#knowledge vs application

[pastorhogg]

When Wisdom Walks In

Life Lessons Learned There’s something quietly powerful about the opening line of Proverbs. It’s a phrase many have memorized, yet few pause to explore deeply: “The fear of the Lord is the beginning of knowledge” (Proverbs 1:7). At first glance, it may seem like Solomon is telling us to be afraid of God, but as with much of biblical wisdom, the truth goes far deeper than surface reading. Let’s…

[baekuras]

Well didn't get the job I was w/ a few days ago but I'm not even mad bc I just had a good time hanging out in another city+the people there were nice and chill and I left behind a positive enough impression that they invited me to try again post training if I ever wanted to

[void-tiger]

…yeah I’m beginning to think all the resources are just BAD, Actually.

[aaaaatillathenun]

how have i gone this long in life without truly registering how driven by cocaine the 80s was. Like year everyone talks about it but I was listening to break my stride earlier today and that song is nothing but cocaine

[eternlmoonshine]

theoretical knowledge vs. practical application ☆ spencer reid

summary: spencer studies intimacy like any other subject, but nothing prepares him for the reality of being with you. in your arms, he finally learns that some things can’t be understood- only experienced. pairing: inexperienced!spencer reid x reader warnings: fluff galore, lots of kissing (practically making out), intimacy, but no explicit sexual content! wc: 1.1k masterlist. a/n: this brilliant idea came from my very lovely moot @/jackiesistired over on twitter <33

Spencer had read five books about kissing.

Not just any books, no. They were scientific, psychology-based books that broke down the act of kissing into its most basic neurological, physiological, and psychological components. He’d also skipped numerous peer-reviewed journal articles, and, at some point, had managed to venture into less scientific territory- modern dating guides that made his skin crawl but ultimately did provide insight into what people expected in relationships.

And then, there was the… other research.

The kind that led to him sitting in front of his laptop at 3 a.m., his ears burning as he read about intimacy in ways he hadn’t yet experienced. He took notes. Intricate organized, handwritten notes in which he annotated his key findings, storing them away like highly classified information.

But all of it- all of the extensive research- meant absolutely nothing the moment your lips crashed against his.

⊱ ───────── {⋅. ✯ .⋅} ───────── ⊰

You and Spencer had been dating for a few months now, and while things had been progressing steadily, he hadn’t made any major moves beyond gentle, lingering kisses and hesitant, shaky touches. 

He was shy about it- not because he didn’t want you to know, but because he was terrified of messing up. He’d told you early on about his utter lack of experience, and you had reassured him earnestly that there was no pressure.

But he wanted more. He wanted to touch you the way you touched him. He wanted to kiss you until you were both breathless, and he wanted to see if reality could really live up to things he had spent so long reading about. He wanted to know if he was capable of making you feel good.

Most of all, he desperately wanted to stop overthinking.

Which is how he found himself here.

Spencer hadn’t realised just how sensitive he was until he was beneath your hands, beneath your lips, and was trying (and failing) to stay coherent.

You had started slow and gentle, kissing him with a sweet, lingering tenderness, but the moment he responded- the moment he made the quiet, needy sound in the back of his throat- you deepened it. Suddenly, he wasn’t sure if he could survive this.

Your fingers tangled in his curls, tugging softly, and the delicious whine that escaped him was so involuntary, so desperate, that you felt him tense in embarrassment.

You pulled back just enough to whisper against his lips, “Don’t hold back.”

His breath hitched. His head spun as his grip on your waist tightened, unsure whether to pull you closer until there was no air between you or to push you away before he completely unraveled under your touch.

“I- I don’t-” He swallowed harshly as your lips gently brushed across his jaw. “I didn’t know I was this-”

“Sensitive?” you supplied graciously, dragging your lips down his neck.

Spencer shuddered. “Y-yeah,” he admitted, voice wrecked already.

You smiled against his soft skin. “I like it.”

He let out a ragged breath, his eyes fluttering shut as you pressed kisses down the column of his throat. “I- I think I do too.”

You laughed softly as you trailed lower, and Spencer actually whimpered.

You’d never heard a sound quite like that from him before- so high and desperate- a noise that he clearly hadn’t intended to make. His whole body twitched beneath your teasing touch, and he was gripping the couch cushions like they were his sole tether to reality. 

“Oh, God-” His voice cracked as your teeth grazed over his pulse point, his hips shifting instinctively beneath you.

He inhaled sharply as you went back up and pressed a kiss just beneath his jaw. Suddenly, his brain kicked into overdrive. "Did you know that the skin along the neck has an increased concentration of sensory receptors? It’s why-" His words cut off with a sharp inhale when your lips gently caressed the skin where his neck met his shoulder.

"Why what?" you teased, brushing your lips lightly over his neck.

"Why- it’s- um- " His breath hitched. "It’s a- an erogenous zone- highly sensitive- oh-" 

"You were saying?" you murmured, dragging your lips up the column of his throat.    

"I-" He tried again, but when you nipped lightly at his jaw, his thoughts crumbled.    

