#complex spatial environments

[huariqueje]

Gallery Tone   -   Jeremy Miranda, 2017.

American, b. 1980 -

Acrylic on wood panel , 30 x 24 in

[mcmansionhell]

we've found it folks: mcmansion heaven

Hello everyone. It is my pleasure to bring you the greatest house I have ever seen. The house of a true visionary. A real ad-hocist. A genuine pioneer of fenestration. This house is in Alabama. It was built in 1980 and costs around $5 million. It is worth every penny. Perhaps more.

Now, I know what you're thinking: "Come on, Kate, that's a little kooky, but certainly it's not McMansion Heaven. This is very much a house in the earthly realm. Purgatory. McMansion Purgatory." Well, let me now play Beatrice to your Dante, young Pilgrim. Welcome. Welcome, welcome, welcome.

It is rare to find a house that has everything. A house that wills itself into Postmodernism yet remains unable to let go of the kookiest moments of the prior zeitgeist, the Bruce Goffs and Earthships, the commune houses built from car windshields, the seventies moments of psychedelic hippie fracture. It is everything. It has everything. It is theme park, it is High Tech. It is Renaissance (in the San Antonio Riverwalk sense of the word.) It is medieval. It is maybe the greatest pastiche to sucker itself to the side of a mountain, perilously overlooking a large body of water. Look at it. Just look.

The inside is white. This makes it dreamlike, almost benevolent. It is bright because this is McMansion Heaven and Gray is for McMansion Hell. There is an overbearing sheen of 80s optimism. In this house, the credit default swap has not yet been invented, but could be.

It takes a lot for me to drop the cocaine word because I think it's a cheap joke. But there's something about this example that makes it plausible, not in a derogatory way, but in a liberatory one, a sensuous one. Someone created this house to have a particular experience, a particular feeling. It possesses an element of true fantasy, the thematic. Its rooms are not meant to be one cohesive composition, but rather a series of scenes, of vastly different spatial moments, compressed, expanded, bright, close.

And then there's this kitchen for some reason. Or so you think. Everything the interior design tries to hide, namely how unceasingly peculiar the house is, it is not entirely able to because the choices made here remain decadent, indulgent, albeit in a more familiar way.

Rare is it to discover an interior wherein one truly must wear sunglasses. The environment created in service to transparency has to somewhat prevent the elements from penetrating too deep while retaining their desirable qualities. I don't think an architect designed this house. An architect would have had access to specifically engineered products for this purpose. Whoever built this house had certain access to architectural catalogues but not those used in the highest end or most structurally complex projects. The customization here lies in the assemblage of materials and in doing so stretches them to the height of their imaginative capacity. To borrow from Charles Jencks, ad-hoc is a perfect description. It is an architecture of availability and of adventure.

A small interlude. We are outside. There is no rear exterior view of this house because it would be impossible to get one from the scrawny lawn that lies at its depths. This space is intended to serve the same purpose, which is to look upon the house itself as much as gaze from the house to the world beyond.

Living in a city, I often think about exhibitionism. Living in a city is inherently exhibitionist. A house is a permeable visible surface; it is entirely possible that someone will catch a glimpse of me they're not supposed to when I rush to the living room in only a t-shirt to turn out the light before bed. But this is a space that is only exhibitionist in the sense that it is an architecture of exposure, and yet this exposure would not be possible without the protection of the site, of the distance from every other pair of eyes. In this respect, a double freedom is secured. The window intimates the potential of seeing. But no one sees.

At the heart of this house lies a strange mix of concepts. Postmodern classicist columns of the Disney World set. The unpolished edge of the vernacular. There is also an organicist bent to the whole thing, something more Goff than Gaudí, and here we see some of the house's most organic forms, the monolith- or shell-like vanity mixed with the luminous artifice of mirrors and white. A backlit cave, primitive and performative at the same time, which is, in essence, the dialectic of the luxury bathroom.

And yet our McMansion Heaven is still a McMansion. It is still an accumulation of deliberate signifiers of wealth, very much a construction with the secondary purpose of invoking envy, a palatial residence designed without much cohesion. The presence of golf, of wood, of masculine and patriarchal symbolism with an undercurrent of luxury drives that point home. The McMansion can aspire to an art form, but there are still many levels to ascend before one gets to where God's sitting.

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[fatehbaz]

In just eight blocks of sidewalk in quiet neighborhood, walking through the not-quite-rain of a sunshower, today I encountered four missing shoe soles. Little pieces of plastic and rubber, detached from pedestrians' shoes, now lonely on the concrete, with the weeds.

No such thing, really, as a "weed", though. "Weed" is not a botanical term. Instead, describes perceived pests, at the discretion of the observer. At the discretion of the authority. Designated as weed by the one with power over that land. The agronomist, the rancher, the plantation manager. The weed wastes space that could otherwise be given to a monoculture cash crop, an "economically significant" plant. The weed interferes with the productivity of the plot of land. The weed interrupts the extraction. The weed diminishes the value. The weed doesn't belong in this place.

People are made to be weeds, too.

Some cities will designate you as a weed, and then they'll take action to pull you out. They'll uproot you. But it's not always explicit, like "we're outlawing loitering" or "we're outlawing taking a nap in the park" or "we're defunding the library". Sometimes it's quite clever, it's written into the physical landscape. Self-congratulatory "progressive" cities learn to co-opt language, to obscure the violence, to use and abuse space.

Thinking about things you might encounter, you might perceive, after you've been destitute, broken, lived at a homeless shelter, for years. Little signs of other peoples' misery. Indicators of desperation that some might overlook. And the way that environment shapes, and is shaped by, these miseries.

A friend asks "why is there always an unusual amount of scuffed detached missing shoe soles on this particular stretch of sidewalk? There are hardly any homes around here, it's all asphalt and empty lots, so where are all these be-shoed people coming from?" Because even though this is a wide expanse without either home residences or any kind of commercial or recreation space someone would want to visit, these blocks are the straight-line direct path between a low-income apartment complex and the cluster of corporate big box stores, and there's no bus line that runs between the two areas. "But don't the vast majority of customers of shopping malls and box stores drive vehicles, hence the obscenely massive parking lots?" Sure, customers drive, but guess who actually has to work at those places? An underclass of people living at that apartment complex with harsh restrictions and cheap amenities, who can't afford car insurance or who might be too physically disabled to bike. And so that apartment complex is a de facto "company town", the residents are essentially in confinement. It is written into that landscape. It can be read. "Why is there always debris, wrappers, coins, etc. in this particular quiet couple of blocks of the boulevard?" Because these blocks are between a thrift store and a same-day drop-in clinic, so many impoverished people will routinely be walking between these two locations. They attend their appointment, and then have forty-five minutes to kill before the bus comes back around, so why not check out the thrift store? The city and county collaborated and placed all the low-income assistance offices on the far side of town, which conveniently forces the poor and disabled to both stay away from the luxurious downtown district and also to waste their time making a four-hour commute, catching various connecting buses or else riding the bikepath, across the city just to attend a ten-minute-long appointment.

Then this spatial layout, this city's physical environment, will shape the physical body. This violence writes itself into the flesh. The way the denim is chafed and discolored on the left shoulder of someone's jacket from carrying a small backpack around by foot, day after day after day. The way someone's heart rate increases when they see a white and black vehicle in the periphery of their vision, subconsciously recollecting institutionalization and institutional abuse, or fearing what a ticket fee would mean for their budget (they might not be able to afford rent). The way someone develops a painful limp, maybe occasionally depends on a cane, because they had to walk great distances every day to get to work and their shoe sole fell off on the sidewalk, but they can't replace the shoes because their employer is underpaying them, and they're forced to stand all day at work anyway, and they already had some modest nerve damage in their foot because they've been rationing their insulin and can't afford their prescriptions, and federal medical insurance keeps denying them because their physical letters in the mail always show up too late or not at all, and groceries are too expensive so it's hard to get good nutrition to heal, but the diabetic nerve damage has by now damaged their digestive tract too so they have a strictly limited bland diet and can't enjoy the simple pleasure of a home-cooked meal (if they can even afford a home, at this point), and all those "little" miseries add up, and now they're hungry, and in pain, because they were forced to walk kinda funny for a long time over all those decaying sidewalks with all those other weeds.

[qilingxiong]

九龍城寨之圍城 | Twilight of the Warriors: Walled In (2024)

I've rewatched this movie more than once, since seeing it in theatres back in August, and each time was just as good as the first if not better. Given that, I now have many thoughts so I'm subjecting y'all to listening to why you should watch it:

Twilight of the Warriors: Walled In (九龍城寨之圍城 or gau2 lung4 sing4 zaai6 zi1 wai4 sing4) is a martial arts action/crime film directed by Soi Cheang. It is an adaptation of the manhua City of Darkness by Andy Seto, and its source novel of the same name by Yuyi. The film's cast has established Hong Kong names folded in with newer-generation actors, starring Raymond Lam, Louis Koo, Sammo Hung, Richie Jen, Terrance Lau, Philip Ng, German Cheung, and Tony Wu (Aaron Kwok gets a cameo role, too).

