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bethanythebogwitch · 1 year ago

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It's too bad Halloween was yesterday because I would have done a Wet Beast Wednesday on something creepy, like the tongue-biting isopod. It's not though, so so I'm dipping my toes into echinoderm science and talking about crinoids. While crinoids are the least famous echinoderms, being overshadowed by their relatives the starfish, sea urchins, and sea cucumbers, they are extremely well-represented in the fossil record. We know of far more extinct crinoid species than living ones.

(imag id: a crinoid attached to a rock. It is a long, slender stalk with multiple threadlike protrusions emerging from it. At the top is a crown that looks like a flower composed of feathery appendages. It is while all over)

As with all echinoderms, crinoids are bilaterally symmetrical as larvae for become radially symmetrical while adults. It is hypothesized that the ancestor of all echinoderms was a bilaterally symmetrical animal that evolved to become radially symmetrical as adults. This places echinoderms in the same clade as all other bilaterally symmetrical animals, including mollusks, arthropods, most worms, and all vertebrates. You are more closely related to a starfish than a starfish is to a jellyfish. Crinoids are one of those animals like anemones that look more like flowers than animals, which is why they're also called sea lilies. A typical juvenile crinoid consists of a stalk with a holdfast on one end and crown on the other. The stalk is segmented and made of porous calcified material called ossicles, which are attached to each other by discs. This is the part of a crinoid that fossilizes most easily and a great many crinoid fossils are only known from their stems. The holdfast is a root-like structure that attaches the crinoid to a substrate. Crinoids that attach to a hard surface have a branching holdfast to grip on while crinoids that attach to sediment have a thick, stalk-like holdfast that penetrates into the substrate like a tree's taproot. The crown is the part that looks like a flower and consists of two parts: the theca/calyx/arboral cup and the rays. The theca is shaped like a cup and has a mouth in the center. The mouth connects to a simple u-shaped gut that leads to an anus near the mouth. The rays are analogous to the arms of a starfish. All echinoderms have 5 symmetrical body segments and crinoids have five rays, though they usually branch after emerging from the theca, resulting in up to a few hundred total rays. The rays are segmented like the stalk and can curl up. Crinoids will curl up their arms and pull them in to protect them. The rays are used in feeding. Crinoids are passive suspension feeders that wait for plankton and organic particles to be carried into the rays by the current. Each ray is covered by flexible appendages called pinnules that give the rays a feathery appearance. Each pinnule is covered by tube feet that are coated in sticky mucus. When a food particle hits the tube feet, they grab on and transfer it to the center of the ray, which contains a canal called the ambulacral groove. The groove is filled with cilia that carry the food particle down to the mouth. All crinoids take this form during their juvenile phase, but only a few modern species retain it for their entire lives. Most modern species will shift into an adult form where the stalk falls off and the theca becomes free-swimming. These are often called feather stars. Both stalked crinoids and feather stars can use their rays to pull themselves along the substrate, but feather stars can also wave their rays around to swim. Swimming allows feather stars to more readily avoid danger and become more active in their attempts to catch food.

(image: a diagram of crinoid anatomy. source)

(gif id: a feather star swimming. It looks like a bunch of black-and-white striped feathers attached to a central disc. The arms are undulating, propelling the feather star through the water)

Crinoids are dioecious, meaning individuals are either male or female. In most species, the gonads are in the pinnules closest to the theca. The gonads actually swell up and cause the pinnules to burst and release the gametes. Different species have different strategies. In some, both sperm and eggs will be released into the water column. In others, only the males broadcast sperm which the females use to fertilize their eggs. The eggs are withheld by the mother, either by gluing them to her arms or incubated in sacs on the arms. The larvae, called vitellaria, are free-swimming and bilaterally symmetrical. They will swim for a few days before dropping to the substrate and attaching. They then metamorphose into juveniles.

(image: a diagram showing a crinoid progressing through multiple developmental stages from fertilized egg to larva. source)

The fossil history of crinoids dates back to the Ordovician period (485-444 million years ago), the period between the Cambrian and Silurian. While echinoderms and even stalked echinoderms existed during the Cambrian, the oldest definitive crinoid fossils are Ordovician and it's unclear which extinct group that crinoids evolved from. For over two hundred million years, crinoids were extremely diverse and were dominant sessile filter feeders, beating out anemones and corals. The mass extinction at the end of the Permian dealt a major blow to crinoids that they never recovered from, causing them to lose their dominance and become much less morphologically diverse. The Permian mass extinction is a fascinating period of history as it was the single greatest mass extinction in the history of Earth. The early Triassic saw a mass adaptation to more flexible and motile body plans in response to increased predation. It's not clear when feather stars entered the picture, though they may have come about due to predation in the Triassic. Some extinct crinoids had different survival strategies than modern ones. The genus Pentacrinites attached themselves to driftwood and floated through the open ocean. They would have been like floating islands of diversity moving through the oceans with lots of other animals following for food and shelter. A fact that gets passed around a lot is that the largest fossil crinoid ever found (Taxocrinus saratogensis) was 40 meters (130 ft) long. That isn't true and seems to stem from a misprint. It was actually 40 ft (12.2 m) long, which is still fucking enormous. Crinoids today don't get anywhere near as large as extinct ones could. Fossil crinoids measuring many meters in stem length are well documented while ones alive today never even reach a meter long. Crinoid fossils are extremely common and can be used to provide relative dates to nearby fossils. In some places, enough crinoid parts fossilized near each other that they became clustered together in sedimentary rocks called encrinites.

(image id: a fossil imprint of many crinoids attached to a piece of driftwood. The imprints ore in a flat, tan rock. The driftwood imprint looks like a long, dark blob. The crinoids have long, curved, and overlapping stems and fan-like crowns at the top. Fossil found at the Houston Museum of Natural Science)

#wet beast wednesday #crinoid #sea lily #feather star #echinoderm #paleontology #marine biology #biology #zoology #ecology #invertebrate

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mossiestpiglet · 3 months ago

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If I am being poetic about it, I would explain the appeal of Grima as that he is cordyceps fungus, an infection that may go unnoticed until the changes to the host and its behavior are fatal, something persistent and sinister and expending so much effort to grow himself. But he is also the ant, just a puppet to another being (Saruman, the fungus) with its own plan and goals, and he is just there to be consumed himself. He gave so much of himself to a being that sees him as essentially substrate.

