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starryserenade · 1 year

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Myth and Magic Ch. 3: Warmth

Fic Description: When Tir Na nÓg--the fabled land of the fae--falls to a dark power, the destinies of two young mice are set in motion. As each struggle to make their way in an ever-darkening world, they must learn to trust one another, or risk forever losing that which they hold most dear.

Chapter Description: Magic begins to stir, and icy walls start to crumble.

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Prologue

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~~~~

It’s coming…

A withered leaf fluttered past Oswald’s nose and he frowned, looking out over the kingdom below. As usual, light beamed in a thousand dazzling colors and fairies pranced about their glow in a dreamlike revelry that never seemed to end. They were blissfully unconcerned with the crystalline flowers that had begun to web with tiny cracks, nor the amber trees whose leaves now curled into a dull brown.

The rabbit narrowed his eyes and mindlessly squeezed the small doll in his hands–a child’s toy, really, with golden thread that had started to unravel and clothing dulled by time and wear. It flopped lazily in his grip, a small tail slipping through his fingers until, startled by a sound behind him, he shoved it in the pocket of his cloak and whirled around.

“What?” he queried gruffly, clearing his throat as he came to face a masked guard. Though the armored fae were tasked with obeying his every command, he did not much care for their presence. Their cold demeanor and piercing stare had a tendency to send chills through his spine, and gave him the inkling they knew more than they were letting on.

The guard lifted his hand and summoned a cloud of magic, then held it steady for the fairy king to see. Oswald snarled, taking the blatant use of enchantments as a direct mockery of his own lack of the skill, but was quickly taken by the images that appeared in the swirling mist. His heart, cold as it was, skipped a beat. Rushing water, flaring nostrils, and pounding hooves, came together in a violent whirl, and Oswald took a faltering step away from the scene, clutching his chest. “What is this?”

This was not news, this was a nightmare. One he saw every time he closed his eyes. “Listen here,” he growled, rushing at the guard. “If she thinks this is funny, then I-”

But the guard narrowed his lightless eyes, and with an unwavering grip, pushed Oswald’s fist away, nodding briskly at the magic which had only continued to shift. The kelpies parted and two figures came into view, fighting desperately to escape the enchanted equines.

There is a shock so great it drives every ounce of breath and warmth from a person. Fairies are not immune to such effects and for a moment, Oswald found he could not breathe. The faint blush of anger from seconds prior drained from him in an instant, and he felt as if his blood had been turned to ice.

“They’re alive…” he breathed, failing to keep from reaching into the mist. It scattered at his touch and he reeled back with a start, acutely aware of the guard’s suspicious glare. “I…” Oswald began, trembling with a multitude of emotion not absent of fear. Then he shook his head, ears bouncing lightly as he regained just enough composure to speak. “Bring them to me,” he ordered, eyes flooding with steely composition once again. “Alive.”

~~~

Water erupted from the lake’s surface as the patch of ice shattered, and Mickey emerged with a frantic gulp of air, sputtering and coughing as he scrambled to escape the frigid pool. Of course, with waterlogged fur and a body sapped of strength, this was not the easiest endeavor. He nearly fell back in, but then there was another splash beside him as the girl leapt from the ice. Had he not been so intently focused on mere survival, he might have marveled at the transformation as her scales melted away, pearlescent tail dissolving into shimmering droplets that came together in a dress of seaweed green.

But he did not see this, which was probably a good thing because he likely would have lost his grip immediately. As it was, he held on just long enough for her to snag his wrist and yank him out, quickly pulling him to the shore which, thankfully, was only steps away from where they’d managed to break free.

She let him down on the rocky shoreline and he collapsed, still gasping for air as his teeth chattered in the cold. But the girl didn’t seem to notice. She stood straight, her cheeks a furious crimson.

“Eejit!” she hissed, her hands balled into fists at her side. “I was trying to save you, and you pull a trick like that?! Or did you want us to become kelpie food!”

Mickey was first so taken by the sound of her voice, entranced by the bell-like ring in every word she spoke, that he nearly forgot to be offended. But then she whipped around to glare at him and his astonishment quickly dissolved. He shook his head, droplets splashing on the stones around him, and glared back. “Well, you’re a siren!” he countered, his face somehow managing to get twice as red as hers. “I thought you were tryin’ to drown me!”

At this, she snorted and lifted her nose to the air. “Do I look like a fairy to you?”

He stared at her blankly then blinked, realizing now that her scaled fin was gone, replaced by legs and a threadlike tail. He glanced at her feet, then back at her face. “Well, not now,” was all he could think of to say, at which she scoffed and plopped herself down on a small boulder.

“Well, I’m not,” she huffed. “I was cursed by one, thank you. So I’m likely to dislike them just as much as you do.”

Mickey was about to argue that he didn’t particularly dislike fairies, but judging by her sudden shift in demeanor, head lowered to her hands in crestfallen frustration, he figured it best not to push the subject any further. But as his wet fur dripped steadily onto the earth and he stared at the girl, he became acutely aware of his own lack of manners. Fairy or not, she had saved his life, and he had not done much more than insult her thus far.

Clearing his throat, he slipped his coat off his shoulders and pretended to turn his attention to wringing out the water from its threads. “I’m, uh…’m sorry,” he mumbled nervously. “Thank you for savin’ me.”

Slowly, she lifted her head and looked at him, then sighed and cracked a small smile. “You’re the first person I’ve seen in ages,” she murmured softly, voice breaking. Then her eyes brightened with the slightest bit of humor. “It’d have been a shame to let you drown. I’m Minnie, by the way.”

