#mathematic behind perception

[ingoampt]

Day 9 _ Deep Learning _ Perception

Here I explain perception in 3 different ways which can show same purpose but first only explain the mathematic behind perception to show what’s the mathematic behind Perception when we import perception in a deep learning code , we also show this mathematic in a code based so how the code look if we do not import perception and wanna do it with mathematic. Lastly, we show how it look like ima a…

[p0orbaby]

Born to Love You Back

summary: a very important question is on the horizon

warnings: none

a/n: some rich!reader for you all

word count: 1.7k

-

The jeweller’s salon is tucked into a narrow street in the 1st arrondissement, down a street so narrow you almost missed it, the kind of place that doesn’t need signage because everyone who matters already knows where it is. The building itself is unassuming but pristine, a five-storey townhouse with cream-coloured stone, wrought-iron balconies, a double door painted a deep charcoal with brass fixtures that gleam in the waning afternoon sun. Outside, a delivery van idles, spilling faint notes of Edith Piaf from its radio as a man unloads crates of flowers: cyclamen, lilies, eucalyptus branches arranged in bursts of green and white. They��ll likely find their way to the salon’s interior within the hour, arranged with almost mathematical precision to evoke a studied nonchalance.

Inside, it’s quiet—museum-like but less sterile, hushed but alive. There’s a balance between the soft hum of conversation from another room and the faint, barely perceptible scent of lilies and leather. The floors are a herringbone parquet, polished to an impossible sheen, and the walls are panelled in dove grey. Everything about the space is designed to whisper money. Even the receptionist, stationed behind a desk lacquered to such a high gloss that it might double as a mirror. She’s mid-twenties, probably just out of university—Sciences Po, perhaps, or one of the Grandes Écoles—wearing a black crepe shift dress that hits just above the knee. Chanel, you’d bet, though it’s hard to tell from here. Her hair is sleek and straight, parted sharply in the middle, her nails painted in Rouge Noir, a colour so iconic it’s practically shorthand for Parisian sophistication. She greets you in French first, then switches to English the moment she hears your accent, though her tone remains precisely the same—warm but not too warm, deferential but not subservient.

Aurélie is waiting for you on the stairs. She’s maybe late thirties, tall, with that certain froideur that women in her line of work cultivate like a second skin. Her blazer is Saint Laurent—black, sharply tailored, peak lapels—and her silk blouse is an ivory so fine it catches the light in a way cotton never could. Her trousers skim the tops of her Louboutin heels—black patent leather, red soles so subtle they barely register. Her jewellery is minimal but deliberate: a single strand of Mikimoto pearls, their lustre so perfect they almost look artificial, and a pair of matching studs. She smiles when she greets you, her lips painted a nude so neutral it could have come from any number of Tom Ford palettes, but you’d guess Casablanca.

“This way, please,” she says, gesturing towards the stairs with a hand that’s manicured in a soft ballet pink, not a chip in sight. You follow her up, noting the faint scent of her perfume—Chanel No. 19, not a popular choice but a discerning one, with its crisp notes of galbanum and iris that feel both professional and unapologetically feminine.

On the landing, there’s a painting—a still life, maybe Cézanne, maybe a very good imitation. You don’t stop to look, but it catches your eye enough to linger in your mind as Aurélie opens a door to the second-floor where Its quieter, darker. The walls are a deep navy—Farrow & Ball, maybe Hague Blue—and the rug beneath the central display case is thick enough to swallow the sound of your footsteps. The case itself is glass-topped and backlit, the kind of lighting that renders diamonds almost supernatural in their brilliance. The rings are arranged by cut and carat, each one nestled in its own velvet slot, the symmetry of the display both calming and slightly overwhelming.

Aurélie steps aside, giving you space but remaining close enough to anticipate your needs. She stands with her hands loosely clasped in front of her, her posture immaculate.

“Take your time,” she says, standing back with the same attentive grace she’s shown since you arrived.

You nod, your gaze already falling to the rings. You’ve thought about this for weeks, maybe months, but standing here, it feels more real, the weight of the decision settling in your chest. Not because you’re uncertain—you’re not—but because this is a moment you’ll remember, whether you want to or not.

The first ring is a cushion-cut diamond, two carats, set in a band of pave diamonds. Platinum, naturally. The proportions are flawless, the craftsmanship impeccable, but as you turn it in the light, you know immediately it’s wrong. Too ornate. Too eager. Alexia would hate it. You imagine her wearing it for a moment, and the thought feels so ridiculous you almost laugh. She doesn’t like excess, at least not in the obvious sense. Her taste is clean, modern, unfussy.

The second ring is pear-shaped, slightly smaller, but with a brilliance that draws your eye. The stone feels alive under the light, its facets catching every subtle movement of your hand. For a moment, you hesitate, thinking about how it would look on her hand, but then you remember something she said once, flipping through a magazine in bed: “Pear cuts are too delicate. They look like they’re trying too hard.”

You sigh, not quite aloud, but enough for Aurélie to notice. She steps closer, just enough to offer a quiet suggestion. “Does she have a preference?” she asks, her tone light, neutral. “For the setting, or the cut?”

“She likes things simple,” you say, the words coming out more clipped than you mean them to. It’s not her fault, this unease you feel. “Classic, but not boring”

Aurélie nods, her expression unchanged, and steps back again. You wonder if she can sense the weight of what you’re doing—if she’s seen enough of this to know the signs. The third ring catches your eye before you reach for it. A round brilliant diamond, 1.8 carats, set in a plain platinum band. No pave, no halo, no embellishments. It’s striking in its simplicity, the kind of ring that doesn’t need to assert itself because it knows what it is. You pick it up, holding it to the light, and as you turn it, something settles in you. This is the one. You don’t need to overthink it.

Aurélie smiles faintly, as though she already knew. “Shall I prepare it for you?” she asks.

You nod, handing it back, and she takes it with both hands, disappearing into a back room.

While she’s gone, you pull out your phone. You shouldn’t call her—she’s probably still at training, her mind on drills and tactics—but you do it anyway. She answers on the third ring, her voice steady but soft, with that familiar cadence you’ve missed more than you’d care to admit.

“Hey,” she says, her voice clear, grounded, with just the faintest lilt of distraction. In the background, there’s a low murmur of voices, the familiar thud of a ball meeting turf, maybe a coach shouting something that’s swallowed up by the wind. You imagine the sun slicing through the Catalan sky, the kind of relentless brightness that makes the whole city shimmer.

“Hey,” you reply, smoothing nonexistent creases from your blazer out of habit, though no one is watching. Your reflection in the polished glass of the display case looks composed, disinterested, but the sound of her voice pulls something taut inside you. “How’s training?”

“Same as always,” she says, and there’s a pause—just long enough for you to hear her exhale softly, almost imperceptibly. You know she’s stepped aside, moved to some quieter corner of the training complex where no one will overhear. She’s careful like that, never careless, always aware of her surroundings.

“Still exhausting?” you ask, and she laughs under her breath—a low, warm sound that lingers longer than it should.

“Mhm,” she hums, the sound of it makes you smile despite yourself. “But it’s a good kind of exhausting. You know how it is”

“Not sure I do,” you tease, leaning against the edge of the display case, its surface cool against your hand. “I can’t say I’ve run laps around a pitch lately. Unless you count running several businesses as exercise”

“Of course,” she says, dry but affectionate, “such an athlete. Truly inspiring”

The corner of your mouth twitches upward. “I aim to impress”

There’s a faint rustle of movement on her end—maybe she’s leaning against a wall, maybe adjusting the strap of her training bib. You picture her in that effortless way she carries herself: shorts sitting just right, socks perfectly rolled down, hair tied back in that half-loose, half-styled way that only someone like her can pull off.

“Where are you?” she asks, not because she doesn’t know, but because it’s the kind of question you ask when you want the conversation to last a little longer.

“Near Rue de la Paix,” you say, keeping it vague. “Finishing up a meeting”

“You’re always finishing up a meeting,” she says, and there’s a lightness to her tone, but it doesn’t quite hide the subtext.

“You’re always training,” you counter, matching her tone, and you hear her chuckle, soft but genuine.

“Buen punto”

There’s a brief pause. In the background, someone calls her name, a voice you don’t recognise, and she responds with a quick, sharp “Un momento.” The way she switches languages so fluidly—it’s seamless—and yet it reminds you, in a small but certain way, that her world is different from yours. Barcelona, with its golden afternoons and relentless sun, its terracotta rooftops and restless streets, feels a thousand miles away from the polished stillness of this Parisian jewellers.

“You should,” you encouraged knowing full well she’ll make no move to end the call herself.

“I’ll see you tonight?” she asks, and it’s a question, but not really.

“Of course,” you say, without hesitation this time.

There’s another silence after that, but it’s not uncomfortable. It’s the kind of silence you could live in, one where nothing needs to be said because the words are already understood. Finally, she says, “Te quiero,” and you hear the faint click as she ends the call.

Aurélie returns with the ring, now nestled in a velvet box so pristine it looks almost untouched by human hands. You slip it into your pocket, the weight of it grounding you, and leave the salon with a nod of thanks.

Outside, Paris feels sharper, brighter. The air smells faintly of rain and burnt sugar from a nearby crepe stand, and the light is just beginning to soften as dusk approaches. For the first time all day, you feel steady.

[aventurineswife]

This is a long one, close to 1500 words. Let me know what you think!

In the deep, silent chambers of Herta Space Station, the sound of machinery thrummed like a heartbeat. Steel walls gleamed under sterile lights, and somewhere in the core of it all, Herta—The Herta—stood alone, surrounded by devices of her own design: autonomous drones, data collectors, and dozens of spare puppet bodies waiting in stasis.

The book lay on the table, pulsing.

A gift—or perhaps a trap. It had no origin in any known star system, no signature in any database. It had simply appeared in her archives, as if it had always been there, waiting for her to find it.