At a broad glance, the movie follows several major triads in 1980s Hong Kong and their power struggle to control the Kowloon Walled City (a densely populated urban enclave, which for decades evaded direct governance by either the British colonial or Chinese powers in the area). We're introduced to the KWC and the triads' major players through the eyes of Chan Lok-Kwan (Raymond Lam), a man fleeing Vietnam and attempting to make a life for himself in HK. He winds up seeking refuge in the KWC, and comes to call both the city and the people he meets in it a home worth defending.

The narrative itself is not the most complex, but if you enjoy '80s Hong Kong films in these genres, it's solid fare and a harkening back to that decade. All the major themes like brotherhood (and brotherhood vs blood), vengeance, and struggle with conflicting loyalties are there, alongside an internal search for identity and belonging within Hong Kong. But the highlight in it is that the plot connects feast after feast of utterly stunning fight choreography, made all the more impressive by the fact that, according to Louis Koo, quite a few major cast members had never filmed this kind of action before. All their training was done just for TotW, and oh, does it pay off. I can't make good gifs, so you'll have to watch and see for yourself. It's not action for action's sake, either; listening to the head stunt choreographer discuss how different characters' fighting styles were crafted shows off how fight scenes aren't breaks in the story, they tell the story, and deepen our understanding of the characters.

The setting of the Kowloon Walled City truly makes the action in TotW stand out. It's a unique space to stage all these major fights, as the KWC's buildings at the time were packed together close enough to resemble a singular block from the outside. Once inside, it's a stacked, dark maze of uneven paths, stairs, and rickety roofs, with electrical and television cabling snaking over/around/through everything. Fight scenes in these streets feel thrillingly claustrophobic, with lots of acrobatics and near-dodges as characters navigate these tight alleys of the KWC. Each impact as a character goes flying into a wall, or is launched down a flight of stairs or onto a roof, is wonderfully visceral to watch.

All credit and hopefully awards are due to the production and set design teams for their work, in crafting this environment for the story and its fights. The visual/spatial representation of the KWC is the film's other glorious highlight, alongside the choreography. Whole streets of the KWC were recreated for this, filled with every mundane, period-accurate detail from the lives of ordinary people who would have lived there. It's impossible to catch all the intricacies put into making the KWC come to life again onscreen, just from watching the film. Shots like the credits sequence offer close-ups of harder-to-see details, and videos like a tour of the KWC set by Terrance Lau, acting as his character Shin, show off things from the drinks in the fridge at the corner store to the scribbled writing on the walls by the public taps. This film was designed with a drive to faithfully represent what the Kowloon Walled City had been like, how it looked when it was lived in, and they achieved it to an incredible degree.

That dedication extends to more than just the sets, though. The emotional core of TotW revolves around the KWC's inhabitants, and how they were the ones who made the city what it was, a home for about 35,000 people at a time. The film doesn't treat the KWC as just an eye-catching location to stage some fights; its characters might be fictional and overloaded with jianghu powers, but it goes out of its way to show how ordinary people might have lived, worked, and socialized within the historic city. It shows off why, despite its (not unwarranted) dark reputation, so many chose to live in a place that was once the densest urban center on the planet.

And this brings us to the acting, because the cast all do a very good job bringing their characters to life as the heart of the KWC. Louis Koo is fucking fantastic and arguably the scene stealer of the film as Cyclone, the triad leader in current charge of the KWC. He's grumpy, magnetic, and dangerous when he must be, but he also cares so very, very deeply about the inhabitants within his jurisdiction. Terrance Lau's Shin acts as his charismatic and capable right hand man, as well as protégé to Cyclone, befriending Chan Lok-Kwan and helping him become accustomed to life in the KWC. These two, along with the snarky Twelfth Master (Tony Wu) and the masked + imposing AV (German Cheung) become a quartet with great chemistry and friendship, the next generation to watch over and protect the Kowloon Walled City. Outside the KWC cast, antagonist figures like Sammo Hung, Philip Ng, and Richie Jen's characters are intimidating and compelling as threats to the city, and the lives people have etched out within its walls.

All of these things put together, and Twilight of the Warriors is a deeply fun, enjoyable, and rewatchable film (so good, in fact, that Hong Kong has submitted it as its nomination for the 2025 Oscars). The movie doesn't lose its emotional throughline in the promise of an action-packed ride it fully delivers on, and it uses its narrative, setting, and choreography to pay tribute to an earlier era of Hong Kong, as well as highlight + humanize a piece of the region's history that might not be quite as well known to some.

(The Kowloon Walled City was demolished and its inhabitants relocated in 1993. The area where it once stood is now a park, with some historic buildings preserved. If you're curious about people in the KWC before demolition, City Of Darkness: Life In Kowloon Walled City (1993) by Greg Girard and Ian Lambot is a collection of photographs and first-hand recountings from residents, recording their lives and stories. I'm in the midst of reading it right now.)

If anything I've said has piqued your interest whatsoever, I say to give Twilight of the Warriors a try, if you have a free two hours to spare. Something in it will be worth it for you. And if I've failed to convince you with any of this, or you need one more push, here's the trailer for the film:

And if I did manage to actually get anyone to seek out this movie, please tell me! I'd love to know your thoughts.

[medicineinside]

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[reverieshifts]

𝒓𝒆𝒔𝒐𝒏𝒂𝒏𝒄𝒆

𝒔𝒄𝒊-𝒇𝒊 𝒅𝒓

Estimated Frequency: ~1 in 1,000 Velari

Velari Term: "Sha’lurei" 

Offworlder Term: “resonance”

𝒃𝒊𝒐𝒍𝒐𝒈𝒊𝒄𝒂𝒍 𝒃𝒂𝒔𝒊𝒔

Lumen Node Function: The foundation of resonance-based abilities lies in the lumen node, a specialized neural cluster located near the upper spine, unique to the velari species. In resonants, this node exhibits hyper-synchronous neural oscillation, allowing it to function as a localized psionic amplifier. It contains an unusually dense lattice of iridesium-aligned neurofilaments—a bio-reactive crystalline structure found only in velari tissue—which enhances long-range synaptic cohesion and sensory processing far beyond baseline parameters.

Cognitive Resonance Field (CRF): Rather than emitting force, resonants interface with the ambient energy of space-time through a passive psionic field—an extension of their consciousness that subtly syncs with biological, emotional, and electro-mechanical rhythms in their environment. This “Cognitive Resonance Field” allows them to perceive, interpret, and gently manipulate localized energy patterns without direct contact.

Empathetic Feedback Loop: Resonants process external stimuli through a layered empathic interface, enabling them to “feel” spatial tension, neural dissonance, and even emotional signatures. Many describe the sensation as “walking through thought” or “hearing the world breathe.” This heightened feedback loop enables rapid threat detection, environmental awareness, and non-verbal communication through emotional echo.

𝒄𝒐𝒓𝒆 𝒇𝒖𝒏𝒄𝒕𝒊𝒐𝒏𝒔 𝒂𝒏𝒅 𝒄𝒂𝒑𝒂𝒃𝒊𝒍𝒊𝒕𝒊𝒆𝒔

Psychokinetic Manipulation: Through fine-tuned modulation of their CRF, a Resonant can exert subtle kinetic influence on physical objects. Rather than brute force, this manipulation stems from temporary energetic entanglement—an induced alignment between their own neural patterns and the vibratory signature of nearby matter. Movement appears fluid, almost instinctive; objects float, twist, or halt midair as if persuaded rather than forced. Precision scales with emotional clarity and environmental quietude, while range is limited by both psionic focus and spatial density.

Resonant Drift (Self-Levitation): By finely tuning their CRF to the kinetic frequencies of the immediate environment, a resonant can initiate a state of partial anti-kinetic equilibrium—a passive suspension that allows them to float or drift gracefully above the ground. Unlike propulsion-based flight, this “resonant drift” feels more like weightlessness anchored to emotional and spatial awareness. They tend to float instinctively when calm, contemplative, or emotionally overwhelmed. The effect becomes more stable in low-gravity environments or when they are barefoot and in full skin contact with their surroundings. Movement during drift is smooth, gliding, and eerily silent.

Neural Interface Override (“Soft Sync”): By attuning their CRF to simple electronic fields, a Resonant can override low-grade or analog electronic interfaces, such as doors, terminals, scanning systems, and older AI systems without neural shielding. This isn’t hacking—it's resonant subversion: they convince the system it’s already received proper authorization. The process is not instantaneous and requires direct proximity and focus. More complex or modern systems—especially encrypted or military-grade—typically resist this technique or trigger failsafes if improperly tuned.

Emotional Signature Mapping: Resonants perceive the emotional imprint of nearby sentients as complex tonal signatures within their field. These signatures fluctuate with mood, intent, and neural activity, enabling a trained Resonant to distinguish lies, detect concealed aggression, or sense psychological distress before it becomes visible. In groups, they can navigate emotional “weather,” identifying tensions, loyalties, or fractures long before they escalate.

Memory Resonance Touch: With direct skin contact and sufficient emotional synchronization, a Resonant can access echoes of memory embedded in living beings or objects with long-term energetic exposure. This is not a perfect playback, but a fragmented, emotional reconstruction—flashes of fear, joy, grief, or pain layered into the subject like a psychic fingerprint. They typically use this carefully, as overwhelming memories can bleed into their own consciousnesses, leaving them shaken or dazed.

