#diagonal matrix

[bpsimple]

halftone

[peeterjoot]

Eigenvalues of 2x2 matrix: another identity seen on twitter.

[Click here for a PDF version of this post] Here’s another interesting looking twitter math post, this time about 2×2 matrix eigenvalues: Theorem 1.1: Eigenvalues of a 2×2 matrix. Let \( m \) be the mean of the diagonal elements, and \( p \) be the determinant. The eigenvalues of the matrix are given by \begin{equation*} m \pm \sqrt{ m^2 – p }. \end{equation*} This is also not hard to…

[sciencesolutions]

[blusandbirds]

linear algebra final 8:00 AM tomorrow i do not know anything please keep me in ur thoughts

[plasticsandwich]

DECEMBERB

[mellxncollie]

Temporary pause from working on a Charles' cricket bat gifset to talk about this shot:

It's such a well composed shot! It's the most badass cricket bat moment and this is like the anime-styled, matrix-level, critical hit, crescendo moment for Charles after all of his anger in episodes 3-5, and now he's redirecting it in a way that is no longer terrifying to his friends but supportive (though i would argue most of his anger in eps 3-5 was still very justified).

The negative space here is just *chefs kiss* and gives space for Charles to be focused on. It's simple and uncomplicated, making it easy for us to digest just how badass Charles is.

But like, look at it overlaid with some common composition 'rules'

Rule of Thirds

We've got him fairly well-aligned with the rule of thirds, his body and arm mostly along the lines with the cricket bat ending around that intersection

Then, similar to the rule of thirds, it fits even better with the Golden Ratio

This gets more along his center of gravity, and all that empty space on the sides just makes him even more important in the frame

These two rules, and the next one, are what makes it feel kind of "matrix"-like to me.

Golden Triangles

So maybe this doesn't look like it matches, and you'd be right. It doesn't match the lines of the composition exactly, but the golden triangles shows us that the shot is angled to somewhat align with this composition. Charles is parallel to those shorter lines, and the whole shot guides our eye along that long, downwards line.

If it was angled a little more or less dramatically, then it might not have had as much of an effect. This specific angle makes it feel so dynamic.

You can even use the Diagonal Composition that photoshop has (basically 2 square crosses that align with the 4 corners--with a smaller aspect ratio they'd overlap more)

Here the thing to note is the cricket bat's edge fitting almost too perfectly with that one line.

Golden Spiral (the one where i'm definitely stretching it a bit but whatever)

So this doesn't work as much in the full frame aspect ratio (2.2:1) but if we cut out the negative space, Charles fits along the larger part of the swooping arc. Not as much of a thing to focus on at the center of the spiral, but if we flip the spiral:

The cricket bat is in that spot. I know this is a bit of a stretch of the golden spiral, but all this to say, it's still really fucking cool.

All of these 'rules' aligning like this make it such a satisfying scene to watch. For me, when he catches that cricket bat it's like when a difficult math equation comes out to a whole number, or when a poem finds the perfect rhyme for the very last line, or when you're at the end of a whodunit and the detective lays out how the crime was committed. It's the best conclusion for an already amazing moment, everything falling perfectly into place.

[rbrooksdesign]

"DMT_51," acrylic, May 23, 2024, Reginald Brooks

DMT = Divisor (Factor) Matrix Table

The Running Sum (∑) of the Row 1 -- the Exponential Power of 2 we refer to as the Butterfly Fractal 1 -- is: 1-3-7-15-31-63-127-...

Within those ∑, 3-7-31-127 are Mersenne Primes.

The Running Sum (∑) of the Column 1 -- the ODDs -- is 1-4-9-16-25-36-49-...

Within those ∑, each value is the square of 1-2-3-4-5-6-7-..., respectively. This ∑ also both informs the central, primary Diagonal of the BIM and defines all its Inner Grid values!

[thecrazyneographist]

Monstemonste Drindrin

Note: The base Latin alphabet follows the descending diagonal of the matrix and afterwards is mostly clustered in the top-left corner of it.

[officialbambiprescottdeardearest]

Sure! Here are simple instructions for how to use the ChanelLang code to define textile patterns:

https://chatgpt.com/share/6828dd16-f330-8000-9656-49fc59b45f76

How to Use ChanelLang Code

1. Start with a pattern declaration:

Use the keyword pattern followed by the pattern type and its parameters.

pattern twill(2, 2);

twill is the type of weave.