“Minnie…” Mickey tested the word on his tongue, and grinned. “I’m Mickey! Pleased t’meet’cha.”

Minnie giggled and met his gaze, and Mickey felt his fur rising under her stare. The way her eyes narrowed as she looked at him, not in suspicion but in confusion, made him feel like she was searching for something but wasn’t sure what. Then a cold breeze interrupted the moment, and they both shuddered. He was surprised to see her wince and wrap her arms about herself, having figured the cold was of no consequence to her. But she stood and sniffed, the light in her face dimming once again. “I…I should go.” She flicked her tail and cast a melancholy glance towards the lake, where the hole in the ice was already beginning to freeze over again. “I can’t spend much time out of the water in this cold.”

But Mickey had stood at the first sight of her chill, and tapped her lightly as she took a step to walk away. When she turned, he grinned shyly and held up the now-damp coat he’d managed to wring out just enough. “Would this help?”

It was a pitiful attempt at helpfulness–a damp coat in such cold was likely to do more harm than good–but Minnie grinned nonetheless, seemingly flattered by the effort. Mickey could not help his own shivering, however, and he spotted Minnie’s hesitation as she cast a concerned look his way. “Will you be okay?” she asked, fingers brushing past his gift.

“Awe, don’t worry about me,” Mickey shrugged, doing his best to keep his teeth from chattering. “I’ve been through worse, honest.”

Minnie stared at him, and he could tell she was unconvinced. She pursed her lips and opened her mouth to speak, but then a flash of light flickered at the corner of their vision, and they both turned to look.

The island was aglow, and several dark silhouettes emerged from its depths. Mickey squinted his eyes, unable to make out their shapes. “Friends of yours?” he asked, but Minnie seemed frozen beside him. “Minnie?”

Minnie cast a panicked glance at the nearly-frozen gap in the ice, then back at Mickey, and seemed to make up her mind. “We have to go!” she gasped, grabbing him by his cloak as she clambered up the sloping banks. He stumbled after her, dropping the coat and looking behind him as the shapes grew darker then took to the air, enormous wings carrying them into the sky.

“Oh boy…” he muttered under his breath, suddenly a bit more petrified. Those were fairies, no doubt. And if Minnie’s reaction was any indication, they certainly weren’t friendly.

The two climbed over the bank and into the forest itself, stumbling through the knee-deep snow as fast as they could manage. The sound of wings was heavy behind them, and it was not long before several dark shadows passed over the canopy under which they ran. Mickey, who felt his own strength was fading fast, eyed Minnie carefully. She was moving stiffly, wincing with every step. He was about to call out to her, asking if she was all right, when an enormous figure slammed into the snow in front of them.

Minnie screamed and Mickey instinctively jumped in front of her, reaching for his bow. But his hand came up empty, and he realized he must have dropped it during his watery ordeal. So he found himself facing down the creature with as much courage as he could muster and raised his cloak against its dark, inky claws. It made a motion to bring them down upon him and Mickey winced, preparing himself for the blow. But then came the sound of a strange howl and a hellish screech, and when Mickey looked, he found the fairy pinned to the ground by a strange creature. There was no time to make out its features, so Mickey simply thought a prayer of thanks that both monsters were preoccupied and helped Minnie to her feet, knowing full well the other fae would be catching up with them soon.

“How do we stop them?” He shouted to Minnie over the sound of their pounding steps and ragged breaths.

She looked at him, fatigue and pain written across her face. “They…they’re weak to iron,” she gasped, barely able to finish the words. “But I don’t know where we-”

Then it hit Mickey, and he narrowed his eyes, something akin to a plan forming in his head. “I do!” he shouted, spotting a familiar patch of stone and hearing the river coursing to their left. “But we’ve gotta get to the other side of the river! Do you trust me?”

The girl stumbled over herself, and Mickey caught her by her wrist, utter determination shining in his eyes. It must have won her over because, trembling, she murmured a quiet “yes”, and grasped his hand.

The heat that rushed through them gave them a sudden boost of strength as Mickey raced full force towards the edge of the gorge then leapt with all he had for the other side, holding Minnie’s hand tight as she leapt alongside him. With a spark of panic, he drew in a breath, thinking for a moment that they were going to miss their target. But a breeze kicked up beneath them, not unlike the one that had urged Mickey into the forest to begin with, and it granted him just enough height to be able to send Minnie to the upper bank with a decisive push. Mickey himself came up just short, and found himself clinging to the edge of the bank whose surface of snow quickly dissolved beneath his hand.

He gasped, kicking his legs in the hope of reaching a ledge to push himself up, but found nothing. Just as his grip gave way, Minnie darted over the edge and grabbed him by the arm, hoisting him up onto the other side. They both collapsed and panted for air, knowing all the time they could not afford this brief moment of recovery.

Sure enough, just as they stood another fairy landed ahead of them, scarlet eyes glowing in the dappled shadows of the forest. But Mickey spotted what he’d been looking for just behind them, and began to think up just how to reach it.

“Minnie…” he whispered, eyeing the fairy and taking cautious steps along the cliff’s edge as the being began to inch forward. “Do you see that lump of snow just behind them?”

Minnie squinted, then nodded briskly.

“There’s somethin’ over there. I need ya to get it ready while I distract our friend here. Then when I tell ya, throw it his way and run. Got it?”