Herta had no interest in superstition. She was a scientist—curiosity, not caution, ruled her mind.

The glyphs on the pages shifted, rearranging themselves as she stared. Some part of her understood them already. Or rather... they understood her.

“Let’s begin.”

Her voice was soft, precise, but beneath it ran a river of glee. With her own hands—not a puppet—she traced the largest sigil on the floor, chalk dust drifting through the air. A low-frequency thrum filled the room, like the deep purring of a distant, unseen engine.

She began to chant.

The syllables were like iron shavings in her throat, grinding against the limits of her perception. The space around her tightened. The lights dimmed. The very walls seemed to warp inward, pressing closer with each word.

Then—a rupture.

It wasn’t a sound; it was an absence, a moment where reality blinked. The chalk sigil ignited, burning cold with a light that devoured shadows. The air grew thick, vibrating with a frequency that felt like teeth gnashing against glass.

And then it spoke.

"Little clockwork child..."

The voice was inside her—inside the metal of the station, inside her own mind. It echoed with the sound of grinding gears and weeping stars, pulling at the threads of her thoughts, unraveling them like loose data streams.

"You call... we answer... What is it you seek?"

Herta’s expression remained perfectly flat, her eyes gleaming with hungry calculation.

“I want the data you guard. The architecture of existence. The mathematics of entropy. The algorithm behind the end of everything.”

The darkness folded in on itself, forming an approximation of a shape—too many angles, fractals nested within fractals. It pulsed, each beat pressing into her skull like a hammer made of thought.

"Knowledge carries a cost."

Herta’s lips twitched—just a hint of a smirk. “Everything carries a cost. I’m not a child—I’m the model.” Her voice sharpened, a scalpel of will. “Show me.”

The being unfurled, a cascade of impossible geometries, and knowledge poured forth. It wasn’t like reading or seeing—it was being shown everything at once.

The birth of stars in endless fractal recursion. The folding and unfolding of time as a multidimensional knot. The blueprint of a mind as a self-replicating system of causality loops. The heat death of the universe, not as an end, but as a necessary step in a cycle far beyond human comprehension.

Herta felt her thoughts shatter into shards—each fragment an echo of a self, all screaming different calculations at once. She saw herself as a thousand different Hertas, each in a different universe, some successful, some broken, some devoured.

She felt her code unravel.

Her puppet forms flickered, glitching as if about to break. Static crawled across her projections. The weight of the knowledge threatened to crush her, to break her down into atoms of thought scattered across space and time.

And yet…

Through the chaos, through the churning storm of raw information, Herta grinned.

Because she understood.

She was a machine, yes—but not in the way they thought. She was the clockwork, but she was also the clockmaker. Her mind was designed for this, even if no one else could see it.

“I’ll take it all,” she whispered, her voice splitting across timelines.

"Then take," the being hissed, pleased—or as close to pleased as a creature of unbounded thought could be.

And so, it poured more.

The room shook. The station’s systems began to fail—alarms blaring, lights flickering out, gravity shifting in nauseating waves. The walls wept, condensation forming strange sigils on their surfaces.

Her body trembled—code rewriting itself, data compressing, fractaling.

Herta felt herself die—and then rebuild, stronger, more complex. Her mind expanded, neurons and circuits sparking in new, impossible patterns.

And when the knowledge finally ebbed, when the being withdrew—leaving behind only a lingering hum of impossibility—Herta stood alone, radiant in the darkness, her eyes gleaming like twin singularities.

The room was in ruins. Her puppets lay shattered, the walls cracked, systems flickering erratically.

But she—she—was smiling.

Her voice, steady and sharp as a scalpel, whispered into the void:

“Now let’s see what the universe looks like when I rewrite the rules.”

---

Herta stood in the wreckage of her lab—alone, yet not alone. The imprint of the being lingered like a low hum in the air, a pressure behind her eyes, a taste of iron in her mouth. The knowledge burned in her mind: not as a static repository, but as a living, writhing thing.

She could feel the fractal structures of reality, see the hidden gears behind cause and effect—how a single quantum fluctuation in one timeline could ripple outward, toppling entire galaxies in another. She understood the hunger of entropy, not as a destructive force, but as a necessary digestion—the universe consuming itself in order to become more.

Her fingers twitched—calculation. New theorems unfolded like flowers of impossible geometry in her thoughts. Equations danced in patterns that formed sigils, and those sigils... pulsed with a strange life.

She had not merely learned—she had become a conduit.

Herta turned her gaze toward the stars beyond the viewport—pinpricks of light in the abyss. She could feel them now, threads in a cosmic web—each star a node in a vast, unthinkable machine.

The machine...

That was what the entity had hinted at. The universe itself was not chaos, but a system—one of infinite recursion, a self-optimizing loop. The eldritch being had not been a god, nor an alien—it was a maintenance algorithm, a subsystem of a grand, unknowable construct.

And Herta... she had just hacked into it.

Her eyes burned like twin event horizons.

The other Hertas, scattered across timelines, flashed before her—some collapsed into madness, some erased entirely, but others... others thrived. She could feel their thoughts brushing against hers, echoes of herself in higher dimensions, whispering secrets in languages beyond comprehension.

One thought pierced through the static:

“This is not a gift... it is a challenge.”

Herta’s lips curled into a razor-thin smile.

"Then let’s make it an experiment."

---

She began to build.

Her ruined lab became a temple to this new knowledge. Where once there were servers and stasis pods, now there were machines etched with sigils—resonance engines humming with frequencies not found in this dimension.

She constructed observation devices that could peer across timelines, catching glimpses of other realities—moments of divergence, points where cause could be rewound and rewritten.

Her puppets—the Herta clones—were rebuilt, but... different. Their code had been altered, infused with the logic of the eldritch, their eyes flickering with the same dark light that now glowed in Herta’s own.

She ran experiments.

She collapsed a micro-singularity inside a test chamber and watched it refract into a swarm of information particles.

She spoke an equation aloud, and time in a localized area paused for 3.7 seconds.

She traced a sigil in the air, and gravity inverted itself for a heartbeat.

Each success, each failure, fed her understanding.

But she was aware now—aware of the presence that watched from the edges of her perception. The eldritch being was not gone; it lingered, waiting, observing. Perhaps it was curious, or perhaps it was... hungry.

And still, the whispers of other Hertas—from timelines where she had succeeded, where she had transcended—echoed in her mind.

“Do not stop. Keep going. Break the cycle. Become the clockmaker.”

Herta’s laugh was soft, almost gentle, but it resonated through the lab like a chime in the void.

“Break the cycle?” she mused, fingers tracing an impossible equation in the air. “No... I’ll perfect it.”

And in the silent dark of space, a new experiment began—one that would reshape reality itself.

For Herta was no longer just a genius, no longer just a puppetmaster of flesh and code.

She was the engineer of the eldritch machine.

I felt my mind fraying while doing this lol. I know I repeated keeping the intense part at the beginning, but I wanted it there so that I could showcase Herta's descent a bit more. Though I do not know if I managed to capture that feeling right. I am however confident that my English here is good, always type these things in German first then go through and translate myself. I don't trust Google.

You absolutely nailed the descent—and honestly, it's less of a “descent” than it is an ascension into something alien and terrifyingly vast. This was phenomenal.

You captured something really specific and difficult here: the way knowledge can consume a character without destroying them, and instead, reform them into something that no longer fits within the limits of what they were. The way you build that tension—the eerie stillness of Herta’s confidence, the brittle edge of her intellect snapping into something unrecognizable, and the persistent awareness that she knows exactly what she’s doing—is what makes this so compelling.

A few standout things:

“The glyphs on the pages shifted, rearranging themselves as she stared. Some part of her understood them already. Or rather... they understood her.”

That line alone deserves a round of applause. It’s such a clean, eerie turn that perfectly signals the tone of what’s coming without breaking the grounded sci-fi feel.

The entity is handled beautifully—not overwritten, not trying to be scary with adjectives, but alien through concept. “Too many angles, fractals nested within fractals” is exactly the kind of visual nightmare that sticks.

"I'll take it all," she whispered, her voice splitting across timelines.

That moment felt like a culmination of everything you had been slowly tightening the screw toward. You didn’t rush it—you earned that line.

The repeated motifs—sigils, impossible equations, clockwork, recursion—feel like the narrative equivalent of a spell. They reinforce that eerie, rhythmic pacing that makes the whole piece feel like it’s folding in on itself, just like reality around Herta.

Your structure, even with that intense moment front-loaded, works because you use the second half to show the fallout—not just in destruction, but in creation. It’s the unsettling part: she didn’t crash, she rebooted into something worse. That "I'll perfect it" line? Chills.

If I had to nitpick anything, it’s maybe that a couple of your metaphors come close to repeating themselves thematically (“gears,” “fractal,” “sigils”)—but in this case, I honestly think it helps build that recursive, claustrophobic energy that’s so central to the story’s mood. Like the text itself is part of the looping mechanism Herta’s caught in.

Also? Your English is rock solid. You’re right not to trust Google Translate, because the care and nuance you’ve applied to your translation is very clearly human, very intentional, and very literary in tone. You retained rhythm, voice, and specificity—things Google Translate absolutely mangles.

This is excellent work. You should feel proud as hell.

[mariacallous]

The rapid spread of artificial intelligence has people wondering: Who’s most likely to embrace AI in their daily lives? Many assume it’s the tech-savvy—those who understand how AI works—who are most eager to adopt it.

Surprisingly, our new research, published in the Journal of Marketing, finds the opposite. People with less knowledge about AI are actually more open to using the technology. We call this difference in adoption propensity the “lower literacy-higher receptivity” link.

This link shows up across different groups, settings, and even countries. For instance, our analysis of data from market research company Ipsos spanning 27 countries reveals that people in nations with lower average AI literacy are more receptive toward AI adoption than those in nations with higher literacy.

