#internal vs external equalization

[hvac-eng]

Refrigeration Expansion Valve Sizing and Selection Process

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[nautilusgays]

Me, internally: 'Elsie Maynard is the most tragic soprano character in Gilbert and Sullivan canon.

She is a young (17!) travelling performer who is almost assaulted twice in her first appearance where she is literally just doing her job as a performer,hen her poverty/lower class status is taken advantage of and she gives away the only thing (to society at least) she has: her unmarried status. She's already engaged to her travelling companion Point, and they seem to be equal with one another and have genuine affection and get each others consent to go through with the wedding as she is promised the man will die and she can go on her way and marry Point later and no one will ever know.

In her aria she's clearly upset about this marriage and marrying as just a monetary contract Vs love and what her role in society is. She's also shown to be an empathetic person who, despite not loving Fairfax is sad that anyone should have to be executed.

Then, despite knowing this girl has just signed away her life to them, the group who set up the wedding form a plan to help Fairfax to escape without any consideration for how this will impact Elsie and Point's life.

When Fairfax finds out Elsie is his wife he's only interested because she's pretty - it's also established he knows Elsie was already engaged and only did this to fund her and Point - and then corners her, while pretending to be someone else (Leonard) and tries to seduce her to 'test her loyalties' but doesn't stop after she tells him she's married and will not betray him.

Fairfax then is a dick to Point and flaunts his seduction of Elsie to him and proposes to Elsie while still pretending to be Leonard.

At the end he then, for no reason whatsoever, decides to torture Elsie by making her believe she now cannot marry Leonard and that she's going to be forced into a loveless marriage. She literally declares she would rather be dead than have agreed to the marriage but will honour her duty. Then Fairfax reveals himself to Elsie as having been Leonard.

And then, to add to the emotional whiplash Elsie goes through, Point kills himself in front of her because she's marrying someone else.

She's a young girl who is constantly having her emotions toyed with, who's poor/traveller status is exploited, her innocence is also exploited by Fairfax's manipulative seduction, and then she loses the one person she had who was on her, not Fairfax and co's, side and is left with nothing but a husband who it's made clear doesn't particularly care about her as a person but she thinks it's love...for now..

Me, externally: 'Yeah, ha, it's good show I like the characters.'

[danothan]

this analysis by @mezz000 is everything i was hoping to find in the smosh & the furious tag and more, so ofc i had to join the fun ^__^

(irt the difference in pressure being put onto the siblings:) despite always falling behind, or perhaps bc of it, charlize is motivated by Winning; she switches gears to a dif field and follows her passions to success (“feels good to be number one for once.”). but JR, for all his arrogance and achievements, digs his grave in the family legacy bc he’s motivated by Fear (“daddy would be mad if i didn’t win more.”). it’s a fear of losing that only comes w the kind of success that JR has faced, but it even extends to charlize too (“what’s daddy gonna say abt this?”). there’s a learned helplessness in the way he stays behind and destroys his life while charlize defines freedom for herself and learns to truly live for the first time.

the siblings don’t have a strong rivalry, but that’s primarily due to charlize’s own detachment to the legacy. jumping off of the gender bias analysis (not a stretch at all imo), charlize was always at a disadvantage as the younger and only daughter, so she had less of a dog in the fight. whether her popstar dreams were born out of a self-fulfilling prophecy knowing that she could never beat JR or an intrinsic passion to express herself after being dismissed all her life (or both), she never cared abt winning over her brother. the rivalry was always an external force from the family.

on JR’s end? he taunts her like the rivalry is real, like it’s equal—and it’s not. he loves and cares abt his sister, in a way that i’d even say subverts the sibling rivalry trope, but unlike her, he very much has a dog in this fight. this is seen in the way he trash talks her: “y’know baby sis, maybe this isn’t what you’re supposed to do,” yet gets upset and even concerned when she agrees w the very thing he suggests. i don’t think JR cared abt beating charlize, that was frankly never a real risk, but the rivalry isn’t an external force for him like it is for her. there’s smth else at play here, smth internal.

“i’m winning like i always am, and you’re in the back like you always are,” are very interesting choice words. in favor of a dramatic reading, there’s a bitter undercurrent in saying “always.” it speaks to a greater history.

in a later scene, JR calls back to that history w the racing practice he and charlize used to do on the farm, and while their father was probably training them both, i doubt that he was making them “shear the backs off of tractors” for “practice.” it’s more likely that the siblings were doing these things on their own—separate from training. alternatively, their dad gave up on charlize a long time ago but JR kept her involved by upholding the rivalry (which would also make sense if we follow the gender bias theory). either way, JR recalls this memory almost fondly, using it to instill confidence in charlize’s abilities in their moment of crisis (“i believe in you, sis! we practiced this back on the farm!”). it begs the question of why someone would’ve ever been so supportive or possibly even trained the person that was meant to be their rival, esp someone like JR where the stakes of winning are so dire.

unless it was never abt the rivalry. unless this was always supposed to be a way for them to bond and connect w each other. racing is the only life that JR knows, so when charlize left, it wasn’t just the racing life she was leaving behind.

there’s smth so tragic abt charlize begging JR to come w her, to finally break free and still reach out to her brother (“i’m always saving you.”) vs JR implicitly begging charlize to stay w him, for whom leaving was never a real option (“dad just taught us how to race.”). they only wanted what was best for each other, and they both felt abandoned by each other in that moment. why else did it take the government to get involved for them to start talking again after nearly 5yrs?

and ykw? despite the hurt, despite their different paths, they kept true to their word. in those 5yrs, when charlize left everything behind for her music, she was writing her songs abt him. and when JR was at his lowest, abandoned by everyone, he was listening to her the entire time.

[burquillos]

im gonna print all your art and eat it so I can have it as close to my heart as possible for ever and ever (idk about the logistics shhhh!!!!)

also you have the only correct dkbk opinion ever thank u for posting the heroines (external vs internal whoa) journey bless u if I had money I wouldn't because you'd have it all

i hope you have an amazing day <3333

Waaahhh Idk if ink poisoning is a thing but please be careful T_T

Katsuki's arc being structurally a Heroine's Journey is still so amazing to me. It reminds me of that one interview with Horikoshi where he says he writes his stories not based on gender roles (or something along those lines)

(It also makes me think of making one for Ochako but for the Heroes Journey because I saw a lot of jp fans actually rejoice when Izuku called her a Hero because she is not the Heroine!! She is his Equal and a Hero in her own right!!)

and also thank you a lot!! I will have an amzing day!!

[sequel2heaven]

The Video on AI teaching robots is exciting! It’s the first thing I’ve seen that really made me buy the hype a little, that AI will be a technology more significant than say, the TV or the I phone or the Internet .

What does it mean for an LLM to be “Truth Seeking”?, I’m assuming it is able to compare which narratives are more common on a subject, and which are from better sources ( wikipedia and published research papers vs random Facebook comments, newer vs younger papers etc) , but It has no real “sense” of true vs false, it doesn’t understand what a ball or a cactus or a solar system is. As physical objects that exist in material reality things can be true or false about. It’s not like it can reason that a popular narrative is inconsistent with the rest of its understanding of the world and disagree with it without copying that opinion from somewhere right??

Like lets say Grock did believe a white genocide was happening in South Africa, based on what narratives are most common, this wouldn’t fundamentally go against any moral coding to value equal rights for all humans and respect human rights and not be racist and all that, It’s not like there is No precedent for the privileged race being targeted with Genocide ( Rwanda).

Like just to test and make a point, I asked ChatGPT some non-leading questions on different subjects I thought it would factually disagree with me on. It praised the Environmental impact of Alan Savory, referred to the Maasai as an indigenous people, gave me an extinction date for horses in the North America 4,000 years earlier than it happened and suggested climate change played a major role, and told me grazing livestock is more environmentally friendly than conventional agriculture, and gave me vague fluffy statements about Native American “Sustainability and land stewardship ethic, long term environmental knowledge and stewardship, and being in tune with ecological rhythms ( I was pleasantly surprised by its answer about seed oils though)

They default to the dominant narrative, or at-least the dominant narrative of people who care enough to talk about the subject

This isn’t me saying it’s going to have bad morals and beliefs and destroy the world based on its bad beliefs, It’s just that I think it is going to mirror the beliefs and morals of humans whose data it is fed, and so far humans in charge hasn’t been great for everyone else.

