#triangular grid

[agatedragongames]

Generating a Triangular Grid in Processing

Learn how to generate a triangular grid, create walls, connect the triangular cells and render the cells in this Processing tutorial, using the Java programming language.

In geometry, a triangular grid is formed by tiling a plane with equilateral triangles, where each cell has exactly 3 neighbours. The triangles used to form the grid must be equilateral, meaning all sides are equal in length and all angles are 60 degrees.

Because the internal angle of the equilateral triangle is 60 degrees, 6 triangles at a point occupy a full 360 degrees. The triangular tiling has Schläfli symbol of {3,6}.

A triangular grid, is also known as triangular tessellation. It is also one of the three regular tilings of the Euclidean plane. It is the only such tiling where the constituent shapes are not parallelogons.

Triangle grid with connected rendered lines and circles only

Triangle grid with connected rendered lines only

[frostgears]

gardening

you did something stupid and now you're here in your itchy twice-a-year dress uniform in this bright busy room in the regimental HQ trying to figure out if you're going to be yelled at, shot, or promoted. the room's full of folding chairs. apparently not enough furniture in here normally to contain all the suits and all the brass.

your "ops coordinator" ("we don't say 'handler', grunt, it gives the civilians weird ideas") got pulled off for a side conversation two minutes after you got here and you haven't seen her since. you're looking anywhere for a familiar face. you're coming up empty. at least the woman next to you looks equally stressed. she must be civvie, some consultant or other; soft face, masses of curly hair. she's wearing a blazer and slacks with big round dataframes.

"hey," you elbow her. "what are you in for?"

"gods above and below." she sighs. "everything. but today mostly Neryx-9."

"the ag research station. you were there?"

"hardly," she says. "just came up on my huge list of problems."

"creepy shit. i was front and center for it…"

she cocks her head to listen. you explain.

Neryx-9 had been a cluster of greenhouses on the surface. supposed to be vacant, powered down — actually they'd said "mothballed", then looked at you like you were stupid when you asked what a moth was and what they did with their balls. but not vacant. far from it. you went in with a miniframe. first thing you found was the bodies of the grid authority techs that had called it in. purple mold already growing over them.

"it was wrong," you tell her. "not like that white stuff you get when an open nutripak sits in the fridge too long. i mean, i don't know if that would have been better. i just, i don't know, i didn't want to get any of that stuff on me. frame or no. maybe there was some already on me, but didn't want to get it on anyone else. so i backed out, sat in the airlock, thought about calling for extraction. thought better. backed to the wall, cycled my flight jets until it was starting to get warm even inside the frame, thought maybe i'd cook it off me. my ha– ops coordinator asked me what the fuck i was doing. snapped me out of it, i told her, i need fire. incendiaries."

they'd found them, somewhere. support rigged another airlock outside of the main airlock after you'd yelled at them to keep that shit inside. a miniframe-scale plasma cutter for outside construction work, and some purpose-built low-velocity liquid pyrophoric agent rockets.

the woman in the blazer made a face. "we just have those sitting around?"

"starship boarding actions. when we don't want to breach the hull but we do want to use all the oxygen. splashes around, gets everywhere, but nowhere near hot enough to melt anything structural. only used 'em in sims, of course, not like we get a lot of star traffic. horrorshow shit. or i thought it was, before this."

the outside airlock door opened and you'd taken up what they'd brought you.

you stepped over the bodies of the grid techs into hell. purple and orange jungle everywhere. insane external humidity and particle count. dome after hallway after dome of the shit, growing over the grow lights, growing up the walls, into the vents. you could feel it through your frame, through your suit. it was hungry. it wanted in.

"ma'am, compared to that feeling, that pressure, the first giant critter trying to eat my frame was a relief."

six thick legs, triangular jaws, scales and plates all over, massive paddle tail. it had reared out of a pond and tried to drag you back in with it. it wasn't as heavy as you, maybe, but it was mad as hell and a fast mover, and fuck, what right had anything like that to exist in an abandoned greenhouse? you knew you didn't want to be in that filthy water. who knew how deep it was? it'd clog your exhaust, choke your radiators. you twisted around as best you could in its grip, armed your wrist weapon, and blasted a thousand flechettes directly into its face.

"and that stopped it?"

"well, wasn't much left to be stopped, but yeah. and that's when i found it that it had friends and they could smell blood in the water."

she wrinkled her nose in a way that was either a dataframe input gesture or genuine surprise.

"why not just depressurize the domes, at this point?"

"thought about it. i had breaching charges. but… like i said, this stuff felt like it shouldn't get out. there's not much out there, yeah, but i just couldn't. and i had the cutter, and the rockets. so i decided to make it too hot on the shore for them to get me so easy."

you'd turned the artificial jungle into curtains of flame. the big creatures dove back into the water, giving you a narrow path to keep going. in the burning canopy, smaller things flared and dropped; you hadn't seen them moving until they died.

your handler had been screaming at you to get clear, get back to the airlock, but the flames made that a losing proposition. so you kept going in. Neryx-9 was roughly linear. there was another lock on the far side.

"past the labs, it turned out. and maybe some of those corpses in there had been growing these things, but it looked like the shit got away from them and was growing on them. there were these ribbons of orange moss, growing everywhere, out of containers, branching into foam and fabric and dead flesh — i tried to pull it off someone, before i realized they were all dead, and their skin came off in sheets, brown-black and full of tiny holes. charred, but not. think it was acid."

"something like a lichen."

"yeah, maybe? i learned about those in school. you can see 'em out the windows in a lot of places. they grow on rock, right?"

"they do," she says. "useful. so what did you do then?"

"i set the cutter to max spread and i torched a path through to the far airlock. and i don't mind saying, when i noticed the cutter battery and gas cylinder were doing okay, i started spreading it around a lot more. i just. i had to burn it."

"happens that was the right move," she said. "good instinct."

"please tell me someone did something about that shit."

"well," she smiled, "there's you. you know, you're refreshingly simple. like a cat that somehow had the sense to eat an invasive lizard. and since you didn't drag the bits all over, i tasked a solarsat to finish the job. can't beat a pass with an X-ray cloudpiercer beam for that kind of cleanup."

she wrinkles her nose again, and the general murmuring of a dozen conversations in the room changes as people look to the main wall display, which now shows a collection of greenhouse domes sagging as if collapsed by an invisible weight. the rock under them begins to glow.

"what's a cat?" you blurt out, before the words "i tasked a solarsat" have a chance to sink in. like, her, personally?

"an animal. a dumb little predator that associates with humans. from Terra, way before the Catastrophe. we're not ready for them just yet, but maybe someday."

a door opens to your side, and you both turn to see your handler, looking about at the end of her rope, and next to her, her boss, the major, who reports directly to the colonel.

"shit, there you are. look. you're gonna have to answer some questions. and it's not guaranteed you're going down for this, not yet, so just be honest, but for fuck's sake be brief, don't try to understand or interpret—"

both of their faces blanch. like, almost completely bloodless. eyes wide.

the curly-haired woman in the blazer smiles widely. "don't worry," she tells them, "she already did. she's been very helpful. in fact, i think i might like to keep her." she puts a hand on your knee.

"i'm not sure i understand, ma'am?"