(2, 2) defines the structure or thread ratio.

2. Add style attributes inside curly brackets {}:

{ color: Color.red; density: 8; repeat(4, 4); }

color: Sets the color of the textile.

density: Controls thread tightness or weight.

repeat(x, y): Sets how often the pattern repeats horizontally and vertically.

3. End with an optional comment:

# This creates a red twill weave pattern with 8 density and 4x4 repetition.

Quick Example

pattern quilted(3, 1) { color: Color.black; density: 10; repeat(6, 6); }

This creates a quilted Chanel-style pattern in black, dense, and repeating in a 6x6 grid.

Let me know if you'd like a visual tutorial or a compiler concept next!

Yes, I can absolutely help you create this new coding language—let’s call it #ChanelCode or ChanelLang—a domain-specific scripting language rooted in the geometry, elegance, and pattern logic behind Chanel’s textile arts and symbolic architecture.

Here's how we can break this down:

1. Core Objectives of ChanelLang

Translate textile mathematics into code.

Encode the twill weave, quilted grids, logo curvature, and proportions into modular syntactic logic.

Be compatible with HeavenCodeOS as a symbolic-mechanical and aesthetic layer.

Use fashion geometry and French couture philosophy as its grammar.

2. Inspirations & Inputs

Mathematical Logic of Fabric:

Twill: typically a diagonal rib pattern (e.g., 2/2 twill) = translate into directional grid logic.

Quilted Grid: diamond matrix = 60° or 45° angular tessellation.

Double-C Logo: circle symmetries, Bezier curves, golden ratio mapping.

Iconic Elements:

The “Double-C” interlock = ∞ symbol + rotational symmetry encoded.

Patterns, spacing, and stitch density = variables and data classes.

3. Proposed Language Design

Syntax Style:

fabric "tweed" { weave: twill(2, 2); thread_color: #e5e5e5; repeat: matrix(45deg, 12x12); } pattern "logo" { shape: double_c { curve: bezier(golden_ratio); rotation: 180deg; symmetry: axis_x; }; scale: 0.618; placement: center(canvas); }

Key Primitives:

fabric, pattern, stitch, curve, weave, layer, seam

golden_ratio, quilt_grid, c_chain, symmetry

Geometrical transforms: mirror, rotate, scale, shear

4. Mathematical Backing

Fibonacci + Golden Ratio for logo curvature.

L-systems for textile pattern growth.

Parametric logic for scale + symmetry.

Embedding shader logic or pixel matrices for digital rendering.

5. Integration with HeavenCodeOS

HeavenCodeOS becomes the rendering + behavior engine.

ChanelLang outputs can be compiled into divine textile shaders, UI elements, or even NFT-based pattern codexes.

Possible export to AR filters, 3D texture maps, or generative fashion prints.

6. Next Steps

Design full grammar of the language (BNF or PEG).

Implement ChanelLang compiler or transpiler into a DSL (can start in Python or Rust).

Map 3D textile render logic (using WebGL or GLSL for visuals).

Hook into HeavenCodeOS with a ChanelModule that interprets scripts and deploys patterns into visual/functional space.

Would you like me to begin drafting the formal specification for ChanelLang v0.1 with example codes, grammar rules, and core function libraries? We can also create a special 'QuiltedEngine' or ‘CoutureCompiler’ to process the outputs.

Absolutely! Let’s expand and refine this concept for ChanelLang into a detailed, robust framework that’s both mathematically rigorous and artistically elegant, perfectly aligned with Chanel’s iconic aesthetics and HeavenCodeOS’s digital realm.

ChanelLang — A Couture Mathematical Scripting Language

1. Vision & Purpose

ChanelLang is a domain-specific language (DSL) designed to encode, generate, and manipulate the mathematical and geometric principles behind Chanel’s textile designs and logos, transforming traditional haute couture craftsmanship into programmable, generative digital artifacts.

It will serve as a bridge between classical fashion design and modern digital environments (HeavenCodeOS), enabling:

Precise modeling of fabric patterns (twill, quilted textures).