Proximity-Based Thought Echo: While full telepathy is rare and unsustainable, Resonants are capable of passive thought-echo reception within close proximity. This typically manifests as fleeting impressions—unspoken words, images, or urges bleeding across the resonance field. Such impressions are strongest during heightened emotional states or direct physical contact. With deep bonds, this effect can intensify into partial shared cognition, allowing them to communicate without speech under stress.

Environmental Sensory Overlay: The CRF interfaces with a Resonant’s perception as an augmented sensory overlay, mapping environmental tension, motion, and energetic flow in real time. They can detect concealed movement, identify stress fractures in structures, track electromagnetic shifts, or feel malfunctioning machinery before failure occurs. In high-focus states, this field awareness extends through walls, into wiring, and along conduits—turning the space around them into a kind of living schematic.

Energetic Residue Tracing: Every living being and powered device leaves behind a faint resonant signature. A resonant can “listen” to these echoes in a given space to determine recent activity—detecting where someone stood, what systems were accessed, or what emotional state they were in. It works best on unaltered environments and within minutes or hours of the initial event. Older traces become distorted or overwritten. This ability makes them invaluable for post-incident analysis, tracking, or infiltration prep.

Neural Dampening Field (Perceptual Obfuscation): By dampening the outward frequency of their own resonance field, a Resonant can slip beneath the notice of most passive sensors and casual observation. This creates a soft perceptual blind spot, blurring details or delaying recognition in both sentient and synthetic awareness. It doesn't render them invisible—just forgettable. Useful for slipping past scanning systems or lingering unseen in plain sight, especially when paired with stillness and low emotional output. Stronger AI or high-alert targets may still detect them with effort. The effect is brief, typically measured in minutes.

Syncwalk (Micro-Teleportation Glimpses): In moments of deep focus or crisis, a resonant may “blink” across very short distances—instantaneous resonance displacement over a few meters. This is not true teleportation, but a momentary phase-skip, where their field synchronizes so tightly with space that it temporarily collapses and reforms their physical presence along a natural energy seam (such as a corridor, high-voltage conduit, or psionic turbulence vein). Side effects may include nausea, temporal dissonance, or mild electrical charge.

Psionic Disruption Pulse (“Breaker Note”): In moments of acute distress or self-defense, a Resonant can release a burst of destabilized resonance—an involuntary psionic shockwave that disrupts electronic systems, weakens mental shields, and disorients nearby sentients. This “Breaker Note” is not a weapon they control, but a side effect of violent resonance collapse. Systems flicker, glass fractures, and unshielded minds may experience vertigo, nausea, or blackout. Recovery varies by species and exposure.

Energetic Stabilization ("Resonance Sink"): In environments with fluctuating electromagnetic or psionic interference (e.g. hyperspace tunnels, collapsed sectors, psychic storms), a Resonant can act as a stabilizing presence. Their CRF naturally harmonizes nearby fields, creating a calm “bubble” that resists disruptive effects. This function is subconscious and limited in radius, but invaluable for helping allies stay grounded in unstable conditions. In prolonged crises, they often become the centerpoint others unconsciously gravitate toward—emotionally and physically.

Resonance Bonding (Selective): Through sustained exposure and mutual trust, a Resonant can form a biopsionic link with a specific individual. This bond allows for continuous emotional tracking, rapid non-verbal communication, and increased stability of both parties' CRFs when in close proximity. Such bonds are rare, often instinctive, and potentially permanent. Once formed, it is a two-way tether—one that transcends normal distance thresholds and occasionally manifests as shared dreams, dual-state reflexes, or unintentional synchronization.

𝒍𝒊𝒎𝒊𝒕𝒂𝒕𝒊𝒐𝒏𝒔 𝒂𝒏𝒅 𝒓𝒊𝒔𝒌𝒔

Energetic Depletion: While the CRF operates passively at low levels, active resonance manipulation consumes considerable neural and metabolic energy. Prolonged or intensive use—especially heavy psychokinesis, neural dampening field projection, syncwalking, or the release of a breaker note—can lead to symptoms of acute neural exhaustion, including dizziness, tremors, blurred vision, tinnitus, and spatial disorientation. In advanced stages, overextension may trigger nosebleeds, loss of motor coordination, unconsciousness, or psionic seizures caused by synaptic misfiring within the lumen node.

Emotional Instability: A Resonant’s power is intertwined with their emotional state. Intense emotions—fear, rage, grief—can amplify resonance uncontrollably. While this may grant temporary surges in power, it often results in field bleed, where the CRF spikes erratically, disrupting electronics, disorienting allies, or unintentionally projecting thoughts and memories outward. Emotional overload may also trigger the breaker note reflexively, endangering nearby personnel. Thus, Resonants are trained to regulate their emotional output carefully.

Cognitive Noise Threshold: Environments with high energetic interference—such as densely populated city centers, military command decks, or battlefields—can overload a Resonant’s sensory field. The constant barrage of emotional signatures, EM fields, and kinetic motion can produce a sensory “hum” that drowns out their fine-tuned perception. In these conditions, abilities may become muted, erratic, or outright disabled unless they can find stillness or an anchor point (such as a bonded individual).

Field Range Limitations: The Cognitive Resonance Field is localized, typically extending only a few meters from the user’s body. Precision psychokinetics and soft-sync interfacing require proximity within arm’s reach or line-of-sight. Emotional and sensory mapping is strongest within a 10–15 meter radius, and drops off sharply beyond that. A resonant cannot affect or perceive distant targets unless a direct bond has been formed—and even then, range is variable and unreliable.

Bond Vulnerability: Resonance bonds, while powerful, are also liabilities. Through them, a Resonant can experience echoes of pain, fear, or emotional collapse from a linked partner—and they from them. In moments of physical trauma or mental instability, the bond may destabilize both parties simultaneously, amplifying stress responses or creating shared disorientation. Severing a bond—voluntarily or by death—can trigger a complete CRF collapse, with unknown long-term neurological impact.

𝒆𝒙𝒕𝒓𝒂

Ok, so there's a lot of information shoved into here, so sorry about that, but I love making myself overpowered, so yeah. Like with my description of the velari species, I tried to make this sound a little more scientific to fit with the whole sci-fi theme, so again, it may read like a bit of a report. But anyways, all this basically comes down to the fact that resonant velari are able to sync up with the world around them, and sort of convince reality to act as they please. Because resonance isn't control or manipulation, it's a discussion with the universe itself.

@aprilshiftz @lalalian

[howlsofbloodhounds]

So this is part 2 of this post, if yall wanna give it a read for context.

In this post, I’ll be talking about how Color’s physical disability of having only one eye would influence how he interacts with his special interests in photography and travel.

As well as how his PTSD, autism, chronic fatigue, and separation anxiety from Killer could also affect things.

With one eye, Color might have reduced depth perception, which could make it challenging to gauge distances accurately. He might rely more on autofocus features, practice to enhance his spatial awareness, or use techniques like focus stacking for precise shots.

He might prefer using cameras with electronic viewfinders (EVF) or live view screens rather than optical viewfinders, which could be more challenging to use with one eye. Adjusting camera settings and composing shots via a larger display would be easier.

He might develop unique framing and composition techniques, leveraging his perspective creatively. Color could take extra time to ensure his shots are well-composed, possibly using grid overlays or other aids to help with alignment.

Customizing camera gear to suit his needs, such as using tripods, stabilizers, or remote controls, to help steady the camera and compose shots more comfortably.

He might spend additional time in post-processing to correct any minor misalignments or issues that arise from the reduced depth perception during the shooting process.

For travel, navigating unfamiliar places might require more caution, especially in crowded or complex environments. He might use mobility aids, rely on GPS and mapping apps, or travel with companions to ensure safety.

Color could engage in meticulous planning to minimize unexpected challenges, such as researching accessible routes, accommodations, and transportation options.

Color might use his experiences and perspective to connect with others, sharing how his disability influences his travel and photography, fostering understanding and empathy.

Developing strategies to cope with the physical demands of travel, such as pacing himself, taking regular breaks, and prioritizing destinations or activities that are less physically demanding.

His unique perspective could inspire him to create compelling stories or advocacy pieces about accessibility in travel and photography, raising awareness and inspiring others with disabilities.

Embracing his distinct view of the world, his photography could offer unique perspectives that stand out, turning his perceived limitation into an artistic advantage.

He might become involved in communities focused on accessible travel and photography, sharing tips, experiences, and inspiring others with similar challenges.

Autism and chronic fatigue would likely significantly impact Color’s ability to engage with his special interests in photography and travel.

In photography, chronic fatigue would necessitate careful energy management. Color might plan shorter, more focused photography sessions and prioritize rest to avoid burnout.

Streamlining his workflow, from setting up equipment to post-processing, to conserve energy. This could include using presets in editing software or organizing his gear for easy access.

He could chose photography locations that are easily accessible and require minimal physical exertion. He might also prefer locations close to home or base to reduce travel time and energy expenditure.

He would likely use ightweight equipment to reduce physical strain, possibly investing in high-quality but compact cameras and lenses. He might also use monopods or lightweight tripods for additional support.