If I am being less poetic about it: i neeeeed to bite him i need it so bad i need it like a ratting dog needs to shake a rat to death i want his spine in my mouth til he splits open bloody and cant even whine anymore i want to slobber all over that coat i want to push him down the stairs i want to blow dry him and then put him through a car wash thirteen times just roll him through it i need him need to destroy him it is one thing one desire why is he like that why is he so pretty and also a dead fucking possom

#grima wormtongue #lotr #cleaned up those tags a smidge but im glad i get to save the way he makes me feral #he activates the dog in me #ecdysing

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prince-liest · 2 months ago

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Two new plants for THE BOG! Left is Sarracenia purpurea spp. venosa which will turn an awesome red in the sun, and the right is another venus flytrap—specifically the B-52 cultivar (named by coincidence) that produces exceptionally large traps. Very excited to see both of them flourish.

California Carnivores was also kind enough to add a whole little container of Utricularia (Bladderwort) to my order for free when I messaged them asking after it, and I've added a bunch to the bog and some to my indoor sundew container as well. Bladderworts are very neat carnivorous plants that have tiny underground bubble bladders that vacuum up small organisms that trigger their traps! They also frequently flower and make for a very cute field of tiny orchid-esque blooms. I'm hoping to grow a bunch to carpet my bog.

Lastly, the beginning of a small indoor Pinguicula (or Butterwort) garden! These are also sticky carnivorous plants, and they produce very cute flowers on tall stalks. I think pings are really cute, and I'm hoping these do well on my windowsill. I'm going to try to get the substrate coated in moss, as well as add some hardscape decorations later. If I get them in enough light, the biggest one should turn purple! Some of these also turn into succulents in wintertime.

#personal #plantblogging #carnivorous plants #pings #pinguicula #utricularia #bladderwort #butterwort #sarracenia #venus fly trap #gardening

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materialsscienceandengineering · 2 months ago

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Aligned array of nanotubes

Processing Chemical vapour deposition onto a quartz substrate, using a fine solution of ferrocene dissolved in toluene Applications Such architectures may be of interest as nanocomposites for use in nanodevices. More generally, carbon nanotubes may be used for hydrogen storage or for fuel cell applications Sample preparation The specimen has been sputter-coated with gold to avoid charging in the SEM Technique Scanning electron microscopy (SEM) Length bar 25 μm Further information Chemical vapour deposition (CVD) allows the synthesis of high purity nanotubes of controlled length and diameter. The nanotubes in this specimen were deposited on quartz using ferrocene dissolved in toluene. They are approximately 40 nm in diameter and 60 microns long. Contributor C Singh Organisation Department of Materials Science and Metallurgy, University of Cambridge

Source.

#Materials Science #Science #Scanning electron microscopy #Chemical vapor deposition #Carbon nanotubes #Nanotechnology #Carbon #Nanotubes #Magnified view #DoITPoMS #University of Cambridge

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poppy-does-science · 3 months ago

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The Hubble Space Telescope is Made Out Of Glass

But wait, Hubble is a reflecting, or Cassegrain telescope...

To not hold you in suspense, I will reveal that the glass is not intended to be seen through, and is coated with aluminium to provide the reflectivity. But then why use glass at all?

A mirror blank is initial material from which the telescope mirror is made, or the curved substrate that is often thinly coated with another material. In space telescopes, a commonly used material is ULE, or ultra-low expansion glass, which is what Hubble's primary and secondary mirrors are made out of. The curvature of this mirror is incredibly important, and just a tiny deviation can lead to the telescope being out of focus (as Hubble is familiar with). One possible cause of this is thermal expansion/contraction due to the change in temperatures when a telescope is launched into space.

Enter ULE. ULE has a very low coefficient of thermal expansion (CTE), meaning it doesn't expand or contract much when exposed to a range of temperatures. Along with being fairly strong and light, CTE one of the main reasons why Hubble's mirror is made out of glass.

Newer materials, such as Zerodur, have even smaller CTEs, and can even be tailored to be extremely stable in certain temperature ranges.

Pretty cool, huh.

#astronomy #science #telescopes #space telescopes #Hubble #hubble space telescope #astrophysics #space #nasa #interesting #clever

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nightbunnysong · 3 months ago

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What I studied today!

08.08.2024

A deep dive into the vegetation of sedimentary coasts

1. Submerged Marine Systems: These systems are characterized by aquatic, halophytic vegetation, such as submerged meadows. Plants in these systems, like Posidonia oceanica and Zostera spp., have adaptations for submersion, including:

Narrow, Elongated Leaves: These leaves reduce hydrodynamic drag and flex with water movements, minimizing mechanical stress.

Absence of Protective Coatings: Lacking a waxy cuticle or other protective tissues, these plants absorb nutrients and oxygen directly from the water.

2. Halophytic Systems: Found in lagoonal zones, these systems feature herbaceous vegetation adapted to soft, saline, and waterlogged substrates. Examples include Spartina and Salicornia species, which are adapted to high salinity and saturated conditions.

3. Psammophytic Systems: These systems are characterized by herbaceous vegetation on sandy beach environments. Plants in these areas, such as Cakile maritima and Ammophila arenaria, are adapted to:

Sandy, Nutrient-Poor Substrates: They thrive in low-water and nutrient conditions.

Wind Exposure: They are adapted to withstand strong winds and shifting sands.

4. Fossil Systems: These are vegetative communities found in areas once influenced by the sea but now disconnected from it, such as grasslands and forests. These systems reflect past marine influences in their geological formations but now support terrestrial vegetation.

Adaptations to Submersion in Aquatic Plants

Aquatic plants have evolved specific adaptations to survive submerged conditions:

Narrow, Elongated Leaves: Reduce hydrodynamic drag and adapt to water currents.

Absence of Protective Coatings: Lacking a waxy cuticle, facilitating direct nutrient and oxygen absorption.

Small, Petal-less Flowers: Adapted for hydrohameous pollination, utilizing water currents for pollen transfer.

