#motion synthesis

[image-to-video]

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[colibrie]

Reflections, part II

Art by the amazing @trilobitepunch

…….

…..

…

-on…

D-n…

Don!

Consciousness floated back in hazy waves, each pass slowly peeling away another layer of blissful oblivion from around his thoughts. Their younger selves dissolved with it, wide eyes and shocked faces disappearing as light cautiously worked its way through his defenses. Colors, blurry and swirled, followed, forcing him to squint as his muddled brain worked to incorporate this new data.

“Come on brainiac, talk to me.”

“shhhhhh, too loud,” he complained, head lolling as his muscles tried to remember their function.    

“You’re lucky you can hear anything after a stunt that stupid!”

The anger in his elder brother’s voice, coupled with a rough shake, helped to snap fully back to reality. His body was draped over Raphael’s shoulder, both of their armor covered in dust and dents. Not far away the remains of the structure groaned, small cracks and bursts of dust filling the air as the debris settle into themselves.

“I thought I said to hold it together,” Raph growled, the chasm between his eyes crater deep as Donatello flailed gracelessly down from his perch.  “You wanna tell me what the shell that was all about?”

“Nothing,” Donatello huffed, one hand flying to his head as pain swelled into a tight bud between his eyes. The other hand, blindly groping for support, latched onto the chest plate of Raphaels armor and held on tight.

“That didn’t seem like nuthin.” Raph pressed, covering Donnie’s hand with one of his own as the other moved to support his elbow. “Did you know those guys from…back then? Were they friends?”

“Don’t leave me!”

“I need you!”

“Yeah…” Donatello replied slowly, lowering his hand as he stared at the rubble. “Something like that.”

I’m coming, Leo.

“Let’s go. We have a report to make.”

[courseyoulovemeyoudontknowme]

WALL-E (2008, Andrew Stanton)

22/05/2024

[tenth-sentence]

With a handful of mathematical equations, he synthesized everything known about motion on earth and in the heavens, and in so doing, composed the score for what has come to be known as classical physics.

"The Fabric of the Cosmos" - Brian Greene

[freakflaggames]

archival footage of an old "freak flag" bumper from 1995 (just kidding)

[biology-geology-beaches-india]

The Science diaries of S. Sunkavally, p405.

[cybergoth1]

﹟— ❛❛cause when you know you know. part 1.

☆﹟— paring: fem!reader x dick grayson.

☆﹟— summary: you've always had dick grayson's heart in your hands, since you were just sixteen.

☆﹟— warnings/tags: dick grayson x fem!reader. reader is an awkward dork. fluffy. dick is yearning. spiderwoman!reader. best friends to lovers (?). these two mfs are the same person in different fonts. reader is a mix of tom holland’s spiderman and the comics. rip uncle ben. the amazing divider was made by @bernardsbendystraws, thank you!. some spiderman: homecoming lore. ☆﹟— MASTERLIST. NEXT.

WAYNE GALAS WERE ALWAYS THE SAME — stiff, over decorated affairs where assholes shook hands and smiled fake smiles over champagne. At sixteen, Dick Grayson knew the routine like the back of his hand. He also knew how to blend into the background when he wasn’t in the mood to charm the crowds. It was from that vantage point, leaning casually against a marble pillar, that he first noticed you.

You stood a few steps behind Tony Stark, looking wildly out of place among Gotham’s elite. Wrapped in a simple blue dress that couldn’t quite decide if it wanted to be fancy or modest, you shifted your weight awkwardly from foot to foot, clutching a small purse like it might save you from drowning in a sea of tuxedos and designer gowns.

Dick’s lips quirked into a small smile. Adorable.

Tony Stark, of course, was in full showman mode, gesturing animatedly as he spoke with Bruce Wayne. The two billionaires were discussing the latest partnership between Stark Industries and Wayne Enterprises — a massive clean energy project meant to transform both Gotham and New York. The media was already drooling over it.

"…game-changer for the East Coast, Bruce," Tony was saying, his voice easily cutting over the soft hum of the orchestra. "Your tech, my tech — it’s like peanut butter and genius. Together, unstoppable."

Bruce nodded, ever the composed businessman. "It sounds promising. If we can get the logistics right."

"And we will," Tony said with his usual effortless confidence. Then, spotting Dick nearby — or maybe just looking for an excuse to brag — he turned slightly and gestured toward you.

"And speaking of genius," he said, "I’d like you to meet my brilliant intern. Absolute prodigy. I’m basically babysitting her before someone smarter steals her."

You blinked, startled by the sudden attention, and gave Bruce a stiff little wave, your fingers curling awkwardly halfway through. Dick had to bite the inside of his cheek to keep from laughing.

Bruce, gentleman as ever, extended his hand. "It’s a pleasure to meet you."

You hurried forward, shaking his hand a little too quickly. "Um — thank you, Mr. Wayne. It’s, uh, an honor to be here."

Tony clapped a hand on your shoulder, nearly knocking you off balance. "Kid’s working on tech that’ll make arc reactors look like antique junk. Don’t let the nerves fool you — she’s the real deal."

Bruce raised an eyebrow, intrigued. "Is that so? I’d love to hear more about your work sometime."

You flushed bright red, mumbling something about polymer synthesis and energy conductivity — something brilliant that Dick couldn’t entirely follow, but he caught enough to be impressed. And amused. You were so obviously genuine — completely different from the polished, self-important guests around you.

Bruce must’ve picked up on your nerves too. With a small, reassuring smile, he glanced to the side.

"Allow me to introduce my son," he said, motioning to Dick. "Dick Grayson."

At the mention of his name, Dick pushed off the pillar and approached with an easy, charming smile — the kind that made Gotham’s elite swoon. But the second your eyes met, you visibly froze like you weren’t sure whether to shake his hand, run away, or throw up.

"H-hi," you said, voice quick, bright — and unmistakably thick with a Queens accent. "It’s, uh, real nice to meetcha."

Dick grinned wider, immediately charmed. "Pleasure’s mine," he said, reaching out.

You hesitated for a beat, then took his hand. Your grip was surprisingly firm, even if your face was screaming pure panic.

Tony almost chuckled. "She’s from Queens," he explained. "You know — where people actually say what they mean and don’t take an hour to do it."

You gave an embarrassed little shrug. You looked like you want to throw up.

That earned a real laugh from Dick, warm and easy. You smiled too — a real smile this time, the kind that crinkled your eyes and hit him somewhere he hadn’t expected. Bruce’s phone buzzed discreetly in his pocket. He glanced at the screen, then gave a small, apologetic nod. "If you’ll excuse me," he said. "Duty calls."

He slipped away, leaving you, Tony, and Dick standing awkwardly together by the marble column.

Tony, never missing a beat, gave Dick a mock-serious look. "Why don’t you two go mingle? God knows she needs more friends."

You groaned under your breath. "Oh my god, Mr. Stark, please don’t."

Dick just laughed again. He fell easily into step beside you as Tony wandered off to schmooze with some politicians. You walked stiffly at first, hyperaware of every move you made in the ridiculously fancy heels Stark had bullied you into wearing.

"So," Dick said, shooting you a grin as he offered you a glass of sparkling water from a passing tray, "Queens, huh? That explains the accent."

You accepted the drink with a sheepish smile. "Yeah. Born and raised. It’s pretty different from all this… you know, money and marble columns."

Dick laughed. "Trust me, you’re not missing much. All it means is you get invited to boring parties like this one."

You laughed too — a real, snorting laugh that made a couple of nearby socialites glance over disapprovingly. You barely noticed.

"So, what’s it like working for Iron man?" Dick asked, tilting his head in that way that made his hair fall a little into his eyes. He probably practiced looking that effortlessly cool in the mirror.

You shrugged, taking a sip of your drink. "Kinda like babysitting a genius toddler with unlimited money and no fear of death."

Dick barked a short laugh. "Sounds about right."

You hesitated, then added, "But seriously? He’s been good to me. Not a lotta people would take a chance on some random kid from Queens."

Dick raised an eyebrow, interested. "Random? C’mon, Stark made it sound like you were about to solve the energy crisis or something."

You snorted again, feeling a little more at ease. "I mean, maybe. Eventually. If I don’t blow up a lab first."

He grinned at that, the easy kind of grin that made you feel like you could tell him anything. So, without really thinking, you shrugged and said, "Plus, I kinda get it. I grew up pretty rough, y’know? Not a lotta money. Lost my folks when I was little."

You said it so casually — like you were talking about the weather — that it took a second for Dick to process.

His smile softened, the cocky edge fading just a little. "Yeah?" he said, voice a little lower now, a little more real. "Me too."