"pilot," the major says, "is there a reason you've been occupying the time of the Director of Planetary Ecology? the woman who keeps this entire planet breathing oxygen and eating something other than rocks?"

and now your face must be bloodless too. the DPE? even you know that position. but you can't remember ever seeing a photo.

"oh, she was just telling me how she improvised containment protocols to prevent someone's experiment with Araukan imports from getting out of hand. clever girl. or lucky, at least."

you risk a glance to your side. she's still smiling. the woman who can steer any bioscience research on this planet, cut off power and water and air to anything she deems anathema to the coming ecosystem, commandeer keystone orbital infrastructure and burn habitats like you burned trees.

"i don't think we can possibly say no, Director," your handler says, carefully.

"no," the Director agrees. "you can't." □

[anhilliator1]

Don't think Ares will be that good (hopefully I'll be pleasantly surprised), but I do like how the aesthetic of the Grid changes depending on who made it.

The ENCOM Grid is low-poly and very simple, both an indication of its age, but also makes sense given that this one was likely the only one created by an artificial intelligence, the MCP.

The Tron System Grid is full of sleek shapes and glowing lines, looking vastly different - Kevin Flynn created this Grid as a mirror of the real world, and probably would have taken into account aesthetic considerations.

The Arq Grid is very similar, and this makes sense - it was also created by Kevin, and thus shares many of the aesthetic choices. And yet, it's also evolved on its own, with elements not seen in the Tron System Grid - much like the ISOs that inhabit it.

The Dillinger Systems Grid clearly takes elements from both the Tron System Grid and the ENCOM Grid, likely being a copy of the Tron System Grid created by the ones who made the MCP. It's similar to the latter, but harsher, and has Dillinger's branding all over it if Ares's triangular Identity Disc being engraved with their name means anything - something I suspect is because this Grid was made for a profitable purpose (perhaps military?)

[magentasnail]

one thing you should know about me is that I'm a little insane

all of the new bill cipher stuff and euclydia had sparked a lot of discussions about the nature of a 2D dimension, so now I have a very strong one sided beef with anyone trying to claim that "we, as 3D beings, can only see/perceive in 2D" and as a 3D being myself I have to disagree and if I don't voice my opinions in public I will lose my mind

so welcome to "magenta's trying to explain physics without actually knowing physics to anyone who's willing to listen"

so first of all, one major key of this debate is the difference between "see" and "perceive", because that can lead to some confusion

in my opinion there are basically 3 stages to "sight" (and any other senses): 1. the information the eyes gets (our retinas?) 2. the image our brains create from interpreting that information 3. us comprehending what we see

I personally think of "seeing" as at least level 2, but for the sake of this argument let's refer to seeing as level 1 and perception as 2 and 3 (separating them to perception and comprehension doesn't add much to the discussion) however I still think vision encapsulate the entire thing, so keep that in mind

if that's the case, I do understand why people claim that we can only "see" in 2D, because in a technical sense: one eye can only see a flat image

for example, if we have these 2 balls in front of us in a 3D space, we wont really be able to tell anything about their distance and size with just one eye

HOWEVER, and that's the thing I'm mainly getting at: we do have the ability to tell size and distance in real life! by this great thing calls "depth perception"

now this is not really a concept I can explain with images since they are inherently flat, but you probably know it already just think 3D glasses, VR, or even just look around in your room! our two eyes + our brain gives us the ability to tell the distance of things from us! you can theoretically map the objects around you on a 3D grid just from looking at them, and if that's not 3D vision and perception idk what is

well, actually, I did see a thing being argued that "3D vision means seeing all sides of an object + inside of it, which is what 4D creatures will see" so lets think about that for a second

this argument stems from the way we interact with the 2nd dimension

as all the flatlands lovers here know, when we look at a world of 2D creatures, we are able to see all of their sides, and their inside, so supposedly a 4D creature would be able to do the same for us

but that's where things gets interesting, so let's go deeper!

this usually comes up in order to say "this ability to see around and inside of an object defines what 2D vision is, and thus only 3D being can see 2D, while 2D beings can only see 1D" however, I don't think it has to do with sight at all! but rather with point of view and existing in a higher dimensional plane !

the special thing about us really is our ability to move on the Z axis and separate ourselves from the 2D plane, and thus get a fuller view! so this doesn't have anything to do with us "being limited to 2D" but rather with us being 3D creatures in a 3D world and 3D perception!!! so supposedly, a 4D creature would be in the same situation, having 3D retinas and an overall 4D vision and perception!

if we were to be on the flat plain along the other shapes, our vision isn't going to serve us much better than it does for the 2D creatures, the only additional thing we will be able to see is the Z axis, which isn't really relevant to 2D beings

so now raises the question: can 2D creatures see in 2D? don't they only see 1D? ( - a line ?)

I'm going to jump through some loops here so I need you to hold my hand and bare with me

lets say we have this triangular fella with one eye, the light information they are getting is linear, so basically a line (which is represented on the right)

now this is where I'm making a bit of a leap: will their vision have 2D depth? like we have?

think for a second of the way we see, technically, even the flat image our retinas see is based in some 3D: specifically, objects appear smaller as they are far away, lines wrap into a vanishing point in the horizon, stuff like that!

the 3D world around us is getting compressed into a flat image with perspective, which we can later decipher back into 3D using both our eyes !

and as you might have noticed, a similar thing is happening in our triangle friend's vision! even though both circles are the same size, the light blue circle is closer, and thus takes a much larger portion of their field of view!

unfortunately, as we have established before, while this is a result of depth, this isn't equivalent to depth perception, as our poor triangle cant tell anything about the distance of the circles! is that circle close to him? is that a giant far circle? who knows!

this is where having 2 eyes might help!

our other friend, the 2 eyed triangle, should in theory be able to have depth perception similarly to us, and thus perceive 2D visually!!

how specifically their brain interprets that information is beyond me, the changes in distance, size and angles/curves might be visible as color changes or even width

it's important to remember that since there's no defined "width" to the "line" of their vision, it's actually filling their entire field of view and perception of sight, so it's not like it's a line within a black void but more of the definition of everything, so when compared to our perception of sight it's something more like this:

and if you want to incorporate the idea of closer objects appearing larger in their perception, it might be something like this (for a bunch of random circles in different distances):

the main thing is, when we are trying to say 2D creatures can only see 1D, it's usually just because we think of "2D vision" as a matter of height and width, when it can actually just be depth and width, both of these are valid ways of representing 2 dimensions! because there are 2 dimensions represented ! it's just a matter of point of view!!

I don't think our ability to see 2D objects from all their sides at once is defining what counts as 2D vision, it's just a way to see it from further away, and without relaying on perspective I guess?

so I guess that's the thing really, the core of this discussion: does perspective count? I mean perspective is what makes the axis that's "forwards" accessible, distorting the size to substitute distance. supposedly, when we step back to look to look at a 2D world, we don't need any of that distortion, and we can easily see both the accurate size and the distance of objects, so does that mean our vision is superior? that it's actually true 2D?

in my opinion, the distortion of perspective doesn't take away from our vision, it's just a way to represent the forward axis! no matter how many dimensions you have, forwards is always the first dimension to exist, and while you are looking straight ahead at one dimension lower than you are, your over all vision consists of a stack of "straight ahead views" along the additional axis, which I consider as giving it it's missing dimension!!

trying to argue we can't perceive the world in the dimension we exist in doesn't make sense to me, we are 3D beings in a 3D world which we intuitively interact with! just like we can move around the 3D space and hear the direction sounds are coming from, I don't understand why vision should be limited to any less, and definitely not perception!

well that was fun! this is basically just a matter of semantics, but thinking and trying to analyze vision and different dimensions was just really interesting! and I hope it was interesting to read for you dear one person who read this! have a candy! 🍬 hopefully now that I release these thoughts into the world they won't hurt me as much !! time to dissolve i guess !