Small Fruits and Seeds: Designed for hydrochory, with structures that enable efficient water-based dispersal.

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shankartechx · 1 year ago

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What is a Coating Substrate, and Who is the Best Supplier in India?

Coating Substrates are thin layers of material that are typically applied to the surface of a substrate for various purposes, such as protection, decoration, corrosion resistance and insulation. Shankar Techx provides the best Ceramic coatings all over India. For more information visit our Website.

#Ceramic coatings #Technical textiles #Coating substrates #Fibc jumbo bags manufacturer in India

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guiltreservoir · 7 months ago

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as long as there is an ocean ✧ read on ao3

the abyssal plains of tommy's subconscious are littered with the carcasses of his father's favorite adages.

no matter how valiant his attempts have been to pry them free — and despite the meticulous, delicate nature of his methods — it seems that many of the sea-skeletons have been left sitting beyond salvation, now inextricable from waterlogged sediment. they're too far-sunk to extract safely; if lucky enough not to crumple like a sheet of discarded tissue paper on the journey down, he'd explode his lungs to red mist on the way back up to the surface. it's almost easier if he imagines them this way, as broken fragments of corpses too fragile to exhume:

the fleshy tissue of a half-eaten squid — actions speak louder than words. the crushed shell of an unfortunate lobster — beggars can't be choosers. the rotting remains of a clever eel — boys who live in glass houses shouldn't throw stones. the ribcage and spine of a starved shark — do as i say, not as i do.

one saying in particular has been mummifying for longer than the others, a giant humpback frozen in a state of watery decay, embalmed in the sandy gunk of his darkest trenches — keep your shoulders straight and your head on straighter. oft punctuated with a caustic, kid.

it's pretty ironic, considering the fact that tommy kinard has nary a straight bone in his body. maybe that's why the line burrowed itself so thoroughly into the deepest, slimiest crooks of the substrate of his mind, slow-growing algae coating the slippery crevices of his hippocampus to rankle him perpetually. tommy hasn't spoken directly with his old man in years; these days he couldn't if he wanted to, or at least not without a ouija board and an uncharacteristic flair for masochism, neither of which he cares to equip himself with.

nevertheless, the phantom whale fall of his father's most-reliable phrase continues to nourish the last hungry, lonely fish left scouring the ocean floor of tommy's mind. nearly every move he makes is centered around practicality, every decision sewn together by threads of vigilance and observation.

with nearly four decades of practice and application under his belt, he's gotten good at keeping his shoulders straight, and gay as he may be, he thinks his head's on just fine, although such would be a contradictory and controversial statement upon the ears of one thomas kinard, senior. thankfully he'll never have to hear it.

tommy can live with his own amendment to the man's words because tommy knows himself and therefore knows the truth. his posture is excellent and he's a considerably level-headed guy. he can't be straight; he doesn't want to be. what he can be is pragmatic. he can be logical, he can be useful, he can be rational. he can be quite capable and, as it turns out, even likable. he can be funny, and charming, and vulnerable with the right people. he can be queer, he can be gay, he can be loved, he can love. he can become without becoming unmoored.

for thirty-some good years, tommy kinard does a bang-up job at keeps his shoulders straight and his head on just fine. he's pushing forty when he meets evan buckley and eddie diaz.

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evan buckley and eddie diaz exist as a singular entity within the confines of tommy's skull. two sides of the same coin, grumbles the detached jaw of an imaginary anglerfish.

it takes some effort to extract one from the other, but tommy finds ways. over mutual interests in muay thai, basketball, and helicopters, he and eddie become fast friends. over mutual interests in each other's inquisitive minds, curious hands, and wanting mouths, he and evan become even faster lovers.

he makes out with one of them, roughhouses with the other; it all feels the same, gets identical synapses firing. he knocks eddie to the mat, steals spit-flecked exhales off of the inches of air near his wild-grinning lips and brings them home for buck to drink down, licking them into his ravenous mouth, delivering him secrets to unwittingly swallow. he smelts himself down to the base and seeps in between them, liquid copper in the nickel sandwich of their clad coin.

it isn't until tommy's got both of them sprawled out on his couch one night, months into his increasingly complex relationships with each of them, that he truly starts to grasp how evan and eddie might exist as a singular entity outside of his skull, too.

top gun's ending credits march, sans serif ants, to the glowing edge of tommy's television screen. fuzzy, synthetic white-blue haze pours into the room and across the skin of buck and eddie's limbs and faces in a manner that makes tommy think of marble hewn painstakingly into handsome statue, of rock tumbled smooth by a patient, perpetual stream, ever-flowing towards the sea.

tommy thinks, i could be a sculptor. i could be a river.

copper in the nickel.

the two men are draped across his sectional like lions in the sun, impenitent and unabashed in the way they take up space, in the way they take up each other. buck's legs are long, stretched out along multiple cushions, his head heavy on tommy's lap. eddie, on the opposite end of the couch from tommy, started out the evening upright, but the drone of the movie — combined with tommy's easy laughter and the literal and figurative warmth pouring off of buck — had helped to coax a more relaxed posture out of him. now he slouches deep into the pillows, legs spread wide to knock up against buck's bare feet where his sweatshorts ride up his quads. tommy almost expects the point of contact between the pair of them to spark, start a blaze that would surely incinerate the three of them in spite of their résumés.

his heart's been a tinderbox for long enough that he can usually recognize flint even when it's disguised as water; the thirst that parches him convinces him it's worth attempting a sip without regard of probable risk.

he lets out a long exhale and drops a hand to card through evan's hair, half-listens to eddie babble on about how the shots of the F14 fighter jets are still so cool all these years later. he's beaming like a kid the whole time, sunshine-ray of a smile gleaming straight at buck.

tommy watches as buck can't help but smile right back, and god, if the energy radiating off of them could be harnessed for physical usage, tommy would never have a utility bill again in his life. he watches, enraptured, as buck flexes and curls his toes against the soft dark hairs of eddie's thigh, pressing dents into his skin. watches as eddie presses back.

eddie falters in his warplane musings when buck's foot skids over and catches in the edge of his shorts.