She looked at him, obviously concerned but faced with little to no other alternative. “Got it…” she murmured, releasing his grip and shuddering. Mickey flashed her a less-than-confident smile, then scooped up a handful of snow and ran at the beast. She gave him a petrified look that he didn’t see but, shaking her head, she quickly recalled his instructions and darted in the opposite direction.

To be honest, Mickey was terrified. The fairy before him was twice his size and if either he or Minnie failed in their tasks, he was sure they’d be done for. But at the very least, he had something to fight for, and that simple fact gave him courage he was not used to possessing.

At first, the fairy seemed divided between the two targets. But Mickey flung a handful of snow its way, and that quickly made up its mind. With a growl, it spread its wings and ran at him with a shadowy spear that formed in its hands. Mickey yelped, just barely leaping out of the way as it stabbed the earth with its weapon. Out of the corner of his eye, he spotted Minnie with the net in hand, giving him a pointed look to declare she was ready for her part of the plan.

Mickey nodded her way and, taking a nervous breath, slid between the creature’s legs then found his grip on the earth and hollered loudly. “Over here, pal!”

The fairy whipped around, fury in its eyes, and blindly rushed towards the mouse. But Mickey jumped to the side at the last possible moment, leaving Minnie to throw the net at the beast. It let out a screech and for a brief moment, the two mice were certain they’d succeeded. And they would have, only Mickey had not moved far enough. As he leapt out of the way, he found his cloak briefly snagged on the fairy’s clawed hand. His cloak tore, freeing him from the creature’s grasp but putting him in the way of the net’s trajectory.

He shouted in pain as it caught around his leg, and collapsed in the snow, gasping as he tried to free himself. It burned, sending what felt like a shockwave through his entire body. But Minnie rushed over, untangling him from the netting as fast as he could, and helping him to his feet as his mind slowly recovered from the shock. “I’m so sorry!” she breathed, even as they began to stumble away from the writhing fairy who snarled furiously as they made their escape. Mickey did not respond, instead focusing on finding his breath. He did, however, send her a weak smile. This only seemed to worry her more.

A distant screech sounded from behind them and the two looked worriedly over their shoulders. “Just a little more…” Mickey muttered, limping forward. The threshold was in sight–he could see the moors just ahead, the grass still flooded with rain.

Minnie nodded but let out a shaky breath that made Mickey turn. Just as he did, she took a step and collapsed, body shivering violently.

“Minnie!” Mickey shouted, immediately falling to his knees and gathering her to himself. She was ice cold, a blue-ish hue upon her cheeks. “Hold on!” he urged her, using every ounce of his strength to lift her then racing for the edge of the forest, gritting his teeth against the pain in his wounded leg. Wings pounded behind him but he ignored them. There was no time to face the creature now. He only hoped it could not cross over the border to chase after them.

A cold breath blew against Mickey’s neck as a screech sounded in his ears. The fairy was just behind him. But it was too late. One more step, and Mickey had crossed the threshold. The forest vanished behind him, dissolving in a shimmer, and the sound of the fairy’s cries was taken up in the wind.

He collapsed, adrenaline dissipating into a flurry of trembling as he turned his attention to the girl in his arms, whom he gingerly placed on the grass.

“No, no…” he pleaded as her breaths grew faint. Terrified to touch her any more for fear of worsening her pain, he pulled the cloak from around his body and set it over her, hoping it would do something, anything to keep her warm.

A frostlike film had begun to coat her fur as if turning her to ice, and he recalled her words from before. Guilt struck his heart when he realized that she had abandoned the safety of the lake to help save him. He thought to turn back around, facing wicked fairies and all just to return her, but the forest refused to appear again, no matter how he begged for it to do so.

Then a thought flickered in his mind. How their touch had held such a warmth that it seemed almost like magic, and he wondered if that might be enough.

It was unlikely, to be sure, but he didn’t know what else to do. So he simply gathered her in his arms, tore the glove from his fingers, and held her hands in his.

Nothing. He shuddered at the cold as her icy fingers brushed his palm, but brought them to his cheek in the hopes of sharing as much warmth as he could, listening with a trembling spirit as her breathing slowed, then stopped.

He bit his lip as her chest stopped moving, waiting and hoping for a miracle. But after several seconds went by, he lowered his head and sat unmoving, staring blankly at the place where the forest had been. Until the silence set in, he had not realized how much joy the sound of her voice had brought him in the brief time he'd been privileged to hear it. The utter quiet that flooded back into his world was deafening, and seemed a terrible reminder of his failure. “I’m so sorry,” he whimpered at last, bringing her hand to his heart.

Then he felt it. A brief tremor of warmth amidst the stark chill that had overtaken her body. It began in her palm, a subtle glow that spread as Mickey continued to hold her. Hope fluttered in his chest as color began to return to her cheeks, and then spread to the rest of her.

But it didn’t stop there. The world itself seemed intent on celebrating. In that moment, the clouds parted to allow streams of sunlight through, and the air warmed until this small patch of moors was itself a beacon of spring.

Mickey paid none of this any mind, instead struggling to contain his joy as the girl in his arms drew a breath and opened her eyes. She seemed confused at first, and he felt at once quite embarrassed at the closeness to which he held her. But this did not seem to matter to Minnie who, blinking in the newfound rays of sun shining only for them, was overcome with wonder.

“Mickey…”She breathed and looked up at him with eyes full of gratitude and curiosity. Then she laughed softly and squeezed his palm back, a single question gracing her lips as they both felt the heat of their touch flood their veins. “What are we?”

