#Three principles facilitator

[threeprinciplesaustraliaa]

Three Principles Training – What You Will Learn In This

It is so critical to zero in on the relationship that we have with ourselves as the relationship we have with others will constantly be restricted by the relationship that we have with ourselves.

This can carry similar customers to their business, make to a greater degree a specialty market, and help in cultivating a fondness between the three principles training coach and their clients. Life coaching approaches vary, just as spirituality can be expressed in a variety of ways.

What you need to know?

The three principles coach relationship with each client will differ, just as each client will require different skills to master. Integrating otherworldliness with the interaction loans to a fuller encounter for the people who are involved.

For instance, you become an individual who defines an objective and perhaps that objective is bigger than your mental self-view or that is what your character affirms You're somebody who must show up for every other person however you cannot put yourself first.

Learn from the best

This then compels you to make an objective that expects you to put yourself first where you currently need to behave destructively; furthermore, unknowingly there is a part of you dismissing the thought immovably saying probably not. The objective conflicts with who you are and this is what the three principles facilitator teaches you.

Your main goal is to get your life in order. The primary purpose that each of us has is to learn to love and get to know ourselves, as well as to connect with everything that we are.

As a first step toward altering your self-perception and retelling your story, here are some actions you can take right away to effect that change. It is all about embracing success and allowing it to stay in your body when you experience the full spectrum of success.

Click here for more information: https://threeprinciplesaustraliaa.tumblr.com/post/693559246824079360/3-principles-training-get-the-best-training-for

[kierongillen]

General Player Advice For RPGs

I published this in my newsletter here a while back, and discourse reminded me I wanted to put it more public. I probably should get around to actually doing a proper blog for this kind of stuff. You can sign up to the newsletter here.

One of the things which I’ve been chewing over since getting back into RPGs is that there’s so much advice for GMs and so little advice for players. I keep thinking over why - though the whys aren’t what I’m about to write about. However, some other folk think any worthwhile advice is system/genre specific.

This got me chewing over whether I agree with that. As the list below shows, I don’t.

The first four are ones where I think I succeeded, and as principles generally guide you towards better play no matter what game you’re playing. The last three are mainly applicable to games with a significant story component (the last especially). There’s a few more I played with, but they were more about being a good at the table generally – about being a better player in any game rather than specifically about role-playing games. I also avoided ones which were more GM-and-player advice rather than just player advice (if there’s a problem in game, communicate out of game, use appropriate safety tools, etc).

I also didn’t include “Buy The GM Stuff”.

Anyway – here they are. See what you think.

GENERAL PLAYER PRINCIPLES FOR BETTER PLAY

1) Make choices that support the table’s creative goals

If you’re playing a storygame, don’t treat it like a tactical wargame. If you’re playing a tactical wargame, don’t treat it like a storygame. If it’s bleak horror, don’t make jokes. If you’re in a camp cosy romp, don’t bring in horror. It also varies from moment to moment – if someone’s scene is sincere, don’t undercut it.

2) Be A Fan of The Other Characters

This is GM advice in almost all Powered By the Apocalypse games – for the GM to be a fan of the characters. It’s a good trait for a player to cultivate. Be actively excited and interested in the other characters’ triumphs and disasters. Cheer them on. Feel for them. Players being excited for other players always makes the game better. Players turning off until it’s their turn always makes it worse.

3) Be aware of the amount of spotlight time you’re taking

This is a hard one for fellow ADHD-ers, but have an awareness of who is speaking more and who is speaking less. A standard GM skill is moving spotlight time around to players who have had less time. Really good players do this too. Pass the ball.

4) Learn what rules apply to you, to smooth the game, not derail it.

To stress, this isn’t “come to the table knowing everything” but learning the rules that are relevant to your character along the way, especially if they are marginal (looking at you, Grappling and Alchemy rules). Doing otherwise adds to the facilitator’s cognitive load and hurts the game’s flow. The flip is being aware that knowing stuff isn’t an excuse to break the game’s flow with a rules debate either – that’s an extension of the third principle.

5) Make choices which support other characters’ reality

If someone’s playing a scary bastard, treat them like a scary bastard. If they’re meant to be the leader, have your character treat them like the leader , for better or worse. A fictional reality is shared, and you construct it together.

6) Ensure The Group Understands Who Your Character Is

This is the flip of the above – having a character conception that is clear enough that everyone gets who you are, what you want to do and how you want to do it. If you don’t, the table will be incapable of supporting your choices. This links to…

7) If asked a preference in a story game, a strong choice is almost always better than a middling choice.

Don’t equivocate. If asked “You’ve met this person before. How do you feel about him?” either “I love him” or “I hate him” is better than anything middling. The exception is if it’s something you’re really not interested in pursuing.

[seedlinggames]

Nobody needs another TTRPG taxonomy but I made one anyway

Posted here: https://seedlinggames.com/blogging/discourse/game_taxonomy_part_1_v_1.html I have a second blog post that is going to explain the small diagonal line, but basically it's that I think there is influence between those two camps that people don't seem to talk about much, probably due to internet discourse reasons

A million people have already done this - I'm kind of assuming you have vaguely absorbed the existing Internet discussions, and are familiar with terms like OSR, Story Games, etc. If you haven't, run away now and save yourself. But Six Cultures Of Play is probably a prerequisite to understand what I'm talking about, or at least what I'm complaining about.

I will try to, as much as possible, only discuss games that I have played. A lot of taxonomies seem to be written by someone who clearly likes one type of game a lot more than the others. For instance, I will not be discussing LARP because I don't have any relevant experience. I'm also not claiming that I am discussing the complete set of all games that exist, but I think I have played enough of them propose a taxonomy. If you're curious, I have an approximately complete list of games I've played or run here.

What is a TTRPG?

First we're going to have to look at everyone's other least favourite subject of conversation.

TTRPGs have 2 or more people taking on the following 3 roles:

A player, who is responsible for one or more characters who are the protagonists of the story.

A GM, who is responsible for the remainder of the story, such as providing additional characters and other aspects of the environment that the main players exist in. To do so they might determine the outcome of uncertain events or interpret rules agreed upon by the table.

An author, who provides additional, reusable material without being present. I'm using the term "author" for a lack of a better one, but it includes game books, blog posts, maps, drawings, or even fixed principles transmitted orally from game group to game group. These serve to facilitate or even replace GMing, as well as to introduce new ideas to the table without someone being physically present.

The same person often takes on different roles at different times, sometimes in the same game.

If you have only one of these roles, you are probably writing a book, doing improv, or some other activity. Which is of course totally fine.

This isn't the only definition you could come up with, but I think most people would agree it isn't totally wrong, and it's a lens that I'll be using to discuss the game taxonomy.

Maximalist Games

Apparently "maximalist" means something specific in art but I am not educated in such things and might be using the word wrong.

Characteristics of a maximalist game:

The three roles: clearly present and distinct, with the GM and author each taking on a large responsibility for the game experience.

Modularity: Semi-modular: There is a main game system which is designed to be extended by other modules, but these modules cannot be used with other games easily. A game book is typically not a self-contained experience and games are usually open-ended in duration.

