#Forms and Controlled Components

[cipheramnesia]

The reason I probably shouldn't be allowed to make movies is I have no impulse control and I would immediately make something called Revenge Of The Dead Tranny Hooker. It would be about a trans woman trying to break into acting, but no one wants to hire her for anything except playing a sex worker who gets murdered. Then one day she does an open casting call which runs her through a series of increasingly bizarre line readings, which it turns out are meant to summon an eldritch demon to grant the movie producer god-like powers.

The culmination is supposed to be sex on the casting couch, but she ditches at the last minute, destroying the ritual and splintering the extradimensional entity across California. She unknowingly receives powerful extradimensional blood, while the rest of the fragments seek out the powerful and violent people of the world. Meanwhile the movie producer uses his new powers to transform his PAs into henchcreatures, and sends them after the protag to finish her off. She discovers her new powers in the ensuing fight, which also seem to be gradually altering her body every time she uses them.

The rest of the movie is a steadily escalating game of cat and mouse between trans woman and movie producer. While the former transformers the fragments into powerful psychic weapons like chainsaws and spiked bats, the later uses fragments to make himself bigger and physically stronger. At first the fights are short and brutal, the protag outmatched and outgunned, but she gets more confident to the point of an anarchic battle of against the LAPD led by a demonic police captain, including a scene where she stands on the roof of a speeding police car and rips the driver through the windshield.

Her eventual form is some kind hyper sexual draconic mantid squid rippling with biomechanoid components. In the fight with the producer he thinks he's winning by tearing apart the last of her human flesh, but this just complete her transformation, letting her easily overwhelm him. It's implied from that point forward she plans to conquer the world.

[literaryvein-reblogs]

Writing Notes: Fire Development

Recognizing each stage allows you to describe with accuracy how a fire can quickly increase; later we will discuss fire characteristics, which will provide you with an opportunity to describe accurately the visual features of a fire scene.

THE 4 STAGES OF FIRE DEVELOPMENT

Incipient Stage

Also known as ignition.

This first stage begins when all 4 components have resulted in a fire starting.

Easiest to control and extinguish, and given the right circumstances, may possibly burn out on its own accord before it has a chance to reach the second stage.

Growth Stage

Shortest but most sudden of the 4 stages.

Combination of oxygen and any nearby combustible material will fuel the fire.

As it progresses, gases will rapidly increase in temperature, resulting in a build-up of pressure in the room.

Fully Developed Stage

When all the combustible materials have been consumed, the fire is at its peak and will be fully developed.

At this stage, the heat will be immense, and because the room will be engulfed in flames, there will be little hope of escape or survival.

Decay Stage

If the fire is left, then this final stage will be the longest, as the fire gradually finishes its consumption – think of a bonfire that is left to burn.

The heat still remains intense, and will do for some time, which is why firefighters remain so long at a fire scene even after the flames have been extinguished.

The fire may continue to smoulder and there is a risk of pyrolysis occurring, which may result in a secondary fire.

Source ⚜ More: Writing References

EDIT

Stage One: Ignition

When the 3 elements of the fire triangle (heat, fuel and oxygen) are involved in a balanced chemical chain reaction, a fire begins.

Can also be classed as the incipient stage if the reaction is unbalanced, leading to smouldering, low temperature fire with no visible flames. This type of fire still gives off toxic gases.

The fire easiest to control and extinguish, or as close to this stage as possible.

Stage Two: Growth

The fire begins to consume the available fuel in the area or compartment.

Heat rises rapidly, and in an indoor fire a smoke layer forms at the ceiling, descending as more fuel burns.

Where present, active fire protection systems such as sprinklers or smoke alarms will activate, and passive systems such as self closing fire doors will protect escape routes. An escape should be made in this stage, as the fire will reach lethal temperatures during the growth stage.

Once the fire reaches a hot enough temperature, a transitional event called Flashover occurs. Flashover is where the heat of the fire is enough that all fuel in the room reaches a combustible temperature more or less simultaneously, including the particles of fuel in the smoke layer.

Essentially, the room erupts into a fireball all at once and if you're still in the room when it does, you've caught fire too.

Demonstration of a "Flashover" [video]

Stage 3: Fully Developed

Now all fuel elements are combusting, the fire is at its peak and is considered fully developed.

At this stage, the heat is lethal without specialist equipment to survive it.

Stage 4: Decay

This final stage will be the longest, as the fire gradually finishes its consumption – think of a bonfire that is left to burn.

The heat still remains intense, and will do for some time, which is why firefighters remain so long at a fire scene even after the flames have been extinguished.

The fire may continue to smoulder and there is a risk of pyrolysis occurring, which may result in a secondary fire.

Sources & additional resources: 1 2

Thank you so much to @hypocriticalhypothetical for the added information and corrections!

[gothhabiba]

St. Paul, MN – During the early morning hours of November 20, 50 pro-Palestine protesters gathered at the site of Lockheed Martin’s new microelectronics subsidiary, ForwardEdge ASIC, in Saint Paul. They unfurled long banners, one reading, “MN, divest from Lockheed,” and blocked the driveway entrances to the facility for almost eight hours.

Police arrived shortly after the activists occupied the space and made their presence throughout the day, but no arrests were made. Due to the protesters’ presence, no employees of ForwardEdge ASIC were able to enter the facility and go to work that morning. The parking lot remained empty save for a lone security guard’s vehicle.

Lockheed Martin is the world’s largest weapons company by revenue and one of the major suppliers to the Israel Defense Forces. Lockheed Martin supplies Israel with a wide variety of weapons, including fighter jets, attack helicopters, and missiles. Lockheed Martin technologies are also integrated into Israel's main weapon systems.

Activists participated in as part of the newly formed Free Palestine Coalition in the Twin Cities, which comprises groups such as the Anti-War Committee (AWC), American Muslims for Palestine – MN, Council on American-Islamic Relations – MN, Students for Justice in Palestine – UMN, Students for a Democratic Society – UMN, Women Against Military Madness (WAMM), Jews Against Genocide, Red Nation, and several others.