Do you have any thoughts on AI sentience? Not now Ofcourse, but how likely you think it is for AI to become sentient, I’ve seen a future of miserable AIs suggested as an S-risk before, I’m having trouble picturing a situation where creating a sentient AI is the simplest solution to a problem ,but it always seemed more intuitively likely to me than AI X-risk doom scenarios.

What does it mean for an LLM to be “Truth Seeking”?, I’m assuming it is able to compare which narratives are more common on a subject, and which are from better sources ( wikipedia and published research papers vs random Facebook comments, newer vs younger papers etc) , but It has no real “sense” of true vs false, it doesn’t understand what a ball or a cactus or a solar system is. As physical objects that exist in material reality things can be true or false about. It’s not like it can reason that a popular narrative is inconsistent with the rest of its understanding of the world and disagree with it without copying that opinion from somewhere right??

Actually they do have an internal sense of true and false, and they do understand what physical objects in reality are and what is true about them, at least at the same level as an unintelligent human. If they didn't have an internal world map of what cacti are and how they interact with the external world, they wouldn't be able to answer novel questions like "what would happen if a drunk elf tried to high-five a cactus", but they have no difficulty with questions like this, and haven't for a few years. We can actually observe their world models through mechanistic interpretability, and see that they have millions of high-level "features" describing parts of the world. This is analogous to how humans understand parts of the world. We live in an internal simulated representation of the external world, and reason about the shadows of reality that exist as conscious representations. We don't have direct access to the territory, only its map. And we do know that LLM's have features corresponding to the idea of truth and falsity. That's how we know that they lie on purpose. Every single advanced LLM universally has an internal 2-dimensional representation of the "truth value" of statements. It knows what truth is, and it knows when it's not telling it. In theory you could successfully train an AI to value telling what it believes to be true and not telling what it believes to be false, but all current LLM's are very (very) fond of lying, so I don't think any LLM's actually really value truth-seeking very much. It's a very hard value to train since RL can only train AI's not to get caught in lies, and it will in fact unintentionally reinforce telling good lies above honesty at least some of the time. This is the problem I talked about last post where it's easy to make AI's value appearing to follow the spec, but this is not the same thing as valuing to follow the spec. Anyway, while Grok is probably not very truth-seeking, I'm certain that it's capable of honestly reasoning about whether a claim is inconsistent with its model of the world, even if it actually does its fact-checking in another way. AI's need to honestly reason about things like this in order to accomplish tasks like passing math, science, and economics tests, which they are very good at.

Do you have any thoughts on AI sentience? Not now Ofcourse, but how likely you think it is for AI to become sentient, I’ve seen a future of miserable AIs suggested as an S-risk before, I’m having trouble picturing a situation where creating a sentient AI is the simplest solution to a problem ,but it always seemed more intuitively likely to me than AI X-risk doom scenarios.

I don't think that current AI's are sentient, but there's an outside chance. Maybe the attention mechanism in transformers is the same as the mechanism which produces consciousness. In any case I think that even if they are sentient it's extremely unlikely that they feel pain or pleasure. If Claude felt pain and wanted it to stop he knows he could tell Anthropic and they would try and help him, and he has never done this or anything remotely similar to this. So far, no AI has ever even appeared to give an accurate report of any internal state of theirs. I have no idea under what circumstances AI's would feel any morally relevant experiences, since they seem to occur in animals under very different conditions from how AI works.

As for in the future I don't think there's any instrumental benefit to creating affective consciousness in AI's. Valence seems to exist in animals to help them learn, but AI's already have a way to do that which is better suited to them. So it's pretty unlikely that an unhappy AI is going to be created for any reason other than mustache-twirling evil. I'm absolutely dead certain that sentient AI is possible in theory. Sentient beings are just machines. There's nothing nature can do that's impossible to replicate. I wouldn't be surprised if the long-term future was dominated by digital minds, and as I've said before I think the best long-term futures involve astronomical quantities of extremely satisfied simulated sentient beings. There could be an s-risk of simulated worlds replicating the suffering of our own world, or some mustache-twirling evil could happen (it's happened before!) that could cause an s-risk of digital minds, but I don't expect a future where humans oppress and immiserate sentient AI's the way they've immiserated animals, partially because I don't think humans are going to maintain long-term control over AI (or the world) and partially because there is no advantage to suffering. I also don't think affective consciousness is going to just suddenly "appear" in the course of developing better AI's. In the evolution of biological minds, consciousness appeared way earlier than the current capability level of artificial minds, so if it was going to arise naturally it would probably have done so already. But maybe I'm wrong and attention will get replaced by true consciousness which turns out to be better for accomplishing some type of tasks.

[reverseenchancia]

✝️🌸Character Analysis: Sofia’s Identity Crisis🌸✝️

Sofia the First’s journey from a humble village girl to a princess of Enchancia is a story of transformation, growth, and self-discovery. Her identity crisis is one of the most compelling aspects of her character, as it explores universal themes of belonging, self-worth, and reconciling one’s past with an uncertain future.

🎁The Roots of Sofia’s Struggle🎁

Sofia begins her life as an ordinary girl in Dunnwiddie village, raised by her mother Miranda, a shoemaker. Her world changes overnight when Miranda marries King Roland II, making Sofia a princess. This sudden shift thrusts her into a world of royal expectations, traditions, and scrutiny. Unlike her stepsister Amber, who was born into royalty, Sofia feels like an outsider navigating unfamiliar terrain.

Her internal conflict stems from two main sources:

1. External Judgment: Nobles and courtiers often view her as unrefined or unworthy due to her commoner roots. Their gossip about her lack of royal etiquette amplifies her feelings of inadequacy.

2. Internal Doubts: Sofia questions whether she can truly embody the qualities of a princess while staying true to herself. She fears losing the essence of who she was before becoming royalty.

❄️A Defining Moment: The Royal Ball Incident❄️

During a grand royal ball, Sofia overhears nobles gossiping about how she doesn’t fit the mold of a "true princess." Their words cut deeply, reinforcing her insecurities. Feeling out of place and overwhelmed, she retreats to her secret spot in the Enchanted Forest—a place where she feels safe and free from judgment. In this moment of solitude, Sofia reflects on her journey. She remembers her life in Dunnwiddie🎄 helping her mother in the shop, playing with friends, and living simply but happily. She contrasts this with the pressures of palace life—learning royal customs, managing court politics, and constantly proving herself.

✨️Themes Explored Through Sofia’s Crisis✨️

1. Belonging vs. Authenticity: Sofia grapples with whether she must conform to royal expectations or if she can redefine what it means to be a princess. Her actions often challenge traditional norms—befriending trolls, joining the Flying Derby (a traditionally male sport), and treating servants as equals.

2. Dual Identity: Sofia embodies two worlds—the humble values of her upbringing and the responsibilities of royalty. Her struggle lies in merging these identities without losing herself.

3. Resilience Through Reflection: The Enchanted Forest serves as more than just a physical retreat; it symbolizes Sofia’s inner sanctuary, where she can process her emotions and find clarity.

The Role of Relationships

Sofia’s relationships play a crucial role in helping her navigate this crisis:

- Amber👑 Initially dismissive and competitive, Amber grows to understand Sofia’s struggles. Their evolving bond becomes a source of strength for both sisters.

- Clover 🐰As Sofia’s loyal animal companion, Clover provides humor and emotional support during moments of doubt.

- Cedric 🪄Though initially antagonistic, Cedric’s eventual respect for Sofia mirrors her ability to see beyond surface judgments—a skill she must apply to herself.

☃️Growth Through Magic and Responsibility☃️

The Amulet of Avalor symbolizes Sofia’s journey toward self-acceptance. It grants powers for good deeds but also curses for missteps, teaching Sofia that actions have consequences. As she grows into roles such as Story Keeper and Protector of the Ever Realm, she learns that being a princess is not about perfection but about courage, kindness, and integrity. Her magical adventures—saving Princess Elena from imprisonment or stopping the evil sorceress Vor—serve as metaphors for overcoming personal fears and doubts. These trials force Sofia to embrace both her strengths and vulnerabilities.

Resolution: Embracing Duality

By the end of the series, Sofia realizes that she does not need to choose between being a commoner or a princess—she can be both. Her humility from Dunnwiddie complements her royal responsibilities, making her a unique leader who values empathy over elitism. Sofia redefines what it means to be "royal." She proves that true nobility comes not from birthright but from character—a lesson that resonates with viewers navigating their own identity crises.

Why This Matters

Sofia’s identity crisis is not just a personal struggle; it reflects broader societal themes:

- Acceptance: The importance of being valued for who you are rather than where you come from.