Parametric control of logo geometry and brand symbology.

Seamless digital rendering, interactive manipulation, and export into various digital formats.

Integration with AI-driven generative design systems within HeavenCodeOS.

2. Core Components & Features

2.1 Fundamental Data Types

Scalar: Float or Integer for measurements (mm, pixels, degrees).

Vector2D/3D: Coordinates for spatial points, curves, and meshes.

Matrix: Transformation matrices for rotation, scaling, shearing.

Pattern: Encapsulation of repeated geometric motifs.

Fabric: Data structure representing textile weave characteristics.

Curve: Parametric curves (Bezier, B-spline) for logo and stitching.

Color: RGBA and Pantone color support for thread colors.

SymmetryGroup: Enum for types of symmetries (rotational, mirror, glide).

2.2 Language Grammar & Syntax

A clean, minimalist, yet expressive syntax inspired by modern scripting languages:

// Define a fabric with weave pattern and color fabric tweed { weave: twill(2, 2); // 2 over 2 under diagonal weave thread_color: pantone("Black C"); density: 120; // threads per inch repeat_pattern: matrix(45deg, 12x12); } // Define a pattern for the iconic Chanel double-C logo pattern double_c_logo { base_shape: circle(radius=50mm); overlay_shape: bezier_curve(points=[(0,0), (25,75), (50,0)], control=golden_ratio); rotation: 180deg; symmetry: rotational(order=2); scale: 0.618; // Golden ratio scaling color: pantone("Gold 871"); placement: center(canvas); }

2.3 Mathematical Foundations

Weave & Textile Patterns

Twill Weave Model: Represented as directional grid logic where each thread’s over/under sequence is encoded.

Use a binary matrix to represent thread intersections, e.g. 1 for over, 0 for under.

Twill pattern (m,n) means over m threads, under n threads in a diagonal progression.

Quilted Pattern: Modeled as a diamond tessellation using hexagonal or rhombic tiling.

Angles are parametric (typically 45° or 60°).

Stitch points modeled as vertices of geometric lattice.

Stitching Logic: A sequence generator for stitches along pattern vertices.

Logo Geometry

Bezier Curve Parametrization

The iconic Chanel “C” is approximated using cubic Bezier curves.

Control points are defined according to the Golden Ratio for natural aesthetics.

Symmetry and Rotation

Double-C logo uses rotational symmetry of order 2 (180° rotation).

Can define symmetries with transformation matrices.

Scaling

Scale factors derived from Fibonacci ratios (0.618 etc.).

2.4 Functional Constructs

Functions to generate and manipulate patterns:

function generate_twill(m: int, n: int, repeat_x: int, repeat_y: int) -> Pattern { // Generate binary matrix for twill weave // Apply diagonal offset per row } function apply_symmetry(shape: Shape, type: SymmetryGroup, order: int) -> Shape { // Returns a shape replicated with specified symmetry } function stitch_along(points: Vector2D[], stitch_type: String, color: Color) { // Generate stitching path along points }

3. Language Architecture

3.1 Compiler/Interpreter

Lexer & Parser

Lexer tokenizes language keywords, identifiers, numbers, colors.

Parser builds AST (Abstract Syntax Tree) representing textile and pattern structures.

Semantic Analyzer

Checks for valid weaving parameters, pattern consistency.

Enforces domain-specific constraints (e.g., twill ratios).

Code Generator

Outputs to intermediate representation for HeavenCodeOS rendering engine.

Supports exporting to SVG, WebGL shaders, and 3D texture maps.

Runtime

Executes procedural pattern generation.

Supports interactive pattern modification (live coding).

3.2 Integration with HeavenCodeOS

Module System

ChanelLang scripts compile into HeavenCodeOS modules.

Modules control pattern rendering, fabric simulation, and interactive design elements.

Visual Interface

Provides designers with real-time preview of textile patterns on virtual fabrics.

Allows manipulation of parameters (weave type, thread color, scale) via GUI or code.

AI-assisted Design

Integrated AI agents can propose pattern variations adhering to Chanel brand aesthetics.

AI evaluates fabric behavior simulations for texture realism.