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deusvervewrites · 1 year

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The attitude towards AI Art by so many people only shows how for all of their blubbering about valuing art, that they in reality don’t give two shits about it at all.

They love the POWER of being able to deny artists their dues, the selfish glee of harming human expression just because they’re too brainwashed or too much like the technocrats, cryptobrats, or whatever new variation of that into thinking that art is nothing but a commodity they can steal to make themselves rich, or just to ruin art for the sake of getting off to the harm they cause.

Too many people want to be like thieves and bullies instead of stopping them. Capitalism has rotted away people’s ability to value ANYTHING except in terms of instant gratification at the cost of ethics.

It's so shitty seeing all these composite images flooding different sites and being like, "Ah yes. Plagerism."

This is a legal nightmare waiting to happen.

#asks

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malxshrine-a · 2 years

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I feel as though my Sukuna could very well be the image of the protector, the purifier, but very much in the way that brings to mind Kali. That which is destroyed is not necessary, that which is claimed is of no consequence, and that which I take from you is to be considered carefully of its importance.

The image of the devourer waging war, ferocity of dominance considered an abhorrence and terrifying to witness. A vessel to be feared for its savagery, and yet, fiercely protective of those that are deemed his.

Even, comparison to Persephone. The Persephone that is a title and not her name. The being that dwelled in the underneath as queen before Zeus and Hades came to being. The one that was of chthonic breath before the elder gods walked the earth. The lady who's name is not spoken for fear. The lady no one outside of her cult could even know. The name that is lost. Reduced to title, I imagine Sukuna quite a lot like this. Names are lost and change, and yet, the title remains.

I think about this quite a bit. And it's of no surprise that he would be held in comparison to two goddesses of death and war and chthonic. He may not be a female, but I would very well argue he isn't bound too closely to these things. He may identify with a more masculine pronoun in his non-binary composition, but his energy is akin to the female energy when it seeks destruction and is wronged and unmakes the world and the world fears the chaos.

And it could so easily reverse that directive in an instant. Could very well create, protect, guide, cleanse, and be very fatherly. This is on HIS time, when HE feels like it, and never a moment sooner. He won't be bound to anything he doesn't feel like doing. The finicky nature of his is quickly swayed one way or another, but when he commits to something it's absolute.

Me? I'm just rambling. Ignore me. LMFAO.

#meta tbt

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kaylawilliams-photography-631 · 1 month

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01_Leanne Surfleet

Leanne is primarily a self-portrait photographer with a very raw approach to self-representation; she also does editorial and portraiture. The photographs below are from one of four series of self-portraits she has in her works. This series is entirely in b/w film, as an aesthetic choice I like the b/w better in her works as a lot of the coloured images are taken on instant film and I'm not a huge fan of the colouring they have.

Her work explores themes of loneliness, nostalgia, anxiety and light. The choice of shooting film she says "plays a major part within her work, exploiting the use of soft focus, colour casts, as well as the apparent dust and scratches that appear on her negatives. These are all a part of the process and a part of the documentation of her identity, and her surrounding."

From self portrait series, Two.

What I appreciate about her self portraits is how random they are. They aren't so much super well composed but more exploratory and mundane representations of self. As a starting point I think the compositions are great ideas for my self-portrait shots.

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jcmarchi · 5 months

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Rare Metal Could Offer Revolutionary Switch for Future Quantum Devices - Technology Org

New Post has been published on https://thedigitalinsider.com/rare-metal-could-offer-revolutionary-switch-for-future-quantum-devices-technology-org/

Rare Metal Could Offer Revolutionary Switch for Future Quantum Devices - Technology Org

Quantum scientists have discovered a rare phenomenon that could hold the key to creating a ‘perfect switch’ in quantum devices that flips between insulators and superconductors.

Image shows a representation of emergent symmetry, showing a perfectly symmetric water droplet emerging from a layering of snow. The ice crystals in the snow, by contrast, have a complex shape and therefore a lower symmetry than the water droplet. The purple colour denotes the purple bronze material in which this phenomenon was discovered. Image credit: University of Bristol

The research, led by the University of Bristol and published in Science, found these two opposing electronic states exist within purple bronze, a unique one-dimensional metal composed of individual conducting chains of atoms.

Tiny changes in the material, for instance prompted by a small stimulus like heat or light, may trigger an instant transition from an insulating state with zero conductivity to a superconductor with unlimited conductivity, and vice versa. This polarised versatility, known as ‘emergent symmetry’, has the potential to offer an ideal On/Off switch in future quantum technology developments.

Lead author Nigel Hussey, Professor of Physics at the University of Bristol, said: “It’s a really exciting discovery which could provide a perfect switch for quantum devices of tomorrow.

“The remarkable journey started 13 years ago in my lab when two PhD students, Xiaofeng Xu and Nick Wakeham, measured the magnetoresistance – the change in resistance caused by a magnetic field – of purple bronze.”

In the absence of a magnetic field, the resistance of purple bronze was highly dependent on the direction in which the electrical current is introduced. Its temperature dependence was also rather complicated. Around room temperature, the resistance is metallic, but as the temperature is lowered, this reverses and the material appears to be turning into an insulator. Then, at the lowest temperatures, the resistance plummets again as it transitions into a superconductor.

Surprisingly, the magnetoresistance was found to be extremely simple despite this complexity. It was essentially the same irrespective of the direction in which the current or field were aligned and followed a perfect linear temperature dependence all the way from room temperature down to the superconducting transition temperature.