Autism can come with sensory sensitivities. Color might choose quieter, less crowded locations for photography and use noise-canceling headphones or other tools to manage sensory overload.

With travel, he’d have to pace himself. Planning travel with built-in downtime to rest and recharge. He might avoid overly ambitious itineraries and allow for flexible scheduling to accommodate his energy levels.

He’d probably chose ccommodations that are comfortable, quiet, and accessible, ensuring he has a safe space to retreat to when needed.

He’d prefer modes of transportation that offer comfort and minimal stress, such as direct flights, train travel, or driving. He might also opt for private or semi-private tours to control the pace and environment.

Keeping up with healthcare needs, including regular check-ups, medication management, and any necessary accommodations. He might also carry a travel health kit tailored to his specific needs.

He’d combine photography with travel in a way that maximizes enjoyment and minimizes strain. For example, he might focus on travel photography during the golden hours (early morning and late afternoon) when conditions are optimal, and the rest of the day can be used for rest.

Creating content that reflects his experiences with autism and chronic fatigue, such as blogs, vlogs, or social media posts. This can help raise awareness and provide valuable insights to others with similar challenges.

Engaging with communities of autistic travelers and photographers to share experiences, tips, and support. This can provide a sense of camaraderie and practical advice tailored to his needs.

Establishing routines that provide predictability and reduce stress. This might include having a consistent photography and travel routine, preparing for trips well in advance, and creating checklists.

Practicing mindfulness or relaxation techniques to manage stress and sensory overload. This can help maintain focus and calm, particularly in challenging environments.

Utilizing assistive technologies, such as apps for energy tracking, sensory-friendly gear, or digital tools that aid in planning and organization.

Color’s PTSD from solitary confinement and isolation in the Void, combined with his separation anxiety towards Killer, can create a complex situation that both challenges and shapes his engagement in traveling and photography.

Color’s need to stay on the move due to PTSD makes traveling appealing, as it provides a sense of freedom and escape from confinement. However, this constant movement could also become exhausting and anxiety-inducing if it lacks purpose or stability.

His separation anxiety towards Killer might lead him to seek Killer’s company while traveling. Traveling with Killer could provide a sense of security and reduce his anxiety, but it also means his travel plans would need to align with Killer’s availability and willingness to join him.

Color might need to carefully plan his travels to ensure he has safe and familiar places to stay, reducing the unpredictability that could trigger his PTSD. Having a structured itinerary could help him feel more in control and less anxious.

Traveling to new and unfamiliar places might sometimes trigger memories of his isolation, especially if he encounters situations that remind him of the Void. He would need to find a balance between exploring new places and ensuring his mental well-being.

Photography could serve as a therapeutic outlet, allowing Color to process and express his emotions through capturing images. It might help him make sense of his experiences and provide a way to externalize his trauma.

Color might be drawn to photographing subjects that reflect his internal state or provide a sense of solace. He could focus on themes like freedom, movement, and connection, finding meaning and healing in his work.

Having Killer around while engaging in photography could provide comfort and reduce his anxiety. Killer might even become a frequent subject in Color’s photos, symbolizing their bond and mutual support.

Color might need to develop strategies to manage his anxiety while photographing, such as taking breaks, grounding exercises, or having a trusted companion like Killer present. This would help him stay focused and engaged in his special interest.

The mutual separation anxiety between Color and Killer could strengthen their bond, as they rely on each other for emotional support. This bond could provide Color with the stability he needs to engage in his interests.

Color would need to balance his need for movement and exploration with Killer’s needs and limitations. They might develop a mutual understanding and compromise, ensuring both their well-being while pursuing their interests.

Color might prefer traveling to places where he can easily find comfort and familiarity, such as visiting friends or known locations. This reduces the stress of the unknown and helps him stay grounded.

Establishing routines or rituals while traveling and photographing can provide a sense of stability. For example, always starting the day with a specific activity or having regular check-ins with Killer can help Color manage his anxiety.

They might have frequent phone calls if Killer ever can’t join Color on his travels, at particular times of the day.

I can see Color sticking to this routine at the exact time and getting anxious and worried if Killer doesn’t call or pick up, which is likely to happen at some point simply because he has memory issues and sticking to routine is hard for him. But Color, at least for a bit, is likely to assume the worse.

Color might also keep a photograph of him and all his friends close by on his person. (I also like to think that Delta made his camera, he keeps some of Beta’s drawings with him, and also he’s memorized the recipe for Epic’s chocolate cookies.)

If he and Killer have already had their wedding by this point, he’d likely keep his ring close and near. Perhaps kissing it before bed, and fidgeting with it becomes a new comforting stim.

Over time, engaging in his special interests despite his PTSD and anxiety can help Color build resilience. Each successful trip or photography session can boost his confidence and reinforce his ability to cope with challenges.

Color might find deeper meaning in his travels and photography by using them as tools for healing and connection. Documenting his journey and sharing it with others can create a sense of purpose and community.

[fruitless-vain]

hi! do you have any ideas on how to reward a dog who doesn't have any strong motivators? Treats are the only thing that work but he doesn't really care if there is something else he wants, doesnt care for toys, pets are ignored. I just have no idea what other rewards could be used

Id take a good look at Why the dogs motivation seems to be lacking, what environment it tanks in, and ensure to keep an eye out for things like stressors, overstimulation, fear, met needs, and other variables that may impact a dog’s comfort taking treats or exhibiting play behaviour. Things like illness or pain should also be considered as a factor for a lack of motivation (schedule their annual and take a good look at their behaviour and their movement- do they sit sloppy, pop hip often, hunch back, etc. these can all be more overlooked signs of pain!). Breed can also be a factor as some are more self motivated than people pleasing so their motivation tends to just look a bit different!

I'd also be curious to know if this dog has always been disinterested or if this has cropped up over time. A common factor for decreasing motivation is the fact that training itself has become unfun. Usually as a result of asking too much of the dog too fast, not paying them adequately for the work they're doing, working in far too complicated settings, too many competing reinforcers, getting frustrated during the session, using rewards to lure a dog towards feared things or simply having training sessions run on for too long where the dog then ends sessions feeling bored or tired. This can cause even the most active dog to become averse to training as a whole which can present itself as an aversion or lack of interest in many common rewards.

Additionally see what sorts of environments the dog is comfortable being rewarded in, perhaps they take treats okay in a certain room of the home but not outside. This can give us a lot of info and allow us to start in an environment they can succeed in and gradually shift to other environments with more complex challenges (like the competing reinforcers you mentioned)

Reinforcers can be Anything the dog actually wants. The sky is really the limit here. I can stick a treat in every dogs mouth and it’s not going to help anything if the dog itself doesn’t find that treat rewarding. Some options might be:

Treats- experiment with different types and textures. Smelly cheeses, hotdog, and sausage are common high value snacks that can help increase motivation in difficult situations but all dogs are different and some might find a satisfying crunch of a crispy biscuit more rewarding. Try new things and see what they gravitate towards. Additionally watch the way you deliver the reward, a common mistake is to push the treat in towards the dog's nose- this can be off-putting as you add spatial pressure which over time can cause a dog to refuse to take treats altogether. Instead try to offer the treat a distance away from their nose so they step towards it to take it (also watch for things like the way you hold your hand, some dogs may find a hand looming down with the treat threatening while a hand held below nose level with the palm up to be nicer to take treats from). You can also deliver treats in more engaging ways instead of just handing it to them. Toss it in the air for them to catch, roll it along the floor to chase, scatter a few pieces in grass, have them chase and follow the hand for a bit prior to releasing the treat. Make getting the treats a whole Experience!

Toys- rubber toys, canvas, biting, chasing, squeakers, tug. There's a ton of options. Not all dogs like playing in the middle of training as it breaks their focus but others live for it. While not for every dog I will say that playing is a good measure for a dog's comfort. If, for example, you can play tug indoors and have a fun time but the dog is unable to play tug at all outdoors that tells us the dog doesn't feel comfortable enough to exhibit that behaviour. That's information we can use!

Petting- Not my favourite thing to use, affection isn't really something you want to be bargaining off in exchange for favours but it has its uses. A fearful dog may love some pets to help comfort them and reduce that fear response, some affection can also go a long way in just grounding your dog and keeping a training session light and fun. A bit of a social fun break. There's definitely some dogs that can appreciate a pet as a reinforcer and they can work in a pinch if other reinforcers aren't available.

Sniffs- Not something you want to overuse as sniffing is a fundamental part of how dogs explore the world but an excellent way to shift to self reinforcing fundamentals like loose leash walking. Most dogs love a good sniff, your hound types especially, and you can use that to your advantage as you ask for a behaviour and then release them to go snuffle away. Sniffing is also a calming behaviour that can reduce heart rate and build confidence in their environment which can reduce issues like not taking treats outdoors in the first place.

Speed- A lot of dogs find human walking paces slow and frustrating (a common cause for leash pulling) so you may find that in outdoor environments you can reward your dog by simply jogging for a short burst. The speed is fun and enticing and as such can often become quite the powerful reward.