Rules: A lengthy, complex ruleset with subsystems for resolving different parts of the game that are likely to come up, primarily oriented around the success or failure of an action and its consequences.

Characters: The complex game mechanics provide an opportunity for players to develop a distinct character before playing them, defined by game mechanics. Character and player motivations are usually aligned.

Narrative structure: Campaigns usually follow conventional narrative structure, but this is driven primarily by the GM, or by adventure modules, which define an outline of the narrative.

Who makes them: Often require more resources to create and thus are made by corporations, but that is changing.

Relationship to other media: While often inspired by fantasy novels, their larger budget and longer history has allowed some of them to develop their own genre conventions distinct from other media, and in some cases have inspired movies and books.

Solo games: Rare, due to the prominent role of the GM.

"Trad" games are a subset of these but a) I hate that word and b) I think the genre, starting especially with 4E and other inspired games, have gone in some very different directions. It roughly corresponds to "Fight D&D" in the Between Two Cairns taxonomy, but some games in this category involve no fighting at all.

Narrative Mechanics Games

The three roles: Blur the lines between GM and player more freely.

Modularity: Usually not very. Each game is made to create a specific experience, and the blurring of GM and player roles makes adding external content more complicated.

Rules: Focused on resolving problems in the context of narrative structures. Rules may facilitate pacing, allow for storytelling outside of linear time, allow players to temporarily take on a GM-like role, and allow for players to work together to create conflict between their characters.

Characters: Mechanics facilitate creating characters according to genre conventions with defined relationships to other characters and to NPCs. Player and character motivations are often not aligned.

Narrative structure: Rules are designed to support conventional narrative structures and genre conventions.

Who makes them: The focused scope of these games mean that they are often made by individuals rather than corporations, but there is a trend towards some of them being made by mid-sized organizations. Long development cycles may be needed to provide a polished experience, leading to some amount of professionalization.

Relationship to other media: Usually strongly inspired by other media, allowing you to create stories similar to movies, books, TV shows, etc.

Solo games: Rare, with Ironsworn as a notable exception.

Some "story games" fall into this, but I think "story games" has split into two meaningfully distinct categories. I've met enough people who only like one of the two categories. I think they are perceived as more similar than they are because there's less internet drama about the difference between them.

Prompt-based storytelling

The three roles: Blur the lines between the GM, player and author, with the GM often being absent.

Modularity: Usually self-contained experiences with limited modularity.

Rules: Often entirely forego mechanics for failure or success; mechanics tend to be minimal and about making suggestions regarding the story to tell, with the written text sometimes acting primarily as a GM or even player who is not present.

Characters: Character creation is usually a minor to nonexistent part of the game, with characters being defined by decisions made at the table. In some cases, all characters are already predefined. Characters are usually defined in words rather than numbers. Player and character motivations are rarely aligned.

Narrative structure: Stories often forego conventional narrative structures, and are focused around exploring relationships, ideas, or experiences. If a narrative structure is defined, it is usually in the form of a defined endpoint, with the purpose of the game being to explore how the characters get there.

Who makes them: Leans heavily towards DIY or single creators. Often comes in formats other than books.

Relationship to other media: Inspiration comes less from established genres and more from life experiences. Genre fiction is less likely to be an inspiration.

Solo games: Very common, due to the reduced role of the GM.

Adventure/exploration games

The three roles: Blur the lines between GM and author, both at the table and culturally.

Modularity: Are highly modular: not only are supplements and adventures often interchangeable, but are often not tied to specific systems.

Rules: Have relatively short rulesets focused on generating situations (on the GM side) and resolving danger (on the player side).

Characters: Characters are mostly created organically in play through interactions with the environment, including the tools at their disposal. Random generation is common. Character and player motivations are usually aligned.

Narrative structure: Campaigns often do not follow a typical narrative structure, aside from perhaps an escalation in danger, scope and/or strangeness.

Who makes them: Their modular nature means that they are often created in a DIY manner, through zines, blog posts, and informal discussions, though mid-size companies are also prevalent.

Relationship to other media: Inspiration from other media is often mostly vibes-based, with genre fiction, folklore, and even musical genres and political movements (for better or worse) being prominent. It doesn't seek to emulate the characters or narrative structure of other genres.

Solo games: Relatively common, usually provided by an additional module that may be specific and general-purpose, often focused on a GM emulator known as an "oracle."

"OSR" games are a subset of these, but a good number of these also make many OSR people very angry. It roughly corresponds to "Door D&D", but dungeon crawling is not inherent to this genre.

Other ways of looking at these categories

You could also map these on axes:

distinct GM/player/writer role vs combined roles: maximalist vs prompt-based at opposite ends of this spectrum

Highly self-contained vs highly modular: narrative vs adventure/exploration

Strong genre conventions vs naturalistic approach: maximalist/narrative vs adventure/exploration/prompt based

Resembles a D&D vs does not really resemble a D&D: maximalist/adventure/exploration vs narrative/prompt based

for symmetry I want to put another axis for maximalist/prompt based but I can't think of anything they have in common. Oh well.

But I also don't think this is a complete enumeration of all possible types of games either - this is some kind of n-dimensional space that has only 4 blobs on it

The part of the taxonomy blog post where you realize this is actually just me going on about my own preferences this entire time

I've played and enjoyed all 4 types of games, but putting this together has helped me figure something out - why it is that I like both the NSR side of OSR games and like the "super weird" story games. And why I don't seem to be the only one, even though these are often talked about as opposites. Because if you split story games into two genres, the similarities between prompt-based games and adventure/exploration games comes out.

[geometrymatters]

Sir Roger Penrose

To me, the world of perfect forms is primary (as was Plato’s own belief) — its existence being almost a logical necessity — and both the other two worlds are its shadows.

Sir Roger Penrose, born on August 8, 1931, in Colchester, Essex, England, is a luminary in the realm of mathematical physics. His journey began with a Ph.D. in algebraic geometry from the University of Cambridge in 1957, and his career has spanned numerous prestigious posts at universities in both England and the United States. His work in the 1960s on the fundamental features of black holes, celestial bodies of such immense gravity that nothing, not even light, can escape, earned him the 2020 Nobel Prize for Physics.

Penrose’s work on black holes, in collaboration with Stephen Hawking, led to the ground-breaking discovery that all matter within a black hole collapses to a singularity, a point in space where mass is compressed to infinite density and zero volume. This revelation illuminated our understanding of these enigmatic cosmic entities.

His work did not stop at the theoretical; he also developed a method of mapping the regions of space-time surrounding a black hole, known as a Penrose diagram. This tool allows us to visualize the effects of gravitation upon an entity approaching a black hole, providing a window into the heart of these celestial mysteries.

Within Penrose’s chapter, “The Godelian Case” (from “The Road to Reality”) the profound implications of Kurt Gödel’s incompleteness theorems are examined in relation to the connection between mathematics and geometry. Specifically, Penrose’s attention centers on the model depicted in Figure 2.1, which portrays a cubic array of spheres. Through this visual representation, Penrose explores the intricate relationship between geometry and mathematical understanding.