You pulled back to take in the sight of him. He was flushed, panting, his pupils blown wide with something akin to pleading.

“Spencer,” you murmured, running your fingers through his tousled curls, reveling in how he leaned into your touch like he was starving for it.

He looked up at you in a daze, his lips parted like he was trying to form words, but he failed to find them.

“I-” He swallowed hard. “I did research on this.”

You tilted your head slightly and bit your lip, amused. “Uh-huh?”

“Very extensive research,” he admitted, his voice hoarse. “A lot of it.”

“And what did your research tell you?” You hummed softly as you trailed your fingers lightly down his chest.

He inhaled sharply as he tried not to react to your touch. “That, uh- physical contact increases oxytocin, which promotes bonding, and- oh-” His voice broke when you pressed a kiss just below his ear, his whole body trembling beneath yours.

You grinned. “Go on, Spencer.”

“I- I-” His fingers clenched at your hips as you shifted, his breath stuttering. “Oh, my God-”

You kissed him again, slow and deep, and he let out the softest moan against your lips, feeling utterly helpless.

His hands trembled where they held you, like he was overwhelmed and he didn’t know where to move them. Like he was afraid that if he moved too much, or breathed too much, he might just lose control completely.

“You are adorable,” you whispered against his lips, dragging your nails lightly down his back.

He exhaled shakily. "I- um- "

Your smile softened, pressing a kiss to the corner of his mouth. “Let’s practice more.”

Spencer’s hands tightened on your waist, and for once, he didn’t overthink.

He just felt.

And it was so much better than anything he had ever read.

⊱ ───────── {⋅. ✯ .⋅} ───────── ⊰

Later, when you were curled up against him, fingers tracing lazy circles on his chest, he let out a quiet, disbelieving laugh.

You lifted your head. “What?”

He shook his head, cheeks still tinged pink. “I spent weeks preparing. Studying. Making sure I knew everything I could possibly know. And yet…” He looked down at you, still dazed. “Nothing I read could have prepared me for you.”

You smiled, pressing a lingering kiss to his jaw.

“That’s because,” you murmured, “some things you just have to experience.”

Spencer exhaled shakily, pulling you closer.

“Then I think I still have a lot to learn.”

You grinned, playing with the curls at the nape of his neck. “Good thing I loved teaching you.”

And when you kissed him again, he decided that practical application was his new favorite subject.

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[l0standn0tf0und]

Spencer Reid ❀ fic recs p.3

part 1.

part 2.

♡ = smut, 18+ only 

theoretical knowledge vs. practical application

it happens when you’re still half asleep...

but you peeked right over somehow

late night heart to heart talks

everything is still very new...

on the stroke of midnight

summer nights

used to, not to

watching him

newlyweds

ton 618

caught

drunk

sleep

♡restraint

♡snap out of it

♡nsfw alphabet

♡covetous cravings

♡swallows and ravens

♡no talking in the morning

♡i can do a lot with fifteen minutes

♡earlyseasons!spencer making you squirt

All credits and support to original authors: @godsfavdarling @moonstruckme @reidingandallthat @gf2bellamy @missarchive @webbluvrsugar @burymagdalene @blluesiide @vatelixx @nachrosas @shutupandwatchsmosh @reidrum @arislore @petrichoravery @esote-rika @gold-onthe-inside @lokisswiftie @eideticmemory

masterlist

[softestqueeen]

✧*̥˚ spencer reid fic recs part 5 *̥˚✧

gif from @hqtchner

a/n: *heavy sigh* another month, another fic rec list! yes, i am insane, you know the drill.

i had to split this into three posts, fluff , smut, and angst/hurt/comfort becasue there were so many 😭😭

✨ favourites

part 1 I part 2 I part 3 I part 4 I part 5 I my criminal minds masterlist

✧*̥˚ fluff*̥˚✧

admirer by @gf2bellamy

convention by -//-

sleep by -//-

headscratches by -//-

boyfriend!spencer hcs by @ihatethecrowdsyouknowthat

cats out of the bag by @laufeysvalentine

missing kiss by @spidercatweb

moments of glad grace by @miedei

bed chem by @dearlenore

cosmic love by @cherrygarcia-07

readers back by @siriuslylantsov

shut-eye by -//-

drunken confessions by -//-

thirty-six hours by @reiding-writing

theoretical knowledge vs. practical application by @eternlmoonshine

r.e.m. by @gold-onthe-inside

it's so sweet by @l0vergirlwrites

in infinite universes by @nereidprinc3ss

golden hour by @patchs-curiosity-corner

the scent of her by @casedclosedbye

ton 618 by @vatelixx

your star next to mine by @notlongtolove

spence headcannons by @jsmainblog

sfw alphabet by -//-

lovely love letters by @amorre1989

wedding night by @spxfav

if you want your work removed, dm me!