buck says, "sorry," not convincingly.

eddie clears his throat and drags his gaze from the arch of buck's foot resting against his leg up buck's calf, to his knee, to where the exposed pale of his thigh disappears behind them hem of his shorts. he takes his time wandering up the rest of buck's body, lingering especially at the relaxed curve of his dick under loose cotton fabric, the relaxed curve of his gently parted lips. finally he meets buck's answering stare and blinks, languid, like he's searing something into his memory, buck-shaped sunspots in his retinas. he says, "no big deal," not convincingly.

before tommy's eyes, water transmutes into flint and back into water and over again, metamorphosing in a churning lazy whirl. it dizzies him, blurring his vision until there is no difference between the two; there's just a murky charcoal pool, molten obsidian shimmering like glass, rippling like the surface of an ocean less haunted than the one sloshing in his cerebrum.

an ocean glinting with the reflection of two incandescent stars careening towards each other at a devastating rate, a spectacle to behold.

relaxing his shoulders, tommy orders them to, "kiss," more certain than ever. when they hesitate, he adds, "each other," bracing himself for the likelihood of a stellar collision.

when eddie clambers on top of buck and leans down to crush their lips together, pushing his head down against tommy's thighs, pushing tommy out of his own, it feels more like the calm soar and twinkling glitter of a shooting star against the navy velvet sky, the soft crash of a wave against the edge of a silky coast.

there's no threat of unkind flame, no exploding celestial dust.

it feels like water.

tommy kneels at the sacred place where the luminous sea laps at the heavenly shoreline and drinks, and drinks, and drinks.

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drinks become shots become wandering hands in the generous backseat of a stranger's car, an obvious cocktail to use as a scapegoat for the hammering beneath tommy's breastbone. the depths of his mind bubble up with, trust your gut, not your heart.

he has mixed feelings about that one, but at present he's not sure he can trust any singular part of his corporeal form, so at least it half-applies.

hearts and guts aside, tommy is starkly aware that things between buck and eddie may be escalating a bit beyond his feasible reach. he'd come into the evening equipped with the knowledge that he's successfully constructed his own internal witch's cottage of cake shingles and sugared windowpanes in this questionable "date" night between the three of them, however mutually agreed upon the night may be. he's self-aware enough to understand that he's destined to walk himself straight back into it, naïve as hansel and gretel without the excuse of not knowing better.

he just hadn't realized how famished he's become, and how tempting his own makings would look.

with buck seated comfortably between himself and eddie, tommy has no real access to eddie outside of the smush of knuckles-on-upper-arm from the hand he's got slung around buck's shoulder. as per usual the concept of space does not seem to exist between the other men, and tommy's fingertips get wedged so tightly between their limbs that it feels like with just a little more effort, maybe they could do some damage. the sick, private, bourbon-drenched gutters of his mind surmise that maybe he'd let them.

he watches as they exchange a heated look and a hotter liplock, uncertain as to whether he'll ever get used to witnessing them like this. in the weeks following the fated night of their little home movie screening, tommy's been lucky enough to encourage and initiate several more exchanges of both kisses and conversation among the three of them.

"i... still want to be with you," evan had mumbled against his chest, as they laid in bed together the morning after their tag-team makeouts with eddie to the soundtrack of top gun's menu screen music on a muffled loop.

"i had hoped," was tommy's response. after a beat, "and eddie?"

buck had peered up at tommy, eyes so earnest and open and stupidly fucking blue. "yeah, yes, eddie," he'd said, almost apologetic. "i— i do want to be with eddie," like he had to.

"i know," tommy had told him, the organs in his abdomen heaving tumultuously. "it's okay, evan," he'd said, his heart a hummingbird fluttering frantic. like the idea wasn't sending his ribcage collapsing in on itself, he'd even managed, "i can leave whenever you're ready for me to go." he'd assumed all along that he was on borrowed time; couldn't be a beggar and a chooser.

buck, with love bursting forth from every single inch of his being, with more than enough to go around, had admitted to wanting tommy to stay, if tommy would be okay with it. he pitched the idea that they could talk to eddie, try this together, give it an honest shot.

tommy had flashed back to a childhood history lesson on the u.s. mint where he learned that certain coins aren't made in layers, but instead by melting all of the metals together to become a solitary slab. his copper edges fuse further into mirroring ponds of nickel.

three sides of the same coin, he'd thought to himself. imagine that.

"god, eddie," buck rasps now, voice low, clandestine enough to stay in the backseat. "want you so fuckin' bad."

eddie's answering, "jesus, buck, i— want you, too," honest and shameless, snaps tommy fully back into the present moment in perfect timing.

their rideshare driver whips into the driveway of tommy's house, personified stress wearing a thin windbreaker of customer service as he vocally ushers them out of the car — ahem, looks like we're here, have a pleasant rest of your evening, goodbye. as eddie and buck tumble out of the passenger's side rear door in a picture of resolute gracelessness, tommy, clutching stubbornly onto an ounce of awareness, pauses to give a rearview-mirror nod of thanks to the weary-eyed dude white-knuckling the steering wheel. he promises a significant gratuity for bearing with their shenanigans and lets himself out on the driver's side of the car.

while he steadies himself on his feet, gravel crackles under the wheels of the gratefully retreating sedan, headlight beams fading to shadow. tommy observes the silhouette of the inelegant, eight-limbed, two-headed harbinger-creature making its way to his home's front entrance in a clumsy tangle and waits for his innards to spike with fear, with reluctance. he meanders up the drive and overturns every stone lining the path to his warranted doom, expecting to find the tattered shreds of his decomposing clarity, or maybe a colony of vicious fire ants. all he finds is fertile, loamy earth, rife with potential.

he stumbles up his porch stairs and unlocks the door when he gets there, opening it for the lot of them to fall through together.