Protesters emphasized the role of the state of Minnesota in funding Lockheed as well as other companies that make possible Israel’s violence against Palestinians. “Minnesota granted Lockheed over $1 million to open the Saint Paul facility this year,” explained Wyatt Miller of the AWC. “Meanwhile, the State Board of Investments has invested over $53 million of public pension money it controls in Lockheed. Governor Tim Walz chairs that board, so we also want to send a message that Minnesotans don’t want to see our taxpayer dollars used to fund this massacre in any way.”

After protesters determined that a majority of the workday had been disrupted, they marched in unity towards the facility to plaster the building with the protest signs as a show of victory.

Sarah Martin, a longtime anti-war activist with WAMM who was prepared to be arrested Monday, stated, “Because of our presence, weapons components were not made at the facility today by a manufacturer largely responsible for the murder of Palestinian children.”

“Protesters across the world have been shutting down business as usual as long as this massacre of Gaza continues,” said Miller. “We are proud to do what we can to slow the operations of the U.S. military-industrial complex, which is the backbone of Israel’s oppression of Palestine.”

[reasonsforhope]

"A team at Northwestern University has come up with the term “dancing molecules” to describe an invention of synthetic nanofibers which they say have the potential to quicken the regeneration of cartilage damage beyond what our body is capable of.

The moniker was coined back in November 2021, when the same team introduced an injection of these molecules to repair tissues and reverse paralysis after severe spinal cord injuries in mice.

Now they’ve applied the same therapeutic strategy to damaged human cartilage cells. In a new study, published in the Journal of the American Chemical Society, the treatment activated the gene expression necessary to regenerate cartilage within just four hours.

And, after only three days, the human cells produced protein components needed for cartilage regeneration, something humans can’t do in adulthood.

The conceptual mechanisms of the dancing molecules work through cellular receptors located on the exterior of the cell membrane. These receptors are the gateways for thousands of compounds that run a myriad of processes in biology, but they exist in dense crowds constantly moving about on the cell membrane.

The dancing molecules quickly form synthetic nanofibers that move according to their chemical structure. They mimic the extracellular matrix of the surrounding tissue, and by ‘dancing’ these fibers can keep up with the movement of the cell receptors. By adding biological signaling receptors, the whole assemblage can functionally move and communicate with cells like natural biology.

“Cellular receptors constantly move around,” said Northwestern Professor of Materials Sciences Samuel Stupp, who led the study. “By making our molecules move, ‘dance’ or even leap temporarily out of these structures, known as supramolecular polymers, they are able to connect more effectively with receptors.”

The target of their work is the nearly 530 million people around the globe living with osteoarthritis, a degenerative disease in which tissues in joints break down over time, resulting in one of the most common forms of morbidity and disability.

“Current treatments aim to slow disease progression or postpone inevitable joint replacement,” Stupp said. “There are no regenerative options because humans do not have an inherent capacity to regenerate cartilage in adulthood.”

In the new study, Stupp and his team looked to the receptors for a specific protein critical for cartilage formation and maintenance. To target this receptor, the team developed a new circular peptide that mimics the bioactive signal of the protein, which is called transforming growth factor beta-1 (TGFb-1).

Northwestern U. Press then reported that the researchers incorporated this peptide into two different molecules that interact to form supramolecular polymers in water, each with the same ability to mimic TGFb-1...

“With the success of the study in human cartilage cells, we predict that cartilage regeneration will be greatly enhanced when used in highly translational pre-clinical models,” Stupp said. “It should develop into a novel bioactive material for regeneration of cartilage tissue in joints.”

“We are beginning to see the tremendous breadth of conditions that this fundamental discovery on ‘dancing molecules’ could apply to,” Stupp said. “Controlling supramolecular motion through chemical design appears to be a powerful tool to increase efficacy for a range of regenerative therapies.”"

-via Good News Network, August 5, 2024

[autistichalsin]

Astarion and Halsin's traumas were meant to be foils

When characters are foils, there are two components: first, there's a shared background, event, personality trait, etc. But how the characters act from then on are diametrically opposed, allowing us an insight into the various ways people can act or respond to one core "element". In this case, I would argue that Halsin and Astarion are meant to be foils in their responses to sexual slavery.

Both Astarion and Halsin were denied their freedom and agency, raped and abused. Both were very young when this happened; Astarion was in his 30s, which is before elves reach their majority, while Halsin's age wasn't specified, but he goes out of his way to mention "youth" many times. In other words- both were young enough for this to be a formative memory for them. Both carry deep traumas from their experiences. Both are incredibly physically attractive, and allude to or outright say that their looks played a part in their captivity; Astarion was used to seduce others for Cazador, while Halsin notes that his Drow captors "took an interest in him" and saw him "as a novelty"- most likely for his looks as much as for his race. Both were enslaved by people of high social status- Cazador a wealthy influential figure in Baldur's Gate, and Halsin's captors high-ranking Drow nobles. That is what they have in common.

But their responses to their traumas are complete opposites.

First, just the nature of how they express their traumas. Astarion is loud about it. He expresses it all openly; he is traumatized. And he knows he didn't deserve what happened to him.

Halsin buries it. He pretends it was no big deal. He victim-blames himself, saying it was his fault for being a "foolhardy young Druid" intent on seeing the Underdark.

Astarion despises Cazador; he wants revenge. He will do anything to get revenge on his abuser. This need for closure is the core of Astarion's entire arc, to the point that of all the scenarios I can think of where Astarion leaves the party, most of them involve his journey to kill Cazador.

Halsin has trauma bonds to his captors. He speaks kindly of them even when describing their abuse. He says he feared for his life, but he "did some things that were less than necessary," making it sound like he was complicit in his own rape. He can't even bring himself to call them captors (except for one option in the post-patch 5 dialogue), nor himself a sex slave; instead, he was something "between a guest, prisoner, and consort."

Astarion is (in most cases) ultimately allowed closure; he kills Cazador. In the bad path, he then joins the cycle of abuse by killing the other vampires and subjugating a romanced avatar; in good scenarios, he only kills Cazador, and then has a cathartic, tearful breakdown after.

Halsin never had (or seemed to want) that kind of closure; he escaped while his captors were fighting another noble house, and his freedom was all he wanted. Whether his captors lived or not, he doesn't care. All he wanted was his own freedom.

Astarion is younger, and his trauma a shorter time ago, yet he has processed what happened more; he is both further ahead and further behind on his healing journey than Halsin.