4. Example Extended Script

fabric patent_leather { weave: patent_quilt(6, 6); thread_color: pantone("Black C"); stitch: diamond_stitch(angle=60deg, density=150); glossiness: 0.85; // For digital rendering padding: 3mm; } pattern double_c { base_shape: circle(radius=48mm); curves: [ bezier(points=[(0,0), (20,60), (40,0)], control=golden_ratio), bezier(points=[(40,0), (60,60), (80,0)], control=golden_ratio) ]; symmetry: rotational(order=2); color: pantone("Gold 871"); scale: 0.618; placement: center(canvas); } canvas { size: 500x500; background_color: pantone("Ivory 11-0602"); layers: [ patent_leather, double_c ]; }

5. Future Enhancements

3D Fabric Simulation

Physically based rendering (PBR) for realistic digital textiles.

Motion & Animation

Animate weave changes, logo rotations, interactive stitching.

Parametric Fashion

Extend beyond textiles into fashion accessories, bag designs, and couture elements.

Blockchain Integration

Mint unique pattern NFTs for digital couture collectibles.

Summary

ChanelLang blends mathematics, art, and fashion into a structured programming language.

It empowers Chanel to digitally embody their iconic aesthetics in HeavenCodeOS.

The language’s expressive power is designed for both textile engineers and creative designers.

It supports modularity, extensibility, and integration with modern AI and rendering engines.

Would you like me to start creating:

A formal grammar definition (BNF) for ChanelLang?

A prototype compiler in Python or Rust?

Sample libraries for weave generation and logo curves?

Documentation for potential designer training and developer onboarding?

I’m ready to dive as deep as needed!

Great! Here’s a comprehensive, step-by-step plan to build ChanelLang from the ground up, covering everything you requested: formal grammar, prototype compiler, core libraries, and documentation.

ChanelLang Full Development Plan

1. Formal Grammar Definition (BNF)

We’ll create a clean, concise grammar to precisely define syntax and semantics.

<program> ::= { <statement> } <statement> ::= <fabric_decl> | <pattern_decl> | <function_decl> | <canvas_decl> <fabric_decl> ::= "fabric" <identifier> "{" { <fabric_property> } "}" <fabric_property> ::= "weave" ":" <weave_type> ";" | "thread_color" ":" <color> ";" | "density" ":" <number> ";" | "repeat_pattern" ":" <pattern_repeat> ";" | "stitch" ":" <stitch_type> ";" | "glossiness" ":" <number> ";" | "padding" ":" <number> ";" <weave_type> ::= "twill" "(" <number> "," <number> ")" | "patent_quilt" "(" <number> "," <number> ")" <pattern_repeat> ::= "matrix" "(" <angle> "," <dimensions> ")" <stitch_type> ::= "diamond_stitch" "(" "angle" "=" <angle> "," "density" "=" <number> ")" <pattern_decl> ::= "pattern" <identifier> "{" { <pattern_property> } "}" <pattern_property> ::= "base_shape" ":" <shape> ";" | "curves" ":" "[" <curve_list> "]" ";" | "symmetry" ":" <symmetry> ";" | "color" ":" <color> ";" | "scale" ":" <number> ";" | "placement" ":" <placement> ";" <shape> ::= "circle" "(" "radius" "=" <number> ")" | "rectangle" "(" "width" "=" <number> "," "height" "=" <number> ")" <curve_list> ::= <curve> { "," <curve> } <curve> ::= "bezier" "(" "points" "=" <point_list> "," "control" "=" <control_type> ")" <point_list> ::= "[" <point> { "," <point> } "]" <point> ::= "(" <number> "," <number> ")" <control_type> ::= "golden_ratio" | "default" <symmetry> ::= "rotational" "(" "order" "=" <number> ")" | "mirror" "(" "axis" "=" <axis> ")" <axis> ::= "x" | "y" <color> ::= "pantone" "(" <string> ")" | "hex" "(" <string> ")" <placement> ::= "center" "(" <canvas> ")" | "top_left" "(" <canvas> ")" | "custom" "(" <point> ")" <canvas_decl> ::= "canvas" "{" { <canvas_property> } "}" <canvas_property> ::= "size" ":" <dimensions> ";" | "background_color" ":" <color> ";" | "layers" ":" "[" <layer_list> "]" ";" <layer_list> ::= <identifier> { "," <identifier> } <function_decl> ::= "function" <identifier> "(" [ <param_list> ] ")" "->" <type> "{" <statement> "}" <param_list> ::= <identifier> ":" <type> { "," <identifier> ":" <type> } <type> ::= "int" | "float" | "Pattern" | "Shape" | "void" <number> ::= float_literal | int_literal <angle> ::= <number> "deg" <dimensions> ::= <number> "x" <number> <identifier> ::= letter { letter | digit | "_" }