By introducing the model of a cubic array of spheres, Penrose highlights the fundamental role of spatial arrangements in mathematical cognition. This geometrical structure serves as a metaphorical embodiment of mathematical concepts, illustrating how spatial configurations can stimulate cognitive processes and facilitate intuitive comprehension of mathematical truths. The intricate interplay between the arrangement of spheres within the model and the underlying principles of mathematics encourages contemplation on the deep-rooted connections between geometry, spatial reasoning, and abstract mathematical thought.

Penrose’s utilization of the cubic array of spheres underscores his broader philosophical framework, which challenges reductionist accounts of human cognition that rely solely on formal systems or computational models. Through this geometrical representation, he advocates for a more holistic understanding of mathematical insight, one that recognizes the essential role of geometric intuition in shaping human understanding.

By looking at the intricate connection between mathematics and geometry, Penrose prompts a re-evaluation of the mechanistic view of cognition, emphasizing the need to incorporate spatial reasoning and intuitive geometrical understanding into comprehensive models of human thought.

(E) Find a sum of successive hexagonal numbers, starting from 1 , that is not a cube. I am going to try to convince you that this computation will indeed continue for ever without stopping. First of all, a cube is called a cube because it is a number that can be represented as a cubic array of points as depicted in Fig. 2. 1 . I want you to try to think of such an array as built up successively, starting at one corner and then adding a succession of three-faced arrangements each consisting of a back wall, side wall, and ceiling, as depicted in Fig. 2.2. Now view this three-faced arrangement from a long way out, along the direction of the corner common to all three faces. What do we see? A hexagon as in Fig. 2.3. The marks that constitute these hexagons, successively increasing in size, when taken together, correspond to the marks that constitute the entire cube. This, then, establishes the fact that adding together successive hexagonal numbers, starting with 1 , will always give a cube. Accordingly, we have indeed ascertained that (E) will never stop.

Penrose’s work is characterized by a profound appreciation for geometry. His father, a biologist with a passion for mathematics, introduced him to the beauty of geometric shapes and patterns at a young age. This early exposure to geometry shaped Penrose’s unique approach to scientific problems, leading him to develop new mathematical notations and diagrams that have become indispensable tools in the field. His creation of the Penrose tiling, a method of covering a plane with a set of shapes without using a repeating pattern, is a testament to his innovative thinking and his deep understanding of geometric principles.

His fascination with geometry extended beyond the realm of mathematics and into the world of art. He was deeply influenced by the work of Dutch artist M.C. Escher, whose intricate drawings of impossible structures and infinite patterns captivated Penrose’s imagination. This encounter with Escher’s art led Penrose to explore the interplay between geometry and art, culminating in his own contributions to the field of mathematical art. His work in this area, like his scientific research, is characterized by a deep appreciation for the beauty and complexity of geometric forms.

In geometric cognition, Penrose’s work has the potential to make significant contributions. His unique perspective on the role of geometry in understanding the physical world, the mind, and even art, offers a fresh approach to this emerging field. His belief in the power of geometric thinking, as evidenced by his own ground-breaking work, suggests that a geometric approach to cognition could yield valuable insights into the nature of thought and consciousness.

Objective mathematical notions must be thought of as timeless entities and are not to be regarded as being conjured into existence at the moment that they are first humanly perceived.

I argue that the phenomenon of consciousness cannot be accommodated within the framework of present-day physical theory.

His Orch OR theory posits that consciousness arises from quantum computations within the brain’s neurons. This bold hypothesis, bridging the gap between the physical and the mental, has sparked intense debate and research in the scientific community.

Penrose’s work on twistor theory, a geometric framework that seeks to unify quantum mechanics and general relativity, is a testament to his belief in the primacy of geometric structures. This theory, which represents particles and fields in a way that emphasizes their geometric and topological properties, can be seen as a metaphor for his views on cognition. Just as twistor theory seeks to represent complex physical phenomena in terms of simpler geometric structures, Penrose suggests that human cognition may also be understood in terms of fundamental geometric and topological structures.

This perspective has significant implications for the field of cognitive geometry, which studies how humans and other animals understand and navigate the geometric properties of their environment. If Penrose’s ideas are correct, our ability to understand and manipulate geometric structures may be a fundamental aspect of consciousness, rooted in the quantum geometry of the brain itself.

The final conclusion of all this is rather alarming. For it suggests that we must seek a non-computable physical theory that reaches beyond every computable level of oracle machines (and perhaps beyond). — Roger Penrose, Shadows of the Mind: A Search for the Missing Science of Consciousness

[ckret2]

For those of you that still wanna try to meet my impossibly high standards for some reason, I'm still taking title suggestions but here's the updated criteria:

MANDATORY: must include the word Goldilocks, or a "Goldilocks" pun that's SO OBVIOUS it's nigh impossible to NOT hear it. If you have to stretch to hear it, it fails. If there's an unrelated word inserted between "gold" and "lock," fail.

MANDATORY: The Goldilocks reference must be about the Goldilocks principle, the Goldilocks zone, or something else like that and NOT about Bill or the fairy tale. If it's a Goldilocks & the Three Bears reference, automatic fail. If the word "Goldilocks" is being used to refer to Bill, Bill's appearance, Bill's name, Bill's ANYTHING, automatic fail.

"I don't feel like it should be mandatory. It wouldn't bother me if the title doesn't meet these criteria." It's not your title. Please don't send me asks like that, I didn't put those points up for negotiation.

Has to sound like it's about THIS fic. Think of a random different "human Bill's stuck in Gravity Falls and gets a redemption arc" fic. Could the title describe that fic just as well? It's out. Here's the general themes I've thought of if u wanna muse over them.

Bonus points if it's a funny/punny reference to some other phrase in a way that sounds like it would fit in as a Gravity Falls episode title; double major bonus points if the reference actually fits this fic.

The subjective points that still stand from the first criteria list: interesting enough to intrigue new readers; easy to remember (not too long/complicated); actually sounds like a title.

Short & snappy. If you read the title once, left for an hour, and tried to remember it, would you be likely to remember it word-for-word? Is it built in a way that facilitates being easy to remember (like, built on a common phrase or distinctive words)? Or are there a bunch of little prepositions & phrases that risk getting changed or getting their order swapped or left out?

Gotta be better at meeting these criteria than "Wasting Away Again in the Goldilocks Zone" is.

The rigid criteria list isn't to be a demanding dick; it's because I know y'all are nicely volunteering help and I don't want you to generously spend your time brainstorming helpful suggestions that I already know I wouldn't take. If you read all that and go "dang! I wanted to suggest something but I can't think of anything that fits," 1) i appreciate that you wanted to help and that's okay you're not obligated to send anything; and 2) you and i are in this boat together 🤝

Mainly I've still got my fingers crossed to the last minute that some stranger will come into my inbox like "lo, the gentle hand of the Greek Muse of Cartoon Fanfiction Titles has touched my mind, and like a prophet I pass this message on to you." Otherwise I don't expect much.

[science-lover33]

🧪The sodium-potassium pump🧬

Greetings, Tumblr community! 🧠💡 Let's engage in a comprehensive exploration of the sodium-potassium pump, dissecting its molecular intricacies and elucidating its critical role in cellular homeostasis.

