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rin-and-jade · 17 days

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A Cup, and A Thread: A Post About System Communication

Hey, you know classic string telephone? The one made with two plastic cups and a piece of yarn, i suppose you recognize that old-school science toy? It's one of the simplest inventions that showcases how messages are sent from one place to another!

This little invention is very fitting to explain how inner communication works, so i hope today's theme of analogy will help you understand all of my messages im about to share, with a twist of a fiber.

There's a lot of things i want to address on this topic, thanks to all my 8 great friends who had helped me gather a variety of insights on what seems to be the problem, i have the answers right here that will be shared to the community, because of them!

You know what communication is?

I sure do, but let's both revise on what it means, according to Merriam-Webster, it's defined as..

"a process by which information is exchanged between individuals through a common system of symbols, signs, or behavior."

It also means "a technique for expressing ideas effectively."

..Alright, we should be in the same page now, but, do we actually know what counts as 'good' communication in system context? After some examination from the given data, it was a resounding "No." This can also mean many may not have a clear idea on it, which will also be addressed.

Okay, tell me please?

Before i do tell, remember that communication is diverse, with no perfect or right way to do so. Just like animals, where different species use unique methods to pull it off, means can systems have their own unique styles too.

There are a few examples we see in animals; like how some use pheromones to talk to its own kind, while some read off from their signature body languages, and some use tones or cues that is meant to be recognized specifically, to each their own meanings.

So, good communication means ensuring that everyone in the system can understand and receive messages effectively which eases functioning and cooperation, regardless of how frequent or indirect the communication may be.

For us, systems have unique internal methods of communication that are based on how our brains function, not having any unique features in animals. These methods are very personal, so find what works best for you.

Here are the common styles so far:

Verbal: Where you talk aloud, or in a media like notes.

Abstract vibes: Where you speak no words, which encompasses feelings, or concepts, or ideas, that can be "felt" instead of heard or seen.

Images: Where the share of messages are conveyed through memories, expressive actions or symbols that are projected in the mind.

Direct thoughts: Where an internal dialogue is present, parts communicate using this inner voice, that can vary in different accents and intonations.

The media represents a lot of the stereotypical kind, direct thoughts, while the rest are less recognized. These four kinds are not limited to, but are the ones often represented, they are equally as important and real.

It's important to note that alters within a system can have different communication styles, or the collective may share the same style. You can't force yourself to use a particular kind, so focus on practicing and mastering your style.

..But there's many problems!

Which is why it's a good idea to educate yourself and find proper solutions in order to resolve them. I know some of them at best, as there might be issues i have not heard of, though will still be shared.

Consider a clear communication between two alters with an example of both cups, connected to the string with no obstructive noise at the background while exchanging messages, one conveys the content clearly, and the other hears and received with maximum clarity/understanding. This will be our main example that will be used to compare with the problems that usually arise in this topic.

The problem with multi-talking

Now, to explain interruptions from another part would be like having an extra string-attached cup tied to the middle of the initial cup, now with two inputs and one receiver, the messages will overlap each other and become obscured.

This can be resolved by being aware, then slowing down when talking and take turns between each other to avoid clashes which can easily overwhelm or confuse the receiver, or even the sender itself since losing track of thought or words can happen.

The problem with worser performance from stress

When stress happens, this can sometimes mess up your state to receive messages, imagine that outwards stressors had pulled and tugged your thread, now a bit twisted out and weak, which still can be used to communicate and hear, but now in a weaker clarity.

Because parts communicate mostly from internal ways, our brain networks are responsible to allow when activities inside (that doesn't necessarily involve system things) can happen. Just like how imagination runs in a mind that's wandering off, stress alerts you instead, snapping off from any safe or calm activities until the 'threat' is resolved.

You can gain temporary clarity by calming yourself down and bring all your focus to send your messages if any responds, if it doesn't happen, it would be best to wait it out until you naturally feel at ease once more, or solve the issue at hand and try again afterwards.

This may not work when you are in a fight or flight response, if you do got cutted off and need to contact anyone from inside, try using strong triggers to probe a response.

The problem with ineffective communication

It is like talking to a part who uses a rubber strand instead of cotton string as its mediator. Threads can conduct finer vibrations that can preserve the original verbal message, while rubber can represent for those who use vibes, as they're more broad and less specific. So if they attempt to talk to you with rubber, you might not receive it's message well,

This can be solved with having another part that are flexible or able to decipher, or find the middle ground where both can exchange better. (e.g. texts)

The problem of talking outside your subgroup

This is where it gets tricky, because there is a notable difference in communication where it's easier to converse inside your group while it's harder to converse outside of your group. What i mean by group is they are the people you meet and talk the most and have easy time communicating.

Imagine that the same group has the same length of the thread, the shorter, the better it retains or transfers message with no effort. Talking outside of your group would require you an extra pair of string telephone, but this time the thread is long as you're talking to another neighboring group, who isn't directly related with you.

Suggestions varies from trying different medias to contact with and see what works best, or rely on someone who have direct relations with the group you mean to interact with, acting as a bridge. Lowering barriers by consenting to get closer in co-conscious might do the trick too. Long term solution would be building ties to strengthen communication. (can also work with layers, better if you can 'travel' there to get direct interactions)

The problem with front and innerworld disconnection

It is normal to be out of contact from the inside when you're fronting, since this would mean you put down the cup to focus doing task or role job. To remedy this, try finding a moment to sit down or close your eyes, and feel yourself going back to your mind, since in order to contact those inside, you must lightly disconnect from the real world to focus better inwards.

The problem with having aphantasia

As if you heard the noise from the cup, but you're not sure where that sound is coming from nor aware of your surroundings as this condition blinds you visually (can vary from mild to severe, blurry/vague mental images to blank respectively).

Your innerworld is still there, using visualization is one way to immerse in, start relying on your tactile awareness, or your 'radar' that is, since it is possible to detect parts in your proximity. Rely on tangible medias such as texting or notes to keep track of things.

The problem with external noise

Having a comorbid of something, such as ADHD, autism, or OCD can create a mental chatter that exists in the background constantly.. if not most of the time, imagine that the location of the telephone is somewhere bustling, now it is harder to tell which one is intrusive, random chatters, or an alter's voice.

There is not a lot to say except learning how to separate those noises from your people, it is done best by slowing down and voice your messages wide and clear to create a distinction from such background chatter, making it easier to differentiate.

Other conditions like depression and anxiety can also affect the clarity and ease of communicating.

The problem with distinguishing others

For those with comorbids and aphantasia, this can make it much harder, though still possible! One last problem with communication is sometimes not knowing who is who, which creates obstacles in different ways. Imagine that there are multiple cups lined up to you as the receiver, this creates difficulty on pinpointing whose speaking. Thus, having problems on replying back or made sure if the first sentence relate to the second one, or it belonged to someone else.

The only solution there is, has to be a long term one. As you're suggested to slowly collect and recognize different speech pattern, assigned vibes of other parts, when they usually reply or what topics/mentions brings them up, and different accents or tone if any.

It is not required to 'know' physical attributes or what they look like, but this one will help a ton and usually the easiest way in distinguishing who is who. The solution is to go through a trial and error (arrange all the attributes you like/feel connected to, and see what sticks) and document all the findings somewhere, incase you're forgetful/difficulty memorizing.

Special mentions

It is worth knowing that communication is greatly affected by your state of mind + physical health, the conditions you have, the maturity of the alter in communicating skills, and the style you or the collective dominantly have.

That being said, having the same role, or source, or how old or new an alter is doesn't generally affect the ease of exchanging messages.

Lastly, inner communication also obeys similar rules to how conversation works in real life, this can be taken from examples:

The proximity of the talker you're with affects how much you can understand what is being said. It makes sense that you need to focus harder to hear what the mumbles meant when they're further away from you.

Being with people you can vibe along always results in a better and more effective exchange, as you don't have to explain twice for them to get the message. (mutual understanding)

How loud the environment is also affects how focused/undisturbed you are within a conversation, and it takes effort to separate the background noise to catch what they're saying.

People also have their own ways of expressing their message, some are more dominant in body language or etc. This is why it is important to recognize and understand what it means. You will always have your own dominant way of socializing, but this doesn't mean you can't learn other ways, partially.

Now comprehending the concept of system communication does become easier, right? This should serve as a good framework to start building and understanding connections.

One last phone call

I hope everything i have said here has been loud and clear, if there is a problem that has not been mentioned that needs fixing, give this string telephone a tug and i'd answer your call alright?

May this post address all the things you need more than a hotline help centre and leave with full satisfaction.

If you please, i will now indulge in the whole history of telephone strings, join me if you wish! Did you know it's originally made of tin can instead of a plastic cup?

-- The next post that will be out: all about introjection. Stay tuned!

- j

#did #actually did #did community #did osdd #did system #dissociative identity disorder #sysblr #plural #system stuff #jeducates

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mariacallous · 2 months

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If you still hold any notion that Google Chrome’s “Incognito mode” is a good way to protect your privacy online, now’s a good time to stop.

Google has agreed to delete “billions of data records” the company collected while users browsed the web using Incognito mode, according to documents filed in federal court in San Francisco on Monday. The agreement, part of a settlement in a class action lawsuit filed in 2020, caps off years of disclosures about Google’s practices that shed light on how much data the tech giant siphons from its users—even when they’re in private-browsing mode.