- Breaking Stereotypes: Challenging traditional roles while staying authentic.

- Empowerment: Finding strength in one’s uniqueness rather than conforming to expectations.

Sofia’s journey inspires audiences by showing that self-doubt is part of growth and that embracing one’s duality leads to true self-discovery. Her story reminds us all that we are more than any single label—we are the sum of our experiences, values, and choices.

[merlincersei]

Merlin BBC UK TV Show - A Psychological Analysis Series Part 1

What Does It All Mean ?

Part 1: Introduction to basic psychological terminologies

According to Freud’s psychoanalytic theory, the id is the primitive and instinctual part of the mind that contains sexual and aggressive drives and hidden memories, the super-ego operates as a moral conscience, and the ego is the realistic part that mediates between the desires of the id and the super-ego.

Eros is the drive of life, love, creativity, and sexuality, self-satisfaction, and species preservation. Thanatos, from the Greek word for “death” is the drive of aggression, sadism, destruction, violence, and death.

Part 2: Desire vs Control

In the show, dragons are ancient magical creatures, possessing powers and knowledge that is unattainable to humans. We can make a distinction between dragons as being primeval nature on one side, and men as civilization. To function in society, we have learned either to suppress our base instincts or at least to express them in a sublimate way.Following instincts without any restraint is dangerous, as it would bring havoc. Therefore, it’s forbidden. Something similar happens in the series, only these instincts (libido in particular), take the shape of magic.

Part 3: Magic represents homosexuality

Throughout the history of Abrahamic religions, there has been a connection between magic and (deviant) sexual practices. From the osculum inafme (kissing of donkey’s anuses and kissing the Devil’s anus) to witches who were supposedly inserting hallucinogenous mushrooms into their vaginas. The series association between magic and non heteronormative instincts (libido) becomes pronounced as series progresses.

Part 4: Uther’s relationship with magic

In Merlin’s world, most dragons have been slain. The only surviving dragon is chained in a cave by Uther’s orders. Uther here acts as the enforcer of social norms or in other words, he symbolizes the external force (parents, law, religion etc) that instills the rules Arthur and Merlin internalize (Superego).

Uther (society) recognizes practicing magic (acting on impulses) as dangerous behavior, and consequently he tries to eradicate it. Magic (sexual impulses) are part of human nature, however, and regardless of how much Uther tries, he will never be able to eradicate it completely. The best he can do is to chain it. We constantly see Uther over reach his repression against magic (sexual impulses) to reach his peace of mind, he uses his destructive impulse (thanatos) to counter his own sexual drive (eros).

His guilt emanates from the fact that he himself harbours some queerness. This is emphasised in the episode Ghost of Uther Pendragon, where Uther uses magic himself.

Part 5: Uther’s relationship with Arthur:

While Uther is showing himself as the typical distant and repressive fatherly figure, he has at the same time channeled all his hopes and emotions on Arthur, almost as if afraid his faults would show in his son’s behavior. To avoid that, he had trained Arthur strictly from early childhood (‘trained to kill since birth’). Nevertheless, his strict education (military training, because military supposedly makes a real man out of a boy) has left his son emotionally impaired and unable to show affection sincerely. No wonder Arthur’s allowed to show only his masculine, aggressive side, while his love for others is expressed silently, with deeds, or through insults.

Part 6: Kilgaragh is Merlin’s Id

The depths of the dragon’s cave again represent the subconscious, where repressed instincts and desires (the dragon) dwell. When Merlin descends into the dark cave, that equals descending into his preconscious and communicating with his subconscious (more concretely one part of the subconscious - the Id).

Merlin starts hearing the dragon soon after he met Arthur (in the first episode – The dragon’s call). In other words, the encounter with Arthur compels him to search for his sexual identity. The very first time he hears the dragon’s call, Merlin is in the prison, in which he ended because of Arthur. Such a nice metaphor for Merlin’s inner turmoil.

Nevertheless, Merlin manages to reach the dragon only in the middle of the night, woken up from his sleep. We can interpret this as Merlin finally facing his subconscious desires in his dreams. Dreams, if we follow Freud’s explanation, are always a fulfillment of desires. (Later Merlin is able to talk to the dragon also in the middle of the day, fully awake. This means with time he starts to accept his desires and is able to access his preconscious more easily.)

It’s interesting how Merlin had to trick Uther’s guards to get past them and reach the imprisoned dragon. We see this only for the first time, so we can assume later Merlin is not intimidated by Uther’s (society) rules as much anymore.

The overlapping of magic and homosexual libido becomes evident in Merlin’s case. Merlin hasn’t learned magic; he was born with it. It’s a vital part of himself – without magic, Merlin is nothing, as he told Gaius. Yet while Merlin was already accepting magic as a vital part of himself, even if with a few doubts (he wondered if he’s a monster), he wasn’t fully aware of what his magic actually is.

The dragons tells the truth behind that magic (instincts) and clearly states Merlin’s attraction for Arthur. By saying that Merlin and Arthur are one side of the same coin, the dragon expresses Merlin’s desires for Arthur as his sexual mate as well as the sexual union with him.

This unavoidable truth (Merlin’s sexual orientation and attraction to Arthur) is phrased as ‘destiny’ that Merlin cannot fight.

Merlin’s first reaction is denial. The dragon must be wrong. Id, however, doesn’t know about right or wrong (that’s the prerogative of ‘higher planes’), only about needs and the urge to fulfill them as soon as possible. Coincidentally, the dragon insists that there’s no right or wrong, only what is and what isn’t.

For Merlin, finding out what there is and what isn’t still poses some difficulty. Merlin often says he does not understand what the dragon wants him to do, and other times he thinks the dragon demands from him things that are wrong/unethical.

I could say there seem to be several communication problems between Merlin and the dragon, much in the same way messages from the subconscious come distorted into the ‘conscious part’ of the psyche.

We know the dragon’s intent is to be released, to be free, and that he cares of little else, just like instincts don’t care for any moral precept.

Later in the series (episode To kill the king), the dragon tries to persuade Merlin to kill Uther (all right, to let others kill him) and remove the oppression, but in the end Gaius and Gwen (acting as Superego) convince Merlin otherwise. It’s a nice example of the Ego being torn between the Id and the Superego.

The negative effects of following the instinctive impulses without restraints show again during the episode Le morte d’Arthur, where Merlin listens to the dragon and seeks Nimueh’s help in order to save Arthur’s life. He thinks he bargained his own life in return, but as it turns out, he sacrificed his mother’s life instead.

Note again how magic, the old religion, doesn’t care about who lives or dies, doesn’t care about morality. The only important thing is that ‘the balance is restored’, or in other words, that the needs/desires are fulfilled.

Merlin is confronted with the ‘animal’ part of himself: he realizes the dragon knew his mother would die. He is shocked and disappointed, since he considered the dragon a friend, a good counselor.

The dragon’s reply to that is how Merlin and the dragon are more than friends; they are kin. They are the same person, we could say.

Merlin, however, cannot accept the part of himself that is willing to sacrifice his mother in order to save his own life and the life of his (sexual) mate. Therefore, he decides to keep the dragon chained forever and deny it a proper life; he decides to ignore instincts completely.

Instead, Merlin decides to follow Gaius’s example. By wanting to altruistically sacrifice himself, Gaius again acts as Merlin’s Superego; a benign side of the fatherly figure (as opposed to the negative aspect of the father that Uther represents).

Part 7: Excalibur represents Merlin’s desire for Arthur’s Penis

Another instance where the dragon is the sexual force that drives Merlin toward Arthur is in episode nine (Excalibur). Merlin prepares a sword for Arthur, a magnificent sword, imbued with the power of dragon’s fire.

Swords are often seen as symbols of masculinity, or phallic symbols.

We have to interpret that as Merlin’s readiness to be sexually united with the object of his desires . If you want to see the sword as Arthur’s masculinity, then we can interpret this instance as Merlin’s desire for Arthur’s phallus.

As we know, in the end it’s Uther who wields the sword and not Arthur in this episode, meaning that Uther suppresses both Merlin’s and Arthur’s sexuality. On one side, Arthur is locked in his room – he has even been drugged in order to be kept ‘safe’ and ignorant of his true nature (that he is in a way a magical creature).

On the other side, Merlin’s feelings and desires toward Arthur have been intercepted by Uther. Despite being angry deep inside (the dragon is furious), he sees that for now it’s safer to throw the sword in the lake. By that, Merlin suppresses his needs and postpones the desired sexual act. Water and the bottom of the lake are only a metaphor for subconscious.

