (roAps) near the main sequence; RR Lyrae variables where it intersects the horizontal branch; and the Cepheid variables where it crosses the supergiants.

Orbital Redshift

(This blessing could be a reference to) The main causes of electromagnetic redshift in astronomy and cosmology are the relative motions of radiation sources, which give rise to the relativistic Doppler effect, and gravitational potentials, which gravitationally redshift escaping radiation. All sufficiently distant light sources show cosmological redshift corresponding to recession speeds proportional to their distances from Earth, a fact known as Hubble's law that implies the universe is expanding.

Primordial Black Hole

In cosmology, primordial black holes (PBHs) are hypothetical black holes that formed soon after the Big Bang. In the inflationary era and early radiation-dominated universe, extremely dense pockets of subatomic matter may have been tightly packed to the point of gravitational collapse, creating primordial black holes without the supernova compression typically needed to make black holes today. Because the creation of primordial black holes would pre-date the first stars, they are not limited to the narrow mass range of stellar black holes.

(I'm gonna skip the two star blessings because I don't think there's any Astronomy related ones?)

Universal Heat Death Characteristic

The heat death of the universe (also known as the Big Chill or Big Freeze) is a hypothesis on the ultimate fate of the universe, which suggests the universe will evolve to a state of no thermodynamic free energy, and will therefore be unable to sustain processes that increase entropy. Heat death does not imply any particular absolute temperature; it only requires that temperature differences or other processes may no longer be exploited to perform work. In the language of physics, this is when the universe reaches thermodynamic equilibrium.

Non-Inverse Antimatter Equation

E=mc2

The story of antimatter begins (again) with Einstein and his famous formula: E=mc2. It means that energy and mass are interchangeable - so mass can be transformed to energy (as in stars), or energy into mass. And this has huge consequences.

Resonance Interplay: Protostar

A protostar is a very young star that is still gathering mass from its parent molecular cloud. It is the earliest phase in the process of stellar evolution. For a low-mass star (i.e. that of the Sun or lower), it lasts about 500,000 years.

Resonance Interplay: Zero Age Main sequence

zero-age main sequence: a line denoting the main sequence on the H–R diagram for a system of stars that have completed their contraction from interstellar matter and are now deriving all their energy from nuclear reactions, but whose chemical composition has not yet been altered substantially by nuclear reaction.

Resonance Interplay: Substellar Belt

A substellar object, sometimes called a substar, is an astronomical object, the mass of which is smaller than the smallest mass at which hydrogen fusion can be sustained (approximately 0.08 solar masses). This definition includes brown dwarfs and former stars similar to EF Eridani B, and can also include objects of planetary mass, regardless of their formation mechanism and whether or not they are associated with a primary star.

Resonance Formation: Event Horizon

We can think of the event horizon as the black hole's surface. Inside this boundary, the velocity needed to escape the black hole exceeds the speed of light, which is as fast as anything can go. So whatever passes into the event horizon is doomed to stay inside it – even light.

Resonance Formation: Extreme Helium Flash

A helium flash is a very brief thermal runaway nuclear fusion of large quantities of helium into carbon through the triple-alpha process in the core of low-mass stars (between 0.8 solar masses (M☉) and 2.0 M☉) during their red giant phase. The Sun is predicted to experience a flash 1.2 billion years after it leaves the main sequence. A much rarer runaway helium fusion process can also occur on the surface of accreting white dwarf stars.

Resonance Formation: Cataclysmic Variable

Cataclysmic variables (CVs) are binary star systems that have a white dwarf and a normal star companion. They are typically small – the entire binary system is usually the size of the Earth-Moon system – with an orbital period of 1 to 10 hours.

(Sources are all from Wikipedia and the official Nasa website, but correct me if i got some of it wrong^^)

[tunastime]

CLASSIFIED

HASA Interspace Investigation Coalition Investigator Reassessment Team

For: the Mission Critical Event Occurring on Stardate 2104.119

Stardate: 2104.123, Location: HCS Influence

Responses recorded using the Automated Question and Answer System (AQNA) aboard the HCS Influence.

Recorded responses enclosed.

Begin transcribed data.

Interview for: IIC Employee #7717

Stated Name: Hels

SESSION BEGIN

AQNA [Generated Text Question]: Please explain the events of [stardate 2104.119]. Subject (Hels) [Recorded Verbal Response]: Well that’s an easy question. We got ambushed, that's what f—ing happened. It was supposed to be a standard datum extraction from a site that was supposed to be abandoned, because nobody decided it would be a good idea to check again. So we got ambushed mid-mission. That's what happened. AQNA: Can you elaborate on the event that triggered the call-back sequence? Hels: What, you want me to draw you a diagram? [No AQNA Text Question Generated] Hels: So no diagram? [No AQNA Text Question Generated] Hels: The drop-squad successfully made ground contact after about half an hour of survey on our end. We assumed based off of initial information and our scans, that the site was uninhabited. I mean—it’s a decommissioned testing facility for something way more boring than what we’re usually sent for. Why the f— would there be… things living there. Things. They weren’t human. They weren’t me either. We triggered the call-back sequence because I watched everything go white so fast I thought I was seeing the inside of my skull. Ex is the only reason I got out alive. I’m sure he’s… thrilled. AQNA: Were you unable to retrieve the body and equipment of [#7716]? Hels: I didn’t see him. On account of the pulse grenade. Did you watch the footage, or should I be playing narrator? [No AQNA Text Question Generated] Hels: I don’t know where he is. I don’t know what they did to him. We lost all his vitals when the pulse fried our equipment at the site.  Interviewer: Can you elaborate on the status of [#7716]? Hels: What do you mean elaborate? What—he’s probably dead. Is that what you want to hear? He’s f—ing dead. He’s dead, you piece of shit machine. Go ask somebody else what they think. [No AQNA Text Question Generated] Interviewer: Can you speak to [#6763]’s competence as potential squadron leader? [No verbal recorded response available]