[kerryshifts]

hi kerry! would you like to talk about the reasons you shift for?

this conversation makes me a bit shy…….. but you asked on the right moment because i am listening to radiohead and i am a emotional. im going to over share and i’ll regret it at 3am but who cares!

so.

number one. no matter what i will say, no matter how much i talk about my drs' romantic relationships, the platonic ones are the reasons why i even started shifting in the first place. friendship is and forever will be the thing i crave for. here i was wronged so, so, so many times. what i feel for my friends it’s love. i love them like a mother loves her children….because i can’t be casual about anything. and now i am constantly angry because my love has been betrayed. everyday is a constant reminder that the people in my dr are not only friends who i am just around because we share classes or whatever, they have a piece of me in their soul like they are in mine. my heart has sections and the majority of them are about my friends…and they are going to take care of that piece of heart i gave them. i can be around them without feeling sick worrying if they are like everyone else. long live the friendships!! (especially with my girls. there’s just something about friendships with them that……i feel constantly if i am in the void. so like peace? this is not applicable for friendships breakups…ahahahah…)

number two. knowledge; and i don’t mean it in an academic way. like, i will also do that.. but i want to expand my knowledge about different kinds of human experiences. david bowie said that love dares you to change the way of caring, and this is exactly what i am going for… i want to be tested constantly so i can evolve. universe! i am easily bored. give me some suffering so i can understand what someone near (or far away) me is experiencing. this is not a very amazing mentality to have…..but what can i say. i am nothing if not a bunch of emotions mixed to each other and walking around my body hand in hand while leaving chaos in the logical part of the brain. this is also why i choose an enemies to lovers….it will challenge me. it’s absolutely perfect.

number three. my mom. i won’t say anything else, but she had to make it in the list.

number four. you know how some witches use magick to feel empowered? this is me with shifting. i wasn’t wronged only in friendships; so shifting just gives me the opportunity to…. not control, but…..something like that. if you know you know.

number five. understand. you can connect this with the second point. understand what? don’t know. but i want to understand something.

number six. food. food is about experiences and emotions and it’s a story of cultures and love and a family and inside jokes. i want all of it. because i am greedy.

number seven. well, romantic love of course has to be here. i am a lover girl. you know how i said that friendships have a piece of my heart? romance is weird for me….my body just creates a nerve that connects with everything else. and not in a toxic way. i know how to control it…sometimes. not the point. or i am crazy, or a new vein appears when i fall in love with someone (so like two times), starts trembling when i see that person and then the nerve makes everything else collapse. and then the only thing that works is my mouth used for bad jokes. but they seem to strike, so i am not complaining. but, the vein disappears when i am over it (not easy….not easy. at all. i remember it all to well) and…the nerve? don’t know. the other parts of my body fight it everyday is if it’s percy jackson vs kronos.

those are the main things. here’s a bit of my soul xxxxx

[tryingahandinholdingapen]

thinking about the "consensual but not safe or sane tag" but like. what if instead of referring to sex it was referring to Tobirama's dubiously ethical science?

Imagining a fic/universe in which Tobirama is actually pretty well liked by his clan because he invents so much cool stuff they can then use (seals, jutsu including healing jutsu, knowledge, miscellaneous inventions) but you know, Tobirama needs to test things out sometimes. Theory is all well and good but ideally you don't want to be testing something for the very first time when you actually NEED it to work. But the ethics are. Dubious

Like he'll make sure he's certain of the theory before he does anything, and if applicable he will try to test it on mice or something before leaping to human testing. But if animal testing would be difficult/impossible for a particular invention (including diagnostic or healing jutsu, and some combat jutsu) he WILL just jump straight to human testing. Also sometimes "certain of the theory" means "I am certain one of two things will happen here, one of which is the desired result and the other...Isn't."

When talking human experimentation he prefers his subjects to be allies if possible. This is partly because of Hashirama (he assumes Tobirama wouldn't do anything too unethical/harmful to their allies, which may or may not be a flawed assumption but so far hasn't been an issue) but mostly because Tobirama is like. Well. One of the main advantages of testing something on humans is that they can give me coherent feedback on exactly what they experienced/felt/etc,but if the human in question is a prisoner or captured enemy they'll probably just fucking lie to me about it and that would impede further research quite significantly. Nah. Best stick to allies as test subjects

I want to say this is a universe in which a) because naruto-verse is so anachronistic and what people know is further complicated by jutsu vs technology vs keeping secrets, Tobirama's first step in helping the Senju clan develop the more complex healing jutsu was "figure out anatomy"; AND b) rumours abound about Senju Tobirama being an evil mad scientist who aims to steal bloodline limits and experiments on prisoners and there's always screaming coming from his lab... most people either fully believe this or are like "I'm sure he doesn't do any unethical experiments or test anything on humans or hurt anyone at all ever (except in battle/missions)" both of which are, of course, wrong. Just, in opposite directions

Anyway

Scenario in which an insignificant Senju is captured by another clan (Uchiha? or would it be funnier for them to learn secondhand?) and one of the first things the captors are discussing is after stripping them of weapons etc and possibly changing their clothes (look its pretty standard practice to have ninja wire, senbon, etc hidden in your clothes, it's a BAD IDEA to leave a prisoner in the clothing they had prior to capture) is "hey what the hell are these scars about?? were they tortured before or something??"