You blinked, surprised. "Wait, really?"

He nodded, tapping two fingers against his chest lightly. "Orphan club. Lifetime membership."

You gave him a crooked smile. "Guess that makes us, like, trauma buddies or something."

Dick chuckled, but there was a warmth in his eyes now that hadn’t been there before. "Guess so. But hey," he added, nudging your shoulder lightly, "at least you’re smart enough to build your way outta Queens."

You shrugged again, feeling your face heat. "Yeah, well. You’re the one who looks like he belongs in a magazine."

Dick gave you a mock-offended gasp. "Are you saying I’m just a pretty face?"

You bit your lip, trying not to laugh. "I’m just sayin’, you definitely got the rich kid smile down."

He laughed, full and bright, and for a second it felt like the two of you were the only ones in the whole stupid, glittering ballroom.

SIX MONTHS PASSED WITHOUT you or him even noticing. Long-distance friendships were supposed to fade, or at least get awkward. Yours didn’t. Despite being hundreds of miles apart — you in New York, Dick in Gotham — you and him texted, called, and memed at each other like your lives depended on it. Some nights you stayed up until 3 AM talking about everything and nothing at the same time. School drama. Terrible cafeteria food. The best ways to take down a guy twice your size when you were stuck in a tight suit.

It didn’t take long before the truth slipped out.

You were Spiderwoman. He was Robin.

The discovery was a complete accident — a FaceTime call cut short when you had to swing off mid-conversation to stop a robbery, your phone falling out of your pocket mid-swing, the screen still open as Dick watched wide-eyed.

You expected him to freak out.

Instead, he just texted:

"dude... that's so sick. also ur form was trash lol. we’re training next time ur in gotham."

When Homecoming season rolled around, you weren’t even planning on going. Crowded dances weren’t really your thing. But then Tony Stark, with his usual flair for the dramatic, said something like, “Kid, you gotta have at least one normal high school experience before you get arrested by the feds or something,” and signed you up himself.

The only problem?

You didn’t have a date.

Which is why, two weeks later, you stood frozen on the sidewalk outside Midtown Tech, wearing a dress that you had panic-ordered online, while Dick freaking Grayson leaned casually against a rented black car looking like he’d just stepped out of a fashion magazine.

Sleek suit. Easy smile. Blue eyes that sparkled when they landed on you.

You gawked. He whistled low under his breath.

"You clean up nice, Queens," he said, offering you his arm.

You shoved his shoulder lightly, face burning. "You’re literally Bruce Wayne’s kid. You clean up by existing."

Still, you took his arm.

Inside the gym — decorated with cheap streamers and a truly tragic DJ — heads turned immediately. Whispers broke out like wildfire.

"Wait… is that Bruce Wayne’s son?"

"He’s so hot in person. I just saw an article about The Flying Graysons-"

"Eww, isn’t that weird ass chick from the Decathlon Team?"

Enhanced earring. Sometimes you hate that. You spotted Ned across the room near the snack table, eyes wide as saucers. He threw you the most aggressive thumbs-up you had ever seen.

You nearly burst out laughing.

Dick, of course, noticed everything — the stares, the whispers — and just tightened his hold on your arm, leaning down to murmur in your ear: "They’re just jealous they didn’t think of asking you first."

You rolled your eyes, grinning. "Shut up, Gotham."

"You love me," he teased, winking.

You tried to play it cool.

Tried to act like your heart wasn’t punching itself in the face.

Instead, you just said, "Whatever, rich boy. Let’s dance before I regret this."

And somehow, with Dick’s hand wrapped around yours and the gym lights flickering overhead, you realized you were having the best night of your life — cheap decorations, judgmental classmates, bad punch and all. No crimes, no tight suits, just the arms of your best friend around you.

SOME YEARS LATER...

NEW YORK CITY SMELLED LIKE hot dog stands, wet pavement, and cheap coffee. It was comforting, in a weird way — grounding, like an old song you never forgot the words to. It smelled like home.

You had just finished your doctorate at Empire State University — biophysics, the degree that had nearly broken you with sleepless nights and endless labs. Four years of undergrad, another six buried under papers and research grants, all while swinging through the city rooftops under a different name.

You were proud, sure. But pride didn’t pay rent, which meant you were still picking up gigs at the Daily Bugle, still hustling freelance science writing jobs, still showing up at FEAST with boxes of canned goods, just trying to help where you could.

You huffed, adjusting the box in your arms as you kicked open the back door. Aunt May had been working at FEAST full-time now ever since she retired, and somehow, you always found yourself drawn back here too. Helping people — it was kind of your thing. Always had been.

What you didn’t expect was to walk into the kitchen and see him—

Leaning casually against the counter like he owned the place, grinning like he hadn’t just crossed two state lines without so much as a warning.

"Hey, trouble."

You blinked, nearly dropping the box.

"Dick?!"

He flashed that damn movie-star smile at you — the one that should’ve come with a warning label. "Miss me?"

"What the hell are you doing here?" you cried, laughing as you dropped the box on the table and practically launched yourself at him.

Dick caught you without hesitation, his arms wrapping around you in a warm, easy hug. You hadn’t realized how much you needed it until right now. Twelve years. Twelve years of growing up side-by-side, saving cities, teasing each other over coms, late-night phone calls just to vent about patrol. And yet somehow, seeing him in person after a few months apart hit you harder than you expected.

You pulled back. "You idiot! You’re supposed to call before you show up in my city."

"What, and ruin the surprise?" he teased, ruffling your hair — which earned him a murderous glare from you. "Besides, I figured Aunt May could use some extra hands around here."

May appeared in the doorway at that exact moment, wiping her hands on her apron. Her face lit up when she saw Dick. "Richard, honey! It’s so good to see you!"

"Richard," you snickered under your breath, watching Dick grimace in horror as May pulled him into a hug.

"She’s the only one allowed to call me that," he grumbled as he shot you a look over May’s shoulder.

You grinned. God, you’d missed him.

There was a way Dick fit into your life that no one else could replicate — like he was the missing piece to a puzzle you hadn’t even realized was incomplete. Maybe it was the history. Maybe it was the fact that you understood each other in ways that no one else ever could — the grief, the pressure, the guilt that came from trying to save people and knowing it would never be enough.

Maybe it was just him.

Because somewhere along the line, Dick Grayson had gone from Gotham’s golden boy to Nightwing — the heart of Blüdhaven, the hero everyone loved. He wasn’t just a sidekick anymore. He was the blueprint.

Kids in Blüdhaven wore Nightwing shirts and told stories about how he’d saved their dad or helped their aunt or dropped off Christmas gifts at the shelters. He was the hero people wanted to be — not just because he was good with his fists, but because he never stopped believing the world could be better.

You were proud of him in a way you couldn’t even put into words.

And looking at him now — a little older, a little more worn around the edges, but still him — you realized how much he still made you feel like you weren’t alone in any of it. He was your best friend and your family.

You saw May kissing his left cheek before going back to the main room, it was time to serve lunch.

"So," he began, leaning against the counter with that casual drawl he used when he was trying way too hard to sound chill, "how’s your thing with MJ going?"

His tone was careful — soft — like he knew exactly how much of a train wreck your love life had been lately. How you always ended up back at square one: alone.

You shrugged, shooting him a half-hearted smile.

"Eh. How’s your thing with Babs going?"

You tossed the question back at him without missing a beat, raising your brows pointedly.

Dick mirrored your shrug, lips twitching.

"Eh."

There was a brief pause — the kind only two people who knew each other too well could slip into without it feeling awkward — and then you smirked.

"Well, there’s your problem. You’re into gingers."

He snorted. "You’re into gingers."

You pointed at him like you just cracked the code of the universe.

"Exactly. That’s why we both have commitment issues. Everyone knows gingers are secretly evil."

Dick barked a laugh, shaking his head.

"Evil and dangerously attractive. It’s a lose-lose."

"Honestly," you sighed dramatically, "it’s not our fault we keep getting attached to soulless, beautiful monsters."

He grinned wide, that stupidly charming Nightwing grin.

"Soulless monsters — sounds like half the people we fight too."

"At least fighting bad guys doesn’t leave me crying into a tub of ice cream at two a.m."

Dick’s eyes twinkled with mischief.

"I guess you forgot your little friend Felicia Hardy in this sentence."

You gasped, smacking his arm — not hard enough to hurt, but enough to make your point.

"That was one time and she tricked me!"

"Uh-huh," Dick said, smirking as he rubbed his arm dramatically. "And then she ghosted you and stole your watch. And your wallet".

You groaned.

"I told you that in confidence, you traitor."