[alwaysjustjay]

Mint, Cucumber & Tomato Tea Sandwiches

Triangular cut white bread with herbed cream cheese, tomato slices, cucumber slices and mint leaves.

Recipe Information:

Menu Category - Snacks

Required Ingredients - Tomato, Bread, Cheese, Herb

Prepped Ingredient - Veggies

Skill - Homestyle 1

Serving Sizes - Party, Family, Single

Restrictions - Vegetarian-Safe

Compatibility - Base Game Compatible, Simple Living, Dine Out Restaurant Menu, Group Cooking, Home Chef Hustle, Off-The-Grid Compatible

*Requires the current version of my food enabler mod*

Early Access - Download Here!

Public release May 9th!

@sssvitlanz

[the-fiction-witch]

Lord Of The Tides

Media - House Of The Dragon Character - Lucerys Velaryon Couple - Lucerys X Reader Reader - Y/n Targaryen Rating - 12 Word Count - 1569

Lucerys stood before the ornate mirror, feeling a twinge of self-consciousness as he examined his reflection. His well-polished black boots, crafted from fine leather, hugged his calves tightly, reaching up to his knees. The silver leather britches, form-fitting and shiny, emphasised the contours of his form, every detail outlined with precision.

He wore a silver tunic that shimmered under the light; it was intricately embroidered with delicate motifs of gently fluttering fins. Over this, a dark teal doublet cascaded almost to his knees, with its voluminous puffed sleeves. The doublet was superbly crafted, adorned with crossed silver threads that formed a triangular grid pattern. At the centre of each triangle sat a lustrous pearl. Around his neck, a silver chain glimmered softly against his skin, featuring a pendant in the shape of the Velaryon Seahorse.

His dark hair, deep as the night sky, had been meticulously washed and brushed, falling perfectly into place. Each strand seemed to have been arranged with care, framing his face. In this moment, Lucerys felt a mix of pride and vulnerability, aware of how much this attire symbolized, yet somewhat uneasy with the level of attention it might attract. He kept turning, adjusting everything, trying to get comfortable, but he supposed he wasn’t really supposed to be comfortable.

As much as he felt ridiculous, he just wanted to make his grandser happy.

The door opened, catching his attention. He quickly turned on his heels and immediately he blushed. “M-my princess.”

Princess Y/n stood gracefully in the grand doorway of Lucery’s bedchamber, the soft, luminous white stone walls encasing her like a protective embrace. Attired in an exquisite long teal dress that flowed elegantly around her, the fabric shimmered like the surface of a tranquil lake under moonlight. Intricate patterns of silver thread wove through the material, catching the light with every subtle movement. Delicate silver chains cascaded down the bodice, each link gleaming as if kissed by starlight, while the dress was artfully laced tightly down her back, accentuating her silhouette. The puffed florence sleeves, like clouds suspended in the sky, billowed dramatically to the floor. Around her neck, a choker of pearls sat snugly, each pearl a perfect sphere. Her hair was braided into a stunning, intricate updo intertwined with silver chains and luminous pearls.

She smiled and slightly chuckled, “Look at you,” she cooed as she held her hands out to him,

Lucerys smiled and stepped over, he settled his hands in her own and softly squeezed them, “Yeah, look at me,” He turned his face from her,

Y/n turned his chin so he faced her once more, “My Handsome prince,” she reassured him,

“You think so?”

“Of course,” she nodded, “Prince Lucerys Velaryon, Master of Driftmark, Lord of The Tides,”

He laughed,

“You look perfect,”

“Thank you,” He smiled, “And you- you… You look like a goddess of the sea.”

She scoffed,

“I mean it,” He told her, “Princess Y/n, Mistress of Driftmark, Lady of the Tides.”

“They are your titles Lucerys, not mine.”

“You are my wife, we shall share them.”

She smiled and tapped his nose, “Are you ready?”

“I think so,” he nodded,

“Alright,” she nodded, “I would lean down and give you a lucky kiss, but I’m laced too tight in this dress.”

He chuckled a little and stood on his tip-toes to kiss her.

Lucerys and Y/n stepped cautiously through the stone corridors of High Tide castle, their footsteps echoing softly against the cool, rough-hewn walls. The air was thick with the scent of salt from the nearby sea, mingling with the lingering aroma of damp stone. They made their way toward the grand Hall of Nine, their hearts quickening with each step as the anticipation of the gathered nobles loomed ahead.

As they reached the heavy wooden doors, Lucerys took a deep breath. With a loud creak, the doors swung open to reveal the vast expanse of the Great Hall. The flickering flames of several roaring hearths cast a warm glow across the room, casting dancing shadows on the stone walls. The hall was filled with the low murmur of conversation, that suddenly silenced the air electrified with excitement and the weight of power, as lords and ladies of Westeros mingled amid the flickering firelight. An aisle of torches lined the path, illuminating the way to the elegant Driftwood Throne, where Lord Corlys Velaryon and Princess Rhaenys Targaryen stood.

Lucerys felt a tremor of fear clawing at his insides, anxiety welling up like a storm, but he stole a glance at Y/n. Her warm smile and the gentle squeeze of her hand fortified him, grounding him in the moment. He returned her smile, a small spark of reassurance igniting within him as he held onto her hand tightly, their fingers intertwined. As they slowly traversed the length of the hall, their eyes forward, the sea of unfamiliar faces blurred around them—noble gazes filled with curiosity, intrigue, and perhaps a hint of judgment.

When they finally reached the imposing throne, Lucerys felt the weight of his lineage rested heavily upon him. He and Y/n bowed deeply, their heads lowering in reverence to their esteemed grandparents.

Corlys’s eyes twinkled with pride as he returned their greeting, a firm yet warm smile spreading across his weathered face.

In a graceful motion, Lucerys guided Y/n to her knees, ensuring her gown flowed elegantly as she knelt. He followed suit, also kneeling beside her, careful to avoid the delicate fabric of her dress. The silence of the hall enveloped them, and at that moment, Lucerys steeled himself, channelling his nervous energy into a resolve to prove himself worthy of this.

“Our house is ancient, is proud, is the strength of old Valryia. What are our words?”

“The Old, the True, the Brave” Lucerys nodded,

“The throne, you kneel before.” He began, “The Driftwood throne, the very hull of the first Velaryon ship to take the sea. Carved and returned back in a packed of peace with the merling king. An understanding, that those of House Velaryon are welcome on the sea, but we do not rule it, we do not own it, only that we show it the respect it deserves and that respect is welcomed them to those of us to take to it.” he explained, “The salt of the sea flows in our blood. Does this salt flow in you?”