Personal play + Volume - Whether this be the opportunity to howl and bark or you getting loud and excited with them. Sometimes a dog may not be interested in toys but they may be interested in your engagement. This might be baby talking to them in a happy tone or fully getting down on their level to wrestle and bop around or perhaps running away and having them chase you. A different way to initiate play for those disinterested in toys.

Premack's Principle - When you are dealing with competing reinforcers most people will find they lose this battle where whatever you have is not as valuable as what the dog actually wants (chasing a squirrel perhaps). In many cases you cannot fight instinct and genetics with a piece of cheese. At least not without prepwork. This is where Premack's Principle comes in to play, where a dog is able to do a less desirable behaviour (ignoring the squirrel) in exchange for a more desirable behaviour (getting to go chase the squirrel). You can use the thing you're struggling with to reinforce what you'd rather see. Another example may be having your dog a distance away from other dogs, waiting for eye contact and then releasing them to go greet the dog. Over time this could cause an exciteable greeter to offer frequent eye contact to you whenever they spot a dog in anticipation of getting to go greet the other dog which is a nice alternative to barking or pulling. Practically everything your dog would Rather Be Doing you can use as a reward for what You would rather they be doing.

I'd also take a look in to "engagement games" online, there should be a load of force free resources out there for ways to make yourself more engaging and fun which can really help in encouraging a dog to be more excited to train. Strong foundations in how they view interacting with you and training as a whole can really go a long way in impacting motivators and training results.

There's a whole lot more to consider and a ton of more complex things that could be at play but without knowing your dog personally I'll leave this here for you to ponder and play with!

[captainswaglord500]

Last post of the year! Enantiosaurs Kingdom: Animalia

Phylum: Chordata

Clade: Sarcopterygi

Clade: Tetrapodomorpha

Clade: Stegocephalia

Clade: Tetrapoda

Clade: Lepospondyli

Order: Nectridea

Family: Urocordylidae

Subfamily: Sauropleuridae

Subfamily: Sauropleuridae

Clade: Enantiosauria (“opposite lizards”, in reference to their reptilian-like morphology despite being only distantly related to true reptiles) 

Ancestral species: possibly Sauropleura pectinata

Temporal range: early Permian to recent (280 mya - present)

Information: A common sight in the waterways of the Isanuntis, while the enantiosaurs (clade Enantiosauria) may initially be mistaken for mosasaurs or pseudosuchians in their incredibly reptilian-convergent build and anatomy, their possession of external feathery gills and leathery yet porous skin gives away their true phylogeny: as derived urocordylids, they are nestled amongst the nectridean lepospondyls, a clade of unclear relations to other amphibian-grade tetrapods itself but presumably being either part of the non-amniote reptiliomorph lineage or the lineage leading to true amphibians. Such distant relations to ecologically similar reptiles is reflected in the translation of their lineage's name, the Ancient Greek calque translating to "opposite lizards", in reference to their mosasaur-like build despite being only distantly-related to reptiles as a whole.

Enantiosaurs are a clade as diverse in their behavior as they are in morphology: many smaller species, such as the dwarf enantiosaur, are somewhat social creatures, either apathetically tolerating the presence of other individuals or actively grouping together for protection, while larger species, such as the bôjôr and the long-necked enantiosaur, tend to be comparatively solitary and territorial in nature. Though not properly endothermic, they exhibit poikilothermic tendencies and thusly can remain active in colder water temperatures than most other large-boded amphibian-grade tetrapods in the region, making them efficient pursuit predators in icy mountain streams and rivers. Enantiosaurs as a group exhibit some level of neoteny, as evidenced by the presence of larval gills on adult specimens, though many retain an ability to breathe on land so long as the skin is kept moist, and thusly, many species can and do exhibit basking behaviors, coming ashore to escape predators, search for food, or merely to get some sunlight. Interspecies interactions are complex and varied: while the closely-related sapphire-crested enantiosaur and long-necked enantiosaur may readily tolerate one another’s presence by virtue of their different feeding habits and the latter’s smaller size making them less of a spatial nuisance, others, such as the bôjôr and the false bôjôr, are highly antagonistic, the former regularly attacking the latter should they happen to be in the same area of lake at the same time. Even more intense are the scuffles between the bôjôr and the long-necked enantiosaur, the two largest enantiosaur species, as while they rarely interact, both fill apex predator niches in their respective habitats, and when the latter occasionally ventures into the former’s territory, scuffles are often deadly. While some species, such as the spear-crested enantiosaur and the gilt-nape enantiosaur are active pursuit predators, other species, particularly the long-necked enantiosaur, are ambush predators, lying motionless on the lake bed or on the surface and waiting for prey to come within striking distance. Eyesight is well-developed in many species and is the primary means of locating prey and navigating their environments. It should also stand to reason that because of this, most species are either nocturnal or crepuscular, as this is when prey is less likely to spot them. For unknown reasons, species which inhabit the Mourŷnkeidar, Xenogaea’s longest river, which starts in the highlands and empties along the coastline of the midlands, seem to avoid the river below a certain elevation, possibly due to the presence of crocodilians further down the river.

Enantiosaurs vary greatly in size depending on species, the smallest species, the dwarf enantiosaur, being roughly 2 feet in length and weighing only 2-3 lbs. By contrast, the bôjôr reaches nearly 20 feet and weighs roughly a ton, while the similarly-sized long-necked enantiosaur reaches around 22 feet in length and roughly 1,800 lbs. Likewise, he coloration of species is also highly varied, though most species are some shade of mottled greens and yellows whereas deeper-water may have shark-like countershading with a slate-to-black-colored back and flanks and a white-to-cream-colored underside. The bôjôr is weakly bioluminescent with blue patches down its side.

Exceptionally more vocal than may be expected, enantiosaurs have a wide repertoire of vocalizations for varying purposes. Many species emit a kind of dolphin-like clicking, seemingly as a rudimentary form of echolocation, and territorial grunts and rumbles are used to stake out claims to a given section of the water and to ward off intruders. Hissing and bellowing may be used as a way to convey agitation or to warn potential threats before biting. Amongst more social species, sounds similar to croaking have been reported as well as “pulsing” sounds used in murky water by other social and asocial species to communicate in low-visibility levels and alert others of their presence. 

Population sizes for species varies incredibly and is influenced by habitat preferences. The most populous species is the sapphire-crested enantiosaur, which is widespread throughout the waterways of the Isanunti Mountains and has an estimated total wild population of around 60,000-80,000 individuals. By contrast, both the bôjôr and the long-necked enantiosaur are believed to have mature adult populations in the mere hundreds (possibly even dozens in the former case). Over a quarter of known enantiosaur species are moderately endangered due to human activity in the region. Evidently, enantiosaurs are varied in the habitats they prefer, though all living species are restricted to the waterways of the Isanunti Mountains, having once been common across all of the Isle of Perils in prehistory. The bôjôr, false bôjôr, spear-jawed enantiosaur, and gilt-nape enantiosaur are all endemic to Lake Ndoskani, the region’s largest lake, the bôjôr inhabiting the lake’s deeper, open waters, the false bôjôr and the spear-jawed enantiosaur preferring the surface of the lake’s open waters, and the gilt-nape enantiosaur inhabiting the weedy shallow shores of the lake. The sapphire-crested enantiosaur is found all throughout the rivers and streams of the Isanunti Mountains, though it has been known to make its way into Lake Ndoskani proper, preferring its shallower depths, and the long-necked enantiosaur is found strictly in riverways and lakes along the southern portion of the Isanunti Mountains, rarely venturing into Lake Ndoskani proper to avoid competition with the bôjôr.

All enantiosaurs are carnivorous or omnivorous in nature, though a high degree of niche partitioning in the kinds of prey they hunt can be observed. The bôjôr hunts primarily large, slow-moving amphibian prey in the depths of Lake Ndoskani, while the false bôjôr hunts smaller (though still relatively bulky) prey such as diving birds and medium-sized amphibians. The spear-jawed enantiosaur specializes in hunting fast-moving, shoaling amphibians such as the many microsaur and salamander species found in Lake Ndoskani, while the gilt-nape enantiosaur exploits a similar niche in shallower waters while also taking small mammals and birds that come to the lakeside to drink. The dwarf enantiosaur feeds primarily on small crustaceans and plant matter in Lake Ndoskani, while the sapphire-crested enantiosaur, being substantially more bulky than its relatives, eats primarily crustaceans and plant matter but may also take smaller amphibians and prey up to the size of deer and antelope at the edge of streams. The long-necked enantiosaur, by contrast, is well-adapted to hunting large, fast-moving amphibian prey, its long, toothy snout allowing it to quickly snap at prey.

Reproductive habits are largely the same across species: few enantiosaurs mate for life, the one possible exception being the sapphire-crested enantiosaur. Mating is thusly spontaneous and occurs when a prospective female calls out to any prospective males. This call is usually a kind of infrasonic booming which travels  across a wide area, being able to be felt even if not heard. It is rare for a female to mate with one male during the mating season, instead often mating with several to ensure the fittest brood, and scuffles over mates can become quite intense if two males happen to find the same female at the same time. After a period of weeks, she will lay her eggs somewhere relatively easy to guard, such as in submerged caves or in thick aquatic vegetation, where she will guard over the coming weeks until they hatch. At this point for most species, either one of two things happen: the mother will care for the hatchlings for the first few months of their lives until they are large enough to fend for themselves, or all maternal instincts cease and the young must flee immediately upon birth, their mother viewing them as little more than easy food at this point. While the true enantiosaurs (genus Enantiosaurus) and the long-necked enantiosaur often take nearly 8-10 years to reach sexual maturity, having reached physical maturity at roughly 3-4 years old, other species tend to mature far quicker, reaching sexual maturity by around a year old and physical maturity by a year and a half. The average lifespan per species is typically around 30-40 years, though on the high end of the range, there is the bôjôr with a lifespan of between 60-80 years and at the low end, the dwarf enantiosaur with a lifespan of 8-12 years.