Under the terms of the settlement, Google must further update the Incognito mode “splash page” that appears anytime you open an Incognito mode Chrome window after previously updating it in January. The Incognito splash page will explicitly state that Google collects data from third-party websites “regardless of which browsing or browser mode you use,” and stipulate that “third-party sites and apps that integrate our services may still share information with Google,” among other changes. Details about Google’s private-browsing data collection must also appear in the company’s privacy policy.

Additionally, some of the data that Google previously collected on Incognito users will be deleted. This includes “private-browsing data” that is “older than nine months” from the date that Google signed the term sheet of the settlement last December, as well as private-browsing data collected throughout December 2023. Certain documents in the case referring to Google's data collection methods remain sealed, however, making it difficult to assess how thorough the deletion process will be.

Google spokesperson Jose Castaneda says in a statement that the company “is happy to delete old technical data that was never associated with an individual and was never used for any form of personalization.” Castaneda also noted that the company will now pay “zero” dollars as part of the settlement after earlier facing a $5 billion penalty.

Other steps Google must take will include continuing to “block third-party cookies within Incognito mode for five years,” partially redacting IP addresses to prevent re-identification of anonymized user data, and removing certain header information that can currently be used to identify users with Incognito mode active.

The data-deletion portion of the settlement agreement follows preemptive changes to Google’s Incognito mode data collection and the ways it describes what Incognito mode does. For nearly four years, Google has been phasing out third-party cookies, which the company says it plans to completely block by the end of 2024. Google also updated Chrome’s Incognito mode “splash page” in January with weaker language to signify that using Incognito is not “private,” but merely “more private” than not using it.

The settlement's relief is strictly “injunctive,” meaning its central purpose is to put an end to Google activities that the plaintiffs claim are unlawful. The settlement does not rule out any future claims—The Wall Street Journal reports that the plaintiffs’ attorneys had filed at least 50 such lawsuits in California on Monday—though the plaintiffs note that monetary relief in privacy cases is far more difficult to obtain. The important thing, the plaintiffs’ lawyers argue, is effecting changes at Google now that will provide the greatest, immediate benefit to the largest number of users.

Critics of Incognito, a staple of the Chrome browser since 2008, say that, at best, the protections it offers fall flat in the face of the sophisticated commercial surveillance bearing down on most users today; at worst, they say, the feature fills people with a false sense of security, helping companies like Google passively monitor millions of users who've been duped into thinking they're browsing alone.

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herohimbowhore · 7 months

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An Analysis Through Color of the 2023 Driver Helmets

During a Grand Prix weekend, drivers are often fitted in team kits when not in the car and when they are in the car they wear the race suits. The one big method of showing creativity and expressing one's personal beliefs is the helmets that they wear.

Typically designed by the driver based on things that are important to them or they like, the helmets allow us to visualize driver personalities and differentiate them from their teammate. Every driver has one "normal" helmet that is run for almost every Grand Prix, but they can also decide to have "special" helmets for some races.

While the design of the helmets tells us many things about a driver, the colors that are used also hold significance.

Data Collection

The analysis is based on the most common colors used on the "normal" helmets. "Normal" is characterized as the regular helmet that a driver is using and has no track-specific features. Some key points to take into consideration were:

The helmets analyzed included Nyck De Vries, Daniel Ricciardo, and Liam Lawson since all three have raced in the AlphaTauri for more multiple races -> therefore had a "normal" helmet they ran

George Russell's green helmet from testing and the Bahrain Grand Prix was not used as he has primarily used the blue version of it for most of the season

With Daniel Ricciardo's helmets, he has variations of the honey badger on the back that are track specific, however, the rest of the helmet is typically the normal white/beige/dark blue scheme so colors for the honey badger were not included

Valtteri Bottas has had many, many helmet designs this season, almost one for every race, but there is a helmet that he's used without any track-specific imagery that was used for this

After looking at the 22 "normal" helmets run by the drivers, I compiled a list of every color that was used. The colors compiled in the list had to either:

Appear in a decently sized section on the helmet - so it couldn't be a color that just appeared in a sponsor logo

Stand out in the helmet design - so a light gray on a white background wouldn't count, but the colors of the Ferrari logo against a red background would count

In the case of lights or darks, it needed to significantly different from a normal shade of the color - so blue and dark blue (which was significantly darker) would count as separate colors or yellow and neon yellow would be two different colors

Results

Based on these two requirements, there were 16 distinct colors found on the 22 helmets.

White

Red

Black

Yellow

Blue

Orange

Light Blue

Dark Blue

Neon Yellow

Purple

Pink

Green

Rainbow

Gold

Dark Green

Beige

Of the 78 values collected for this, the most common colors to appear on the helmets are white (15 or 19.2%), red (12 or 15.4%), and black (9 or 11.5%).

Furthermore, after this, the colors were divided into one of four categories:

Warm

Cool

Neutral

Mixed

31 of the values were warm colors (red, orange, yellow, etc). 25 of the values were neutral (black, white, and beige). 21 of the values were cool colors (blue, green, purple, etc.) The rainbow was defined as a mixed color.

So what does this all mean?

It could mean nothing and I'm just overanalyzing, but that explanation isn't as fun.

Drivers generally implemented their team colors in their helmets - for 8 out of 10 teams, at least one driver had colors (non-neutrals such as black or white) in their helmet design.

All four AlphaTauri drivers used the same dark blue on the sides of the helmet and had the team logo. With the exception of Nyck De Vries, the dark blue for the AlphaTauri was not used in the other design elements of the helmets.

Both Red Bull drivers had the Red Bull logo in the team colors on the sides of their helmets and the team colors could be seen in other parts of the helmet designs as well

Mercedes is one of two teams to not have at least one driver with the team colors implemented (with the exception of the silver Mercedes logo). Neither driver had the Petronas green implemented in their helmet design. However, it is noteworthy that the colors of the driver helmets are implemented into the cars through the colors for driver numbers and the halo stripe.

The other team with neither driver implementing the main team colors in their helmets is Alpine. Neither driver has blue or pink in their helmet design, but they do both have red, which is featured in the French flag.

Lance Stroll's helmet is just the Aston Martin colors. As the team owner's son, it makes sense.

White and black on the helmets tended to be used as lines to make different designs or as negative space. Across the board, white and black are not the main for driver helmets. They're just the only two colors that will easily go along with every other color used.

Unsurprisingly, both Ferrari drivers wear helmets that heavily feature the color red. They drive the red car and the flags they drive under feature red. So where red is meant to draw attention, the red in their helmets doesn't. Instead, their red helmets blend them into the cars they drive, taking away the thing that is supposed to separate them from the car. Furthering the idea that with Ferrari it is the team above the individual. When you drive for Ferrari, that is your whole brand, you don't distract or take away from that.

Additionally, drivers mainly used primary colors for their helmets this year. There's very little foraying into secondary or tertiary colors. Which continues to be one of my aesthetic qualms with Formula 1 in general. We see so many of the same colors (especially red, blue, and black) so things kind of just blend together instead of standing out.

#formula 1 #f1 color analysis #red bull racing #max verstappen #daniel ricciardo #charles leclerc #lewis hamilton #mercedes #ferrari #mclaren #lando norris #alex albon #oscar piastri #fernando alonso #pierre gasly #george russell

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spacetimewithstuartgary · 2 years

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ANU scientists use deep planetary scan to confirm Martian core Seismologists from The Australian National University (ANU) have developed a new method to scan the deep interior of planets in our solar system to confirm whether they have a core at the heart of their existence.   The scanning method, which works in a similar way to an ultrasound scan using sound waves to generate images of a patient’s body, requires only a single seismometer on a planet’s surface in order to work. It can also be used to confirm the size of a planet’s core. The research is published in Nature Astronomy.   Using the ANU model to scan the entirety of Mars’ interior, the researchers confirmed the Red Planet has a large core at its centre – a theory first confirmed by a team of scientists in 2021. Study co-author Professor Hrvoje Tkalčić, from ANU, said based on data collected using the ANU technique, the researchers determined that the Martian core, which is smaller than Earth’s, is about 3,620 kilometres in diameter.  “Our research presents an innovative method using a single instrument to scan the interior of any planet in a way that’s never been done before,” he said.    Confirming the existence of a planetary core, which the researchers refer to as the “engine room” of all planets, can help scientists learn more about a planet’s past and evolution. It can also help scientists determine at what point in a planet’s history a magnetic field formed and ceased to exist. The core plays an active role in sustaining a planet’s magnetic field. In the case of Mars, it could help explain why, unlike Earth, the Red Planet no longer has a magnetic field – something that is critical to sustaining all life forms.    “Modelling suggests that the Martian core is liquid and while it is made up of mostly iron and nickel, it could also contain traces of lighter elements such as hydrogen and sulphur. These elements can alter the ability of the core to transport heat,” lead author Dr Sheng Wang, who is also from ANU, said.  “A magnetic field is important because it shields us from cosmic radiation, which is why life on Earth is possible.” Using a single seismometer on Mars’ surface, the ANU team measured specific types of seismic waves. The seismic waves, which were triggered by marsquakes, give off a spectrum of signals, or “echoes”, that change over time as they reverberate throughout the Martian interior.   These seismic waves pierce through and bounce off the Martian core.  Professor Tkalčić said researchers are interested in the “late” and “weaker” signals that can survive hours after they are emitted from quakes, meteoroid impacts and other sources.   “Although these late signals appear to be noisy and not useful, the similarity between these weak signals recorded at various locations on Mars manifests itself as a new signal that reveals the presence of a large core in the Red Planet’s heart,” Professor Tkalčić said.  “We can determine how far these seismic waves travel to reach the Martian core but also the speed at which they travel through Mars’ interior. This data helps us make estimations about the size of Mars’ core.”  The researchers say their method of using a single seismometer to confirm the presence of a planetary core is also a “cost-effective solution”. “There is a single seismic station on Mars. There were four of them on the Moon in 1970s. The situation of having a limited number of instruments is unlikely to change in the coming decades or even this century due to high cost,” Dr Wang said. “We need an approach right now to use only a single seismometer to study planetary interiors.” The researchers hope this new ANU-developed technique involving a single seismometer could be used to help scientists learn more about our other planetary neighbours, including the moon.  “The US and China plan to send seismometers to the moon, and Australia also has ambitions to participate in future missions, so there’s potential for further studies using new and more sophisticated instruments,” Professor Tkalčić said.   Dr Wang said: “Although there are many studies on planetary cores, the images we have of planetary interiors are still very blurry. But with new instruments and methods like ours we’ll be able to get sharper images which will help us answer questions such as how big the cores are and whether they take a solid or liquid form.  “Our method could even be used to analyse the Jupiter moons and the outer solar system planets that are solid.”  To carry out their research, ANU scientists used data collected from a seismometer attached to NASA's InSight lander, which has been collecting information about marsquakes, Martian weather and the planet's interior since touching down on Mars in 2018.    IMAGE....An illustration of the Martian interior CREDIT Credit: Dr Sheng Wang and Professor Hrvoje Tkalčić/ANU