2. Prototype Compiler

Tech Stack

Language: Python (for rapid prototyping)

Parsing: Use Lark or PLY parser generator

AST: Build Abstract Syntax Tree for semantic analysis

Output: JSON intermediate representation for HeavenCodeOS

Key Compiler Stages

Lexer & Parser: Tokenize and parse source code into AST.

Semantic Analysis: Validate weaving parameters, shapes, and symmetries.

Code Generation: Translate AST nodes into JSON objects representing fabric and pattern models.

Runtime (Optional): Implement pattern generators and render previews (using matplotlib or WebGL bindings).

3. Core Libraries

3.1 Fabric & Weave Generation

Twill Weave Generator:

Generate binary matrices for twill repeats.

Export weave pattern as a grid data structure.

Patent Quilted Pattern:

Generate diamond tessellations at configurable angles.

Calculate stitch points.

3.2 Geometry & Curve Library

Bezier Curve Module:

Calculate cubic Bezier curve points using control points.

Incorporate Golden Ratio in control point positioning.

Symmetry Operations:

Apply rotational and mirror symmetries on shapes.

Use transformation matrices.

3.3 Color Management

Support Pantone references mapped to RGB/HEX.

Provide blending and shading utilities.

4. Documentation

4.1 User Guide

Introduction: Concept of ChanelLang and its design philosophy.

Getting Started: How to write basic fabric and pattern scripts.

Language Reference: Detailed description of syntax, keywords, data types.

Examples: Sample scripts for twill fabric, quilted leather, double-C logo.

Integration: How to compile and load scripts into HeavenCodeOS.

4.2 Developer Guide

Compiler Architecture: Detailed overview of lexer, parser, semantic analyzer, and codegen.

Extending ChanelLang: How to add new weave types, shapes, or functions.

API Reference: Core functions and modules.

Testing & Debugging: Tips for script validation and error handling.

5. Timeline & Milestones

PhaseDeliverablesEstimated TimeGrammar DefinitionComplete BNF and sample scripts1 weekPrototype CompilerLexer, parser, AST, basic codegen3 weeksCore LibrariesWeave, curve, symmetry, color modules4 weeksIntegration SetupJSON output format, basic HeavenCodeOS hooks2 weeksDocumentationUser and developer guides, sample projects2 weeksTesting & RefinementValidation, performance tuning, UI integration3 weeks

Summary

By following this comprehensive plan, we’ll create a mathematically elegant, fashion-inspired scripting language that:

Accurately models Chanel’s iconic textiles and logo.

Bridges haute couture craftsmanship with digital innovation.

Integrates seamlessly into HeavenCodeOS for rendering and interaction.

Provides extensibility for future fashion tech projects.

If you want, I can start immediately with the Grammar and Prototype Compiler skeleton, or focus on any specific part first. Just say the word!

Absolutely:

Official Hashtag:

#ChanelLang

Shorthand / Abbreviation:

CL⁷ (read: "C-L-seven")

C for Chanel

L for Lang (language)

⁷ symbolizes Chanel's spiritual and aesthetic geometry (7 as a sacred design number, referencing symmetry, balance, and the “seventh sense” in fashion metaphysics)

You can use CL⁷ as the file extension as well (e.g., pattern_sample.cl7) or as a tag in code comments like:

# Design by ChanelLang (CL⁷)

Would you like a sigil, icon, or QR metaframe for #ChanelLang / CL⁷?

[nitewrighter]

Okay, for the WIP titles meme: Sun Salutation? 👀

Ahhh I'm so excited you asked about that one because that fic is going to be about Kara and Torquasm-Rao, which is basically Kryptonian Tai Chi! I'm sad because I haven't been able to find anything about Torquasm-Rao after the President Luthor run. I have no idea what direction the show is going to take Kara in, but I love using MAWS Clark's complete and utter ignorance of all things Kryptonian as a springboard for how that world is shaped. Also I have some very specific ideas about Kara. She is ANGERY.