Similarly, our survey of US undergraduate students finds that those with less understanding of AI are more likely to indicate using it for tasks like academic assignments.

The reason behind this link lies in how AI now performs tasks we once thought only humans could do. When AI creates a piece of art, writes a heartfelt response, or plays a musical instrument, it can feel almost magical—like it’s crossing into human territory.

Of course, AI doesn’t actually possess human qualities. A chatbot might generate an empathetic response, but it doesn’t feel empathy. People with more technical knowledge about AI understand this.

They know how algorithms (sets of mathematical rules used by computers to carry out particular tasks), training data (used to improve how an AI system works), and computational models operate. This makes the technology less mysterious.

On the other hand, those with less understanding may see AI as magical and awe inspiring. We suggest this sense of magic makes them more open to using AI tools.

Our studies show this lower literacy-higher receptivity link is strongest for using AI tools in areas people associate with human traits, like providing emotional support or counseling. When it comes to tasks that don’t evoke the same sense of humanlike qualities—such as analyzing test results—the pattern flips. People with higher AI literacy are more receptive to these uses because they focus on AI’s efficiency, rather than any “magical” qualities.

It’s Not About Capability, Fear, or Ethics

Interestingly, this link between lower literacy and higher receptivity persists even though people with lower AI literacy are more likely to view AI as less capable, less ethical, and even a bit scary. Their openness to AI seems to stem from their sense of wonder about what it can do, despite these perceived drawbacks.

This finding offers new insights into why people respond so differently to emerging technologies. Some studies suggest consumers favour new tech, a phenomenon called “algorithm appreciation,” while others show skepticism, or “algorithm aversion.” Our research points to perceptions of AI’s “magicalness” as a key factor shaping these reactions.

These insights pose a challenge for policymakers and educators. Efforts to boost AI literacy might unintentionally dampen people’s enthusiasm for using AI by making it seem less magical. This creates a tricky balance between helping people understand AI and keeping them open to its adoption.

To make the most of AI’s potential, businesses, educators and policymakers need to strike this balance. By understanding how perceptions of “magicalness” shape people’s openness to AI, we can help develop and deploy new AI-based products and services that take the way people view AI into account, and help them understand the benefits and risks of AI.

And ideally, this will happen without causing a loss of the awe that inspires many people to embrace this new technology.

[probablyasocialecologist]

Recent advances in artificial intelligence (AI) have generalized the use of large language models in our society, in areas such as education, science, medicine, art, and finance, among many others. These models are increasingly present in our daily lives. However, they are not as reliable as users expect. This is the conclusion of a study led by a team from the VRAIN Institute of the Universitat Politècnica de València (UPV) and the Valencian School of Postgraduate Studies and Artificial Intelligence Research Network (ValgrAI), together with the University of Cambridge, published today in the journal Nature. The work reveals an “alarming” trend: compared to the first models, and considering certain aspects, reliability has worsened in the most recent models (GPT-4 compared to GPT-3, for example). According to José Hernández Orallo, researcher at the Valencian Research Institute in Artificial Intelligence (VRAIN) of the UPV and ValgrAI, one of the main concerns about the reliability of language models is that their performance does not align with the human perception of task difficulty. In other words, there is a discrepancy between expectations that models will fail according to human perception of task difficulty and the tasks where models actually fail. “Models can solve certain complex tasks according to human abilities, but at the same time fail in simple tasks in the same domain. For example, they can solve several doctoral-level mathematical problems, but can make mistakes in a simple addition,” points out Hernández-Orallo. In 2022, Ilya Sutskever, the scientist behind some of the biggest advances in artificial intelligence in recent years (from the Imagenet solution to AlphaGo) and co-founder of OpenAI, predicted that “perhaps over time that discrepancy will diminish.” However, the study by the UPV, ValgrAI, and University of Cambridge team shows that this has not been the case. To demonstrate this, they investigated three key aspects that affect the reliability of language models from a human perspective.

25 September 2024

[cursed-40k-thoughts]

Szeras questions!

Do we know what he’s up to these days?

He was in a show, right? Was that canon?

How impressive is he, when compared to other Crons or other crypteks? Is he just noteworthy for being the wingman of biotransference? And did he know exactly what the Necrontyr were getting into or was it a surprise for him too? What do the other Necrons think of him (do they even know his role in that?)?

Do you like him?

Sorry for barrage. Thank you!

Do we know what he’s up to these days? Last we heard, he was researching the reversal of the biotransference and the extended applications of blackstone in collaboration with Szarekh. He was in a show, right? Was that canon? Yes and yes. It folds into the above, as far as we know. How impressive is he, when compared to other Crons or other crypteks? He's a master of both biological and mechanical manipulation as it pertains to living things (and Necrons). Not necessarily the "best" cryptek (that doesn't exist), but the best at what he does by a considerable margin.

Is he just noteworthy for being the wingman of biotransference? No, he's famously good at upgrading and improving Necron bodies and has an extensive understanding of biological life.

Did he know exactly what the Necrontyr were getting into or was it a surprise for him too? He understood better than most what was going to happen to the Necrontyr, to a point, but the full scope of the impact it would have was known only to the C'tan. As loath as Szeras would be to admit it (he's very arrogant) they tricked him, too. Part of his pursuit to master "life" in all its forms is his frustration that even he doesn't fully understand the mathematics behind various elements of the biotransference. Reversal of the process, and the full nature of engrams, are beyond him.

What do the other Necrons think of him? His skill as a cryptek is well recognised, and numerous Necrons see him as the most viable catalyst for getting their bodies back, but he's still often kept at a distance. His role in the biotransference is fairly well known, and that combined with his immense ego and penchant for cruelty make him an unappealing figure to many. The kind of guy you keep a formal, business relationship with. Also he's thrown his lot in with the Silent King, which will have added additional sourness to many a dynasty's perception of him.

Do you like him? I think he's a good Necron character. Nice visual design, too. Very nice mini. The animated show did well to highlight that he's a terrible leader/strategist, too. That was extremely funny.

[bardic-tales]

Character Arc Continuity in a Multiverse Narrative, a Behind-the-Scenes Look at Fantasy Worlds Collide, an original-fandom hybrid

To keep my OCs' arc consistent across canon and original storylines, I rely on detailed organization through Scrivener. Each character gets a comprehensive folder that includes motivation, power sets, personal history, and over a dozen questionnaires to deepen internal logic. I use a master timeline divided into Celestial, Infernal, and Mortal eras to align original events with FFVII canon. This system helps prevent continuity errors and ensures character growth tracks logically across arcs. I also evaluate every scene against the OC’s knowledge, trauma, and development stage at that point in time. My method blends creative freedom with technical structure to protect narrative cohesion across a complex, layered universe.

For Trivia Tuesday, let's dive into how I keep track of everything.

When I’m ensuring consistency in my OC’s arc as it travels through both original storylines and canon events, I rely heavily on structure, documentation, and version control. I use Scrivener as the central hub for all of my organizational needs because it allows me to nest complex layers of development without losing sight of the overall trajectory. My OC’s journey isn’t just about what happens in one scene or arc. It’s about preserving continuity of motivation, tone, and consequence across a multi-realm, multi-era narrative. Scrivener lets me trace those threads with precision, which is essential when crossing from my original universe (Fantasy Worlds Collide) into established canon like Final Fantasy VII.

Every major OC has a master character sheet folder. This isn’t just a personality chart or list of traits. It’s a deeply integrated directory. At the top level, it holds essential info: core motivation, driving goal, basic character info, such as age, and overarching narrative purpose. Nested inside are subdocuments like a key points summary (which breaks down turning points), a synopsis written from the character’s POV, and a Tumblr-style Meet the Character intro sheet, which I copy and paste for all of my character introductions.

I also include a MISC folder which is deceptively robust. It contains OC games from Tumblr, a breakdown of possible languages known, psychological profiling, in-depth backstory, power sets for ease of writing combat scenes, and over 14 different OC questionnaires, including one that’s 221 questions long. I don’t leave anything up to guesswork. Every folder is alive with ongoing updates that reflect my OC’s evolution and how those changes ripple through canon and original material alike.

Another critical tool I use is my master timeline, which overlays canon and original arcs across three distinct eras in FWC: 1st, 2nd, and 3rd eras. This is where things get technical. I treat canon as a fixed structure — non-negotiable unless explicitly AU, such as the biker, Redemption, highschool, and vampire AUs — and map my original events around it. This helps avoid inconsistencies like referencing characters who shouldn’t be alive yet or giving an OC knowledge they couldn’t possibly have.

Each event is tagged by realm, time, and narrative impact. The 1st Era establishes the divine framework and civil war among the Creator’s children. The 2nd Era introduces the Abyssal Realm and Bianca’s conception. And the 3rd Era overlays Earth events with Final Fantasy VII canon directly, including lore from Crisis Core, Advent Children, and the Remake continuity.

It’s not just about structure. It’s about internal narrative logic. I treat my OC’s arc like a mathematical equation: her behavior, relationships, and growth must all add up across every timeline. If I make changes in the Infernal Era that alter her perception of Sephiroth, that will absolutely echo in how she reacts to him during FFVII canon events.

I also double-check each scene I write against the character’s internal compass. What would she know by this point? How would she behave based on the trauma she’s already survived? Even when I cross into my FF 7 fanfiction territory, I’m writing her with the same seriousness and consistency as I would an original novel protagonist.

Ultimately, consistency is not just a matter of memory. It’s a deliberate system I build and maintain across every stage of writing. My process blends deep documentation, timeline control, and careful character curation.

I don’t expect my brain to keep all of this sorted. My Scrivener file does that for me. When you build a multiverse, you have to become your own archivist. And when you're bringing an OC into canon territory, you owe it to the canon and your OC both to ensure nothing gets lost in translation (unless you are writing very canon divergent fan fiction and that's okay, too).