#space #science #Astronomy #physics #news #Mars #geology

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beardedmrbean · 9 months

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If you use Google’s Chrome browser regularly, you’ve likely seen a new privacy-related screen in recent weeks.

With a combination of soothing rainbow colors and language that sounds very pro-privacy, the page announces "Enhanced ad privacy in Chrome." You have two options: Settings and Got It.

It's easier to hit Got It, but if you're concerned about your data and privacy, take a moment to learn more about what's happening and which settings you should change. Google isn't necessarily going to default you into the settings that best protect your privacy.

This is a new way Google is trying to track what you do on the web to help advertisers target you. Google says this is better for your privacy than older tracking methods. But it’s still tracking — and people who care about their privacy may want to shut it off. It’s all part of Google’s promise to phase out the use of cookies for tracking in Chrome.

What settings do I change?

From your Chrome browser, go to Settings → Privacy and Security → Ad Privacy. You can also try this link in Chrome: chrome://settings/adPrivacy.

You'll see three options and for maximum privacy, can turn them off, one by one. If the toggle is gray, it's off, and if it's blue, it's still on.

Ad topics is a feature that uses your recent browsing history to detect what topics you're into and show you personalized ads. If you spent the week looking at dog sites, maybe you'll get an ad for a dog bed. Google says these topics are deleted after four weeks and if you keep it turned on, you can see the list yourself. Turn this off.

Site-suggested ads is an option that lets individual sites you've visited make similar conclusions about what you might be into (dog sweaters? hammocks?) and show you ads for that on other sites. If you keep this on, you can later manually block individual sites from the same screen. But it's easier to just, yes, turn this off.

Ad measurement lets different sites and advertisers share information about you to try to figure out how well their ads are doing. Turn this off.

What else can I do?

Google's Chrome isn't the only browser option you have. If you're on a Mac you can use the Safari browser, or Firefox, which works across operating systems. You can also experiment with different settings and third-party tools to minimize the data Chrome (and other browsers) collect. If you want to go the extra mile, you could try a VPN, but make sure you choose a trustworthy provider.

This isn’t the only new setting Chrome users have seen as of late. Google recently added an ‘Enhanced Safe Browsing’ mode for Chrome and Gmail users, to warn them about suspicious sites. The setting, according to our Tech Friend newsletter writer, Shira Ovide, is worth turning on to protect yourself even though there are some trade offs.

#nunyas news

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jaw-writes · 2 months

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I Despise You Darling

I despise everything about you. Your endless void eyes, freakishly long legs, ever smug smile, deceptively soft touch, strangely floral scent. All of it. You attack each of my senses every time you come near me. To think that we were once best friends, I had more faith in you than anyone, whenever I needed advice or a shoulder to cry on, I went to you first. You meant the world to me; it makes me feel sick whenever I remember how the girl I loved was a lie

You betrayed me, your best friend, in the name of a grotesque experiment where I’m the lab rat. There’s no doubt that you started the fire that continues to burn my life, but I can’t deny that I’ve enjoyed pouring the gasoline. At first, I did my best to avoid becoming obsessed with you, constantly holding myself back knowing it was wrong, but you made it impossible. Your mind is a carefully curated garden brimming with all sorts of life. As each day went by, I wanted to pick another flower from it, feel another blade of grass, and bask in its intrigue.

I learned so much about you through observation, that I never could as your friend. Last year when I found out that you’d been stalking me, I had no idea why you’d do such a thing, now I understand. If watching me gave you a quarter of the feelings I get from watching you, then I’d almost forgive your actions. Gazing at your life through an analytical lens elicits feelings in me I didn’t know existed. It’s almost impossible to describe the manic rush of joy and power I get.

Although, I think we enjoy it in different ways based on how we view each other. To you I’m your favorite seed in your garden, you want to watch me grow into your ideal tree. So, you take what you know about how I function, and combine it with your understanding of the world to make a compost for me. As brutal as the water you drown me in and the harsh sun you scorch me with is, it’s all part of your method to make me grow. I am a creation you live to see reach its full potential.

To me, you’re the opposite, a malicious computer program that I enjoy watching destroy itself. You have never felt an ounce of empathy and have always needed to control any device you encounter. Once you find a target, you infect them with your virus, mining every piece of their data, and adding them to your collection of stolen lives. You successfully did it to me, but unlike the others, you kept going. Focusing on my activity far after you were done stealing from me, constantly coming back to see how I’d adapt to a new trojan horse you threw.

Soon, I became the only user you engaged with, no other piece of tech mattered unless it was connected to me, and God, did seeing you like that feed my ego. A smile forces its way to my face at your meticulous plans growing in detail and intensity as you can’t focus on anything else. I, a random individual with nothing but a hint of illness to him, is who you put all your resources into. I’m unable to fear you anymore, while I gaze at you practically living for me. In your efforts to crumble and rebuild my life. You’ve made yourself incapable of having your own.

Both of us have embraced the worst aspects of ourselves through the sick experiments we’ve been running on each other. You may be the greater evil between us, but I’m no longer afraid to admit that I’ve become a devil myself. I mean, I lured you into an abandoned warehouse, called upon one of my allies to help me fight you, and then shot you ceaselessly, making sure it was in areas that would maim, but not kill you. Now why would I do that? To make you paralyzed, of course. I was incredibly particular about where I aimed.

You’ll be unable to move your limbs for at least four months, which invigorates me. I’ve been watching you and your caretaker. It’s great seeing both your arms and legs in casts. You had already been losing your strength to your fixation on me, but now you’ll be incapable of running away. If you find yourself fearing me right now, know that whatever happens next is your fault. I’m not the Anti-Christ, so I’ll simply enjoy observing your lack of mobility, with no further harm, but prepare yourself because the moment you can walk, I’ll be waiting.

Unless I’m lying like you always lied to me, and I’ll strike once one of your limbs heal. Maybe I’ll be tracking you even more and will be able to tell if you’re pretending that you haven’t healed so I don’t hurt you sooner. Maybe I won’t even wait for when your body starts recovering, and you’ll wake up to me standing over your bed with my hands on your neck. I know how much you like analyzing and picking out patterns with me, so I’ll make sure you never know what to expect. I could be bluffing, and this is all to scare you off, so I’ll be done with you, you’ll never know.

Are you starting to regret choosing me for this? Does the thought that you’ve grown a deadly poison plant out of your control kill you? Or are you loving this as much as I am, and you want to rub yourself all over me to get a blistering rash? I think it’s a mix of both for you, but who am I to say, it’s not like I’ve been watching your every move, right? No matter what you feel, just remember, I despise you, darling.

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kitkatt0430 · 10 months

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Setting Up Calibre + FanFicFare

I've talked before about using Calibre to download fic off of fiction archives, so that's where I decided to start with this series. If you're interested in learning more about how to download fanfic for offline reading/local archiving, then watch the #ficArchiving tag. And if you're not interested in seeing these posts then that's also the tag to block.

(Since this is a long post, I'm sticking it under the cut.)

First some background on what Calibre is. It's an open source eBook manager and is really quite versatile for it's usage, thanks in part to the robust library of plugins that it utilizes. The default Calibre app comes bundled not only with management software but an e-reader, server options for locally hosting your library (or libraries), and a whole host of options for managing metadata. Default metadata being tracked include title, author, series, publishing data, synopsis, and tags, but you can manually add columns for any additional data you want - which comes in handy when managing a local fanfiction archive. You can add columns for the fandom the fic is written for, the included ships, characters, completion status, whether it's a single fic or a series turned into an anthology. If the information is useful for you, then you can add a method to track it.