“Finding no coherent explanation for this puzzling behaviour, the data lay dormant and published unpublished for the next seven years. A hiatus like this is unusual in quantum research, though the reason for it was not a lack of statistics,” Prof Hussey explained.

“Such simplicity in the magnetic response invariably belies a complex origin and as it turns out, its possible resolution would only come about through a chance encounter.”

In 2017, Prof Hussey was working at Radboud University and saw advertised a seminar by physicist Dr Piotr Chudzinski on the subject of purple bronze. At the time few researchers were devoting an entire seminar to this little-known material, so his interest was piqued.

Prof Hussey said: “In the seminar Chudzinski proposed that the resistive upturn may be caused by interference between the conduction electrons and elusive, composite particles known as ‘dark excitons’. We chatted after the seminar and together proposed an experiment to test his theory. Our subsequent measurements essentially confirmed it.”

Buoyed by this success, Prof Hussey resurrected Xu and Wakeham’s magnetoresistance data and showed them to Dr Chudzinski. The two central features of the data – the linearity with temperature and the independence on the orientation of current and field – intrigued Chudzinski, as did the fact that the material itself could exhibit both insulating and superconducting behaviour depending on how the material was grown.

Dr Chudzinski wondered whether rather than transforming completely into an insulator, the interaction between the charge carriers and the excitons he’d introduced earlier could cause the former to gravitate towards the boundary between the insulating and superconducting states as the temperature is lowered. The probability of the system being an insulator or a superconductor at the boundary itself is essentially the same.

Prof Hussey said: “Such physical symmetry is an unusual state of affairs and to develop such symmetry in a metal as the temperature is lowered, hence the term ‘emergent symmetry’, would constitute a world-first.”

Physicists are well versed in symmetry breaking: lowering the symmetry of an electron system upon cooling. The complex arrangement of water molecules in an ice crystal is an example of such broken symmetry.

But the converse is an extremely rare, if not unique, occurrence. Returning to the water/ice analogy, it is as though upon cooling the ice further, the complexity of the ice crystals ‘melts’ once again into something as symmetric and smooth as the water droplet.

Dr Chudzinski, now a Research Fellow at Queen’s University Belfast, said: “Imagine a magic trick where a dull, distorted figure transforms into a beautiful, perfectly symmetric sphere. This is, in a nutshell, the essence of emergent symmetry. The figure in question is our material, purple bronze, while our magician is nature itself.”

To further test whether the theory held water, an additional 100 individual crystals, some insulating and others superconducting, were investigated by another PhD student, Maarten Berben, working at Radboud University.

Prof Hussey added: “After Maarten’s Herculean effort, the story was complete and the reason why different crystals exhibited such wildly different ground states became apparent. Looking ahead, it might be possible to exploit this ‘edginess’ to create switches in quantum circuits whereby tiny stimuli induce profound, orders-of-magnitude changes in the switch resistance.”

Source: University of Bristol

You can offer your link to a page which is relevant to the topic of this post.

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the-chomsky-hash · 7 months

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[D. What are the different forms of synthesis thus understood as finding its sense in the discourse of being? - cont'd]

[5. This bringing to light of association as a form of temporal synthesis in the plenitude of being opens up a new path to phenomenological analysis - cont'd]

[b. The object of phenomenological analysis is therefore no longer so much this "status", this immobile presence of truth, but the movement of its genesis - cont'd]

ii. The logos [language] has timeless logic in the narrow sense of the term, it is the verb of being coming to its truth through time.

– Taken in this sense, the term genesis should make one believe

not in a description of the absolute origin,

nor of the zero point of rationality and of time

Or more exactly, it should take on the appearance of

neither a logical analysis

nor a chronological analysis

two forms of analysis which imply the same presupposition and the same method:

one starts there from what one puts forward as primary elements of logic and time,

but one admits as general form and as rules of their composition the implicitly completed fable of time and the universe of logic entirely constituted

– Now, precisely, transcendental discourse in the form of genesis sets itself the task of determining “the formal laws of universal genesis, in accordance with which, according to a certain noetic-noematic [act of thought/substrate of thought (words, images, etc.)] formal structure, the modes of flux are continually constituted and united:

present

past

future”.

The transcendental genesis should be interpreted

not as the deployment of virtualities through a temporal framework given in advance

but as that in which precisely the objective forms of time are constituted

That is to say that the genesis

[on one hand,] must never presuppose a chronology already begun and which would prescribe to the genesis the form and the stages of its movement,

but [on the other hand,] nevertheless it must not yield to the mythology of the first instant, of the beginning from nothing (a pure, vanishing point, which is only conceivable from a chronological point of view)

[and rather, it must be considered as a plenitude, a timelessness]

– Michel Foucault, The Language of Being, d'après Phénoménologie et psychologie, ca. 1954, BnF, Fonds Foucault, NAF 28730, boîte 46, dossier 2, établie par Sabot et Ewald

#foucault #philosophy

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shaadicapture12 · 9 months

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painting-portrait · 9 months

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The development process of oil painting has experienced several periods of classical

modern and modern times.

Oil painting in different periods is dominated by the artistic thoughts and techniques of The Times, and presents different faces.