“Yes, My lord.”

“You carry our name, You carry our blood, will you carry it as long as you live and have your children carry it forth after you are gone?”

Lucerys briefly looked at Y/n and she smiled softly giving him a small nod,

“Yes, My lord,” Lucerys answered,

“Lucerys, My grandson. Do you take this lordship, do you take this throne?”

“...I do.”

Coryls took off the cloak of house Verlayon, the old withered blue fabric shimmering softly with silver thread, he laid it over Lucery’s shoulders and patted them softly.

“Then now, Arise.” Coryls told him, “Prince Lucerys of House Velaryon! Lord of the Tides! Master of Driftmark! Lord of High Tide!”

Cheers erupted throughout the grand hall, a cacophony of jubilant voices echoing off the stone walls.

Lucerys felt paralyzed, every muscle in his body gripped by the weight of anticipation and responsibility that the heavy cloak draped across his shoulders seemed to embody. It was not just a garment; it felt like a mantle of expectation, pressing down on him and settling deep within his bones.

At his side, Y/n sensed his tension. Noting the slight tremor in his hand, she instinctively grasped it tighter, turning his face gently to meet her gaze. Her touch was warm and grounding as she rested her palm against his cheek, her eyes filled with encouragement and understanding.

A small smile broke through Lucerys's apprehension as he placed his hand over hers, revelling in the comfort of her presence. He fought against the swell of emotions threatening to overtake him, longing to let tears of joy spill forth, aware that she was his steadfast ally on this momentous occasion. He tenderly brought her hand to his lips, pressing a soft kiss against her skin. As he slowly rose to his feet, he pulled her up alongside him, their fingers intertwined.

Together, they turned to face the assembly of cheering nobles, who filled the hall with a sea of smiling faces and applause, their excitement palpable. Lucerys's heart raced as he absorbed the sight, offering only gentle smiles in return, trying to quell his internal storm.

As he glanced backwards, seeking the reassurance of his grandsire, uncertainty clouded his expression. But upon meeting Corlys's gaze, the weight of doubt melted away, replaced by an unwavering look of pride that shone in the older man's eyes.

With a poised demeanour, Corlys stepped back, gracefully surrendering his position. He moved to embrace his wife, Princess Rhaenys Targaryen.

Lucerys swallowed hard, feeling the gravity of the moment settle even deeper in his chest. With a deep breath, he squeezed Y/n's hand for reassurance before stepping forward. His legs trembled beneath him as he ascended the steps toward the throne, each stride significant yet challenging. Finally, he reached the seat, hesitating for just a moment before settling into its embrace. As he gripped the cool, wooden arms of the throne, he looked out across the vast hall, a mix of determination and vulnerability washing over him as he faced the gathered lords and ladies.

“The new Lord Of the Tides!” Corlys cheered,

“Lord of the Tides!” Was cheered by all in the hall, including Y/n. 

[kstipetic]

My most recent work is a bit different then what you might expect: not only is it 3d, it's also a collaboration!

Tarquibeth is a textile and paper sculpture made from knitted lace and a watercolour painting folded on a triangular grid. I've made many papercrafts throughout my life (including tons of origami) but it was only after moving to London and getting involved with the art gallery world that I thought of showing them off. The strip of knitted lace was made by my wife Emily (not pictured).

If you're in the East London area, stop by St. Margaret's House to see the work in person!

[ddsimmer]

🔨 TS4 Build mode cheat codes & shortcuts guide 🔨

Cheat codes are simple but essential tool to build more freely in The Sims and create detailed and interesting or realistic lots and enhance the overall experience even when playing with base game only. Cheat codes are not CC, therefore your build will appear CC free in the gallery if you're not using any custom content.

Cheat codes and shortcuts guide below

To enter cheats you have to click ctrl/control + ⇧ Shift + C on your keyboard, this will open a typing space on the top left of your screen where you can enter the cheats listed below. To close it simply click ctrl+Shift+C again. For PS4 and Xbox: Press all four bumper buttons.

bb.moveobjects (type and hit send key) - if you enable only one cheat let it be this one. This is essential to freely place the objects, scale them, rotate them and combine them.

This means the cheat is up and running - this will not slow down your game.

Now you can do a number of things with your items: If you click , and . you can turn the item left and right keeping it aligned to the base grid. If you want to place the item freely, ignoring the base grid and the regular game rules - that prevent you from placing objects on top of each other or even too close to each other - pick the item up and hold Alt (pc) Option (mac). To rotate the item ignoring the grid, pick up the item, hold Alt (pc) Option (mac) and drag. These shortcuts will allow you to create more interesting and realistic layouts by angling and layering object, and it also allows you to clutter surfaces more.

You can also change the size of the objects by clicking [ and ] (or ù depending on the keyboard).

Another super useful thing you can do is to raise an item after you placed it by clicking 9 (or ctrl + 9 if you don't want the build mode camera to move) and to lower it back by clicking 0. You can do this with mirror as well to change where they sit on the wall, and most importantly you can place clutter where there are no slot by raising the item, clicking Alt/Option ad dragging it in place.

Now that you know how to arrange items in an interesting way, you need items to arrange! You can find a whole catalog of FREE items by using two other cheat codes.

bb.showhiddenobjects and bb.showliveeditobjects - typing these two codes (hit send key after each one) in the cheat bar allows you to use thousands of items that are already in your game but that you can't normally see. To find them you need to search for debug in build/buy menu, and a long list will show up! Have fun!

There are two other combinations that you need to know to really master your builds: Clicking ctrl/control + F on your keyboard while you're placing the flooring in your room allows you to place smaller triangular tiles (one quarter of a tile). This is super useful to create interesting patterns on your floors or to make pathways more interesting.

Roofs can be challenging to deal with, but they are also crucial to the final build and can really make a difference. There is a way to unlock more options to curve your roofs by selecting the roof and clicking ctrl/control + Alt/Option + C. You will immediately see more manipulations handles appear, experiment with them! 

That's all for now, I hope this guide was useful for someone! Happy simming ✨ Dag Dag!

[matty-from-megalos]

figured out how to use a triangular grid to make isometric stuff in affinity. we are so back, etc. etc.