Now, for what Calibre does not do. Because it only runs on Windows/Mac/Linux systems - aka it only runs on a PC - you cannot install it on your phone or tablet. There's no official Calibre apps for Android or iPhones either, though there are unofficial ones that can work with Calibre in server mode. I've never tried the unofficial apps, however, as they tend to cost money that I don't really think they're worth. That's largely because in server mode you can log in to the local instance of Calibre with a regular old browser. Just book mark the page and, so long as your on a network where the local instance is running, your phone or tablet will have access to every book on your Calibre's library (or libraries, depending on how you set things up). You can then either read the eBook directly on the browser or, my preferred method, download the file and read it on the e-reader app of your choice. (You can also make the server available outside your local network, but I've never bothered to learn to set that up.)

Given everything Calibre can do, I'm not particularly bothered by the lack of official apps for phones or tablets - as far as I'm concerned it doesn't need one.

This post is going to be focused on using Calibre for fanfictions specifically, but if you want more information on the other things it can be used for, the Calibre FAQ pages are quite extensive and goes into detail about it's format support, eBook conversion abilities, device integration, news download services, library management, and more.

Alrighty, so first thing you'll want to do is download the version of Calibre that works with your computer. You can also create a portable version that runs off a USB drive if you prefer. Once you've downloaded and installed Calibre, it's time to decide where you want your fanfics to live. Do you want all your eBooks to live in one spot or do you want separate libraries for fanfiction vs original fiction? Since I like to collect more metadata for my fanfic collection than for my regular eBooks - and then completely different extra data for tracking my Star Trek books, or Doctor Who books - I like to have multiple libraries for managing my eBook files. And Calibre makes managing multiple libraries at one time very, very simple.

In Calibre's header there are going to be a lot of icons - I’ve modified the header toolbar for my Calibre instance, but most of the default options are still visible in the picture below.

Specifically you want the one that looks like four books leaning against each other on a shelf. It should have the default library name displayed there - Calibre Library.

Clicking on that will open the menu used for maintaining multiple libraries. While the application only sets up one library by default, it can link to multiple libraries located anywhere on your computer's filesystem. Since I like to use Dropbox to back up my libraries, I usually locate mine in my local Dropbox folder. You can import existing libraries from one instance of Calibre to another, which makes moving from one computer to another, or maintaining the same library across multiple computers, very simple.

Let’s assume you want to have a separate library just for fanfiction. To that end, you'll want the first option on the menu - labeled "Switch/create library".

From there you'll want to select the folder - or create a new folder - with the name of the library you want to use in Calibre. I'd recommend something straightforward and call it "Fanfiction". Then you'll select the radio button labeled "Create an empty library at the new location".

You don't need to copy the current library's structure since every library is created with Calibre's default structure and you won't have added any specialized data tracking at this point to copy over. Once you've set your library location and selected the option for creating a new library, hit the OK button. It'll create the new library and immediately change so that it's managing that library instance instead of the default Calibre Library instance.

If you aren't sure which library is currently open in the Calibre app, then the icon with the four books in the header is where you want to check. It will always be labeled with the name of the currently open library. The most recently opened libraries will be listed at the bottom of the menu opened by that icon for easy switching between libraries and the "Quick switch" option will list all the available libraries registered to your Calibre instance. The icon with the four books is the default icon for a library - if you change the icon for a library then keep in mind that the icon will change in the header when the library is the currently selected on.

Alright, so step one is completed. You now have a dedicated Fanfiction library for maintaining any fics you choose to download. But the default metadata being tracked for the books isn't as robust as it could be. Time to bulk that information up. You'll want to look back at the header again, this time for an icon that looks like a crossed screwdriver and wrench. It's labeled Preferences. Click on that in the center of the icon to bring up the Preferences modal instead of just the menu (which you can access by clicking the associated down arrow beside the icon instead).

The Preferences modal is where you can access options to tweak the appearance, behavior, and various other functions of Calibre. And I certainly encourage experimenting with the application as it can be customized to your heart's desire to make it meet your accessibility needs. For now, however, we're only interested in the "Add your own columns" option on the top layer of the modal, under "Interface". The associated icon for the "Add your own columns" option is, appropriately, a small Greek column.

This will open the column maintenance modal which presents with a table listing all the existing columns - these all track some kind of metadata for the ebook - and will have checkboxes on the left most of the table indicating whether these columns are displayed on the main interface or are accessible only through the Edit Metadata modal. (We'll get to the Edit Metadata modal later.)

To the right of the table are options for moving a column up or down in the list order, a minus sign used for deleting unnecessary columns, a plus sign for adding new columns, and an edit option for editing existing columns. I'd recommend unchecking columns you don't want displayed in the main table, but not deleting columns. That way you can still store the metadata - and search on it - in that column, but it won't clutter up the main page.

Alright, so now it's time to add some columns. Click the plus button to bring up a custom column form.

The "Lookup name" is what Calibre uses to do searches, so it needs to be something that can be safely saved in a database. "Column heading" is the pretty name that displays either as a column heading in the main Calibre table or as the metadata entry name in the "Edit metadata" modal. "Column type" has a dropdown of the different types of metadata that can be stored in a column and has an option to show checkmarks (a checkbox) for additional true/false parsing. There are a lot of options in the dropdown for metadata types, some of which will offer up additional column creation form options, and this is something that cannot be changed once a column has been saved. If you select the wrong one and realize it later, you'll have to delete the column and create a new one to take it's place. "Description" is there to help clarify things if the "Column header" isn't descriptive enough to make clear what the metadata being tracked by the column is for. And, finally, you can use the optional "Default value" if you want that column to be auto filled with a value you can update later.

Note that the form may add further fields to it, depending on the selected “Column type”.

Since this is going to be tracking fanfiction metadata, some good ideas for creating tag-type metadata columns would be "Fandom", "Ship", and "Characters". You might also consider "Rating", "Content Warnings", “Chapters”, or other data which might be better suited for other types of metadata. We'll start with the "Fandom" column.

You'll want to set the "Lookup name" to "fandom" (note the lowercase here), the "Column heading" to "Fandom" (uppercase this time), and the "Column type" to "Comma separated text, like tags, shown in the Tag browser". The "Description" is optional, so add what you like (or don't) there and the same goes for "Default value", which you might want to list as "Unsorted" or simply leave blank to indicate the fandom is currently unlisted. Once you're satisfied with your selections, click "OK" and you can either then "Apply" your settings changes or continue on to add more columns.

The "Ship" and "Character" data also work best as comma separated data, so I recommend making those columns in the same fashion as the "Fandom" column. “Chapters” you may want to add as an integer column, shown below.

If you're wanting to add "Rating" as a column, then you might want to have specific options for rating a fic, such as limiting the options to the same ones used by Ao3. To this end, you'd fill out the form more like this. "Lookup name" as "rating_level" so as not to confuse it with the existing rating column for star ratings, "Column heading" as "Rating" or maybe "Rating Level", and "Column type" as "Text, but with a fixed set of permitted values". This "Column type" selection will bring up two more inputs on the column creation form - "Values" and "Colors". These two inputs work together and can be edited later. In the "Values" input, you can add a list of comma separated values. In this case the list for "Values" would look like "General Audiences, Teen and Up Audiences, Mature, Explicit, Not Rated". "Colors" is an optional list that will assign a different color to every option on the "Values" list that corresponds to an entry in the "Colors" list. So if you want General Audiences to be blue and no other option to have a color, you'd list "blue" for colors. Or "blue, blue, red, red, red" to have the first to options on the "Values" list as blue and the last three as red. You can play around with this more or leave it blank to have the options all be the same default colors.

Once you've finalized your selections, hit OK to create the column.

After creating all your new columns and selecting which ones you want present on the main table, hit the "Apply" button. You'll likely be prompted to restart Calibre. Do so and when the program reloads it should display the main table with all the columns exactly how you set them up. Which means step two is complete. At this point if you have any fanfiction eBooks already, you can drag and drop them into the table from folder files or use the "Add books" option at the left most side of the header toolbar to start adding those. You can manually update the metadata either by clicking on newly added book and then selecting a column or by clicking the book and then selecting the "Edit metadata" option in the header. So now it's time to take a quick look at the metadata editor modal.

By default, the metadata modal will only have one screen but, because you've added custom columns, there should be tabs at the top. One for "Basic metadata" and one for "Custom metadata". The "Basic metadata" includes options for title, title sort, author(s), author sort, series, series number, file versions (for tracking if you have epub, mobi, pdf, etc files of the same book), cover management options, the star-based rating system, tags, ids, upload date, published date, associated publisher, languages, and "Comments" which is where the story summery/synopsis should go. For regular, non-fanfiction eBooks, you might also take note of the "Download metadata" button which allows for scrapping official metadata off of sites like Barnes and Noble, Amazon, or other eBook sellers or archives.

The "Custom metadata" is where your custom column data will be found. It should be found at the top of the page and fill space downwards with however many custom columns you've added. Inputs that allow for comma separated values will still have a dropdown option associated to allow adding tags you've entered previously for other ebooks. Columns that only allow using preselected data are more likely to appear as select boxes or other form types. This is where you might notice you created a column type incorrectly, so make sure to check over all the data entry options for each metadata type you're collecting. If it doesn't look like it's set up the way you wanted it to be, you can go back to the column editing modal and try again.

The big draw of using Calibre to manage fanfiction eBooks, however, is being able to use Calibre to download the fanfictions from the web and convert them to eBook format for you. And that's where Calibre's plugin library comes in handy.