Introduction:

The sodium-potassium pump, residing within the cellular membrane, is an adenosine triphosphate (ATP)-dependent transmembrane protein pivotal for maintaining ionic balance. Its primary function is to actively transport three sodium ions out of the cell while concurrently importing two potassium ions.

Functional Mechanism:

In terms of mechanistic precision, the sodium-potassium pump operates as an ATPase enzyme, utilizing the energy derived from ATP hydrolysis. This primary active transport process involves sequential conformational changes within the pump's structure.

The process commences with the binding of intracellular sodium ions to high-affinity sites on the pump. Subsequent phosphorylation, facilitated by ATP, induces conformational alterations that render the pump receptive to extracellular potassium ions. This triggers dephosphorylation, allowing potassium ions to be released intracellularly.

This orchestrated ion exchange serves to uphold the electrochemical gradient across the cellular membrane, establishing and preserving the resting membrane potential. In essence, the sodium-potassium pump is the architect of the delicate balance between sodium and potassium concentrations.

Physiological Significance:

The physiological ramifications of this meticulous ion transport extend to neuronal excitability and osmoregulation. By contributing to the establishment of the resting membrane potential, the pump plays a pivotal role in regulating action potentials and facilitating the propagation of nerve impulses.

Additionally, the pump actively participates in cellular volume control through osmoregulation. Its influence on water movement prevents cellular swelling or shrinkage, underscoring its significance in maintaining cellular integrity.

For those seeking empirical validation, consider consulting the following authoritative sources:

1. **Alberts B, Johnson A, Lewis J, et al.** Molecular Biology of the Cell. 4th edition. New York: Garland Science; 2002. Section 11.3, The Plasma Membrane.

2. **Nelson DL, Cox MM.** Lehninger Principles of Biochemistry. 7th edition. New York: W.H. Freeman; 2017. Chapter 11, Active Transport and the Cytoskeleton.

3. **Lodish H, Berk A, Zipursky SL, et al.** Molecular Cell Biology. 4th edition. New York: W. H. Freeman; 2000. Section 15.1, The Transport of Small Molecules Across Membranes.

Immerse yourself in the scientific intricacies of cellular dynamics with these foundational resources! 📚✨

[sensualnoiree]

astro notes: mercury 🧚🏿‍♀️

Mercury holds a prominent place in both alchemical and esoteric traditions, embodying a complex array of symbolic meanings and properties. In alchemy, Mercury is often represented by the symbol of the caduceus, a staff entwined by two serpents and crowned with wings, symbolizing both the volatile and fixed aspects of the element.

Mercury's symbolism in alchemy encapsulates the paradoxical nature of transformation. It embodies both volatility and fixity, representing the dynamic interplay between the ever-changing and the stable aspects of existence. This duality is reflected in Mercury's fluid nature, capable of assuming various forms while retaining its essential identity. In alchemical imagery, Mercury often appears as a flowing substance, symbolizing its ability to adapt and transform.

Mercury is associated with the bridging of opposites. As the intermediary between the spiritual and material realms, it facilitates the union of disparate elements, leading to synthesis and integration. This bridging function is essential in alchemical transmutation, where Mercury acts as the catalyst for the transformation of base substances into higher forms of existence.

Mercury is linked to the mind, communication, and intellect. It represents the mental faculties, including rational thought, analytical prowess, and linguistic abilities. Mercury's association with communication extends beyond verbal expression to encompass the exchange of ideas, the transmission of knowledge, and the dissemination of wisdom. Thus, Mercury serves as both the messenger and the medium through which insights are shared and understanding is achieved.

Within the alchemical tradition, Mercury holds a central position as one of the three foundational elements, along with Sulfur and Salt. These elements form the basis of alchemical work, representing the essential principles underlying the processes of transformation and transmutation.

Mercury, in its symbolic form, represents the animating spirit or the essence of life within matter. It embodies the vital force that imbues all living organisms with energy and vitality. In the alchemical quest for the Philosopher's Stone, Mercury serves as the primary agent of transformation, facilitating the transmutation of base metals into gold and the attainment of spiritual enlightenment.

As the intermediary between the spiritual and material realms, Mercury facilitates the exchange of energy and consciousness, enabling the alchemist to harness the transformative power of the universe. Through the alchemical process, Mercury guides the adept on a journey of self-discovery and spiritual evolution, leading to the realization of inner alchemy and the integration of the divine within the self.

In astrology and esotericism, Mercury is associated with the element of air and rules over the signs of Gemini and Virgo. Mercury's influence encompasses communication, intellect, adaptability, and cunning, reflecting its multifaceted nature.

As the ruler of Gemini, Mercury governs the realm of thought processes, mental agility, and intellectual curiosity. Individuals born under this sign are often characterized by their quick wit, versatile minds, and adept communication skills. They excel in areas such as writing, public speaking, and problem-solving, leveraging Mercury's influence to express themselves effectively and engage with the world around them.

In Virgo, Mercury's influence manifests in meticulous attention to detail, analytical precision, and practicality. Virgoans are known for their methodical approach to tasks, organizational abilities, and critical thinking skills. They excel in professions that require precision, efficiency, and attention to detail, leveraging Mercury's influence to analyze complex situations and find practical solutions.

follow for more astro insights like this and support me over on yt @quenysefields or instagram sensualnoiree

[innominaterifter]

My friend who accompanied me to the convention sent me the results of the cosplay competition, the three winners. Until recently, I didn’t even know that there was a jury and that they decided who won.

This was my first participation in a cosplay event of this format. I saw the opportunity of the performance as an interesting challenge to convey the impression of Taylor in her cape look to people who are not familiar with the world of Worm. A separate, interesting, and difficult task was how to convey the image of a swarm (and it's really not easy). I liked how the fabric idea worked out, but I have a few more ideas to improve it.

As a result, my thoughts were busy with a bunch of things, and I didn’t think about the fact that this was also a competitive performance. Which, in general, is for the best since it definitely eliminated one of the reasons to be nervous.

Therefore, when I did not see my name in the winners' top three, I was not upset because I did not count on such an opportunity in principle.

But my friend was definitely more worried than me. She started writing supportive comforting messages, which was very cute, although not necessary.

She began to explain that this was probably largely due to the fact that it was an anime event, and my cosplay is different both thematically and visually. I told her that I remember her funny (and unexpected) video about how people reacted to my insects. It is quite unlikely that the judges' reactions will differ from the average reaction of other people. (I I have already made a mental note to increase the expected level of negative reaction to insects for the future).

She smiled and said that it’s not just about insects. Moreover, the judges from their seats could hardly even understand what was in my backpack.

As it turned out, those vague spots in front of the stage were judges and not just spectators. But in general, I had no time to look at the hall at that moment, I was focused on my actions, and poor eyesight did not make the process easier.

My glasses don't fit under the mask, so I left them in my backpack. I have not yet found a way to make lenses for a mask that would be at the same time:

a) curved to the desired shape;

b) yellow;

c) with diopters.

At the moment, a temporary solution in the mask is a net with cells in the shape of a honeycomb, which facilitates ventilation but certainly does not contribute to clarity of vision.