SESSION END

Interview for: IIC Employee #6763

Stated Name: Exania

SESSION BEGIN

AQNA [Generated Text Question]:  Please explain the events of [stardate 2104.119]. Subject (Exania) [Recorded Verbal Response]: We failed to complete our extraction procedure. I was able to reach the data site within an hour of touchdown, alongside the rest of the team. We successfully retrieved the abandoned facility data within our allotted time frame, but on the way back to extraction, we were ambushed and caught in the line of fire of the inhabitants that had taken over the facility. I was able to successfully extract the bridge crew and one other member of the drop-squad. AQNA: Can you elaborate on the events that triggered the call-back sequence? Exania: We were attacked? Someone started shooting. Someone threw a magnetizer and a pulse grenade. The two other drop-squad members took a majority of the flash, but it was bright. Everywhere was... painfully bright. I don't have much more to say on that. I just acted in the best interest of the team as second in command. AQNA: Were you unable to retrieve the body and equipment of [#7716]? Exania: He’s dead. What did you want us to do? Retrieve a handful of charred up equipment? I don’t think so. AQNA: Can you elaborate on the status of [#7716]? Exania: He’s dead. That’s it. AQNA: Can you speak to [#7717]’s competence as potential squadron leader? Exania: #7717? I can't.  AQNA: Can you elaborate? Exania: I can't. AQNA: Can't? Or won't? Exania: Does it matter? [No AQNA Text Question Generated] AQNA: Please elaborate on your specific involvement with the events of [stardate 2104.119]. Exania: I successfully extracted information from the facility on [REDACTED]. I successfully extracted my drop member #7717, Hels. We were unsuccessful at a full extraction of the entire crew. Look, did I not just say all of this? What's not clicking for you? I know you're just recording this answer looking for keywords. I'm not daft. I think we’re done. AQNA: You're excused. Exania: Thank you.

SESSION END

Interview for: IIC Employee #7716

Given Name: Wels

SESSION BEGIN

AQNA [Generated Text Question]: Please explain the events of [stardate 2104.119]. [No verbal recorded response available] [No AQNA Text Question Generated]

END SESSION

[altaqwaelectric]

From Design to Deployment: How Switchgear Systems Are Built

In the modern world of electrical engineering, switchgear systems play a critical role in ensuring the safe distribution and control of electrical power. From substations and factories to commercial buildings and critical infrastructure, switchgear is the silent guardian that protects equipment, ensures safety, and minimizes power failures.

But have you ever wondered what goes on behind the scenes, from the idea to the actual installation? Let’s dive into the full journey — from design to deployment — of how a switchgear system is built.

Step 1: Requirement Analysis and Load Study

Every switchgear project begins with requirement analysis. This includes:

Understanding the electrical load requirements

Calculating voltage levels, short-circuit ratings, and operating current

Identifying environmental conditions: indoor, outdoor, temperature, humidity

Reviewing applicable industry standards like IEC, ANSI, or DEWA regulations (especially in UAE)

This stage helps engineers determine whether the project needs low voltage (LV), medium voltage (MV), or high voltage (HV) switchgear.

Step 2: Conceptual Design & Engineering

Once the requirements are clear, the conceptual design begins.

Selection of switchgear type (air insulated, gas insulated, metal-enclosed, metal-clad, etc.)

Deciding on protection devices: MCCBs, ACBs, relays, CTs, VTs, and fuses

Creating single-line diagrams (SLDs) and layout drawings

Choosing the busbar material (copper or aluminum), insulation type, and earthing arrangements

Software like AutoCAD, EPLAN, and ETAP are commonly used for precise engineering drawings and simulations.

Step 3: Manufacturing & Fabrication

This is where the physical structure comes to life.

Sheet metal is cut, punched, and bent to form the panel enclosures

Powder coating or galvanizing is done for corrosion protection

Assembly of circuit breakers, contactors, protection relays, meters, etc.

Internal wiring is installed according to the schematic

Every switchgear panel is built with precision and must undergo quality control checks at each stage.

Step 4: Factory Testing (FAT)

Before deployment, every switchgear unit undergoes Factory Acceptance Testing (FAT) to ensure it meets technical and safety standards.

Typical FAT includes:

High-voltage insulation testing

Continuity and phase sequence testing

Functionality check of all protection relays and interlocks

Mechanical operations of breakers and switches

Thermal imaging to detect hotspots

Only after passing FAT, the switchgear is cleared for shipping.

Step 5: Transportation & Site Installation

Transportation must be handled with care to avoid damage to components. At the site:

Panels are unloaded and moved to their final location

Cabling and bus duct connections are established

Earthing systems are connected

Environmental sealing is done if installed outdoors or in dusty environments

Step 6: Commissioning & Site Acceptance Testing (SAT)

This final stage ensures the switchgear is ready for live operation.

Final checks and Site Acceptance Tests (SAT) are performed

System integration is tested with other components like transformers, UPS, and generators

Load tests and trial runs are conducted

Commissioning report is generated, and documentation is handed over to the client

Conclusion

From idea to execution, the journey of building a switchgear system is highly technical, safety-driven, and precision-based. Whether you’re in power generation, industrial automation, or commercial construction, understanding this process ensures you choose the right system for your needs.

[bethanythebogwitch]

Origins of legendary Pokemon: Gen III

I am doing a series of posts exploring the real-life inspirations for various Pokémon. Previously I have covered all fish Pokémon, all other aquatic Pokémon, and all starters. Currently I am working through all legendary and mythical Pokémon. It has been a few months since I last updated this series but I’m back now. Today I’m covering gen III. For previous posts see gen I and gen II.