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together on tommy's mattress, buck and eddie writhe and moan and curse. they haven't been able to break apart since toppling out of the backseat. they kiss like it's the very thing keeping them alive.

from where he's snuggled up to buck's back, tommy's got a front row seat for the premiere screening of his most-likely demise. he can see the saliva bubblling on the edges of eddie's tongue as he smears it from buck's throat all the way to the cap of his shoulder, a glistening snail trail scattered through with blooming bruises he'd sucked into buck's skin minutes before. he can hear every wet catch of buck's breath in his throat, every soft grunt eddie lets out into against it, every exhale shared between them.

tommy's head spins, so god damn far from being on straight. he feels like a balloon released into the wind, miles above the cold and familiar waters of his deep-ocean, stranded somewhere in the high desert of his psyche. loose dry earth kicks up in a vortex around him, carried by the tempest of his culminating untended emotions. when the dust cloud settles enough for him to think, he recalls the term raison d'être.

it's french, that's why it sounds fancy, is what his father had said to teenage tommy, long before he'd cared to even attempt a grasp on the concept. he'd been moody, hormonal, and wildly, spitefully uninterested in all of the things the man he shared a name with held so dear. rolled his eyes at the gruff, translates to 'reason for being.'

"buck, buck, c'mon," is what eddie says as he scrabbles for a good grip on buck's shirt, taking fistfuls of fabric and wrenching it over buck's head in a frenzy. says, "come here," like buck isn't already melded into him, bare torsos flush, thighs slotted close. says, "come here," again, and it registers that eddie is calling for tommy, too.

tommy eyes snap onto eddie's across the naked curve of buck's shoulder to find them scalding. "fuck," he breathes out, "okay," like it's permission enough for all of them.

for now, it will suffice.

the skin stretched over buck's bulky trap muscle is tacky with eddie's spit when tommy sets his mouth against it, bursting salty-bitter on his tastebuds. buck whimpers into eddie's mouth and grinds his ass back against tommy's crotch; eddie's hips follow after them in a sinuous roll. into the blushing hollow of his ear tommy asks buck if he'd like to feel eddie inside of him, makes sure it's just loud enough for eddie to hear, too. he feels eddie's ankle hook around his own, overlapped with buck's.

"please, yes," urges buck, fervent and wanton, lust and liquor fraying the last threads of his hesitancy. "i've been wanting that."

"you have?" eddie asks, as tommy says, "he has."

"god." context aside, eddie's tone is reverent. he says it again, as though the word is synonymous with buck's name. then, like it's still a secret to himself, admits, "i've been wanting you, too."

buck groans and shifts, or maybe it's eddie — as tommy's faculties render off in the burn of both the top-shelf whiskey in his bloodstream and buck and eddie's immediate intimacy, it becomes progressively more challenging for him to distinguish the fine details. it all feels the same, gets identical synapses firing.

he tracks eddie's movements as he smooths a hand down buck's side, sure and attentive, as natural as breathing. when he keeps moving south to bump his fingertips up against the waistband of buck's jeans and the boxers beneath, buck's breath hitches, hips jerking. tommy tilts against them in pursuit.

eddie asks, "can i?" and it's double the approval he's seeking.

"yeah, eddie, please," buck begs again while tommy nods, delirious with overwhelm.

in an uncoordinated jumble, eddie gets buck flat on his back and makes himself a home between his open-lolling legs. right away his palms return to the broad planes of buck's chest, the curves of his strong stomach, the slight slants of his hips. he makes constellations out of kisses on buck's collarbone, his nipples, in the divot of his sternum.

it looks as close to worship as anything tommy's seen.

tommy wonders if it's worth telling eddie how he'd taken his time working evan open that morning, fucking him deep and thorough so he'd be easier for eddie to push inside of now. if it's worth telling eddie how he'd come, sudden and hard and so fucking good, from thinking about buck taking him so readily.

when eddie's devout, trembling fingers struggle to unclasp the button of buck's jeans, tommy decides to backburner the dirty talk. instead, he rests a hand on top of eddie's, gentle yet authoritative, and says, "let me help."

buck's hips lift for tommy's hands without second thought, making it simple to shuck the pants off of him as eddie shimmies out of his own. before he can even process the sight of evan buckley and eddie diaz naked, together, on his own mattress, tommy's met with twinning expectant gazes and understands that he's meant to strip, too.

"i—" thought i would stay on the sidelines, he tries to say. but as seconds pass under the scrutiny of the other men, the reluctance dies in his larynx, and he jostles around a bit until the denim of his pants is bunched down low enough to free his dick.

he's too preoccupied by the fact that he's got both objects of his affection directly in front of him, touching and loving on each other and spilling all of it onto him, to truly comprehend the magnitude of the moment. his head is so far into the atmosphere that he almost misses eddie say, "tell me what to do, tommy."

re-tethered to the earth by the string of eddie's voice, tommy doesn't miss buck's impatient, "aw, c'mon, eddie, just get in me." his desperate, "need you," is clear as day, clear as his afternoon sky irises, brighter against the rosy blush ruddying his cheekbones. he's always so damn pretty when he pleads.

tommy glimpses down at buck's dick, finds it stiff and pink and already leaking a mess onto his belly; he flicks across to the heft of eddie's where it rests heavy in the lax grip of his own hand. it's a beautiful cock, flushed dark and filled out, not quite as thick as tommy's but a nice, proportionate size. tommy knows buck will unfurl for him at once, a blossom to the morning sun.

meeting the bonfire of eddie's anticipative stare, tommy decides to say, "it won't take much, i got him ready for you this morning. right, baby?"

if buck could nod any more vigorously, he might snap his vertebrae. he adjusts the angle of his hips a little to make more of his ass visible, scoots onto a pillow so that he can prop himself up enough to get a better hold on eddie's waist.

"jeeesus," drawls eddie — a rare slip of his honeyed-rye texas lilt — and then, like he can't help it, "christ." his eyes rake down buck's body, idling on his twitching dick before trailing further, like he'll be able to find evidence: tommy was here.

that makes tommy smirk. he wishes he could keep his instructions ambiguous, left up for eddie's interpretation, something like he can handle whatever you're willing to give him. instead, mindful of the fact that this is largely uncharted territory for eddie, he suggests, "start with your fingers, you won't hurt him."

tommy's trusty bottle of nightstand lube is within convenient reach, making it no trouble to squeeze and slather some across eddie's fingers with a lewd jerk. a bit of extra coats the side of tommy's hand and he uses it to rub along the cleft of buck's ass, prompting a shiver out of him.