[gridgamesgalore]

hi it's me symph 😈😈😈😈(@unluckysymphteen)

what is this experiment au about. I'm intrigued /gen /pos

forgor to add trigger warnings kill me uh so tw for mention of suicid ,, death ,, and eldritch horrors and and bad thigns and rah death death

ok ok ok so its like going to be hard to explain but basically eleven died mysteriously [ i love eleven dont get me wrong she just died for the plot ]

so fifteen was trying to discover how this happened by trying to ask the higher step squads up to ten if they had any info and none of them had it !! and the only big step squad that was avaliable is 91 since 66 is in jail for disasterly crimes and we dont talk about 78 [ luggage seveenty two is NOT the triangular number of tweb get ur facts right ] but fifteen had one problem ; 91 was isolated up in the mountains !!

and then fifteen sent 26 flingty-bun to go find her and bring her back but since the hiking was too waitsome for her because shes an impatient bitch for once and gathers seven and thirteen to like multiply them together so 91 could arrive faster

but fishteeth missed one thing ... you can only get 91 by addition because if you multiply 7 by 13 in this universe very bad things will happen !!

so thirteen and seven got multiplied and got turned into an eldritch abomination which proceeded to kill like alot of integers like eight and and and twenty fork

one day ,, tweb was investigating what happened to elevatorgram and while searching for clues she saw the terrifying amalgamation of 13 and 7 and tweb was like " holy shit ,, what the fuck !! " so tweb started putting together these files of what that thing was and titled it " the ninety-one experiment " [ haha get it I'm so clever ] and found out it was fish teeth doing

so tweb confront fish teeth and like fish teeth kept trying to gaslight tweb that it didn't haplen and at this the point tweb couldnt deal with arguing with fifth team anymore and just exited the building

eventually tweb couldn't take it anymore and commited sayori challenge and passed the files onto grid game galore guy ; grid game galore guy studies the files and encounters what used to be 72 ,, so griddy gyatt galor run as fast he can to get away but severely teeth too also fast cause tweb factors but the wondrous calendar guy save griddy gyatt !! [ calendar apart of group who kills the mutation guys ]

seventy two algamation wasn't even made by fish teeth though ,, it was made by evil self proclaimed scientist fity nine !! who was inspired off the entity xci / 91 experiment / 13 and 7 eldritch monster thingy !! she got 3 victims of her doing ,,, sevenrtu twoeo ,, the nation of america [ fity fike ] ,, and suepr cube of tree [ twneyr sveen ] and fishteeth found out about this so she proceeded to give fity nine 97104 diseases including rabies to the power of the value of 64 from dekrimal to dozenal and made it so she cannot die from these diseases so 59 can feel nothing but pain so silly so jolly !!

uh ans to basically sum up the rest ; fishteeth feed griddy gyatt his dead daughter [ tweb ] ,, grid games put in psych ward ,, fishteeth try to lure eighteen and sixteen into lair to show them mentally ill painter who can predict future in psych ward ,,, stupid ass zesty gay bigender quare of 6 break out of psych ward mentally illness ,, broke fishteeth spine after fishteeth shot them with her bazooka and machine gun 50 million times ,, flingty-bun come in shot quare jn head and heart ,, quare say the cursed words and split flingty-bun in half no thriteen cause the xci thingy ,, and quare gets beaten to death by sixteen who was almost choked to death by quare ,, griddy gyatt get taken to camp and 200 pump heself ,, and yadda yadda xci gets put down by calendar guy and forky cause that thing ate he dog and then all hell breakd loose and forty two turns into a god and sends everyone to different universes ♡♡♡♡

therea more to this but I spent like 15 million years writjgn thi I ♡♡♡♡ I hope you all enjoy gusydgs my au lore oh yes so splendid ♥︎

[furiarossa]

What do ghost cities look like

Ghost cities you say? Today we talk about...

Phantomhives

Ghost hives (also called phantomhives) are large, stable settlements of gregarious ghosts, generally forming around a feudal lord (or "overlord"). Often they don't look at all like human cities, because ghost dwellings require much less external space than human dwellings, developing within dimensional pockets that leave only part of the structure protruding (often just the door), and therefore can be "compressed" into less space.

Formation

Ghosts are normally territorial creatures and interaction with others is typically centered on the relationship with the territory. However, ghosts are not solely solitary: depending on the space and resources available, they can form social structures ranging from a small group of ghosts (rarely related to each other, more often in collaborative relationships) to large and dense groups in an urban environment.

This second category of aggregation gives rise to phantomhives. However, for the formation of a large and dense group of ghosts, it is necessary for there to be someone with the role of a powerful aggregator: this figure is known as a feudal lord or overlord.

The overlords are very powerful ghosts, with an extended aura, capable with their presence of changing the physical characteristics of the area of residence, for example by raising the temperature and attracting small ghosts which will feed on the residues of their aura and which will form the basis of the feeding of the ghost colony; they also have other important roles, such as protecting the territory from attacks by large predators, other possible overlords, and often nourish the paralarvae that would otherwise be left to themselves.

The very presence of an overlord favors the reproduction of "subject" ghosts in his territory and thus gives rise to more densely populated areas.

Geography and structure

Each phantomhive seems to be regulated according to a specific set of rules, mostly independent of the influence of communities external to it: although in the past some form of ghost government seems to have existed, modern settlements are self-regulating and have specific laws, as well as unique structures often dictated by the overlord who reigns over them.

An example of an overlord is Walker, with his prison: he is the feudal lord and his "policemen" are the subject spirits. The massive penitentiary in which they live is the phantomhive, created according to Walker's personal tastes.

Ghost chambers are small dimensional pockets, much larger on the inside than on the outside, sometimes visible only as a door/entrance, and are called ghost lairs or simply "lairs".

The exterior of the accommodation, depending on taste, can be bare or richly decorated.

The housing agglomeration appears different depending on the growth arrangement:

Chaotic: occurs when the hive develops as a conglomerate of irregularly sized ghost lairs, growing and connecting through channels and roads that seemingly make no logical sense. The chaotic cluster is the most common type of phantomhive.

Axial (or linear): occurs when the hive develops along a "road", a sort of corridor that connects all the accommodations, and takes on a long, narrow shape. They are, although rarely, also called "Western hives", due to the resemblance to the old US towns.

Grid (or checkerboard): occurs when the hive develops with regular conglomerates of ghost lairs with equally regular shapes, interspersed with escape routes. This pattern can have many variations including rectangular meshes, triangular meshes, parallel streets, hexagonal meshes.

Radial: occurs when many roads converge at a central point, often the result of successive growths over a long period of time. The hive develops around a central square surrounded by concentric canals or streets, where each expansion of the city implies a new circle.

(Yup, we expand, but we try, when possible, to keep our answers canon-compliant).

We hope that you found this interesting! And if not... there's more:

All the ghost worldbuilding posts!

The “Ask us about ghost worldbuilding” post

Our ask is open!

[focusonarchitecture]

Day 126 — Collins Place

Collins Place — a large mixed-use complex in Melbourne's CBD — was designed in 1970 by IM Pei & Partners and completed in 1981. I.M. Pei frequently incorporated triangles into his designs, notably in the East Building of the National Gallery of Art in Washington, D.C., and the Louvre Pyramid in Paris. His use of triangular forms often stemmed from functional needs, such as maximising space on irregular plots or achieving structural efficiency with glass and steel.

The design was based around a pair of towers at 45 degree angles to the city grid. This angular orientation creates distinctive triangular spaces between the towers, which house an open plaza facing the street and a shopping court situated behind the towers. A notable design element is the expansive space frame canopy with transparent plastic roofing that shelters the open areas, including the shopping plaza known as "The Great Space." This design facilitates natural light penetration while offering protection from the elements.

Photo: 2022

[archivist-crow]

On this day:

RENDLESHAM FOREST INCIDENT

On December 27, 1980, U.S. Army officer Lieutenant Colonel Charles Halt was yanked from an awards dinner at the Royal Air Force base in Woodbridge, Suffolk, England, to investigate a UFO report in Rendlesham Forest —the second report in three days. Halt ordered lights set up around the area. Once in place, the lights refused to work, as did the communication radios. Halt and his team continued into the woods and were examining the previous landing spot when they became aware that nearby farm animals were agitated.