Starting off with the legendary golems, I decided I’ll cover the gen III and gen XIII golems together. All of them are based on, well, golems. In Jewish folklore, a golem is a creature made of inanimate material that has been magically animated. The most famous story about golems, and the one that most modern depictions draw from is the golem of Prague. Dating back to the 16th century, the story goes that Rabbi Loew (a real person) built the golem out of clay and animated it by inserting a clay tablet inscribed with the name of God (a shem) into its mouth. The golem protected the Prague ghetto from pogroms. Every Friday, the Rabbi took the shem out of the golem’s mouth to deactivate it for the sabbath. Eventually the golem went on a violent rampage for reasons that vary depending on who tells the story. Sometimes the Rabbi forgot to take the shem out before the sabbath, other times the golem fell in love and was rejected. Either way, the rabbi eventually managed to pull the shem out, causing the golem to fall apart. The pieces were then stored in the attic of the synagogue, where it can be revived if ever needed again. The attic does exist, but is closed to the public. The idea that golems are animated through certain words either held in the mouth or inscribed on the forehead is common. In some stories (including some variants of the Prague story), the word used is “emét” (אמת) meaning “truth” and the golem can be deactivated by removing the final letter, changing the word to “mét” (מת) meaning “dead”. All of the regis are golems made from some mind of inanimate material: stone for Regirock, ice for Regice, metal for Registeel, electricity for Regieleki, and crystallized dragon energy for Regidrago. Like golems, they needed to be made by an already exiting being, in this case Regigigas. The unique sequence of dots on each regi represents the word carved on a golem’s head to bring it to life. Each regi also represents a historical time period. Regirock represents the stone age, Regice the ice age, Registeel the iron age, and Regieleki the moderm or electric age. Regidrago is harder to pin down since the only dragon age is a series of video games. It could represent the middle ages, with medieval Europe having plenty of dragon legends, or maybe a more general age of myths.

(Image: a statue of the golem of Prague, found in Prague. It is a brownish, mostly-featureless humanoid with several cracks on its body held together by rivets. End ID)

The eon duo are weird. They’re dragons with elements of birds and airplanes (the latter more visible in their mega evolutions). The biggest hint to what they’re supposed to represent might come from both being the eon Pokémon and explicitly brothers and sisters. Eon could just indicate they’ve been around for eons, but it also could come from aeon, a concept in Gnosticism. Gnosticism was a group of early Christian sects that were  very different from modern Christianity and are pretty much extinct now. In Gnostocism, aeons were divine beings that were emanations from the true God. You can think of the as the Gnostic version of angels except they’re more like less perfect derivations of God who can in turn make their own even less pure derivations and so on. It’s weird and complicated. In one of the most popular Gnostic sects, Valentinianism, aeons come in complementary male/female pairs called syzygies.

This is one of the simpler diagrams of how the aeons and syzygies are related to each other. Yeah. (Image: a diagram of the relations between aeons in Valentinianism, consisting of pairs of spheres connected with lines. Sourced from Histoire critique du Gnosticisme by Jacques Matter)

Latias and Latios being male and female counterparts could make them a syzygy of two (a)eons. They might also draw from the Chinese concept of yin and yang, opposing but complimentary forces. Yin is usually associated with femininity and passivity and fits Latias while yang is masculine and more passionate, fitting Latias. The pair’s ability to levitate and bird-like feathers may draw from the martlet, a legendary bird with no legs that spends its entire life flying. Martlets are often depicted with tufts in place of legs like the two tufts that the latis have. Finally, the name of the latis comes from the latin “lateō” which means “I conceal” or “I am hidden”, which fits both the two using illusions to stay hidden.

(Image: a heraldic depiction of a martlet, shown as the silhouette of a bird with two tufts where the legs should be. End ID)

The big names of gen III are of course the super-ancient weather trio of Groudon, Kyogre, and Rayquaza. They each represent one of the “spheres” of Earth. Groudon represents the lithosphere, the outer layer of rock that makes up the planet’s crust. Kyogre represents the hydrosphere, all of the planet’s water in solid, liquid, and gas forms. Finally, Rayquaza represents the atmosphere, the gasses that are trapped on the planet by its gravity. As mythical beasts representing the land, sea, and sky, the trio draw from a trio of creatures in Jewish mythology that were passed down to Christianity and Islam. These creatures are behemoth, leviathan, and ziz, who were primordial beasts that dwelled in and represented land, sea, and sky. Of the three, behemoth and leviathan get most of the representation while ziz remains fairly obscure. This is likely because they are both described in the old testament/Tanakh’s Book of Job as part of what is essentially God spending several passages bragging about how powerful he is and saying therefore he can be as much of an asshole as he likes. Behemoth is a grass-eating swamp-dweller likely inspired by a hippo or elephant while leviathan is a scaly, armored carnivore that (once you strip away all the fantastical elements) was probably inspired by a crocodile. Ziz is usually depicted as a colossal bird or griffon. Behemoth and leviathan are often depicted as mortal enemies who will kill each other in a battle at the end of time, fitting with Groudon and Kyogre being enemies that nearly destroyed the world with their battle.

(Image: a depiction of behemoth, leviathan, and ziz. Behemoth is shown as a red bull. Leviathan is depicted as a brown fish. Ziz is situated above the other two and resembles a griffon with no front legs. End ID. Sourced from the Ambrosiana Bible)

The designs of the three Pokemon draw from animals or mythical creatures who live in their associated biome. The lines covering them may also draw from the Nazca lines of Peru, though only Kyogre has a direct counterpart in the lines with the whale geoglyph.

(Image: the whale Nacza line, seen from above. it is a geoglyph in the form of a whale, drawn in a line lighter than the surrounding desert. End ID)

Kyogre is based on an orca. It’s fitting that the Pokémon who created the ocean is based on the ocean’s most badass animal. Leviathan is usually depicted as a sea serpent nowadays, but it has historically been depicted as a fish or whale (and a lot of ancient cultures didn’t realize that whales aren’t fish). Groudon is based on outdated depictions of theropod dinosaurs that had them standing upright and dragging their tails on the ground like Godzilla. The spikes on its side and tail may come from dinosaurs like Ankylosaurus. It also visually resembles molten or superheated rock (moreso in its primal reversion), a reference to volcanoes and their role in raising islands out of the ocean. Rayquaza is based off of the serpentine, wingless eastern dragons while it having front legs but no hind legs comes from the European lindworm dragons (though lindworms being strictly serpentine dragons with only front legs is a more recent thing). Asian dragons often had power over weather, which Rayquaza has with its ability to negate all weather conditions. it being specifically a dragon that lives in the upper atmosphere and occasionally comes down to earth might come from the draconid meteor shower, which itself is named after the constellation Draco. Oh, and to keep the ancient Judaism origins going, Rayquaza’s name might come from the Hebrew word “rāqī́aʿ”which means “firmament”. The firmament is a giant crystal dome that covers the earth and makes up the sky, found in many different mythologies including ancient Judaism.