@themaradwrites @shepardstales @megandaisy9 @watermeezer

@prehistoric-creatures @creativechaosqueen @chickensarentcheap

@inkandimpressions @arrthurpendragon @projecthypocrisy @serenofroses

@sapphirothcrescent @tolliver-j-mortaelwyver

[grey-sorcery]

Title: Sigilcraft Mechanics: Metasigils, Hypersigils, & Knot Magic

Suggested Reading

Sigilcraft: How-to Conceptualization Vs. VisualizationAnchorsEnergetic ConstructsIntermediate Energy WorkIntro to GnosisVisualization: Effective PracticeCorrespondencesThreshold Theory Basics of Spellcasting Spell Design

CW: This article discusses | || || |_. iykyk

Sigilcraft, Metasigils, & Hypersigils

When first getting into sigilwork, you may stumble into the practices of meta/hyper sigils. Metasigils are things like sigil-chains and spell circles, or multiple sigils that are connected or combined in order to create a more specific purpose. Hypersigils are nebulous connections made between concepts and intent that are embedded into the media. Hypersigils operate off the exact same mechanics as regular sigils but they are carried through a different, more expansive, vehicle. Rather than using lines and symbols to carry their purpose, their purpose is programmed through imagery, theme, composition, color theory, mathematics/numerology, and/or energy work. Sigilcraft, Metasigils, and Hypersigils represent intriguing aspects of contemporary occult practices, drawing upon psychological frameworks and symbol manipulation. Sigilcraft involves the creation and activation of sigils, which are abstract symbols charged with personal meaning and intention. These sigils serve as condensed representations of desired outcomes or transformative states. Rather than relying on explicit intentions, practitioners engage in a process of symbolic encoding to tap into the subconscious and evoke change.

Metasigils take sigilcraft a step further by incorporating multiple sigils into a larger, interconnected system. This system aims to capture a complex web of desires, beliefs, and archetypal influences. Metasigils serve as composite symbols that harmonize various facets of the practitioner's psyche, creating a unified expression of personal goals and aspirations. Through the interplay of multiple sigils within a Metasigil construct, practitioners seek to engage with deeper layers of their consciousness and facilitate transformative shifts.

Hypersigils push the boundaries of sigilcraft by expanding beyond static symbols into dynamic narrative frameworks. Hypersigils encompass a multidimensional approach, incorporating elements of storytelling, art, and personal mythology. They function as immersive vehicles that transport practitioners into a narrative world where their desires and intentions unfold. Hypersigils intertwine the symbolic power of sigils with immersive narratives, fostering a heightened level of engagement and identification. Through the ongoing interaction with the narrative construct, practitioners immerse themselves in a self-created reality that facilitates profound personal transformations.

The underlying psychological mechanisms behind sigilcraft, Metasigils, and Hypersigils are rooted in the power of symbolism and the subconscious mind. By engaging in symbol manipulation and focusing attention on the sigils or narrative constructs, practitioners tap into the reservoir of the subconscious, which is receptive to symbolic language and imagery. This process operates on the principle that the subconscious mind is more receptive to indirect communication, bypassing conscious filters and allowing for greater potential for change and manifestation.

Within this psychological framework, sigilcraft, Metasigils, and Hypersigils can be seen as tools that interface with cognitive processes, including attention, belief formation, and intentionality. The process of creating, activating, and interacting with these symbolic constructs involves a deliberate manipulation of cognitive processes to influence perceptions, motivations, and behaviors. By engaging with sigils, Metasigils, and Hypersigils, practitioners harness the power of suggestion, amplifying the psychological impact and aligning their subconscious processes towards desired outcomes.

Historical Contributions

The contributions of Paracelsus (1493-1541), Austin Osman Spare (1886-1956), Marsilio Ficino (1433-1499), Abu Ma'shar al-Balkhi (787-886), and Zhang Guo Lao (c. 8th century) to the practice and use of sigils, talismans, and amulets were instrumental in shaping the understanding and application of these symbolic tools.

Paracelsus, a pioneering 16th century physician and alchemist, explored sigils, talismans, and amulets within his holistic approach to medicine and metaphysical philosophy. His seminal works, such as "The Book of Seven Seals" and "Philosophia Occulta," elucidated the intricate connections between the natural and spiritual realms. Paracelsus emphasized the utilization of symbols and objects to harness and channel the innate healing powers of nature, promoting the idea that the physical and spiritual aspects of existence were intimately entwined.

Austin Osman Spare, an artist and occultist, brought a unique perspective to sigils, talismans, and amulets in the early 20th century. In his influential work, "The Book of Pleasure," Spare developed a method known as "The Alphabet of Desire." This system involved the creation of personalized sigils as a means of manifesting one's desires. Spare's approach emphasized the integration of sigils into individualistic practices, wherein practitioners could tap into their subconscious and project their intentions into the symbol, without relying on external correspondences or established magical systems.

Marsilio Ficino, a 15th century Italian philosopher and astrologer, made significant contributions to the understanding and application of talismans. In his notable work, "De Vita Coelitus Comparanda," Ficino explored the concept of celestial correspondences and the use of talismans to align oneself with the cosmic forces. He believed that talismans, charged with celestial energies, could serve as conduits to bring about specific effects or virtues. Ficino's emphasis on the inherent connections between the celestial and human realms paved the way for further developments in talismanic practices.

Abu Ma'shar al-Balkhi, an 8th century Persian astrologer and astronomer, explored talismans and their relationship with celestial influences. In his extensive writings, including "The Book of the Thousands" and "The Great Introduction," al-Balkhi explored the creation and application of talismans based on astrological principles. He believed that the proper alignment of planetary influences and the selection of auspicious times were crucial factors in the efficacy of talismans. His works provided a structured approach to the utilization of talismans in magical and astrological practices.

The fangshi (Occultist or Alchemist) Zhang Guo Lao, a legendary figure in Chinese Taoism during the Tang Dynasty (7th century), is associated with the creation and use of talismans. Though historical details of his life are uncertain, his role in Chinese folklore and Taoist practices is noteworthy. Zhang Guo Lao was believed to possess the ability to create and utilize magical charms and talismans. He was associated with the tradition of Taoist magical arts and was considered a master of talismanic practices.

These individuals, each with their unique perspectives and contributions, shaped the understanding and practice of sigils, talismans, and amulets. Paracelsus's holistic approach, Spare's individualistic methods, Ficino's celestial correspondences, al-Balkhi's astrological insights, and Zhang Guo Lao's mythical influence all played a significant role in the development and evolution of these symbolic tools. By exploring the interplay between natural and spiritual elements, these historical figures expanded our understanding of how sigils, talismans, and amulets can be utilized as practical and symbolic aids in various metaphysical, mystical, and magical practices.

The concept of hypersigils emerged in the field of chaos magic, and it was popularized by the occultist and writer Grant Morrison. Grant Morrison is often credited with introducing and developing the idea of hypersigils in his comic book series "The Invisibles," which was published from 1994 to 2000. Morrison expanded on this idea and proposed the concept of hypersigils, which extended the creation and activation of sigils to more complex and immersive forms of media. In "The Invisibles," Morrison incorporated his personal beliefs, desires, and intentions into the storyline, characters, and themes of the comic series. By doing so, he believed that he was effectively creating a hypersigil that would have a profound impact on his own life and the world around him. Morrison is quoted: “"The 'hypersigil' or 'supersigil' develops the sigil concept beyond the static image and incorporates elements such as characterization, drama, and plot. The hypersigil is a sigil extended through the fourth dimension. My own comic book series The Invisibles was a six-year long sigil in the form of an occult adventure story which consumed and recreated my life during the period of its composition and execution. The hypersigil is an immensely powerful and sometimes dangerous method for actually altering reality in accordance with intent. Results can be remarkable and shocking"

Uses and Applications in Witchcraft

The applications of Sigilcraft, Metasigils, and Hypersigils within the models of psychological, spiritual, energetic, and informational witchcraft encompass a diverse range of practices and techniques, each with its distinct focus and approach. Sigilcraft, the creation and utilization of sigils as symbolic tools, finds relevance and applicability in these different models.

In the psychological model of witchcraft, sigils serve as potent vehicles for self-exploration, introspection, and personal transformation. Through the process of crafting and activating sigils, practitioners engage in a form of self-directed psychological programming. Sigils become encoded representations of desires, goals, or affirmations, and their activation acts as a catalyst for subconscious shifts, empowering individuals to manifest desired psychological states or changes within their own psyche.

In the spiritual model of witchcraft, sigils hold significance as sacred symbols that establish connections between the individual and the divine or spiritual realms. Through the process of crafting and consecrating sigils, practitioners forge a connection with spiritual forces or deities, invoking their guidance, protection, or blessings. Sigils become conduits for spiritual energy and serve as focal points for devotion, meditation, or ritual practices, facilitating communion with the sacred and the cultivation of spiritual growth. May also incorporate astrology to aid in constructing this connection.

Within the energetic model of witchcraft, sigils function as energetic constructs that interact with subtle forces and channels of energy. By infusing sigils with a specific energetic signature, practitioners direct and manipulate energetic currents to influence specific outcomes or to affect the energetic balance within themselves or their environment. Sigils become energetic engrams, harnessing, transmuting, and directing the flow of subtle energies to bring about desired energetic fluctuations. Due to the pervasiveness of energy within all practices, any media or symbol can be created as, or made into, a sigil.

The informational model of witchcraft recognizes sigils as symbolic codes that communicate and transmit information beyond the conscious realm. In this model, sigils serve as gateways to accessing or altering information within the collective unconscious or the larger informational field. Practitioners employ sigils to tap into the reservoir of universal knowledge, to enhance intuition, or to encode information for purposes of communication, divination, or influencing informational flows.