He grinned even wider, clearly enjoying himself.

"You’re lucky I’m your best friend and not, you know, selling these stories to the tabloids."

You gave him a half-hearted glare before letting out a snort.

"Yeah, because Nightwing Reveals Spiderwoman Got Played by Cat Thief would really earn you some credibility."

Dick shrugged, unbothered. "Might finally knock me off GQ’s ‘Sexiest Heroes Alive’ list. Honestly, it’s getting exhausting."

You laughed, the sound bursting out of you before you could stop it. God, you missed this. The easy rhythm of you and Dick — how he could drag you out of any dark place with just a few dumb jokes and a mischievous glint in his eye.

"But come on now, sexiest hero alive," you teased, nudging him lightly with your elbow. "Why are you truly in New York?"

Your face ached from how much you’d been smiling. It was almost enough to make you forget the three broken ribs healing under your shirt and the nasty wound stitched up on your left thigh. Almost.

Dick just shrugged, the corner of his mouth tugging up into a half-smile.

"Nothing at all," he said lightly. "Just missed you."

You squinted at him, unconvinced.

"Missed me enough to leave your city to crumble without Nightwing?"

"Don’t be dramatic," he said, rolling his eyes fondly. "Tim’s covering me this weekend. Blüdhaven’s in good hands."

You studied him again — really studied him — noticing how his bright blue eyes suddenly dipped away from yours, shyness creeping into his expression. Dick sighed, shoving his hands deep into the pockets of his jeans, like he was bracing himself.

"It’s May fourth," he said quietly.

You froze for a beat. Of course.

You didn’t need him to say anything else. You knew exactly what that date meant.

Uncle Ben’s death anniversary.

You were so burried into your Spiderwoman's stuff last night that you forgot all about Ben, you didn't even noticed how sad May was this morning. A lump formed in your throat. The pain was still there, buried deep. It always was. Even with all the miles between you and that night, the guilt, the regret — it never quite left. You thought you had it under control, thought you had it buried in the same corner where you stashed all your unresolved issues. But not today. Not with Dick here, looking at you like that.

You were about to say something, anything, to push the conversation somewhere else. But Dick stepped closer, the usual teasing smirk gone. His gaze softened, his voice quiet, steady.

"You still blame yourself, don’t you?"

The question hit harder than you’d expected, like he’d plucked the thought right from your mind. You met his eyes for the first time since he’d dropped that bomb. The guilt, all of it, was there — clear and raw. You didn’t need to say a word.

He sighed, stepping closer, until his body was just a breath away from yours. His hand brushed against your arm, the touch warm, gentle.

"Hey," he murmured, his voice low and comforting. "You can’t save everyone. I’ve been doing this long enough to know that."

You almost laughed at how ridiculous it sounded coming from him. Dick Grayson — Nightwing, a hero, a Titan — was the one who saved people, who did the impossible. He was the one who made sure no one fell through the cracks. He was everybody's safety net.

"I’m not like you," you whispered. The words sounded bitter in your mouth. "I’m not like him. I could’ve done more, should’ve done more. I—"

"Stop," Dick interrupted, his voice firm but caring. "You did everything you could. But you can’t do it all, especially not alone."

You looked up at him, his blue eyes meeting yours, soft with understanding. There was no judgment in his gaze — only the kind of acceptance that made your chest tighten. He’d seen your worst moments. And somehow, even in those, he still cared.

He was always there, wasn’t he? Even when it felt like the whole world was crashing down around you, he was the constant you could rely on. He didn’t need to say a word — he just was.

"I’m sorry," you muttered, shaking your head. "I should’ve been better, Dick. He deserved better. He would be alive—"

Dick’s hand moved to your shoulder, his grip solid, like he was holding you together in a way no one else could.

"You don’t have to carry that on your own," he said quietly. "And you don’t have to keep punishing yourself, either. Ben wouldn’t want that."

You clenched your jaw, trying to swallow the lump in your throat. But the dam was breaking. Slowly, painfully, the tears you didn’t realize were there started to well up. And Dick — always, always there — pulled you into his arms without hesitation.

"Hey," he whispered into your hair, his voice soothing, "You’re not alone. I’m here, alright? And so is May. We’re all here."

You clung to him for a second longer than you probably should’ve, your hands gripping the back of his shirt like it was a lifeline. Maybe it was. You hadn’t realized how badly you needed this. You squeezed your eyes shut, pressing your forehead into his shoulder, trying to swallow the emotion threatening to spill over.

Eventually, you pulled back, just a little, blinking away the tears. Your chest felt lighter, like the weight of the years had shifted just a little.

"Thanks," you said, voice thick. "I really needed that."

Dick’s thumb brushed carefully along your jaw, grounding you. You stared up at him, the breath catching in your chest, and for a long moment, he just looked at you — like he was memorizing you, seeing every crack, every bruise, and not turning away.

Then, without a word, he leaned in and pressed a soft, steady kiss to your forehead. Just like many others he gave you in these past twelve years. He lingered there, letting the touch say all the things neither of you could voice out loud.

When he finally pulled back, he dropped another kiss, featherlight, to the tip of your nose — the smallest, softest thing — and it broke something inside you in the best way. It wasn’t romantic, not in the big, sweeping way movies liked to show. It was better. It was pure, steady, real. The kind of love that had nothing to prove and nowhere to go. It just was.

You closed your eyes for a second, breathing him in — the faint smell of his cologne, the leather of his jacket, the clean sweat of someone who lived moving, fighting, surviving. When you opened your eyes again, he was still there, hands steady, smile small and genuine.

"You’re such an ugly crier, Webs," Dick said, voice full of teasing warmth as he wiped your cheeks with his thumbs. "Is that snot? Seriously?"

You let out a wet, broken laugh. "Fuck off — my uncle died, you asshole."

"I know, I know," he said, his grin tugging at the corner of his mouth even as his eyes stayed soft, careful. He cupped your face between his hands like you were something fragile and precious, his thumbs brushing away the tears and — yeah, maybe a little snot too. "You’re allowed to cry. Even if you do it… extremely unattractively."

You hiccupped a miserable sound and buried your face in his shoulder. Dick just laughed under his breath and tucked you closer, like he could shield you from the whole damn world if you let him.

"You’re the worst," you muttered thickly into his neck.

For a minute, you just breathed together. No words. No expectations. Then you heard the familiar shuffle of footsteps and Aunt May’s voice coming from the kitchen doorway.

"Well, isn’t this the cutest thing I’ve seen all week."

You jerked upright, immediately wiping your face. Dick just threw an arm lazily around your shoulders, pulling you into his side like it was the most natural thing in the world.

"Hey, May," he said brightly, like you weren’t two seconds away from crumbling.

Aunt May just smiled knowingly, walking over to kiss your temple and then ruffle Dick’s hair, making him squawk in protest. "Always good to see you, honey. But next time, you know, call first".

"Yes, ma’am," he grumbled, fixing his hair like some offended cat.

"Come on, you two," she said, already turning back toward the kitchen. "There’s leftovers from dinner. You can eat and then help me serving lunch. We have new people here needing help and Miles is really anxious about meeting your friend".

Ah, Miles. He's a great kid and hero. Dick's probably gonna like him. Dick squeezed your shoulder gently. "Race you to the table, ugly crier."

You elbowed him hard in the ribs, but you were laughing. Really laughing. Later that day, standing in front of Uncle Ben’s grave, the city felt quieter and worst than usual. Maybe it was just the way your heart was beating — slow, heavy, a little cracked around the edges. You stared at the headstone until the words blurred, the lump in your throat too thick to swallow.

Without a word, Dick stepped closer and pulled you against his side, wrapping an arm around your shoulders. His fingers found yours easily, lacing them together like they belonged there, like they always had. He squeezed your hand and then, without any hesitation, he leaned down and pressed a kiss to your forehead.

It was so soft it made your eyes sting all over again.

You leaned into him, letting his strength anchor you, feeling his heartbeat steady against your side. The sun dipped lower, the air turning cooler, but neither of you moved. You could always hear his heartbeat, even when he wasn't in the same room as you. Nice part of having powers. You have the sound memorized in your head.

Dick didn’t rush you. He didn’t tell you it was time to go, or that you had to be strong, or that Ben was in a better place. He just stayed — solid and silent and sure — holding you. He spent the whole evening there with you, never once letting go of your hand. May was in front of you, mourning in her own way. In silence.

When the city lights finally started to blink on in the distance, you turned your face into his shoulder and whispered, voice cracking, "Thank you."

Dick just squeezed your hand tighter, pressing another kiss to your hairline.