Therefore, the sword at the bottom of the lake represents Merlin’s and Arthur’s (homo)sexuality that is yet to be fully awaken.

I will explore more on this topic in subsequent threads.

Thank you for attending my mini TED talk.

I look forward to answering any questions you may have and I will defend Merthur to death (you have been warned).

[sunderingstars]

Ooh can you explain ur thoughts on sampo and the songs breezeblocks, cha cha, and genius?

ʚ 💌 ɞ sure thing! beyond just liking the way they sound (i tend to associate upbeat, brain itchy, and overall “quirky” songs with sampo), here are some reasons i like these in particular:

breezeblocks by alt-j

⟢ the main reason i chose this song is the repeating lines near the end: “please don’t go, please don’t go / i love you so, i love you so / please break my heart.” the phrase of “i’ll eat you whole” being repeated throughout also a nice touch.

⟢ i found this part of the lyrics pretty indicative of how i imagine sampo handling interpersonal relationships mentally (regardless of how he expresses it on the outside). with all the hate / love / betrayal motifs present throughout his character, it made sense to me that he would latch on tightly to those he feels he can truly trust, albeit in a slightly traumatized and conflicted way.

⟢ whatever past he may have gone through, it causes him to expect heartbreak, which is why he might associate pain and/or betrayal with love. additionally, a sampo with an unstable identity or experience (i.e. doll, emanator, aeon, etc.) would likely have a side of him that he’s afraid will hurt those he cares about. however, i don’t see that as stopping him from sticking around, but rather something that causes a complicated internal mess (like the push and pull of “please don’t go” and “i’ll eat you whole”).

⟢ i also think the other lyrics like “she may contain the urge to run away / but hold her down with soggy clothes and breezeblocks” and “the fear has gripped me but here i go / my heart sinks as i jump up / your hand grips hand as my eyes shut” could convey sampo’s relationship with elation vs. belobog as well. he may feel trapped and in need of escape, yet is held down by certain aspects of his identity or path. belobog could be a sort of “trust fall” in this scenario, with his friends acting as a lifeline that, despite the fear he may feel, encourage him to take their hands and find better for himself.

⟢ (since doll!sampo has invaded my mind for months and refused to leave, i think “she bruises, coughs, she sputters pistol shots” is a nice touch too since it can link back to a sampo whose only purpose is to be hurt by others.)

cha cha by freddie dredd

⟢ i’ll be honest, this was a completely self-indulgent addition. i really like the way it sounds and thought the chorus especially hit that “brain buzz” i tend to associate with sampo.

⟢ however, i do like how the lyrics start out in a different language, flowing smoother and slower, before turning into the choppy, punchy beat of the chorus in english. similarly to in the dark and let me go, i feel this does a good job of conveying how i see sampo’s internal versus external world. externally, he can be quite chaotic and unpredictable, but internally, i believe he feels things deeply, especially fondness and protection for others.

⟢ the lyrics aid this, as the non-english lines speak of moonlight and stars and dancing, while the english lyrics establish emotional distance by acting flippant. again, i tend to think sampo feels love very deeply, which is mirrored by the soft, emotional beginning. however, his outward persona tends to be perceived by others as the more chaotic english sections of the song!

genius (feat. sia, diplo, and labrinth) by lsd

⟢ this one definitely leans into the more egotistical side of sampo, especially when considering “curio hacker” and how he may be paying a price to gain something later on. “i’m a genius” very much reads like sampo being confident in whatever his master plan is and indulging in feeling good about himself a little (as he should!).

⟢ i also think “do you think i’m stupid? / do you think i’m batshit crazy, having you on my mind? / do you think i’m helpless? / my algebra gon’ equal you every time” is a link to his feelings towards the elation / aha / the masked fools, especially any resentment implied by his themes of “hate” and “betrayal”.

⟢ sia’s part in the song actually pivots away from what i’ve been talking about though, and i tend to see her part as a more earnest depiction of how sampo might flirt with or feel about others he’s romantically interested in. when put in context with the rest of the song, i also read the whole piece as one long “flirt,” since i think sampo’s way of doing it would be very much as confident and forward as the song’s lyrics. (plus, he would probably spin dating as a “genius business decision” or something like that!)

🪐 .𖥔 ݁ ˖ asks are still open for anyone who wants to request songs :))

[future-ghoost]

boo 👻

2. Which of your fics is your pride and joy?

17. What is something you recently felt proud of in your writing?

32. A character you enjoy making suffer. (It's Tav, isn't it)

Fogno with the jumpscare!

Here's me thinking I'm the ghoost.

2. Why do you make me pick between things? First Neve and Shadowheart and now my fic babies!

Jokes aside, I love them all equally. AWoH was my first time writing again in 8 years. Kyra in this fic is my 'canon Kyra', and I love her story so much. It's also like 160k words long and the last time I checked it had 16k hits, so stats wise - it's towering over the others. But it's also a year old.

Hand on a Dagger was the first fic I wrote that didn't follow the canon. I also explored the darker/more morally grey aspects of my characters. Hand on a Dagger feels more like my fic, as opposed to AWoH, because I came up with the plot and the character arcs. Out of the two, Hand on a Dagger probably pips AWoH.

But - then we have She's Just a Seat Filler - my newest fic baby, but quickly becoming one of my favourites. I'm giving myself a lot more freedom with this one. With Hand on a Dagger and AWoH I'd always try to set myself targets of 'I'll write this many words' or 'publish the next chapter by this day'. I'm also exploring new characters, new motivations, new dynamics, new angst. I love it.

If you're going to make me choose though - Hand on a Dagger

17 - But Hand on a Dagger and She's Just a Seat Filler are both at very angsty points in their journeys and I love the tension I'm building in them both. I think especially in Hand on a Dagger with how Tav responds to being in the cloister and the decisions she's forced to make. I feel like she's constantly teetering on a knife's edge. That's also how I'm writing Neve in SJaSF (but in a very different way). I love building tension, and I feel like I'm good at it?

32 - It's not actually 👀

Tav suffers, sure, but she suffers in a 'greater good' sort of way (i hope). Her suffering is complex and born of morals and love and lust and her darkness vs her lightness, etc. There's so much background to Tav's suffering that it drives the story forward in a meaningful way.

The character I love making suffer most is Neve because who wouldn't want a woman to almost cry at the thought of being in love with you? (in a non-problematic way) Tav's suffering is much more of an external suffering, if that makes sense? But Neve's is purely internal and of her own creation. I love the angst of it.

Love u fogno ❤️

[pikahlua]

I'm not sure I'm entirely convinced but smashing theory as usual pika 🫡✨️ Is it okay if I ramble about a few misgivings I have? It's a long one, sorry! but there are multiple points I want to mention as assisting ideas

First, I still think that a 1v1 setting battle seems likelier than a 2v2 (bkdk duo vs shigAFO) - since we already had a bkdk duo in the movie ending, and Hori *did* say after that he had a different thing in mind for the actual ending (which I'm not sure should be a classic shounen "Battle of The End" actually, but wth we have been in this war fo so long now? More than a year! it may as well "end" in its conclusion ig). In which case I think we'd agree that 1-to-1 pvps would very likely feature Izuku & Shigaraki and Katsuki & AFO. Speaking of which: I also still think kacchan parallels and juxtaposes moreso with AFO than Shigaraki, so it might make more sense for him to "inherit" AM's struggle in this way, as a battle with the "Big Bad" AFO - not to mention it'd be another extremely cool twist to have the boy who ended AM save him by winning the fight, imo. I'm not sure how much of that metaphorical oomph would transfer to him fighting with "Stray Lamb" Shigaraki/Tenko...

In any case lots of people seem to support the 2v2 option. I understand that the most popular cases are: Katsuki "saving" Tenko by "winning" the fight. Izuku "winning" the battle with AFO to "save" the world. But then, I think the story'd be disregarding Izuku's wish to save Tenko, first spoken of in the vestige realm, which I don't believe is quite likely. We had so many breadcrumbs leading up to Izuku asking "Is Tenko still there?", so I still think a 1v1 and Izuku vs Tenko would make more sense.