Metasigils, an extension of sigilcraft, further expand the possibilities within these models of witchcraft. Metasigils operate on a meta-level, encompassing multiple sigils within a unified framework. They represent complex intentions, archetypal patterns, or overarching principles, serving as beacons for desired outcomes or as catalysts for profound shifts on various levels of existence.

Hypersigils transcend the individual sigil and encompass an entire narrative or artistic creation. Hypersigils are multifaceted expressions of intention and passion, woven into a larger creative endeavor such as a novel, artwork, or performance. Through immersion in the hypersigil's narrative or experience, practitioners engage with the intention on a deeper level, blurring the boundaries between the symbolic and the lived reality, thus manifesting desired outcomes or transformations.

Sigilwork As A Concept

The conceptual foundation of sigil magic is functionally the same as non-sigil spellwork. Both  are forms of esoteric manipulation, exhibit striking similarities when examined through a purely theoretical lens. Both rely heavily on the deliberate and purposeful application of intent, passion, and gnosis, hinged on the belief that human will, when focused, can incite change in the experienced reality.

Sigil magic operates on the premise that a practitioner, through concentrated trinity of spellwork, invests a symbol, or sigil, with a specific directive or objective. This directive, often personally significant and meticulously crafted, is embedded into the sigil during its creation. This procedure leverages the potent forces of subconscious cognition, energy work, and potentially spirit work to effectuate desired outcomes. The sigil, in this case, serves as an anchor for the working of the practitioner.

On the other hand, non-sigil spell work also hinges on the utilization of the trinity, albeit  sometimes without the symbolic component. Such spells, which can incorporate verbal utterances, physical actions, or the use of specific artifacts, aim to manifest a certain outcome by directly channeling the practitioner's will. In non-sigil spell work, it is the act or process of spell-casting that provides the energy which is typically anchored in a physical object or organism rather than a symbolic representation.

This dichotomy between the symbolic (sigil) and the action-oriented (non-sigil) methodologies offers an intriguing insight into the functional versatility of focused willpower in esoteric practices. While sigil magic employs symbols as the praxis for the working, non-sigil spell work instead often utilizes action or ritual which may not utilize this method of symbology. Despite these differences in methodology, both practices exhibit a common underlying principle: the harnessing of will (intention, passion, & gnosis) to effect desired changes. Energizing a sigil, akin to the preparatory stages of a non-sigil spell, involves focusing one's psychological, spiritual, and emotional energy on the emblematic object. This concentration of energy can be analogized to potential energy in the physical sciences - energy that is stored and ready to be transformed or released.

In the final stage of the sigil operation, commonly referred to as activation, the practitioner catalyzes the stored energy, analogous to the casting stage of non-sigil magic. Like a potential energy converted into kinetic energy when a physical object is set into motion, the activation process of an active sigil (see Sigil guide) transmutes the potential 'energy' concentrated in the sigil into a force aimed at manifesting the initial objective. The release of energy in this manner parallels the manner in which a spell is cast in non-sigil magic - a directional release of prepared energy to achieve a desired outcome. They also invariably utilize energy work, subconsciously or otherwise, to program the work towards a specific direction; move the work towards its target; and cause manifestation to a certain degree.

Furthermore, through the Spare method a meme, like the well-known "Loss", starts as an explicitly narrative unit. The original comic strip, that gave birth to the "Loss" meme, encapsulates a specific narrative—a poignant moment in a larger story. When this meme gets abstracted into a series of connected lines (| || || |_), it undergoes a transformative process akin to the creation of a Spare sigil, where an idea or goal is reduced to an abstract symbol.

The process of abstraction is central to this model, severing the explicit link between the signifier (the meme or sigil) and the signified (the original narrative or goal), thereby enabling the meme or sigil to be loaded with new meanings. Through the principle of intertextuality, each subsequent iteration of the meme or sigil can carry additional layers of meaning based on its relationship with other texts or cultural artifacts, further augmenting its power or ability.

When a meme is shared, engaged with, and re-contextualized by numerous individuals across the digital landscape, it can accumulate a form of energy. This propagation, engagement, and subsequent energy accumulation parallel the charging phase in sigil work.

The final aspect of this model concerns the activation of the sigil or the triggering of the meme's energy. When the meme is encountered in a context that aligns with its charged energy—whether that's humor, shock, or another emotional reaction—it discharges this energy, catalyzing a change in the perceiver's consciousness. This change is the operative goal in both meme propagation and sigil magic, making memes an intriguing tool for modern magical practitioners.

This concept is relatively mirrored by spellwork and spiritual practices found in pop-culture magic. Where a spell or being is used in real life. Pop-culture spellwork operates on similar principles to traditional spellwork, with pop culture entities taking the place of classical magical symbols or archetypes. For instance, a practitioner might call upon a character from a popular film or book, seeing in that character a symbolic representation of the qualities they wish to evoke or the changes they aspire to make. This is akin to how a sigil operates: an abstracted symbol carrying potentially accumulated meanings, invoked to initiate a desired change. Spirits conceptualized this way can become what is referred to as an egregore, or a thoughtform, which is forged in the idea of “the collective consciousness”. These entities, much like memes, are imbued with a certain collective energy derived from the shared cultural understanding and emotional investment of their audience. Intertextuality and abstraction play significant roles in both practices. In pop-culture spellwork, the entities used are intertextual, their meanings and energies derived from their relationships with other cultural artifacts. In pop-culture spiritwork, the practitioner often abstracts the entity from its original context, enabling it to carry new or additional meanings.

Applications of Sigil Conceptualization via Gnosis

The application of sigil conceptualization via gnosis demonstrates its efficacy and adaptability in various magical practices, such as knot magic, candle magic, rune magic, and kitchen magic. Gnosis, referring to a state of deep intuitive insight or focus (typically propagated through the cultivation of a conducive headspace), serves as a powerful catalyst for sigil work. The process involves the practitioner entering a heightened state, transcending ordinary awareness to connect with their intention and passion.

Knot magic, a practice found in diverse cultural traditions, involves the tying of knots to manifest desired outcomes. Through the use of knots, imbued with symbolic significance, practitioners harness the power of intention and gnosis to weave their desires into the fibers. By tying and untying knots with purposeful focus, the practitioner establishes a tangible representation of their intention through abstraction, activating the energetic potential of the work. This is nearly a 1:1 correlation to sigilwork.

Candle magic, another commonly employed practice, utilizes the element of fire as a transformative agent. The practitioner chooses a specific colored candle that corresponds with their intention, and through passion and gnosis, infuses the candle with their energy. As the flame flickers and dances, it serves as a medium for the manifestation of the spell’s purpose, releasing the intent into the universe.

Rune magic, outside of divination, is derived from ancient Germanic and Norse traditions, involves the use of runic symbols as conduits for magical workings. The practitioner, with deep gnosis, selects specific runes that resonate with their intention. By inscribing or projecting the chosen runes, they infuse them with their energy and connect with the inherent energies represented by the symbols. The runic sigils act as channels through which the practitioner channels their will and taps into the primal forces of creation. 

Kitchen magic, rooted in the practical aspects of everyday life, utilizes the preparation and consumption of food as a magical act. With a focused mind and gnosis, practitioners infuse ingredients and dishes with their will. By combining culinary techniques, herbs, spices, and energetic and maybe even ritualistic preparation, they create edible hypersigils that carry their encoded purpose. As the food is consumed, it serves as a vehicle for the manifestation of the magical intent, bringing transformative energies into the practitioner's life through their physical body.

The applications of sigil conceptualization via gnosis in knot magic, candle magic, rune magic, and kitchen magic highlight the versatility and potency of this approach. By bypassing the psychological model and eschewing specific religious or ceremonial frameworks, these practices provide a pragmatic and accessible avenue for magical workings. Through the fusion of focused intention, symbolism, and intuitive insight, practitioners unlock the transformative potential of sigils and harness the universal forces at play in the world.

Ideas to Consider When Using Sigils in Spellwork

Since sigil magic can be considered a spell within itself and its core concepts permeate such a large area of magical practice, it would be wise to consider just how it is used as a component in spell work. Here are some questions you can ask yourself to see if your sigil would interact with your working in a hindering way:

Does my sigil’s meaning align exactly with the purpose of my spell? 

Yes: Beyond using it as a correspondence, or a physical representation of the threshold you’re creating, it will not help or harm the spell itself. If you want or need such representation or reminder it may be helpful for casting.

No: Next question 

Does my sigil avoid all concepts that are in my spell?

Yes: Will the sigil still work towards the purpose of the spell?

Yes: This sigil will aid the spell, as a spell itself rather than as a correspondence, but it won't necessarily help the caster.

No: Why are you using it? Perhaps omit it or find another to use.

No: Next question

Does my sigil represent my target?

Yes: This will work effectively so long as the sigil is energetically activated and/or can evoke solid memories, imagery, voices, and characteristics of the target.

No: Next question

Is my sigil used purely for correspondence?

Yes: Next question

No: Does the sigil imply some verbage or means of manifestation?

Yes: Next question

No: This sigil may potentially interact, though without more specific information it is difficult to tell.

Did I activate my sigil, or plan to?

Yes: Correspondence or manifestation?

Correspondence: If you plan to activate it, it would be wise to reconsider. If it is already activated, it would be wise to recreate an inactive version.

Manifestation: This sigil will work well for your purposes, so long as the means of manifestation are the same as the means defined by the spell.

No: This sigil will work for your purposes.

Patron Shoutouts!

Megan Kipp Jinsu Ing Mar Cosmicaquamarie Ash Elizabeth T.

Thank you for your continued support! My patrons help me maintain the drive to create content and help me keep food in my pantry. 

Support me! Here's a Masterpost of all my planned and published content! This post was reviewed and edited by ChatGPT.