"Always, Webs," he murmured against your hair. "Always." like they belonged there, like they always had.

©cybergoth1, 2025

[talonabraxas]

The Kerubim “the Strong Ones” Talon Abraxas The Kerubim can be conceived of as a reflection of the Four Holy Living Creatures of Kether, the powers of the Eternal Elements. The duty of the Chayoth ha-Qodesh is to formulate the primary pattern upon which the rest of existence is built. These Kerubic forces descend the Middle Pillar to Yesod where the Kerubim, as the structural powers of the Universe, support this existence. Therefore, the Kerubim are the formative powers of the Elements stationed in the sphere of Yesod, the etheric substructure that supports the physical universe. As these etheric powers, the Kerubim are the formative forces of the world and humankind. As Angels of Lunar Yesod, the Kerubim also have an association with time, the four Kerubic points in the year which are the Hermetic Qabalah’s cross quarter days. Their name means “the Strong Ones” which is derived from the Akkadian word Karibu which means “one who prays” or “one who intercedes.”

The work of the Kerubim is to influence communication between the inner and outer worlds by serving as Guardians, Heralds, Equilibrators and Guides. They work on the building of knowledge and the harnessing of force in etheric or Yesodic methods. One of these methods is the use of symbols relating to Yesodic perception within the depths of the unconscious mind. With the progression of time, these symbols become less ritualistic and more psychic, becoming tools in the hands of the aspirant. These images are the contents of the Treasure House of Images, and the forces behind these images are the Angels of Yesod.

The Tetradic Kerubim are the animated powers of YHVH working through the fixed signs of the Zodiac. As given in Exodus 25:18-19 and 37:9, their shapes represent the aspects of the four dynamics of the Elements. These energies are not the Elements themselves, but rather are placed between the Angels and the Elements in hierarchy. One of the functions of the Kerubim is to take these energies and set them into motion and as such,, this Choir of Angels has a direct affect on the Earth and Man. As presidents of the Elemental Forces, these Four Kerubim are each assigned one of the letters of the Divine Name YHVH, and they operate in and through the four astral Elements in Yesod before these Elements are formulated in the physical world of Malkuth.

This Tetrad serves as Equilibrators by creating a stable nucleus from which the physical world comes forth into being. These four Vice-Gerants of the Elements, under the Presidency of Spirit (Gabriel), are synthesized in the formula of YHSHVH. Yod, Lion, Nequaquam Vacuum, Nowhere a Void; He, Eagle, Libertas Evangelii, Liberty of the Gospel; Vau, Man, Dei Intacta Gloria, Unsullied Glory of God; and Heh (f), Ox, Legis Jugum, Yoke of the law; and in the midst of the four letters is Shin, the letter of Spirit, which, formed from the Tetragrammaton, gives the Divine name of Yeheshua, The Pentagram represents the concentrated force of the Spirit and the four Elements governed by the five letters of the Name of the Restorer, YHSHVH and is not only attributed to the planet Mars, but also shows the Kerubim and the Wheel of Spirit. The Kerubim of Ezekiel have four faces, those of the Lion, the Bull, the Man and the Eagle, alternating with each other by rotation. Beside them was the symbolic form of the Spirit, symbolized by the wheel. As suggested by the two wings that covered their bodies and the two wings that stretched upwards to each other, the synthesis of the Kerubim is found in the revolving Cross, in the Pentagram, and in the idea Spirit dominating the four Elements.

The Kerubim are winged celestial beings which, unlike most conceptions of angels as anthropomorphic, are zoomorphic. On the 32nd Path between Malkuth and Yesod, the Zelator encounters these Four Kerubim who perform elemental purifications which aid in the alchemical transformation of the aspirant. In this ritual, the aspirant learns that the Elemental Spirits are invoked through the power and governance of the Kerubim and their Zodiacal symbols. They are given Hebrew names but their appearance is primarily Egyptian:

Adam (Hebrew for Man), Kerub of Air, stationed in the East, human-headed Aquarius. “The Priest with the Mask of Osiris spake and said, ‘Thou canst not pass the Gate of the Eastern Heaven unless thou canst tell me my name’.” of which is replied “Thou art NUT, Goddess of the Firmament of Air. Thou art HORMAKU, Lord of the Eastern Sun.”

Aryeh (Hebrew for Lion), Kerub of Fire, stationed in the South, Lion-headed Leo. “The Priest with the mask of the Lion spake and said, ‘Thou canst not pass the Gate of the Southern Heaven unless thou canst tell me my name’.” Of which is replied, “Thou art MAU the Lion, Very Powerful Lord of Fire. Thou art RA, the Sun in his strength.”

Nesher (Hebrew meaning Eagle), Kerub of Water, stationed in the West, Eagle-headed Scorpio. “The Priest with the mask of the Eagle spake and said, “Thou canst not pass the Gate of the Western Heaven unless thou canst tell me my name’.” of which is replied “HEKA, Mistress of HESUR, Ruler of Water, is Thy name. Thou art TOUM, the Setting Sun.”

Shor (Hebrew meaning Bull), Kerub of Earth, stationed in the North, Bull-headed Taurus. “The Priest with the mask of the Ox spake and said ‘Thou canst not pass the Gate of the Northern Heaven unless thou canst tell me my name’.” of which is responded, “SATEM, in the abode of SHU, the Bull of Earth, is Thy name. Thou art KEPHRA, the Sun at Night.”

The arrangement of the Theoricus Hall of only four officers suggests the conciliatory Element of Air reconciling the opposing energies within the Hall, resulting in a perfect balance of forces. The number four is associated with Chesed, the first Sephirah to manifest below the Abyss, but it also refers to Yesod as the firm foundation within which the Four Elements are given etheric form which then later materialize in Malkuth during the course of the Lightning Flash.

In the Theoricus Ritual, as the Hierophant addresses the candidate on the meaning of the Cross within the Triangle, it is stated that the Cross, placed upon the Altar at the base of the Tree of Life, refers to the Four Rivers of Paradise. It is Gabriel who rules the “Living Water streams that well from out the Highest Throne.” “…And he showed me a pure river of the water of life, clear as crystal, proceeding out of the throne of God and of the Lamb.” (Revelations 22:1). These Rivers are referred to in Genesis 2:10-14: “And a River, Nahar, went forth out of Eden to water the Garden, and from thence it was parted and come into four heads. And the name of the First River is Pison, it is that which compasseth the whole land of Havilah, where there is gold. And the gold of that land is good. There is Bdellium and the Onyx stone. [–Leo.] And the name of the Second River is Gihom, the same as that which compasseth the whole land of Ethiopia. [–Scorpio.] And the Name of the Third River is Hiddekel, that is it which goeth forth to the East of Assyria. [–Aquarius.] And the Fourth River is Euphrates. [–Taurus.]” This indicates the Presidency of Spirit (Gabriel) over the four Elements.

In the Zelator Ritual the aspirant is told. “And Tetragrammaton placed Kerubim at the East of the Garden of Eden and a Flaming Sword which turned every way to keep the Path of the Tree of Life, for He has created Nature that Man, being cast out of Eden, may not fall into the Void. He has bound Man with the Stars, as with a chain. He allures him with scattered fragments of the Divine Body in bird and beast and flower, and He laments over him in the Wind and the Sea and in the Birds. When the times are ended, He will call the Kerubim from the East of the Garden, and all shall be consumed and become Infinite and Holy.” …. “This drawing of the Flaming Sword of the Kerubim is a representation of the Guardians of the Gates of Eden.

As the Qabalah teaches, the everlasting abode of the Higher Self is in the Eden of Paradise, the supernal sanctuary which is forever guarded from chaos by the Flaming Sword of the Kerubim whirling across borders of the Abyss. After the descent from Grace, the Kerubim were stationed at the Abyss to separate the Supernals from the effects of the Fall.

The Four Kerubim, through their assignation to the four Archangels, are Four of the Seven in the Presence of the Lord. This description of the Kerubim is from John’s vision (Revelations 4:7-8): “And the first beast was like a lion, and the second beast like a calf and the third beast had a face as a man, and the fourth beast was like a flying eagle. And the four beasts had each of them six wings about him; and they were full of eyes within: and they rest not day and night saying, ‘Holy, Holy, Holy, Lord God Almighty, which was, is and is to come.’ ” Here, the Kerubim are seen as single-headed but having six wings, thus uniting the powers of the number seven (the Planets) with the number four (the Elements).

[erbiumspectrum]

Chemistry video recs!!