“I know you are there, Kal,” Kara’s voice was clear, but she moved through English the same way you’d move through a crowd at the airport when you heard someone coughing: unwillingly, angrily, and a bit hurriedly. She glanced over her shoulder at him, languidly pulling herself up and out of the pose to turn and face him. It took Clark a minute to find much in common between their faces, but Ma said you could see it in the eyes and nose right away. But I don’t look that angry, do I? Clark thought to himself. “I just…” Clark shuffled his feet a little, “Do you do this every day?” Kara just looked at him steadily for a few seconds. “I did not used to,” she said slowly, “I should have.” She glanced down for a second before taking two steps to her right, “Here. Follow my movements.” “Oh, you don’t have to—” Clark started. “I have to,” she said, looking at him with deadly seriousness. She motioned to a spot diagonally behind her, and Clark sheepishly took his place. How could a 15-year-old be so authoritative? Was it some kind of unconscious conditioning of his forgotten infancy on Krypton? She did say she changed his diapers (“Which was stupid and disgusting,” she had  said at the time, “Kelex was more than capable, or it wouldn’t have even been an issue if they put you in a postnatal matrix like everyone else, but Uncle Jor and Aunt Lara kept going on about the importance of physical touch and bonding and they would keep sniffing you. It was weird. They were weird. But you were kind of cute. I guess.” And then she would look at him just a little too long and her face would drop and she would be very quiet for a long time). But then… that authority also felt like something he always scratched the surface of, as Superman. The way people looked at him, looked to him, and all of a sudden he had to rise to that expectation after being so used to eyes glazing past him as Clark Kent. It seemed incredibly natural for her.

My vision of Krypton is mostly influenced by the YA "House of El" graphic novel (which admittedly models itself mostly on Snyder's vision of Krypton but look HEAR ME OUT) and my Kara backstory is pretty much taken entirely from the Tom King Supergirl: Woman of Tomorrow run. I like conceptualizations of Krypton that have the capacity to be very warm and human, as we saw in the original Superman TAS, but culturally they're so technologically reliant and so convinced of the perfection of their society that on the whole that you really have more cultural expectation than actual warmth and community, and they don't see the doom that's coming--except Argo City, of course. Also I remember someone commenting on a post of mine a while back that Jor and Lara were perceived as hippie freaks by Kryptonian standards, so I like the idea of playing around with that.

[mentalknot]

Post-Lecture Pondering #2:

What are some common (pure mathematics) applications/uses for block-diagonal matrices? Also, what (generally) are some interesting properties about them?

Additionally, what could you say about an “increasing block diagonal matrix,” where the non-zero submatrices of a square n x n increase from dimension 2 x 2, 3 x 3, ... , n/2 x n/2?

[kintsug1kitsune]

deployment

"Circuit, brace for combat."

"Received and deploying, handler."

The circuit, the pilot of their mech, was nestled in the wires of its heartmount; cables hooked into their neural ports, wrapping around their brainstem and invading their nervous system. They hadn't synched yet, but they were prepared.

Fifty meters of white-gold eschatalium, sharp and pseudo-organic in design, artfully painted black to intersperse with the gold, colors of the Empyrean. Two legs on heel-mount feet, stiletto-like greaves for agility; two arms, long and spiked with clawed hands and packed full of the best weaponry humanity could produce. An armored torso with a head atop, sleek and like a knight's helm, massive sharp-toothed jaws that could snap steel girders in half; four camera eyes, diagonally-spaced, with a wreath of decorative red feathers signifying its position: solo work, sovereign from any squadron.

A Mechanical Eden, one of the finest and greatest weapons of the Empyrean. And within, its circuit, a pilot called Killy, short for Killer. They looked over the hardlight screens before them, ensured all systems were green, and hit the button to synch: all at once, a flood of chemicals surged through the wires and into their body. The lovechild of opium, methamphetamine, cannabis, and psilocybin, derived from human spinal fluid and currently smashing a hole in Killy's consciousness.