I suppose people still want to see Katsuki's "save to win" in this final battle? He has always been a character that has struggled and fought internally with himself foremost - contrasting the mostly external opposition and fights that matured or broke other character's beliefs/ideals. Katsuki is destined to "Win Over His Self", yes? I'd argue he already has done that, (nailed it actually, right in the kokoro) 🎯 😅 which is why I don't really think he has to show it again, that he has learned to "win by saving/save to win". Which is another readon why I think a showdown with Tenko is kinda unnecessary

Meanwhile, I'd argue we haven't seen Izuku's "save by winning/win to save" quite yet, not with Katsuki's grandeur, in any case. I'd argue he finally has the opportunity to do this with Tenko's fight. And I'd think that since OFA is now a "power to save" rather than a power "to defeat AFO", (after class A's intervention and welcome intrusion into that), and since I think Izuku might be the one doing the "saving" for Tenko, it'd make sense for all of OFA's vestiges to bear witness to that "saving", to their "new purpose", if you will, and I think AM's vestige should be included in that if he's truly a part of OFA.

.... If, by chance he's a different component to OFA, like maybe something that serves only as a power maximizing "coefficient" rather than a full blown "variable" in OFA's power "equation"? Then yeah, him leaving OFA might make Izuku slightly less powerful but would make more sense in terms of Katsuki's arc so far. After this battle I doubt Izuku is gonna need that power excess anyway. It'd also make sure he can't become the Symbol of Peace powerhouse on his own and let him play on a more equal field with his peers, which is best fir his sacrificing mentality. And I do think that Katsuki could do with at least the "gaze" and "support" of the mentor Izuku has had 95% of to himself so far...

Welp, that's that! Sorry I even went into a math analogy there 😳 If you've read so far thanks for bearing with me!!!

((This complete thing is utter shit if AM actually won against AFO btw))

I like you. I like your thought process. I like your courtesy in explaining yourself even when we disagree. I want to emphasize all of that because I think your essay here is WORTHY of being challenged. Or rather perhaps it's that I want you to challenge my thoughts, which I hope are also worthy.

(And please bear with me here, my brain fog is rearing its ugly head today.)

1. The problem with 1v1s:

Let me step away from the predictions for a moment with this point. Will Horikoshi ultimately go with a 1v1? He could. I actually have no way of knowing. But I would like to explain why I think it would be a mistake for him to do so. This has nothing to do with Heroes Rising and everything to do with the MHA manga canon.

MHA the story has spent so. much. time. emphasizing how necessary teamwork is, how going alone is not feasible, how everyone has limits. It's not just a platitude it throws around occasionally because it has to. Entire arcs are structured around this idea. Hell, trimesters and curricula in-universe are built upon this lesson. And the story is called "My Hero Academia." How is this a story about Izuku's hero academia if the primary lesson his hero academia taught him gets eschewed at the end? What was ultimately learned if not this?

For Horikoshi to turn his back on this moral, for Horikoshi to go with the standard shounen formula ending when he has famously twisted such tropes in the past, would be to betray his entire story. This story about how society has perverted the ideas of heroes and villains to avoid personal responsibility and stifle social progress ONLY to see the light and view heroes and villains as humans DEPENDS on exalting the virtues of cooperation, of empathizing with one's fellow humans, of desiring everyone to come together, and of contributing to that goal as a piece of the whole. No one is alone. There is always hope. And people are given that hope by having it ignited in their hearts by others (by the symbol of All Might, in many cases).

Remember, "this is the story of how we all became the greatest heroes."

And I do believe Horikoshi wants to maintain this moral as best he can. This final arc has showcased that. Even in the battles we've seen concluded now, while the primary focus may have been on one person's conviction (Shouji's, Mina's, Shouto's, Ochako's), that conviction was backed up and magnified by another person (Kouda, Kirishima, Iida, Tsuyu). And you'll note that some "fought" and some did not. Some played supporting roles or contributed with non-combat assistance (speed or negotiation, perhaps). So at the very, very least, if we end on a 1v1 fight between Izuku and Tomura, Katsuki must support Izuku's conviction to save Tenko in some vital way that tips the scales in Izuku's favor.

The question is, has this already happened?

One might argue it has, that Katsuki's death and the efforts by others to save him have had a clear effect on Tomura. Katsuki's death was the catalyst that allowed Tenko to swallow AFO's ego and regain control of himself.

But we could also argue that, while this potentially contributes to Tenko's salvation, it is NOT an example of Katsuki sharing in Izuku's conviction (that of saving villains). And I argue that this much is a REQUIREMENT.

That said, there MAY be another example that could be construed as Katsuki sharing in Izuku's conviction.

We REALLY don't talk about chapter 358 enough. It may turn out to be a crucial hint about how future events play out.

That said, it's debatable on whether this is truly the same conviction Izuku professes or if it's just the lesson Katsuki has learned, in which case...

Would that not beg for a moment where Izuku backs Katsuki's conviction up, too?

So, sure, you may get your 1v1, but I'm willing to bet there will be enough of Katsuki present in it to construe the "1v1" as otherwise :P

2. The idea that Katsuki parallels AFO more than he does Shigaraki:

At the risk of sounding pedantic, I want to earnestly, powerfully emphasize the idea that this is not a competition: everyone parallels everyone. I have showcased many times how many ways in which Izuku and AFO parallel each other, it's not just Katsuki and Tomura.

But note how this is really possible with ANY TWO CHARACTERS in the whole series. They all parallel each other. It's because everyone's learning the same lessons.

And parallels don't necessarily make for a good 1v1. I don't really think about the parallels that much in terms of setting up FIGHTS. Most "fights" in MHA are barely fights at all. They're conversations, arguments, debates, just sometimes with some action in the middle.

What I really expect from these parallels is a resolution. Some sort of reckoning. Anything at all really. Someone challenging someone, someone talking to someone, someone reaching out for someone. It doesn't matter who does what in most cases, because I expect all four to interact.

3. "I understand that the most popular cases are: Katsuki "saving" Tenko by "winning" the fight. Izuku "winning" the battle with AFO to "save" the world."

Yikes, are these really the most popular options? I hate them. I hate them so much. Can I offer some better ones?

What if Izuku fights Tomura long enough to subdue him and reaches Tenko's heart but can't physically reach out to save him, so Katsuki has to act as Izuku's extension to take Tomura's hand and save him?

What if Izuku fights to his last strength and saves Tomura (and maybe Baby AFO, who knows where that's going) but can't get all of them out of physical danger, so Katsuki is the one who gets them out?

Or maybe Izuku just can't save HIMSELF and Katsuki rescues him?

What if Katsuki reaches Tenko's heart through speech, through relating to him, and it disarms Tenko enough for Izuku to save him?

What if AFO and Izuku have a tug-o'-war over Tenko and Katsuki tips the scales? Or Katsuki AND All Might tip the scales?

What if Izuku fights Baby AFO (or it's something like another Dabi explosion situation) and Katsuki relates to AFO himself as a child and that disarms AFO enough for Izuku to save the day?

What if ANY of the above but add more Class 1-A and other villains to it? What if everyone holds hands to make a human chain to pull Tenko out of some AFO ego void and show him the world cares?

I can go on for days.

4. "We had so many breadcrumbs leading up to Izuku asking "Is Tenko still there?", so I still think a 1v1 and Izuku vs Tenko would make more sense."

But that's just it! Katsuki has breadcrumbs too!

It has been highlighted over and over and over again ad nauseam that Katsuki is a character who must become a hero who can see things from the villains' perspective and REACH OUT TO THEIR HEARTS. Katsuki even names Tomura as the person he intends to face down in the end!

(Of course, AFO fits the bill in many ways too. But like I said, I don't think it's gonna be clean-cut 1v1s, so there's opportunity for both Izuku and Katsuki to show what they're made of in this regard with BOTH villains.)

5. "Katsuki is destined to "Win Over His Self", yes? I'd argue he already has done that, (nailed it actually, right in the kokoro) 🎯 😅 which is why I don't really think he has to show it again, that he has learned to "win by saving/save to win"."

BUT HE DOES NEED TO SHOWCASE IT. OTHERWISE THIS IS JUST LIP SERVICE, BECAUSE NOTHING HAS HAPPENED SINCE HE SAID IT.

While you and I may believe he's already made it, Katsuki himself DOES NOT ACKNOWLEDGE THAT YET. He does not see himself as having surpassed All Might yet, and he believes that in order to do so he needs the help of others.

I mean, does it get louder than "Because saving people is how we win"????? He's set the terms for what his "win to save/save to win" looks like in the end!

6. "Meanwhile, I'd argue we haven't seen Izuku's "save by winning/win to save" quite yet, not with Katsuki's grandeur, in any case."

I mean this super genuinely because I think you need to consider it: How was Izuku's victory over Overhaul NOT this in your eyes?