Halsin is older, and his trauma longer ago, but he hasn't processed what happened to him; bouncing from trauma to trauma and being forced into a leadership role caused him to have to bury it. He is both further behind and further ahead on his healing journey than Astarion.

Astarion makes a point of avoiding intimacy, and he only has a few exceptions with the player. (Ascended Astarion becomes much more confident, but that's a bit different.)

Halsin is incredibly sexually open. He enjoys sex of all kinds, finding it comforting, and the only way he can openly express his emotions after having to stay in control as Archdruid all the time.

Astarion dissociates during the Drow brothel orgy. He is miserable and uncomfortable, but doesn't regret it; he needed to take the step to explore his sexuality on his terms. Even if it triggered him, he still wanted the experience, and indeed, finding what one's triggers are is an important step for many survivors.

Halsin enjoys himself during the orgy, and even seems pleased after, but then he lets the cracks show, talking about how he was held as a slave. He enjoyed the orgy during, but after, the thoughts started creeping in, as he was reminded of his captivity.

Astarion will respond to cruel player comments about Cazador with a massive hit in approval, and possibly breaking up with a romanced player, like when they say they have a kidnapping fantasy about him if he's kidnapped by the spawn in act 3.

Halsin, in the post-patch 5 dialogue options, doesn't seem to react that much even to cruel comments; when the player threatens to sell him back into slavery, all he has to say is, "you would be unwise to attempt it, trust me. In any case, the house of my captors is long-extinct." (Followed by him having an epiphany that they WERE his captors) He never gets angry at the player despite the absolute evil of this option; as with nearly every other mean thing the player says to him, he simply shrugs it off, clearly sad but brushing it off as always. Being the "bigger person", literally and metaphorically.

Astarion was left with scars all over his back, symbolizing how this is something he'll never break free from entirely.

Halsin was left with no scars, his only prominent one being from an unrelated incident, symbolizing how much work he puts in to hide his traumas.

It's understated, so a lot of players aren't going to think about it much because of this, but I think it's worth bringing up as a note on characterization!

[stellarwhisper]

Random Astrology Observation

The fact that Mars is in the first house suggests that confidence, physique, and self-image are highly valued. These people appear to focus their energy on keeping up a powerful, alluring persona. Being eager to give people more self-assurance points to a helpful and inspiring personality.

Mars's position in the ninth house presents an exciting and daring image. The love of adventure, philosophy, and travel fits very well with this placement's expansive character. Extreme sports fervor is indicative of a will to push limits and experience life to the fullest. A desire to disseminate knowledge and a broader viewpoint are reflected in the goal of education and teaching. Adhering to specific values gives their approach more depth and makes the journey lively and meaningful.

Sagittarius Mars traits indicate a great dislike for anything that restricts their freedom or stifles their independence. They don't like to wait around and value efficiency, thus being on time is crucial to them. They cherish their autonomy, therefore any attempts to limit or control them may encounter opposition. People in this role may also become frustrated by unreasonable responsibilities and rigidity.

The variety of characteristics that people with Leo moons exhibit, from a difficult connection with trust to creativity, forgiveness, and a craving for attention and giving. The knowledge of their inclinations, driving forces, and educational experiences deepens the comprehension of this lunar positioning.

Even though it can occasionally come out as judgmental, Virgo Sun people's honesty is valued for its directness. Their readiness to be open about their true emotions and to offer candid counsel is indicative of their dedication to truth and authenticity.

People with Jupiter conjunct Moon are described as having a strong and alluring emotional presence. They seem to have a significant influence on people around them if they can control emotions and use their auras to create a spell. Through their artistic or intellectual endeavors, individuals appear to have secret knowledge banks that open up when they communicate their feelings. The secret to revealing the depth and richness within is found in the allure of their bursting emotions.

In fact, the 10th house in astrology is frequently linked to one's profession and public life. It stands for a person's reputation, accomplishments, and career goals. The planets and signs that make up the 10th house, along with any aspects that they may form, can provide information about a person's attitude toward their work, public persona, and desired global influence.

The depiction of Pisces Mercury in a relationship creates a lovely image of profound understanding of their partner and nearly psychic communication since they have sensitive energy to sense whether something is off. When words are utilized they will use it to bring out the most understanding and sensitive parts of their partner, they love a connection that appears to be a source of consolation and healing. They want their friendship or relationship to take on a lyrical and inspiring dimension due to their appreciation of arts especially music and they have the possibility of writing or even dedicating songs for their loved ones.

Mars in the seventh house frequently denotes a forceful and proactive approach to interpersonal connections. People that have this placement tend to be direct, aggressive, and passionate in their relationships. They can be looking for a companion who can have lively conversations and is just as vivacious. They might have a strong desire to take the lead in relationships and relish the excitement of working together on projects. Direct communication and a desire to resolve conflicts amicably are two possible components of conflict resolution.

Venus in the Ascendant, sometimes referred to as Venus in the First House, frequently improves a person's attractiveness, charm, and relationship style. People that are placed in this position typically have a friendly and cheerful disposition. They could be naturally magnetic, capturing the attention of others with their charisma or beauty. Their identity is greatly shaped by their relationships, and they may place a high importance on harmony and aesthetics in their self-expression. A great desire to establish and preserve lovely relationships in the social and personal domains may be present.

[vindelllas]

a brief exploration of the amatyakarakas 🍸

🍸note: any information regarding amatyakaraka placements should be treated lightly, as a good portion of these celebrities do not have verified birth information. i calculated all of the following celebrities with unverified birth times assuming they were born at noon their time!