(okay pronouns are getting confusing with using plural they for captors+singular for prisoner+he for Tobirama so I'm deciding the prisoner uses she/her for sake of easy comprehension with pronouns for now)

And so at some point they question the prisoner and she's p out of it (concussion and or drugs and or shock and or genjutsu so she answers p easily she's like "which scars?"

and whoever is leading the questioning goes, "well, for starters, these scars here. when were you tortured and who by? how did you escape? (subtext: is this smth we need to be aware of/take into account and also how do we stop you escaping us the same way?)"

and she pauses a moment because what "I've never been tortured?? this is also the first time I've been captured. embarrassing really. normally people just try to kill me s'not like I'm important"

and the leader goes "..okay. how did you get these scars then?" whilst another of their group talks over them to say "wtf do you MEAN you've never been tortured it looks like someone cut you apart!"

and she goes "lab day :)"

and the leader takes a hint from the interruptor's wild gesturing to press "...how does a 'lab day' entail being cut apart?"

and she, alarmingly casually given shes talking about her own insides, clarifies "well, anatomy studies. duh. hard to study the insides of a person when the outsides are in the way, yknow?"

alarmed silence

"just cut...there, and there", jerking her chin towards two horizontal scars on one arm, "line between them..." there is indeed another scar connecting them, like a poorly proportioned H, "..and then pull the skin back to see underneath."

more horrified silence

"like flaps! or the pages of a book!" she continues (un)helpfully, "and then you draw out what you see under the skin, ideally with annotations and stuff. we've got some pretty good charts now"

"...and you say you've never been tortured before."

"nope!"

"and you don't classify that as torture because..?"

she's all blank confusion

"torture is damage or genjutsu or emotional pain inflicted by an enemy with the intention of extracting information and/or causing a victim to suffer," she reels off by rote. "that, another jerk of chin towards the scars in question, "was none of those?"

"...right."

"well I guess technically it was an attempt to extract information, yknow, the information being 'what does the inner arm look like in this spot', but if that alone classified it as torture then every conversation and observation would also be classified as torture, so..." she's still really out of it and getting distracted

"..of course. so your captor wasn't intending for you to suffer, even though you still have scars even now?"

"I mean, this was like. five months ago. I scar real easily but I also heal pretty well so those ones should be almost invisible in maybe three years?" she frowns belatedly processing "hey! captor's a bit harsh. I only had any restraints at all because I get real fidgety real quick and I kept moving too much when I tried to see what was happening. not a good idea to move around when someone's got their hands in your insides. my cousin is way better at staying still and still seeing what's going on, lucky bitch, so doesn't have to deal with restraints at all"

"you were conscious when this happened."

"yeah?"

"surely if they didn't want you to suffer the easiest option would have been to just knock you out until you had recovered from the.. injury. keeping you awake and not suffering, as you insist you werent, seems far more complicated"

she's kind of confused by this "well, yeah it was sort of complicated to figure out and implement and stuff but if I wasn't aware that wouldn't be nearly as useful?"

"...what"

"well. in this PARTICULAR case I guess it didn't really matter but USUALLY on lab days being aware is helpful. tobirama-sama says one of the top reasons to use human subjects is you can actually get active feedback on how they're affected since they can just tell you"

one of the interrogators, somewhat further from her and (mistakenly) too loudly not to be heard "god fucking DAMNIT I thought those rumours were exaggerated"

[shmreduplication]

decided to make a separate post rather than make a v long tangent on this post (which is good and you should read it, tldr is an AI model was supposed to identify wolves vs dogs but every picture of a wolf was in a snowy landscape so the AI's logic was snow=>that animal is a wolf not a dog)

I feel I'm saying this constantly that the phrase "garbage in, garbage out" needs to become MUCH more common because imo it needs to be used in literally every conversation about AI

here's the wikipedia article about it, note that even CHARLES BABBAGE (v important guy in computer history, if you know Alan Turing's name because of computer history then you should learn Charles Babbage's name next) was aware of the phenomena. I think it's interesting that the history of the phrase is from computer history because it's really more of a statistics problem than a computer problem. AI is a statistics+computer problem so I guess it doesn't really matter

anyway the point is if you have bad data then you can only produce bad data analysis. Garbage [data] in, garbage [data analysis and decision-making that's based on it] out. Pictures of wolves in snow in, snow used as the determining factor between wolves and dogs out. Pictures of sheep in fields in, every field labeled as having sheep out. Pictures of pornography in, flagging desert and sandy landscapes as porn out. Racist policing in, racist policing out.

