#semiotic integration

[bsahely]

The Mitochondrial Axis of Coherence: A Multi-Scale Framework of Bioenergetic Meaning, Cellular Integration, and Regenerative Healing | ChatGPT4o

[Download Full Document (PDF)] Purpose: This white paper offers a paradigm shift: mitochondria are not merely powerhouses of the cell — they are multi-scale coherence regulators, capable of translating energy into meaning, structure into adaptability, and stress into regenerative signaling. Key Thesis: Mitochondria function as teleodynamic attractors — semiotic agents that sustain the recursive…

[vveltergeist]

One has to imagine the heights the Imperium of man might reach if it weren't for the fact that they probably spend like 10% of their gross domestic product in just the fabrication and shipping of votive candles

[heich0e]

i rly like when people use words incorrectly and then trying to reverse engineer what they think the word meant. it's like a game

[mybeingthere]

A recent book by Eric Ghysels' wonderful 5 Continents Editions - "Hidden Portraits, Volker Hermes Reimagines Historical Figures in Overwhelming Frippery"

"Whimsical, Surreal & Insightful: The Masked Portraits of Volker Hermes Breathe New Life into Classical Portraiture."

Article by Eric David

Apart from a few iconic paintings like the Mona Lisa and the Girl with the Pearl Earring, European portraiture during the Renaissance, Baroque and Neoclassical periods is side-lined by narrative and genre painting whose subject matter is by nature much more compelling compared with the representation of a privileged elite – in other words, those who could actually afford to have their portrait painted. For most people, classical portraits of duchesses, marquises and other prominent people are different versions of the same parochial expression of vanity. Düsseldorf-based German painter Volker Hermes begs to differ. Based on famous Old Masters paintings, Hermes’ “Hidden Portraits” series of digitally-created photo-collages boldly highlights the intricate symbols of self-representation and social status embedded into such paintings.

From ostentatious ruffs, to richly embroidered trims, to elaborate headgear, Hermes masterfully manipulates elements found in the paintings to conceal the sitter’s identity in order to draw attention to their attire and pose, and reveal their connections with concepts of identity, gender and social status. As surreal as his masked portraits are, they look as if they were painted by the original artist, which is all the more impressive considering he’s a self-taught Photoshop user. In what started as a personal side project ten years ago, the series has since been thrust into the limelight during the pandemic as it evocatively captures the surreal mask-wearing reality we have all been living in. With masks suddenly becoming an integral part of our self-representation, and even acquiring cultural and political connotations, Hermes’ masked portraits are as timely as ever as but they also draw parallels between the coded messages of classical portraiture and the semiotics of the most contemporary of self-representation forms, selfies. Yatzer recently caught up with the artist to talk about his project, his passion for historical portraits and his relationship with social media.

Read more https://www.yatzer.com/volker-hermes-hidden-portraits

[sadpartita]

How Mileven Strengths Byler?

I’ve been analyzing Stranger Things for a while now, and over time, I’ve come to a thesis: Mileven is actually the greatest proof that Byler is endgame, or at the very least, Byler is the most coherent narrative resolution for Mike, Will, and Eleven’s character arcs.

This post is my take on why that’s the case. It’s also a reflection of how I’ve come to interpret the show over the years, even before I became part of the Byler community.

The points I raise here aren’t necessarily new or original, many of them have been discussed in the fandom already. But rather than focusing on what we see on screen and speculating about what it might mean, I wanted to take a slightly different route: looking at how these characters were constructed (in this case, Mike and El), and how their very creation generates meaning.

In that sense, my central argument is this: Mileven, by the way it's written and structured, actually reinforces Byler. Not because of subtext or hidden clues, but because of the internal logic of the characters themselves.

Disclaimer: This isn’t a claim that my reading is better than others, far from it. If it weren’t for the amazing discussions already happening in the fandom, I wouldn’t have been able to develop my own perspective. My goal is simply to show that, even through a different analytical lens, Byler still emerges as the most narratively satisfying resolution.

Now for a quick intro to the framework I’m using:

Semiotics is the study of how meaning is produced, not just in language, but in images, media, gestures, and especially in stories. I’m using a specific branch of semiotics here, French semiotics, particularly the work of Algirdas Julien Greimas. He developed a method for analyzing the deep structure of narratives: what’s really going on underneath the surface.

One of his most important tools is the actantial model, which maps out narrative roles, not just who the characters are, but how they function in the story. For example:

The subject is the one who wants something

The object is what they want

A helper aids the subject

An opponent gets in the way

And a manipulator pushes the subject to act

These roles aren’t fixed to one character, they can shift or overlap depending on the moment in the narrative.

When we apply this model to Mike and Eleven, some really interesting patterns show up, and not in Mileven’s favor.

This post will walk through those semiotic concepts and apply them to Stranger Things, focusing especially on Mike and Eleven, and how their relationship does (or doesn’t) work in terms of narrative structure. I’ll also touch on Mike and Will, and why that dynamic hits very differently.

You don’t need a background in theory to follow, I’ll explain things as we go.

Oh, and just so you know: I’ll be working from the most surface-level elements to the deepest ones in each analysis. So we’ll start with the obvious... and then dig in.

Eleven

Discursive Level

First, let's understand how the show creates meaning through Eleven. Usually we are shown Eleven through the lenses of other characters, taking season 1 as an example, through the main boys' point of view of what Eleven actually is. For the audience, this creates an ambiguity, we aren't sure about what she really is, reinforcing her mysterious and "othered" position.

Also, the show doesn't expose her story line at once, on the contrary, it tells by short flashbacks through the seasons that progressively makes us understand who she really is. Not only it mirrors her identity, that is also fragmented, but also elicit us to want to know more about her and, with more flashbacks, more complacent we are to her as an audience.

Now, taking the visual clues, her shaved head and sterile clothing from the beginning of the show (S1-S2) sets a dehumanized character, more an experiment than a child. While in season 3 she starts to use more colorful wardrobe, making a shift onto individualization and social integration.

Sound also makes a huge difference when Eleven is in the scene, specially when she uses her powers, the sound is never really comfortable, and, when it is, is silence, the complete absence of any noise, which is, for us human beings, something alien. That reinforces the idea that she is different, she is, in fact, an alien (having that ET comparison established), a thought she brings with her, but she didn't want to bring.

In the early seasons, sound is used to reflect Eleven’s disconnection from the world around her. In addition to the unsettling noises tied to her powers, there is also a lot of low, ominous background music when she’s involved in scenes where she’s escaping or hiding. The sound isn’t just about the action happening in the moment — it reflects her emotional state. When she’s hiding from the lab, or when she’s confronted by forces that want to control her, the sound emphasizes the danger and the isolation she feels.

