#object manipulation

[dayofaestheticorsubculture]

Juggling

Juggling is the physical skill of manipulating objects for recreation, entertainment, art, or sport. The most recognizable form of juggling is toss juggling, where objects are thrown and caught repeatedly, often in rhythmic patterns. However, juggling encompasses a wide range of disciplines beyond toss juggling, including contact juggling, bounce juggling, diabolo, devil sticks, cigar boxes, and more. It is practiced both casually and professionally, as a component of circus arts, street performance, and competitive disciplines. Juggling has deep historical roots and has evolved to encompass complex mathematical theories, physiological implications, and cultural significances.

The term “juggling” originates from the Middle English jogelen, meaning "to entertain by performing tricks," itself derived from the Old French jogler and Latin ioculāri, meaning “to jest or joke.” Today, juggling typically refers to the intentional manipulation of objects in patterns or sequences, especially with the hands and through the air.

The classic definition involves at least three objects, since two can be alternated with one object in each hand, not requiring the object to be airborne at any time. The minimum number of objects for true juggling is thus traditionally considered three, although two-object juggling can be complex and demanding depending on the technique used (e.g., one-handed juggling, contact juggling).

Juggling is one of the oldest forms of art and entertainment, with evidence dating back over 4,000 years. Ancient Egyptian tombs, such as that of an unknown prince from the Beni Hasan necropolis (circa 1994–1781 BCE), depict women juggling balls. References also exist in ancient Chinese, Indian, Greek, and Roman cultures. The Chinese historical text Liezi, dating to the 3rd century BCE, describes a warrior who could keep multiple weapons in motion while performing martial arts. In Rome, jugglers known as pilarii were employed to entertain at banquets and celebrations.

During the medieval period in Europe, jugglers were associated with traveling entertainers, often performing alongside musicians and acrobats. They were sometimes mistrusted or marginalized by society. The art began to evolve into a more respected profession with the development of the modern circus in the 18th and 19th centuries, where juggling became a staple act.

In the 20th century, juggling underwent formalization and expansion. Organizations such as the International Jugglers' Association (IJA), founded in 1947, and the World Juggling Federation (WJF), founded in 2000, helped standardize competition formats and encourage innovation and excellence in technique.

Types of Juggling:

1. Toss Juggling:

This is the most widely recognized form. Objects are thrown into the air and caught in a repeating pattern. The three-ball cascade is the foundational pattern for toss juggling and is often the first learned. Other toss patterns include the reverse cascade, shower, columns, and multiplexes. Toss juggling can involve balls, clubs, rings, torches, knives, and other throwable items. Advanced patterns include Mills Mess, Rubenstein's Revenge, and body throws.

2. Contact Juggling:

Unlike toss juggling, contact juggling involves the manipulation of one or more objects that remain in constant contact with the body. Made popular by Michael Moschen in the 1980s, it includes rolling balls along the hands, arms, and body in smooth, flowing motions. The “crystal ball” style aims to create the illusion that the ball is floating or motionless in space.

3. Bounce Juggling:

Here, balls are bounced off the ground rather than tossed into the air. Bounce juggling can be either synchronous or asynchronous and is affected by the elasticity of the ball and the surface. It allows unique visual effects and different timing patterns from traditional toss juggling.

4. Club Juggling and Passing:

Clubs are asymmetrical objects that rotate during flight. Club juggling is often considered more challenging than ball juggling due to the need to control spin and handle orientation. Passing involves two or more jugglers exchanging clubs in patterns, demanding coordination and rhythm.

5. Ring Juggling:

Rings are flatter, larger objects that allow for a different visual effect and can be spun on fingers or around limbs. Rings can be tossed in patterns similar to balls and can be passed, stacked, or manipulated on the body.

6. Combination and Prop-Based Forms:

Jugglers may integrate diabolo (a double-coned object manipulated with string), devil sticks, cigar boxes, spinning plates, and yo-yos. These forms often cross into object manipulation and performance art.

Juggling patterns are systematically described using mathematical notation systems. The most prominent is siteswap, a numerical notation representing the order and timing of throws. In this system, a 3 represents a basic three-ball cascade, 441 represents a pattern involving different throw heights, and so on. Siteswap allows for the categorization and creation of new patterns and has been extended to synchronous (both hands throw at the same time) and multiplex (multiple objects thrown from one hand) variants.