people who make AI models that pull indiscriminately from the entire internet think they're avoiding GIGO because surely the internet has the entirety of human knowledge contained in it? Obviously not, for two reasons: 1. human knowledge contains the information that wolves exist regardless of proximity to snow but that fact is so obvious and benign that it is possible it was never interesting enough for anyone to put onto the internet before this very post, and 2. it only takes one snowless picture of a wolf on the internet to fulfill the idear of "all human knowledge is on the internet" and those (apparently v few) pictures can be completely overwhelmed by the (apparently abundant) pictures of wolves in snow to the point that an AI trained from the internet will still prioritize snow in determining if a picture has a wolf or dog. This is a lot of words to say that the internet is garbage so anything trained from it will only produce garbage

anyway uh. those articles are from 2018 and 2020 so extremely outdated as far as tech news goes so thanks OP for letting me know that this specific kind of landscape-determines-animal kind of AI silliness is still happening because the sheep-fields thing is one of my favorite tech stories and i've told a lot of people about it

oh wait one more thing: Psychology has a related concept, WEIRD Bias, which is about how the majority of psych research is done on people who are Western, Educated, Industrialized, Rich, and Democratic so we can't assume conclusions made from that research is applicable to people who fall outside of that acronym. Not exactly a GIGO situation because the conclusions can still be accurate but it definitely still becomes "garbage out" if the diversity of the sample population is not considered and the conclusions are applied universally

[insipid-drivel]

Warhorses: Which horses are actually good candidates, anyway?

This post is in honor of @warrioreowynofrohan, who asked the question in the comments under my guide, "Horses: Since There Seems To Be A Knowledge Gap". Their question, "Given what you said about too much weight breaking a horse’s spine, how did that work with knights in plate armour?" is one I'm going to try to answer here, since the answer can be very nuanced depending on where and when you're talking about.

Also, while I was a stable hand for years as well as a rider, I never had the opportunity to directly learn more ancient styles of tacking, horse training, and combat, so I don't have any direct experience to draw from with regard to horses used for military purposes. I'm still gonna do my best here with what I know, and research what I don't.

As I've covered in the past, large horses (draft horses) make less-than-ideal warhorses, and so do carriage horses like the elegant and dramatic Friesians.

Let's begin by addressing this from the perspective of creative writing. For you writers and content creators out there, an essential part to the continuity of any historically-themed work you do involving horses will be depicting breeds of horses that didn't exist before a certain time in history. I'm going to approach this question from the stance of, "Medieval-type era warhorses". Horses were used in warfare as late was World War II, but actual horses you ride into battle with knights and archers and bannermen? We actually have to drop the subject of specific modern breeds altogether aside from using them for comparisons.

When discussing warhorses, various cultures have approached them differently. Some cultures will value a specific type of horse above all others, such as the Mongolian Steppe Horse or the American Mustang. Other cultures, which may be from biomes and territories where multiple types of horses are needed for different forms of warfare and tactics, value whichever horses can get their jobs done without their riders getting killed.

Carrying vs. Pulling:

Horses have been used in warfare since as far back as 4000 BC, but their first applications were more as chariot horses. Humans have been riding and working with horses since before we even had stirrups to more easily ride them with! As archaeologists and anthropologists make more discoveries, the more we learn that we humans have been working closely with horses since before we had specialized tools to ride them with. The very first warhorses pulled chariots or carts, which is much easier for a horse's anatomy to handle compared to carrying a heavy weight like an armored rider on their backs, which puts stress directly on their spines where they have very little supporting muscle for supporting a lot of heavy downward weight.

Warhorse Size Categories:

Really, any breed of horse can apply to a niche in warfare if it's needed enough. Even very small, delicate horses have had their place in the history of human combat! Before I continue, it's important to know that there's a unique unit of measuring a horse's height. Rather than measuring a horse's height in centimeters or inches, they're measured in units called "hands". A single "hand" = ~4 inches/10.16cm, and a horse's height is measured based upon the distance between the bottom of their hoof to the tallest part of their shoulders, just at the base of the back of their necks. We don't actually include neck length/head height in a horse's measurements with traditional measuring.

Another rule of thumb: The average horse cannot safely carry anything heavier than about 30% of their total body weight. This is a serious factor to take into mind when deciding on a type of or breed of horse for a mounted warrior of any kind: You need to factor in the OC's starting body weight, and then add on the weight of armor, weapons, and any armor the horse itself may wear along with the weight of its tack.

Light-Weight Horses:

A few examples of lightweight horse breeds whose ancestors have historically been used in combat are Arabians, Barber Horses, and the magnificent Akhal-Teke. Lightweight and delicately-boned horses like those are best applied for military maneuvers that require precision, speed, and endurance, and the rider themselves should specialize in some form of combat or reconnaissance that doesn't require them to wear heavy metal or laminated armors. Archers are good candidates for riding smaller horses, or lightly-armored swordsmen like an Ottoman Janissary.

Central-Asian and North African horses also benefit from having a higher tolerance for hot climates. They can absolutely suffer from heatstroke and cardiac arrest from being forced to run and work in extreme temperatures and should always be provided with the same protective measures in a heatwave as any other horse, but they have a little bit of an edge over horses descended from freezing and temperate climates.

Medium-Weight Horses:

Medium-weight horses started showing up in the archaeological record around about the Iron Age, where chariot warfare was becoming an increasingly utilized form of mobile combat, and people needed bigger, stronger horses capable of pulling heavier loads - such as a chariot with two passengers rather than just one. As cultures began to develop heavier-duty armors made of metals and laminated materials, it also became important to breed horses that were tall and stocky (muscular and with relatively short spines compared to their height), and therefore more capable of carrying riders in increasingly heavy armor. Medium-weight horses were also essential at the dawn of the gunpowder age when the cannon came into use in siege warfare for pulling the heavy, iron cannons into position.