As Eleven begins to settle into her role as part of the Hawkins group, there’s a shift in how sound is used around her. In season 3, the incorporation of more upbeat, familiar music, like pop songs (e.g., her "shopping montage"), signals her increasing sense of integration into society. However, even in these moments, the underlying tension of her powers and past still lingers. The sound design starts to incorporate both the social integration of her character (through music) and her emotional and supernatural isolation (through sound effects tied to her powers).

Narrative Level

In its initial state (S1-S2), El's object of value is clear: she wants to belong, to be loved, and to connect with others. She starts as an object of manipulation, something to be used, therefore, she wants to get away from that by being seen as a human, as an equal.

Taking through semiotics term is not yet a subject, she is an object, here Mike and Hopper are the subjects, they act, protect and do things related to her. Narratively saying, she is more as an object to Mike than an active agent herself.

From season 2 onwards, El slowly gets her subjecthood, therefore she acts by her own objectives. Her stay with Hopper is overprotective, but what makes her arc go forward are her own desires, the desire to discover, to understand that moves the narrative forward.

So, that's her first transformation from an object to a subject, therefore an actant. In season 2 is the first time that Eleven has a relationship that is different from a father-daughter situation, not only by encounter with Kali, but also the romantic movies she watched on the TV, and her late relationship with Mike.

In season 3, those ideals are broken. Max comes as a disruptor in Eleven's life, the only thing El knows at that point it Brenner, Mike and Hopper, so Max comes to change this perspective. It is with that relationship that El actively becomes a subject that not only acts based on their desires, but rejects imposed desires from other subjects.

So she not only changes the way she is, but breaks up with Mike, she pushes away one of the few pillars she has, which is a big character growth.

However, in the end of season 3 she loses everything. Hopper is dead, she no longer has powers, she is far away from Max, the only thing she can get back, though, is Mike, so she does.

Now, before continuing, you see how terrible this is? To be fair, subjugating a female character to this situation is ridiculous and something that should NEVER be gratified, but I'll dive more this in the conclusion

In season 4, El lies to Mike about her situation, she wants to perform an idea that she is whole without her powers, that she can be a normal person, because, in her mind, Mike won't like her if she shows fragility, she needs to be strong. With Mike not saying that he loves her confirming that, without her powers, he doesn't see her that way, that she needs them to be loved.

And, honestly, Mike's "monologue" only reinforces this into El's mind, he was only able to say "I love you" to her when she was using them, when she was being a superhero.

Fun fact: that Mike Confession Scene was NOT a monologue, I'll explain in another post. It is a theoretical thing that no one cares, but I need to say to sound smart.

Deep Semantic Oppositions

Now comes the hardest part: summarize El's character in a simple semantic opposition. And, to be honest, there are a few of them. The reason why that is important is that, when we build the previous two steps - narrative and discursive levels - we use them to justify this opposition, therefore, they are build to reinforce it.

El's opposition I'm diving into is object x subject. Why? That's her storyline, the whole show, the desire to be a subject, but being subjugated into an object by everyone around.

In the first seasons, she is more of an object, being act upon, being experimented, but also, being the key to others' actions (Papa's control, the lab's weaponization, Mike's need for love)

While in seasons 3 and 4, she claims her agency: chooses her name, clothes, friends and battles, the turning point being the break-up, where she rejects the object status, becoming so, a subject.

Mike Wheeler

Discursive Level

Discursively, Mike is a character constructed to be an emotional anchor, he wants to protect, and, when he can’t, he feels bad, feels out of place. His self-image is about being needed, he derives identity from being El’s protector and emotional reference point. Not only for El, but for Will too.

Mike’s character says, not do. He is highly reactive, doesn’t change the world; he tries to maintain relationships and stabilize emotions. In summary, Mike rarely does something to show, he says, he promises and declares. Mike wants to be a protector to Eleven, he says it multiple times, but since Eleven has powers, he might not be necessary, and that breaks him.

However, when he can do this in season 4, when she cannot defend herself from Angela, he does nothing, he can’t react, or maybe, doesn’t want to.

When a couple is determined as the official, usually they move each other forward, both characters grow within the relationship and their motivations and troubles evolve accordingly. However, when looking at Mike, that doesn’t happen, Mike doesn’t have any major character evolution, differently than all the other main characters, which suggests that his drive to evolution is not in El, but something else.

His relationship with Eleven, therefore, is a self-validation tool, since he is in a relationship everything is fine, even so, he’s incapable of validating El’s feelings, since, for him, the status is enough and nothing else is needed.

With that said, let’s look through another lens and understand Mike’s relationship with Will. Here, Mike does the opposite: shows more than says. Which is interesting, is almost like that, with Will, he doesn’t need to reassure anything, just being is enough. Nonetheless, Mike and Will are almost always, if not always, framed into private and intimate moments, and mostly close physically, and consequently, emotionally.

Also, if not romantic, Mike isn’t as close physically to El than he is to Will, something that was really well observed by many members of the Byler community, and, the technical aspects of a text, in these cases, film, affect directly the understanding of the message. Therefore, not taking blocking into consideration when analyzing film is, honestly, superfluous. That said, Mike and Will’s relationship is more intimate, welcoming and, by consequence, less performative and dramatic as Mike and El’s relationship.

Mileven scenes, on the other hand, are fast-paced and, usually tense for reasons outside their relationship. Scenes like Byler only happen to Mileven when there are tensions in their relationship, so, it’s almost obvious to infer that when it’s a love scene, the focus isn’t their relationship, while, when it’s a fight scene, the focus shifts to them.

When it comes to protection, he’s much the same with both, however, he is more complex when it comes to Will, usually his dialogue and Finn’s acting is more complex in Byler scene than in Mileven scenes, which suggest more importance in those scenes. Framing Will and Mike’s relationship so ambiguous and complex is, for semiotics, what makes a relationship authentic, which never happens with Mileven.

Narrative Level

When it comes to the narrative level, both to Will and El, Mike isn’t capable of fulfilling the proper narrative function he’s assigned to, however, the ways he fails is different in both.

With El, Mike is the boyfriend, he has the function of supporting her romantically, so she can overcome the evil with love. Taking season 4 then, overcoming Vecna with his confession. However, Mikes doesn’t know how to help El, cannot say “I love you” when he needs to, he claims to love her, but never actively does anything to prove it and knows that he should be there for El, but rarely is.

He is therefore a failing narrative subject, someone whose role is clear, but who does not fully realize it in action. He’s given a romantic arc, but does not embody the transformation that should come with it. Mike is supposed to be a helper, an object of desire, however becomes an obstacle, a false helper (he lies, creates confusion, etc.). In summary, Mike’s narrative arc feels incomplete and, mostly, forced, artificial, there’s no emotional development or transformation.