"there you go," tommy rumbles, "nice and wet."

the synchronous broken moan that the two let out when eddie finally finds the courage to nudge his fingers into buck is one that will most likely play like a broken-record loop within the walls of tommy's skull forever from this moment forward, for better or for worse.

buck promises, "i can take more," with the bleeding edge of a prayer still present in his tone. "i want more, want you, eddie, come on. it's alright, you can fuck me, you're not gonna break me."

eddie asks, "are you sure?" dually directed.

"never been more sure," buck affirms, as tommy says, "trust him, he knows his own limits," all the while knowing he can't make the same claim about himself.

regardless, he casts himself into the riptide, plummets into the undertow and captures buck's lips in a greedy kiss. he licks behind buck's teeth and drinks up his whines as eddie rides his dick along the slick valley of buck's asscheeks. before he even pushes inside, buck's making these fucking tiny wounded noises that make tommy's heart swell and cock throb.

when eddie lines up and sinks, at last, into the place inside of buck that tommy has come to learn and know and adore, buck breaks away from tommy's kiss with something close to a genuine sob. one of his hands finds one of tommy's, the other still firm on eddie's waist, keeping both of them close. he's got a leg hitched up over one of eddie's hips for better leverage, and his toes curl when eddie starts to move, shallow and slow.

eddie's name has never sounded better to tommy's ears than it does falling out of buck's lips now.

"buck." eddie's tone is reverent. he says it again, as though buck's name is synonymous with god, the two a singular entity within the confines of his skull.

tommy nearly has to look away from them, they blaze so brightly. evan buckley and eddie diaz, starfire contained in terrestrial form, crashing and combining and dazzlingly white-hot.

───────────────

white-hot aftershocks zap through tommy's nervous system as he sits at the edge of the mattress, back turned to the two other men. his fingers are gooey with spatters of buck's come mixed with his own, his softening dick sensitive and sticky as his entire body pulses from the dopamine spike of his orgasm. being a spectator to eddie and buck's otherworldly connection — and a helping hand in their ridiculously hot, intimate sex — has him feeling triply unmoored.

he's supposed to be getting them something hydrating to drink; he'd been the one to offer after eventually peeling himself free from the gordian knot of their bodies. evan always gets thirsty after, in particular when he gets a little teary from the pleasure overload, so tommy figures he could use a glass of cold water. they all could.

he tries to will his legs to stand; he finds his knees locked. impulse turns him inward and sweeps him cliffside on the tallest peak of his high desert mountain range. there, he can stand with his shoulders in repose and head in the clouds, squinting far into the distance where he can decipher the unmistakable expanse of an ocean that glints with the reflection of two incandescent stars careening towards each other at a devastating rate. a ghostly whale breaches the surface for a flash, a mere speck on the horizon from here, vanished before its presence totally registers.

his heavy eyelids flutter shut and he mulls, achingly, over the term raison d'être.

he can hear buck and eddie behind him exchanging lazy, smacking kisses and sweet murmured praises.

"you made that so good for me, thank you."

"mm, you were pretty fuckin' good yourself. now come kiss me some more."

the sounds and sentiments soak into tommy's soul like they're meant for him. his lips tingle as though the press of another mouth is against them; his ears warm as eddie waxes on about how fucking glorious that all felt. his heart swoops at evan's quiet, bashful laugh.

upon opening his eyes the fog in his line of sight clears, and even through a blur of unwanted tears he can clearly recognize that he is no longer in the desert but in the sacred place where the luminous sea laps at the heavenly shoreline. the call of the waves isn't far off at all — the surf is actually rippling at his toes, splashing at his knees and calves. he's been here since the night that eddie diaz kissed evan buckley in his lap, feet sunken into silt, warm tides rising and falling around him.

translates to 'reason for being.'

"come back to us, tommy," summons eddie, as evan's hands reach out and welcome him back down to their mess of rumpled sheets and sweaty limbs.

tommy thinks, i could be a river, and lets himself melt into the embrace of their current, stream into ocean, copper into nickel.

#bucktommy #buddie #bummie #this is so fucking extra. lmao #i was in my emo poetry feelings while writing okay #healing something in my teenage soul #i don't actually imagine them being quite *this* dramatic and complicated in actuality but god. is it a joy to write lmao #but i think it still has a happy(?) ending?? lmfao #idk. i just love writing messy + melodramatic + emotionally claustrophobic things #threw a whole kitchen sink of comparisons at the walls of this one and for better or worse many of them stuck ¯\_(ツ)_/¯#also this does feature some of my more unkind headcanons about tommy's father and related issues lmao #the gc is the originator/authority of the fact that our beloved tommy is not the first in a line of tommy kinards #and i personally believe that tommy had/has a contentious and complicated relationship with his family - namely his dad #and that he may or may not have a relationship with him at all anymore (obviously not in this fic because i decided to be over-the-top af)#but yeah #anyway #mine #oh and just a heads up - ao3 has proper capitalization and tags

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honoura · 2 years ago

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disclaimer: this spawned off a twitter thread i made a while back, which itself came from something i’d noticed time and again within the xiv community: the idea that photography isn’t possible there. i’ve seen this a few times, and ultimately what i felt to be the truer statement is that digital photography as we know it in our phones, no. that is not a very accessible thing. most eorzeans aren’t getting a garland ironworks tomephone.

but that doesn’t mean they aren’t taking pictures.

A Case for Eorzean Photography

In the case of our modern world, the art of capturing an image onto paper directly from life dates back to the 1820s. It was called heliography. A wikipedia article on it can be found here. Heliography came about because its inventor wished for an efficient way to reproduce lithographs, engravings, and relief prints, three different illustration styles that had existed by now for varying lengths of time, but all still in use and being the choice method for adding images to text. I’m going to give a short bit of information on each style, because they are also very likely quite prevalent.

Woodcut (Relief)

Woodcut is as its name implies -- you carve your image into a block of wood, coat the raised portions with ink, and then use it in the press. Accessible to learn, accessible to do, if you want rp flavor there’s likely illustrators in every city-state employing this for the newspapers or illustrated editions of books.