🍸the amatyakaraka does not share the immense physical focus of the atmakaraka, but serves as the knight (amatyakaraka) to the king (atmakaraka), as it controls much of the labor/work of the chess of life. it is a karaka designed to aid you in picking a field or hobby that can allow you to fully express the passions of your graha. It is the helpful hand that guides you to who you truly are, in this post i focus on the overarching lessons of this placement.

brihaspati amatyakaraka

🌾 aesthetic: the liberation of the femme fatale

🌾 key components: shares similar characteristics to the femme fatale archetype of brihaspati atmakarakas, but inwardly is garnished with the liberated qualities of brihaspati. this is a placement of timing, expansion, and immense growth in the lens of one's work ethic. this is ultimately why these natives are known for their adventurous (and sometime controversial yet successful) business ventures, e.g. kendall jenner's "818" brand and lana del rey's controversies throughout her musical journey, which are centered around intrinsic learning via the external public eye.

shani amatyakaraka

🪐 aesthetic: the theater of love

🪐 key components: it shares the sensual hollywood starlet aesthetic of shani atmakarakas but this karaka's lesson lies in what they pour themselves into. they excel at possessing the drive and willpower to succeed in their respective fields, but are not without controversy in their private lives. this is emphasized by megan thee stallion's wrongful sh*oting, selena gomez's ex, nicki minaj's infamous husband, julia fox's former partner kanye west, etc.. their incessant focus on their future and work, often leaves much instability in their personal lives outside of their everyday routines.

surya amatyakaraka

🌞 aesthetic: the intersection of promiscuity and materialism

🌞 key components: this placement is similar to the materialism noted in surya atmakaraka natives, but is further heightened by this karaka's penchant for promiscuity. this placement's immensely influential nature and general desire to lead/test others can manifest as a form of sex*al temptation of those around them. from professions of acting to involvement in adult industries to modeling, there is a great need to shine their rays onto those around them. the dichotomy agni (the sun) being of purification and knowledge and soma (the moon) being water and nourishment come into play here. the sun wishes to purify and empower those around them through lessons of spiritual teachings. the general focus of the mouth in the photos of surya amatyakarakas is reflective of the mouth being the vessel of soma/the consumer of water. to achieve the purification of agni, you must first be watered spiritually.

kuja amatyakaraka

☄️ aesthetic: the mysticism confidence

☄️ key components: drawing upon the lessons of kuja atmakarakas, a certain confidence is emphasized within this placement. this confidence lies in taking immense risks and undergoing challenging situations for the betterment of your career, talents, and desires. this is evidenced by amber heard's career-challenging court case and jennifer lawrence's recounts and statements about w*instein. this placement is not without its controversy, but it is a placement of willingness to endure immense controversy for personal gain often without the lesson-emphasis of brihaspati amatyakarakas which results in much healing being needed later on.

buddha amatyakaraka

🌑 aesthetic: the ubiquity of feminism

🌑 key components: learning from the misunderstood lalita, this placement emphasizes a certain call to seeking maturation of the self through a higher power and intellectualism. this placement is symbolic of the overt dichotomy of girlhood-womanhood, these natives personify this experience through their accounts of the male gaze, longings for more expansion within themselves, and consuming all the external rays of others for the purpose of bettering and finding themselves (as buddha does to surya).

shukra amatyakaraka

🍓 aesthetic: the languish of luxury

🍓 key components: this placement indicates a certain affinity yet boredom of the luxurious properties of shukra. it causes many celebrities who grow into financial success to possess a coupled, sometimes delayed, distaste of the spotlight/fame. think of selena quintanilla who grew popular with ease compared to her latina musician counterparts but continued to maintain a relatability to the public (similar to cardi b who is still considered "surprisingly relatable" despite being immensely wealthy compared to the general public).

chandra amatyakaraka

🌙 aesthetic: the insatiable pitfalls of revolution

🌙 key components: these women often serve as role models to individuals through their presence in the media, but often serve as a lesson to the pitfalls that come with being "revolutionary". recall alexis ren who revolutionized mid-2010's social media and fashion yet struggled privately with her eating d*sorder. additionally, kaley cuoco was popularized for her role in "the big bang theory" yet too struggled with her eating habits. this is why some vedic astrologers theorize chandra to be associated with eating d*sorders, as yes soma seeks to nourish, but this nourishment (coupled with the drive/talent/profession denoted in the amatyakaraka) results in a potential for restricting soma (nourishment) to feel in control of one's surroundings--that is one's profession or environment.

🍸all of these placements were found using astrotheme/.com and/or astro-charts/.com. it is important to note that some chandra (moon) placements may be off by up to 6 degrees and lagnas (ascendants/rising signs) as well, due to the fact that many websites do not have 100% accurate birth times for the given celebrities.

🍸i am additionally offering readings again for a limited amount of time! if you are interested in a reading, please privately message me. thank you all for all of your patience! please expect the color analysis post soon since it won the poll <3

xoxo,

angel 💋

[serpentface]

!!!!!RISKY POST INCOMING!!!!!!!!!!!!!! THERE'S ILLUSTRATED EXAMPLES

Erotic art forms in Wardi culture largely center around a variety of visual arts and poetry.

Visual erotic art falls under a wide swath of materials, purposes, and uses. It ranges from art that exclusively intends to be pleasing to the viewer (while not necessarily outright Arousing) to art with utilitarian ritual functions. While Wardi culture has very strict standards and regulations around interpersonal Acts of sexuality, Depictions of sex (including acts that are frowned upon or severely taboo if actually performed) are not considered inappropriate or something purely for a private setting, and are something the average person is entirely accommodated to. As such, erotic art commonly has a place in everyday objects- drinking vessels, plates, oil lamps, pottery, etc- and in decoration- statuary, frescoes, textiles, mosaics, etc. It's not a Predominant theme, but most well-decorated homes will have at least a few erotic art objects.

There isn’t really a concept of 'pornography' in the sense of uniquely explicit art exclusively for the purpose of sexual gratification, but there are (often subtle) measures that distinguish a sort of ‘highbrow’ erotic art appropriate for public viewing (either in literal public areas, or in common areas of the home where guests can visit) and ‘lowbrow’ erotic art that is reserved for private areas of the home (and sometimes brothels).

This distinction revolves less around the explicit nature of the sex act, and more around What in particular is shown. Actual depictions of a spread vulva in a sexual context tend to be ‘lowbrow’ (note the distinction of the sexual context- some of the most common apotropaic motifs directly depict or heavily invoke a spread vulva). Visible depiction of the human anus is virtually always ‘lowbrow’, and is very rare in erotic art in general. Both organs are conventionally regarded as ugly, though the vulva has highly positive connotations of abundance and renewal while the anus is, at absolute best, a hole you can stick a penis into.