Another system is state diagrams, which model the movement of objects and hands through different states, useful in programming juggling robots or teaching complex sequences. Juggling patterns can also be represented using ladder diagrams and animation software for educational purposes.

Juggling is an activity that requires fine motor coordination, hand-eye synchronization, spatial awareness, and rhythm. From a physiological perspective, juggling involves both gross and fine motor skills and is processed by multiple areas of the brain, including the visual cortex, motor cortex, and cerebellum.

Numerous studies have shown that learning to juggle can induce structural changes in the brain. A widely cited study by Draganski et al. (2004) found that adults who learned to juggle over three months showed increases in gray matter in areas associated with visual motion processing. While the increases partially reversed after training ceased, the study provided evidence for neuroplasticity in response to coordinated physical skill acquisition.

From a motor learning perspective, juggling represents a dynamic balance between predictive modeling (estimating where objects will be) and reactive control (responding to variations). It requires rhythm, timing, and attention distribution, often described as being in a “flow state.”

Juggling has been linked to improvements in cognitive functions such as concentration, reaction time, and working memory. Because it demands bilateral coordination and constant feedback, it is sometimes used in therapeutic settings for motor rehabilitation and cognitive development.

Learning to juggle is an exercise in incremental mastery, reinforcing patience, perseverance, and adaptive learning. The practice is often used in educational and corporate team-building contexts to promote focus and mindfulness.

Juggling intersects significantly with mathematics, particularly combinatorics and group theory. Siteswap notation is rooted in modular arithmetic, where throw values correspond to how many beats into the future a ball will land. Valid siteswap sequences must satisfy the constraint that no two throws land simultaneously in the same hand (in vanilla, one-ball-per-hand patterns).

Higher-order mathematical studies of juggling involve graph theory (modeling state transitions), permutation groups (orderings of throws and catches), and even knot theory, where juggling paths can be modeled as braids or tangles in three-dimensional space. Juggling robots, programmed using this mathematics, have been built to demonstrate the feasibility of automated object manipulation.

Juggling has appeared in numerous cultural contexts, including folk festivals, religious ceremonies, and royal courts. In some African traditions, jugglers use indigenous props like calabashes, and in Japan, Edo-period street performers included jugglers using fans and umbrellas. The symbolism of juggling varies across cultures, sometimes seen as a metaphor for balance, harmony, or the cyclical nature of life.

In contemporary settings, juggling is a key component of circus performance, stage shows, and busking. Modern jugglers like Anthony Gatto, regarded as one of the greatest technical jugglers in history, have brought athleticism and precision to mainstream audiences. Performance jugglers often incorporate comedy, dance, storytelling, and theater into their routines.

Modern juggling competitions test speed, complexity, endurance, and innovation. The World Juggling Federation focuses on sport juggling, emphasizing precision, difficulty, and athletic ability, often with strict criteria and scoring. The International Jugglers' Association, in contrast, encompasses both sport and performance styles, hosting festivals and fostering community.

Other events include the European Juggling Convention (EJC), the largest of its kind, attracting thousands annually, and the IJA Festival, which includes workshops, games, and championships. These gatherings play a vital role in sharing knowledge, evolving techniques, and promoting the cultural importance of juggling.

Technology has expanded the scope of juggling through motion tracking, virtual juggling simulations, and robotic jugglers. Machine learning algorithms have been used to teach robots to juggle balls, analyze patterns, and even invent new sequences.

Augmented reality systems now allow virtual juggling training, giving real-time feedback on throw arcs and timing. Wearable sensors provide biomechanical feedback for elite training. Such innovations suggest that juggling will continue evolving as both an art and a science.

Juggling is a rich and multifaceted practice that spans the domains of art, science, sport, and education. With ancient origins and modern advancements, it continues to inspire innovation, challenge human capability, and delight audiences worldwide. From mathematical modeling and neurological impact to cultural significance and performance art, juggling exemplifies the harmony between creativity and precision in human expression.

[tielt]

->

[clonecoding-en]

Efficient JavaScript with Spread Syntax

Mastering the Art of Efficient JavaScript with Spread Syntax

The spread syntax in modern JavaScript empowers developers to handle arrays and objects efficiently. This comprehensive article delves deep into the world of spread syntax, unveiling its versatile applications and addressing common pitfalls.