While now restricted to the waterways of the central mountain range, these animals were once much more widespread across Archaeonesia, with fossils of similar animals being found in both freshwater and estuarine fossil sediments dating as far back as the Permian, suggesting an early split from other urocordylids. It appears, however, that the introduction of marine reptiles like ichthyosaurs and nothosaurs to the region in the following Triassic era may have led to ecological pressure that the enantiosaurs could not cope with, though nonetheless, they would manage to remain common in freshwater environments until competition from phytosaurs and chronosuchians began to drive them to extinction. A single tribe, Enantiosaurini, would survive in montane environments, the regions being far too cold and difficult to traverse for such reptiles to colonize, and thusly, the enantiosaurs have managed to survive all the way to the modern day by becoming specialized aquatic predators in montane ecosystems. Living enantiosaurs can be divided into roughly two clades: the more anatomically conservative Enantiosaurina and the more anatomically derived Dolicholophina (“long crest”, in reference to the more elongated head shape and bony crests members of this clade possess). Nonetheless, both groups’ anatomy is quite derived and evokes a distinctly crocodilian visage, with short, thick limbs primarily adapted to act as fins, long, paddle-like tails, and sharp, interlocking teeth visible even when the animals' jaws are closed. While the most famous and speciose genus is perhaps the genus Enantiosaurus proper, they appear to be a paraphyletic grouping as currently defined, as several smaller former genera appear to actually be deeply nested within Enantiosaurus proper based on genetic data, while certain species, such as the gilt-nape enantiosaur, appear to be highly morphologically divergent from other members of the genus to the point where their classification may warrant placing them in a separate genus. While neoteny appears to be the ancestral condition of the entire clade, gene editing can seemingly induce them to mature into an "adult" form which lack gills and can move and breathe on land comfortably, suggesting their obligate aquatic nature may actually be a derived trait rather than an ancestral one. These creatures feature prominently in the folklore of the highland people, being viewed as guardian spirits of the lakes and rivers by many. The bôjôr, however, has the distinction of likely inspiring an enduring myth on Lake Ndoskani of the Lake Ndoskani Monster, a highly-aggressive creature said to be nearly 40 feet in length which capsizes boats. While the myth of this creature’s creation varies by the tribe living on the lake, the most common motif is that it is either a manifestation of the spirit of the lake, which the people living around the lake had angered eons ago by disturbing the balance of the lake and thus the creature was sent as a peacekeeper of the lake’s natural balance and a reminder of mankind’s place in the natural world, or that it was a bastard son of the Xenogaean underworld and mountain god, Tradal, which had crawled up from the underworld through the geothermal vents in the lake bottom and now guards the entrance to its former home, brought as a reminder to the people of the lake to value the sanctity of life and to not waste it through greed and hedonism, lest the beast drag them down to the underworld and to an early grave. A general name for the clade in Standard Xenogaean, txusko’o/txúsko’o (/ˈt͡ʃu.sko̞.ʔo̞/), translates to “little ancestor”.

[gallifreyinstituteforlearning]

What is spatiotemporal amnesia (and is that actually a thing or is my gallifreyan making up words again? Xey mentioned it in passing and she's being difficult about it and I actually doubt he's trying to be. Any time I've asked it about it, they either don't know or can't remember learning what it means)

What is Spatio-Temporal amnesia?

Spatio-temporal amnesia in Gallifreyans is a theoretical but probable condition affecting their memory and perception of space and time. Due to their unique physiology and complex relationship with the fourth dimension, Gallifreyans could experience a form of amnesia that is intricately linked to their spatial and temporal awareness.

Y'all already know that Gallifreyans perceive and navigate time in a unique way, and have heightened spatial awareness. Spatio-temporal amnesia could theoretically disrupt these abilities independently, leading to difficulties in recalling events in their proper temporal order, recognising temporal shifts, and experiencing disorientation both in familiar and unfamiliar environments. And of course, it could disrupt them both at the same time, leading them to quite a space-time pickle sandwich.

🚨 Possible Causes

Some causes could include ...

Temporal Shock: Exposure to intense temporal disturbances or paradoxes could overload a Gallifreyan's time lobe, leading to temporary or permanent amnesia, like stepping into a surprise temporal rift on a casual Tuesday.

Regeneration Complications: The process of regeneration, which involves significant physiological and psychological changes, could potentially cause spatiotemporal amnesia.

Neurological Damage: Damage to the brain via trauma or disease, particularly the time lobe or super-ganglion, could disrupt the neural pathways responsible for spatiotemporal processing, like having a frustratingly bad Wi-Fi connection.

Chrono Dementia: This is a devastating condition affecting time-sensitive species. It targets a Timegri's time lobe, leading to a reduction and loss of their time abilities and extra senses. It causes severe confusion, extreme difficulty in orienting themselves in real time, and issues with regeneration and memory.

📚 Symptoms

Difficulty in perceiving the flow of time, leading to confusion about past, present, and future events.

Problems with spatial navigation, such as getting lost in familiar places or inability to recognise previously known environments.

Simultaneous confusion in both time and space, resulting in a complete inability to understand one's current location and time period.

Inability to associate/distinguish time periods with certain spaces, like landing on 12th century Earth and genuinely wondering where all the cars are.

Missing memories or inability to recall specific events, especially those involving significant spatial or temporal elements.

🩺 Potential Treatments

Chrono-Therapy: Techniques designed to restore the normal functioning of the time lobe, possibly involving exposure to stable temporal fields or controlled time travel. A bit like taking your brain on a relaxing spa break so it can 'recharge'.

Neural Realignment: Advanced Gallifreyan medical procedures to repair or regenerate damaged neural pathways, particularly in the brain areas responsible for spatial and temporal processing.

Psychological Support: Cognitive therapies to help the affected Gallifreyan cope with their disorientation and gradually rebuild their memory and perception of space-time.

🏫 So ...

Spatio-temporal amnesia in Gallifreyans is a complex theoretical condition that would disrupt their unique relationship with space and time. GIL would recommend that Xey returns to Gallifrey for a neurological assessment as soon as possible.

Related:

🤔|🧠💥What would happen if a Time Lord's 'time brain' was damaged?

💬|🧠💥What are some Gallifreyan protections against forced memory loss?: How their memory works and how they can protect themselves.

💬|🧠💥How can I help a Time Lord with amnesia?: General overview to treating/reversing amnesia in Time Lords.

Hope that helped! 😃

Any orange text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →📢Announcements |🩻Biology |🗨️Language |🕰️Throwbacks |🤓Facts → Features:⭐Guest Posts | 🍜Chomp Chomp with Myishu →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired 😴

[selfhelpforstudents]

Revolutionize Your Note-Taking: Creative Methods for Retaining Information

Girls in Finance project server // other posts

In the fast-paced world of academia, effective note-taking can make a significant difference in your ability to absorb and retain information. Here are some creative and proven methods to revolutionize your note-taking and elevate your study game:

1. Mind Mapping:

Visualize Connections: Use mind maps to create visual representations of concepts and their relationships.

Enhance Creativity: Mind mapping encourages a non-linear approach, helping you think more creatively about your subjects.

2. Cornell Method:

Structured Layout: Divide your notes into key sections, including cues, main notes, and a summary.

Active Review: The Cornell Method promotes active review, enhancing your understanding and retention.

3. The Feynman Technique:

Teach What You Learn: Pretend you're teaching the concept to someone else. This technique exposes gaps in your understanding.

Simplify Complex Ideas: Break down complex topics into simple explanations to solidify your grasp on the material.

4. Visual Annotations:

Highlight and Doodle: Use colors, symbols, and doodles to emphasize key points and make your notes visually engaging.

Memory Aid: Visual annotations create memorable cues that aid recall during study sessions.

5. Digital Note-Taking Apps:

Flexibility: Explore digital tools like OneNote, Evernote, or Notion for organized and searchable notes.

Multimedia Integration: Embed images, audio, and links to enhance your notes with multimedia elements.

6. The SQ3R Method:

Survey, Question, Read, Recite, Review: A systematic approach to reading textbooks actively.

Engage with Material: Turn headings into questions, read with a purpose, and quiz yourself for optimal comprehension.

7. Interactive Notebooks:

Include Interactive Elements: Incorporate foldables, pockets, or pop-ups to make your notebooks interactive.

Hands-On Learning: Interactive notebooks provide a tactile experience that reinforces learning.

8. Memory Palaces:

Create Mental Associations: Use spatial memory to associate information with specific locations in a familiar environment.