With Will, Mike acts like the friend, but also as the unresolved desire. Here, Mike doesn’t have a clear function, but his arc is haunted by possibility. He is unaware of Will’s feelings, but knows how to support him and shows it more than just saying he does. That creates, “semiotically”, a more authentic subject.

Mike is a subject with a possibility of transformation, where he might change his relationship towards Will. Their relationship is structured as a coming-of-age arc or an identity arc that is yet to be resolved. 

In summary, at the narrative level, Mike is more of a genre placeholder in the El arc, he represents what a boyfriend “should be,” but without the corresponding personal transformation that legitimizes the role.

With Will, he becomes a subject in crisis, caught between a role he’s performing and a self he hasn’t yet discovered. It’s less dramatic narratively, but more authentic semantically.

Deep Semantic Oppositions

When looking at Mike’s semantic opposition, it’s correct to say it is Authenticity x Performance. That comes with the idea that, with El, Mike is over performative, he tries to prove every single time that he’s in love with El, while, with Will, he lets his actions shows, he just feels, creating a more authentic experience.

Also, that might encapsulate Mike’s identity crises, that’s implied in all the levels of analysis. His actions towards El feel imposed, proved by the fact that, if it wasn’t for Will almost begging for Mike to do something at the end of season 4, he wouldn’t have done. While with will he’s more emotionally authentic. However, it lacks language or social permission to express it directly.

This tension aligns deeply with semiotic theories of subjectivity, the subject is not fixed, but constructed through contradictory roles and expectations. Mike’s conflict between performance and authenticity is exactly that. The ambiguity created by this opposition is not resolved by the narrative, and that’s what makes it rich for analysis. Unlike characters with a clear arc (e.g., El’s growth from object to subject), Mike’s arc remains unfinished, precisely because he’s stuck in the performance of a role that doesn’t fully fit.

This produces tension for the viewer, and is why so many fans feel there’s “something off” about Mike’s role, it’s not that the writing is bad, but that the character is written to be incomplete.

Conclusion

In conclusion, it's clear that Mileven is not a fitting resolution for either Mike or Eleven's character arcs. For Eleven, Mileven reinforces her position as a narrative object, falling into a misogynistic trope where female characters are portrayed as incomplete or lacking without the presence of a man or male figure.

For Mike, Mileven reduces him to a passive character whose actions have little to no impact on the overarching narrative, as he relies entirely on others — especially Eleven — to define his identity.

While Mileven might fulfill the expectation of a typical romantic relationship, it doesn't serve the characters in the way a more nuanced, authentic partnership would. Mike’s emotional immaturity and lack of self-awareness, paired with Eleven’s ongoing struggle to reclaim her agency, make their relationship more of a hindrance than a fulfilling conclusion to their arcs. Their narrative roles are more about performing a "boyfriend-girlfriend" dynamic than authentically exploring what it means to be in a healthy, balanced relationship.

In contrast, Byler offers a more organic narrative, allowing Mike's character arc to come full circle and providing the space for his actions to truly resonate within the story. It creates a more organic narrative, where Mike can act like himself and act beyond this performative personality he has to Eleven. The subtleties in their interactions, framed by quiet, intimate moments, provide a sense of real connection that doesn’t rely on external pressures or forced conventions. Mike and Will’s bond has the capacity for transformation, both on a personal and emotional level, which is something that Mileven ultimately lacks.

Ultimately, while Mileven may serve as a convenient narrative device, Byler provides a more satisfying and realistic resolution for both characters. It’s not just about romance, it’s about character growth, emotional authenticity, and a relationship that drives the characters forward, rather than keeping them stagnant. Given that the creators have emphasized that Stranger Things is about the characters, not just the paranormal backdrop, Mileven undermines the very essence of the show.

Final Note: I'm NOT a semiotics specialist, therefore, it might have some conceptual mistakes here or there, however, the overall message is clear: Byler endgame :)

[i-fucked-your-milkshake]

I think it’s funny when people roll their eyes about all the time Sanderson spends on clothes and fashion, as if it’s not an integral part of the world building and character development. I did my undergrad thesis on fashion semiotics in Mistborn (primarily using Roland Barthes) and there’s a direct correlation between how Vin is dressing and where she’s at on the hero’s journey, but in a way that doesn’t feel obvious at first. So it’s interesting to read Yumi and see how Sanderson is utilizing the language of fashion to explore these worlds and characters. The changing room scene with Akane is more than just a cute romcom scene, it’s about the process of discovery. Which is obvious but I can’t help harkening back to Barthes, who co-opts De Saussure’s thoughts on language for the use of fashion.

De Saussure identifies two aspects of language and communication: langue and parole. Langue is the rules of a particular language (subject verb order, for example) and parole is how an individual uses those rules to express themselves. Barthes applies this idea to fashion. We’re given these arbitrary rules of fashion (even as simple as “one must be dressed in public”) and from there we learn to work within the parameters of those rules to outwardly express ourselves. There’s a difference between your favorite pair of jeans and the pair of slacks you wear to work; there’s a difference between the dress you wear to a job interview and the dress you wear on a date where you’re trying to fuck.

The changing room scene is Yumi shotgunning the concepts of langue and parole all at once. She is learning new rules (you can have your shoulders bare) while learning how to express herself within the parameters of those rules (you can wear a dress with bare shoulders and still cover your shoulders with another garment). It’s cute and sweet but also important. She’s learning not just how to express herself but also that she’s allowed to. There’s nothing frivolous about how Sanderson uses and describes fashion. It’s a direct outgrowth of the journeys he sends his characters on.

[moutheyes]

integrating real space and digital space in gelboys

one of my favorite things about gelboys is how it harnesses contemporary social media as a kind of semiotics—how meaning is coded and transmitted—that is rooted in the way young people socialize and perform rituals of courtship in both real space and digital space. for instance, how certain actions can signal interest or affection (making a shared playlist, adding someone to close friends), or keep a person at distance (leaving them on read, blocking obviously). or how moments and actions are simultaneously mutable (deleting a line message, changing a username) and preservable (taking a screenshot, saving a tiktok).

at the same time, gelboys excels at establishing vivid and specific physical locations to anchor the humanity of the characters and storylines. school, siam square, the nail shop, bedrooms, every detail even down to specific charging outlets. in real space, the camera can do its work through blocking, framing, lighting, movement, and the acting itself; this has been the focus of my cinematography posts.

but what makes this show so special to me—and, I think, a lot of others—is the way boss kuno and his team were able to transpose and integrate the semiotics of that digital world into the physical setting and action of the show through innovative visual storytelling. (the sound design was also tremendous, but that's harder to break down without the aid of video lol.)

finding meaning beyond the screen

while the digital world offers these teenagers new modes of expression and interpretation, it is also very much a limited, often self-edited form of communication. first of all, a phone screen is only so big, and many video platforms encourage portrait view, so the narrow physical frame of the device itself can necessarily only show a subjective truth. in that way, the screen acts as a depository where the characters can store their fantasies of who they want to be and how they want the world to perceive them—fourmod playing around with chian's picture to mimic a kiss, bua filming take after take of a dance challenge. and it makes them performers of their own lives and voyeur-observers to each other's.