Depiction of sex acts seen as taboo or disgusting, inappropriate, (mutually) emasculating, or otherwise undignified occupy an ambiguous middle ground- too lowbrow for common public spaces, but appropriate in certain semi-public contexts due to their usually humorous and entertaining intent. Depicting shocking or widely mocked sexual practices often (at least ostensibly) seeks to elicit a comedic response from the audience. (Some examples on a diminishing scale of perceived severity- bestiality, rimming, a woman penetrating a man with a dildo, a man masturbating with a dildo, mutual fellatio between men, a man performing cunnilingus.).

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The element of voyeurism is VERY significant to the Wardi concept of erotic art. Some art that wouldn’t even slightly be read as erotic by an outside viewer is squarely so by means of depicting people (usually women) in highly private domestic spheres which no one but close kin/spouses typically has access to. This can be evoked more easily and directly with women, who are expected to veil outdoors and in fully public settings, and to keep the hair braided everywhere outside of the private spaces of the home. This norm is strictly enforced among the upper classes and is followed fairly uniformly across class lines outside of the most extreme poverty (and some heavily rural settings). In a lot of instances, the only women any given person sees both without a veil and with unbraided hair on a regular basis (outside of their immediate family, or their wife) will be sex workers out in public. The depiction of a desirable, upstanding woman unadorned heavily implies the viewer's presence into a controlled domestic space (with undertones of sexual vulnerability), and has a distinctly erotic component.

It’s less the unbraided hair in of itself that is sexual (though this norm certainly leads to more people than average having sexual fixations on hair)- women in public with loose hair tend to be regarded more as lowly and unkempt than as objects of desire. The specific fantasy is that this is a woman of good standing in a private place and You are there, watching her.

In more explicit art, the hair being half braided during sex is a very common motif. It suggests that the process of the woman undoing her hair has been interrupted for sex, which can be compelling for viewers. It can imply her lover is so revved up that he could not wait once they both entered a private setting, as well as functioning as wish fulfillment in contrast to the tamer voyeuristic art- the viewer is no longer just looking in on the scene, but rather is invited to participate.

Depiction of a young woman noblewoman unbraiding and combing her hair, executed by a highly skilled pottery painter. While there is nothing overtly sexual in this image, this would be considered erotic art. The viewer finds themselves looking in on a highly private scene of an upstanding, sexually desirable young woman, in a physical state that would likely only be seen by a husband.

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Art objects depicting actual sex acts are common and come in great variety. The vast majority depict men with women, but all gender combinations Can be within the sphere of 'highbrow' public art.

More work from the same painter depicting an older man and a beardless youth, who (for the sake of keeping this post up) could just be in a charged, artistically nude embrace for all you know. The youth is heavily implied to be a sex worker- he wears a short haircut typical of a teenage boy, but the presence of full sideburns indicate that he is well beyond puberty, possibly shaving a beard and keeping his hair short to maintain a youthful appearance. This visual performance is very typical of male sex workers, as means of attracting clientele predominantly interested in very young men. Though on the older side of the 'beardless youth' spectrum, his body is still conventionally desirable for a male partner. Neither the presence or the older man's cloak around his waist nor the youth's distinct lack of arousal is a desperate attempt to keep this post from being nuked (though my choice of this subject matter to begin with is), and instead represents actual artistic conventions. The older man's partly clothed state serves to dignify him in comparison to his partner and emphasize their difference in status. An unmistakable clarity of power differential is common in depictions of male homosexuality made for a mass public audience, allowing the image to be conventionally pleasing and attractive. Similarly, squarely 'highbrow' depictions of male homosexual acts tend to imply no sexual gratification on the part of a receiver, as the position is emasculating and shameful and this act is often described as being exclusively pleasurable for the top. The youth's function in this image is mainly to be a desirable male body and to glorify his partner in comparison. Depictions of more amorous/more power-ambiguous male homosexuality are conventionally acceptable, but largely relegated to the semi-private sphere, and are often intended and/or received as humorous in nature.

---

The above examples serve primary functions of pleasing the viewer with their imagery, but a wide swath of erotic art has simultaneous aesthetic and ritual/magical functions. Imagery in of itself is thought to have a degree of metaphysical power, and depictions of sex (and pregnancy/childbirth) on utilitarian objects often seeks to spiritually benefit the user in its use.

A decorative ceramic oil vessel featuring a coupling man and woman. The imagery of this vessel has, aside from the typical blank expressions, a distinct sense of tenderness, with the couple positioned close together and holding each other's bodies. The smear of white on their foreheads represents amenchalme, a sanctified substance used to give blessings. This heavily implies that this is a wedding consummation (as a full blessing of the couple occurs at the end of the ceremonies). The wife appears to be pregnant, which is unlikely to be an implication that she was married while already carrying (which is generally shameful outside of cases of remarrying widows), but rather intends to show the act and its successful result simultaneously. Lotus flowers (symbols of renewal and fertility) and a stylized version of the abundance character (here doubling as roots) decorate the body of the vessel. This is a multi-purpose erotic art object. It has aesthetic beauty but does not intend to be titillating. Its imagery evokes the hope for a happy marriage and the fertility of the couple. While not a specific ritual object, it may serve ritual and/or folk magic functions regarding fertility and childbirth in its usage. It might hold oil rubbed to soothe a pregnant belly, or to give in home offerings during prayers, all while imparting a sense of the blessings it suggests onto the user.

---

Other erotic art serves entirely ritual functions, with no concerns for pleasing or titillating the viewer. Genitalia in complete isolation is almost always squarely apotropaic in function- the phallus is a symbol of masculine protection and transformation, the vulva symbolizes abundance and renewal, and imagery of both are thought to have protective natures.  

Some simple imagery depicting human or animal mating has a sympathetic magical function (especially in folk magic, but also in some doctrinal religious practice) intending to compel fertility, conception, healthy pregnancies, and safe childbirth. The folk magic variants tend to be made by everymen who are not technically sophisticated artists. The concern is not aesthetic quality, but the magical functions of what is being depicted. These objects are also usually not intended to be actually seen, as they will be buried or hidden in a relevant location to work its intended effects.

A pottery shard used for folk magic. The artist has little technical artistic experience and is partly literate. They have drawn their best representation of mating horses, accompanied by logograms that translate to 'horse' + 'abundance' and '(animal) fertility'. This will likely be buried within the pasture they graze their horses upon, in hopes of influencing more matings and healthy pregnancies in their livestock.