Intaglio (Engraving)

Intaglio is my favorite printmaking method for illustrations, and probably also my favorite for FF14 because it involves playing with chemicals! Let’s get the alchemist roleplayers we know something cool to do. Anyway, with intaglio you’re using acid to burn an image into a metal plate, and the deeper the etchings the darker the shadows. Great for values, great for depth, and have I mentioned you’re just being a little scientist and an artist at the same time?

Lithography

Lithography is the one you’ve seen the most, even if you aren’t 100% sure how it works. It became very popular in the late 19th and early 20th century -- if you’ve ever gawked at vintage illustrations by Mucha or Leyendecker, those are lithographs! Some of the big plates used for them are just big rocks! Miners could 100% mine up limestone slabs for this.

Anyway, back to photographs. After heliographs cracked the capture nut suddenly everyone was getting in on it. People were mixing all kinds of chemicals to capture the world as it was at a moment onto a plate of glass (or others! they liked silver too).

Physautotypes used lavender oil as its photosensitive agent. Tree resin was also popular. Both things botanists would routinely be able to harvest and crafters able to distill. I can only imagine how it smelled to make photographs with this, I hope it was nice!

About 20 years after the earliest heliograph came daguerrotypes. Made on silver plates with a copper substrate, daguerrotypes were pricy but popular -- and they had their own special camera made rather than using a camera obscura.

Daguerrotypes were also when spirit photography came into prominence.

youtube

Ambrotypes came on the heels of daguerrotypes as a cheaper alternative made with less costly materials, and was followed by their even cheaper brethren the tintypes. Bit by bit, photographs were becoming more accessible -- not always the equipment (or the supplies), but in terms of a person or group of people having a portrait made you were starting to see that become more common.

Ambrotype above, tintype below

Let it be said also that less costly materials does not mean lower quality image -- each method had its own charm. Tintypes were sturdier than ambrotypes, but both developed quicker than daguerrotypes. Ambrotypes could also have spot colors added to them!

Albumen prints made it to paper, and until we went digital that’s where photographs stayed, on paper! And one of their key binding materials was made from eggs, beautifully common eggs.

So Where Does This Leave Eorzea?

So why did I go into this much detail, with visual examples and links to references that include their materials? Because all these materials exist already within FFXIV. Glass, plates, the types of metals used, the types of chemicals.

They’re part of crafting logs, and gathering leves, and dungeon drops. Alchemists can make these chemical components, goldsmith quests have you making lenses and other more delicate mechanisms, carpenters could easily build boxes for camera obscura (and cameras!).

Different styles of photography and different materials used for them reflect availability of the materials -- where does this character live, what are their cultural beliefs, do they travel much outside of their home region? How much money do they have?

What if using unaspected crystals creates a different effect on the plate? With the right kind of aetherial charge, don’t you think you could photograph ghosts in actuality rather than trickery? There’s a whole quest in 1.0 where an NPC sees the ghost of the city of Sil’dih -- a ghost city!

At any rate, I just think it’s neat to look at what materials exist in this game, and how things from this world may translate to that with the understanding it will not be 21st century. We have a lot of technology that’s existed longer than we sometimes recall or acknowledge -- and it’s good material! Use that stuff! Have fun with it!

#not really lore so much as half mad rambling #this and discussions about printing have been a pet peeve for me for years #god don't get me started on banri oda talking about copy books with glamour prisms don't do it

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llort · 6 months ago

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His arm and right hand was translucent, his epidermis a thing film of which his viscera showed through. His blood was the only organ with pigment. The treatment didn't affect such entities with such high turnover physiologically. He sighed and laughed in one emotive movement resulting in a sort of awkward gestalt of paralinguistic expressiveness.

He looked in a predetermined direction, for the time being he still had the advantage of avoiding control and coercion via even more strict self imposed an coercion. In his arms the pulsing red and red-black tendrils seemed to sped up slightly.

He promised the other states that he would be transparent with his actions and intent and he didn't expect them to take it literally. He provided them with the technology and tools to dig deeper into his soul than a CT MRI scan ever could. He never really wanted to be seen and ironically being transparent has made him more elusive than ever before.

He paused for the distance, distracted by a distraction. The physical experience of staring reality directly into its masthead had seared it's cold brilliant furnace of intrusion directly into his internal cognitive substrate. Lingering malignantly, searing out serotonemia pathways that allowed for a normative life. He spent most of his life after that working towards that experience again as well as doing everything possible to self sabotage to avoid that pain once more.

Now, they know they know there is more to reality than even the most bleached of white coats and the most wise of the longest wispy beards could understand or comprehend.

The light wasn't illuminating in nature. It painted a cross directly on his forehead.

You don't see an object that a light reflects, you just see the sun and it's EM radiation refracting, giving the illusion of color and vibrancy

His arm and right hand was translucent, his epidermis a thing of film of which his viscera showed through. His blood was the only organ with pigment.

I am pretty sure they want to see me bleed

#unsignificant sentience #cybernetics #writing #psychology #mind palace

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science-sculpt · 8 months ago

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ELISA: A Powerful Tool for Detecting the Invisible

ELISA, or Enzyme-Linked Immunosorbent Assay, has become a cornerstone of medical diagnostics and biological research. This versatile technique allows scientists to detect and quantify minute amounts of target molecules, such as proteins, antibodies, and even viruses, with remarkable accuracy. In this blog, we'll delve into the world of ELISA, exploring its various types, its applications, and the exciting future directions this technology holds.

At its core, ELISA relies on the exquisite specificity of antibodies. Antibodies are highly specialized proteins produced by the immune system in response to foreign invaders. Each antibody can bind to a unique structure, called an antigen, on a specific molecule. In an ELISA, scientists leverage this binding property to create a sensitive detection system.