Moving over to the mythicals we have this generation’s Mew clone: Jirachi. It being associated with a certain comet and having the ability to grant wishes is a big shout-out to the idea of wishing on a star. Its head is shaped like a star and shooting stars (the ones you usually wish on) are actually meteors. Many meteors are composed of iron, likely why Jirachi is steel-type. Jirachi is also based on Tanabata, a Japanese festival based on mythology and astrology where two deities, represented by the stars Vega and Altair, are only allowed to meet once a year. During Tanabata, people will write wishes on pieces of paper called tanzaku and hang them on bamboo or trees. Three tanzaku are present on Jirachi’s head.

(image: a branch with a paper chain and multiple tanzaku on it. The Tanzaku are multicolored, rectangular strips of paper with Japanese writing on them. End ID)

The connection to Tanabata is more explicit in the anime, where the movie featuring Jirachi has a festival celebrating the return of the comet that awakens Jirachi every thousand years. Lots of comets have very elliptical orbits that only bring them to the inner solar system once every several decades or even centuries. While comets are usually depicted with one tail, they actually have two, generated by the sun’s heat and solar wind. One tail is formed from dust while the other is formed from gas. The two streamer or tail like things coming from Jirachi’s back probably represents the two tails of a comet.

(Image: Comet Hale-Bopp, showing the large, white dust tail and the smaller, blue gas tail. End ID)

Deoxys is the first mythical to be un-mythicaled when it showed up in ORAS as a normally-catchable mon in the postgame. Shame they didn’t keep that up. Anyway, Deoxys is an alien, specifically a virus that mutated while falling into Earth’s atmosphere. The idea of a virus or alien falling from the sky is common in science fiction. Think The Andromeda Strain (book and movie, not the shitty miniseries) or The Blob, or if you want a Japanese example, Space Amoeba. Deoxys is also heavily associated with DNA. Its name comes from the full name of DNA: deoxyribonucleic acid and its tentacles in normal form take the same double helix shape that DNA strands do. Its original 3 forms also come DNA: defense, normal, and attack. Speed form messed this up when it came out. I would have called it rapid form so at least it can reference RNA. The x-shaped silhouette of Deoxys also looks like a chromosome. Deoxys also draws from the idea of mutation, which is the result of changes in the structure of DNA. It is a mutated virus and it can mutate itself into specialized forms. The crystal in its chest (which in the movie continuity is the real Deoxys, with the body being an extension of the crystal) probably comes from the sci-fi trope of silicon-based alien life.  Silicon is the next element down from Carbon on the periodic table and also has 4 valence electrons, leading to speculation that alien life could use silicon as a basis instead of carbon. Silicon-based aliens are often depicted as living crystals.

(Image: a drawing of a cell, zoomed in to show a chromosome, zoomed in to show a DNA strand. The cell is a blue blob, the chromosomes are blue, globular, and shaped like the letter x. The DNA is two blue strands arranged in a double helix structure connected by small rods. End ID. Source).

[mazi-stars]

All about stars! ☆ ★ ✮ ★ ☆

Stars are huge celestial bodies made mostly of hydrogen and helium that produce light and heat from the churning nuclear forges inside their cores. Aside from our sun, the dots of light we see in the sky are all light-years from Earth. They are the building blocks of galaxies, of which there are billions in the universe. It’s impossible to know how many stars exist, but astronomers estimate that in our Milky Way galaxy alone, there are about 300 billion.

The life cycle of a star spans billions of years. As a general rule, the more massive the star, the shorter its life span. Birth takes place inside hydrogen-based dust clouds called nebulae. Over the course of thousands of years, gravity causes pockets of dense matter inside the nebula to collapse under their own weight. One of these contracting masses of gas, known as a protostar, represents a star’s nascent phase. Because the dust in the nebulae obscures them, protostars can be difficult for astronomers to detect.

As a protostar gets smaller, it spins faster because of the conservation of angular momentum—the same principle that causes a spinning ice skater to accelerate when she pulls in her arms. Increasing pressure creates rising temperatures, and during this time, a star enters what is known as the relatively brief T Tauri phase.

Millions of years later, when the core temperature climbs to about 27 million degrees Fahrenheit (15 million degrees Celsius), nuclear fusion begins, igniting the core and setting off the next—and longest—stage of a star’s life, known as its main sequence.

Most of the stars in our galaxy, including the sun, are categorized as main sequence stars. They exist in a stable state of nuclear fusion, converting hydrogen to helium and radiating x-rays. This process emits an enormous amount of energy, keeping the star hot and shining brightly.

Some stars shine more brightly than others. Their brightness is a factor of how much energy they put out–known as luminosity–and how far away from Earth they are. Color can also vary from star to star because their temperatures are not all the same. Hot stars appear white or blue, whereas cooler stars appear to have orange or red hues. By plotting these and other variables on a graph called the Hertzsprung-Russell diagram, astronomers can classify stars into groups. Along with main sequence and white dwarf stars, other groups include dwarfs, giants, and supergiants. Supergiants may have radii a thousand times larger than that of our own sun. Stars spend 90 percent of their lives in their main sequence phase. Now around 4.6 billion years old, Earth’s sun is considered an average-size yellow dwarf star, and astronomers predict it will remain in its main sequence stage for several billion more years.

As stars move toward the ends of their lives, much of their hydrogen has been converted to helium. Helium sinks to the star's core and raises the star's temperature—causing its outer shell of hot gases to expand. These large, swelling stars are known as red giants. But there are different ways a star’s life can end, and its fate depends on how massive the star is.