By exploring real-world scenarios and code examples, readers gain a profound understanding of how to leverage spread syntax for tasks such as merging arrays, copying objects, and passing dynamic arguments to functions. This article also equips developers with the knowledge to identify and troubleshoot errors that may arise when misusing spread syntax.

Navigating through the complexities of spread syntax, developers will learn how to write code that is not only concise and effective but also avoids common misconceptions and pitfalls. Whether you're new to JavaScript or an experienced developer, this article provides valuable insights into harnessing the power of spread syntax for optimal code efficiency and readability.

[debutantinchaos]

[banpaiiya]

had to draw them as one of my favorite memes

[tennessoui]

Obikin for number 41 of the ask game, if you’re up for it - thanks!

absolutely!

[from this list of prompts]

[5. 'are you jealous' - 27. 'i'm pregnant' - 44. 'if you die, i'm gonna kill you' - 46. 'hey, have you seen...? oh']

41. "you did all of this for me?"

Vader's precious padawan blinks down at him, lovely blue eyes wet and wide. He's sitting in an empty Council seat, Anakin's Council seat, and Vader is kneeling at his feet. Vader had once sworn, years ago now at the time he first earned his Sith name, that he would never kneel at another's feet again.

What a fool he'd been then.

Or--not a fool. Just so incredibly shortsighted.

"I don't understand," Obi-Wan tells him quietly, and Vader gives him a smile, shakes his head in fondness. There is very little in the entire galaxy that his padawan can't understand should he put his mind to it.

Obi-Wan simply does not want to understand, though the evidence is laid out so neatly before him. Physically before him, for that matter.

His padawan's stubbornness would be endearing if it were not so inconvenient. If it did not come with the boy drawing his knee up and out of Vader's reach the moment he goes to touch him.

As if he cannot bear his master's touch. As if he does not recognize him.

Vader lets out a measured breath, searching to calm himself. It is hardly his padawan's fault that he's reacting this way. Vader had always envisioned himself coaxing Obi-Wan into the truth in order to let him accept it.

Tonight had hardly gone as planned.

For all parties involved.

"I had no choice," Vader tells him now, grasping his knee with his flesh palm and pushing it up--allowing himself to touch, to feel. He'd returned to the Temple long past sunset. Had stopped here in the Council chambers first for a moment before fetching his padawan from his bed. Obi-Wan is still in his night clothes, pale and vulnerable and suitable only for Vader's eyes.

But then, Vader has always thought that.

"You killed the Chancellor," Obi-Wan tells him. His voice jumps up, high and distressed and his eyes flicker back and forth between Vader and the body behind him. The Chancellor's head is somewhere further away still, though his padawan cannot bring himself to look at it. "The Chancellor of the Republic!"

"Yes," Vader agrees. It had been a death long overdue, but Obi-Wan does not need to know that.

"He was my friend," Obi-Wan says, eyebrows furrowed and eyes so wet and beautiful. It means something, Vader thinks. That Obi-Wan is not running away. That he isn't screaming. That he has allowed himself to be pushed into Anakin Skywalker's Council seat even after seeing the body that Vader has brought him. Even after seeing Anakin Skywalker's golden eyes.

"He was my master," Vader says, and watches carefully--greedily--as the realization slides across his padawan's face. There is pain and sadness and disbelief and hurt and anger and agony, and his padawan wears them all so beautifully.

"You said--" Obi-Wan stops, wets his lips. His eyes jump to Vader's face and then remain there, pinned and punishing. "You said it was for me. That you...you did it for me. All of it?"

"Yes," Vader agrees easily, though Obi-Wan has not been very specific. It is true nonetheless. Since the boy came into his life all those years ago, hurt and angry and wounded at the tender age of fifteen, everything Anakin Skywalker has done has been for the boy. All of it. Always. He Fell for him. He killed for him. He protected him from every silent threat that could have hurt him, every lustful Jedi who got too close to him, every disappointment, every skinned knee. Or he tried to, at least. And took away his pain when he couldn't be there to stop the insult in the first place. All of it has been for the boy. His boy. His precious padawan.