Clay figurine used for folk magic. It similarly hopes to encourage conception, this time for humans. It could be for a specific pair of humans (in which case it may have their mingled blood baked into the clay, or be tied with their hair), or intended to benefit many. Writing may be present at the bottom- depending on the artist's literacy, it may contain anything between common logograms broadly communicating their wishes or a very specific idea (ie: "May my beloved wife Tsimanse Hippinoube conceive a son by me, and not by my wretched dogcunt of a neighbor Odebidinai Jannes (cursed be his name), and may her pregnancy be healthy and her birth be swift and safe, Odomache protect her and give her strength").

---

Wardi culture has a long history of poetic traditions, with its main two facets being epic and lyrical poetry (erotic poetry generally falls into the latter category). Being a talented lyrical poet is highly esteemed. Successful poets will have their works permanently recorded and disseminated for general use- read for entertainment at social events, weddings, ceremonies, and in private. Being a performer of poetry is its own field, and can be highly lucrative with skill, resources, and luck. Most professional performers are men, but learning to recite and sing poetry is a standard part of the education of most upper class girls as well as boys.

Erotic poems are generally a subset of love poetry, extolling the beauty of an object of affection or the speaker's desire (fulfilled or not) for them. Most erotic poetry revels in wordplay, avoiding direct descriptions of sexual acts in favor of cleverly implying them through careful wording and use of metaphor. These poems are considered entirely appropriate for public performance, though (unlike visual erotic art) the VERY high esteem of the poetic practice limits most conventionally accepted poetry to "highbrow" subject matter (it can be entirely explicit, but the acts and relationship dynamics it describes are relegated to cultural norms).

There's a separate subset of 'dirty' poetry (usually intended as comedic, though sometimes a form of invective poem), which mixes conventional flowery language with graphic sexual descriptions and heavy use of slang. Opinions are largely split on this variant, with the most socially conservative swaths of the population finding it to dishonor such a virtuous artform, with the less uptight response being "but its kinda funny tho"

The vast majority of successful poets are men, and most erotic poetry focuses on conventional targets of male attraction (primarily women, secondarily akoshos and beardless youths). However, erotic poetry can be one of the most accessible outlets to genuinely express un-socially accepted desires, especially due to the stylistic tendency to partly obscure its subject matter.

[d8tl55c]

physeng(write, file, "tco_physeng_breakdown.png");

to:compiler {file}

to:compiler {txt: "Internet and Outernet are full of StickFigures with similar body plans, so there are optimizations for rendering vector strokes specifically. it's way more efficient to use those optimizations than keep calculating perfect spheres for no aesthetic benefit."}

{txt: "btw why haven't heat issues been patched yet"}

{txt: "i fixed this years ago for the latest model. remember."}

from:compiler {txt: "Thank you. The avast! nodes will appreciate the credits. TheChosenOne.exe has been unreachable for some time."}

to:compiler {txt: "you mean OuternetPhysEng still won't update their programs"}

from:compiler {txt: "Yes."}

to:compiler {txt: "and still won't provide a specific location?"}

from:compiler {txt: "Do not allow them to bring up the moral argument again."}

to:compiler {txt: "OK. fine. yes. i will spare both of us"}

to:compiler {txt: "abridged or full docs?"}

from:compiler {txt: "Abridged. Please describe the acronyms."}

to:compiler {txt: "ofc"}

{txt: "

sel.per.filter: standard StickFigure component (src)*****. invisible membrane with special collision properties. protects mouthparts.

H2O scoop: avast! code. implements water retrieval from ambient air.

EIS: avast! code. destroys ingested materials identified as, "dangerous" before they reach internal systems.

SOS: avast! code. they only said this one was, "used for control."

ECL: avast! code. recycles some forms of contact energy.

THROUGHLINE: base code, initialization data, and processing space for vitals. found in some form in all StickFigure-type worms. following unique sectors noted: Black Hole Monitoring System, Basic Intake Threat Enum, Fly By Wire.

smaller points list other vital and peripheral systems.

"}

from:compiler {txt: "Thank you. That's enough."}

end(physeng());

@compressedrage as per my previous email /silly

related: pliable stick figure biotech

[rubberizer92]

In the center of the pristine white room, he sits—a figure of absolute power encased in gleaming black latex. 🖤✨ The chair, almost throne-like, cradles his muscular frame as the mirrored sheen of his suit reflects every glint of light in the room. But it’s the device resting in front of him that captures your attention, a machine both mysterious and intimidating. Its glossy black components hum softly, connected by sleek tubing that seems almost alive. 🔥

This is no ordinary gadget. Its purpose is clear to those who dare to understand: to heighten obedience, deepen compliance, and awaken a state of arousal that borders on transcendence. ⚡ The rubber-clad figure leans back, his body relaxed, yet his presence is anything but passive. His gloved hand grips one of the tubes with an air of authority, as if ready to activate the device at will. His calm, commanding gaze peers through the helmet, daring anyone in the room to submit.

Behind him, two men sit, waiting—perhaps watching, perhaps craving. Their bare forms a stark contrast to the impenetrable armor of the one in control. They are present, yet peripheral, their roles in this unfolding scene unclear but undeniably submissive. 🫦 The device pulses faintly, as if responding to the energy in the room. Is it a tool of training, an instrument of devotion, or a gateway into a new world of connection and arousal? The answer lies in the silence that fills the space—a silence that demands surrender.

Would you dare to step forward, to let the machine take hold of your will and amplify your desires? Or would you remain an observer, captivated by the spectacle of obedience and power? Your fantasy begins here. 🔗

https://ko-fi.com/rubberizer92/commissions

[dmbakura]

OK so I want to stress that this is NOT a slight against OP of this post or how they feel about the way the game presents certain options, but I've seen sentiments like this before and I feel like people still aren't quite grasping WHY the game doesn't allow the option to do a "slow burn romance where you can show him you truly care about him beyond sex" if you ascend him. So I wanted to take the opportunity to talk about Astarion's route and objectification, and the very intentional limitations of player choice regarding the ascension path.

Objectification is the act of degrading someone to the status of a mere object. It often involves a sexual component, but not necessarily. It's reducing someone to being a tool or toy, as if they have no feelings/opinions/autonomy of their own. In Astarion's case, his objectification is very much tied to his sexuality, but also his own views on power and control, and how that reflects on both him and his romantic partner.