If you were making any edits to an existing eBook, save those and close the metadata editor. Head back over to the Preferences modal and check the Advanced settings options at the bottom of the modal. There should be a green puzzle piece icon labeled "Plugins" - click that to open the Plugins modal.

It will take you to a table used for monitoring and controlling existing plugins and, yes, it does already have 'plugins' installed. These are really more the application's default modules, but because of how Calibre works they can be edited and controlled in the same way that external plugins are. At the bottom of the page you'll see three buttons - "Get new plugins", "Check for updated plugins", and "Load plugin from file". These are concerned with the external plugins that you can add to Calibre. "Get new plugins" will allow you search through the official library of third party plugins available to Calibre - plugins that the Calibre team have vetted to confirm aren't actually malware. But they're by no means the only plugins you can install, as the "Load plugin from file" will allow you to load pretty much any plugin you want to. Such as a plugin for, say… stripping DRM off of purchased eBooks.

In this case, you want to select the "Get new plugins" option. This brings up a modal for User plugins and the displayed list will automatically be filtered by available plugins that have not yet been installed. You can filter this list further by typing "FanFicFare" into the "Filter by name" text input.

You can then select the FanFicFare plugin and install it. After installing the plugin, you should select the option to restart the application, to ensure that it installed properly. I'd also recommend adding the FanFicFare icon to the optional bottom toolbar instead of the header toolbar, since that'll make it much easier to find since, unless you add more plugins and assign them to that toolbar, it should be the only option on the bar right now.So, full disclosure, you don't need Calibre to run FanFicFare. You could download it and run it from a command line interface instead. However, I prefer it's Calibre interface, especially since it really lets you take advantage of the best Calibre has to offer in metadata tracking, as it can be set up through Calibre to auto fill those columns I walked you through setting up earlier. But I'll get to more on that in a minute.Once Calibre has restarted, you should now have FanFicFare available on one of your toolbars. It's associated icon is a green text bubble with the letters "FF" in it pointing down at a picture of a book.

It'll have a small down arrow next to it, which you'll want to select in order to bring up FanFicFare's menu. At this point you can start downloading fics if you want - but let's do a little customizing first. Select the "Configure FanFicFare" option to bring up the configuration modal.

So this modal has a lot going on. And I do encourage doing some exploration on your own, because FanFicFare is a powerful tool made all the more powerful here in conjunction with Calibre's built in tools. Cover generation is very useful, "Reading lists" can be used to auto send new books to any devices you've linked to Calibre when they're connected to the computer, you can tie into email accounts to pull fanfics from email or pull URL links for downloading... there is just so much this plugin can do.

For now, however, we're interested in the column related options. First, check out the tab for "Standard Columns". Look over the options there carefully to make sure that the default settings are actually what you want. They're pretty straight foward - most are determining whether the metadata gets scraped and updated every time you update a fanfic eBook or if they're only scraped for new books. The rest have to do with title and author sorting, setting series related data, and setting the comment data for anthologies.

Once you've set that data how you want, head over to the "Custom Columns" tab where things get more interesting.

You should now be looking at a list of all those custom columns you created earlier, in alphabetical order. Each column will have a corresponding select box with nothing selected and an unchecked checkbox marked "New Only". This works in a pretty straightforward manner. Let's use "Fandom" as the example. Click the associated select box to open the dropdown and you'll see a bunch of potential metadata that FanFicFare scrapes listed there. It'll all go into the default tags column - found over in the "Standard Columns" section - but you can also parse it out to specific custom columns here. It might give you a few ideas for more columns you want to add for metadata sorting purposes. "Fandom" you'll want to link to "Category". I left "New Only" unchecked so that if I update an eBook later and it has a new fandom attached to the fic then that new metadata will be picked up and added to my Fandom tags for the fic.

Go through each custom column and set them up to be auto filled with the data you think fits it best. Select OK to save your changes and congratulations, this library has now been set up to import fanfiction.

Do keep in mind that FanFicFare's settings are on a per-library basis. So if you decide to do a separate library for different types of fanfics then you'll need to configure FanFicFare separate for every library. You may want separate libraries for different repositories, for example. Though FanFicFare is often smart enough to recognize when it already has an eBook version of a fanfiction from one repository - such as FFnet - when trying to download the same fic from another place - like Ao3.

You may need to make changes later to the personal.ini file associated with the library (which is also set up on a per-library basis) but I'll write up a separate post for that later. While sites protected by Cloud Flare more stringent protections will likely result in 403 responses and failed downloads, most fanfiction sites are going to work with the default FanFicFare settings. You could head over to, say, Archive of Our Own or Twisting the Hellmouth and grab a URL for a story from there. Or a URL for a series, which has links to multiple stories.

Now that the set up is done, it's time for the fun part. Downloading and maintaining fanfiction in your library. I'll be using a few of my fanfictions on Ao3 as example URLs. Awaken, which is already in my fanfiction library. What Balance Means, which is not already in my library. And the two series Hartmonfest 2023 and Eobard vs Eobard.

We'll start with the single URL uploads.

Click on the FanFicFare down arrow to bring up the menu and select the first option on the menu, labeled "Download from URLs". If you have a URL in your clipboard and have the option to grab URLs from the clipboard selected in the FanFicFare configuration (it's a default option, so you most likely do) then you should see that URL prepopulated in the text area when the Story URLs modal loads. You can add more URLs, one per line, to this text area and when you select OK each one will be individually downloaded as a separate epub file. For multi-chapter fics you only need to provide the url for the first chapter. FanFicFare will be able to detect the additional chapters and download them into the same epub file as the first chapter. All providing additional chapter URLs will do is lead to FanFicFare attempting to create multiple epubs of the same fanfic.

Once you've added your list of URLs to the text area, select OK. FanFicFare will do the rest, fetching metadata for the fic (or fics) and compiling the epub file(s). When it's finished compiling the data but hasn't officially saved the epubs, it will pop up a message letting you know how many "good" and "bad" entries it found.

"Good" means it made an epub file and it's good to go. "Bad" could mean that you've already got the fanfic downloaded and no updates - such as new chapters - were available. Or it could mean that it failed to grab the web pages for whatever reason… like Cloud Flare blocking the download. You can go forward with the download at this point, adding the good epubs to your library. Or you could cancel the download, meaning none of the epubs are saved. Before choosing one of those options you can also choose to look at the job output, seen in the pop up as a button labeled "View log". This will display a list of every url you tried to download a fanfic for and information on either it's success or why it failed, the associated URL, and how many chapters were downloaded.

Since I already had Awaken downloaded and there have been no updates since the last time I downloaded it, that is the bad update from my list and the result I was expecting. What Balance Means hadn't been downloaded before, so it was the expected good update. Once Yes is selected in the dialog, the new fanfiction eBooks will be added to the library and will appear at the top of the main list in the application.

That's great for updating one fic at a time or copy-pasting in a list of fanfictions, but let's get ambitious. Maybe you want to import an entire page of bookmarked fanfictions at once or a series of fanfictions as individual books. Instead of copying every single URL by hand, you can take the URL for the series main page or the Bookmarks URL. With that URL copied, you can head over to the FanFicFare menu again, but this time select the option "Get Story URLs from Web Page"

The modal that pops up only allows for inputting one URL - the URL for the page you want it to scour for fanfic URLs. Once you've inputted that URL click the button labeled "For Individual Books." It might take a bit but it's going to pull up the same Story URLs modal from before, this time prepopulated with every URL from the page you gave it. Pretty cool, right? Click OK and watch it run the job just like before.

I gave it the URL for my Hartmonfest 2023 series, which is a complete series and it downloaded all three books. Once they're populated on the list, I could scroll over to the Series column to see that they all are listed as being part of the Hartmonfest 2023 series in the same series order they're listed in on Ao3.

However, what if I'm uploading an unfinished series, like Eobard vs Eobard, and want to be able to track when it updates later on? Single books can track when new chapters are updated; is there any way to do the same thing but on a larger scale? The answer is yes, but you have to upload the series as an anthology.

Head back to the "Get Story URLs from Web Page" option on the FanFicFare menu and give it another series URL. But, this time, click the button labeled For Anthology Epub. This will trigger the Story URLs modal again once it's gathered all the story URLs, but this time it looks a little different.

This time there will be text indicating the Series and Comments/description, the information for which will have been taken from the series metadata. The series story URLs will be present in the text area, allowing you to remove a story from the anthology if there's a fic in there you don't want included. Click OK to run the import job, which will run like normal.

When the job completes, there should be multiple good updates listed - one for every URL - but when you click yes to add the eBook to the library, you'll only see one added. It should be named following the convention "<Series Name> Anthology". So now I've got the "Eobard vs Eobard Anthology" in my library.

Last but not least, how to check for updates to incomplete fanfictions or series. It's generally pretty easy to do. Select the fanfiction(s) on the list that you want to check for updates on. If it's a single fanfiction (or several single fanfictions), you go to the FanFicFare menu and click the option "Update Existing FanFiction Books"

Click OK and let it run. Any fanfictions that don't have new chapters will return as bad entries. Any that have new chapters will be listed as good. Selecting Yes to add the good entries to the list will update the existing epub files with the new chapters.