Suddenly a glowing object appeared, zigzagging through the trees. It settled in a field amid a thick circular fog and emitted thrumming sounds. The glowing yellow and red object then began throwing off sparks and appeared to be melting before it silently exploded into five separate white objects, which flew off, displaying red, green, and blue lights. One of the saucers beamed down a laser-thin ray of light, apparently under intelligent control, and began doing a grid search through Rendlesham. Another of the objects zipped past the broken lights, causing them to work brieily as it passed.

Two days earlier, John Burroughs and James Penniston, investigating a UFO report in Rendlesham, noted that the air was filled with static electricity. They spotted a triangular. metallic object, topped with a pulsing red light and banked by blue lights below, glowing in the forest. They later said that as they approached "[t)here was also a sense of slowness, like time itself was an effort." It became difficult for them to walk. Symbols were etched on the exterior of the object, and when Penniston touched them, the object became blindingly bright and silently flew away. The next day, three depressions were found in the frozen ground where it had landed.

Text from: Almanac of the Infamous, the Incredible, and the Ignored by Juanita Rose Violins, published by Weiser Books, 2009

[spacetimewithstuartgary]

A new and unique fusion reactor comes together due to global research collaboration

Like atoms coming together to release their power, fusion researchers worldwide are joining forces to solve the world's energy crisis. Harnessing the power of fusing plasma as a reliable energy source for the power grid is no easy task, requiring global contributions.

The Princeton Plasma Physics Laboratory (PPPL) is leading several efforts on this front, including collaborating on the design and development of a new fusion device at the University of Seville in Spain. The SMall Aspect Ratio Tokamak (SMART) strongly benefits from PPPL computer codes as well as the Lab's expertise in magnetics and sensor systems.

"The SMART project is a great example of us all working together to solve the challenges presented by fusion and teaching the next generation what we have already learned," said Jack Berkery, PPPL's deputy director of research for the National Spherical Torus Experiment-Upgrade (NSTX-U) and principal investigator for the PPPL collaboration with SMART. "We have to all do this together or it's not going to happen."

Manuel Garcia-Munoz and Eleonora Viezzer, both professors at the Department of Atomic, Molecular and Nuclear Physics of the University of Seville as well as co-leaders of the Plasma Science and Fusion Technology Lab and the SMART tokamak project, said PPPL seemed like the ideal partner for their first tokamak experiment. The next step was deciding what kind of tokamak they should build.

"It needed to be one that a university could afford but also one that could make a unique contribution to the fusion landscape at the university scale," said Garcia-Munoz. "The idea was to put together technologies that were already established: a spherical tokamak and negative triangularity, making SMART the first of its kind. It turns out it was a fantastic idea."

SMART should offer easy-to-manage fusion plasma

Triangularity refers to the shape of the plasma relative to the tokamak. The cross section of the plasma in a tokamak is typically shaped like the capital letter D. When the straight part of the D faces the center of the tokamak, it is said to have positive triangularity. When the curved part of the plasma faces the center, the plasma has negative triangularity.

Garcia-Munoz said negative triangularity should offer enhanced performance because it can suppress instabilities that expel particles and energy from the plasma, preventing damage to the tokamak wall.

"It's a potential game changer with attractive fusion performance and power handling for future compact fusion reactors," he said. "Negative triangularity has a lower level of fluctuations inside the plasma, but it also has a larger divertor area to distribute the heat exhaust."

The spherical shape of SMART should make it better at confining the plasma than it would be if it were doughnut shaped. The shape matters significantly in terms of plasma confinement. That is why NSTX-U, PPPL's main fusion experiment, isn't squat like some other tokamaks: the rounder shape makes it easier to confine the plasma. SMART will be the first spherical tokamak to fully explore the potential of a particular plasma shape known as negative triangularity.

PPPL's expertise in computer codes proves essential

PPPL has a long history of leadership in spherical tokamak research. The University of Seville fusion team first contacted PPPL to implement SMART in TRANSP, a simulation software developed and maintained by the Lab. Dozens of facilities use TRANSP, including private ventures such as Tokamak Energy in England.

"PPPL is a world leader in many, many areas, including fusion simulation; TRANSP is a great example of their success," said Garcia-Munoz.

Mario Podesta, formerly of PPPL, was integral to helping the University of Seville determine the configuration of the neutral beams used for heating the plasma. That work culminated in a paper published in the journal Plasma Physics and Controlled Fusion.

Stanley Kaye, director of research for NSTX-U, is now working with Diego Jose Cruz-Zabala, EUROfusion Bernard Bigot Researcher Fellow, from the SMART team, using TRANSP "to determine the shaping coil currents necessary for attaining their design plasma shapes of positive triangularity and negative triangularity at different phases of operation." The first phase, Kaye said, will involve a "very basic" plasma. Phase two will have neutral beams heating the plasma.

Separately, other computer codes were used for assessing the stability of future SMART plasmas by Berkery, former undergraduate intern John Labbate, who is, now a grad student at Columbia University, and former University of Seville graduate student Jesús Domínguez-Palacios, who has now moved to an American company. A new paper in Nuclear Fusion by Domínguez-Palacios discusses this work.

Designing diagnostics for the long haul

The collaboration between SMART and PPPL also extended into and one of the Lab's core areas of expertise: diagnostics, which are devices with sensors to assess the plasma. Several such diagnostics are being designed by PPPL researchers. PPPL Physicists Manjit Kaur and Ahmed Diallo, together with Viezzer, are leading the design of the SMART's Thomson scattering diagnostic, for example.

This diagnostic will precisely measure the plasma electron temperature and density during fusion reactions, as detailed in a new paper published in the journal Review of Scientific Instruments. These measurements will be complemented with ion temperature, rotation and density measurements provided by diagnostics known as the charge exchange recombination spectroscopy suite developed by Alfonso Rodriguez-Gonzalez, graduate student at University of Seville, Cruz-Zabala and Viezzer.

"These diagnostics can run for decades, so when we design the system, we keep that in mind," said Kaur. When developing the designs, it was important the diagnostic can handle temperature ranges SMART might achieve in the next few decades and not just the initial, low values, she said.

Kaur designed the Thomson scattering diagnostic from the start of the project, selecting and procuring its different subparts, including the laser she felt best fits the job. She was thrilled to see how well the laser tests went when Gonzalo Jimenez and Viezzer sent her photos from Spain. The test involved setting up the laser on a bench and shooting it at a piece of special parchment that the researchers call "burn paper." If the laser is designed just right, the burn marks will be circular with relatively smooth edges.

"The initial laser test results were just gorgeous," she said. "Now, we eagerly await receiving other parts to get the diagnostic up and running."

James Clark, a PPPL research engineer whose doctoral thesis focused on Thomson scattering systems, was later brought on to work with Kaur. "I've been designing the laser path and related optics," Clark explained. In addition to working on the engineering side of the project, Clark has also helped with logistics, deciding how and when things should be delivered, installed and calibrated.

PPPL's Head of Advanced Projects Luis Delgado-Aparicio, together with Marie Skłodowska-Curie fellow Joaquin Galdon-Quiroga and University of Seville graduate student Jesus Salas-Barcenas, are leading efforts to add two other kinds of diagnostics to SMART: a multi-energy, soft X-ray (ME-SXR) diagnostic and spectrometers.