I think people get too fixated on Welch's quote "it's reducing your relationship with him back to being a kink/form of gratification... it's very much admitting you failed to think of him beyond a sex object" and take this as commentary or judgment on the players choices, when it isn't actually that. It's quite literally the story that is baked into the route and Astarion's character as a whole. There are obviously reasons to ascend him that have nothing to do with how you personally feel about him as a character, ie you want stats, you think it's just more fun, or interesting, or you like the tragedy, etc but in regards to the story itself? It's actually more commentary on how Astarion views himself more than anything else. He is an intentional subversion of the seductive vampire trope. You cannot engage with his story without interacting with this aspect of his character.

Even if you had a dialogue option to try and initiate a romance with him without that first night of sex, Astarion wouldn't take it. If you had a dialogue option to "show him you cared and want to protect him" he would either scoff at it or get angry, as he does if you try and express similar sentiments about protecting him from Cazador. He doesn't want to be coddled. He doesn't trust mindless heroism or altruism. He initiates sex because he uses it as a tool for manipulation and insurance of his own safety. You can either play into that manipulation or don't (and he seems to respect you more if you don't, which says a lot about his self worth). You can't initiate a slow burn romance because Astarion is so distrustful of EVERYONE and has no ability to conceptualize genuine care at this point in the game due to his mistreatment as a vampire spawn. This is an incredibly important aspect to his character and to change the foundation of this is to rewrite his character entirely.

(There is ONE exception to this: Karlach. Karlach is the only character that can initiate more of a slowburn with Astarion and won't sleep with him the first night because she quite literally, physically can't. And Astarion doesn't immediately accept this either. He belittles Karlach, to the point of calling her frigid and basically defective, wondering if he's wasting his time, before she chews him out for being an asshole. Again, he has no idea how to approach a relationship without using sex as a transaction and it shows. He only goes along with it because he quite literally cannot do his normal routine. This is the only reason he won't start a relationship with Karlach using sex.)

So anyways, that choice at the start? The way Astarion's romance initiates on the first night? It intentionally parallels the way ascended!Astarion will offer you an ultimatum: become his spawn or leave him. At the start of the game, Astarion intentionally plays into the sexy vampire trope to get what he wants, is highly paranoid, afraid and distrustful of everyone. At the end of the game in the ascended route... he's intentionally playing into the sexy vampire trope, is highly paranoid, afraid and distrustful of everyone, only this time he has power to back him up. Nothing about his views has been fundamentally challenged if you ascend him; he's completely validated in his beliefs about power and control and entirely in the mindset that he has no value without becoming the ascendant.

It's not about whether you personally find him sexy or not. It's not about having sex at this point. It's not about you or your character. Astarion objectifies himself, fully playing the only hand he knows (as he himself puts it) because that is all he knows how to do. In the ascended path, he has been shown no other option. Your character, good intentions or not, has not given him the tools to see himself as anything else. There is no way too make himself see himself as anything else, except by not ascending him! Either you let this man degrade you as he degrades himself, or don't. That is the option provided, and anything otherwise wouldn't make sense without rewriting his character completely.

Do you value what he actually wants (freedom) or do you value what he says he wants (power, because he views it as the only way to get that freedom)? To me the game makes it obvious (ESPECIALLY with the newly added epilogue) that walking in the sun again or gaining the power of the vampire ascendant aren't the keys to Astarion's happiness. Stuff like that, while nice, doesn't magically grant him peace and it's not a substitute for character growth and self reflection. It honestly just feels like people want the personality and development of spawn Astarion but in the ascended Astarion path, which doesn't make any sense with the way the story unfolds.

Anyways, I just wanted to say that objectification can be more than just seeing someone as a sex object, and doesn't necessarily have to do with sex itself. It can tie into views about power and degradation and a lack of self respect. Furthermore, it's not the game telling you you're a bad person or some sex addled freak if you ascend him, it's asking you to engage with what Astarion's personal story can say about sexuality, cycles of abuse, trauma and recovery - for better or worse.

[headspace-hotel]

It's easy to see how chemophobia became so widespread to the point that companies advertise their products as containing "only ingredients you can pronounce." It's wretched that this spawned the antivax movement and other similar movements, but there are incredibly good historical reasons behind WHY people are terrified of "chemicals."

Reasons like: Agent Orange, DDT, Superfund sites, any of a wide range of incidents where chemical companies—in many cases, knowingly—poisoned people and communities because Number Go Up. History has shown again and again that companies do not give a fuck about ruining people's lives exposing them to toxic substances.

Unfortunately these people live in a world where EVERYTHING around them contains ingredients they can't pronounce and there is very little knowledge of basic chemistry, and a person has no choice but to either develop life-altering paranoia about contamination, or just settle into a sense of (naive?) security about the Chemicals in the world around them.

So these powerful cultural memories (and totally rational distrust of Bayer, DuPont, and Monsanto) have been hijacked to Sell Product (No chemicals! Ingredients you can pronounce! All Natural! Organic!) and/or been channeled into some horrible and ultimately baseless movements that, these days, form a pipeline straight into fascism.

Alex Jones' anxiety about chemicals "turning the freakin' frogs gay" is part of The Anxiety about a world that is now made of ingredients we can't pronounce. Our world is now made of very different physical stuff than the world of our ancestors, and it makes total sense for panicky reactionaries to blame sexualities, genders, religions, and ways of existence they don't understand on the strange, unprecedented "chemicals" that have intruded into the material components of the world around them.

The material changes to our lives mesh quite nicely with the paranoia of fascism. People, without any scientific expertise that would inform them, decide that "natural" things are good and "artificial" things are bad, and this leads people to reject very simple, comprehensible, and well-understood processes like "heating something up, but not quite to boiling, and letting it cool down" (pasteurization) in favor of "contracting bovine tuberculosis."

But it's not that natural is good and artificial is bad, it's that natural is, at least in theory, understandable, and artificial is bound only to the laws that tell DuPont it must disclose what is in a product being sold and test the product for harms to human and animal life—and the power of those laws to actually control DuPont. Hemlock and nightshade can be recognized and avoided, but a Product emerges from an Amazon Prime box in a curiously sterile afterbirth of plastic and foam, stinking of acrid VOC's that some people enjoy in the form of the "new car smell."