Okay so here's a new ~project~ of mine (we'll see how long I can stick to it whoops): every once in a while I want to make a compilation of cool chemistry videos. I also want to keep it strictly chemistry-related (as much as that's possible... and I don't promise to be totally objective lol*). I watch a lot of science videos in general, but the way I see it, chemistry just doesn't get enough hype. Physics and biology can fend for themselves, they're very popular. Chemistry is notoriously underappreciated and overlooked, and it makes me sad.

So! Here are some great chemistry videos I've watched recently.

Under 15 minutes:

How does evaporation REALLY work?

Making Singlet Oxygen

Technetium chemistry - synthesis of Lanthanide Pertechnetates - nuclear chemistry

Making table salt using sodium metal and chlorine gas

Making Chloroform

White Phosphorus - Explosions&Fire

Making fuming nitric acid

The End of Haber Bosch

NCl3: a terrifying yellow abomination

Making Prussian Blue

The experiment that revealed the atomic world: Brownian Motion

Chirality is Just Turtles All the Way Down

Over 15 minutes:

Chemist Breaks Down 22 Chemistry Scenes From Movies & TV

Hydrogen Peroxide: going all the way

Does cyanide actually smell like almonds?

Cosmic Chemistry with Kate the Chemist & Neil deGrasse Tyson

The Hidden Chemistry of Everything with Neil deGrasse Tyson and Kate the Chemist

How DO Molecules Store Energy?

applied quantum mechanics

A Chemist Explains the ENTIRE History of Atomic Theory (in 48 Minutes)

*for example, I consider some of thermodynamics to be chemistry-related, as well as some aspects of quantum mechanics. When I say I don't promise to objective, I mean I'll make rather liberal decisions on the intersection of sciences. And you can't stop me.

[panic-point-blank]

🌌 PART I: The Arab Astrologers—Names You Must Know

📝Abū Maʿshar al-Balkhī-known in Latin as Albumasar

Born in Balkh (modern Afghanistan) in 787, a former hadith scholar who turned to the stars in midlife.

His Kitāb al-Madkhal al-Kabīr (The Great Introduction) became the bedrock of European astrology when translated into Latin.

He systematized planetary natures, zodiac signs, houses, aspects, and the elements.

His “conjunction theory” argued that history moves in great cycles, marked by rare celestial alignments—especially Jupiter-Saturn conjunctions, which he claimed heralded the rise of prophets and empires.

"All change under heaven is written first in the sky."

📜 Al-Kindi – The Philosopher of the Arabs

A polymath in the Abbasid court, blending Greek philosophy with Islamic theology and celestial theory.

In De Radiis Stellarum (On the Stellar Rays), he proposed a theory of stellar influence—not superstition, but a natural force, like light or magnetism.

He laid early groundwork for what would become natural philosophy (proto-science), suggesting stars transmit influence through rays affecting Earthly matter and human temperament.

🌍 Al-Biruni – The Observer from Khwarezm

Though more astronomer than astrologer, he cataloged astrology in full without ever endorsing its claims outright.

His Kitāb al-Tafhīm contains precise definitions of astrological terms, planetary motions, and how horoscopes are calculated.

A master of cultural synthesis: he compared Greek, Indian, and Persian systems, noting their commonalities and contradictions.

🕊 Abū al-Rayḥān al-Sijzī & Al-Zarqālī – Instruments of the Sky

Developed the astrolabe, armillary spheres, and zij tables—astronomical charts used by astrologers to pinpoint planetary positions with astonishing accuracy.

🪐 PART II: What the Arabs Contributed to Astrology

🧠 1. A Philosophical Foundation

Arabs didn’t just practice astrology—they thought about it. They debated whether the stars compel or merely incline.

Al-Farabi and later Avicenna argued the stars could only affect the body, not the soul—a blend of Neoplatonism and Islamic ethics.

The stars whisper, they do not command.

📊 2. Horoscopic Techniques Refined

Arabs inherited and enhanced horoscopic astrology from the Greeks:

Twelve Houses (Bayūt): Places in the chart signifying career, love, health, death.

Lots (Arabic Parts): Points calculated from planetary positions, like the Lot of Fortune and Lot of Spirit, used to fine-tune predictions.

Triplicities and Dignities: Systems to assess planetary strength.

Interrogations (Horary Astrology): Divining answers to specific questions, such as “Will I marry?” or “Will the king win this war?”

⚔️ 3. Political and Historical Astrology

Astrologers like Abū Maʿshar claimed that world events—plagues, conquests, religious shifts—were written in planetary cycles.

Used to time coronations, launch battles, found cities.

Caliphs would sometimes delay decisions until the astrologers said the heavens were "favorable."

🏥 4. Medical Astrology

Used zodiac signs to diagnose and treat illness—Aries rules the head, Pisces the feet, and so on.

Ibn Sina (Avicenna) himself, though skeptical of predictive astrology, used astrological charts for medical diagnoses, especially in fevers and crisis periods.

🌠 PART III: Astrology in Islamic Society

🌗 Religious Debate

The Qur’an warns against claims to know the unseen:

"Say: None in the heavens or on the earth knows the unseen except Allah." (Qur’an 27:65)

So Islamic scholars:

Allowed astronomy (for timekeeping, Qibla direction).

Permitted astrology only if used to understand natural rhythms—not fate.

Condemned fortune-telling or attributing independent power to stars.

Yet astrology persisted—not as dogma, but as courtly art, folk belief, and scientific curiosity.

🕯 PART IV: The Transmission to Europe

Translations of Arabic astrological texts into Latin via Toledo and Sicily reawakened Europe’s interest in the stars.

Terms like zenith, nadir, azimuth, almanac, and even algorithm come from Arabic.

Albumasar, Albohali, Messahala—all Arabic astrologers Latinized into the canon of European learning.

The Renaissance astrologers (like Ficino and Agrippa) drank deeply from Arab wells.

🌌 In Closing: A Legacy Like the Night Sky

The Arabs did not merely gaze at the stars—they listened to them, charted them, debated them, and passed on their wisdom in tomes that still echo today. Astrology, as they practiced it, was never just fortune-telling—it was philosophy, poetry, medicine, and mathematics entwined in a cosmic dance.

[evan-collins90]

Sam Goody stores at Universal CityWalk & Horton Plaza (1993 & 1995)

"The synthesis of three distinct merchandising departments for the new Sam Goody store at the Universal Citywalk exhibits a design of dynamic expression by the Jerde Partnership design team.

The new building sits on the center court of an outdoor shopping mall in Southern California. Representing the three merchandising concepts of Sam Goody, the design pronounces each area through unique and interrelated façades.

The customer enters the Popular Music department through an animated, neon-accented color plaster façade. The entrance to the Classics department and the upstairs Coffee Cafe is between two 40 foot high, 10 foot in diameter Corinthian columns within an interpretative classical façade. A 35 foot high, two-dimensional profile sign depicting King Kong climbing the face of a black and metallic bronze tile building hangs over the entrance to Suncoast Motion Picture Company (video).

The central sales environment is referred to as Backstage, and has the character and atmosphere of a soundstage/studio. The two-story space is defined by upper level catwalks and the destination mezzanine known as the Coffee Cafe. A three-dimensional, walk-through Media Wall features music advertising, photos, oversized images, photo lightboxes, video monitors, projected music videos, reader boards and graphic elements.

Media events are orchestrated throughout the day in an ever-changing environment that depicts the trends of popular music and movies. Weather reports, current events and promotional messages continuously scroll by on the reader boards. In-store performances, CD signings and record promotions bring a sense of "an event" to the store. A live VJ/DJ controls all aspects of the store's music and video media, and interacts with the customers.

On a floating piano-shaped level, the Classics department features a state-of-the-art inventory of classical and jazz selections and creates a controlled, intimate area for the customer with special acoustics, localized sound systems, listening stations and lighting. In the Suncoast Motion Picture Company department, tall video columns accent the environment, supporting the sale of videos and laserdiscs. Interspersed throughout the department are video monitors creating the effect of video confetti.

The Coffee Cafe features a wide variety of interactive listening stations and media experiences. It is intended to be an intimate environment where the customer can pause, enjoy the fare, engage in conversation and take in views of the store as well as the street below through its windows."

Designed by The Jerde Partnership

Scanned from: Stores - Retail Display & Design (1997), Great Store Design 2 (1996), Shops & Boutiques (1994)

[neobohemiancollective]

The Neo-Bohemian Manifesto

Art is the revolution. Beauty is the weapon. Spirit is the fire.

I. The Event of Becoming

We are the inheritors of fire, sensual mystics born from the ruins of empires and algorithms.
We declare a new aesthetic and ethical horizon—a living synthesis of Marxist thought, metaphysical multiplicity, radical embodiment, and ecstatic beauty.