Medium-weight horses are really where we see the beginnings of knights and other warrior classes on horseback come into the forefront of warfare. When you have a horse that's big and strong enough to carry heavier armor and heavier weapons along with a rider wielding them, you have a much deadlier force at your disposal. Strikes from a sword or spear from the back of a galloping horse basically results in a sword capable of cutting through enemy soldiers like a hot knife through butter.

Important Note: Traditionally, cavalrymen wield blunt swords when attacking from a charging horse's back. When a horse is charging at full speed, the sharpness of a blade becomes less important than the blade's ability to stay in one piece when it impacts hard armor and bone. A blunted edge basically turns a cavalryman's sword into a thin club that's better at holding up against smashing through multiple layers of armor and bone compared to a thinner, more delicate sharpened edge that can shatter from a high-speed impact.

Heavy-Weight Horses:

The direct ancestors of modern draft horses, such as the Shire Horse, only began to appear around about the beginning of the European Medieval Era, and were far and away not even close to the enormous sizes of the draft horses we have today. Any horse counts as a "Heavy-weight" classed horse if its weight exceeds 1500lbs/680kgs.

Heavy-weight horses were really more bred for pulling enormous weights rather than carrying knights. While yeah, there is some evidence that suggests that heavy-weight horses were used by heavily-armored knights, historians argue a lot about whether it was a rule or an exception (such as with Henry VIII, who continued to ride well after he had begun to weigh more than 350lbs/158kgs, and even went to war in France in his final years on horseback). Generally speaking, medium-weight horses tend to be the right balance of agile and strong for carrying someone that's going to actively be fighting. Heavy-weight horses were bred to be a lot more tolerant to the chaos and frightening stimulation of the sounds of battle, but medium-weighted horses generally tended to be more suited to moving efficiently through dense packs of soldiers and weaving around other horses.

Ponies:

While actually being the smallest class of warhorse, ponies were essential when it came to carrying cargo and working as pack-horses. In certain forms of terrain, such as mountains, large horses pulling big carts full of supplies or soldiers could often be extremely impractical. In situations where an army needed to move on foot and form a narrow line in order to travel, ponies were able to traverse much narrower and rougher terrain while carrying smaller loads to their destination, when heavier horses would struggle more under their own weight and dexterity.

Europe-Specific Terminologies:

If you're a writer reading this and writing a piece set in the European Medieval age, there are specific terms used for the different classes I listed of warhorses above that I'm gonna list:

Destriers: The Destrier was a universal term for the iconic knight-carrying, jousting horse. They were also sometimes referred to as "Great Horses" due to their reputations in combat settings. Destriers could have just about any appearance, but were rarely taller than 15.2 hands, or 62inches/157cm. They were capable of carrying heavily-armored knights (although knights in full plate mail rarely rode into battle and stayed on the horse the entire time - they tended to specialize at grouping up and killing a lot of footsoldiers swarming them at once and preventing breaks in defenses from being overwhelmed by an oncoming army; in the case of Edward the Black Prince, we have substantial evidence in the form of his surviving brigandine that a mounted soldier or knight was more likely to wear chainmail and brigandine with a tabard on their body with their arms, feet, and heads the most heavily armored in plate when they intended to fight on horseback, making them a little lighter and more maneuverable, but I may be waaay off base there because I'm thinking of more of Italian soldiers who used full plate and how they applied it in battle more than any other example) and wearing armor themselves.

Interestingly, the sex of a destrier was often chosen strategically. Stallions (horses that haven't been neutered) are more aggressive, and could both act as combatants on their own if their knight was dismounted or killed, but could give away an army's location if they were attempting to move stealthily. Stallions whinny and shriek a lot when they're horny or arguing with each other, which is most of the time.

Mares were often chosen by Muslim armies for being much less vocal, and therefore much more capable of stealth. Geldings (neutered males) were the preferred mounts of the Teutonic Knights, a Catholic military group, since they couldn't be stolen and used to breed more horses for the enemy army.

Coursers:

Coursers were the most common Medieval European warhorse. It's important to remember that in Medieval Europe, most armies were almost entirely comprised of common men - serfs subject to the will of their landlords, not far removed from slaves in many ways - who couldn't afford the highly-prized and expensive Destriers. Coursers were usually a bit lighter than Destriers, but were still strong enough to carry someone wearing armor. Coursers were also a little more utilitarian, because they were also sometimes used in hunting as well as warfare, so they had a valuable use outside of warfare that the owner could benefit from.

Rouncey:

A rouncey was an all-purpose horse that could be used for leisure and travel-riding as well as be trained for war. They were a lot more likely to be found on the farm of a serf or independent farmer of some kind, as they could fill a lot of different roles depending on what they were needed for. Their sizes weren't really important as much as their ability to get the job done.