"But I...I never wanted anyone to die," Obi-Wan whispers, eyes tugged back to the headless body of the Chancellor. "I never...I never wanted you to Fall. Master, this isn't you, this isn't--"

Vader leans forward. Obi-Wan's night clothes have slipped up his leg from the touch of Vader's hand, and his padawan's skin is exposed. Vader has spent years exercising control that fails him now. He presses his lips against that fragile, soft skin, and the Force rears back with desire.

Not his own desire.

"You have a choice, little one," he murmurs, reveling in the feeling of his lips brushing against skin that has for so long been denied to him by his own self-control. If he were a weaker man, perhaps he would have given into his padawan's desires long ago. Before things were ready. Before the moment was right. "You have many choices to make, actually. And so little time to make them."

"Anakin," Obi-Wan says, pleas, really. His hands tangle in his hair, though if the boy means to tug him away, he forgets to. Instead, the touch simply lingers. "Please, Master, I don't--I won't--"

"The Chancellor had plans to destroy the Jedi Order and the Republic," Vader says, low and sweet. "He has placed control chips in the minds of the clones. The right phrase, said into the right comm-link, will trigger the downfall of the Jedi."

"No," Obi-Wan breathes, which is what Vader had thought his padawan would think. It is so sweet to be proven correct.

Though it is a pity, really. He thinks he would have liked to be emperor now that Sidious has fallen. But though the tug of the Dark Side encourages greed, there is undeniably something that Vader wants more than the galaxy.

"I know," he soothes his padawan, using the Force to tug him closer. The boy doesn't resist, as if he has forgotten that he can. "I know, it would have been horrible, sweetheart. But I killed him. He is dead."

He is dead for unrelated reasons, of course. Dead not because of his plans or because of the Order. Dead because he dared invite Obi-Wan for tea while Vader was off planet. Dead because he touched his padawan, put his hand on his shoulder during a public appearance at the opera.

Obi-Wan does not need to know this.

"I have to go though," Vader tells him instead. A whisper. Heartbroken and gutted and utterly false. "He manipulated me into Falling, sweet one. And now I have to go because the Jedi Order will imprison me should I stay."

And, like the sweetest of victories, Obi-Wan's hands clench tighter into his hair. "No," he says. "No, they wouldn't--we can explain. You can--can explain--"

"I cannot risk my freedom in that way, sweetling," Vader says, and his voice is hurt and hard and so, so false. "They will not listen. Or they will see a Fallen man, a Sith with golden eyes, and they will fear him. They will take you away from me. Give you to another master to train."

"They won't--"

"They will," Vader murmurs. He pushes his hands higher up Obi-Wan's legs, taking the nightrobes with him as he goes. Exposing more of his padawan to the cool night air of the Council chambers, to the heat of his master's eyes. "If not because I am a man Fallen then because they will certainly check the security holos of this room. And they will see this. My mouth on your skin. Your hands in my hair. Of course they will take you away from me should we stay."

Obi-Wan trembles beneath his lips. He trembles and his Force signature sways, burning hot with guilt and shame and desire. Longing. Love.

"So you have a choice, baby. I need to leave. Because of what I did to protect you. And you--you can let me go alone, or you can come with me."

His padawan's hands tighten in his hair, and Vader could be Force-blind and still feel the pulse of want at his words. But it is not enough to have Obi-Wan Kenobi want him. He needs to need him.

He needs to follow him.

"I would never leave you," Vader tells him. This, finally, after everything else, is the truth. He wonders if his padawan understands it for the threat it is. "Please, Obi-Wan. Do not leave me either."

Obi-Wan's blue eyes, so lovely, so loved, blink down at him. He opens his mouth and wets his lips. "Master," he murmurs. It is the most beautiful sound, his capitulation.

[synchodai]

some of y'all make it obvious that you never had long-ass nails when you give a character artificial claws (not the appendages they grew up with) and not have it affect their dexterity whatsoever.

basically, i'm saying gortash can't tie his shirt properly because his gauntlet is hindering him like any diva who refuses to remove their fancy $300 bedazzled gel nails

[tomwambsgans]

s1e3 lifeboats aka the episode about each of the main roy sibs' sexually coercive behaviors

[pepperpixel]

SAID HE LIKES CRAZY GIRLS,

BUT HE HATES WHEN I ACT CRAZY,

IT TAKES TWO TO TOXIC!