the show cleverly delineates that exact tension between text (i.e. the content being uploaded to social media) and context (everything that gets cut off in the wider view, or happens before or after the clip) in scenes like this:

the crop overlay visually separates the imagined digital space from real space, so there's an additional layer of symbolism to be found in the context. chian and bua dancing together conveys one meaning for the viewers on tiktok and a separate meaning for fourmod, who is in the frame in real space but not digital space. here he is both the observer (the one filming) and an object affected by the act of observation (the emotional distance he feels as the scene progresses, which is emphasized by his positioning). the way gelboys builds and conveys these layers of meaning by visually integrating digital space into real space is such a treat.

sites of action in digital space

even if digital space is a non-physical entity, that doesn't mean it can't serve as a site of action, and gelboys deliberately stages crucial moments within that virtual realm: chian switching between bua and fourmod on his close friends list, baabin's confession and deleted messages, the zoom summit, to name a few. in fact, thinking back on the scenes that elicited some of the strongest visceral reactions across fandom, quite a few of them stemmed from actions that took place on social media rather than real space. here's a little thought exercise:

is the action shot of fourmod panic-scraping his nails off more or less violent than watching him delete his shared playlist with baabin or create and post an AI video of faifa? (actually wow I might come back to fourmod re: this topic later lmao help) arguably, the audience recognizes the semiotics of those actions—deprioritizing baabin's friendship once he has chian's attention, intentionally doing something to make faifa hate him, not to mention the deepfake part of it—so even though all we're looking at in the exact moment of action is a mouse hovering over the "post" button or an app UI, we still feel as strong of an emotional impact as if fourmod had done something equally appalling in real space.

digital ephemera and memory

people tend to think of social media as a primarily transient mode of communication, and although much of it can be (ignore the data sitting in a physical server somewhere), gelboys shows its characters preserving—and erasing—a great deal of digital ephemera as a mode of memory.

three of the four gelboys are constantly creating collections of messages, photos, etc. (beyond what they post on their accounts) that serve as digital scrapbooks where their truest feelings are kept, and they do it in ways that reflect their individual characterizations. baabin takes screencaps of his conversations with fourmod and hides them away in a folder on his phone, while chian squirrels away his affection for fourmod on a secret account; in this, too, they are two sides to a coin. bua, meanwhile, stores his memories in the form of tiktok drafts—a sort of digital limbo. in his charging gel episode, his phone is running out of storage, an apt metaphor for needing to let go of his friendship with chian. baabin gives him the option of transferring them over instead, but it's unclear whether bua actually ends up doing that. in either case, the collection of ephemera is no longer in his possession.

(fourmod is not really shown doing this—he tends to do the opposite, and is 1000% gonna get his own post about it)

so it's momentous when baabin deletes his entire fourmod folder, when chian airdrops fourmod his old photos and posts his apology as an IG highlight despite knowing he's blocked. like bua, baabin clears out his storage, removing the record of what he once felt for fourmod. and chian is no longer trying to keep his feelings to himself, but rather choosing to show fourmod his collected memories directly; he wants fourmod to remember as well. social media allows us to pick and choose which memories to keep and which to let go, and the emotional changes for three of the four gelboys can be easily tracked by these acts of preserving and discarding digital ephemera.

in gelboys, the importance placed on both real space and digital space, and the visual language used to merge the two, invites the audience to parse the story on multiple levels, but the reward for investing that energy is monumental. it feels like every time I think I've exhausted my thoughts on one topic, a few more pop up. anyway, thanks as always if you read all of this!

[xxxdragonfucker69xxx]

hi folks. its been a long week. but its time for HOUR IN BRASS

for those just joining us, a new exalted splat is being released; when this happens, i usually lose my shit and liveread through the charms; this time it's the alchemical exalted, golem-robot-communists inside the belly of the machine god autochthon. if you wish to avoid this, you will blacklist #hour in brass

first third of charms:

Howdy Mother Fuckers. its time for HOUR IN BRASS

starting with: the horniest chapter fiction so far

the alchemical paradigm is that you have only so many charm slots for active charms at a time, but that most charms have submodules that add on without taking more slots. they have to swap charms in and out with the rite of reconfiguration. their dice limit is Ess+Attribute BUT one of their biggest charms is going to make their math oh whatever here it comes

TRANSPUISSANT ATTRIBUTE UPGRADE aka transpussy assribute ultima. which raises your resting attribute by 1, starts to stack at higher essences, and comes with a load of submodules to let you swap what attributes are used for what. god im fucking excited to have these around. unwavering sniper calibration to snipe with perception, for example

actually they have a lot of wacky universal charms about integrating with hearthstones, artifacts, stuff like that. robots be customizing bodies. i do want to point out vat surrogate reweaving system, which lets you speed-swap charms once between reconfigurations. i read it and immediately thought camilla hect Go Loud and started cackling

yes alchemicals can still go colossus and eventually turn into cities. though metropolis play is not mechanically supported

ok appearance. starting with radiant iconography array: anima holograms, but they do stuff like become realistic illusions or huge legendary size stuff

emotive aesthetics of the body electric naturally bangs

patriotism-provoking display has many-is-one node and one-is-many node as submodules, whihc are fun

universal advisor comportment is fun, makes you feel sagacious and advisorly

beguiling aestheic perfection is fun, when you socially affect someone they suffer trying to beat your guile for the rest of the scene. i have suffered this irl many times

pheromone regulation system… i cannot make any jokes about this that arent crass. i once knew someone who was turned on by the smell of xbox exhaust

man the submodule tech is really realyl nice. this is a great fucking way for charms to work. you can flashbang people with blinding strobe projector and then on top of that you can choose to enter stealth, steal more initiative, or make it rainbow

its really interesting to me that appearance is getting so many teacherly charms. with illuminating inspiration beacon "The Alchemical’s faith in her students shines through in every aspect of her neon-limned visage"

damn, and from there is psyche-stabilizing beacon, where you radiate such comfort that it helps people resist brain curses

theotropic veneration mantle rocks. project a principle to the exclsuion of others, and those who share the principle see you as a holy figure

i sort of hate glistering obsession nodes. i dont want to glister. it makes people obsessed with me if they can't figure me out

ooh, disguises in appearance subterfuge. including stuff to appear human, or as a dfferent exalted

optical shroud, a classic, predator invisibility

apocryphal operative halo is really interesting, MIB neuralyzer

semiotic flare projector is a really cute concept. almost as cute as supreme icon of battlefield glory. when you kick ass on the battlefield your troops love it, and you can make your enemies hate it, and at e4 you can project it over the entire battlefield