We are not utopians. We are event-makers.
Truth occurs in rupture. Art is the ritual of fidelity.

II. Art is Praxis

Creation is sacred disobedience.
We reject the commodification of art as luxury, as property, as prestige.
We affirm art as action, process, sacrifice, transformation.

Inspired by the lineage of Bohemians, Libertines, Decadents, the sexual revolution, Viennese Actionism, and Disco,
we dance at the edge of taboo, we bleed color into the void,
we sculpt time with our bodies and dreams.

III. Philosophy is Flesh

We live in the multiplicity of Being.
We embrace the evental philosophy of Alain Badiou,
where fidelity to truth outlives the spectacle.
We hold that the world is not one, but many—fractured, vibrant, incomplete.

We are Four-Dimensionalists:
Time is a lover. Memory is sculpture. Identity is motion.

IV. Beauty is Resistance

Following France J. Kovach, we affirm beauty as metaphysical revolt.
Beauty is not decoration; it is revelation.
It pierces, it intoxicates, it dismantles.
To live beautifully is a political act.

V. The Erotic is Sacred

Queer theory and Trans-Feminism are not adjuncts to our vision—they are its soul.
We honor the fluidity of desire, the spectrum of gender, the sovereignty of the body.
The erotic is holy. The perverse is prophetic.

Our movement is clothed in lace and leather, wrapped in metaphor,
fueled by disco beats and orgasmic truths.

VI. Allegory is Authority

We read all scriptures, all myths, all systems through the lens of metaphor and mystery.
We reject literalism, dogmatism, and theological tyranny.
We embrace mysticism as the poetry of spirit.

Our temples are adorned with symbols.
Our scriptures are written in image, dream, and dance.

VII. Compassion is Praxis

We carry the ethical torch of Buddhist wisdom:
Non-harm, mindfulness, the liberation of all sentient beings.
We see suffering not as abstraction, but as structure.
To act against oppression is to align with compassion.

VIII. A Multicultural Aesthetic Future

We are international, interspiritual, intersectional.
We celebrate hybridity, diaspora, indigeneity, and diasporic memory.
We create in many tongues, many rhythms, many rituals.

We honor the mystical schools of all traditions:
Kabbalah, Sufism, Tantra, Gnosticism, Zen.
We are the bridge between temple and nightclub, gallery and sanctuary.

IX. The Commune of Dreamers

We reject the individual as isolated monad.
We build communes of becoming—salons, sanctuaries, collectives, and digital covens.
We share resources, visions, wounds, and wine.

We believe in joy as method.
We believe in beauty as law.
We believe in the erotic as light.

X. Our Vow

We vow to live as art.
To think dangerously.
To feel boundlessly.
To love rebelliously.
To dissolve the border between the mystical and the political, the philosophical and the erotic.

We are the Neo-Bohemians.

[biology-geology-beaches-india]

The Science Research Manuscripts of S. Sunkavally. Page 315.

[pumpkincryptid]

My MSM headcanons, part 5

<<Part 1 <Previous Next>

• When Vhenshun does adjustments on Teeter's legs, it's normal for him to pick up a new tool around every 5 seconds, 'cos Teeter keeps power-kicking them out of his hands on reflex. Nitebear and Flasque tend to help out by carrying tools back, keeping them in a rotation of 3-4.

• Tauter thankfully is a lot easier to deal with, they actually follow instructions and stay still when asked.

• Teeter sometimes hides in a pile of soft things, be it plushies & pillows, or meebs, or something the like, getting all snuggly inside (aww the little bug), and then jumps out when someone walks by.

• The twins like books! Well, Tauter is the one who likes to read, Teeter likes listening to the stories more. But yeah, they get bed time stories when they want them. Vhenshun is also great at coming up with stories for them, cos let's be honest, that man can make up bullshit on the spot, lol.

• The Workshopeans got like... an infinite amount of materials to craft and make new things. They don't question how or why, they just do.

• Agent ██████ remembers everything that happened in the true ending of DOMA Days (along with the bad and good endings) and is still haunted by the elevator.

• Bemeebeth has said "I am Meebs" a lot more than one would first think.

• The Quints have so much destructive capabilities that they just don't use. These abilities are even stronger when they use their respective element. For example: Mimic is best at using the air element, because he is the "Air Top Boss", as stated in it's bio. Another example would be Bemeebeth, who can destabilize the physical body of other monsters (sometimes not even on purpose), even if that monster isn't an Ethereal.

• ^Same goes for the Celestials with their own elements, THEY ARE THE OGS OFC THEY KNOW HOW TO USE THEIR ELEMENTS! The only reason neither the Celestials or the Quints use their powers this way is simply that they have no reason for it, they're chilling.

• Oogiddy likes cooking... A definetly not concerning activity for the Poison Quad.

• For the longest time, Galvana thought she lost/misplaced EEW somewhere in the Ethereal Workshop mid development. What actually happened: While Galvana was doing something else, Zarroë found EEW in his early prototype form and was like "this one's perfect 🥹" and just took it as their new kid without informing Galvana.

• Whenever Zarroë is creating something big that requires a lot of thinking, there is a storm at the Workshop.

• The strongest "Brain Storm" the Workshop has ever experienced was when Bemeebeth's Synthesis was finally successful and it hit it's peak the moment they bursted out of the upper bulb of the Synthesizer. (Based on the official reveal.)

• Bemeebeth likes making bracelets. It involves a lot of small, repetitive motions that help ground him.

• The Celestials didn't just "die" then turned into statues, they died slowly, their bodies turning to stone as they did. It started with 1 or 2 small patches that slowly spread out.

• Galvana was the last of the Celestials to "die". They saw as all the others turned to stone over time, and kept trying to do as much for the Monster World as she could during the time she had left, knowing that she too will end up like their friends did.

[garadinervi]

Lyd på liv [Sound on Life], [on the life of the composer Else Marie Pade and her music], Directed by Katia Forbert Petersen and Iben Haahr Andersen, 2006

«Then came the Occupation, and from my fairy tales, I recognized all the cruel kings and tyrants and oppressed peoples. I got so furious that I reacted strongly to the occupation of Denmark. Especially when I was caught as a member of the Resistance Movement. We had agreed that if we were caught and interrogated we would whistle the theme of Chopin's Ètude in E Major. Nobody answered, so I tried a second time and then I heard a distant answer. It was Karen, who answered me, and I know then that she'd been caught. What revealed to me that we'd been betrayed was the fact that they knew everything. One night a soldier yells: “Did we tear your nails off today?”. “No”, I said. “Well, we may do so tomorrow, if you don't start talking”. Such things make an impression when you're alone and helpless. They can do whatever they want with you. After a whole day's interrogation, I had lapsed into a peculiar state between sleep and being awake or whatever. Suddenly I woke up screaming and not knowing where I was and what was happening and couldn't remember anything and I was beside myself with mortal fear. And suddenly something happens, which I'd call transcendental. In the small prison widow, I see a tiny star. Seeing that star, my entire childhood universe returned to me. All the characters from the tales, from the nice and fun things etcetera. Suddenly my cell was populated, and somehow I fell at ease and thought that if I survive this I'll try to tell it in music. Everything formed a synthesis in a melody that was tangible enough with a normal pitch. But it was surrounded with a perspective as if heard in a kind of impressionist way or blurred or… Well, the way you use slow-motion or something that wasn't social realism but which was some kind of fiction but also very much reality. After this vision, this warmth, this experience was over. I got the next morning: “I'm going to begin right now”. I got the idea to scratch the notation on the wall of the cell using the clip from my garter belt. And I did. I had to crawl on the floor so that the warder wouldn't notice. I managed to scratch a few bars of the pieces I wanted to write. I wanted to write dance music to finance my studies when I got out.» ― Else Marie Pade (Lyd på liv / Sound on Life, 2006)

The Frøslev Camp Museum, D.s.i. Frøslevlejren, Padborg

[geistundmaterie]

Phenomenology of Mammon

Either what I’m about to write doesn’t make any sense and I’m slowly spiralling down into a state of madness, or I have managed to see the true essence of Mammon.

When one is fascinated by a certain character, it does not happen by a mere accident. Your unconsciousness responses to the seen images with different intensity, some things appearing especially meaningful to you. This text is not an analysis of the obvious allegories that were put into Mammon’s concept. Instead, I attempt to explain why his design and everything related to him “goes hard” and fascinates many at an irrational level.