FINALLY!!! Finished these pics of jinx I’ve been working on!!!!! HOLY SHIT, these took so long…. But finally… they’re done… pls enjoy this art of my beautiful princess w a disorder. Featuring alternate colors for the big pic and also a closeup! Cuz I rlly like how both the lines and coloring on her face turned out… like the pink gradients w her eye… her deer in headlights expression,, like uve just startled a raccoon digging thru ur trashcan and r two seconds away from getting mauled.. m proud of it!

[icebluecyanide]

Finished my Scorpia reread and it's honestly so fascinating how this book really helps to humanise Blunt and Mrs Jones tbh. Like before this book we see them arguing a bit about Alex, with Mrs Jones being concerned, but here we actually learn about their personal lives. Mrs Jones's children being taken, everything Alex notices in her flat, her history of being on Albert Bridge etc. And for Blunt, Alex funnily enough actually learns next to nothing about his personal life, but we as readers do because we learn that he's married, that Sir Graham Adair is his friend and that they even play bridge together sometimes. And we learn that Blunt is genuinely doing his best to keep people safe from Scorpia.

Coupled with this is the fact that this book also seems to be the first time they really trust Alex. Like Blunt lies for him during the Cobra meeting and they are all on one page about sending Alex in again, Alex wants to go (because he wants revenge but also because he knows the stakes) and honestly that prep meeting feels like the first time Alex is treated as proper operatives like his dad or uncle might have been. He's given a homing device and told to use it if he can't find the dishes but feels he's in danger, that they'll pull him out. And with everyone knowing the seriousness of the situation there's never any question if he might want out early or they will wait like in Point Blanc. Blunt does tell the SAS teams to prioritise the dishes over Alex but honestly who can blame him for that. Overall, with MI6 contrasted against Scorpia on the one hand and Mark Kellner on the other, they come off so much better than in earlier books. Even if they literally admit to killing people lmao

[clonecoding-en]

Efficient JavaScript with Spread Syntax

Mastering the Art of Efficient JavaScript with Spread Syntax

The spread syntax in modern JavaScript empowers developers to handle arrays and objects efficiently. This comprehensive article delves deep into the world of spread syntax, unveiling its versatile applications and addressing common pitfalls.

By exploring real-world scenarios and code examples, readers gain a profound understanding of how to leverage spread syntax for tasks such as merging arrays, copying objects, and passing dynamic arguments to functions. This article also equips developers with the knowledge to identify and troubleshoot errors that may arise when misusing spread syntax.

Navigating through the complexities of spread syntax, developers will learn how to write code that is not only concise and effective but also avoids common misconceptions and pitfalls. Whether you're new to JavaScript or an experienced developer, this article provides valuable insights into harnessing the power of spread syntax for optimal code efficiency and readability.

[fromtheseventhhell]

Referring to Arya's development in Braavos as "brief descriptions" when her AFfC/ADwD chapters are almost entirely dedicated to showing us her training is...certainly a choice. Doing so to claim that Sansa has the more detailed learning arc? Pure clownery. You'd never guess from this response that the original post was about detailing Arya's training with the FM (using quotes from the book!) and makes no mention of Sansa anywhere. Notably this response provides no evidence from the books and makes objectively false claims; nowhere across five books is Sansa mentioned to have a grasp of High Valyrian but, of course, Sansa has to be handed every skill that Arya has without any page space dedicated to learning it. I know this is a wild concept, but Arya exists as her own character and not everything about her story can be applied to Sansa.

[hetheymerrill]

If there is one thing my friend Varric loves doing it's mourning the loss of people who aren't even gone and who he didn't even really know very well in the first place.

[pr1ncessketamin3]

𝒂 𝒄𝒉𝒊𝒍𝒅 𝒘𝒆𝒂𝒏𝒆𝒅 𝒐𝒏 𝒑𝒐𝒊𝒔𝒐𝒏 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓𝒔 𝒉𝒂𝒓𝒎 𝒂 𝒄𝒐𝒎𝒇𝒐𝒓𝒕

[eucanthos]

eucanthos

Damián Ortega, 120 days, book published 2024 [object deconstruction] - mon-nid

Ai Weiwei, Coca-Cola Vase, before 2015 - christies