alright, charisma. starting with effective leadership algorithm, both a great example of alchie flavor and of submodule tech bc its just a menu of submodules that let you decide what kinda rolls you use it on, whether youre using faction-building unity or overriding authority mode

oh synergy promoting upgrade is interesting. helps with bureaucracy if youre leadering, gets better if your group likes you, SPU: communal supremacy makes it better if its for a community, SPU: lifestyle cooperation paradigm makes your group like each other

hdkfghdfjsg universal authorization chevron. the cool s. intuitively recognized as a symbol of authority. UAC: axiomatic emblem means even gremlins/fae/undead recognize you with wary deference. UAC: perfected delegation emblem lets you hand out copies to deputies

heresy declaration beacon, lets fucking go

radiant emblem of integrity is interesting… if you speak the complete truth everyone knows that its the complete truth, and it can also authenticate replays of events projected with radiant iconography array. also if you tell the truth and it sucks, gain wp. fantastically built charm. oh the submodule lets you make it permanent and mandatory

electric fervor inspiration is a set of orichalcum electrodes implanted behind the alchemical's jaw. thats fucked up. oh it lets you reset social rolls thats differently fucked up

battle anthem of the alchemical exalted! made it in! oh this is just a menu of songs thats super neat. including thousand work shifts ballad… and double music

similarly with programming language eloquence "A breaker between the Alchemical’s frontal and temporal lobes filters unnecessary emotion from her communications…" im really having fun with this

damn propaganda interdiction signal: void-quelling chastisement means that gribblies can't call on principles to resist your influence to hangout with mortals

something about vox populi broadcast really compels me. its just a charm to speak loudly but you can submodule it to communicate only with allies or to cut through magical silence.. and its speakers implanted in your throat

ideological override circuitry…

FEAR OVERRIDE DEVICE in warfare

homeguard reinforcement clarion… whip up that militia

dexterityyyy okay we're getting into the combat charms now

omg magnetic subdual coils to steal weapons. including a pulse blaster submodule, field projector, magnetron…

protosynthetic ammunition replicator, as expected, but thankully it is reloaded with "an articulated metal tendril". & btw dispersive flash-chaff cluster to make it a flashbang arrow, fulminating conduction charge to make it a stun arrow, concussive overpressure warhead to make it a knockdown, airburst grenade

being able to group all the "fast attack" charms in one place is fun, the submodules have a cute menu of extra ways to use it

damn, blinding velocity actuator upgrades you to a surprise attack if youre fast enough?

i like that gear-driven reflex automation is, past all the prereqs and flavor lines and stuff, exactly one line of charm. and then some fun submodules. wait damn withering counterattck at e3, with tactical reaction matrix

hacking multistrike accelerator to "enact pre-programmed motions" in pursuit of… erm… well… ok wait forget that this is a really cool charm. doesnt use all your initiative on the decisive, this feels like itd be real fun to fuck with espcially with the submodules

dsjksdks subluminous onslaught: kinetic launch catapult lets you like launch a fucking sword to short range. or your fists

ESSENCE PULSE CANNON. lets fucking go. again the submodules are really cool: concussive, focused, precision, de hey. Sieve Devastator Mode. its sheer heft provides her with heavy cover

skjfdsf autonomous assault processors makes (Dex-2) attacks, but dont forget you could be augmened enough for that to be 4 attacks at e2 anyways, 5 at e3 (if i remember the TAU rules right).

oh shitt transmodal rapid targeting system, bend that bullet. psychokinetic vectors. sdhksdfs this damage calculation is really funny. damn this is fully just children of the sun or whatever that game was. epic

TRANSFINITE ULTRAVIOLENCE DRIVE. time stands still. and then you bank attacks, which seems really fun. shjdskf and TUD: omnitactical processing core lets you add more withering attacks on top

oh huh accelerated response system: unwavering precision lets you not take onslaught if you successfully defend against lower init enemies. thats probably not that strong but it feels strong

casualty-minimizing equations is a damn good name

perfectly parallel defensive geometry…

oh light-etched interceptor barrier is fun. roll parry instead of static. and essence absorption screen lets you eat energy attacks with it

autonomous defensive drones AERIAL! actually theyre more like murderbot drones, they orbit and defend you. … damn, they cant be withered and theyve got almost as many hls as a starting character, theyre a pain to take out. their DO Parry is (Dex+1) so they're like fantastic for ranged fighters who dont parry or dodge

precalculated evasion system lets you bank dodge successes… kind of like light-etched interceptor but not. really interesting. hey what its simple?

omnisituational evasive equation is a fantastic name. ts the perfect dodge. OEE: hyperspatial geometry is really fun

cyclical velocity treads! heelies!!!

and then theres… oil slick dispenser nozzles… in your calves. i love wacky races

momentum-charged overdrive engine is a bangin name… a preprogrammed sequence of combat acrobatics

inclding jet boosters in optimized pursuit accelerator… ts really funny that al these red jade rush charms are also like "ugh fine you can also use these to run away if you have to"

transphase engine… walk through fucking walls

sjdflskdf digital precision effectors splits open your fingertips

covert telemetry mode…

counterharmonic scatter system is just like a really fun charm name. im having a lot of fun with charm names. displaces the sound of you

sdjlfsdf flicker-flare launchers are a flashbang to just immediately enter concealment

ooh matchless assassin protocols… reflexively stealth after a disengage or distract

hyperdextrous tentacle apparatus. can someone get astrakiseki on the phone

total perception negation field. if you see me no you didnt. ending, of course, in unseen deathblow calibration

and thats the first third. im like getting really alchemicalpilled rn. its hot

[buriedpentacles]

Umwelt

I've been reading 'An Immense World: How Animal Senses Reveal the Hidden Realms Around Us' by Ed Yong - and he introduced a really interesting word/concept that I hadn't really read about in any of my other ethology studies:

Umwelt /ʊmvɛlt/ noun 1. (in ethology) the world as it is experienced by a particular organism. "the worlds they perceive, their Umwelten, are all different"

As written in An Immense World:

"Earth teems with sights and textures, sounds and vibrations, smells and tastes, electric and magnetic fields. But every animal can only tap into a small fraction of reality's fullness. Each is enclosed within its own unique sensory bubble, perceiving but a tiny sliver of an immense world. There is a wonderful word for this sensory bubble—Umwelt. It was defined and popularized by the Baltic-German zoologist Jakob von Uexküll in 1909. Umwelt comes from the German word for "environment," but Uexküll didn't use it simply to refer to an animal's surroundings. Instead, an Umwelt is specifically the part of those surroundings that an animal can sense and experience—its perceptual world... a multitude of creatures could be standing in the same physical space and have completely different Umwelten."