Ideal for Sequences: Memory palaces are effective for memorizing sequences or lists.

9. Dual Coding:

Combine Visual and Verbal Information: Enhance your understanding by combining written notes with visual aids like diagrams or charts.

Boost Retention: The dual coding theory suggests that combining modalities reinforces memory.

Remember, the key to successful note-taking is finding a method that resonates with your personal learning style. Experiment with these techniques, mix and match them, and discover the approach that maximizes your understanding and retention of information. Happy note-taking!

Girls in Finance project server // other posts

[intersection-of-art-and-science]

“For a landscape ecologist, a landscape is made up of a spatial array of patches. Depending on the researcher’s perspective, patches may consist of ecosystems or may simply be areas of habitat for a particular organism. Patches are spread spatially over a landscape in a mosaic. This metaphor reflects how natural systems often are arrayed across landscapes in complex patterns, like an intricate work of art.”

—Environment: The Science Behind The Stories by Jay Withgott and Matthew Laposata

[spacetimewithstuartgary]

Astronomers discover 'space tornadoes' around the Milky Way's core

Swirling through the Milky Way's central zone, in the turbulent region surrounding the supermassive black hole at the core of our galaxy, dust and gases constantly churn as energetic shock waves ripple throughout. An international team of astronomers using the Atacama Large Millimeter/submillimeter Array (ALMA) have sharpened our view of this action by a factor of 100, discovering a surprising new filamentary structure in this mysterious region of space.

Although the galaxy's central molecular zone (CMZ) has long been known to be a region filled with swirling dust and gas molecules cycling through formation and destruction, the mechanism that drives this process has remained elusive. Molecules serve as tracers for various processes in molecular clouds, with silicon monoxide (SiO) being particularly useful in detecting the presence of shock waves.

Using ALMA's high resolution and sensitivity to map distinct spectral lines within the molecular clouds at the center of the Milky Way, an international team of astronomers led by Kai Yang of the Shanghai Jiao Tong University has delineated a new type of long, narrow filamentary structure at a significantly finer scale.

The dynamic interaction between this turbulent environment and the slim filaments produced as shocks ripple through provides a more complete view of the cyclical processes within the CMZ. The study is published in the journal Astronomy & Astrophysics.

"When we checked the ALMA images showing the outflows, we noticed these long and narrow filaments spatially offset from any star-forming regions. Unlike any objects we know, these filaments really surprised us. Since then, we have been pondering what they are," Yang summarized.

These "slim filaments" were an unexpected, serendipitous find in the emission lines of SiO and eight other molecules. Their line-of-sight velocities are coherent and are inconsistent with outflows. Thus, they do not fit the profile of other, previously discovered types of dense gas filaments; furthermore, the filaments show no association with dust emission, and they do not appear to be in hydrostatic equilibrium.

"Our research contributes to the fascinating Galactic Center landscape by uncovering these slim filaments as an important part of material circulation," summarizes Xing Lu, a research professor at Shanghai Astronomical Observatory and a corresponding author of the research paper.

"We can envision these as space tornados: they are violent streams of gas, they dissipate quickly, and they distribute materials into the environment efficiently." It remains unknown how these slim filaments initially arise, but shock processes emerge as a likely explanation, Yang's team reports.

This inference is based on several key observations: the rotational transition of SiO 5-4 clearly seen in ALMA observations, the presence of CH3OH masers, and the relative abundances of complex organic molecules in these slim filaments.

"ALMA's high angular resolution and extraordinary sensitivity were essential to detect these molecular line emissions associated with the slim filaments, and to confirm that there is no association between these structures with dust emissions," emphasized Yichen Zhang, a professor at Shanghai Jiao Tong university and a corresponding author of the research paper. "Our discovery marks a significant advancement, by detecting these filaments on a much finer 0.01 parsec scale to mark the working surface of these shocks."

This breakthrough offers a more detailed view of the dynamic processes occurring in the CMZ, and suggests a cyclical process of material circulation. First, shocks act as a mechanism to create these slim filaments, releasing SiO and several complex organic molecules such as CH3OH, CH3CN, and HC3N into the gas phase and into the interstellar medium.

Then, the slim filaments dissipate to refuel the widespread shock-released material in the CMZ. Finally, the molecules freeze back into dust grains, resulting in a balance between depletion and replenishment. Assuming that the slim filaments exist throughout the CMZ as abundantly as in this sample, there would be a cyclical balance between depletion and replenishment.

"SiO is currently the only molecule that exclusively traces shocks, and the SiO 5-4 rotational transition is only detectable in shocked regions that have both relatively high densities and high temperatures. This makes it a particularly valuable tool for tracing shock-induced processes in the dense regions of the CMZ," Yang said.

It is hoped that future ALMA observations covering multiple SiO transitions and census observations spanning the CMZ, combined with numerical simulations, will confirm the origin of the slim filaments as well as the possibility of the cyclic processes within this extraordinary region of the Milky Way.

IMAGE: Slim filaments in the CMZ. Credit: Astronomy & Astrophysics (2025). DOI: 10.1051/0004-6361/202453191

[kamon-115]

Shooting The Truth: Can Art be Mechanically Reproduced?

By: Jayden Henderson, Hazel Angela Abiog, Ralph Danrique Aquino

Solace Road- Photo by Jayden Henderson

The quiet still of a teen beside a parked car on a country road carries a strong sense of place—its "aura," in Benjamin's terms. You can almost feel the late‑afternoon sun, hear the gravel underfoot, smell the dry grass in the breeze. That aura is captured in its original print in this single moment. Yet once digitized and shared online—cropped, filtered, re‑posted on Instagram or TikTok—it becomes one image among millions. Its unique presence is diluted, but its personal story spreads to a broader audience. Here, Benjamin's paradox is apparent: mechanical (now digital) reproduction diminishes aura, but simultaneously bestows new social life on the photograph, inviting strangers everywhere to participate in that teen's quiet pause.

Lone Plaza- Photo by Jayden Henderson

An empty plaza, its benches and fountain surrounded by bare branches, feels like a relic of public life paused in time. In its original print, framed carefully, this stillness is tethered to that spot and those specific trees. However, once published in a book or blog, it becomes a hinge between private contemplation and mass experience. Benjamin would celebrate this shift: as art's reproducibility expands, the work slips out of exclusive gallery spaces into communal memory. Any passer‑by online can "visit" the plaza, forging new social bonds through shared images of absence and anticipation.

In Transit- Photo by Jayden Henderson

The photograph vividly captures the stillness of time, showing commuters, the train interior, and platform signs through a glass pane. It powerfully demonstrates how light can fracture and reassemble reality. The past and present, inside and outside, seamlessly blur into a striking montage. Benjamin would undoubtedly recognize this image as proof that reproduction does more than copy; it transforms our understanding of reality. By integrating multiple frames, exposures and spatial perspectives into a single frame, the image compels us to rethink perception itself. While its aura may be fragmented, it reveals a new social goal: capturing the intricate complexity of our urban experience.

The Cities Flow- Photo by Jayden Henderson (Entry by Hazel Angela Abiog)

This photograph connects to Walter Benjamin's article by illustrating how art and photography have become modern. Benjamin argued that mechanical reproduction removes the "aura," making them more accessible but less unique. City life, tall buildings, and walking people are not rare but repeatable. But that's the point: turning everyday life into something worth capturing and sharing with the world.

Grace in Silence- Photo by Hazel Angela Abiog

This picture reflects Robinson's style through several key elements. First, the use of Pictorial Quality is evident in the use of black and white, to show the aesthetic of early photographic images. Second is the Mood and Expression. The figure, downward gaze, and flowy dress suggest a quiet, thoughtful, or even a sad feeling that is similar to the images that Robinson often showed in his work. Third, Stage Composition stands out with the curved staircase, and the person placement creates a dramatic visual, like Robinson's carefully arranged images. Overall, this image shares the intentionality and emotional tonality of Robinson's photography.

Out of the Dark- Photo by Ralph Danrique Aquino

Robinson's craft of photography aimed to create a work of art, a painting, that highlights the storytelling and emotions, detailing reality. In this image, it creates a dramatic scene composing: a single figure surrounded by natural, emphasizing the dry and melancholic environment. The dark, moody atmosphere creates a sense of symbolism, much like Robinson's romantic and depressing themes. Moreover, the railroad tracks suggest a personal and emotional journey, conveying loss and grief in relation to Robinson's "Fading Away".

Module 3 Questions:

1. When something is reproduced countless times, is it still "art"? What is the importance of mechanical reproducibility, and how has it impacted society?

Reproducing an artwork over and over transforms it but doesn't render it meaningless. According to Walter Benjamin, every original piece possesses an "aura," born of its unique time, place, and history. Mechanical reproduction inevitably diminishes that aura, yet it also increases access. No longer confined to museum walls or private collections, art spreads into classrooms, living rooms, and public squares. This mass circulation shifts art from an elite privilege into a shared cultural resource, enriching public discourse and allowing diverse communities to engage with works they'd never encountered.

2. What is the central message of Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction"?

Benjamin's core Message is that mechanical reproduction disrupts the bond between an artwork and its "aura". By stripping away the "here and now" of the original, reproduction dissolves its aura, but in doing so, it empowers art to serve new social functions. Benjamin invites us to see reproduction not simply as loss, but also as transformation.