However, if it's a series you want to update, I recommend doing those one at a time. Select the anthology from the eBook list and head back over to the FanFicFare menu. This time select "Anthology Options"; it'll open a fly-out menu. You want the bottom option, labeled "Update Anthology Epub". The associated URL for the series is saved as part of the eBook's metadata already, so it will pull the series metadata and associated URLs again, before returning you to that same modified Story URLs modal seen before. When you click OK, it'll pull all the fanfictions in the series - new and old - and any new chapters as well, bundling it up in a new eBook file that will replace the old one.

There's still a lot to talk about when it comes to managing fanfictions in Calibre, but I think I'll end here for now. You should be able to download, and manage, fanfiction from most websites at this point. So go back up your bookmarked fics and rest easy knowing that from this point forward a missing bookmark on your bookmarks list is no longer cause for sadness - it'll still be in your local archive to enjoy offline. Just don't go abusing this power, okay guys?

#kitkatt0430 explains #ficArchiving #calibre #fanficfare #the images all have alt text but if you find my image descriptions lacking feel free to add additional descriptions

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aboutanancientenquiry · 1 month

Text

"BMCR 2009.10.48

Ancient Greece and Ancient Iran: Cross-Cultural Encounters. 1st International Conference (Athens, 11-13 November 2006)

Seyed Mohammad Reza Darbandi, Antigoni Zournatzi, Ancient Greece and Ancient Iran: Cross-Cultural Encounters. 1st International Conference (Athens, 11-13 November 2006). Athens: National Hellenic Research Foundation; Hellenic National Commission for UNESCO; Cultural Center of the Embassy of the Islamic Republic of Iran, 2008. xxix, 377. ISBN 9789609309554. €60.00 (pb).

Review by

Margaret C. Miller, University of Sydney. [email protected]

[Authors and titles are listed at the end of the review.]

The volume commemorates a landmark occasion, when the national research centres of Iran and Greece collaborated in a multi-national interdisciplinary conference on the history of exchange between Iran and Greece. Its nearly 400 pages reflect a strong sense of its symbolic importance. Papers span the Achaemenid through the Mediaeval periods and address the theme of exchange from the perspective of many disciplines — history, art, religion, philosophy, literature, archaeology. The book thus brings together material that can be obscure outside the circle of specialists, and in a manner that is generally accessible; the wide range of topics and periods included is a strength. Excellent illustrations often in colour enhance the archaeological contributions, as does inclusion of hitherto unpublished material.

The volume commences with a brief section on what might be called Greek textual evidence (Tracy, Petropoulou, Tsanstanoglou), followed by papers on interaction in Sasanian through mediaeval Persia (Azarnoush, Alinia, Venetis, Fowden), four papers discussing Achaemenid, Seleucid and Parthian history (Weiskopf, Ivantchik, Tuplin, Aperghis), aspects of the archaeology of Persepolis and Pasargadae (Stronach, Talebian, Root, Palagia), and ends with essays on the receptivity to Achaemenid culture in the material culture of the western empire and fringes: Cyprus, Turkey, Greece (Zournatzi, Lintz, Summerer, Paspalas, Ignatiadou, Sideris, Triantafyllidis), followed by a paper on traces of Greek material culture in the archaeology of (Seleucid) Iran (Rahbar). The wealth of vehicles, contexts and levels of exchange attested through the ages is both eye-opening and exciting. While there is unfortunately little attempt at globalizing synthesis or theoretical modelling, the analytical methods and collections of data in the individual contributions will aid future work in the area.

Stephen Tracy starts the volume with a synchronic analysis of the ways in which first Aeschylus, then Homer, play upon the prejudices of their audience against ” barbaroi” and then show the human quality of the enemy. In Persai, the Athenians are anonymous in contrast with the delineated personalities of the Persian royal family; in the Iliad, Achilles is “not very likeable” but learns humanity from the sorrow of Priam. Both poets focus on common humanity that transcends short-term hostilities.

Angeliki Petropoulou offers a detailed analysis of Herodotus’ account of the death of Masistios and subsequent mourning (Hdt. 9.20-25.1). Herodotus played up the heroic quality of Masistios’ death, stressing his beauty and height, qualities appreciated by both Greeks and Persians. The fact that Masistios seems to have gained the position of cavalry commander in the year before his death, coupled with the likelihood that his Nisaian horse with its golden bridle was a royal gift, suggests he had been promoted and rewarded for bravery.

Kyriakos Tsantsanoglou discusses the Derveni papyrus’ mention of magoi (column VI.1-14). Though the papyrus dates 340-320, the text was composed late fifth century BC, making the apparently Iranian content especially important. Both the ritual described and the explanation for it cohere with elements known from later Persian sources as features of early Iranian religious thought. While the precise vehicles of transmission of such knowledge to the papyrus are unknowable, the papyrus is the first certain documentation of the borrowing of Iranian ideas in Greek (philosophical) thought.

On the Iranian side exchange of religious ideas is documented by Massoud Azarnoush in the iconography of a fourth-century AD Sasanian manor-house he excavated at Hajiabad 1979.1 Moulded stucco in the form of divine figures included dressed and naked females identified with Anahita. The very broad shoulders of the Hellenistically dressed Anahita fit an Iranian aesthetic; the closest parallel for the slender naked females is found not in the cognate Ishtar type but in the Aphrodite Pudica type. Reliefs of naked boys, of uncertain relationship with Anahita, have attributes of fertility cult in the (Dionysian?) bunches of grapes they hold and in the ?ivy elements of their headdress.

Sara Alinia offers a brief but fascinating account of the development of state-sponsored religion hand-in-hand with state-sponsored persecution of religious elements that were deemed to be affiliated with another state: the Christian Late Roman Empire and the Zoroastrian Sasanian Empire. She documents the rise of religion as a tool of inter-state diplomacy and vehicle for inter-state rivalry; religion was but one facet of the political antagonism between the two.

Evangelos Venetis studies the cross-fertilization between Hellenistic and Byzantine Greek romance and Iranian pre-Islamic and Islamic romantic narrative. Persian elements are found in Hellenistic romance; Hellenistic themes contribute to Persian epics. The fragmentary nature of texts ranging 2nd -11th/14th c. AD and the lack of intermediary texts are serious impediments which may yet be overcome. The Alexander Romance, known in Iran from a Sasanian translation, contributed to the form and detail of the Shahname, as well as to other Persian epics.

Garth Fowden outlines the complex history of the creation, translation, wide circulation and impact of the pseudo-Aristotelian texts on religious thought. Aristotle’s works were translated into Syriac in the 6th c. and in the mid 8th c. into Arabic. Arab philosophers, attracted to the idea of Aristotle as counsellor of kings, updated him. Owing to his remoteness in time, “Aristotle” offended neither Muslim nor Christian. The Letters of Alexander, Secret of Secrets and al-Kindi’s sequel of Metaphysics, the Theology of Aristotle, contributed significantly to the philosophical underpinnings of both Muslim and Christian theology; the last remains an important text in teaching at Qom.

Michael N. Weiskopf argues that Herodotos’ account of the Persian treatment of Ionia after the Ionian revolt constitutes “imperial nostalgia” — the popular memory of how good things were under a past regime, in the context of a new regime. Herodotos 6.42-43, stressing the administrative efficiency and fairness of Artaphernes’ arrangements, allows a reading of Mardonios’ alleged imposition of democratic constitutions (so dissonant with the subsequent reported governing of Ionian states) as imperial nostalgia, to be contrasted with the inconsistent and unfair treatment of the Ionians by the Athenians of Herodotos’ own day.

Askold I. Ivantchik publishes two Greek inscriptions from Hellenistic Tanais in the Bosporos (and reedits a third). Evidently private thiasos inscriptions, they confirm that the city was already in 2nd or 1st century BC officially divided into two social (presumably ethnic) groups: the Hellenes and the Tanaitai, presumably Sarmatians, on whose land the city was founded in the late 3rd century BC. A thiasos for the river god Tanais includes members with both Greek and Iranian names, showing that private religious thiasoi were an important vehicle for breaking down social barriers between the two populations of the city.

Two papers offer contrasting interpretations of the evidence for Seleucid retention of Achaemenid institutions. That there were parallels between structures of the different periods is uncontested; the question is whether the parallels signify a deliberate programme of Seleucid self-presentation as the “heirs of the Achaemenids.” Christopher R. Tuplin argues that acquisition of the empire involved adoption of the Achaemenid mantle in some contexts and maintenance of those structures that worked, but that the balance of evidence suggests no conscious policy of continuation, and considerable de facto alteration of attitude and form. He suggests that the evidence of continuity of financial (taxation) structures — a major part of Aperghis’ argument — is ambiguous, at best. The treatment and divisions of territory, most notably the “shift of centre of gravity” from Persis to Babylonia, argue more for disruption than continuity.

G. G. Aperghis gives the case for a deliberate Seleucid policy of continuation of many Achaemenid administrative practices. He points to the retention of the satrapy as basis of administrative organization; use of land-grants (albeit to cities rather than individuals); continuing royal support of temples; maintenance of the Royal Road system (n.b. two Greek milestones, one illustrated in this volume by Rahbar); the retention of two separate offices relating to financial oversight. He suggests that the double sealing of transactions in the Persepolis Fortification Tablets metamorphosed into the double monogram on Seleucid coinage. Further field work in Iran, like that outlined by Rahbar (see below), will settle such contested matters as whether the many foundations of Alexander had any local impact. At present, Tuplin offers the more persuasive case.