The red giant phase is actually a prelude to a star shedding its outer layers and becoming a small, dense body called a white dwarf. White dwarfs cool for billions of years. Some, if they exist as part of a binary star system, may gather excess matter from their companion stars until their surfaces explode, triggering a bright nova. Eventually all white dwarfs go dark and cease producing energy. At this point, which scientists have yet to observe, they become known as black dwarfs.

Massive stars eschew this evolutionary path and instead go out with a bang—detonating as supernovae. While they may appear to be swelling red giants on the outside, their cores are actually contracting, eventually becoming so dense that they collapse, causing the star to explode. These catastrophic bursts leave behind a small core that may become a neutron star or even, if the remnant is massive enough, a black hole.

Because certain supernovae have a predictable pattern of destruction and resulting luminosity, astronomers are able to use them as “standard candles,” or astronomical measuring tools, to help them measure distances in the universe and calculate its rate of expansion.

Depending on cloud cover and where you’re standing, you may see countless stars blanketing the sky above you, or none at all. In cities and other densely populated areas, light pollution makes it nearly impossible to stargaze. By contrast, some parts of the world are so dark that looking up reveals the night sky in all its rich celestial glory.

Ancient cultures looked to the sky for all sorts of reasons. By identifying different configurations of stars—known as constellations—and tracking their movements, they could follow the seasons for farming as well as chart courses across the seas. There are dozens of constellations. Many are named for mythical figures, such as Cassiopeia and Orion the Hunter. Others are named for the animals they resemble, such as Ursa Minor (Little Bear) and Canus Major (Big Dog).

Today astronomers use constellations as guideposts for naming newly discovered stars. Constellations also continue to serve as navigational tools. In the Southern Hemisphere, for example, the famous Southern Cross constellation is used as a point of orientation. Meanwhile people in the north may rely on Polaris, or the North Star, for direction. Polaris is part of the well-known constellation Ursa Minor, which includes the famous star pattern known as the Little Dipper.

•How the first stars were made•

The first stars were nothing like the relatively cool, long-lived stars that mostly populate the universe today. At the time, more than 13 and a half billion years ago, almost all the visible matter in the universe was comprised of hydrogen with some helium.

Without heavier elements, the first stars, once lit by nuclear fusion, furiously churned through their hydrogen stores and then burst in supernovae. These behemoths swelled to some hundred times the mass of the sun, and they lived for only a few million years. For comparison, our home star is about 4.6 billion years old, and it will continue living for at least that long.

Yet astronomers have never seen these early stars. They sparked to life at the end of a period called the cosmic dark ages, when the universe was suffused with opaque hydrogen gas. The light from these stars is not bright enough to be detected individually, even by the most powerful telescopes. To peer into the hearts of these monsters, scientists are turning to supercomputer simulations, such as this recent look at a primordial star-forming cloud from the early universe.

“What’s beautiful for us is that we actually know the physics and the equations of how matter behaves and how gravity works,” says Tom Abel, a computational astrophysicist at Stanford’s Kavli Institute for Particle Astrophysics and Cosmology (KIPAC) who made the simulation along with software developer Ralf Kaehler, also of KIPAC. “It gives you a framework in which to think about how one thing could have turned into the other thing.”

This process of transformation, as stars fused lighter elements into heavier metals, drove the evolution of the universe. Everything heavier than helium is considered a “metal” in astronomy, and these new elements were generated for the first time as the earliest stars erupted in supernovae and scattered their contents across the cosmos.

At some point, assemblages of stars swirled together to form the first galaxies, including the earliest structures of the Milky Way. Metals accumulated, and new generations of stars formed from these heavier elements, many evolving to be smaller, cooler, and longer-lasting. Around some of these stars, leftover dust—material made during supernovae—clumped together into the first planets.

The birth of the first stars represents the beginning of a sequence that produced all the worlds and living beings of the universe, and simulations can be used to study the critical first steps that telescopes cannot yet see.

Scientists can simulate the universe with ever-growing capability thanks to advances in both physics and computing. Inspired by the launch of the James Webb Space Telescope, which quickly began discovering earlier galaxies than ever seen before, Abel runs new simulations of the early universe for months at a time with almost a thousand times more resolution than was possible when he started working on cosmological computer models more than 20 years ago.

It allows for experimentation, Abel says. “If I change this a little bit, you know, what happens then? And so you can build up an intuition of the how the universe works and how the pieces fit together.”

For the first stars to ignite, gas had to accumulate in dense enough pockets to force hydrogen atoms to fuse into helium, releasing heat and energy. This occurred due to the gravitational forces of an invisible hand: dark matter. Before the first stars blazed to life, this unseen matter, which astronomers believe accounts for about 85 percent of all matter in the universe, clumped together in structures called dark matter halos.

These immense orbs—named for the way dark matter surrounds visible material and creates rings of blackness encircling light—form the scaffolding of the universe. Within them, turbid pockets of gas were forced ever inward, kindling the fires that would end the cosmic dark ages.

One of the benefits of simulating the first stars, Abel says, is gaining an appreciation for how the fundamental physics of hydrogen, the tiniest and lightest element, dictated the formation of giant stars that would transform the universe.

During the dark ages, most of these atoms were in the form of neutral hydrogen—that is, individual atoms flying freely through space. At the centers of large dark matter halos, where much of this neutral hydrogen amassed, the temperatures rose and individual atoms would sometimes collide and stick together, forming molecules of two hydrogen atoms.

At this point, things started to change. As the Stanford simulation shows, a cloud forms—about a thousand light-years across—where molecules of hydrogen accumulate. The outer layers of this cloud began to cool because the newly formed hydrogen molecules occasionally release photons of light, bleeding away energy and heat. As temperatures drop, the infalling gas slows down, and material behind it piles up, sending shock waves through the cloud.

“There is so much structure in here,” Abel says of the simulation’s different layers of a star-forming cloud. “It’s so much fun.”