3. Is photography an art form in its own right, or merely a tool for traditional artists?

Photography began as a technical process for capturing reality but has long since become a standalone art form. When photographers bring a distinct vision—through composition, lighting, framing, etc.- to their work, they move beyond mere documentation. A photograph can tell stories, convey moods, and provoke reflection as powerfully as a painting or sculpture.

4. How and why did Henry Peach Robinson create Fading Away?

Robinson pioneered combination printing to stage the emotionally charged scene, Fading Away. By merging several negatives—each depicting different figures and settings—he choreographed a Victorian tableau of a young woman's last moments surrounded by mourning family. His goal was not scientific accuracy but dramatic storytelling: to show that photography could evoke pathos and narrative depth, rivalling the grand history paintings of the era.

5. If mechanical reproduction revolutionized art in the 20th century, what does today's digitalization mean for its future?

We've entered a new era where anyone with a smartphone can create, edit, and instantly share images on platforms like Instagram and TikTok. Digital tools dissolve barriers even further, raising new questions of authenticity. Who is the artist when an AI generates an image from a prompt or combines existing works? As we embrace these innovations, it's worth asking: What are we gaining in creative possibility, and what might we be losing in human touch and historical context?

References

•Benjamin, W. (1936). The work of art in the age of mechanical reproduction. Marxists Internet Archive. Retrieved May 16, 2025, from https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

•The Editors of Encyclopaedia Britannica. (n.d.). Henry Peach Robinson. In Encyclopaedia Britannica. Retrieved May 16, 2025, from https://www.britannica.com/biography/Henry-Peach-Robinson

•OpenAI. (2025). ChatGPT (o4‑mini) [Large language model]. https://openai.com/chatgpt

[brandonchambersportlandoregon]

Shaping the Future: How Brandon Chambers Is Revolutionizing AR and VR Experiences

Augmented reality (AR) and virtual reality (VR) are no longer merely futuristic ideas in today's quickly changing technology landscape; they are already essential components of how various sectors create, train, entertain, and communicate. Brandon Chambers, a creative leader from Portland, Oregon, is at the vanguard of this change. With over ten years of practical expertise, Brandon has emerged as a key player in the creation and improvement of AR and VR solutions for a variety of sectors, including healthcare and entertainment.

A Passion for Immersive Technology

Brandon’s journey into the world of AR and VR began with a deep-seated passion for creating immersive digital experiences that truly engage users. His early work focused on exploring the boundaries of interactive environments, pushing the limits of what was possible with the available technology. As AR and VR technologies matured, so did Brandon’s ambition to not just participate in this digital revolution but to lead it.

Throughout his career, he has been committed to designing user-centric applications that prioritize intuitive interaction, realism, and accessibility. His belief that technology should serve people—making their lives easier, richer, and more connected—has been the guiding principle behind his most groundbreaking projects.

Driving Innovation Across Industries

One of Brandon Chambers’ greatest strengths is his versatility in applying AR and VR technologies across multiple sectors. In entertainment, he has been instrumental in developing VR gaming experiences that immerse players in richly detailed, interactive worlds. These games not only captivate audiences but also set new standards for realism and user engagement.

In healthcare, Brandon’s innovations have had life-changing impacts. He has worked on creating advanced immersive simulations used for medical training, providing healthcare professionals with safe, realistic environments to hone their skills. These simulations improve learning outcomes and reduce risks in real-world scenarios, showcasing the profound potential of VR beyond entertainment.

Moreover, his projects in the fields of education and professional training have introduced dynamic new ways to teach complex concepts. Through interactive VR modules, learners can engage with materials in ways that traditional methods simply cannot replicate. By making learning a truly immersive experience, Brandon has helped redefine educational standards for the digital age.

A Visionary Approach to Spatial Computing

At the core of Brandon’s work lies his mastery of spatial computing—a technology that blends digital and physical realities to create new types of interactive experiences. His ability to envision and implement real-time, user-interactive environments has consistently set him apart as a leader and visionary in the field.

Whether it’s through AR applications that enhance real-world settings with digital overlays or fully immersive VR worlds, Brandon’s creations blur the boundaries between what is real and what is digitally fabricated. His projects often explore new methods of user interaction, striving to make technology more natural, intuitive, and integrated into everyday life.

In his current role, Brandon leads groundbreaking initiatives that push the limits of what AR and VR can achieve. By driving the adoption of spatial computing, he is opening up new frontiers in how businesses and consumers engage with content, offering experiences that are dynamic, responsive, and profoundly transformative.

Championing the Next Generation of Innovators

Beyond his technical achievements, Brandon Chambers is deeply committed to nurturing the next wave of AR and VR talent. He actively mentors young developers and designers, encouraging collaboration, creativity, and continuous learning. His leadership style emphasizes not just technical skill but also a spirit of innovation and community-building.

Brandon’s influence extends throughout Portland’s thriving tech scene, where he plays a key role in fostering growth and collaboration. Through meetups, workshops, and partnerships, he helps build networks of innovators who are collectively shaping the future of digital reality.

By sharing his knowledge and experiences, Brandon ensures that AR and VR technologies continue to evolve with fresh perspectives and bold ideas. His mentorship efforts help lower the barriers for newcomers entering the field, making the world of immersive technology more inclusive and diverse.

A Future Shaped by Immersive Experiences

As AR and VR technologies become increasingly embedded in our daily lives, leaders like Brandon Chambers are crucial in guiding their evolution. His blend of technical expertise, visionary thinking, and dedication to human-centered design ensures that these powerful tools are developed in ways that are accessible, impactful, and truly transformative.

Looking ahead, Brandon envisions a future where immersive technologies are not limited to entertainment or niche applications but are seamlessly integrated into everyday experiences—from learning and working to healing and socializing. His ongoing work will continue to influence how we perceive and interact with digital reality, making the impossible not just possible, but intuitive and inspiring.

Brandon Chambers' contributions to AR and VR are a testament to the power of innovation driven by passion and purpose. As he continues to lead and inspire, one thing is certain: the future of immersive technology is in very capable hands.

[rawliverandgoronspice]

To ALSO add to the last reblog: I think I finally pinpointed what bugs me so much about TotK from a gameplay perspective (and that extends to BotW to an extent, tho not as much but still). Zelda used to be about exploration, combat and puzzle. The world was your oyster for discovering new mysteries, you were put into situations that required you to devise which tool to use and how to understand a space and its possibilities better, and you would fight on your way there also. But to me, we clearly were in a puzzle-first environment, where enemies came to try and halt your journey, while not being endgoals in themselves.

I think there was a drastic shift to combat-first gameplay since 2017 that I don't think we really acknowledged as a fanbase. Sure, there *are* puzzles still, but they are mostly relegated to shrines and dungeons. In the overworld, your challenges are traversal (and sometimes that warrants a puzzle and it's *great* when it happens) and combat-based (oh no, I want to go from point A to point B but there's a Hinox on the way!). But... Okay. Basically, in old Zelda games, every location was an intricate bundle of puzzles. To throw just an example among many, many others: Clock Town, in MM's, is a complex bundle of puzzles and opportunities and discoveries to make, taking on more and more depth as you acquire more tools and understand the intricate logic that animates it. The town itself is a toy that generally requires little to no combat. You have to understand what you can play with, and use observation, abilities and time to unwrap the entire thing. Geometry is here to ground you and give you a sense of realism --but more importantly, it's here to challenge your spatial understanding and give you little mysteries to return to later and expand upon.

Clock Town is obviously a pretty unique example, but... I don't know, I could have used Goron City, or Castle Town from Minish Cap, or a bunch of places from TP... My point is: places always had this intricate mixture of fun, moody set-dressing and puzzle-based intrigue. It's one of my favorite things about old school Zelda... and it's much, much rarer in these new iterations. Not saying it's not here, but it's not the focus anymore. The gameplay loop doesn't ask you to unravel the world in the same way. You want upgrades? You gotta kill a mini boss about it. You want more heart pieces? You gotta do shrines, which are utterly separated from the overworld (and sometimes combat-based too!). NPCs are no longer these keys in larger puzzles, but are basically used the way Skyrim would use them (no shade on Skyrim, love these kind of games --though getting tired tbh-- but they are not the same beast).

Now the game loop is much more about: how do I get from point A to point B, and how to I get rid of obstacle X on my way? Now I have gotten rid of obstacle X and I have better loot and better skill to help me get rid of larger obstacles --and getting rid of them is actively encouraged, and it's a huge part of what makes the game fun. It's not a bad game loop by any mean! But it is a drastic change from the old formula. And to me... there is, especially in TotK due to More Things I Already Talked About, a real loss of whismy and smallness and mystery inherent to that change.

I think this is why I lost interest in the Depths so fast. The Depths are about movement and combat... and basically nothing else. People who are into that kind of approach will be thrilled, but I got bored pretty fast because, beyond feeling empty, the Depths felt thoughtless to me.

Yes, of course, open worlds make it much harder to focus on intricate world design the way the old games used to conceive themselves. But... Yeah, we still begin to stray away from what once was a core pillar of the series, and one that was, by definition, much less violent.