The historical conditions of the early development of oil painting laid the realistic tendency of classical oil painting. In the European Renaissance movement of the 15th century, humanistic thought was famous for its criticism of religion and its positive demand to pay attention to social reality

In order to gradually get rid of the creation of a single theme of Christian classics, the painter began to observe and directly describe the characters, landscapes, and objects in life at that time, so that the works of religious themes contain obvious realistic secular factors

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The painter paints the exact scene of real life. Renaissance painters inherited the Greek and Roman concept of art, that is, not only focus on the painting to describe a certain event or fact, but also reveal the cause and effect of the event or fact

It is an artistic technique that focuses on the conception of typical plots and shaping typical images. At the same time, the artist also explored the application of anatomy, perspective in painting, and the role of the distribution of light and shade in the picture, forming the scientific principle of modeling.

The application of human anatomy makes the figure modeling in the painting have as accurate as the real proportion, form and structure relationship; The establishment of focal perspective makes the painting form the illusion of depth space through composition, the scene in the painting and the reality

The instant visual perception of orientation is the same; The shading method unifies the objects in the painting under the light emitted by a main light source, forming a clear level from near to far. The humanistic art theme and the pursuit of realistic modeling concept can not be perfected in other painting types, because of the limitation of tool materials, and the performance of oil painting tool materials is suitable for fully reflecting the two. Therefore, classical oil painting has become a highly realistic face that has been produced for a long time.

On the whole, classical oil painting is the result of the synchronic and comprehensive application of various factors in the oil painting language, but artists in different countries and different periods pay special attention to one or several factors on this basis, forming different styles. Literature and art

Italian painters in the Renaissance era paid more attention to the use of light and shade, and the dark part of the scene in the painting was uniformly shrouded in shadow, and the boundary between light and shade was a soft transition, creating a concentrated and harmonious effect of the picture. Saint of the Rocks by L. Da Vinci

Mother is a representative of this style. The Dutch painters of the same period clearly depicted the details of the scenery in the painting, and the difference between the scenery is the difference of color rather than the transition of light and dark. Kang Ping's three-leaf altarpiece "Birth Notice" presents all the scenes inside and outside in detail. Italy's Titian is the first painter to pay special attention to the color expression of oil painting, he painted on a dark background, and often used bright colors with close brightness and slightly different colors to form a magnificent golden hue, transparent pigments repeatedly overlapping, thick and thin brushwork, and color and form organic fusion, creating a texture effect.

The 17th century was the period of rapid development of classical oil painting in Europe. Painters in different regions and countries conducted different in-depth exploration of oil painting language according to their social background and national temperament, and the types of oil painting were classified according to subject matter

It is divided into historical painting, religious story painting, group portrait, individual portrait, landscape painting, still life painting, genre painting, etc. Oil painting techniques are also increasingly enriched, and the formation of countries, regions of the school.

Some oil paintings in the 17th century emphasized the light sense of oil painting, using the contrast of cold and warm colors, the contrast of light and dark intensity, and the contrast of thickness and thin layers to create a sense of light, forming a dramatic atmosphere of the picture. Italian painter Caravaggio broke the orderly and harmonious light effect in his previous oil paintings, and he strengthened the contrast of light and dark on the picture, often using the large dark part of the background plane of the picture to set off the bright figures in the foreground, making the light in the painting dazzling. Spanish painter El Greco treated the scene under the mottled light and shadow. He did not treat the scene from the two major appearances, but from the intermittent distribution of light and dark. The cold and warm colors also formed intermittent continuous changes, and the brush was dignified. Dutch painter Rembrandt also took the sense of light in the painting as a means to express people's mental state. In a large number of portraits he made, the people were shrouded in large dark parts, only the face, hands and other important parts of the expression showed bright brightness. He uses calm colors to apply thin layers in the dark area to make the dark area appear deep, and uses thick painting and painting knife pile color method to create a heavy sense of volume.

At the same time, the use of brush strokes was also explored by many painters. brushwork

It is the trace of the movement of the oil brush with pigment on the canvas. The thickness of the pigment layer in all parts of the early oil painting is relatively consistent, and the brushwork is uniform, and the brushwork is almost not revealed. Painters of the 17th century noticed the movement of brush strokes when creating

Driven by the mood and emotional rhythm, the painter can produce the emotion of controlling the stroke motive force when painting. The light, heavy, slow, urgent and movement direction of the stroke not only make the shaped image vivid, but also the stroke itself has artistic expression.

The Flemish painter P.P. Rubens used large strokes in thin, bright colors in many of his large works, following the shape of the figure, leaving a free-flowing, mostly curved brush stroke, resulting in a strong dynamic and physical

A dramatic clash of storylines. The Dutch painter F. Hals used light and flexible strokes to depict portraits, so that the portraits have a vivid sense of the character's spirit, and he is inclined to express bold and optimistic characters complement each other. The other

Dutch painter J. Vermeer is good at using pearly fine, rounded strokes to depict the figures in the room, so that the picture produces a quiet and warm atmosphere. The development of oil painting in the 19th century has a new trend, mainly the change of oil painting color. British painter J. Constable was the first to directly use oil painting to sketch outdoors and obtain rich color feelings. He juxtaposed colors with small strokes in local areas to mix them into more vivid color blocks, and the picture was much brighter than the classical brown tone. The principle that the colors at the two ends of the color wheel can enhance each other's brightness and intensity when juxtaposed was scientifically recognized later, but Constable intuitively acquired the principle of complementary colors by observing nature and partially applied it in practice. His work inspired the French painter E. Delacroix. Delacroix dominated his work with romantic ideas, creating large thematic paintings based on the historical events of the time. He applied the complementary relationship more to the color expression of creation, and used active brushstrokes to form color contrast in many parts of the picture, enhancing the brightness and gorgeous sense of color, and forming a style that shook the painting world at that time. Many artists of the Barbizon school of painting in France sketchy landscape under different natural climate conditions, recognizing the relationship between light source color, inherent color and environmental color, recognizing color

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ikaroony · 1 year

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funky lil dna test results

(Optional backstory)

So I took an AncestryDNA test when I was young and I found it not as reliable as I wanted. Ethnicity estimates would change frequently and also it told me I was English and I didn’t want to be. Sorry to my English friends, but current spinterest is Irish/Celtic Culture and at one point it said I was majority Scottish and now doesn’t.