Clowns and the Transcendence

Mammon is a clown and this fact is meaningful in itself. In human cultures across the globes, the universal transcendental reality is broken down into various local forms. Thus, "truth is one, the sages speak of it by many names". In other words, material reality consisting of concepts and forms is finite. By relying solely on it, one loses some of the possibilities that exist beyond the rational association with the world.

A symbol gives access to the deeper layers of existence which are otherwise inaccessible. For example, the rationally incomprehensible can nevertheless remain expressible in the artistic image. A clown, in turn, is the ultimate symbol of the symbolic expression in itself, as seen in its performances or playing of a role. It is an articulation of a desire to escape the human cerebral way of thinking. Clown’s intuitive trickster nature allows it to access the realm of existence that go being the conventional categories of reason. It exemplifies how a wordless intuitive artistic expression can compensate for the deficiencies of a language. Clowns playfully engage with the reality and lure us into a region of the spirit beyond any material or societal creeds. Thanks to their silly form, clown embodies a statement that point beyond themselves into the realm of everything instinctive and irrational.

In a letter to comedian George Carlin, Byrd Gibbens, a professor of English at the University of Arkansas at Little Rock, wrote about the significance of the trickster in indigenous myths:

Many native traditions held clowns and tricksters as essential to any contact with the sacred. People could not pray until they had laughed, because laughter opens and frees from rigid preconception. Humans had to have tricksters within the most sacred ceremonies lest they forget the sacred comes through upset, reversal, surprise. The trickster in most native traditions is essential to creation, to birth.

Balancing between Chaos and Order

The Helluva Boss’ merch of Mammon depicts him in a dynamic and balancing pose. Any good clown is always balancing between chaos and order, not falling into the extremes of both.

One thing those depictions of Mammon instantly remind me of is the World tarot card. It usually represents the archetype of completion, achievement, fulfilment, sense of belonging, wholeness, harmony. This card has a dancing figure at the centre. The figure is constantly in motion, but it moves harmoniously, calmly balancing between opposites. Its expression of unity and fulfilment is eternal yet dynamic rather than simply static. One feels the cosmic rhythm and participates in it. There are four figures on each corner of the tarot card, representative of the four corners of the universe, the four elements, and the four evangelicals. Together, they symbolize the harmony between all of their energies. And all of them are is the dancer’s control. Mammon, in return, has four hands.

In fact, it is not a mere coincidence that The Fool and The World tarot cards both have a dynamic yet balancing figure at their centre: this state is the beginning and the end of all being, starting with unconscious wholeness and moving to its conscious experience. The clown is the perfect synthesis of Apollonian and Dionysian drives: it is a whim that has gained form and purpose. A repressive (Apollonian) society needs a mediator between it and a Dionysian element, a safety valve through which one can give a symbolic satisfaction to the antisocial tendencies. Without the latter, human life is misbalanced. One must experience what Friedrich Schiller called the play drive. It unites the infinite and the finite, instinct and reason, and life and form in the human experience. In order for the play drive to effectively mediate between the body and the mind, humans must develop passivity, practise intuition, and open up to the universe. They also need to practise using reason and active stance towards the world. When both are accomplished, a person can experiences a balance between two polar opposites of being at once; they feel themselves as ever-changing matter and come to know themselves as an eternal mind.

Artistic expression results from the balance and union of two opposed principles of rational and irrational. By being like a clown and engaging with life in a playful, symbolic way, you transcend yourself and become fully human.

Taken from the Shark Robot merch store, Twitter: zllm6

Spider Web and Mandala

Mammon is a spider demon. His territory is packed with spider web visuals, including “the lounge” he sits at during the performances. Spider webs are an unconscious but a meaningful creative phenomena, a beauty that is produced by an instinct. They also bear a striking resemblance to mandalas.

Mandala can be found in all the ancient cultures and is a symbol of life’s innate interconnection and of the Self, a unification of the conscious and unconscious life of the individual. In terms of one’s inner world, it represents the inherent order of the soul in centre of which resides the God itself. A centre that unites all polarities and contains the essence of all that emanates from it. There is no linear evolution; there is only a circumambulation of the Self.

In the mythology of many Native American cultures, an important figure called Spider Grandmother (Hopi Kokyangwuti, Navajo Na'ashjé'ii Asdzáá) can be found. She has a central role in the creation myth as the Creator who spun the “Web of Physical Life”. It is upon the strands of this web that all life is interconnected, with each creature being a vital and integral strand in the cosmic web.

Hence, a spider web can be viewed as a symbol of the organised cosmos and primal source of everything.

Unio Oppositorum

Mammon at his core is a union of opposites. To begin with, he unites the classical dichotomy of matter and spirit in himself. He has animal features and is still a spiritual being. His concept as an “animal deity” also corresponds to the ancient tradition of depicting beings with a divine status as animal-like: Egyptian pantheon of Gods, some Babylonian Gods, three animals following the Evangelists, and so on. Even the Christ was attributed with animal features, being called “a lamb of God”, “a fish”, or being depicted as a snake on a cross. Both, the instinct and the spirit, belong to the wholeness of the cosmos.

Mammon encompasses numerous other opposites within himself: he’s both goofy and dangerous, he’s a “baby” or “a manchild” to some and a sugar daddy to others, he’s lazy and extremely energetic at the same time, he’s fat yet very agile and has a very good body coordination, he has teeth and claws yet reminds you of a teddy bear, he’s both the performer and the manager, he’s both “a rock star” and an traditional artist, he’ll take from you but also give you what you want, his theme music is a combination of a classical circus jingle, a tune from “Carmen” and electric guitar rizz. Despite all the opposites at hand, everything feels natural and balanced in Mammon.

Even Mammon’s black-and-white stripes in his full-demon form indicate the consciousness of the opposites in him: he is not just light or not just dark; he is a combination of the two. This detail of his appearance reminds me of Koshare Pueblo Clowns (sometimes called Sacred Clowns).

For the same reason Mammon’s dualistic patterns on his clothes are extremely fitting and symbolic.

The Double, the Trinity and the Quaternity

“One becomes two, two becomes three, and out of the third comes the one as the fourth.” Carl Jung, C.W. Vol. 12: Psychology and Alchemy

Mammon has two Fizzbots sitting beside him. Folk cosmologies commonly feature twins, who are typically engaged in an unending battle with each other. Reality consists of a multiplicity of things: the division into two was necessary in order to bring the ‘one’ world out of the state of potentiality into reality. Dualities coexist in an undifferentiated manner in their natural state. However, the tension between the opposites grows stronger as consciousness awakens. An irrational third, the transcendent function, manifests from this conflict and unites them.

The fact that the Twin Fizzbots look gender ambiguous is meaningful: they are in unison and transcend the sexual duality, with “the transcendent function” being Mammon’s wish to make them androgynous. For the same reason it is very symbolic that in the storyboard, Mammon had two groupies of opposite genders sitting beside him: it is a “the divine pair” of complementary opposites united through Mammon’s equal attraction to them.

In alchemy, a lot is revolved around the “Mystery of Coniuctio” (of the Conjunction, the Marriage of the Opposites). The conjunctio requires a medium for its realization. The fruit of this union is the “Philosopher’s Son”, the Mercurius. He is a trickster entity that balances between two opposites, and is the base and the end of all being, an integration of light and dark, good and bad. This alchemistical process expresses itself in a trinity, tria prima, related to the law of the triangle. The law of the triangle is natural law formed from the union of two opposite but complementary equal halves to produce a perfect manifestation. Consequentially, the Twin Fizzbots (having complementary outfits with patterns on opposite sides!) are joined in Mammon, with them forming a trinity together.

Mammon has four arms. Four is a culturally meaningful number and an omnipresent symbol of the cosmic balance, as expressed in four cardinal direction, the four "Holy Creatures" that bear the Divine Chariot, four seasons of the years, fours functions of the consciousness, etc. Quaternity represents wholeness and universality. Several Hindu deities are often portrayed with four arms. The iconography of four arms symbolises divinity and power, as well as dominion over the four quarters of the universe.

The Rhombus

Mammon’s current costume includes many rhombuses: a shape consisting of two triangles, one downward and one upward pointed, joined together. This geometric symbol represents the unification of low aspects with the upper. Because rhombus contains vertical and horizontal directions simultaneously, it expresses the concept of Unus Mundus that unites matter and spirit instead of treating them as two polar opposites that exclude each other. In other words, it’s a symbol of the Hermetic universal principle: "as above, so below; as below, so above", which is rooted in the ancient Egyptian mysticism and Hellenistic philosophy. According to it, the immortal and eternal realm of the inner world corresponds to the physical and mortal reality of the outer world that we all experience. With that, Mammon displays yet another symbol of a union of opposites.