I was toying with the idea of ordering additional lenses with diopters (the same ones I use in my glasses) and gluing them from the inside of the mask onto the honeycomb net. But as a result, I decided not to do this because of the risk that the lenses might come unstuck during active movements, and this could be dangerous for the eyes.

In general, I didn’t know about the judges at the time of the performance, but the judges really were also unlikely to understand that the cockroaches in my backpack were alive.

In response to my questioning grunt of what else she thought was the matter, my friend giggled and said to watch the video that she had just sent me. I looked and I can say two things.

First: she clearly enjoys conveying to me the subtleties of social interactions in this format.

Second: yes, it’s not just about insects.

She found videos of the performances of other participants and compiled a cut from them with my performance. Well, it turned out quite clearly, just like last time.

My costume was indeed very different from the other participants' costumes, but it was the comparison of performances that showed how “your vibes are on different ends of the scale” as she put it.

I myself did not see the performances of other participants, since I was one of the last to go on stage, and before that I prepared, checked my equipment, repeated the snatching a knife and baton, and working with a fabric swarm.

After the performance, all the participants scattered around the location and mingled with the audience. So, before watching this video, I didn’t know how different I looked compared to others. It was contrasting, mhm. I didn't think that the image and performance would look so grim, especially compared to others. My swarm did not save the situation, although in my opinion, it should have added entertainment in a good way.

When you are making a suit, until the last moment, you see it not as something whole but as a set of different parts, each of which individually looks quite neutral. Only after fully putting on the suit and armor could one understand that they looked really grim. But I still underestimated how much. That video with visitors’ reactions to insects also did not provide a complete understanding since it was mainly concentrated on the audience, and I saw myself in the frame in fits and starts.

Also, when I watched the video of my performance separately, I concentrated on how well I was able to perform what I had planned and trained. I didn’t think about how it looks in general, from the outside, and in comparison with other performances before and after me. Especially from the perspective of a person who sees this character for the first time.

Yes, I didn't place on top, but I was glad I did well. Almost none of the cockroaches escaped, and those couple of videos were pretty interesting to watch. In my opinion, a good result for the first appearance in a suit.

P.S. The song from "Wednesday" made me smile🙂

[lastdaysofwar]

The one with the prompt month

First of all, I was not expecting as many people to vote on that poll as they did. With just under a day before it closes, we’re at almost 200 votes, which is…several times more than what I expected. Now, I was prepared to run this even if it only got 20 votes, so Last Days of War January 2025 is absolutely going forward now. 

With that in mind, I’ve put together this post with some questions I think might need to be answered in regards to the event, though if anyone has anything else to ask, please feel free to! 

The Questions: 

What is a prompt month?

It’s the same principle as challenges such as Inktober, really. A calendar of prompts is released prior to the event itself, with a prompt or several prompts to each day of the challenge month. 

The prompts will be kept fairly loose to ensure that they’re suitable for whatever medium people may use, but as many of them as possible will be Pacific Rim themed, taking inspiration from the first movie as well as the comic books. 

The current plan (inspiration providing) is to assign three short prompts to each day in the month of January, which participants can pick and choose from, or try to use all three! This is, of course, dependent on having more than ninety prompts of a good quality, and that plan could still change. At the very least, there will be one prompt for each day. All going well, the prompt calendar will be made and posted by early November to maximise prep time.

How to take part? 

There’s no sign-up necessary, so you participate simply by following along with the prompt calendar throughout the month! 

Make sure to use the tag  ‘#last days of war 2025’ and/or tag @lastdaysofwar on tumblr so that others can find your posts and the mod can reblog them onto the event page! 

An Ao3 collection will also be made for the event so that anyone who posts over there can add their works and make them easier to locate. 

Rules/Guidelines: 

Honestly, it’s a bit of a free for all. The mod (hi!) is mostly here to facilitate the event by doing the prompts, answering questions and reblogging posts. The people have the power in this one. 

All I will ask is that everyone be respectful to one another. If someone posts something that you don’t personally like, don’t harass them over it, just scroll past. We’re all here to have fun and enjoy the event in our own way. 

Also, please try to interact with each others’ posts! Take a look through the tag to see what others have made, and make sure to let them know if you enjoy it. We all love hearing that people liked our stuff. 

Further Questions?

If you have any further questions about the event, you can DM or send an ask to this account (@lastdaysofwar). The mod is more than happy to answer any questions you may have, so fire away! 

There is a google form for this event that you can find here. It's quite short, and mostly to gather opinions from people who want to participate, so be sure to fill it out!

[fig-blossom]

The 3 of Swords - Thoughts from my heart

With its image of a heart pierced by three swords, it’s easy to read this card as speaking of heartbreak, betrayal, or separation. But this surface interpretation doesn’t seem to fully align with the card’s deeper essence. For starters, the number 3 doesn’t typically indicate an ending, a catastrophe, or an irreversible wound. On the contrary, it’s often associated with construction, transition, creativity, growth, and community/unity. It is also the number of the Major Arcana card, The Empress (representing the goddess Aphrodite): symbolizing fertility, nurturing, care, life-giving energy, and unconditional love.

Moreover, the 3 of Swords doesn’t belong to the suit of Cups, which would seem like a more natural choice for a card that supposedly deals with emotions, relationships, or heartbreak. Swords, on the other hand, are linked to intellect, logic, clarity, judgement. In English, the word "sword" is almost the word "word."

The 3 of Swords, at its core, should represent a stage in the process of mental transition or transformation. It could very well represent hurtful words, thoughts, or truths, however the number 3 would suggest that this hurt isn’t fatal - and is merely a step toward greater (shared?) growth.

Rain can be seen as a symbol of purification. It clears polluted air—a manifestation of the element of water (associated with the suit of Cups) cleansing the element of air (associated with the suit of Swords): "Let your feelings speak and wash over your thoughts." The clouds (representing mental confusion) that were holding this rain will eventually disappear as they release it, and the water will slowly return to the earth (the suit of Pentacles: materiality, health and body, manifestation...), nourishing the soil from which grow the trees (the suit of Wands: purpose, intention, action, passion...). "After the rain comes the sun.” As the number 3 suggests, this rain won't last—and furthermore, it serves as spiritual nourishment, facilitating growth and renewal on all levels.

Naturally, the rain also evokes tears—emotions expressed openly. The heart on the card is exposed, out in the open for all to see. Perhaps this card urges us to finally express those fears that paralyze our hearts. It might suggest “bursting the abcess” that grew from old thorns still lodged deeply inside, to better cleanse and heal it.

The swords pierce the center of the heart—they’re at the heart of the heart. This could symbolize that emotions lie at the center of our logic. Or perhaps that love is at the core of our psyche. Alternatively, it could also suggest that cold logic tyrannizes and seeks to dominate our hearts.

“There is a hole at the center of everything.” This line from the game Night in the Woods stayed with me as I’ve grown. The swords piercing the heart right at its center may represent the emptiness we all feel within and that we try to fill (or mask) with words, adages, or principles—perhaps because we cannot fill it with love and tenderness. But these cold values we try to identify with can be double-edged: by filling the hole in our hearts, they also pierce and wound it. The heart doesn’t bleed, as though it has scarred around the blades, making them harder to remove—but this also means that by plugging the wound, they prevent it from fully healing. At the same time, we notice the heart is not destroyed or shattered. Its wounds aren’t fatal. Without the swords, it might even seem entirely healthy. Surely, it still works, but the swords might bring chronic pain. This all shows both conflict and symbiosis between the head and the heart.