I wanted to get a second opinion from sites that use the same method as Ancestry (recent heritage report) and some other sites that use the DNA found in archaeological dig sites to better place exactly where you come from.

I found out that while I am made of genes from Englishmen, these are Celtic Britons and Celtic Dobunni, among others. These are Celts that moved to England at some point, thereby mixing with the population there. This just goes to show you should always try to use multiple methods of research :)

Now, onto the funnies

[ID: an image showing a pie chart with only blue and grey. The blue is correlated to Northwestern Europe, which says 55.9% next to it. Below this says Other European, with text reading ‘NEXT WEEK.’ A caption reads “WEEKLY INSTALLMENTS FOR MY DNA HERITAGE????”]

(Website: genomelink.io )

[ID: A trait that says “Instant Gratification” The percentage is not shown and a lock is placed over this. Above text reads “Coming Soon”]

Well, isn’t that ironic? Also why are we doing this as patch updates. It’s MY dna. Gimme the info

(website: genomelink.io )

[ID: An image of two ethnicity estimates. One says “Central Europe” at 97.8%, and the other says “Ashkenazi Jew” at 2.2%]

Kyle from South Park vibesss~ /j

I actually don’t know how true this is. From what I can find online, Ashkenazi Jews are from eastern Europe. Other DNA results do not show a match to ethnicity in any country further east than Norway.

(website: tellmegen.com)

[ID: A map showing “ancestry composition” The only area highlighted is Europe, to which it says 100%]

fuckin’ brill, thanks. never would’ve guessed. /s

(website: tellmegen.com)

[ID: an image showing a pie chart and a graphic that states “DNA Saga: Your past comes alive.” The pie chart shows the following ethnicities from most to least: Celtic Dobunni, Celts, Celtic Britons, Franks, Gaels, Anglo Saxons, Vandals, Visigoths, and a few additional small percentages that are unlabeled]

Ah, this one might be my favorite!!! Celtic roots from Irishmen who moved to England. I’m finally vilified.

(Website: mytrueancestry.com )

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ldhphotography · 1 year

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This is a continuation of my 30 day challenge. I took these over the weekend and early this week. The first two were shot in Auckland City on a brightly lit day which gave me the opportunity to play round with contrast, with regard to shadow and light. I wanted to see what I could do with people without their identity necessarily being revealed. The first shot was a play with the idea of transport as I captured the man walking with his bike and then the scooter just happened to be conveniently parked right next to him which allowed me to get this shot. The second one I wanted to get the man right in the centre of the shot and for the little pop of red to create some interest in the image. The image would have had a better composition had that person not been walking directly under the sign but that's the art of street photography. You can't really plan it or control it and the moment could be gone in an instant.

The third shot is of a little cat who always comes and visits at my place. I have no idea where it lives, but it seems to love that little spot in the shade so I felt it deserved a feature. For this image I played around with editing the exposure levels as I was having a bit of trouble capturing the shadow and the brightly lit spot. The brightly lit spot was heavily overexposed, while the shadowy areas of the image came out darker then I would have liked. That is something I want to understand more with my day time photography. Balancing exposure levels in a photo that has both shadowy and brightly lit elements. The final image was shot in the city as well before I went to work and I just liked this guy's vibe. Lapping up the sun, relaxing. I also liked the little pops of colour, from his pink top to the pink can on the table.

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inapat16 · 1 year

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On the importance of photography in Carol (Todd Haynes, 2015)

"I see her the same instant she sees me, and instantly, I love her. But instantly I am terrified because I know she knows I am terrified and that I love her." – Patricia Highsmith, The Price of Salt, 1952.

André Gardies in Le récit filmique, 1993 explains : “Cinematic narrative thus, is not a narrative put into sounds and images, but images and sounds combined in such a way to create a narrative.” The second part of the sentence gives light to the aesthetics of the movie. It is true that the dialogues are few in the film. One could say that there is a lack of verbal communication between the two women, maybe because the most important things cannot be said at loud in this mid fifties society which violates their right to freedom of speech and love. To this impossibility, Haynes imposes a cinematography, a mise-en-scène and a soundtrack which are even more expressive than the dialogues.

About Edward Lachman’s photography

Haynes knew how to get people of talent on his side for this project. Among them, Edward Lachman, skilled director of photography. From the beginning till the end of the movie a particular attention is given to the image. Lachman and his crew did a specific use of the imagery to enter the interior story of the period and the characters. They created a very subjective-like imagery to document the amorous mind of the characters but also to recreate the mood of the era in which the movie takes place.

Shot in 16mm, the image is composed of grainy layers which give an anthropomorphic quality to the image. So doing, it gives the feeling that there is something living underneath the film, underneath the character façade. It gives a certain emotionality to the image. The cinematographer works as an archaeologist of feelings. The layers thus created give an overlap of emotions, contained in the heart of the image, in its essence.