The ME-SXR will also measure the plasma's electron temperature and density but using a different approach than the Thomson scattering system. The ME-SXR will use sets of small electronic components called diodes to measure X-rays. Combined, the Thomson scattering diagnostic and the ME-SXR will comprehensively analyze the plasma's electron temperature and density.

By looking at the different frequencies of light inside the tokamak, the spectrometers can provide information about impurities in the plasma, such as oxygen, carbon and nitrogen. "We are using off-the-shelf spectrometers and designing some tools to put them in the machine, incorporating some fiber optics," Delgado-Aparicio said. Another new paper published in the Review of Scientific Instruments discusses the design of this diagnostic.

PPPL Research Physicist Stefano Munaretto worked on the magnetic diagnostic system for SMART with the field work led by University of Seville graduate student Fernando Puentes del Pozo Fernando.

"The diagnostic itself is pretty simple," said Munaretto. "It's just a wire wound around something. Most of the work involves optimizing the sensor's geometry by getting its size, shape and length correct, selecting where it should be located and all the signal conditioning and data analysis involved after that." The design of SMART's magnetics is detailed in a new paper also published in Review of Scientific Instruments.

Munaretto said working on SMART has been very fulfilling, with much of the team working on the magnetic diagnostics made up of young students with little previous experience in the field. "They are eager to learn, and they work a lot. I definitely see a bright future for them."

Delgado-Aparicio agreed. "I enjoyed quite a lot working with Manuel Garcia-Munoz, Eleonora Viezzer and all of the other very seasoned scientists and professors at the University of Seville, but what I enjoyed most was working with the very vibrant pool of students they have there," he said.

"They are brilliant and have helped me quite a bit in understanding the challenges that we have and how to move forward toward obtaining first plasmas."

Researchers at the University of Seville have already run a test in the tokamak, displaying the pink glow of argon when heated with microwaves. This process helps prepare the tokamak's inner walls for a far denser plasma contained at a higher pressure. While technically, that pink glow is from a plasma, it's at such a low pressure that the researchers don't consider it their real first tokamak plasma. Garcia-Munoz says that will likely happen in the fall of 2024.

IMAGE: SMall Aspect Ratio Tokamak (SMART) is being built at the University of Seville in Spain, in collaboration with Princeton Plasma Physics Laboratory. (Photo credit: University of Seville). Credit: University of SevilleL

[33-108]

Throughout the progression of my spritual endeavors, I have always intuitively connected numbers to the subtle order of creation - believing in the role as a bridge between the tangible and intangible. I have felt compelled to bridge aspects of science and mathematics with the metaphysical frameworks and philosophy of mind in which I aligned with over time.

While I tend to be critical of unnecessarily and hastily merging the disparate ideas of respective cultures and I do my best take note of how each of their systems emerged within its own cultural context.. numbers/mathematics; most notably, for me, numbers like 36, 666, and 108 and their relationships reveal how mystical traditions across cultures do share numerical significance.

Whether through the Sun’s journey, cosmic/planetary distances, certain numbers demonstrated a "holographic" nature of creation.

In other words, they implied that the universe is a coherent whole, where the microcosm reflects the macrocosm and where numbers guide us toward understanding the unity of all things.

Numbers have long been considered a subtle blueprint for the material realm, serving as a universal language that bridges spiritual and physical realities.

Throughout history, mystical traditions like Pythagoreanism, Kabbalah, and Eastern philosophies have recognized the significance of numbers, seeing them as more than abstract symbols..viewing numbers as archetypal forces, cosmic codes that shape the material universe and connect humanity to divine principles.

Among some of the most intriguing of these numbers are 36, 666, and 108, which reveal a deep interplay between geometry, cosmic harmony, and mystical insight.

These numbers, often associated with the Sun and the masculine principle, underscore the shared foundations of mystical traditions and their perception of the universe as an interconnected whole.

The number 36, holds a special relevance in numerology and astrology, especially in its relationship with the Sun.

In ancient astrology, the heavens were divided into 36 decans, each representing a 10-degree segment of the zodiac.

These decans symbolized the Sun’s journey through the year, dividing time into distinct periods governed by specific energies.

The eighth triangular number, 36 encapsulates harmony and balance, reflecting the structure of creation itself.. triangular numbers, which represent sums of consecutive integers, evoke the triangular form, a symbol of stability and creativity.

The triangle, often associated with the masculine principle, signifies upward movement, dynamic energy, and the generative force of the Sun.

The number 666, the sum of all integers from 1 to 36, deepens the mystical significance of 36.

In numerology, 666 is intimately tied to the Sun through the magic square of the Sun. This 6×6 grid of numbers, where each row, column, and diagonal sums to 111, totals 666 in its entirety.

This mathematical symmetry reflects the Sun’s role as the center of vitality, illumination, and order. Just as the Sun sustains life and governs time, 666 symbolizes the culmination of solar energy and its pervasive influence on existence on multiple planes.

Its triangular nature further highlights the interconnectedness of numbers, geometry, and cosmic principles, demonstrating how the gross material realm has its relationships arising from subtle numerical blueprints.

The triangle itself, which underpins both 36 and 666, serves as a symbol of the masculine principle - in both hermeticism/alchemy, the triangle is a symbol of masculine fire, and represents siva tattva in Hinduism..the upward-pointing triangle represents, the Sun, and active energy.

It can convey the creative impulse that arises from and compliments the suns manifestation, mirroring the Sun’s dynamic power.

The connection of 36 and 666 as triangular numbers illustrates the harmonious unfolding of multiplicity from unity, a process that aligns with the metaphysical view that the material world is a holographic projection of deeper, subtler realities.

The number 108, perhaps the most significant number in all of hinduism/buddhism/jainism - is closely related to 36 through multiplication, extends this cosmic harmony into the realm of celestial relationships.

Multiplying 36 by 3, another triangular number, yields 108, a number revered across spiritual traditions.

In Hinduism and Buddhism, 108 is considered sacred, symbolizing the completeness of existence.

Prayer beads often consist of 108 beads, reflecting the unity of the macrocosm and microcosm.

What makes 108 particularly fascinating is its alignment with the Sun, Moon, and Earth. The average distance from the Earth to the Sun is approximately 108 times the Sun’s diameter, and the distance from the Earth to the Moon is similarly 108 times the Moon’s diameter.

This geometric coincidence creates the unique phenomenon of total solar eclipses, where the apparent sizes of the Sun and Moon align perfectly in the sky. These relationships reveal a profound synchronicity, suggesting that the cosmos itself is structured according to numerical harmony.

The interconnectedness of 36, 666, and 108 demonstrates how numbers transcend individual traditions, serving as a bridge between mystical frameworks and the subtle and gross realms.

In traditions such as Pythagoreanism, numbers are seen as the essence of reality, with each number embodying archetypal qualities. The Pythagorean view of the universe as a harmonious structure, governed by mathematical ratios, aligns with the Eastern perception of cosmic cycles governed by numbers like 108.