Three swords might also mean three words. When we think of “three words,” we naturally think of “I love you" : the ultimate vulnerability, exposing us like the heart exposed to the elements on this card. Is this what the heart fears, or is it what it longs for? By bringing these three (s)words out from deep within, maybe we can finally free it and let it finish healing, more profoundly this time.

What a better conclusion for a card that is so feared? "Stop trying to silence your feelings with cold reason—it won’t work. The heart beats on and whispers still."

[argyrocratie]

@baeddel so after having combed throught the archives of Joseph Déjacque's le libertaire in chronological order i found in its very last issue the article i was searching for

from "La Question Américaine." (february 1861) written at the dawn of the american civil war and featuring jesuit conspiracy and racist anti-racism:

"The Society of Jesus, through the confessional where thousands of Irish maids come to kneel, knows everything that goes on in your bourgeois homes, and through the relationships of these women and the workers of the same nation with their lovers or husbands, what also happens in the attic and workshop of the proletarian. Half of your office or store clerks are Irish, Catholic brutes, and, so spies in the service of the Society of Jesus. A good number of French people of all ranks are enrolled in the sections of this secret society of evil. The Jesuit Fathers have had barely three-quarters of a century to cast their net, and already they have covered the Union with it. (...) The Jesuits, who follow with their eyes every pulse of Progress in order to stifle it, know that the Black Republican Party, once on the slope of emancipation, must soon give way to the mass of Republicans of every epidermis, abolitionists of the Proletariat. Progress is like a mill cog; when it has bitten the finger of the Resistance, the hand must pass through it, then the arm, then the rest of the body. This is why the Jesuits, should the South perish, will fight without mercy, under the mask of planters, to save the principle of authority. Their henchmen in the Free States, they count them by the millions; they are those hordes of Irish whose immigration they have, not without calculation, facilitated from time immemorial. Already there is rumor in the North of secret enlistment, for an unavowed purpose, new Decembrists being recruited for a Coup d'Etat. (...) There are men in the North who speak of the inferiority of blacks. Assuming that they themselves are not inferior to blacks (and I would be tempted to admit it on the strength of their pitiful reasoning); let them take the trouble to visit certain districts of New York; let them contemplate a little those horrible Irish faces, those men, those women, those children who have nothing human about them, and who nevertheless enjoy the title of free citizens, - opprobriums of the Republic, slaves of the Faith, and whom the pastor of the Roman Church leads with the holy water sprinkler into the paths of cretinism!... And after that, let them still boast, if they dare, of the superiority of whites over blacks. I challenge them to find anything as ignoble and ferocious as the features of these white brutes, of those beings, born to be made men, but degenerated into Catholic animals! O Religion! This is what you made of the human creature! What an image of your God! ... — If the blacks of the free States are not more developed than they are, the fault lies in the prohibition imposed on them by white legislation, and in the Religion which teaches them submission to the dominators, instead of revolt.

[hathyogi]

|| Tantra: An Unexplored Science, Basic Meaning Explained. How Is It Connected To Bhagawan Shiva? ||

In Hinduism, there are three ways to worship any Deity-

1. The satavik way- In which we show our devotion to a deity using satvik ways like ringing the bell, offering jal, prasad etc.

2. The rajasik way- In which we show our devotion by dressing up in a specific way, using fragrance, using ratnas, some yantra etc.

3. The tamasik way- In which we show our devotion by using some specific rituals, dead bodies, animal sacrifices, sex etc.

It is common for people to misunderstand tantra, but it shouldn't come as a surprise because everyone possesses different qualities within them, namely Sato (purity), Rajo (activity), and Tamo (darkness).

Tantra provides a pathway to worship the divine through the Tamo aspect of our nature. In essence, Tantra is a science of the mind, a form of psychological exploration that aims to expand one's perception. The term 'Tantra' originates from Sanskrit and has multiple interpretations. One explanation is that it is a play on the word 'sutra,' which means 'thread' or 'formula.' If sutras represent individual threads of thought, Tantra can be likened to a loom that weaves these threads together into a comprehensive system of thoughts.

Another understanding is that Tantra combines the words 'tattva,' meaning the science of cosmic principles, and 'mantra,' referring to the science of mystical sound and vibration. In this sense, Tantra delves into the knowledge of universal principles and the use of sacred sounds for spiritual purposes.

According to Hindu beliefs, at the beginning of Satyuga, Bhagawan Shiva appeared as Swacchandanatha, possessing five mouths representing his five energies: Consciousness Bliss Will Knowledge, and Action. Through these energies, Shiva revealed the Tantras, some spoken through each of his mouths and others simultaneously recited through multiple mouths. These Tantras fall into two main categories: Dualistic and Mono-Dualistic, known respectively as "Shiva Tantra" and "Rudra Tantra."

When these five energies of Bhagawan Shiva unite in a way that each holds the others simultaneously, they give rise to 64 Bhairav Tantras, which are purely Monistic (Advaitic) in nature. The philosophical teachings expounded in these Tantras are referred to as the "Trika" philosophy or Kashmir Shaivism.

The origins of the sacred Tantras are believed to involve teachings initially given by Bhagawan Shiva to his wife, which were then passed on to human sages like Matsendranath. It is crucial to understand that Tantra does not advocate promiscuity but rather emphasizes extreme discipline. It is viewed as a technology or method to harness the energies within the body and from the surroundings.

According to Tantra, every human being with limited mental vision is spiritually ill. The true state of health is attained by transcending the constraints of time, space, and causation. The ultimate goal of Tantra is to replace the limited personality with an unlimited and permanent one, facilitating spiritual liberation and profound transformation. Indeed, the practice of Tantra is deeply rooted in the tradition of receiving Guru Diksha or initiation from a qualified spiritual teacher.

As Bhagawan Shiva emphasized in the Kularnava Tantram, all the practices advocated by Tantras, such as Yoga, Dhyana (meditation), Puja (worship), Japa (chanting), and others, are considered futile without proper initiation (adikshata). Just as seeds sown on stones fail to grow into plants, similarly, the efforts of an uninitiated person in these practices may not bear fruit. It's crucial to understand that Tantra is a profound and intricate spiritual path that goes beyond the understanding of today's science. It is not synonymous with black magic or superficial spells (tona totka). Instead, it involves a deep exploration of the mind, energy, and spiritual consciousness.

[ivankahasbeentreatedsounfairly]

The New York Times

Jonathan Swan

May 4, 2025

President Trump said in an interview that aired on Sunday that he did not know whether every person on American soil was entitled to due process, despite constitutional guarantees, and complained that adhering to that principle would result in an unmanageable slowdown of his mass deportation program.

The revealing exchange, on NBC’s “Meet the Press,” was prompted by the interviewer Kristen Welker asking Mr. Trump if he agreed with Secretary of State Marco Rubio that citizens and noncitizens in the United States were entitled to due process.