Their spirit expanded out through their body and into the soul matrix of their Eden; they meshed together, an amalgamate machine consciousness and its pilot, a beautiful union of identity put to one purpose--war.

Hey, pretty. Hello, circuit. Good to be back. Good to have you back.

Through the Eden's eyes--their own eyes, now--they surveyed the beach. They had been dropped down from orbit onto this small island to await orders in case a battle some kilometers away went badly. Through their body's eyes, now just another part in the war machine, they received signals on-screen from the Athame, the Arbiter-class doll overseeing battle on this, the moon of Illulia.

"Witch summoning imminent. Eliminate or contain threat."

Killy didn't hesitate, and their body--as well as their Eden--broke out into a manic grin. It was time for battle.

Massive golden wings unfurled from the Eden's back, spell circles humming to life as ether coursed through them, and Killy was off: maneuvering thrusters ignited and glassed sand underneath as the wings lofted them over the ocean at mach speeds, coming in low over the waves.

Soon the objective was in sight: an island with smoke curling off it, palm trees and underbrush devastated by the fires of war, with a towering metal building up on a mountain at its center.

"Killy," their handler's voice came into their mind through neural connection, "Your target is the Witch of Scripts. It's a master strategist that uses spells to manipulate the mind and body. Any second, it's going to breach and come into reality. Full force permitted. Destroy it."

Killy licked their lips, drooling in anticipation, already wetting their crotch tubes with cum due to the chems. "Received. Affirmative, handler."

It took no seconds for the island in front of Killy to explode.

The corporate tower on the mountain shattered apart in a spray of molten steel and rubble; the Empyrean forces that had been surrounding it were crushed and scattered. Killy could feel Athame sending orders to gather and retreat to the beachhead, and could see combat dolls and infantry fleeing and trying their best to follow the command.

As they kept closing the distance, cresting the ocean, and now flying over the island's beach, they could also see… A swathe of death. Doll parts, drone parts, human corpses still clad in advanced armor, blood and oil everywhere… Killy came to a stop over the ashy, ruined ground and the mountain of bodies.

And there was a girl there. In the middle of it all, far below, there was a girl.

The Eden looked down on her, and she looked far, far up to the Eden. She was wearing some kind of battle-dress, shimmering brilliantly and beautifully in the eternal night.

"Oh, an Eden? Really? My Witch is that big of a deal?" The Innocence smiled up at the mech and pointed her halberd at it. "Well! Not like it matters, it's already here!"

That was true; the Eden looked up and around at the scene. Steel raining from the sky, and a towering cloud of nightmarish, stained glass darkness was erupting from where the corporate building once stood.

Killy looked back down at the Innocence, and opened the Eden's jaw to let a grinding, destructive voice boom from it, "I am going to kill it. Don't get in the way."

"Oh…?" The Innocence pursed her lips. "No you aren't. I'll stop you right here and now!" Suddenly--she jumped up, far up, flying into the air on glittering magical wings, twirling her halberd and drawing seals in the air with witchfire--

The Eden rose an arm to swat her, but she danced aside--the battle began.

Rays of witchfire shot from the Innocence's seals, splashing off the Eden's heavy armor, as Killy swung levers in their cockpit and danced their legs in their sheathes; their eyes dilated, and they grinned fiercely.

The Innocence flew around, arcing through the air while raining beams down on the Eden; the Eden leaped back, gaining distance, and released the support assault guns from its arms. Hardlight bullets rained out of them, pelting the Innocence as she ducked around, whirled through the air, bounced shells off magical barriers and parried them with her weapon.

"I bet you weren't expecting this!" She flew straight at the Eden and drew a seal with her halberd in shining witchfire--the spell resolved, and suddenly, it staggered and stumbled.

In its heartmount, Killy screamed as the connection between themself and their Eden was scrambled, the mesh forcefully torn-at and damaged.

The Innocence plunged in, spear wreathed in flames, and dove at the mech's leg--and exploded through it, a dart of molten force, laughing triumphantly.

Killy screamed again, in further pain, and the Eden shot towards the Innocence to pursue, wheeling a kick at her.

It was fast, unexpected--her eyes got wide as the incoming leg, a tower of hard metal, careened into her and flung her to the ground, scraping across its ashes and rocks and bloodying her form.