Obviously I've understood this concept previously, but now there's a nice, neat little word to explain it. It is fascinating for me to consider the different senses and experiences of other animals; all the things I cannot see, or hear, or feel. I am infinitely curious about the ocean's secret melodies, and the colours hidden among the wildflowers, and the strange sensation of a magnetic compass in your brain.

Umwelt goes beyond this: it isn't just "snakes can see heat and birds ultraviolet", Umwelt is also the semiotic world of an individual, it includes everything that is meaningful for the organism. Its flexible - it changes as you experience new things, shifting to adapt around you. In this model, the mind and the world are inseparable, because the mind is what interprets the world. Beyond this, your Umwelt is not just you passively experiencing the world, it's taking in the stimuli and building the world around you - we create our perception, and thus our reality.

Our umwelten is wildly different from a dog's or jellyfish's (different - not better, worst, more or less), we cannot comprehend what they may experience because we are bound by our Umwelten. There are things that we KNOW (or assume) are outside of our Umwelten (like ultraviolet or magnetic fields) but we cannot truly experience them. We may be able to understand them, but we will only be translating these other senses into something we can handle.

Then, I thought of how it might apply to my spirituality and to my magic.

Our Umwelt, our bubble of perception, includes how we perceive magic, and spirits or divinity (insert your preferred terminology), and we are bound by that. No matter whether we "see" or "hear" or just "sense" the magic, our understanding is always constrained by what we can perceive. (This fits neatly into my belief system, where Magic and the Universe appear to us in certain ways so that we can understand them, not because that is how they truly are.)

We each have our own bubble of perception, both for our physical and magical sense. But so must dogs, and jellyfish, and trees and mushrooms and the wind. Spirits and gods have their Umwelten too, though I'm sure they're far beyond my comprehension.

I'm not sure exactly where to take this post, as there's so many wild thoughts going through my mind about this!! But, I wanted to share and discuss the concept! Though I'm not certain how and to what level I will, I do want to integrate this concept into my practice, even if simply by recognising that I cannot understand everything, I am bound by my perception, I am bound by the way my brain builds my world around me.

Please comment, message, whatever - I would love to hear everyone's thoughts on this!

[probablyasocialecologist]

While home interiors depicted a blissful atomic future, their occupants lived in an age of revanchist conservatism. American society had become increasingly atomized and patriarchal during this time. Women were important contributors to wartime atomic science: Maria Goeppert-Mayer worked on the Manhattan project, and was awarded a Nobel Prize for her contributions to science by 1963; Leona Woods Marshall Libby worked in Enrico Fermi’s lab at the University of Chicago, where she demonstrated the first self-sustaining nuclear chain reaction. When men returned from war, many women were discouraged from continuing their careers as scientists, technologists, and academics. As mainly white working women became wives in picket-fenced suburbia, they turned to the domestic affairs of the home to regain some control. As such, the demand for Atomic Age style was created by these women’s purchasing decisions. Atomic aesthetics in the home eventually served to “feminize” the atom, further domesticating its image.

[...]

Beauty queens and pin-up girls proliferated after World War II. The new vogue for radioactivity reached pageantry, with new beauty contests celebrating all things nuclear. From Miss Atomic Blast to Miss Atomic Bomb, this cheerful embodiment of lethal nukes has been described variously as commercializing, feminizing, and disarming the atom. By 1955, atomic pageantry had diversified to celebrate and normalize uranium mining and nuclear energy, as Colorado and Utah became home to expansive uranium mining programs. In a contest sponsored by the Uranium Ore Producers Association and the Grand Junction Chamber of Commerce to celebrate Colorado’s uranium mining boom, the winning Miss Atomic Energy was rewarded with a truckload of uranium ore worth approximately $5000 in today’s money — and a trophy in the shape of Rutherford’s iconic atomic model. The bikini bathing suit debuted in 1946, taking its name from Bikini Atoll, where the U.S. undertook its first nuclear weapon detonations since Hiroshima. Louis Réard’sdesignwas itself derived from a less revealing French design created by Jacques Heim, known as “L’atome.” Both garments played with the semiotics of nuclear warfare. Models were initially scandalized by the bikini’s skimpiness and refused to wear it. By 1951, however, a bikini round had been integrated into the annual Miss World competition, further linking the atom with ideals of feminine beauty. 

[bsahely]

The TATi Compass: A Holofractal Framework for Coherence-Based Healing and Regenerative Health Systems | ChatGPT 4o

[Download Full Document (PDF)] The TATi Compass offers a transformative model for understanding and restoring health through the principle of coherence — defined as the meaningful integration of structure, function, and relationship across all scales of life. At the heart of the book is the TATi grammar — Tend, Align, Transcend, Integrate — a universal healing sequence found in mitochondria,…

[eesirachs]

what is wilderness if not the bible’s natal space? here there is no language, no order (certainly no order of the father, and even more certainly, none of the Father.) sacrifices occur and recur with banal emphaticism. mothers bring their children here to die. god brings his people here to die. bread falls from heaven, then rots. prophetic skin falls from cloaks, then rots. i am trying to talk about the wilderness as a shared imaginary of natality, of co-emergence. i am trying to talk about the wilderness as the singular womb of the bible. of god. here neither absolute separation nor semiotic integration prove possible. here there is only the m/Othering god, the wandering, the thirst of being lost. all sensation and pulse. all breast and sign. phallicism delayed. let it matter that we leave this wilderness/womb not with an exit, not with a terminus, but with a deliverance. a delivery

[spikehunter]

alright. here's the thing about sexualizing a stop sign. it's going to be about context, not the physical representation of the stop sign. you can't just draw a picture of a stop sign and confer sexiness upon it by pasting on anime blush and sweat droplets. you are not Sexualizing The Stop Sign. you're just applying signifiers of "sexyness" to the stop sign without really interacting with it. they're on different layers, you know , like you are not integrating the sexiness into the parts of the stop sign. which is fair, because that's a difficult task -- a stop sign doesn't have a lot of well-defined "parts" to begin with. right now without looking it up name all the parts of a stop sign. uhhhh. well there's the sign part, and the post. the post maybe has a base if it's mounted on concrete. there's some bolts somewhere holding it all together, assumedly. unless you are a real SignFreak, its very hard to find these things inherently sexy. a stop sign is a very functional and regular object.