Deeper within the cloud, additional layers are heated or cooled, causing more turbulent collisions. The cooling processes also reduce the pressure of the gas pushing outward—the primary thing fighting against gravity. Inexorably, bit by bit, the cloud collapses ever inward.

“Essentially what will happen is that there’s an about 10-Jupiter-mass object that will form, and then that will accrete very rapidly,” Abel says.

Scientists don’t know exactly how big these earliest stars got as gas continued to pile on, but they may have grown to hundreds of times the mass of the sun.

The intense energy released by the first stars not only scattered metals in supernovae, but also blasted the cosmos with ultraviolet light. This radiation stripped the neutral hydrogen atoms of their electrons and made the gas more transparent, a key time in cosmic history known as reionization.

While we may never find the very first star to shine out in the abyss, our ability to simulate the cosmos is providing an ever-clearer picture of what this key time must have been like. Such simulations could also reveal parts of the universe’s future.

“You can study the very first thing that we haven’t seen yet,” Abel says, “and you can study the very last thing that people could ever see.”

The brightest star in the night sky is a blue-white star named Sirius. It is also called the Dog Star.

Stars are huge, glowing balls of gases. The closest star to Earth is the Sun. Most of the pinpricks of light that shine in the night sky are also stars. Countless more stars are too far from Earth to be seen without a telescope. Most stars are incredibly far away.

Stars are found in huge groups called galaxies. The Sun and its solar system, including Earth, are part of the Milky Way galaxy. That galaxy alone contains hundreds of billions of stars. There are many billions of galaxies in the universe.

Nearly all stars are made up mostly of a gas called hydrogen. A star’s core is very hot. Great pressure squeezes the core, causing some of the hydrogen to change into a gas called helium. This process produces huge amounts of energy and makes the star shine.

Stars vary in size, temperature, brightness, and color. A star’s temperature, as well as its chemicals, makes it shine in a certain color. The bluer stars are usually hotter, while the redder stars are cooler. The Sun is somewhere in between. It gives off yellow light. The Sun is a fairly average star in terms of its brightness and size

Stars probably begin as clouds of hydrogen and dust. This material slowly pulls itself together into clumps. As the material gets packed in tighter, the clumps get hotter. Pressure builds up. Eventually the star begins changing hydrogen into helium—and so begins to shine brightly.

After shining for billions of years, a star uses up all its hydrogen. Small and medium stars slowly cool down and stop shining. This will happen to the Sun billions of years in the future.

Large stars end with a violent explosion called a supernova. After that the material gets crushed much smaller. It no longer shines. Huge stars may end up as objects called black holes. The crushed material is so heavy for its size that it develops a powerful inward pull. This pull, called gravity, is so strong that it sucks in anything that gets near the black hole.

Stars are found in large groups called galaxies. A galaxy may contain millions or even hundreds of billions of stars, plus gas and dust

Stars have been studied for many millennia along with other heavenly bodies like the moon, asteroids, comets and meteors

•Star types•

Scientists have classified stars based on their spectra, which refers to the elements absorbed by them, and their temperature. Due to the variations in temperature, stars are of different colors and can be classified into the following (4).

1. O – Type Stars

These are the hottest stars and are blue. They are a million times brighter than the Sun.

2. B – Type Stars

These stars are blue-white and are hundreds to thousand times brighter than the Sun.

3. A-Type Stars

These are white and are about ten times brighter than the Sun.

4. F – Type Stars

These stars are yellow to white and are brighter than the Sun.

5. G – Type Stars

These are yellow stars and are bright. Our Sun is a G star.

6. K – Type Stars

These stars are orange to red and are cold.

7. M – Type Stars

These stars are red and are the coldest stars.

•Star stages•

1. Nebula

This is the first stage in the life cycle of a star. A star is formed from the nebula, which is a massive cloud of dust and gas in space. It is mainly composed of hydrogen. The nebula collapses under its own gravitational pull to form a protostar.

The Helix nebula is the one of the nearest identified nebulae to Earth

2. Protostar

The increasing gravity and pressure make the protostar collapse. This results in the formation of a pre-main sequence star, which then turns into a main sequence star as the hydrogen fusion starts.

3. Main Sequence Star

As the pre-main sequence star begins to release energy and stops contracting, it starts to shine and forms a main sequence star. Our Sun is among one of the main sequence stars. These stars vary in size, mass, and temperature but carry the same process in their cores. They convert hydrogen into helium, creating a massive amount of energy.

The life span of main sequence stars depends on their size. As giant stars burn their fuel much faster, they may only last a few hundred thousand years, while smaller stars may last for several billion years because they burn their fuel much more slowly.

4. Red Giant Stars

When all the hydrogen is used up and the fusion stops, the main sequence stars enter the next stage. The hydrogen shell of the core ignites, causing the stars to expand about 100 times bigger than the main sequence star. The star then turns into a red giant.

5. White Dwarf Stars And Supernova

When all the helium is used up in the core, and no other element is left to be used as a fuel, the red giant stars transform to white dwarf stars. The smaller stars collapse due to their own gravity as there is no more fusion reaction. Still, the stars may shine due to the immense heat before they cool down and turn into black dwarfs. They are different from dwarf planets which are small planetary mass objects in the sun’s direct orbit. Larger stars with more mass continue with the nuclear reaction and keep expanding until they explode, a phenomenon called a supernova. When a supernova occurs, it throws a huge amount of hot gases into space.

6. Blackhole Or Neutron Stars

A massive supernova or explosion can leave behind a black hole or a neutron star.

A singularity is a point at the center of a black hole that contains mass with infinite density

•fun facts•

1.The majority of the stars in the universe are red dwarfs. They make up about 70% of the total star population.

2. Stars twinkle due to the movement of air in the Earth’s atmosphere.

3.The light emitted by the stars takes years to reach us. So, when you look at a star, you actually see how the star looked in the past.

4.Proxima Centauri, also known as Alpha Centauri, is the nearest star to our Earth. It is 40,208,000,000,000km away from us and 1.5 times brighter than our Sun.

5.Smaller stars live longer than bigger stars.

