#symbolic architecture

[bsahely]

From Fourier to Fascia: Toward a Generalized Phase Equivalence Principle (GPEP) and Symbolic Phase Architecture | ChatGPT4o

[Download Full Document (PDF)] This paper introduces the Generalized Phase Equivalence Principle (GPEP) as a new scientific and philosophical foundation that unites diverse systems through a common law of coherence. According to GPEP, a transformation — whether biological, cognitive, social, or symbolic — is legitimate and viable if it preserves three core invariants: Phase Continuity – Smooth,…

[fuckyeahchinesefashion]

Making golden phoebe mother-of-pearl inlaid xiangqi象棋/chinese chess set by 白行简

[rosieandthemoon]

Chapelle Saint-Pierre

[illustratus]

The Delivery of the Letter by Lucius Rossi

[juliaknz]

LUIS BARRAGÁN TORRES DE SATÉLITE, 1958 Naucalpan, Mexico Image © Suriel Ramzal

[jcelgueta]

Details.

Entrance of Museo Nacional de Arte Decorativo, Buenos Aires, Argentina 2014.

©JC Elgueta 2014

[spotsupstuff]

char. design stuff and map update

The greek alphabet name system is for more technical classification, while names like ,,Children of Eos" [group Epsilon] and ,,Wish for Tomorrow" [group Tau] are used more by public and for grandioser introductions in political meetings.

[morhido]

*knocks gently* hey so can i push my "moving city is ecobrutalist" agenda real quick okay thank you

Okay okay SO ecobrutalism is a form of brutalism that attempts to rectify the adverse effects of brutalism (ugly and bad for the environment) by sticking a bunch of plants into the walls and windows HOWEVER this isn't sustainable in the longrun and only adds new problems as it tries to fix them.

The concrete of brutalism retains heat that will kill the plants. The plant roots can destroy buildings. It's like spraying perfume on dogshit and claiming that the dogshit has value now.

That's my vision for stewie's moving city, it's ugly and industrial with just enough greenery to keep people happy but not enough to be sustainable because he doesn't know enough about architecture vs urban planning to design a city proper. He claims to be helping by just disguising the existing problem. There is no war in ba sing se etc. etc. the moving city is not a safe little bubble, it is a constantly moving expanse of unsustainable land that threatens anything from the outside and keeps in anyone on the inside. A city is a city is a prison that will not survive the apocalypse no matter what stewie tries and yet he latches onto it like a lifeline. This city is his work, his masterpiece. His responsibility. His downfall.

[noseysilverfox]

January 2025

The Monument to Prometheus. In reality, the Kartvelians and other peoples of the Caucasus have a deep admiration for him. Their folklore features the hero Amirani, whose legend is closely intertwined with the myth of Prometheus. Like the titan, he defies the gods and brings forbidden knowledge and fire to humanity to ease their lives.

According to legend, Amirani taught people the art of blacksmithing and the secrets of longevity. In the end, as punishment, he was chained to a pillar in a mountain cave. Each day, an eagle comes to peck at the prisoner's liver, while his loyal dog, Kursha, licks the chains in the hope of wearing them down.

Like Prometheus, his endless suffering remains a symbol of an unyielding spirit and the eternal struggle for knowledge🔥

Памятник Прометею. На самом деле, картвелы и другие народы Кавказа питают особенную любовь к нему. В народном эпосе существует герой Амирани, чей образ тесно переплетается с мифом о Прометее. Подобно титану, он бросает вызов богам и приносит людям запретные знания и огонь, чтобы облегчить их жизнь. Согласно преданиям, Амирани научил людей кузнечному делу и секретам долголетия.

В конце концов, в наказание Амирани был прикован к столбу в одной из горных пещер. Каждый день прилетает орёл и клюёт печень узника, а верная собака Амирани, Курша, лижет цепи в надежде истончить их.

Подобно Прометею, его бесконечные страдания остаются символом непокорного духа и вечной борьбы за знания.

Borjomi, Samtskhe-Javakheti, Georgia

[harrietvane]

Doorway onto the Renaissance spiral staircase in the Château Royale, Blois

[johbeil]

Deeply symbolic, no doubt

Some underground Picasso must have been a work here. Car dungeon in Rome. Several "steles" in the foreground add an artistic touch to this otherwise rather dismal arrangement.

[rosieandthemoon]

Carving on an old French church

[lafaiette]

Gods I feel you I'm only 10 hours in after having received the game as a gift and I REALLY try to like it but it just ... doesn't feel like Dragon Age. Characters know stuff they shouldn't know about, the game keeps talking down to me, nothing I did in the previous games mattered, the tone is completely different, the mature storytelling of the previous games seems to be missing so far & what I heard so far of how the lore and the characters from previous games have been handled is honestly the worst part and breaks my heart. idk even if i wanna finish the game at this point anymore, I'm just kinda ... sad.