“I don’t know,” Mr. Trump replied. “I’m not, I’m not a lawyer. I don’t know.”

Ms. Welker reminded the president that the Fifth Amendment says as much.

“I don’t know,” Mr. Trump said again. “It seems — it might say that, but if you’re talking about that, then we’d have to have a million or two million or three million trials.” Left unmentioned was how anyone could be sure these people were undocumented immigrants, let alone criminals, without hearings.

Mr. Trump responded “I don’t know” one more time and referred to his “brilliant lawyers” when Ms. Welker asked whether, as president, he needed to “uphold the Constitution of the United States.”

The comments came amid the many legal challenges to the administration’s agenda, especially Mr. Trump’s aggressive deportation campaign, and as top administration officials have begun to question the president’s obligation to provide due process. Mr. Trump has attacked judges, called for their impeachment and ignored a Supreme Court ruling directing his administration to facilitate the return of a migrant, Kilmar Armando Abrego Garcia, who was mistakenly sent to a prison for terrorists in El Salvador.

Mr. Trump said in the interview that he may seek clarification from the Supreme Court on what it meant by the word “facilitate” when referring to the return of Mr. Abrego Garcia.

Like most conversations with Mr. Trump, the interview roamed over broad territory, covering subjects as diverse as recent economic data, his trade war with China, negotiations between Russia and Ukraine, his musings about an unconstitutional third term in office, and possible Republican successors. The interview was taped on Friday.

The president, perhaps frustrated that President Xi Jinping of China has held firm under the pressure of the administration’s 145 percent tariffs on China, reverted to tough trade talk after weeks of signaling that he was eager for a deal.

Mr. Trump said he was not worried about a recession despite some Wall Street analysts predicting one and suggested that it was a good thing for the United States to have gone “cold turkey” on trade with China through the prohibitively high tariffs.

“We were losing hundreds of billions of dollars with China,” he said. “Now we’re essentially not doing business with China. Therefore, we’re saving hundreds of billions of dollars. Very simple.”

Noting that the U.S. economy shrank in the first quarter, Ms. Welker asked Mr. Trump when he would take responsibility for the economy and call it the Trump economy rather than blaming it on former President Joseph R. Biden Jr.

Mr. Trump’s response encapsulated his lifelong relationship with credit and blame: “I think the good parts are the Trump economy and the bad parts are the Biden economy because he’s done a terrible job.”

Asked about the war in Ukraine and his administration’s efforts to negotiate an end to it, the president said he had come close to walking away from the talks and still might do so.

Mr. Trump claimed during his presidential campaign that he could strike a peace deal between Russia and Ukraine within 24 hours of taking office. About 100 days in, he now claims he was being sarcastic. He has been frustrated by the grinding process and lack of progress. And President Vladimir V. Putin of Russia has ignored Mr. Trump’s public calls to stop bombing Ukrainian cities.

“Well, there will be a time when I will say, ‘OK, keep going. Keep being stupid and keep fighting,’” Mr. Trump said in the interview.

Mr. Trump was asked about his repeated statements about considering an unconstitutional third term in office. In the interview, he went further than he had previously in saying he did not intend to run again, despite the fact that the Trump Organization’s online store is selling Trump 2028 hats.

“There are many people selling the 2028 hat,” the president said, “but this is not something I’m looking to do. I’m looking to have four great years and turn it over to somebody, ideally a great Republican, a great Republican to carry it forward.”

Then he mentioned two Republicans who might fit the bill as his successor: Mr. Rubio and Vice President JD Vance.

[theinternetisaweboflies]

Jägermeister

Chapter Twenty-One: Jacket

Hermann returned to the medical bay. 

In truth, he had been there the whole time. Jaegers could not be piloted if the drift was all-consuming. However, over the years of ‘co-labitation,’ as Newton insisted on referring to it, Hermann had developed a near impervious state of hyperfocus out of sheer necessity. He had been only vaguely aware of their physical location until Newton’s hand slipped from his own.

He was seizing again.

Seizures could occur while someone was in a comatose state, but their sole manifestation was abnormal patterns of neural activity registered by the electroencephalogram. Newton’s EEG did spike and dip dramatically, but it moved in time with his body, as if mapping its spasms. 

Hermann sat, helpless, as the doctors administered intravenous benzodiazepine and nifedipine  Newton’s absence seizure had not required an anticonvulsant, but the doctors at the Four Seasons had administered nifedipine to prevent hypoxia. Deficient cerebral oxygenation was less common with absence seizures than tonic-clonic ones, but if it occurred for even a moment, let alone three hours, it could cause permanent brain damage. That would be devastating for anyone. For someone like Newton…

Hermann felt his own mind go blank when the EEG suddenly registered suppression of all neural activity.

Lou flicked his ear. 

“Postictal phase,” they said. “It’s almost over. My old man may not be on dialysis yet, but his kidneys have taken him for a couple of these rides.”

They were correct. The EEG normalized. The muscular contractions decreased in frequency and then amplitude. 

When Newton’s body finally stilled, it was wheeled away for more imaging. The CAT, MRI, and PET scans that it took to convince Dr. Lightcap only confirmed what Hermann already knew: The swelling in Newton’s brain had finally gone down. 

He didn’t even have a nosebleed.

The Precursors were gone. 

Their sudden absence was almost as idiopathic as their initial presence, but whether they had actually been defeated by the power of love, or simply cried uncle at too much PDA, the truth was palpable. Hermann could feel the difference. 

He could feel Newton. 

Even in a comatose state, Newton was being terrorized by his own mind, reality merging with nightmares. Hermann poured more care and comfort than he would have ever considered himself capable of through their bond, and it flowed as if by Bernoulli’s principle, all high speed and low pressure. It felt almost as if they had their own little hive mind of two.

Hermann had originally been disappointed, but unsurprised when his ghost drift with Newton was little more than a wisp. After all, they had only drifted once, and the presence of the hive mind had been an unprecedented impediment. 

What Hermann had not realized until now was that the hive mind could continue to impede their drift even after it was over. 

Except it had never really been over for Newton. He had been in some sort of continuity with the hive mind, ostensibly since his first drift. The subsequent drifts may have expedited the process, but with enough time, the hive mind would have invariably taken control. Newton had been so terribly outnumbered. 

They would have commandeered his body, but not until after they had acclimated to it, which would have most likely facilitated the process of assimilation. In theory, Hermann might not have even noticed as Newton turned into something else.

Dr. Lightcap insisted on waiting another twenty-four hours to monitor the encephalitis before removing Newton from his medically-induced coma. Hermann passed those hours in the chair by his bedside, hip be damned.

He wanted to initiate another drift, if only to assure himself Newton was finally free of the hive mind, but Hermann knew that wish was a selfish one. 

What Newton needed now more than anything was rest. He was suffering from extreme exhaustion, malnourishment, and an ever increasing collection of injuries. In addition to his ribs, which had been upgraded from cracked to fractured, Newton had a concussion, a fractured intermediate phalange, and severe lacerations on both wrists, one of which was still sprained from when he hit the car. 