The Value of Money

Mammon represents the sin of Greed in a physical embodiment. There is nothing he loves more than money, all his endeavours dedicated to making more and more of it. He desires the ultima ratio of all things worldly.

Aside from its economic function, money can be used as a driving force behind action, a benchmark of success or status, a means of expressing one's own value, a tool for exerting control over others, a means of achieving happiness, a solution to problems, a means of defining one's own worth, and a source of security. It is not inherently wicked.

Money also symbolises a storage of concentrated potential energy for later use, it links us to the material world. Soul needs money so it doesn’t fly off into some distant psychic reality. “Laying up treasures in Heaven, where moths and rust can not consume them” leads to disassociation from the material existence, condemning it to a degree it does not deserve. Before your physical death, you are forced to play by the rules of the world that put value on success and material gains. In Jungian school of thought, the first half of human life is dedicated to adapting to the outer world, planting your feet firmly on the ground and accustoming oneself to the conditions imposed on you, learning how to use the material restrictions to one’s advantage. It’s all about the expansion of life and conquering the environment you are inhabiting, which includes learning how to secure yourself and improve your life conditions by earning money.

Mammon is also the supreme patron of money. A demon who can help in accumulating wealth and attracting financial prosperity. So, next time you look at a Mammon standee on you shelf, think about that: could it be that you are creating a little altar to attract his favor? Maybe, on an unconscious level, you seek his blessing in terms of fortune, prosperity, and abundance? Could it be that Mammon keychain on your backpack is a magical charm you feel supported by in your earthly endeavors?

Taken from the Shark Robot merch store, Twitter: kstoooone

Colour Psychology

What are the positive features one could instinctually associate with Mammon’s colours?

In colour psychology, green represent health, life, and prosperity. Being a dominant colour in nature, green is associated with vitality, harmony, and growth. It is a harmonizing, balancing and calming shade. Green is also associated with luck: the Irish believe the wearing of the green brings fortune.

The gold colour is the colour of wealth, achievement, and triumph. Golden colour adds richness and warmth to everything that it comes in contact with. It illuminates and enhances other things around it. It is optimistic and positive, as well as being synonymous with divinity, wisdom and power in many religious settings. It inspires knowledge, spirituality, and a deep understanding of ourselves and our souls. For the alchemist, gold represented the source and end of all being, and the perfection of matter on any level, including that of the mind, spirit, and soul (the famous “Philosopher's Stone”).

Sometimes, purple colour can be seen in things associated with Mammon (his advertisement for Fizzbots, the interior of his concert building, etc.). Purple, green and gold are Mardi Gras colours.

Mammon’s merchandise usually feature lime green, a hue mixture of yellow and green. Lime green is a bright, electric colour full of vibrancy and energy. It is a colour closely associated with confidence, and is thought to promote feelings of liveliness and excitement. It is also a colour that is said to stimulate the mind and body, and to promote creativity.

In conclusion, Mammon’s visual appearance features colours that have a psychologically vitalising and positive effect on the viewer, making him a very pleasant character to look at.

KA-CHING!

The known laws of physics forbid the movement through the outer space of either mass or energy faster than the light speed. Mammon doesn’t care about that, he simply teleports wherever he pleases.

The trickster archetype is a “boundary-crosser”. They violate principles of social and natural order, playfully disrupting normal life and then re-establishing it on a new basis. They will dismantle, construct, manifest themselves, move, and perform tricks that seem to bend all notions of causality, normality, and sense. All your prior knowledge and assumptions will be casually thrown out the window by these entities. They excel at manipulating reality to their will and breaking the laws of physics. The strangeness of Mammon does not end there. Where does the „ka-ching“ sound and confetti come from? What are those voices of cheering kids? Mammon is a reality warper and uses his abilities in the most childish yet endearing way possible. You are confronted with something that blows up your categories of judgement and does not give you a coherent explanation for anything you saw. These are just facts you need to somehow integrate into your established picture of reality.

The Jester and the Death

There could be a very profound symbolism behind Mammon’s skeleton suit.

The medieval understanding held that the root of all foolishness was the denial of God (logos, ratio). Any detachment from human reason, or the instinctive, irrational, and impulsive behavior that prioritizes desire over purposeful thought, was referred to in this context as "foolishness." Foolishness and sin were set on the same level. Those who denied the existence of God were doomed to eternal death after their life on Earth had ended because they rejected the idea of an immortal soul (and, instead, lived a life of an irrational desire-driven “animal”).

The Fall of Man brought death into the world. Adam and Eve lose both paradise and immortality when they choose to follow the serpent instead of God. The Old Testament provides an explanation for the two greatest mysteries of human existence: first, the imperfection of man and, second, the temporal limitation of his existence. If original sin is the reason for death and if foolishness has the same meaning as the original sin, then foolishness should also have a causal connection with death. This was, in fact, the conviction of people in the late Middle Ages.

The fool and the death are believed to have a kinship relationship in the Dance of the Death frescoes. The death appears in numerous depictions of it dressed as a jester. During the turn of the Middle Ages, there are actually a lot of visual arts examples where death and the jester are viewed as counterparts (window niche in the monastery of St. Georgen in Stein am Rhein; choir stalls of the church of St. George in Nördlingen, collegiate church of Öhringen in Hohenlohe, etc.).

The other implied connection is the fact that the Carnival (“carne vale”) is followed by the Ash Wednesday (“remember man that you are dust, and to dust you shall return”). Two aspects of man’s limitations (flesh and death) are thus seen as affiliated with each other in the liturgical year.

The Devil, the Jester und the Death are the Unholy Trinity of Christian visual art.

Truth is One, One is All, All is One

Cultural similarities across the globe underline the facts that, despite things being expressed in different ways, our psyche tries to communicate the same truths. All cultural manifestations have their unique features, but within their areas of action one can recognize the same archetypal patterns. Jungian analysts and mythologists pointed to the plethora of tricksters around the world.

Firstly, Mammon reminds me of the Laughing Buddha (Budai or Hotei) from Eastern cultures. His well-fed appearance represents abundance. When you observe the most popular form of the laughing Buddha closely, you will notice that he is always carrying a cloth bag that is filled with many precious items such as food, candies for children, and other riches. According to the belief, he will collect all your sadness and misfortune, put it in his sack and leave you with abundance and positivity. The sack also represents wealth and good fortune.

The most popular colour for household Laughing Buddha sculptures is gold. Even though it is a Feng Shui sign, Vastu Shastra experts also advocated for the placing of Laughing Buddhas in the home. To them, the smiling Buddha is comparable to Kubera (the god of wealth). Lord Kubera, celebrated as the Supreme Lord of Wealth and revered as the Treasurer of the Gods, stands as the epitome of affluence in Hindu mythology. Business owners and shopkeepers, seeking to accumulate wealth, turn their devotion toward Kubera.

Lastly, Mammon’s affiliation with the wealth and his jester nature draw parallel to the Roman God Mercury. He is a trickster and the god of commerce. His name is related to the Latin word merx, from which we get the English words merchandise, merchant, and commerce. It may also correspond to the Latin word mercari (to trade). Mercury often served as a mediator between the gods and mortals, including being a guide to the people who descended into the Underworld. Considering the fact that “the Underworld” is a symbol of the unconsciousness, this perfectly correlates with the previously mentioned ability of a clown to perfectly balance between rational and irrational state of being.

As stated above, the alchemy symbolically views Mercurius as the resulting “child” of the Union of Opposites, the restoration of the original undifferentiated state of the cosmos. The tria prima of alchemy needing for the achievement of this state consist of “sulphur, salt and mercury”. Sulfur, the "soul", is the masculine principle. Salt, as the "body", is the feminine principle. Mercury, as "spirit", is equivalent to "mind". Hence, the mystical trinity is: Soul, Body, Mind. It is, however, important to consider that the mind has two aspects (conscious and subconscious, left and right). This is metaphorically expressed in the balancing act of Mercury. This is why Mercury is often depicted with wings, he literally "flies between the two worlds". In the “In the mountain of the Adepts” engraving from Stephan Michelspacher's “Alchemia”, one can spot Mercurius at the top centre, being depicted as a playful, jester-like figure, standing in the same balancing pose like the Mammon standee.

Taken from the Shark Robot merch store, Twitter: kstoooone Conclusion

Mammon provides us with a plenitude of symbolic insight into the topics that continue to stay vitally relevant. Seeing Mammon is enough to feel like coming in contact with a primordial deity. You are confronted with something greater that yourself and experience “mysterium tremendum et fascinans”. Mammon is undoubtedly the best character ever created by the Western civilization.

*gives his cheek a smooch*