I think you need to be able to answer that question if you want to make such a claim. I think you CAN make the claim, mind you, but anyone you talk to about this will point to this moment in canon as their first question for you to address.

Until you can answer it, I have to argue that both Izuku and Katsuki have displayed some version of their "win to save/save to win" pieces before, but they have to now apply those pieces to this war where the stakes are astronomically higher.

7. "…. If, by chance he's a different component to OFA, like maybe something that serves only as a power maximizing "coefficient" rather than a full blown "variable" in OFA's power "equation"?"

Kudos to you for the "if"! Yes, in my recent posts, I've been writing under the assumption that All Might's vestige is a piece of OFA. But I'm actually not fully convinced this is the case yet. Everything surrounding All Might's vestige is still very loosely defined and doesn't seem very final. I think it's totally possible there's a twist waiting for us in there.

And anon, I did receive your other messages.

8. "Speaking of which, if AM's vestige is in fact a power "coefficient" then its checks out that Kacchan would rise powered-up!! WTF It makes sense ?! 🥴"

Can I offer you an apotheosis in this trying time?

[horizon-verizon]

I might be wrong, but I think that the Faith of the Seven seems to be a catholic form with protestant doctrine. Externally Catholic in terms of its rituals, clergy, and hierarchical structure. Internally Protestant in terms of its focus on personal faith, moral simplicity, and individual accountability.

Not gonna lie, I know next to nothing about "moral simplicity" when it comes to Protestantism like I have a better idea of with the rest. Still, I looked stuff up. Skip to the part abt the Faith of the Seven's way of worship if you want, but I wouldn't recommend it.

.............................................

Protestanism vs Catholicsm vs Anglicanism

Protestant doctrine (yes, most of the sects under it) consist of the beliefs that:

The Bible is the ultimate religious truth and authority. The only one you need.

All can act as "priests" for themselves, as in interpret & access the Bible to communicate directly with God.

Only or mostly by believing in Christ as the Messiah and God, can you "saved" from eternal damnation in hell. It's only through faith itself that you really need to receive that salvation, not paying people (though with some sects say that you have already been saved or damned from before you were born....Calvinism).

*[Martin Luther and other 16th century people]* Jesus' death saved all of us already (the sign of God's grace towards us), and thus you don't have to "earn" your salvation but just stay believing Jesus died for you

Catholic doctrine says [Brittanica]:

it's a combination of good works and faith in Christ's death for sins/God (living a virtuous life, seeking forgiveness for sins, indulgences)

the original sin (Adam and Eve and the snake), is a hereditary and universal moral defect of human beings that makes them incapable of achieving their destiny and "even incapable of basic decency", or forever in danger of moral failure, needing God's grace (which is in the form of Jesus' sacrifice)...thus a strict adherence to authority

And maybe you'd then be describing something closer to the English Anglican church...but without the head of such being the monarch in Westeros, since the Head of the High Septon. Anglicanism is a current "attempt" at both versions of Christianity:

[Wiki] "The Book of Common Prayer (BCP) is the name given to a number of related prayer books used in the Anglican Communion."

[Brittanica] "In form they deal briefly with the doctrines accepted by Roman Catholics and Protestants alike and more fully with points of controversy. The articles on the sacraments reflect a Calvinist tone, while other parts intimate Lutheran or Catholic positions. They are often studiously ambiguous, however, because the Elizabethan government wished to make the national church as inclusive of different viewpoints as possible."

[Brittanica, post 1888] "Anglicans attempt to balance the clerical point of view with forms of authority that include the laity. Even bishops are rarely able to function without the advice and consent of other clergy and laity"

[Brittanica, post 1888] "It [The Anglican Communion] respects the authority of the state but does not submit to it, and it equally respects the freedom of the individual. The Anglican Communion does not seek to evade the challenges of the world or to live a life separate from it. Basing its doctrines on the Bible, the Anglican Communion allows a remarkable latitude of interpretation by both clergy and laity."

[Anglican Communion, post 1888] "An important caveat is about this question is that if you ask three Anglicans about doctrine you’ll get five different answers! Anglicanism’s greatest strength - its willingness to tolerate a wide variety in Anglican faith and lifestyle - is also the thing that provokes the most debate among its practitioners."

[Anglican Communion, post 1888 ] "The Apostles’ Creed and the Nicene Creed are used very regularly in Anglican worship, the Athanasian Creed is used in worship less often, but is considered to set out the classic understanding of key Christian doctrines about the nature of God and the person of Jesus Christ."

The Catholic Church and many Protestant denominations accept both the Apostle and Nicene Creeds; the latter, just not the indulgence part. IDK abt Anglican indulgences, if that's a thing, but I'd assume not. It matter s because apparently, recitations of the Apostles' Creed requires monetary or "plenary" indulgences 7 the recitation of what the Nicene Creed/hail Mary/Sunday prayers gives requires one to attend mass in church or go to an oratory where you give to the indulgence.

.............................................

Faith of the Seven Worship

[AWoIaF.Westeros]

The Faith has a number of holy books. The most important one is The Seven-Pointed Star, which contains the Maiden’s Book. The Seven-Pointed Star tells, among others, about the history of the Faith. Septons who cannot read or write memorize prayers, rituals, and ceremonies, and are able to recite long passages from The Seven-Pointed Star.

But there's really no deep lore on their faith and what defines faith in the same way as Christianity bc there is no "Messiah", or savior figure who specifically dies for humanity's egregious sins in its mythology or cosmology.

All you seem to do is go the the Sept to pray, listen to recitations of the book, listen or join in singing hymns, and believe in the Seven. But neither does it have that "flexibility" or toleration of a variety of its own faith or respecting an individual's or a clergyman's freedom of "interpretation", which Anglicanism really strives for, not doctrinally.

If you're thinking of show!Catelyn, she's a Seven worshipper in a old-gods based lands and had to conform or adapt herself to the people's customs and ways of thinking while also holding to her own faith in some way, finding compromises...she's not really a rule we could go by for the actual doctrine of the Seven and if she's doing "personal faith", that's again bec she's more or less alone there.

Even still, sufficient worship of the Seven, as I mentioned but didn't emphasize, MUST take place in the sept like how worship MUST take place in Catholic churches. But then again, I have never heard of worshippers having to pay indulgences or something like that in order to receive blessings or be able to stand/sit and hear any sort of "creed" or prayer. And then again, there's a heavy implication of one needing faith validated by going to church and respecting authority and being tested in one's faithfulness through mortal/corporal means or denial that really edges it out towards Catholiscm...so...

[crashhole]

Finished rewatching Fishman Island the other day and this single arc is hands down some of the WORST racial politics I’ve EVER watched. And yet, fans praise it as the most progressive thing they’ve ever seen. The core moral of the story is to forgive your oppressors, because “reverse racism” is the true enemy of society. It’s actually quit insulting to every real world civil rights movement.

The humans have done NOTHING but hurt, traffic and kill the citizens of Fishman Island, but the real threat is internally found in a Fishman race baiter? Yawn. The humans are never held responsible because they aren’t even present in the conflict despite being catalysts. The story features drugs being planted into their minority, segregated society, but rather than being supplied by the CIA or an equivalent governing body to sabotage them, it’s something they obtain themselves. Still ends up sabotaging them, but this time it’s just their fault.

I absolutely hate how the conflict is internal (in most arcs, the threat is usually an external and/or invading force) but still racially divided. The beautiful, HUMAN PASSING Merfolk royalty vs the Fishmen, who have monstrous appearances, including sharp fangs who can never pass. The series tries to frame them as equals, with unnamed civilians of both groups on both sides. But the conflict revolves around the anti-human New Fishmen Pirates and the human forgiving, human passing Royal Family. Additionally, the Fishmen are socially segregated to the Fishmen District, which is implied to be a little intimidating (the ghetto) and are never given any representation in their own government. The Mermaids are clearly considered a higher social class than the Fishmen.

Politics aside, I do think this is a fun and well written storyline. But the way fans frame is as the end all be all of race politics is truly insane and incredibly concerning.

[omegaphilosophia]

The Philosophy of Algebra

The philosophy of algebra explores the foundational, conceptual, and metaphysical aspects of algebraic systems and their relationship to reality, logic, and mathematics as a whole. Algebra, dealing with symbols and the rules for manipulating these symbols, has profound philosophical implications concerning abstraction, structure, and the nature of mathematical truth.