Security was on standby when Newton awoke, just in case. Lou and Dierdre flanked Hermann’s chair, which was still placed beside the bed to prevent any potential symptoms of drift withdrawal. Mako, Raleigh, Tendo, and Marshal Hansen stood further back, allowing the medical personnel room to work. 

When the anesthesia in Newton’s system had ebbed enough to no longer inhibit respiration, his intubation tube was removed. Hermann gagged in sympathy as he felt its foreign slide through the ghost drift.

At long last, Newton opened his eyes, still red around the sclera. 

He immediately burst into tears. 

Hermann moved without thinking. He sat on the edge of the bed and wrapped his arms around Newton’s body, mindful of his fractured ribs. He held Newton as if he was handling fine china or the rarest of specimens. 

Newton hid his face in the crook of Hermann's neck. He began to make an almost animalistic keening noise, but cut himself off so abruptly that Hermann was momentarily concerned for his tongue. 

He could feel the rawness of Newton’s nerves, like exposed wires, each spark uniquely charged. Fear. Confusion. Pain. Even misplaced guilt over the bruising on Hermann's neck that had already faded to green. 

Hermann tried to ground him, but after what seemed like mere seconds, the doctors had swarmed the bed, and he was removed from Newton’s side with clinical precision. 

He returned to his chair while they measured pupil dilation and asked simple questions. When they got to the one about the current U.S. President, Newton’s answer consisted entirely of curse words, which was accepted as confutation of any significant brain damage. 

Eventually, the doctors retreated to input data and pat each other on the back. Newton had stopped crying, but he was still shaking slightly, a fine tremor running through his body like an aftershock of the seizure. 

Hermann removed his parka and draped it around Newton’s shoulders before resuming his seat on the edge of the bed. 

“Are you alright?” asked Mako. 

“Ze- Zettai daijōbu dayo, Mako-chan,” said Newton, in a voice like a cat being put down a garbage disposal unit. 

“Oh, no, he’s still possessed,” said Tendo. “He’s speaking in tongues.”

Mako elbowed him. 

“Are you okay, Lou?” asked Newton. “After the crash, you- did you need surgery?”

Lou shot Hermann a look before replying. “Oh, that? I just realized life was short and I should finally get that bottom surgery I always wanted: Smooth, like Barbie.”

“They’re lyin’,” said Eddie the medic, from somewhere near the back of the small crowd now gathered around Newton’s bed. “They just needed some glass tweezed out of their arm. That’s only, like, nominally surgical.”

Hermann could feel Newton’s limited energy reserves already start to flag. He wanted to tell the others to leave, to let Newton get the rest he so desperately required, but he could also feel the nascent thrum of relief their presence provided. He would allow them a moment more. 

“Only I get to know what’s going on in Lou’s pants,” Dierdre was saying. “Although we were thinking about inviting Allison from munitions.”

“Hey,” said Tendo. “What about me and Paul?”

Deirdre shrugged. “You can come along. We’ll turn the Shatterdome into the world’s biggest, most dysfunctional polycule before it gets shut down. Really go out with a bang.”

“I think Newt might have us beat when  it comes to dysfunctional polycules,” said Tendo. “No? Too soon?”

“Too soon,” Hermann confirmed. 

“Hey, Tendo?” 

“Yeah, Newt?” Tendo dropped a hand onto his shoulder, and Newton only flinched a little.

“What happened to your eyebrows?”

“...Too soon, brother.”

...

@lastdaysofwar

[justinspoliticalcorner]

Edward Helmore at The Guardian:

Senator Chris Van Hollen, who travelled to El Salvador last week to meet Kilmar Ábrego García, the man at the center of a wrongful deportation dispute, said on Sunday that his trip was to support Ábrego García’s right to due process because if that was denied then everyone’s constitutional rights were threatened in the US. The White House has claimed Ábrego García was a member of the MS-13 gang though he has not been charged with any gang related crimes and the supreme court has ordered his return to the US be facilitated. But in an interview with ABC’s This Week, Van Hollen, a Maryland senator, stressed that the government had presented no evidence linking Ábrego García to MS-13 in federal court. “Mr President,” the senator said, “take your facts to court, don’t put everything out on social media.”

Speaking on CNN’s State of the Union, Van Hollen said Trump’s “argument that you can’t fight gang violence and uphold people’s constitutional rights at the same time. That’s a very dangerous view. If we deny the constitutional rights of this one man, it threatens the constitutional rights of everyone in America.” [...]

“I’m for whatever gives him his due process rights,” Van Hollen told the outlet. “An immigration judge in 2019 said he should not be deported to El Salvador because that would put his life at risk from gang members like MS-13. “The Trump administration did not appeal that immigration judge’s order to keep him in the United States. He is here legally now, has a work permit, is a sheet metal worker, has a family, and three kids,” he said.

“I am fine with whatever result happens as long as he is given his due process rights under the constitution,” Van Hollen added. The administration has said Ábrego García’s deportation was an “administrative error” and the supreme court has ordered that the government “facilitate” his return, setting up a contentious debate of what that means in practical terms. As Van Hollen made the rounds of political shows on Sunday, he expanded on the theme of a constitutional crisis. On NBC’s Meet the Press he was asked if the US was in constitutional crisis with the Trump administration.

“Oh, yes, we are. They are very much flouting the courts as we speak. As the courts have said, facilitating his return means something more than doing nothing, and they are doing nothing. Yes, they’re absolutely in violation of the court’s orders as we speak,” he said. “My whole point here is that if you deprive one man of his constitutional rights, you threaten the constitutional rights of everybody,” Van Hollen said later to Fox News Sunday host, Shannon Bream. “I would hope that all of us would understand that principle – you’re a lawyer. I’m not vouching for the individual, I’m vouching for his rights.” On ABC’s This Week, Van Hollen was asked if he had walked into a trap when García was brought to his hotel for an hour-long meeting and the pair were pictured with margaritas. The senator said the drinks were placed there by a government official for the photos, and not touched, and added that the trip wasn’t a trap because his purpose had been to meet with García so he could “tell his wife and family he was okay”. “That was my goal. And I achieved that goal,” he said. But he added that “the Salvadorian authorities tried to deceive people. They tried to make it look like he was in paradise. They actually wanted to have the meeting by the hotel pool originally.”

Sen. Chris Van Hollen (D-MD) went on all the Sunday shows to state that the trip to El Salvador was to support due process rights of Kilmar Ábrego García and those in similar situations.

See Also:

HuffPost: Sen. Chris Van Hollen Calls BS After Gavin Newsom Calls Debate Over Unlawful Deportation A 'Distraction'

[fernpapst]

Rodney Graham, Reading Machine for Lenz, 1983-93

In Lenz of 1983, Graham appropriated an unfinished novella by Georg Büchner in which the mentally unstable protagonist, Lenz, wanders through a forest. The artist reset the type on pages one to two and on pages five to six of an English translation of the story, to set up a situation in which the page breaks at the same phrase 'through/the forest', which establishes a loop whose effect is to cause Lenz to endlessly repeat his journey by returning from page five to page two; in 1993, Graham had a reading machine constructed for this version of the text to facilitate the repetition, and the hardcover version of the 1983 work was a book bound with eighty-three repetitions of these pages, which in principle can be continued forever.