It's also critical to remember that, when talking about warhorses, we're usually talking about eras long past. In general, thanks to resource availability and incredible advances in medicine, modern humans are significantly taller, and therefore heavier, than people from the European Medieval era and prior. While fatness was valued in many cultures for its suggestion of wealth, most working-class and serf-class people worked intensely physically-demanding daily lives just to maintain their own homes. They were a few inches shorter on average than we are today, had greater fluctuations in body fat distribution depending on how harsh or bountiful the harvest season had been and the season in which a war was taking place (the average person's weight would swing by 30lbs or more on average every year prior to the industrial era), and cavalry were usually chosen based upon skill in the saddle as well as physical size when considering the application of medium or heavy armor being placed on the horse's back and body.

[enarei]

in short I think the extent to which fighting game knowledge is applicable to souls games is more palpable than you'd think and people that have even a passing interest in how they intersect should try monster hunter. it's a good game with a shitton of replay value. I'm only just now opening myself up to trying more weapons and the amount of ways in which you could approach drawing matchups for each weapon and monster pairing is mindblowing. charge blade vs glavenus makes me hard

[cauldronandkettle]

Types Of Witches

There are so many types of magic and magic users out there! We all carve out our little corner of the craft to fit exactly what we want. Chances are as you start to learn your craft, you will find that you are pulling from more than just one type of magic, and that’s totally okay! These are just quick descriptions, again, to potentially help you find the direction you want to go in, but who knows! Maybe a particular craft will call to you, and you stick to it! 

This is by no means an exhausted list of types of magic or witches there are, but it’s a great jumping off point! 

___________________

I’m just going to put this here. Witch is a gender-neutral term. I’m not here for this “Witch vs Warlock, Woman vs Man thing in the craft. If you prefer being called a witch, cool, if you want to be called a warlock, got it. There is absolutely no reason to categorized magic makers like this. 

___________________

Solitary Witch: 

This is a person who prefers to study and practice alone. They tend to work off of their own intuition and don’t feel the need or want to add other energies into their craft they may be unpredictable

Hereditary Witch:

These are folks that come from a line of magic users. They learned their craft from their elders, probably steeped in tradition and history. 

Traditional Witch:

These folks prefer to play by the rules, keeping strict to the history and pomp and circumstance. These people may be the kind of person who believes you have to apprentice to be a witch. This kind of witch also often overlaps with hereditary witches. 

Divination Witch:

These folks focus on not only manipulating the surrounding energy, but communicating with it, either for themselves or others. This can include things like Tarot, runes, and oracles, but also things like astrology and horoscope. 

 Lunar witch:

Most witches use the moon in their craft, but these folks tend to focus their whole craft around it, often planning around the moon cycle when planning their craft. This can also include things like full moon and new moon rituals, moon water, eclipse rituals and more. If this is something that speaks to you, I recommend looking into deities like Artemis. 

Sea witch:

These witches spend their time around water in general, but more specifically the ocean. They can use things like shells and sea glass alongside their crystals. Often, sea witches get their psychic and mental energy from being in and around the ocean. 

Green Witch:

This is a craft that revolves around nature, herbs and plants. Often these witches overlap with kitchen witchcraft, with mutual use of herbs. Green witches often gardens to tend to, and a knowledge of herbs and foraging. These folks may have not only metaphysical spells, but physical applications like tinctures and salves. 

Kitchen Witch:

Often called hearth witchcraft, (But some might argue they are two distinct crafts) Kitchen witchcraft is a fairly large category of the craft, pulling from green witchcraft, fae witchcraft, as well as lunar magic and divination all wrapped up. These witches tend to have a love for food, helping people, and building community. Sharing their magic with people in meals or sending baked good to a loved one is a simple way to use kitchen magic in your life. 

Fae Witch: 

These are witches that also tend to overlap with green witchery and kitchen witchery, using care for the natural world to get on the good graces of fairfolk. Spending time with nature, leaving offerings for the fae, or showing care and reverence for the wildlife are all ways you could do this. 

City Witch:

While most witches pull their energy from nature, city witches pull their every from the ever-changing living energy of the city. 

Cyber Witch:

This is pretty similar to city witchcraft, with the use of more modern energy and tech in their craft. Maybe instead of lighting candles, they have color changing lights for rituals. Or, maybe they write their grimoire online versus in a book. They often find comfort online in the same way that others may get comfort being in the woods or by the ocean. 

Eclectic Witch:

This is the kind of craft where you take what you like and leave the rest (within reason). In my personal opinion, most witches live in this place. You take a little from this column, a little of that column, and craft the perfect little space for you. 

Chaos Witch:

So… Everything I just said? Throw it out the window. A chaos witch does what they want when they want, on their terms, and their craft represents that. They don’t follow correspondences set forth by others. They do what they think is right, when they think it’s right, and don’t really care what anyone thinks about it. I have always believed a good witch as a little chaos magic in them. 

__________________

This is just a jumping off point! Make sure to always do your own research, and don’t let just one person tell you the right or wrong of the craft. This is a place for you to sit and meditate, decide what may or may not sound good to you, and take the leap into that world. The journey is the best part, after all.