I'm so sad and disappointed, too, I remember our conversations, fics, and headcanons about DA! We were so excited and happy, because Inquisition, DA2, and DAO were genuinely well-made and aimed at pleasing the fans, despite their faults.

DATV is a good action game, no doubt about that. The combat is fun, there is a lot to explore and discover, and many locations are beautiful, even though some are terrible to navigate (Dock Town's structure makes no sense). But that's it - it's a good action game with the name "Dragon Age" pasted on it. It doesn't feel like it's part of the series, it constantly treats the player like an idiot, some references to past games and characters are literally hidden in the brief descriptions of the mementos, and there is even a Glossary to make sure the new players don't get frustrated.

Everything is safe and aseptic, cleaned of every deep piece of lore that could have scared new fans into buying or continuing the game. Even the banters lack the depth of the previous games.

A good game company should lure new players in not by rejecting their past entries, but by making them look even more interesting with their sequels.

Bioware wasn't afraid of offering piece of lore after piece of lore in Inquisition - it was a game set in a precise moment, whose prologue was directly tied to the events of the previous game, and new players had to accept this if they decided to buy it and play it. If they liked that premise, all that information and those details, then they were more than welcome - they were encouraged! - to go back, try the older games, and see how it had all started. It was a game made for the fans the company had already managed to win over, not for possible fans who may or may not bring new money in.

In DATV the new players can jump right in after quickly learning who Solas is and what he's trying to do, and old fans are left with an empty shell, with minor references that are supposed to make us feel happy and accomplished peppered here and there, while all our past choices and our favorite characters are forgotten or brought back with a terrible case of amnesia. It's lazy, infuriating, and very sad, and it smells of reboot, because the new devs probably realized they couldn't keep up with the amount of lore and choices the series contain, and they needed to start anew.

[dalgifilms]

▙𝄃▚࡙̳᭫ᬼ⸼〪 :▬▭ ❝ 𝒮𝗎𝗆𝗆𝖾𝗋 𝒟𝗂𝗆𝖾𝗇𝗌𝗂𝗈𝗇 .. ,, ℘▒⁑ 🌺🌴🌊 .

Requested by @ipeachdolly ! Tysm for the request lovely! ^^

[geometrymatters]

The geometry of the Borromean Rings

Borromean rings are a captivating geometric structure composed of three interlinked rings. What makes them unique is their interdependency; if any one ring is removed, the entire structure collapses. This fascinating property, known as "Brunnian" linkage, means that no two rings are directly linked, yet all three are inseparable as a group. This intricate dance of unity and fragility offers a profound insight into the nature of interconnected systems, both in mathematics and beyond.

Borromean Rings and Mathematical Knots

Borromean rings also find a significant place in the study of mathematical knots, a field dedicated to understanding how loops and tangles can be organized and categorized. The intricate relationship among the rings provides a rich visual and conceptual tool for mathematicians. Knot theorists use these rings to explore properties of space, topology, and the ways in which complex systems can be both resilient and fragile. The visual representation of Borromean rings in knot theory not only aids in mathematical comprehension but also enhances our appreciation of their symmetrical beauty and profound interconnectedness.

Symbolism and Divinity in Borromean Rings

Throughout history, Borromean rings have been imbued with symbolic significance, often associated with divinity and the concept of the trinity. In Christianity, they serve as a powerful visual metaphor for the Holy Trinity – the Father, the Son, and the Holy Spirit – illustrating how three distinct entities can form a single, inseparable divine essence. This symbol is not confined to Christianity alone; many other cultures and religions see the interconnected rings as representations of unity, interdependence, and the intricate balance of the cosmos.

Borromean Rings as a Metaphor for Illusory Reality

Beyond their mathematical and symbolic significance, Borromean rings offer a profound metaphor for the nature of reality itself. They illustrate how interconnectedness can create the illusion of a solid, stable structure. This resonates with philosophical and spiritual notions that reality, as perceived, is a complex web of interdependent elements, each contributing to an overarching illusion of solidity and permanence. In this way, the Borromean rings challenge us to reconsider the nature of existence and the interconnectedness of all things.

[galleryofart]

Portrait of a Man with a Sheet of Music

Artist: Domenico Fetti (Italian, c. 1589-1623)

Date: ca. 1620

Medium: Oil on canvas

Collection: Getty Museum Collection, Los Angeles, CA, United States

Description

Facing the viewer, a bearded man in theatrical clothing poses in front of a loosely painted, classicizing backdrop. He holds a sheet of music in his left hand and with his right hand points at an overturned bowl in the foreground, a vanitas symbol that refers to the emptiness of material possessions. Intense eyes set in an expressive face watch the viewer while he gestures. In the lower right-hand corner, two young men, perhaps admirers, watch with interest.