David Stronach, excavator of Pasargadae, gives his considered opinion on the complex nexus of issues relating to the date of Cyrus’ constructions at Pasargadae. Touching upon the East Greek and Lydian contribution to early Achaemenid monumental architecture in stone and orthogonal design principles, Cyrus’ conquest chronology and the Nabonidus Chronicle, Darius’ creation of Old Persian cuneiform, the elements of the Tomb of Cyrus, and new evidence confirming the garden design, he argues that the chronology of the constructions at Pasargadae indirectly confirms the date of the conquest of Lydia around 545.

Mohammad Hassan Talebian offers a diachronic analysis of Persepolis and Pasargadae, starting with a survey of the Iranian and Lydian elements in their construction. Modern interventions include the ill-informed and damaging activities of Herzfeld and Schmidt at Persepolis in the 1930s, the stripping away of the mediaeval Islamic development of the Tomb of Cyrus, and the damage to the ancient city of Persepolis in preparation for the 2500-anniversary celebrations in 1971. Recent surveys in the region compensate to some degree. Talebian urges the importance of attention to all periods of the past rather than a privileged few.

Margaret Cool Root continues her thought-experiment in exploring how a fifth-century Athenian male might have viewed Persepolis.2 Sculptural traits such as the emphasis on the clothed body and nature of interaction between individuals would have seemed to the hypothetical Athenian to embody a profoundly effeminate culture. Yet Root’s study of the Persepolis Fortification Tablet sealings, their flashes of humour and playfulness in their utilisation on the tablets, reveals a world in which oral communication — idle chit-chat — perhaps bridged the cultural divide. She concludes that a visiting Greek might well have learned how to read the imagery like an Iranian.

Olga Palagia argues that the most famous Greek artefact found at Persepolis, the marble statue of “Penelope”, was not booty but a diplomatic gift from the people of Thasos: its Thasian marble provides a workshop provenance. The “Polygnotan” character, seen also in the Thasian marble “Boston Throne,” possibly from the same workshop, suits the prestige of the gift: Thasos’ great artist, the painter Polygnotos, is also attested as a bronze sculptor. A putative second Penelope in Thasos, taken to Rome in the imperial period with the “Boston Throne,” would have served as model for the Roman sculptural versions.

Antigoni Zournatzi offers the first of a series of regional studies documenting receptivity to Persian culture in the western empire and beyond, with a look at Cyprus. Earlier scholarship focused on siege mound and palace design; receptivity can be tracked in glyptic, toreutic, and sculpture. Western “Achaemenidizing” seals may be Cypriote; Persianizing statuettes may reflect local adoption of Persian dress (or Persian participation in local ritual). The treatment of beard curls on one late 6th century head may reflect Persian sculptural practice. Zournatzi suggests that Cypro-Persian bowls and jewellery were produced not for local consumption but to satisfy tribute requirements.

Yannick Lintz announces a project to compile a comprehensive corpus of Achaemenid objects in western Turkey, an essential step in any attempt to understand the period in the region.3 Particular challenges lie in matters of definition, both of “Achaemenid” and “west Anatolian” traits. The state of completion of the database is not clear; one is aware of a volume of excavated material in museums whose processing and publication was interrupted and can only wish her well in what promises to be a massive undertaking.

Lâtife Summerer continues her publication of the Persian-period Phrygian painted wooden tomb at Tatarli in western Turkey with discussion of the different cultural elements of its iconographic programme.4 The friezes of the north wall especially present Anatolian traditions; the east wall friezes of funerary procession and battle (between Persians and nomads) offer a mix of Persian and Anatolian. New Hittite evidence clinches as Anatolian the identification of the cart with curved top familiar in Anatolo-Persian art; it carries an effigy of the deceased. Alexander von Kienlin’s appendix expands the cultural mix presented by the tomb with his demonstration that its Lydian-style dromos was an original feature.

Stavros Paspalas raises questions about the vehicles and route of cultural exchange between the Persian Empire and Macedon through analysis of Achaemenid-looking lion-griffins on the façade of the later fourth century tomb at Aghios Athanasios. He identifies a pattern of specifically Macedonian patronage of Achaemenid imagery also in southern Greece in the fourth century in such items as the pebble mosaic from Sikyon and the Kamini stele from Athens. Enough survives to suggest independent local Macedonian receptivity to Persian ideas rather than a secondary derivation through southern Greece.

Despina Ignatiadou summarises succinctly the growing corpus of Achaemenidizing glass and metalware vessels in 6th-4th century BC Macedon. Three foreign plants lie behind the forms of lobe and petal-decoration on phialai, bowls, jugs, and beakers: the central Anatolian opium poppy, the Egyptian lotus (white and blue types) and the Iranian/Anatolian (bitter) almond. The common denominator is their medicinal and psychotropic qualities; Ignatiadou suggests that their appearance on vessels has semiotic value and that such drugs were used in religious and ritual contexts along with the vessels that carry their signatures, perhaps especially in the worship of the Great Mother.

Athanasios Sideris outlines the range of issues related to understanding the role of Achaemenid toreutic in documenting ancient cultural exchange: production ranges between court, regional, and extra-imperial workshops, not readily distinguishable. The inclusion of little-known material from Delphi and Dodona enriches his discussion of shape types. He works toward identification of local workshops, both within and without the empire, based especially on apparent local preferences in surface treatment. The geographical range of production is one area that will benefit from further international research collaboration.5

Pavlos Triantafyllidis focuses on the wealth of material from Rhodes, both sanctuary deposits and well-dated burials, that attests a history of imports from Iran and the Caucasus even before the Achaemenid period. Achaemenid-style glass vessels start in the late 6th century with an alabastron and petalled bowl, paralleled in the western empire, and carry on through the fourth century. An excavated fourth-century glass workshop created a series of “Rhodio-Achaemenid” products that dominated Rhodian glassware through the early third century. This microcosmic case study brilliantly exemplifies a much broader phenomenon.

Mehdi Rahbar outlines and illustrates archaeological material, some not previously published, that will be fundamental in future discussions of Seleucid Iran. The as of yet limited corpus includes: modulation of Greek forms perhaps to suit a local taste (Ionic capital from the temple of Laodicea, Nahavand, known from an 1843 inscription of Antiochus III; fragmentary marble sculpture of Marsyas?), amalgam of Iranian and Greek (milestone in Greek with Persepolitan profile), Greek import (Rhodian stamped amphora handle ΝΙΚΑΓΙΔΟΣ from Bisotun);6 and Iranian adoption of Greek decorative elements (vine leaves, grapes, and acanthus patterns, for which compare Azarnoush’s stucco).

The volume concludes with a brief overview of ancient Iranian-Greek relations and their modern interpretation by Shahrokh Razmjou.

The inclusion of the texts of the introductory and concluding addresses made on the occasion of the conference in particular allow the reader to comprehend its aims: hopes of exchange in the modern world through assessing exchange in the past. A number of the papers make it very clear that collaboration between specialists of “East” and “West” in both textual and archaeological research could yield great gains for all periods of history and modes of analysis. The conference and its publication, therefore, succeed at a variety of levels.

Editing such a volume must have been a real challenge and it is to the credit of authors and editors that throughout the whole volume, I found only a handful of minor infelicities and typographical errors, none of which obscure meaning.7

Contents: Stephen Tracy, “Europe and Asia: Aeschylus’ Persians and Homer’s Iliad” (1-8) Angeliki Petropoulou, “The Death of Masistios and the Mourning for his Loss” (9-30) Kyriakos Tsantsanoglou, “Magi in Athens in the Fifth Century BC?” (31-39) Massoud Azarnoush, “Hajiabad and the Dialogue of Civilizations” (41-52) Sara Alinia, “Zoroastrianism and Christianity in the Sasanian Empire (Fourth Century AD)” (53-58) Evangelos Venetis, “Greco-Persian Literary Interactions in Classical Persian Literature” (59-63) Garth Fowden, “Pseudo-Aristotelian Politics and Theology in Universal Islam” (65-81) Michael N. Weiskopf, “The System Artaphernes-Mardonius as an Example of Imperial Nostalgia” (83-91) Askold I. Ivantchik, “Greeks and Iranians in the Cimmerian Bosporus in the Second/First Century BC: New Epigraphic Data from Tanais” (93-107) Christopher Tuplin, “The Seleucids and Their Achaemenid Predecessors: A Persian Inheritance?” (109-136) G. G. Aperghis, “Managing an Empire—Teacher and Pupil” (137-147) David Stronach, “The Building Program of Cyrus the Great at Pasargadae and the Date of the Fall of Sardis” (149-173) Mohammad Hassan Talebian, “Persia and Greece: The Role of Cultural Interactions in the Architecture of Persepolis-Pasargadae” (175-193) Margaret Cool Root, “Reading Persepolis in Greek—Part Two: Marriage Metaphors and Unmanly Virtues” (195-221) Olga Palagia, “The Marble of the Penelope from Persepolis and its Historical Implications” (223-237) Antigoni Zournatzi, “Cultural Interconnections in the Achaemenid West: A Few Reflections on the Testimony of the Cypriot Archaeological Record” (239-255) Yannick Lintz, “Greek, Anatolian, and Persian Iconography in Asia Minor : Material Sources, Method, and Perspectives” (257-263) Latife Summerer, “Imaging a Tomb Chamber : The Iconographic Program of the Tatarli Wall Paintings” (265-299) Stavros Paspalas, “The Achaemenid Lion-Griffin on a Macedonian Tomb Painting and on a Sicyonian Mosaic” (301-325) Despina Ignatiadou, “Psychotropic Plants on Achaemenid Style Vessels” (327-337) Athanasios Sideris, “Achaemenid Toreutics in the Greek Periphery” (339-353) Pavlos Triantafyllidis, “Achaemenid Influences on Rhodian Minor Arts and Crafts” (355-366) Mehdi Rahbar, “Historical Iranian and Greek Relations in Retrospect” (367-372) Shahrokh Razmjou, “Persia and Greece: A Forgotten History of Cultural Relations” (373-374)

Notes

1. The site is fully published in: M. Azarnoush, The Sasanian manor house at Hajiabad, Iran (Florence 1994).

2. The first appears as “Reading Persepolis in Greek: gifts of the Yauna,” in C. Tuplin, ed., Persian Responses: Political and Cultural Interaction with(in) the Achaemenid Empire (Swansea 2007) 163-203.