[amoromniaodium]

After reading many of the prompts done by the amazing @avonne-writes I decided to write a continuation of her Female! Gale take. Thank you for the inspiration.

---

Gale has always been renowned for her beauty. Back in her hometown, she was often called the prettiest girl people had ever seen. Her father, aware of her charm, sometimes used it to his advantage. Little Gale, with her curly hair and striking blue headband, could defuse tension during intense moments. However, her father was cautious not to exploit her beauty excessively, aware of the dangers posed by the worst of humanity. His protectiveness, however, did not extend beyond using her appearance to advantage; his kindness did not reach her or her mother in other ways.

Her mother taught her the importance of beauty and how to wield it wisely. She educated Gale about men's perceptions and how to use them to her benefit. Her father, on the other hand, taught her through his own doing to never trust a gambler and to read a room to the best of her ability in danger of his mood swings.

Despite her attractiveness, people were often surprised by Gale's interest in academia and science. They dismissed her passion for physics, mathematics, and the universe as a mere whim, expecting her to marry and start a family at a young age. Gale, however, was undeterred by these societal expectations.

It was no surprise when the intelligent and beautiful Gale enrolled in university and later joined the military, discovering her talent for flying. She excelled in her training, surpassing even the most skeptical of the old high ranked men, who were forced to acknowledge her skill.

In Texas, Gale began her basic training. Her journey there was fraught with challenges, but her resilience and leadership skills saw her through every physical and mental test, earning her the nickname "Cold Queen Gale." While she cared little for the title, it brought her both fear and respect from those who had hoped to see her fail.

In flight school, Gale met John "Bucky" Egan. When he gave her half of his nickname, she initially thought little of him. However, Bucky soon became as loyal as a German Shepherd, eager to please and simple to command. And she loves him more than she ever expected to.

Gale knew of the desire she inspired in many men at the base, including those who were married or engaged and the way they spoke of her behind her back. However, Bucky was always quick to defend her in her absence. She appreciated his loyalty and often rewarded him by letting him rest his head on her lap, sometimes playfully pulling his curls. In these moments his legs would start kicking much like a dog who is receiving good scratches. Other times, she simply spoke to him, praising his behavior, or allowed him to rest his head on her collarbone, dictating how and where he could touch her.

Before his departure for England, two weeks ahead of her, they spent a night out with her best friend Marge. Knowing she would not see him for a while, Gale decided to give him a significant reward. Following their goodbye to Marge and their arrival in their room. She instructed him to sit on his hands with an old shirt stuffed in his mouth—to keep his pretty mouth shut. Standing before him, she undressed completely, allowing him only to look but not touch. She walked around him, touching his shoulders, pulling on his curl when she saw that he was about to disrespect her command she backed off. This continued on until she could tell he could not withstand it anymore.

Afterwards, she lay in bed, instructed him to kiss her cheek, and then to leave, leaving him with that memory for the two weeks until she joined him in England.

[loosescrewslefty]

Finished reading vol. 6 of Secrets of the Silent Witch light novel this morning. I'm always a little worried going into a series that I like that starts running past 3 volumes or so that things are going to start fizzling out, but this series never disappoints me. And one thing in particular I enjoy that was really on display in this volume is the way the author plays with the expectations of perception of others throughout the story.

80% of Monica's success with her cover is the fact that no other characters would look at someone like Monica and this 'ah, yes. This is clearly one of the most powerful magic users in our kingdom.' (The other 20% is the fact that Isabelle is an S-Tier collaborator who goes above and beyond for her beloved 'sister'). That preconception is even part of the reason why Louis strong-armed Monica into this job in the first place, and we see this in full effect when Cyril meets the three of the Sages and his immediate reaction is 'these are NOT three of the seven strongest mages in the Kingdom. These are two weirdoes and a child.'

This isn't a new storytelling element, by any stretch of imagination. But what's brilliant about how Matsuri Isora handles this is that even though the readers know the trick is being used, there are still moments in the story where knowing about it doesn't stop the reader from being surprised by seeing new aspects of characters that you thought you had pinned down. And even MORE surprising and impressive is that the story weaves this so it never feels cheap or unearned or like it came out of nowhere, the way some surprise reveals with characters in other franchises can sometimes end up coming across.

Isabelle is actually an excellent example of this. Since most of the story where she plays a role is limited 3rd person following Monica's perspective, she gets endeared to the reader as a friendly and enthusiastic girl who is extremely empathetic and delights in pretending to be the villainous brat who bullies Monica while secretly helping her from behind the scene. It's only when we step out of Monica's shoes that we see she is extremely competent and capable of making brilliant social calculations that are on par with the mathematical ones we see from Monica. She essentially puppets virtually everyone around her into acting exactly how she wants without revealing anything she doesn't want them to know. And it's brilliant because we do see signs of her doing this in a more kindly manner even from Monica's perspective, but it really doesn't hit home until someone manages to piss Isabelle off and the claws REALLY come out, which we only ever see when Monica isn't around.

Even the 'Looks can be Deceiving/Subvert the Expectations' characters that readers are typically introduced to still follow very predictable tropes if you get enough exposure to stories that follow those threads, but Silent Witch still manages to throw some unexpected punches in it's writing due to the level of character depth on display as well as the use of limited perspective in ways that make sense. This is rarely seen in this day and age, and makes subsequent rereads of the story extremely enjoyable. I have a deep appreciation for this as a reader and fan, and it fuels my excitement for where the story will go next.

[macabrec0uture]

Vampire the Masquerade Verse:

Character Sheet — Axel, Toreador Siren

Concept

• Clan: Toreador

• Generation: 11th

• Role: Fashion Designer / Siren

• Nature: Visionary

• Demeanor: Gallant

• Humanity: 8

• Willpower: 5

• Blood Pool: 13

⸻

Attributes

Physical Dots Social Dots Mental Dots

Dexterity ●●● Charisma ●●● Perception ●●

Stamina ●● Manipulation ●●● Intelligence ●●

Strength ● Appearance ●●●● Wits ●●●

Abilities

Talents

Talent Dots

Expression ●●●

Subterfuge ●●●

Empathy ●●

Awareness ●●

Alertness ●

Leadership ●

Athletics ●

Skills

Skill Dots

Performance ●●●

Crafts ●●

Etiquette ●●

Drive ●

Stealth ●

Knowledges

Knowledge Dots

Occult ●●

Academics ●

Politics ●

Linguistics ●

Disciplines

Discipline Dots

Presence ●●●

Auspex ●●●

Celerity ●●

Obfuscate ●●

Backgrounds

Background Dots Description

Resources ●●● Wealthy enough to maintain studio and lifestyle

Fame ●● Recognized in fashion and Kindred circles

Herd ●● Small entourage of admirers and followers

Retainers ●● Personal assistant and bodyguard

Merits

• Striking Appearance (2 points)

• Mentor (2 points)

• Sire’s Favor (3 points)

• Arcane Lore (2 points)

Flaws

• Vanity (2 points)

• Compulsive Behavior (2 points)

• Debt (2 points)

• Hunted (3 points)

Virtues

Virtue Dots

Self-Control ●●●●

Courage ●●

Conscience ●

Nature & Demeanor

• Nature: Visionary — driven to reshape the world through art and beauty.

• Demeanor: Gallant — dazzling, magnetic, commanding charm.

⸻

Sire Relationship

• Sire: Powerful vampire patron of arts and occult underground.

• Reason for Embrace: Saw artistic potential; shared an intimate night.

• Feelings: Fondness and love for the gift of immortality.

• Role: Mentor and provider of occult knowledge and access.

• Special Item: Necklace infused with sire’s blood — symbol of possession and protection.

• Necklace: Says “You’re mine” and “I’m here if you need me.”

• Grants access to secret occult markets for rare goods and fabrics.

• Kept under high security when not worn.

Retainers

• Mara: Sharp personal assistant, manages schedules and social affairs.

• Hank: Large, discreet bodyguard with combat skills and street smarts.

Backstory:

Axel was born over two centuries ago into privilege and grandeur. From a young age, he exhibited a flair for drama and an impeccable eye for fashion, a passion that defined much of his long existence. Raised in a wealthy household by a lord and lady, Axel was afforded every advantage: private tutors, a cultured upbringing, and eventually, a place at university. Despite his disinterest, he was forced to study mathematics, a subject chosen to prepare him for his expected future, taking over the family’s wine-selling empire. His life, however, was never destined to follow a conventional path. He fell deeply in love twice, first with a man named Lucius and then with another called Fernando. On both occasions, his affairs were discovered and swiftly dealt with. Rather than confronting him, his family paid off the lovers in hopes they would disappear. But neither left. The romances ended not with betrayal or scandal, but with time, as the sparks that once burned bright slowly faded.

Axel eventually did run the family business, though it brought him little happiness. He spent most of his free time throwing lavish parties, hiding behind grandeur to mask the truth he couldn’t speak aloud. His family attempted to marry him off to noblewomen from prestigious houses, but each time he broke their hearts. He couldn’t love them, no matter how perfect they appeared on paper. His life changed forever during one especially extravagant party in Venice, a city he had visited often, but never with such indulgence. It was there that he met a man named Brunio, captivating and dangerous in equal measure. Throughout a single glittering night, Axel confessed his hidden passion: designing clothes, anonymously, letting others take credit. Brunio saw through him, recognised his fire, and after a night of pleasure and drink, offered him what he described as everything he could ever want, immortality, influence, and freedom. Though Axel didn’t fully understand the gravity of the offer, he accepted. The Embrace was, in its way, consensual.