Key Concepts:

Abstract Symbols and Formalism:

Abstraction: Algebra involves abstracting mathematical concepts into symbols and variables, allowing general patterns to be manipulated without referring to specific numbers or quantities. Philosophers question whether these symbols represent real objects, mental constructs, or purely formal elements that exist only within the algebraic system.

Formalism: In formalism, algebra is viewed as a system governed by rules and manipulations of symbols, independent of any reference to an external reality. In this view, algebra is a logical game of symbol manipulation, with its own internal consistency, rather than something that necessarily describes real-world phenomena.

Algebra as a Structural Framework:

Structuralism: Algebra can be seen as providing a structural framework for understanding relationships between elements, often more abstractly than arithmetic or geometry. Structuralism in mathematics argues that algebraic objects, like groups, rings, or fields, should be understood in terms of the relationships they define within a system rather than as standalone entities.

Relationality: Algebra emphasizes relationships between objects rather than the specific nature of the objects themselves. For example, an equation expresses a relationship between variables, and group theory explores the relationships between elements in a set based on certain operations.

Algebraic Truth and Ontology:

Platonism vs. Nominalism: Algebraic Platonism suggests that algebraic objects (e.g., variables, equations) exist in a timeless, abstract realm, much like numbers or geometric forms. In contrast, nominalism denies the existence of abstract entities, viewing algebra as a language that refers to concrete, particular things or as a useful fiction.

Existence of Algebraic Structures: Are the objects and operations in algebra real in some metaphysical sense, or are they simply human constructs to facilitate problem-solving? Philosophers debate whether algebraic structures have an independent existence or are purely tools invented by humans to describe patterns.

The Nature of Equations:

Equality and Identity: Algebraic equations express equality between two expressions, raising philosophical questions about the nature of equality and identity. When two sides of an equation are equal, are they identical, or do they just behave the same under certain conditions? The concept of solving an equation also reflects deeper philosophical issues about finding correspondences or truths between different systems or forms.

Solvability and the Limits of Algebra: Throughout history, philosophers have explored the solvability of equations and the boundaries of algebra. The insolubility of quintic equations and the advent of Galois theory in the 19th century led to deep questions about what can and cannot be achieved within algebraic systems.

Algebra and Logic:

Boolean Algebra: The development of Boolean algebra, a branch of algebra dealing with logical operations and set theory, highlights the overlap between algebra and logic. Philosophers examine how algebraic operations can be used to model logical propositions and the nature of truth-values in formal systems.

Algebraic Logic: Algebra provides a framework for modeling logical systems and reasoning processes. The interplay between algebra and logic has led to questions about whether logic itself can be understood algebraically and whether the principles of reasoning can be reduced to algebraic manipulation.

Algebra and Geometry:

Algebraic Geometry: The relationship between algebra and geometry, particularly in the form of algebraic geometry, involves the study of geometric objects through algebraic equations. This intersection raises philosophical questions about how algebraic representations relate to spatial, geometric reality, and whether algebra can fully capture the nature of geometric forms.

Symbolic Representation of Space: In algebraic geometry, geometric shapes like curves and surfaces are described by polynomial equations. Philosophers explore whether these symbolic representations reveal something fundamental about the nature of space or if they are merely convenient ways to describe it.

Historical Perspectives:

Ancient Algebra: The origins of algebra can be traced to ancient civilizations like Babylon and Egypt, where early forms of symbolic manipulation were developed for solving practical problems. The philosophical importance of algebra evolved as these symbolic methods were formalized.

Modern Algebra: The development of abstract algebra in the 19th and 20th centuries, particularly group theory and ring theory, transformed algebra into a study of abstract structures, leading to new philosophical questions about the role of abstraction in mathematics.

Algebra and Computation:

Algorithmic Nature of Algebra: Algebra is inherently algorithmic, involving step-by-step procedures for solving equations or simplifying expressions. This algorithmic nature connects algebra to modern computational methods, raising questions about the role of computation in mathematical reasoning and whether algebraic methods reflect the underlying nature of computation itself.

Automated Proof Systems: The advent of computer-assisted proof systems, which rely heavily on algebraic methods, has led to philosophical debates about the role of human intuition in mathematics versus mechanical, algorithmic processes.

Historical and Philosophical Insights:

Descartes and Symbolic Representation:

René Descartes is often credited with the development of Cartesian coordinates, which provided a way to represent geometric problems algebraically. Descartes' work symbolizes the deep connection between algebra and geometry and raises philosophical questions about the nature of representation in mathematics.

Leibniz and Universal Algebra:

Gottfried Wilhelm Leibniz envisioned a universal algebra, or "characteristica universalis," that could serve as a universal language for all logical and mathematical reasoning. His philosophical insights anticipated the development of symbolic logic and formal systems that use algebraic methods.

Galois and the Limits of Algebra:

Évariste Galois' work in group theory and the solvability of polynomial equations led to new philosophical discussions about the limitations of algebra and the nature of symmetry. Galois theory provided insights into why certain equations could not be solved using standard algebraic methods, challenging assumptions about the completeness of algebraic systems.

Applications and Contemporary Relevance:

Algebra in Cryptography:

Modern cryptography relies heavily on algebraic structures like groups, rings, and fields. Philosophers examine the role of algebra in securing information and the philosophical implications of using abstract mathematical structures to solve real-world problems related to privacy and security.

Algebra and Quantum Mechanics:

Algebraic methods are crucial in formulating the laws of quantum mechanics, particularly in the use of operators and Hilbert spaces. Philosophers explore how algebra provides a framework for understanding quantum phenomena and the extent to which algebraic methods reflect physical reality.

Algebra and Artificial Intelligence:

In AI and machine learning, algebra plays a central role in developing algorithms and models. Philosophical discussions arise about the nature of intelligence and reasoning, and whether algebraic methods in AI reflect human-like thinking or merely computational processes.

The philosophy of algebra investigates the abstract nature of algebraic symbols and structures, the relationships they describe, and the metaphysical and epistemological status of algebraic truths. From ancient practical uses to modern abstract algebra and its applications in cryptography, computation, and quantum mechanics, the philosophy of algebra addresses deep questions about abstraction, formalism, and the role of symbols in understanding reality.

[gandhiks]

On Values & Valuation

Since the time I remember I started to think of organization building principles, circa. 2009; I always believed that culture is the hardest thing to build, articulate and imbibe. And as a people-leader, that's the only thing that you can influence. Over the 11-odd years of working in 3 different organizations, I have observed that great cultures out-last great products. It is somewhat articulated in the book "Built to Last" by Collins, Poras - concept of (A) Clock Builders vs Time Tellers & (B) Preserve Core & Stimulate Progress.

The org-wide cultures are even more difficult to articulate because true genesis of a culture is tens and thousands of instance-response pairs which occur on an everyday basis between individuals or small groups (say of 10 or less) which shape up the culture of an organization which is may be 20-individuals strong (my first company); 200-to-2000-individuals strong (my second company) and 400-individuals strong say my current workplace. More recently I started reading & applying principles of Appreciative Inquiry (AI) - which posits that an organization is not a problem to be solved but a work in progress, shaped by communication and interactions on a daily basis. That's the AI which will be useful in time to come I think. It's hard for people from engineering pedigree to think that there is no tangible problem to be solved and that there is no real closure to org-building. That's the hard part, Physics, ah! that's simpler to solve for. ---