This layering notion is also contained in the framing. Inspired by the photographer Saul Leiter with his layered compositions, Ed Lachman makes us look at their world through windows, moisture and foggy, mirrors, frames and occluded images, which are endlessly gorgeous and potentially symbolic. All of this to reinforce the emotions in which the characters are trapped, as a testimony of their psychological positions.

This importance of photography can also be seen through Therese’s character. She starts with photography as she starts to find her place in a world which claims her body and sexuality before she has grown comfortable with them herself. Through her photographs we follow her emotional development. Vivian Maier was a reference for the cinematographer to build Therese’s character. Maier explored herself through her photography, much of her work was portraying herself through reflections, shadows, mirrors. This inspiration from Maier’s work, works towards Therese’s character, because she is a novice photographer as her life is opening up to the realisation of what she wants. Falling in love and trying to capture her lover’s essence makes her able to see outside of herself. Maier’s work was a great metaphor for Therese’s emotions, being more open as she embraces Carol.

Léonie Pessey-M

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jonathankatwhatever · 1 year

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16 Jan 2023. I have a lot to come out as I near see deeper into me and that inverts into seeing deeper into the image I have constructed of you, which inverts into better math understanding, which inverts into accepting that I may be correct about me, which inverts into accepting that I may be correct about you, which again generates math, which is a loop and there is a flux about it, and both alternation and oscillation, which I think clarifies wavelength and frequency a bit in my head. I said I had a lot to come out.

So, if we construct a loop like this, then we have an Observer ‘above’ the bT, assuming we treat you, me and the math as Ends, so there’s an Observer at each, with a Counter dividing the other Ends. That is the process of inversion, even to the drawings from yesterday where the fD and HG come together, literally defining a complete grid square with szK alternating existences with fD and HG which are xyK only. I stumble slightly at fD and HG, because there is a difference: the HG focus is the Ends on the 1Segments which draw through the fD along the xK. I’m never sure whether to note that the use of xK here is either meant to be non-selective or selective in the sense that xK represents count versus ordinal count, meaning the basic tick of existence not the count of whatever exists, which is then yK.

What if we draw through yK instead of xK? I’m sure we’ve done this but I don’t remember the image. Let’s see ifg I can visualize. Oh, this is just the overlapping Irreducibles making the intersection. So if we slide together the transverse qualities, we get an oh my goodness moment: is this where the gs(m) layer comes from? When I draw this for the millionth time, I see that we make an orthogonal of 1Segments crossing at their midpoints, and that makes me think gs(m). If that’s the ordinal, then my head may explode because that’s exactly what’s needed and what fits. How does the ordinal appear? Through the transverse or orthogonal reading of fD intersection, meaning one fD in xK and one in yK, as opposed to 2 in xK (which again, to be complete, can be the same as yK if you strip away ordinality). Can you strip it away? If you can flip the drawings any way you want, sure, so what we’re saying is that ordinality is a consequence of holding the orientation. That then consists of these 2 views and, yep, I need a mop to clean up the brains.

This is so perfect I have trouble controlling my fingers on the keys. It’s been in front of me the whole time. Interesting thing is the connection in the inverting loop I’m was exactly the concept of controlling, as in what you were doing is scheming, working, taking in the meaning of the Metaphoric Bundle you’d received and that you had been receiving all along. So I took that idea and said that is the solution which best fits me, which best fits my image of you as it fits to me, and that went through another flip or two and became one of the simplest and most profound ideas yet, that the reading, the composition, the Regularization of these basic forms generates counting’s forms. That is, when we construct Triangular forms and read them so they compose into meanings, that occurs because we count them in Irreducible form. That Irreducible form here is reading on xK for both fD (which necessarily invokes an HG), or reading one on xK and the other on yK, so the Irreducibles themselves make a form together. That form is gs(m) for the obvious reason that it is where the Bip is, where the midpoints of the dividing 1Segments meet.

Note for later: I just saw an angle vision of a Bip appearing only for an instant, meaning it lined up to look like the Bip, which it is but only for that angle. This is like glitter catching your eye.

I get hung up on the weird overlaps in the drawing, but I also realize that this intersection repeats at the same scale at the Ends of each 1Segment, so the enclosed space is always as needed. It means there are always 4 Ends not in that ‘intersection space’, to use a temporary name, 2 in each view, meaning 2 in xK and/or 2 in yK.

Now, to fill out more about the drawing, why is this gs(m)? Why isn’t it gs(n)? The other reading, the one on xK, makes a full grid square then an xK, etc. So, doesn’t that mean you can alter the count and content by changing how these read, like more is more counts of what matches how you’re counting reading in yK to fit to xK so that fits to the xyK, which is held in place or shifted by the full gs existence.

Need a quick break. Want to finish this but the idea slips by.

——-

Whew! I forgot for a few minutes that the yK reading is also the same as the xK reading, so it makes full grid squares too. That enables conveying information.

I want to get to this before I lose it again. The idea is that lining up across generates an Extent across the pairing, and that Extent has Ends of course, but it also has the Informational Limit across. So Ideal Limit at the Ends, Informational Limit across. The more the Ends develop a shared understanding, the more the information shared across develops. But I want to get at oscillation and alternation. As in, when you oscillate, you reach those pairing places where the alternation occurs over an Extent. That means we take the Leibniz series conception, put it into grid squares, and we have a mechanism by which it can alternate over any count. That is, the 0Space abstracts or counts so a 1Segment can link across. That connects a host of the mechanical linkages described recently.

This includes the idea of rationalizing, of ordering in some manner, over the 1-0Segment.

And the linkage of the midpoints through inversion, which is the drawings from yesterday.

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