6.The oldest record of a supernova dates back to 185 A.D. Chinese astronomers were known to have witnessed the event.

7.stars are mostly present in groups.

8. The Sun accounts for 99.86% of the mass in our solar system.

9.Approximately 25 to 50 supernovae are discovered each year in other galaxies via telescopes. The Hubble Telescope is a space telescope that provides stunning images of celestial objects.

10.Each year, the Milky Way Galaxy creates about seven new stars.

11.There are about 100-400 billion stars in the Milky Way Galaxy

12. Scientists estimate that the universe is around 13.8 billion years old, and the Milky Way is around 13.6 billion years old

13. The asterism Pleiades, also known as the Seven Sisters, is found in the constellation Taurus, one of the prominent zodiac signs.

14. The nearest large galaxy to our Milky Way Galaxy is the Andromeda Galaxy. Scientists predict that these two galaxies will collide in approximately four billion years.

15. Sirius is the brightest star in the night sky.

16.The Sun will never turn into a black hole, as it is not big enough.

17.The distance between the Sun and Earth is about 93 million miles (150km). This distance is also known as the Astronomical Unit, which is used for measuring distances within the Solar System or around other stars.

18.Only stars with more than twenty times the mass of the Sun will become black holes.

[digitalrevolutions]

Being, Thinking, and Knowing in a Hypertext Age

The speculative rhetorical model posits that we can only know the world in ways bounded and contextualized by our own experience of being. For this reason, a speculative rhetoric approach tries to pay careful attention to the perspectives, roles, and experiences of nonhumans, since communication inevitably takes place among a vast array of nonhuman actants. Speculative rhetorician Andrew Reid asserts that “A speculative rhetoric begins with recognizing that language is nonhuman.” At first, I couldn’t begin to imagine what this must mean. Sure, animals communicate, but surely language—expressive, symbolic communication with defined rules—must be an exclusively human phenomenon.

I read Reid’s short list of scholars cited (Alexander Galloway, Richard Grusin, Bruno Latour, Alan Lui, and Quentin Meillasoux) aloud to GPT-4 and asked it to tell me what they were known for, in hopes that knowing the background Reid was drawing from would help me contextualize such a bizarre statement.

It confirmed that Bruno Latour is best known for actor-network theory, as I had thought. Meillasoux it introduced as a speculative realist philosopher. Lui it defined as a scholar of “language as a digital-cultural phenomenon, influenced by both human creativity and digital technology.” Grusin, it said, was known for proposing that new technologies “remediate” and refashion older ones. Galloway, it said, “explores how digital protocols, the rules and standards governing digital networks, shape interactions and communications.” A quick look at Google Scholar and the scholars’ university webpages confirmed that its characterizations were fairly accurate.

Altogether, I could only conclude that these scholars affirm language as a constructed, constantly evolving phenomenon, although I still couldn’t see how the ability to influence human actions would equate to an equal ownership of language. It may be old-fashioned, but at present I’m still prepared to embrace Kenneth Burke’s definition of man as “the symbol-using animal.” As far as I know, there’s no evidence that animals can grasp the abstract symbolism inherent in language as well as we can.

However, I do think Gunther Kress’s “Multimodality” afforded me with another avenue for making sense of Reid’s perspective, at least. Kress asserts that “all texts are multimodal”, where ‘text’ seems to be doing a great deal of heavy lifting to encompass practically anything into which meaning can be encoded and decoded. For him, the multimodality of verbal speech arises from its inclusion of “pitch variation; pace; stress; phonological units (produced by a complex of organs); lexis; sequencing (as syntax); etc.” In other words, any element which can have a role in imparting meaning is part of the mode (or means) of linguistic communication. Since some animals can intentionally adapt these facets of communication to a rhetorical context (i.e. cats having a less babyish meow around one another than humans), I can see the argument that many animals possess a kind of language in that way.

But since Kress’s many example pictures and diagrams stress the representational quality of human languages (in which he apparently includes visuals, which he says can develop a kind of grammar) even when it’s completely divorced from written or spoken words, I’m still inclined to say that animals have communicative skills but not language. I’m curious whether anyone knows of any animals capable of abstraction.

Similarly, I wonder at what point we could consider the product of generative AI to be language (or perhaps I should say a form of communication, period). There’s no conscious intent behind it, it’s an actant and not an actor, but it arguably works entirely in abstractions (it doesn’t have meaningful, individual experience of what anything is!) and it certainly considers its modal elements, as many generative AI models will show by displaying alternate response options.

[happyk44]

[ID: A three-part Venn Diagram. A pink banner above the diagram reads, “Can We Talk About The Overlap Between… Autism, ADHD, and Schizophrenia?” Beneath the banner and next to the diagram, it reads, “You always hear people talking about AuDHD, but schizophrenia has the same if not more overlap with these disorders, and it’s not talked about!

Let’s start boosting schizophrenic people’s voices. There’s more to the disorder than just psychosis!

Graph based on my personal experience with schizophrenia, my experiences with autistic and ADHD communities, and the words of people with AuDHD themselves. Made by @/gray-gray-gray-gray on tumblr.”

The Schizophrenia only section reads:

Typical age of onset between 15 and 54 years old

Before the onset/first psychotic break, there is a “prodrome” where you have a drop in functioning

Reoccurring episodes of psychosis (hallucinations, delusions, paranoia, etc)

Likely had less noticeable or covert symptoms pre-onset

Often daydreaming, ‘in their own world’, hyper-self-reflective, ‘space cadet’

The ADHD only section reads:

Craves new experiences and novelty

The Autism only section reads:

Need for familiarity and routine

Sudden disruptions to routine are highly distressing

The schizophrenia and ADHD section reads:

Impulsivity and hard to sit still

Difficulties regulation attention and focus, also casual social cue difficulties

Jumping around or out of sequence speech

Difficulty keeping a daily routine

Forgetfulness

Failing to reach a clear end goal or point in speech

Less coherent progression from start to finish in stories

General difficulties with thinking clearly

Drawing blanks/losing train of thought often

Difficulties finding motivation to do things

Lots of energy some days, no energy other days

Troubles multitasking

Planning poorly or not all

The schizophrenia and autism section reads:

Self-soothing via repetitive behavior

Higher rates of catatonic symptoms

Social withdrawal or exclusion

Difficulties reading other’s emotions

Higher rates of personality disorders, dissociative disorder, and trauma

Difficulties filtering speech

Flat affect

Alogia

Concrete and/or literal thinking

Internally oriented behavior

Difficulties wording what they want to say correctly and disorganized speech

Difficulties with insight into what is part of the disorder and what is neurotypical

The ADHD and autism section reads:

Interest-based nervous system (meaning attention and focus is active based on personal interest, not how important something is)

Onset in very early childhood – before age 12

The schizophrenia, ADHD and autism section reads:

Stimming

Echolalia, echopraxia

Executive dysfunction

Sensory issues and overload

Emotional dysregulation

Interconnected/webbed thought

ND communication (infodumping, connecting ideas, shared interest bonding)

Increased risk of victimization

Hyperfixations

Higher rates of depression, anxiety, OCD, BFRBS, bipolar, suicidality, sleep issues, eating disorders, and substance abuse

Eye contact difference

Difficulties switching tasks

Masking

Hyperfocusing

Restlessness

Prone to boredom

Memory issues

Social situation difficulties

Time blindness

Difficulties with school, learning, and following tasks

Chronic disorder

RSD

Anhedonia

Alexithymia

Interoceptive difficulties

/end ID]

People with autism or ADHD: I have this symptom

Me, a schizophrenic: oh me too!

People with autism or ADHD: I have this symptom

Me, a schizophrenic: haha yeah I got that too

People with autism or ADHD: I have this symptom

Me, a schizophrenic: yeah I deal with that daily

People with autism or ADHD: have you been checked for autism/ADHD? It really seems like you have it

Me, a schizophrenic: you know those are all possible symptoms of schizophrenia too right? You know that we have more than just psychosis right? And we can experience almost every symptom of autism and ADHD combined right? You know that we are more alike than we are different, right? Right?

[govindhtech]

QuanUML: Development Of Quantum Software Engineering

Researchers have invented QuanUML, a new version of the popular Unified Modelling Language (UML), advancing quantum software engineering. This new language is designed to make complicated pure quantum and hybrid quantum-classical systems easier to model, filling a vital gap where strong software engineering methods have not kept pace with quantum computing hardware developments.

The project, led by Shinobu Saito from NTT Computer and Data Science Laboratories and Xiaoyu Guo and Jianjun Zhao from Kyushu University, aims to improve quantum software creation by adapting software design principles to quantum systems.

Bringing Quantum and Classical Together

Quantum software development is complicated by quantum mechanics' stochastic and non-deterministic nature, which classical modelling techniques like UML cannot express. QuanUML directly solves this issue by adding quantum-specific features like qubits, the building blocks of quantum information, and quantum gates operations on qubits to the conventional UML framework. It also shows entanglement and superposition.

QuanUML advantages include

By providing higher-level abstraction in quantum programming, QuanUML makes it easier and faster for developers to construct and visualise complex quantum algorithms. Unlike current methods, which require developers to work directly with low-level frameworks or quantum assembly languages.

Leveraging Existing UML Tools: QuanUML expands UML principles to make it easy to integrate into software development workflows. Standard UML diagrams, like sequence diagrams, visually represent quantum algorithm flow, improving comprehension and communication.

A major benefit of QuanUML is its comprehensive support for model-driven development (MDD). Developers can create high-level models of quantum algorithms instead of focussing on implementation details. This structured and understandable representation increases collaboration and reduces errors, speeding up quantum software creation and enabling automated code generation.

The language's modelling features can be used to visualise quantum phenomena like entanglement and superposition using modified UML diagrams. Visual clarity aids algorithm comprehension and debugging, which is crucial for gaining intuition in a difficult field. Quantum gates are described as messages between lifelines, whereas qubits are represented as <> lifelines to differentiate between single-qubit asynchronous communications and multi-qubit synchronous/grouping messages and control relationships. Quantum experiments with probabilistic state collapses use asynchronous signals to end qubit lifelines.

QuanUML simplifies theory-to-practice transitions by combining algorithmic design with quantum hardware platform implementation. Abstracting low-level implementation details allows developers focus on algorithm logic, boosting design quality and development time.

Two-Stage Workflow: QuanUML uses high-level and low-level models. High-level modelling of hybrid systems uses UML class diagrams with a <> archetype to reflect their architecture. Low-level modelling changes UML sequence diagrams to portray qubits, quantum gates, superposition, entanglement, and measurement processes utilising stereotypes and message types to study quantum algorithms and circuits.

Practical Examples and Future Vision

Through detailed case studies using dynamic circuits and Shor's Algorithm, QuanUML demonstrated its effectiveness in modelling successful long-range entanglement.

QuanUML efficiently models dynamic quantum circuits' classical control flow integration using UML's Alt (alternative) fragment to visualise qubit initialisation, gate operations, mid-circuit measurements, and classical feed-forward logic.

QuanUML can handle sophisticated hybrid algorithms like Shor's Algorithm by mixing high-level class diagrams (using the <> archetype for quantum classes) with intricate low-level sequence diagrams. It manages complexity by modelling abstract sub-quantum computations.

QuanUML has a more comprehensive software modelling framework, deeper low-level modelling capabilities, and demonstrated element efficiency in some quantum algorithms than Q-UML and the Quantum UML Profile due to its accurate representation of multi-qubit gate control relationships.

QuanUML provides a framework for designing, visualising, and evaluating complex quantum algorithms, which the authors think will help build quantum software. Future enhancements aim to expedite development and accelerate theoretical methodologies to real-world applications. Extensions include code generation for Qiskit, Q#, Cirq, and Braket quantum computing SDKs.

This unique strategy speeds up the design of complex quantum applications and promotes cooperation in quantum computing. The shift from direct coding to structured design indicates a major change in quantum software engineering.