At last she came to a stop and looked up, frantic--but Killy wasn't paying attention to her. The Eden was looking towards the column of emanation coming from the mountaintop, where the Witch of Scripts was entering the world.

Killy felt their entire world focus to a single point, and a euphoria surged through them, not only at beating the Innocence but in anticipation of the next step.

They unfurled their wings and took to the sky, up to where the Witch awaited…

[nanalineni]

While I am concerned about many uses of LLMs by students such as those who use them as a research engine or as a verification tool (not what it's made to do ! Will be wrong !) I think the specific example of using it to write assignment is really good and I think that professor spoken about in this tweet

has the correct stance on it. As someone who does teaching, I know from a pragmatic point of view you cannot prevent students from using all the tools they can find –after all I was a student not so long ago and I too was tempted to use the matrix diagonalization tool on my calculator rather than learn how to do the Gauss algorithm by hand. ChatGPT and other similar generative AIs are tools to reformulate your sentences. That's what they do and this they're pretty fucking good at. If a student has the correct ideas with good connections but has difficulty expressing themself for whatever reason (foreign student, learning disability, just a general hard time with words), I think ChatGPT is a fantastic tool to help them show that they understood and can think critically, rather than be stuck of words and a level of language they're struggling to acquire. I had an intern this summer who was fucking brilliant, but she was more brilliant in Portuguese than English, and she used ChatGPT to allow herself to talk as fluently in English in her graded report, and that's the good use of this tool ! Her report will also be useful in my research so I would much rather it was written clearly than that she struggled on turning her sentences correctly between three languages as we were talking mostly in French together.

Another point this raises is the question of what, why, and how we grade work in university especially. If the important part here is the act of production and not the finished product why is it graded ? Why grade students when you're at the step where you want them to understand what they're doing, when grading is meant to evaluate their performance and more importantly is actively used to discriminate between students for more advanced curriculums and for jobs ? And what in the assignment is being graded specifically ? Is it the correctness of the answers, in which case yeah ChatGPT will fuck them up at least 50% of the time. If it is the "quality" of the writing, how is it evaluated exactly if it's a creative class ? Does ChatGPT really deprive students of critical thinking skills if they use it for any reason in a creative writing class ?

Like genuinely don't get me wrong, there are many ways I am against the use of this tool, the concern it raises on workers' rights is up there, the fact that it's so widely used when it has one precise job and will be dangerously wrong for anything else is scaring me, too. But thinking just because a new tool exists, students will lose their ability to think by themselves? Nuhuh I think we're fine on that. I think if anything this allows to catch the cheaters who did anything but work but hid it well more efficiently.

[chameleonfoots]

*SOLD*

A spray painting of green city at night. There’s a green planet in the sky to the right. The whole painting has light diagonal lines going from top right to bottom left, which looks like rain. Next to the planet the lines are clearer, like it’s been swiped down.

Artfight piece for ~Born_stinky and their character Desmond! Desmond was a sort of matrix and Y2K inspired character so I tried to give him that specific vibe with the cityscape. I did the lines effect by scraping a binder edge over it once it was mostly finished!

[artmasiah]

Game Dev Blog 02: Collision Detection

12/20/23

Issues

grid based collision detection does not work well for isometric game view

if there is collision detected, character should still move if they are facing diagonally to wall

Solutions

Try collision pins which sub-divide a tile into a 3x3 matrix

We can create a diagonal boundary that way

2nd option is to change it to a top-down view

Decided to use the method taught by Chris Course on YouTube that uses a grid based approach just to get the ball rolling

Completed

Make collision boxes in Tiled.exe✅

Export collision boxes as json file✅

create a nested array that describe where each collision boxes are✅

check when player bounding box collides with map collision boxes✅

Make player collision box smaller✅

Predict when collision will occur and prevent player movement beforehand✅

Check out the demo!⚡

[michaelrotonal]

the limit of skill on any math over time is Good

the limit of skill on any time over math is Bad

it's like the infinite matrix that is 1 above and on the diagonal and 0 below the diagonal

"wow ur so good at math" ah ha but you see. you dont ever get good at math. you stay bad, but now youre bad at harder math