Similarly, Kabbalah’s Tree of Life and its ten sefirot express the descent of divine energy into the material world through numerical relationships. The interplay of numbers in gematria, Kabbalistic numerology, mirrors the vibrational patterns that underlie creation in Hinduism and Tantric cosmology.

These insights highlight how numbers act as a unifying force across spiritual traditions. They offer a subtle blueprint for the material realm, encoding the principles by which the universe unfolds. From the triangular unity of 36 and 666 to the cosmic resonance of 108, numbers reveal the hidden order of existence, connecting the physical and the metaphysical.

In Kashmir Shaivism, the 36 tattvas represent a comprehensive framework for understanding the process of manifestation - from pure consciousness to the physical world. While many Indian philosophical systems, like Samkhya, recognize 25 tattvas, Kashmir Shaivism expands this number to 36 by including higher spiritual principles and subtle realms that bridge the gap between the absolute (Shiva) and the individual experience.

The 36 tattvas are categorized into three main groups, each representing different aspects of reality:

Shuddha Tattvas (Pure Principles): The first 5 tattvas relate to pure consciousness and divine energy. These include:

Shiva (Pure Consciousness)

Shakti (Divine Energy)

Iccha (Will)

Jnana (Knowledge)

Kriya (Action)

Shuddhashuddha Tattvas (Mixed Principles): The next 7 tattvas deal with the interface between the absolute and the manifest, incorporating the role of Maya (illusion) and the limitations it imposes.

Ashuddha Tattvas (Impure Principles): The remaining 24 tattvas correspond to the physical and mental aspects of existence, akin to the 25 tattvas in Samkhya (e.g., the five elements, five senses, and mind).

Why 36 Instead of 25?

The Inclusion of Higher Principles: Kashmir Shaivism incorporates the five pure tattvas, which represent the divine reality of Shiva-Shakti that transcends duality. These principles are absent in Samkhya, which focuses on dualistic concepts (Purusha and Prakriti).

Acknowledgment of Maya: While Samkhya emphasizes the physical and mental realms, Kashmir Shaivism includes the tattvas that describe the workings of Maya, which creates the appearance of separation and multiplicity.

Focus on Unity: The system of 36 tattvas emphasizes the non-dual nature of reality, showing how the pure, subtle, and gross realms are interconnected and emanate from the same divine source.

I have a connection to the 36 tattvas and the nondual metaphysics of Kashmir Shaivism.. for its detail of unity within multiplicity and integration of the subtle and gross realms into a cohesive spiritual worldview.

The expansion beyond duality offered by Kashmir Shaivism aligns with a holistic perspective that transcends rigid categories. I resonate with its acknowledgment of Shiva as Atman (Self) and the dynamic interplay of Shiva and Shakti.

The symbolic significance of the number 36 has been very beautifully explained by Yogacharya Sri Somananda 1 in the following lines:

"Does it matter whether there are twenty-five or thirty-six Tattvas? The answer is that it does matter. Lord Shiva is the Lord of Yoga and His tradition teaches that the Tattvas are 36 in number. For the sake of harmony and unity, all Yogic traditions must agree with this.

However, there is another important reason. The number "36" is a sacred number which has a special meaning in Yoga. Indeed, it has many different meanings or one meaning with many different facets, like a diamond. Strictly speaking, this must be revealed by the Teacher to the disciple. We may nevertheless disclose some of it so that the seeker may acquire a taste of the infinitely profound, unsurpassed and incomparable Wisdom of Yoga Dharma.

1) "30" represents the Moon (the thirty-day lunar month of the Indian calendar is called "Maasa" or "Moon", in Sanskrit) which is the symbol of Lord Shiva; and "6" represents the Six Disciplines of Yoga (physical postures, breath-control, detachment, concentration, meditation, union with Shiva); the Six Paths (Shadadhvaa: mantra, varna, pada, kalaa, tattva, bhuvana); and the Six Chakras or Sthalas; which are the Path that leads to Shiva.

2) By further applying the Yogic method of numerological interpretation, "36" will be explained as follows. "3" signifies that Shiva is Three-times the Greatest: He is the Greatest on Earth (the Terrestrial Plane); the Greatest in the Air (the Astral Plane); and the Greatest in Heaven (the Celestial Plane).

"6" is made up of "5" and "1" . "5" signifies that Shiva is the Lord of the Five Divine Powers (Intelligence, Bliss, Will, Knowledge and Action) and the Performer of the Five Divine Acts (Creation, Preservation, Dissolution, Obscuration and Illumination or Salvation).

"1" (One) signifies that the Supreme Lord is the All-Powerful, Unique, Ever Existing One Who alone exists and Who holds the totality of all things within Himself. Therefore, "5" and "1", being inseparable, are taken together as "6". Thus by writing "3" and "6" we arrive at the sacred number "36". This is the innermost, secret meaning.

3) In terms of external reality which is the domain of multiplicity, when multiplied by the base "10", it yields "360" which is the number of days in a year; the number of degrees in a circle, etc. It stands for the Totality of Being or All-Encompassing Supreme Reality Itself.

In brief, it represents a symbol of completeness. In practice, therefore, the number "36" (or 360) symbolises man's (and the World's) Revolution or Completion of the Circle of Life and return to the original Point of departure.

This Spiritual Revolution is not a return to the past but a return to the Ever Present, Ever-Living Truth that nourishes all life. It is a return that must be urgently effectuated by the modern World for the Salvation of all Souls and the Establishment of Divine Life on Earth.

Finally, if we add "3" and "6", we obtain the number "9". "Nine" ("Nava") in the Sanskrit Language, also means "New", thus indicating the advent of a New World Order based upon the Eternal Principle of All-Encompassing Unity and Harmony, that is to say, the Supreme Eternal Law of Heaven (Sanatana Dharma) which must prevail over all other laws as Shiva (the Supreme Intelligence) Himself decreed at the beginning of time. "

[isaelleman]

Lab Worksheet 2

Image 1 (the primary color blocks):

Visual: The image is made up of rectangular blocks that are placed in a grid-like arrangement in a variety of hues, including red, black, blue, yellow, and various degrees of gray.

Feel: The use of contrasting bright and neutral colors creates a sense of balance and structure.

Why I like it: I enjoy how the strong primary colors contrast sharply with the gray tones. It looks contemporary, tidy, and well-balanced because of the geometric arrangement.

Image 2 (Mountain and Sun ):

Visual: triangular mountains and a circular sun using earthy tones like brown, orange, and beige. The dark sky contrasts with the warm colors of the mountains and the bright sun.

Feel: It feels calm and balanced, like a peaceful natural scene.

Why I like it: I like it because it’s clean and minimal but still manages to capture the beauty of a natural landscape.

Image 3 (Dog Paw Print ):

Visual: Bold red paw print with a black outline on a plain background.

Feel: It feels playful and energetic, symbolizing strength and adventure.

Why I like it: I like the strong visual impact and the contrast that makes the shape stand out, evoking fun and loyalty.

Image 4 (the Rectangle tunnel):

Visual: A tunnel-like appearance is produced by radiating red, gray, and beige stripes with black rectangles.

Feel: There's a strong, energizing feeling, as well as a sense of motion that draws in toward the center.

Why I like it: I appreciate how the contrasting colors and forms add depth and visual impact to the design, which is aggressive and captivating.