3. Deniz Kaptan is similarly compiling a corpus of Achaemenid seals and sealings in Turkish museums.

4. Other studies: “From Tatari to Munich. The recovery of a painted wooden tomb chamber in Phrygia”, in I. Delemen, ed., The Achaemenid Impact on Local Populations and Cultures (Istanbul 2007), 129-56; “Picturing Persian Victory: The Painted Battle Scene on the Munich Wood”, in A. Ivantchik and Vakhtang Licheli, edd., Achaemenid Culture and Local Traditions in Anatolia, Southern Caucasus and Iran: New Discoveries (Leiden/Boston 2007: Ancient Civilizations from Scythia to Siberia 13), 3-30.

5. Considerable progress is being made, e.g., in Georgia: V. Licheli, “Oriental Innovations in Samtskhe (Southern Georgia) in the 1st Millennium BC,” and M. Yu. Treister, “The Toreutics of Colchis in the 5th-4th Centuries B.C. Local Traditions, Outside Influences, Innovations,” both Ivantchik / Licheli, edd., Achaemenid Culture and Local Traditions in Anatolia (previous note), 55-66 and 67-107.

6. For early 2nd c. date of this fabricant, see Christoph Börker and J. Burow, Die hellenistischen Amphorenstempel aus Pergamon: Der Pergamon-Komplex; Die Übrigen Stempel aus Pergamon (Berlin 1998), cat. no. 274-286; one example has a context of ca. 200 BC.

7. Except possibly the misprint on p. 357, line 8 up, where “second century” should presumably be “second quarter” (of the fourth century)."

#ancient greece #ancient iran #herodotus #ancient greek classics #achaemenids

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unreal-unearthing · 3 months

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hey hi hi you said "ask me about the shark paper" and i am here to do precisely that. i too love niche academic beef, pretty please tell me everything

I'm so glad you asked I am so happy to answer this I love niche academic drama. The best part about being an academic lol.

Anyway I read these papers YEARS ago in a political economy grad seminar, so my memory is a lil fuzzy lol.

BUT ANYWAY

Paper one: So basically this group of political scientists wrote a paper with some title about whether shark attacks impact voting behavior. And the paper was about a really specific case study. See there was a series of deadly shark attacks, sensationalized in the media (and were actually the inspiration for Jaws!), that were happening around the same time Woodrow Wilson (I think) was running his reelection campaign, and apparently he had some links to the local community where the attacks were happening. And the paper was arguing that these highly sensationalized shark attacks happening on his turf made him lose points in the polls in the effected counties.

(Achen and Bartels - Why Shark Attacks Are Bad for Democracy)

Paper Two: But THEN another group of political scientists take that question - do shark attacks effect voting behavior? - remove all that context and attack the original paper's methodology and make like a huge dataset of all shark attacks in america and the vote share for candidates before and after the shark attacks in those counties and decide that shark attacks DON'T impact voting.

(Fowler and Hall - Do shark attacks influence presidential elections? Reassessing a prominent finding on voter competence)

Paper Three: And then the original authors clarify that the case was specific and its more about like.. sensationalized headlines than sharks specifically. But then they also decided to tear apart Paper Two's methodology and data collection. And write a paper about what methodology they would use and make their OWN dataset for if they wanted to look at shark attacks more broadly.

(Achen and Bartels - Statistics as If Politics Mattered: A Reply to Fowler and Hall)

Paper Four: Then the authors of Paper Two write another paper defending their methodology and pointing out some problems with Paper Three's dataset. (I can't find this one right now but i remember reading it)

I think they continued fighting in like... the footnotes of other projects, and this went on for years and they teach it in grad school methods classes to talk about various data collection issues and large datasets vs selective case studies. Anyway I'm pretty sure this all started because some political science data nerds really loved Jaws.

#asks #alex is blogging #academia #i'm an academic tag

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john11123 · 8 months

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There are many benefits to taking STEM strand, including:

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Strong foundation for college: STEM strand provides students with a strong foundation in the sciences, mathematics, and engineering. This foundation is essential for success in many college programs.

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Overall, STEM is a critical part of our world today. STEM education is also essential for students. There is also benefits that you can get in STEM that you could use in your future course that you would like to take.STEM related jobs are also among the fastest-growing and highest-paying jobs in the economy. If you are interested in STEM, you can use this as a guide to your senior high school journey.

#Activity #Empowerment technology

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skysometric · 2 years

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New look, same old blog!

welcome to a wholly improved skysometric.co! after years of dreams, sketches, redesigns, code, and slamming my head against the wall, i've finally fulfilled my dream of having a blog that matches my design language. i'm so excited to put it to good use as the front page for my creativity and journaling 💖

the blog's still based on tumblr, using a new custom theme. in truth, it's just a heavy edit of the default theme... and quite a mess of one, at that! but hey, it looks and works great, and isn't that all that counts in the end?

(speaking of which, are you reading this on the tumblr app? come check out the new site!)

About the redesign

on the left menu are links to my main sites, and core tumblr links like the askbox and archive. there's also a theme toggle for light and dark mode – i'm especially proud of how the dark theme turned out! the light theme needs a little work, but i think it's a good start to improve on in the future. oh and btw, these animations for the menus opening and closing? they're pure css, even on mobile~

the right menu has featured tags to browse stuff i've made and written, as well as a search box for anything not featured. tags are a core part of the updated site, serving as collections of art and writing – so they have extra prominence both in the menu and at the bottom of each post. all my most important tags have icons that are loaded dynamically based on their name! and any tags that don't have an icon use the default hashtag. i'm really proud of all the design work that went into it, and i'll show off the icons on their own pretty soon ✨

posts themselves can be blue, purple, or pink, matching my main color palette. the color is based on the post id! so each post's color is always the same, whether you're viewing it on the front page, tag pages, or the post itself.

Design history

this updated blog has been four years in the making, surviving both my name change and multiple iterations of my design language – yet somehow, it still looks just like my years old sketches. i'm impressed at how much i was able to rework and carry forward with me, especially with how many of these ideas felt like dead ends at the time!

that early screenshot at the top is from waayyy back when i was considering moving away from tumblr. it was very tempting to self-host and "own my data" as they say... but i would miss out on all the social features like reblogs. plus, on tumblr people can follow me and see all my posts in the app, as well as on my site – what's not to love? so even though the site's time may be past, i'm sticking with tumblr until they literally nuke it out of orbit~

Cleaning up, carrying forward

i've had this blog for nearly ten years now, and the way i've used it has changed tremendously over that time. what started as my first foray into social media turned into a space for sharing things i found that made me happy, sharing my philosophies and outlook on life, sharing my struggles through college and burnout, and now sharing my journey discovering my voice as a person and a creator. so now that i'm a new person with a new voice, i should probably clear out all those crusty old cobwebs and start fresh, right?

not a chance!

if anything, i went back and made sure my old posts look just as good as my new ones, cleaning up tags and backporting my new code to work with old tumblr post layouts. i want to carry my history forward with me! for all these years this blog has been my journal, and even though my journaling changed with time, that core purpose hasn't. honestly, after all the cleaning, i'm inspired to return to those old methods of journaling – share more of myself, share more of what makes me happy, be more free and open and wild ✨

(that said, some of those early posts were especially raw! those have been archived for now. maybe i'll remake the sentiment behind them someday...)

My promise to myself

in the wake of college i realized i was posting less here on the blog; this redesign was an attempt to give it more importance, so that i would use it more. but what i didn't realize was that i was posting less due to burnout... and i stalled out on the redesign, also due to burnout. a double whammy! so i used my blog less than ever, and it languished for years.

on top of that, giving my blog more importance made it more of a Serious Website™ in my head, a place where i had to put my best foot forward at all times. that made me want to post here even less, only when i finished some big or important project! but my blog was never intended for this – i've been posting random nonsense since the beginning.

so what started as a promise that i would use my blog more, became a promise that i would make my blog A Big Deal. and that's not healthy for me! so i stepped back and re-evaluated. first, i started consciously calling this place my journal, to make it a sketchy and rough place with intent. second, i ultimately decided to redesign it anyway, with a new promise: to make it somewhere i'm proud of posting more often, no matter what those posts look like.

and with that promise fulfilled, i'm ready to get back to journaling 💙

#meta #programming #web dev #graphic design #journal

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bonderiber18 · 1 year

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