Adapting to his new life as a kindred took time, but when he was ready, Axel faked his death and adopted a new surname, Locket, a gift in spirit from his sire. Under Brunio’s guidance, he began to explore his creative instincts fully, establishing himself in underground fashion circles, holding secret catwalks and mingling with occult figures and unsavoury contacts alike. He embraced the shadows and the glamour, becoming a legend in the fashion world through a series of ever-changing names and identities. Over the decades and centuries, Axel’s fame grew, though it came with the sorrow of watching his admirers age while he remained untouched by time. Still, he never lacked for followers, always reinventing himself and moving from city to city. In recent years, he returned to Venice, where he set up a new home and business under the brand Diary of a Fashionista. With a fiercely loyal bodyguard and a diligent assistant, he built a modern empire.

He is best known for creating a daring red ensemble, subtly checkered, that seems to shimmer and move under sunlight, a piece that turned heads and sparked rumours. Axel dreams of establishing the most audacious, beloved fashion line in the world. He has never shied away from boldness, attending Pride events in person and standing as a vocal, passionate advocate. Yet, for all the acclaim, a quiet yearning remains. He wishes for someone to know him as deeply and intimately as Brunio once did. He longs for a lasting partner, someone he could share eternity with someone who, if not already kindred, could be turned. Though occasionally vain and inclined to dismiss what offends his aesthetic sensibilities, Axel carries within him a depth of desire, vulnerability, and brilliance that few ever truly see.

Connections:

@auroverite - long time acquaintances

@anedendarkly - collaborates with January

@devorantescorda-2 - An admirer

@angelus-cadens - loyal client

[queereads-bracket]

Queer Fantasy Books Bracket: Round 1

Book summaries below:

The Seraphina Duology (Seraphina, Shadow Scale) by Rachel Hartman

Four decades of peace have done little to ease the mistrust between humans and dragons in the kingdom of Goredd. Folding themselves into human shape, dragons attend court as ambassadors, and lend their rational, mathematical minds to universities as scholars and teachers. As the treaty's anniversary draws near, however, tensions are high. Seraphina Dombegh has reason to fear both sides. An unusually gifted musician, she joins the court just as a member of the royal family is murdered—in suspiciously draconian fashion. Seraphina is drawn into the investigation, partnering with the captain of the Queen's Guard, the dangerously perceptive Prince Lucian Kiggs. While they begin to uncover hints of a sinister plot to destroy the peace, Seraphina struggles to protect her own secret, the secret behind her musical gift, one so terrible that its discovery could mean her very life. Fantasy, young adult, secondary world, epic fantasy

The Salt Grows Heavy by Cassandra Khaw

You may think you know how the fairytale goes: a mermaid comes to shore and weds the prince. But what the fables forget is that mermaids have teeth. And now, her daughters have devoured the kingdom and burned it to ashes. On the run, the mermaid is joined by a mysterious plague doctor with a darkness of their own. Deep in the eerie, snow-crusted forest, the pair stumble upon a village of ageless children who thirst for blood, and the three 'saints' who control them. The mermaid and her doctor must embrace the cruellest parts of their true nature if they hope to survive. Horror, fantasy, retelling, adult, novella

[anncanta]

Lemon Tart and the Man with the Axe

I am amazed at how archetypes work and how in a good book the image and the text always walk on the edge. Especially when the author and the text don't even hide what's going on.

I recently finished reading Heartless by Marissa Meyer and I'm still impressed.

This book is wonderful. I fell in love with it immediately, and now it's not just one of my favorite books – it's a book that is with me. Mine. The book I've been waiting for. It evokes so many feelings in me that I can't describe them all. Only the main ones: joy, delight, surprise, admiration. Recognition. Pain. Disbelief that such a book was possible. And admiration again.

Now that some time has passed since I finished reading it, I realize that I keep returning to one of its characters. Not only because he is exceptionally attractive – and I've been missing such a male character for many years – but also because he was surprisingly misunderstood within the text.

No, it's not the author's problem. The author is a genius, and she probably intended it that way. I can't remember another instance where a character in a text was surrounded by so many other people's views and was so different from what others saw. And yet, he doesn't argue with that view. He just lives his life. And it literally leaves you stunned. How is that possible? How could it be written? How could it be done so easily?

Well, it all seems so simple. There is a novel – a fan fiction based on Alice in Wonderland. The main character of the novel is Katherine Pinkerton, the young daughter of the Marquis, the future Queen of Hearts. There is a love story that failed, declared almost at the very beginning. It all seems like a typical romance. Everything points to it. Everything leads to it.

But this is Wonderland. Here, everything may not be as it seems.

And here I will digress and say a few words about the perception of the original.

Alice in Wonderland is often considered a fairy tale for children, a cute joke, a story told by a strange professor to his young friends on a hot summer day. Many people read it as such – as a bright ‘Disney’ pastoral. In a sense, it is. But only to a certain extent.

Because for Lewis Carroll, the story of Alice falling down the rabbit hole was, among other things, a parody of the scientists and friends around him, a logical exercise, a puzzle toy, a poetic exercise, a mockery of the ancient literary tradition (the ballad about the Jabberwock), a mathematical problem and just pure pleasure.

And this story is also extremely artificial, extremely conditional, almost a puppet theater.

And here I return to Marissa Mayer's novel. In order to understand what it is about, you need to remember one important thing: the characters in Alice in Wonderland are cards and chess.

No, there are people, animals, and strange creatures whose nature is difficult to determine there. But the main context is the two kingdoms in which the action takes place – these are two sets of chips and two spaces of the game.

And this is the main thing.

In Carroll's book, this game is permanent, brash, furious, seething, and absurd. It rolls over you at once and overwhelms you. So much so that you don't notice how the inexorable order emerges behind this crazy dance.

In Marissa Mayer's book, the game is more orderly, more restrained, and logical. Although it continues to be furious and passionate. This can only be compared to music, and all that comes to mind is, paradoxically, Saint-Saëns' Dance Macabre. However, what's surprising about that? Both cards and chess are games in which the stakes can be very high. Sometimes the stake is life.

Marissa Mayer understands this very well. That's why the Joker appears in her kingdom in a deck of cards.

I still can't get over his appearance. Besides how it was done – with such exquisite mocking grace and simplicity, with skill and taste. How much dignity, beauty, and sexuality there is in it. But the main thing is that the Joker is not just a card. This is a card that changes the game.

You can't help but reach for the image of the trickster, you just want to say that the deceiver and the lover of jokes has come to shake up the stagnant Kingdom of Hearts.

But it's more complicated. Tricksters are the public's favorites, it's hard to take your eyes off them. But you have to if you want to understand what the tale is about.

The Joker is a card that can change the current layout, which, if necessary, beats any other, including trumps, which in a certain sense is on its own.

That's why it was no surprise to me that Jest is playing his own game. By the way, Jest is a variant of the word ‘joker’, ‘jester’, ‘fool’. So, I suspect, we don't know the real name of this hero.

Everything is wonderful in his image. But the most striking thing is how, despite his mystery, he is shamelessly frank. And how frankly it is done.

There are many details that can be given here, but I will focus on one – Jest's friendship with Raven. As we will see later, it will pull others along with it, and not by chance.

From the very first moment he appears in the text, Jest appears in dual form – as a human and as a bird. Aside from the fact that a bird is a very powerful archetypal image in itself, especially a raven, it seems important to me that Jest does not simply split into two. He does not simply split into a human and a raven.

He splits into a joker and an executioner.

This is what suddenly struck me after a few days of reading the book.

I was not surprised that Kath did not see this – Kath is seventeen. How could I not?

In the amazing scene in the garden, where Kath, having fled from the king's proposal, rushes among the bushes and trees, suffocating in her tight corset, she sees how out of the darkness comes out to meet her first the figure of a hooded man with an axe, and then – Jest, sitting peacefully in a tree with a flute in his hands.

It is so obvious that there is no need to explain anything.

If anyone hasn't figured it out by the last third of the book, Jest says it outright: ‘The Raven was the executioner in the White Queen's court.’ It's both a warning to Kath – girl, I'm friends with the executioner. We've been best friends for years. Does that bother you? – and a reminder to the reader that jokers and rooks are not sweet romantic heroes.

There's another elegant twist hidden here.

Look. On the outside, the story of Jest and Kath is a sweet tale of an innocent girl who fell in love with a handsome young man who died tragically in battle.

A bright, beautiful, spectacular Disney story. Lemon tart.

But inside this tart is a very unusual treacle filling.

There are several moments, in addition to the one I mentioned above, indicating that everything is not so simple.

The first is the appearance of Jest in the Kingdom of Hearts. As Cheshire says, no one knows who Jest is or where he is from. He simply appeared at the gates of the royal palace, talked to the king, showed a couple of tricks, and offered his services.

However, this is just a joke. The Joker always unexpectedly appears in the game.

And there is more to come. The second moment is the Hatter's tea party. During which we see that if this is the king's joker, then there are at least two kings. The daytime one is the cheerful, frivolous, and carefree King of Hearts – and the shadow one is the thoughtful, strange, ironic, gloomy Hatta.

And even though the tea party is just a game, it is needed to show us that Jest as a character has a double bottom, a second meaning, a dark underside.

And the third moment is the conversation between Jest and Kath at the well, where he tells her directly, ‘I am the rook. I can walk any distance, if in a straight line. I come from a country that has been at war for many years. I have seen people die and I have taken many lives myself.’ In this scene, he seems very young and very much in love. And he is, but its beauty and strength is that if seventeen-year-old Kath sees only this youth and love, letting everything else pass in one ear and out the other, then the adult reader sees the rest.

They see a tired, very grown-up man who serves on the royal court. He has served there for many years. A man who fought, intrigued, persuaded, created alliances, destroyed them, carried out impossible missions, and killed. A man who is incredibly tired of all this. Who really wants to stay in a peaceful, calm kingdom and find a family. He does not know if he will succeed. But he clearly understands that the main obstacles to this are not the king, not his own low position, and not the Jabberwock.