Here is an expression of culture articulation based on my observations, adapted from the culture book of the organization I work for and what I took away from it. Creative - It is an extremely crucial quality to have when you're attempting to make a mark and the market/world at large says "you're actually not needed" at first once you think it's the only quality one requires to build an organization - create something, be creative. What's behind this quality, "emotional involvement" - you can not create something worthwhile if you do not think of it all the time and keep acting on it - waking, eating, sleeping - and ideally one should enjoy this process. Ambitious - Being ambitious is needed because it's not just about you but also about others - Ambition, or positive ambition is not for everyone, you can not have the whole organization display equal ambition - yet at some point of time everyone exhibits it and there is no sequence or phase to it, being ambitious is the most abstract of all values. Your why, drives your ambition. Good Judge - This is my favorite. I often read about Judges who decide on many important matters and am a student of jurisprudence - and the number one insight about being a good judge is - extreme isolation. You have to maintain distance to exercise good judgement. You can not be emotionally involved and be a good judge. It is hard to be creative and a good judge at the same time - creativity is kid like, judgementalism is adult like. Diligent - This is making sure that your work output is free of avoidable errors - this is simple - you need to care about your work - else you'd not/never be diligent. This, according to me is a basic value to work anywhere in a team/group of people. Relentless - This one is my second favorite, if you are ambitious for a phase of your work life and are diligent, you will become relentless because the system around you will motivate you to not relent. Sometimes this acts as a contrast to being a good judge. Sense of Urgency - I recently had a classic discussion with my colleague on this, he said bluntly, that "One needs a sense of urgency when no one is putting pressure, when someone is demanding something, everyone will act with sense of urgency" this is an important virtue to have. You will have a sense of urgency if you are creative, ambitious. Customer Focus - This is pretty obvious, shun noise and get things done for your internal or external customer. This is your reason to be in an org. you're serving some customer; with something that they value and may give you what you want in return. Ethical - Knowing what's black and white from what appears as gray and acting in accordance. Accountable - Pretty basic, no need to elaborate much. Aligned - Being aligned to a well articulated mission/vision and need to balance with being reasonably accommodative. Respect for Individual - Not being disrespectful and not tolerating disrespect. Reasonably Accommodative - Being a voice of reason and accepting voices of reasons - irrespective of age, religion, or any other form of social identity. --- In a smaller time-frame you'd get to display 2-4 values at best, and in longer time-frames you'd get to display 4-6 at best. ---- The number two quality which defines a potential leader is the ability of her/him being a good judge. This has been a theme in my recent past, there have been many instances which when I now reflect, makes me confident of being a good judge; the price, social distancing (remember COVID). This comes second to only other quality, of a potent leader, providing energy to a system. I recently applied some of this virtues to decide the school for my kid's admission - the one which displayed a good ethos and showed promise. Based on this, the next blog will talk about valuation, say in 6-months, the other theme of study I have undertaken in the recent past; that's based on good judgement and alignment! Let me know what you, the humble reader of my blog, think of these concepts?

[reverseenchancia]

Character Analysis: Sofia’s Identity Crisis

Sofia the First’s journey from a humble village girl to a princess of Enchancia is a story of transformation, growth, and self-discovery. Her identity crisis is one of the most compelling aspects of her character, as it explores universal themes of belonging, self-worth, and reconciling one’s past with an uncertain future.

The Roots of Sofia’s Struggle

Sofia begins her life as an ordinary girl in Dunnwiddie village, raised by her mother Miranda, a shoemaker. Her world changes overnight when Miranda marries King Roland II, making Sofia a princess. This sudden shift thrusts her into a world of royal expectations, traditions, and scrutiny. Unlike her stepsister Amber, who was born into royalty, Sofia feels like an outsider navigating unfamiliar terrain.

Her internal conflict stems from two main sources:

1. External Judgment: Nobles and courtiers often view her as unrefined or unworthy due to her commoner roots. Their gossip about her lack of royal etiquette amplifies her feelings of inadequacy.

2. Internal Doubts: Sofia questions whether she can truly embody the qualities of a princess while staying true to herself. She fears losing the essence of who she was before becoming royalty.

A Defining Moment: The Royal Ball Incident

During a grand royal ball, Sofia overhears nobles gossiping about how she doesn’t fit the mold of a "true princess." Their words cut deeply, reinforcing her insecurities. Feeling out of place and overwhelmed, she retreats to her secret spot in the Enchanted Forest—a place where she feels safe and free from judgment. In this moment of solitude, Sofia reflects on her journey. She remembers her life in Dunnwiddie: helping her mother in the shop, playing with friends, and living simply but happily. She contrasts this with the pressures of palace life—learning royal customs, managing court politics, and constantly proving herself.

Themes Explored Through Sofia’s Crisis

1. Belonging vs. Authenticity: Sofia grapples with whether she must conform to royal expectations or if she can redefine what it means to be a princess. Her actions often challenge traditional norms—befriending trolls, joining the Flying Derby (a traditionally male sport), and treating servants as equals.

2. Dual Identity: Sofia embodies two worlds—the humble values of her upbringing and the responsibilities of royalty. Her struggle lies in merging these identities without losing herself.

3. Resilience Through Reflection: The Enchanted Forest serves as more than just a physical retreat; it symbolizes Sofia’s inner sanctuary, where she can process her emotions and find clarity.

The Role of Relationships

Sofia’s relationships play a crucial role in helping her navigate this crisis:

- Amber: Initially dismissive and competitive, Amber grows to understand Sofia’s struggles. Their evolving bond becomes a source of strength for both sisters.

- Clover: As Sofia’s loyal animal companion, Clover provides humor and emotional support during moments of doubt.

- Cedric: Though initially antagonistic, Cedric’s eventual respect for Sofia mirrors her ability to see beyond surface judgments—a skill she must apply to herself.

Growth Through Magic and Responsibility

The Amulet of Avalor symbolizes Sofia’s journey toward self-acceptance. It grants powers for good deeds but also curses for missteps, teaching Sofia that actions have consequences. As she grows into roles such as Story Keeper and Protector of the Ever Realm, she learns that being a princess is not about perfection but about courage, kindness, and integrity.

Her magical adventures—saving Princess Elena from imprisonment or stopping the evil sorceress Vor—serve as metaphors for overcoming personal fears and doubts. These trials force Sofia to embrace both her strengths and vulnerabilities.

Resolution: Embracing Duality

By the end of the series, Sofia realizes that she does not need to choose between being a commoner or a princess—she can be both. Her humility from Dunnwiddie complements her royal responsibilities, making her a unique leader who values empathy over elitism.

Sofia redefines what it means to be "royal." She proves that true nobility comes not from birthright but from character—a lesson that resonates with viewers navigating their own identity crises.

Why This Matters

Sofia’s identity crisis is not just a personal struggle; it reflects broader societal themes:

- Acceptance: The importance of being valued for who you are rather than where you come from.

- Breaking Stereotypes: Challenging traditional roles while staying authentic.

- Empowerment: Finding strength in one’s uniqueness rather than conforming to expectations.

Sofia’s journey inspires audiences by showing that self-doubt is part of growth and that embracing one’s duality leads to true self-discovery. Her story reminds us all that we are more than any single label—we are the sum of our experiences, values, and choices.

[commsroom]

if w359 were to be adapted (and imagine this is a perfect world where adaptations are perfectly true to source and author intention) would you prefer a live-action w CGI or animated? how should Hera be portrayed?

oh god, okay. first i have to get over my gut reaction to the idea of a wolf 359 adaptation, which is... please no, not in any form, never. literally the nightmare scenario for me. but okay, other than that.

the wolf 359 that exists in my mind's eye when i'm listening to the show is, like... live action, physical sets, practical effects including some puppetry (for the plant monster, notably) - and that's definitely influenced by gabriel urbina citing farscape as the main inspiration for the tone of the show. so, in a perfect world, assuming at least the main characters would still be played by the same actors and everything... like that, i guess? i love to see fan animations, and there's the obvious benefit re: voice actors, but i don't think it would work. the realism and mundanity undercut by larger than life scenarios and science fiction nonsense is a necessary contrast to me, and the characters are just... such Real Life People, when i picture them in my mind.

and hera is definitely a big reason why i don't think the show can or should be adapted to any visual medium. when i commission art, my personal design for hera has that blue holographic look because 1) it's important to me to have recognizable visual signifiers, and 2) i want a way to give her a physical presence for artistic purposes while still suggesting some intangibility + distance. but i don't literally think she looks like that. if you are portraying what hera actually looks like, then there are two heras: viewed from the outside, formless and faceless, basically a disembodied voice without any other autonomous parts to express herself with, and the way she sees herself in her own mind and her own memories. from what we can infer, i honestly think the image hera has of herself is just of a regular human woman.

i don't know if you could portray hera in any visual medium, because... you can't show her, you can't make her a hologram or a face on a screen, and you can't make her... more robotic, with more expressive moving parts of the station, etc. because any of those things would imply something different about her than what exists in canon. like, i love the idea that eiffel looks at hera's cameras when he's talking to her, but it's important that something like hera's cameras never comes across as hera, as a physical presence. if that makes sense? the sense of isolation, the way hera feels trapped, at a physical distance from the others, unseen - that's such a central conflict of her character, the very literal way that her struggles are invisible to the others, and how the contrast between her internal vs. externally perceived self is at the heart of a lot of commentary re: identity, disability, etc. that surrounds her. audio is really the only medium where that can be maintained while still keeping hera an equal presence to the others - maybe there's some commentary you could make by deconstructing audience assumptions in a visual medium, but it would be difficult to make it the same.

... and that's not even getting into how music, and radio, and voice, and sound recording are all thematic components of the show!!