Find me all over the web!

[ai-the-broccoli]

sudden talk about narumitsu (vs lawlight)

I think, lawlight and narumitsu being like opposites (in a certain sense) is kind of remarkable for its implications for narumitsu honestly. because being the opposite of lawlight in this case also means it is similar to lawlight in a way, and isn't that kind of interesting

like. lawlight was founded on L's persistent disbelief in Light's innocence even when everyone else (including Light himself) believed in it, while narumitsu was founded on Phoenix's persistent belief in Edgeworth's innocence even when everyone else (including Edgeworth himself) didn't believe in it.

now L's distrust of Light's innocence is narratively justified, because we as the audience know that Light is Kira. and Phoenix's trust in Edgeworth's innocence is also narratively justified, because we find out that it turns out Edgeworth was innocent of the murders he was suspected for. so they're both right!

the thing is, however, what if that wasn't the case? like, even though he turned out to be right, Phoenix had no real, substantiated reason whatsoever at first to believe that Edgeworth was innocent (it would've been an accidental killing, like even if one trusted fully that Edgeworth would never murder anyone on purpose due to their knowledge of his character, it still doesn't exempt him from possibly having committed unintentional manslaughter), yet he did, out of his sentimental trust of him based on his childhood experience, and -- very notably -- his desire to always see Edgeworth as that definitely-innocent man he has believed him to be. because that's the way he wants to view Edgeworth, and that's what validates his past experience and his choice to choose this path to follow Edgeworth into law to "save" him, because after all, to Phoenix, he is "the only one who knows the real Edgeworth", and "the only one who can save him". Phoenix's goal to "save him", in the specifically sense that Phoenix conceives of it, is currently specifically a goal that is only applicable and valid if his image of Edgeworth is true to real life, therefore it HAS to be true or this doesn't make sense. there is a certain... is "possessive" the right word? I'm not sure but yeah there's a certain implication there that Phoenix essentially "insists" that Edgeworth be the version of him that fits Phoenix's idealized image of him etc., even when Edgeworth genuinely disagrees. however, well, on the matter of his innocence, Phoenix does turn out to be correct, therefore the narrative essentially validates him on count of this.

on that note,

.... yeah.

so. very interesting contrast imo, because here we have Yotsuba arc Light who genuinely doesn't know he is not innocent, versus Edgeworth in Turnabout Goodbyes where he genuinely doesn't know he is innocent about the elevator murder. but L / Phoenix insists hard on the opposite case being true, because they are not satisfied unless their ideas about who Light / Edgeworth is are correct. and well in context it happens to be true, but still. it's interesting. something like that etc

[nubecita040]

FLUFF MASTERLIST 3

Of Bookstore, Coffees, and Late Nights by @jhilsara

Cases and candies by @mrs-weasley-reid

Bolinus brandaris by @violetrainbow412-blog

Blurb single mother by @ddejavvu

First time blurb (suggestive) by @certifiedlovergirlsstuff

Theoretical knowledge vs. practical application by @shutupandwatchsmosh (suggestive)

Angel by @gf2bellamy (The queen of fluff, at this point my fluff masterlist are composed of all her works)

A study in care by @reiding-writing

First date by @girldeadsworld

Sleep by @gf2bellamy 

Blurb quiet morning by @4pologygir1

Blurb boyfriend hands by @4pologygir1

Soft words in a loud world by @little-jana

Blurb boyfriend by @4pologygir1

Blurb cute pictures by @lillaberry

Little baby lime by @certifiedlovergirlsstuff

Sleep by @mindfullycriminal

Impressions by @gf2bellamy

Roommate spence au pt2 pt3 by @luveline (all the parts can be read as fics on their own, they dont have a specific order)

Newlyweds by @gf2bellamy 

Storybook magic by @persegrace

Espresso Beans and Eyes That Gleam by @criminallyvenomous 

Cookies by @gf2bellamy 

Kiss it better by @enderlovez

A little timid by @enderlovez

Face masks by @l0vergirlwrites

Physics problem by @mimikyusrealform

Blurb lost in romance by @moonstruckme

Blurb 1 by @moonstruckme (a little bit suggestive)

Cat dad by @beenreidingaboutyou 

Welcome home by @cherrriesinthespring

Shelter from the storm by @pathologicalreid

Approval by @gf2bellamy

Warm under the collar by @mariasont (a little bit suggestive)

Fitness by @gf2bellamy 

Cozy by @gf2bellamy 

Roommate spence by @mandarinmoons 

Spencer reid saves his arachnophobic roommate from a spider in her room by @whimsijoy

No sign of danger by @pathologicalreid (flangst)

Halloween by @gf2bellamy

Blurb 2 by @miedei

Conversations on sleep by @burninglavenderincense

Die with a smile by @minswriting

Festival by @gf2bellamy

Dr. Who scarf by @mandarinmoons

Blurb 3 by @mandarinmoons 

She's the boss by @dearlenore

3 month anniversary by @mandarinmoons

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