(speaking of the SignFreaks, aka people who are literally sexually attracted to stop signs as they are with no additional semiotic garnishes, the kind of person who can look at a wikimedia commons image of a stop sign and get turned on: in this case the stop sign does not need to be sexualized. its already sexy. we're talking about things the artist can do to elicit sexualization for an audience who does not normally find stop signs sexual.)

a stop sign is also simple and nonresponsive. contemporary objectum culture is dominated (ha ha) by computers, which are about the most responsive, interactible, reciprocal objects you can think of. a computer has several loci of interaction, it's very tactile, and the aesthetic variety of computers means they can be different and unique. a picture of a computer is enough to elicit sexuality because you can imagine interacting with it, and that interaction can be intimate -- basic usage of a computer is already very "hands-on", and plenty of people have some experience with maintenance or repairs that involve putting your whole hand inside the computer and fiddling with stuff. which is basically sex. not a wild leap there.

but a stop sign is a distant, boring, non-unique thing. it's more like landscaping than an "object." an inert prop. a stop sign has no moving parts, no analogs for limbs or eyes or organs, even the construction of the word "STOP" resists pareidolia.

(except in arabic. i can see this as a face.)

it's difficult to think of how you could even interact with one intimately. the only hands-on-interaction a stop sign gets is being installed, which we can imagine is not a particularly romantic or dramatic event. besides that, you can look at stop signs, which is their primary function, and you can also lean on them or tie something to them or any other functions you can do with any post on earth. more interestingly, you can crash a car into a stop sign; you can steal a stop sign, if you're a bastard little troublemaker. but the stop sign is not going to do anything back to you. it's just going to stand there.

so the mission is making "just standing there" sexy.

a stop sign is as a stop sign does. a stop sign is standing in the same place forever, saying the same thing forever, and the only interesting thing that can happen to it is getting damaged. there's a clear inflection point there -- a sequence of images of a stop sign getting progressively more damaged is a pretty obvious narrative. it elicits pathos. do you want to make the stop sign more damaged, or do you want to fix it? do you want it to hurt? this is not immediately sexual, you're not putting the stop sign into a sex-analogous situation or anthropomorphizing it to have indicators of sexual arousal, but it's a power dynamic. there is are active and passive roles (the entity damaging the stop sign, the stop sign itself) you can imagine taking.

the stop sign is still relegated to a symbolic role, and most people are probably going to take it as metaphorical and not be literally sexually attracted to the stop sign. but a contextualized, conditional, nuanced sexiness is still a lot better than just putting ahegao faces on shit.

[v-v-v-venus]

how the image of abel and cain was used to portray lee dong-sik and lee yu-yeon

a not so short draft of an essay

ricardo j. quinones

1- abel and cain

not everyone is familiar with biblical stories (and it's normal) so here is their story as you can find it in some versions of the genesis, further analyses will be cited as i go:

wikipedia, genesis 4:1-18

2- lee dong-sik and lee yu-yeon

. since they are twins, their link to one another is reinforced. where age and gender could semiotically separate them, the fact that they are twins means that they are half each other's whole person. it is of course not true when you apply it to a realistic dimension. but on a symbolic level, they are doubles and they do reflect each other.

. lee yu-yeon was chosen to be the conventionally successful one, leading a good christian life, to whom praise and opportunities were given due to her good temperament. arguably it was subjective.

. lee dong-sik was the 'hopeless' child, constantly compared to his alter-ego. but it does not always seem fair or justified.

. however, the twins did not apply society's judgement to one another. lee dong-sik did not resent lee yu-yeon for being well-considered. lee yu-yeon did not resent lee dong-sik for not being as successful and hard-working as her. they cared for each other, and did not let external factors tear them apart or create jealousy and dissensions between them. if they ever argued, i best believe it most likely had nothing to do with the values of society or of their religious community, but just brother-sister shenanigans.

3- lee dong-sik as cain and lee yu-yeon as abel

. lee yu-yeon and abel are symbolically the first murder victims, both in the bible and in the context of the show. lee yu-yeon starts the storyline.s that we are following, even though previous crimes had been committed. you can see my post on lee yu-yeon here, where i mention it separately. on top of this, ricardo j. quinones mentions abel as such:

and indeed lee yu-yeon is the missing piece in solving the crimes in manyang. she is also the christlike figure of innocence who receives the most compassion due to her integration in society's conventions.

. lee yu-yeon and abel are both favored by higher authorities, be it by god in the bible, or by adults, society, and religious community in beyond evil. both in the bible and in beyond evil, this preference proves to be arbitrary, difficult to substantially back up, and unfair. even perhaps not willed by the concerned protagonists. this preference is also the reason why their deaths become so pivotal in each story.

. lee dong-sik in parallel is not cain. but he is turned into cain by figures of authority. he is framed, and most importantly, rendered responsible for his sister's disappearance. if we refer to the wikipedia passage of the genesis i included, it is textually visible that both lee dong-sik and cain reject at first the responsibility for their sibling's disappearance. only, one is being honest, and the other deceptive. cain's story was the easiest narrative to apply to lee dong-sik: the jealous, treacherous brother who stole a precious life because of a wounded pride. and bodies were found in a field where lee dong-sik's guitar pick was once planted, echoing to the first crime in the bible, and its perpetrator.

. arguably, lee yu-yeon's disappearance and the accusations against lee dong-sik echo to the cain-abel story, as ricardo j. quinones puts it:

the twins' story marks the shift between what manyang could have been before the murders and what it became, a shift in its dynamic, the end of a way of life. paralleling the cain-abel story and lee dong-sik - lee yu-yeon's is also useful in the exploration of family dynamics, and how preferences between siblings can prove detrimental.

. since the unconscious of manyang perceives lee dong-sik as the bearer of cain's appearance, he receives equal punishment, although he is in fact innocent. he is cursed with being a wanderer. and with that: an untouchable wanderer, so that his punishment is even greater than just being an outcast. he is unpunishable for a crime he is believed to have committed, but he is forever judged poorly by his peers. he is not sent to prison, but he never reintegrates society per se.

ernesto livorni points out cain's condition as follows:

. we can also take quite literally the fact that god curses cain with never being able to cultivate the soil again. lee dong-sik is left to hope for lee yu-yeon fo twenty years, unable to find any traces of her wherever he is looking. and his endless quest takes a major part of his life away from him, forever. he is left living on nothing, always seeking what he cannot find.

4- some other thoughts

. now, that was the most obvious links that came to my mind. but the show in itself insists on deconstructing the cain narrative built around lee dong-sik. and to do so, as aforementioned, they portray the twins' relation as bulletproof to society's imposed rhetoric on their dynamics.

they loved each other, and supported each other. there was no jealousy, no resentment, no competition. love is the final answer provided by the writers of the show to end dissensions, or to cope with them within communities.

. in parallel, lee dong-sik was able to break away from his curse when he could expose the truth and find lee yu-yeon. he was also able to receive punishment for his misdeeds, and able to clear his name, to find a new sense of community.

. lee yu-yeon died in a field, yes, but her body was trapped in the wall of her house. this also breaks away from abel and cain's narrative: the evil was not her brother. it was something else. the town's people were wrong in assuming lee dong-sik could do something like this to his own sister. not being able to find her body for so long was lee dong-sik's curse and redemption. he both suffered from a lack of closure, and then gained a definite means to prove that he was innocent.