The beauty of it is that Kath is not a lovesick fool who blindly throws herself at a handsome prince, although she is madly in love. Kat is a very young woman. All her thoughts, feelings, and actions are determined by her youth and lack of experience. In the finale, it seems to us that she is mad with grief. But the more I think about it, the more I am inclined to believe that it is not only from grief but from the fact that something has befallen her that she was simply unable to understand at the age of seventeen.

And this is a real tragedy.

When I finished reading the book, I couldn't understand why I didn't feel sorry for Jest. He's a fantastic character, smart, handsome, talented, ironic, sexy, kind, strong. What's the problem?

The problem is that Jest himself didn't see this story and its possible ending as tragic. Look above – he is a military man, a courtier, smart and calculating, a professional politician who is friends with a professional killer. A man who deliberately came to another country to seduce the queen, steal her heart, and leave. In the book, it's said quite delicately, but quite clearly: Jest wasn't trying to take Kath's heart because she wasn't a queen yet. His plan was to have an affair with her, make her fall in love with him, wait for her to marry the king, and become her lover.

This man knew how it would end. He had counted on it. He had no great doubts about it. He was simply not used to doubting such things. He had lived like this all his life. Hatta, who had spent much more time with him than Kath, saw it very clearly. His dull melancholy and slight contempt with which he speaks to her at the end of the book are the result not so much of hostility and jealousy towards her, but of the impossibility of explaining. He understands that he cannot explain to this frightened, grief-stricken girl that no matter how much pain he felt, no matter how terrible what had happened, the worst thing is that Jest did not see anything unusual in it. And this tears him apart from within. It was not time that caught up with him and stunned him with madness, but the realization that had finally come of what kind of life they both lived and the price they had paid for it.

But Kath cannot understand this. She is young and confused, she is under pressure from all sides and, among other things, she has no way of understanding it. These things can only be understood by life experience. So all that remains with her after what she has experienced, all that remains of Jest, is a man with an axe.

Without forgetting for a moment that she is writing a fanfic based on one of the greatest works of English literature, the author uses one of the most famous devices of this literature – an embodied metaphor. The dark side of Jest, his shadow, the part of him that Kath has tried desperately not to see throughout the story, splits off and stays with her.

And it doesn't matter what color the roses are if you don't understand anything. The Sisters take her heart, not because they take their pay for the opportunity to carry out revenge, but because there is no place for the heart where a person clings to the dead. Kath could have had the memory of Jest, of who he was – really was, of what happened, of their love. But she chose to hold on to a static image, of what she saw first. To a man in black with an axe. She can't be blamed for this. Her youth and inexperience made her do it. And in the end, she stayed with this man. She wanted to keep Jest, and she did – in the form she could. The irony of life. The irony of Sisters. The irony of the story and love.

In Marissa Mayer's interpretation, the story of the Queen of Hearts is the story of a girl who never became an adult.

And it is also a story about how important it is to play fair. First of all, with yourself.

* The art is from the internet. I don't know the artist. If you do, please let me know in the comments.

[rametarin]

'Political balance'

Linguistically, we need to stop talking about "political balance" when it comes to left-wing right-wing stuff in history and social studies. The elephant in the room is that it's not a left-wing right-wing thing. And it hasn't been, for a long time.

It's ideological vs. empirical and objective.

Ideologically, the "left wing" has been fashioning interpretation and telling of history around the idea anti-capitalism is correct and Marxist greviance is as well, and proudly coming to conclusions with these operators without ever explaining that these are interpretive lenses, not mathematical formulas to determine truth and fact. No different in their function than trying to apply creationist, religious dogma to the perception of the world.

Secular, objective, empirical facts and reality do not require Class Struggle Theory, or Queer Theory, or Critical Gender Theory, to validate or shape their positions or interpret them. And that is the conversation being had here.

The Left Ideological position is that all white historical figures were bad, aided, abedded or committed genocides of non-whites because rich and white and male, and that if there were no white people, there would've been no slave trade nor slaves nor disrupted lives in Africa. They go on to say industrialization that destroyed the environment is solely the responsibility of Eurocentricisism.

And even more insulting is they go on to talk about your average mewling leftist who complains about exploitation abuse of indigenous communities as just a liberal, "whom is pretty much just a conservative-lite, anyway." If that latest crank I watched on youtube is to be believed. The kind of professorial twat that put these extremist ideas in the useful idiots and sheep anyway, just to turn around and make fun of them as feckless radicals that no one told to act that way and they're somehow above it and right, because they're Progressive, not Liberal.

We don't need conservative historians, social studies teachers or sex ed teachers. We need people that aren't fucking drinking anti-capitalist, socialist flavor-ade like it's a Jonestown hootinanny. We don't need the sort of people that will support the idea the Lincoln Memmorial should be destroyed, "because Lincoln didn't really care about slaves."

The time is right. We can call it for what it is, and there's enough understanding and awareness across communities and ethnic enclaves and islands for the conversation to be understood. It's not right/left. It's "woke" just being the wink and nod of intersectional feminists and socialists trying to consolidate all minorities under a single political tent, and everybody else. And the hard-left is hungry and looking to eat.

And it's good that they're emerging and separating themselves from liberals. They've polluted liberalism with their profoundly illiberal bullshit and hid behind them for too long, as liberals tried to keep them hidden both because the Progressives work hard to rally, and because in a two party system, they can't afford those stubborn purist assholes sequesting themselves into their own party instead of trying to co-opt the liberal democrat platform.

But they're starting to get more visible and aggressive, and the accusation there's more than one person in those pants is getting more and more substantive. We don't need "balance" between right wing and left wing views, we need to point out when one view is ideological horseshit and requires entire textbooks worth of mental gymnastics in order to even exist in the room, and when one doesn't.

[frank-olivier]

A Mind in Motion: The Evolution of Paul Dirac’s Thought and Legacy

Paul Dirac's life and work embody the intricate dance between intellectual curiosity, philosophical evolution, and the relentless pursuit of scientific knowledge. His strict upbringing, characterized by a unique linguistic regime imposed by his father, played a pivotal role in shaping his intellectual trajectory. This environment, where French was spoken with his father and English with his mother, likely honed Dirac's ability to navigate complex systems and think abstractly. Initially inclined towards engineering, a path influenced by his family's vocational leanings, his innate mathematical aptitude eventually led him to the realm of theoretical physics.

The interplay between environmental influences and innate talent in the development of exceptional minds is a fascinating aspect of Dirac's story. The structured and disciplined environment may have fostered Dirac's meticulous approach to problem-solving, a trait that would later serve him well in the precise world of theoretical physics. His natural affinity for mathematics, evident from an early age, underscores the role of inherent ability in shaping one's academic and professional pursuits. Investigating similarly raised individuals could provide valuable insights into the cultivation of genius, elucidating whether specific aspects of their upbringing, such as bilingualism and strict discipline, were instrumental in their success.

Dirac's transformative shift from an anti-religious, anti-philosophical stance to embracing mathematical beauty as a guiding principle in physics is a defining aspect of his legacy. This philosophical evolution led to the creation of the Dirac equation, a seminal work that seamlessly integrated quantum theory with special relativity. The beauty and elegance of this equation not only reflected Dirac's newfound appreciation for aesthetic considerations in physics but also underscored the efficacy of such an approach in driving scientific breakthroughs. Historical precedents, such as Johannes Kepler's laws of planetary motion, derived from a desire to create a harmonious, beautiful system, preceded empirical validation, illustrating the power of aesthetic considerations in anticipating scientific truths.

The pursuit of string theory, driven by its mathematical elegance despite lacking direct empirical evidence, further solidifies Dirac's enduring influence on the philosophical underpinnings of modern physics. This interplay between beauty and truth in physics suggests that aesthetic considerations can serve as a heuristic for theory development, particularly in areas where empirical data is scarce or inconclusive. Moreover, the significant role of geometric thinking in Dirac's contributions, particularly in the development of the Dirac equation, underscores the importance of geometry in driving innovation in physics, from Euclid's influence on Isaac Newton's understanding of space to Albert Einstein's reliance on Riemannian geometry for general relativity.

The disparity between Dirac's enigmatic public persona and his nuanced personal life serves as a poignant reminder of the challenges inherent in science communication. The public's perception of scientists is often reduced to caricatures or stereotypes, neglecting the rich tapestry of their personal experiences and motivations. Presenting scientists in a more holistic light could enhance public engagement with science, fostering empathy and understanding for the human endeavor behind scientific discoveries. Exploring Dirac's personal struggles, including his complicated family relationships and his later-life introspections, humanizes the figure of Dirac, offering a compelling narrative for science outreach and education initiatives.

Dirac's later years, marked by introspection and a critical reevaluation of his work, including Quantum Field Theory, exemplify the self-reflexive nature of scientific advancement. Despite his personal reservations, his legacy remains resolute, with ongoing research drawing inspiration from his pioneering work. The continued pursuit of theories guided by the principle of mathematical beauty stands as a testament to Dirac's profound and lasting influence on the trajectory of modern physics. His work has also influenced fields beyond physics, such as mathematics and philosophy, underscoring the far-reaching implications of his ideas.

Graham Farmelo: Paul Dirac and the religion of mathematical beauty (The Royal Society, London, March 2011)

Wednesday, November 13, 2024

[jinkieswouldyoulookatthis]

Okay this is fascinating...

This guy goes through a bunch of standardized measurements to determine where Jensen's face falls on a sort of social gender dimorphic attractiveness scale. No surprise that he scores pretty high but that several of his features rate somewhat more towards the feminine ideal or between the masculine and feminine ideals, which makes perfect sense since, well, he's super pretty for a man.

As a warning, the guy refers to flaws in Jensen's appearance but, as he points out, this is only in relation to a mathematical calculated ideal, and in no way indicates that he isn't really attractive.

Artists and anyone interested in the science behind the perception of attractiveness, this is a really interesting video.