The 1960s witnessed a surge in interest in immunoassays, techniques that utilize the specificity of antibodies to detect target molecules. One such technique, radioimmunoassay (RIA), developed by Rosalyn Yalow and Solomon Berson, revolutionized medical diagnostics. RIA used radioactively labeled antibodies to detect antigens, offering high sensitivity. However, concerns regarding the safety of radioactive materials fueled the search for a safer alternative. The year 1971 marked a turning point. Independently, Eva Engvall and Peter Perlmann published their work on a novel technique – the enzyme-linked immunosorbent assay (ELISA). ELISA replaced radioactive labels with enzymes, eliminating the safety concerns associated with RIA. Like RIA, ELISA harnessed the specific binding between antibodies and antigens. However, it employed enzymes that could generate a detectable signal, such as a color change, upon interacting with a substrate. This innovation paved the way for a safer and more user-friendly diagnostic tool.

The basic ELISA protocol involves immobilizing the target antigen on a solid surface like a plate well. Then, a sample containing the molecule of interest (e.g., a suspected virus) is introduced. If the target molecule is present, it will bind to the immobilized antigen. Next, an antibody specific to the target molecule, linked to an enzyme, is introduced. This "detection antibody" binds to the target molecule already attached to the antigen. Finally, a substrate specific to the enzyme is added. This antigen-antibody binding is visualized using an enzyme linked to a reporter molecule. When the enzyme encounters its substrate, a detectable signal is produced, such as a color change or luminescence. The intensity of this signal is directly proportional to the amount of antigen present in the sample, allowing for quantification. The beauty of ELISA lies in its adaptability. Several variations exist, each tailored for specific detection needs.

The Four Main ELISA Formats are:

Direct ELISA: Simplicity at its finest. In this format, the antigen is directly coated onto the ELISA plate. A labeled antibody specific to the antigen is then introduced, binding directly to its target. After washing away unbound molecules, the enzyme linked to the antibody generates a signal upon addition of the substrate. Direct ELISA offers a rapid and straightforward approach, but sensitivity can be lower compared to other formats due to the lack of amplification.

Indirect ELISA: Unveiling the Power of Amplification. Similar to the direct ELISA, the antigen is first coated onto the plate. However, instead of a labeled primary antibody, an unlabeled one specific to the antigen is used. This is followed by the introduction of a labeled secondary antibody that recognizes the species (e.g., mouse, rabbit) of the primary antibody. This two-step approach acts as an amplification strategy, significantly enhancing the signal compared to the direct ELISA. However, the presence of an extra incubation step and the potential for cross-reactivity with the secondary antibody add complexity.

Sandwich ELISA: Capturing the Antigen Between Two Antibodies. Here, the capture antibody, specific for one region of the antigen, is pre-coated onto the ELISA plate. The sample containing the antigen is then introduced, allowing it to be "sandwiched" between the capture antibody and a detection antibody specific for a different region of the same antigen. A labeled secondary antibody or a labeled detection antibody itself can then be used to generate the signal. Sandwich ELISA boasts high sensitivity due to the double-antibody recognition and is often the preferred format for quantifying analytes.

Competitive ELISA: A Race for Binding Sites. In this format, the antigen competes with a labeled antigen (usually a known amount) for binding sites on a capture antibody pre-coated onto the plate. The more antigen present in the sample, the less labeled antigen can bind to the capture antibody. Following a washing step, the amount of bound labeled antigen is measured, providing an inverse relationship between the signal and the concentration of antigen in the sample. Competitive ELISA is particularly useful for studying small molecules that may be difficult to directly conjugate to an enzyme.

ELISA's Reach: From Diagnostics to Research. The applications of ELISA are as vast as they are impressive. Let's delve into some key areas where ELISA plays a vital role:

Unveiling the Mysteries of Disease: Diagnostics: ELISA is a cornerstone of diagnosing infectious diseases like HIV, Hepatitis, and Lyme disease. It detects antibodies produced by the body in response to the invading pathogen, providing valuable information for early detection and treatment. Monitoring Autoimmune Diseases: ELISA helps monitor autoimmune diseases like rheumatoid arthritis and lupus by measuring specific antibodies associated with these conditions. Cancer Screening: Certain cancers can be detected by identifying tumor markers, proteins elevated in the blood of cancer patients. ELISA assays are being developed to detect these markers for early cancer screening.

Safeguarding Food Quality: Allergen Detection: Food allergies can be life-threatening. ELISA ensures food safety by enabling the detection of allergens like peanuts, gluten, and milk in food products, protecting consumers with allergies. Monitoring Foodborne Pathogens: ELISA can identify harmful bacteria, viruses, and toxins in food, preventing outbreaks of foodborne illnesses.

Environmental Monitoring: Pollutant Detection: ELISA can detect pollutants like pesticides and herbicides in water and soil samples, contributing to environmental protection efforts. Microbial Analysis: This technique can be used to identify and quantify specific microbes in environmental samples, providing insights into ecosystem health.

Research and Development: ELISA plays a crucial role in various research fields: Drug Discovery: It helps researchers assess the effectiveness of new drugs by measuring drug-target interactions and monitoring drug levels in the body. Vaccine Development: ELISA is instrumental in developing vaccines by evaluating immune responses to vaccine candidates. Basic Research: Scientists use ELISA to study various biological processes by detecting and quantifying specific molecules involved in these processes.

Despite its established role, ELISA is evolving alongside technological advancements. New multiplex platforms allow for the simultaneous detection of various targets in a single sample, boosting efficiency in biomarker discovery and disease analysis. Automation streamlines workflows minimizes errors, and increases throughput, making high-throughput screening feasible in drug development and clinical settings. Miniaturization and portable devices enable rapid on-site diagnostics, providing healthcare professionals with real-time data for quicker interventions. Additionally, ongoing research is improving assay sensitivity, reducing background noise, and expanding detection limits, allowing for the identification of trace analytes and early disease biomarkers with greater accuracy than ever before. Integration of ELISA with emerging technologies such as microfluidics, nanotechnology, and artificial intelligence holds promise for enhancing assay performance, scalability, and data analysis capabilities.

These advancements hold promise for even wider applications of ELISA in the future. ELISA has revolutionized our ability to detect and quantify biological molecules. Its versatility, accuracy, and adaptability make it an invaluable tool across various scientific disciplines. As research continues to refine and innovate ELISA techniques, we can expect even more exciting possibilities to emerge in the years to come. ELISA's future is bright, promising to play a pivotal role in unraveling the mysteries of the biological world and improving human health.

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