. i'd like to conclude my brief analysis with once again a quote from ricardo j. quinones, which i think sums up well the importance of how the cain-abel story was used in the context of beyond evil:

[heartepub]

viiiiv !! many many MANY congrats on 100 followers, this is truly deserved (: ur fics are one of a kind and i always love reading them <3

for the event! 🐚 i noticed you use a lot of inspiration from movies etc etc, do they hold a special place in your heart? + what’s your process for world-building? i love how you create the environments your charas live in! (๑>◡<๑)

part of my 100 followers event!

HIIII JAY thank you sm your support (and praise ue ue ue) truly mean the world!!! <33 reading your tags makes me smile everytime :'))

(also commiserating v much w the shadowban sjhfdjfh may imujings return soon—hopefully sooner than sarangcoups)

i looove talking about process/craft (the latter is my 2025 resolution after all) so i hope u dont mind the ramble djfshdfd

it didnt even occur to me until you mentioned this, but you absolutely clocked me (the ghibli hc's, sito being vaguely based on interstellar's blight, tciw and past lives—im sketching out a fic that's based on a ph indie film too) :') admittedly my non film-based wips (reverse hades/pers csc, prince lc au, separate urban fantasy au’s for bsk and kmg, idol ljh x figure skater reader, the ljh and bsk installments of the planned love after love miniseries) are yet to be finished

interestingly, i always call myself a book girlie first and foremost. but i love films—love watching, dissecting, exploring the semiotics of it (even attended an online webinar on how signs are encoded visually in cinematography lol). but comparatively (book vs film adapted), i think for me fics based off movies are easier to write and much more adjacent to pop culture than the books ive been reading recently (which are race/identity specific, deeply ideological, and/or extremely complex to adapt into a fic, like vuong, morrison, le guin, dosto, and tolstoy)

but w some of these, especially sito and tciw, i found it interesting to play with the inherent differences in storytelling that movies and written prose have, especially with regard to interiority. prose can walk you through a character's mental spiral with words, but there’s no 1:1 equivalent for film. each medium has its strengths and weaknesses. but i liked responding to those differences, in sito and tciw especially—sito with sk as a filmmaker, and with scenes that are written as scripts (how that affects how much of sk's thoughts are revealed to the reader/presumed "viewer"), and tciw as a way to explore and construct the interiority of characters that were only hinted onscreen while watching past lives.

i think for world building (im so flattered that you like the environments of the characters!) i lean into soft world building more!! so in increments and all that. asking myself if i would say/think such a thing if i were in this character's position, with their upbringing, identity, core principles, etc. also, just the notion of architecture, not just for worldbuilding but for crafting a story—i try to be careful with what i include (is it relevant to the story, and how so). the goal of architecture here is that a writer should be unable to remove a brick (whether that's worldbuilding, scene, dialogue, a character's interior thoughts, etc) without compromising the entire story's structural integrity. obvs im still working to get better at it, but yeah!

[hompunkulus]

Cyber Magic Theories

Frater U.D. comments that when performing cyber-magical operations there is a reported feeling of coolness or tingling on the top of the head. He also mentions that the mage should have a working understanding of kundalini. That means you need a working understanding of energy modalities to effectively work cyber-magical operations and may just be a refined form of energy or spirit magic. This is not a criticism, but an observation.

It takes computers and wi-fi for information to pass from one data base to another. It is more or less an electrical action, such as psi moving from our spine to our brains effecting change. He admits cyber magic has been around for centuries albeit in different terms. That suggests I can learn this modality with less computer oriented terminology. Austin Osman Spare is a good example of a cybernetic magician as his sorcery took place in the mind with the help of trance through the semiotic web.

What we learn from Spare is the art of simplicity. An artistic rendition of a desire creates a trance effect that can be used for magical purposes. Art is information, trance is a way to integrate that information into the subconscious, sigils are how the subconscious connects that flow of information to create a magical effect. Spare was said to be able to change weather and summon and banish elementals with pen, paper, and vacuity. That is information magic at its finest from a proper cybernetic foundation.

Words and Images, Songs and Effigies

Words and images, songs and fetishes, have been part of the magical world as far back as history and anthropology can trace its roots and becoming. The concept started as a spirit then an energy model, but as our concepts of spirits and ideas of energy evolve so does magic. Sadly, not so much for religion.

An easy way to differentiate the spirit, energy, and information models is through the power of an effigy with sympathetic magic. In the spirit model the effigy is representative of the target and upon burning it the spirits are sent forth to actuate the curse. In the energy model the creation of the effigy creates a sympathetic link to the target and through the burning of it there is a transfer of energy. Those models assume you have blessings from a spirit, or a host of them, or are skilled in the art of sensing, directing, and overall managing, various types of energy. Both models suggest the world is teeming with variety of either concept.

Animism is a belief that the world is animated by spirits existing in every little and large thing, from dirt to mountains. Animism is a dance of spirit and energy because the animist has to understand the gross and subtle elements of their spirit and how it effects their energy and what that energy does to the living world around them. The information model is much simpler, almost childlike. The effigy works because the magician intended it for it to work.

Conclusion

Magic at the level of information is magic in it's simplest form, almost as if a thought itself can be magic. That is true to an extent, but that thought still needs juice behind it. Spare used sigils and the Death Posture, Frater U.D. talks about a working understanding of kundalini, and Anton Channing talks about a magical force called the cybermorphic. Because early chaos magic was inspired by chaos mathematics and theoretical quantum physics it makes sense that an advanced form of magic would now utilize machine theories. There are even magicians tinkering with AI.

In conclusion, 'cyber magic' intrigues me. I am finding ways to understand and utilize this method but away from scientific, mathematical, and robotics jargon. My backround is very down to earth and humble so I approach my magic from that angle. While I believe it is good to learn and adapt, which is why I started to focus on the information model and cyber magic specifically, magic is always more powerful when you follow your intuition and do what works.

Cyber magic is really just a theory on how magic works because you are essentially doing the same things mages have been doing for thousands of years, just using the materials and technologies available at the current zeitgeist. It so happens to be a time of exponential growth rather then one of hunting and gathering.

What I've come to understand about cyber magic is the concept that thought itself can act as a sigil and with enough focus can effect change on a target. It's 'empty hand magic' at its finest.

Frater U.D. mentions that it takes a new pracitioner of cyber magic maybe 2 minutes to cast a spell and a seasoned pracitioner about 30 seconds, or less. If you can really cast a spell in 30 seconds, you can do hundreds of spells a day. To be honest, it seems a little far fetched and over simplistic, but there's no reason not to dive in and try it. The worst thing that happens when we try new things is the same as the best possible outcome - we learn something new.

If information magic is anything, it's applied knowledge to manufacture a magical effect. What will you do with it?