And we know that nature has no shortage of things that kill us that we CAN'T readily detect with our senses, like lead and uranium, but before mining for coal and metals ripped open our Earth and pumped thousands upon thousands of tons of toxic waste up from its depths, any given creek or patch of dirt in Eastern Kentucky was at least less likely to be dangerously toxic and radioactive.

This definitely fuels the blind and often dangerous urge to go back to a time when things were "simpler." It lubricates the slide down into reactionary bigotry a little bit, this abundance of ways the world has gone Wrong and has been irreparably changed.

It gets harder and harder to say "No, natural is not always good/bad, no, unnatural is not always good/bad" and be listened to. Our world is far, far harder to understand now in some ways, but we have to try, and that's a hard sell.

[sastrology]

SYNASTRY/COMPOSITE: INNER DISCONTENT MEETS THE TIES THAT BIND

An overview of on and off relationship aspects in romantic synastry/composite. Typically on and off relationships have very strong binding aspects and placements while also having deep-seated issues with discontent/commitment

BINDING COMPONENTS: What makes us fight for this person?

*Some positions/aspects may be both binding and have the potential for inner discontent and will be marked with an asterisk*

-*Strong Saturn influence to Venus: specifically if it’s in the 7th house of synastry/composite, conjunct Venus, sextile, or trine (tight orb)

Why is that? Saturn in astrology holds much responsibility, loyalty, and tenacity when met in the synastry or composite chart. This can create a for better or worse in astrology. In the 7th house or conj, it brings a lot of obligation to the love. When these types of relationships end, it can feel like a loss of love, but also a failure to both parties involved. Saturn has a hard time with failure, after all, Saturn is known to endure right? So both parties will have a hard time letting go and not fulfilling the "responsibility" they feel to the other.

Honorable mention: Composite Sun/Venus in Taurus or Capricorn.

*Strong Venus-Pluto, Venus in the 8th in composite or synastry: Venus and Pluto together are one of the oldest love songs in astrology history. A Venus-Pluto conjunct in synastry/composite is one of the most holding aspects in my personal opinion. This person will feel like your person. Even if both parties aren't necessarily jealous or controlling in the day-to-day, letting go of this person will be nearly impossible as the bond developed is deep and stirring. Both parties will compare new partners to the intensity they felt from the prior relationship.

Sun Conj Venus/Moon, Venus in the 7th house, Venus-Asc, Venus-Juno (tight orb): What this boils down to is that it can be hard to let go of the ideal. When Sun conjuncts Venus or Moon it can feel like two puzzle pieces coming together. Sun Conjunct Venus in the composite means the two share a lot of mutual respect and interests and feel as though they're often on the same page. If these relationships run into bumps, some with this aspect have described it as though they have lost their other half.

Composite Sun in the 7th house: Quite like Venus in the 7th, the two feel as though they are stronger together than they are apart. This is known as an ideal placement for marriage which is unsurprising as the 7th house tangles a lot with partnerships.

*Moon/Venus in the 12th/8th house synastry/composite:

If you've read my other posts, you know I've mentioned how deeply this placement can be felt, mostly in the form of dreams. This is both an inner discontent and a binding aspect. The two will have an extremely hard time figuring the other person out which can cause a lot of inner discontent on where they stand, yet, paradoxically, have a hard time letting the other go. It can feel as though both parties are right on the cusp of figuring the other one out, and when the relationship ends it can feel like they never knew each other at all. Venus can fall in love with who they think the 12th person is, the illusion, without realizing it was never them to begin with, and if it was, they only fell in love with one part of the individual instead of the whole.

Honorable mention: Moon conjunct Ascendant (deeply emotional connection) and Venus conj Neptune

INNER DISCONTENT: What pulls us away from them?

Venus-Uranus aspects in the composite/synastry: Uranus by nature is known for its excitement and unpredictability. Venus will crave commitment that the Uranus person may be unable or unwilling to give. Love can be viewed as a threat, whether that is to personal freedom or other deep-seated issues in the individual's natal chart. Love can come on quick and feel fleeting in the same breath, therefore even if the couple has binding aspects, the relationship could end due to the natural instability this creates but continue to come back together for the energizing nature this aspect creates.

Honorable mention: Sun opposite/square Uranus

Moon Square/Opposition Saturn, Mars, Pluto, Uranus, Mercury in composite or synastry: The relationship could be overwhelmed by disagreements or farces. Moon square/opp Saturn puts a lot of chilliness into the relationship, where Moon yearns for deep bonding while Saturn pulls away. Moon square/opp Mars may indicate frequent bickering and fights. While Moon-Pluto can cause power struggles and the fight for control. Moon-Mercury shows a natural blockage in communication and an inability to express your emotional nature or logical nature at the right time, a war of the heart and the brain constantly.

Honorable mention: Mercury Square/Opp Mercury

Mars Square/Opposite Pluto/Saturn in composite/synastry:

Mars is a hot-blooded planet, while Pluto is dark and Saturn can be cold. The possible implications of a combination of these planets in a square/opposition can be a recipe for disaster. While Mars-Pluto can make for a very sexually energized relationship, the tendency for things to get out of hand is not only easy but likely. Mars and Pluto will both want the upper hand and will not have an easy time taking the high road just for the sake of peace. They will both fight their sides tirelessly and relentlessly. Mars and Saturn on the other hand will have issues relating to maturity and immaturity. Mars could grow tired of Saturn's righteous attitude, and Saturn may grow tired of Mars's childlike behavior.

Honorable mention: Sun square/opp Saturn

Negatively aspected 2nd house in synastry/composite:

The 2nd house is largely one of the least mentioned houses in Astrology, along with the 6th house. The 2nd house deals a lot with material possessions and your values. When negatively aspected it can feel be felt through a strong clash of people who feel as though they are very different to the other. Opposite values and the way they handle money may be prominent in the relationship.

Honorable mention: Negatively aspected 6th house

Negatively aspected Chiron, in general in the composite/synastry: Chiron is desperately searching for healing, but when its negatively aspected in Astrology it can be a recipe for inviting more pain to the individual. Chiron is deeply wounded and sensitive, negative aspects to it shed light on their trauma.

Mars in the 12th house in the composite/synastry: Unlike Moon or Venus here who can weather the foggy storm of the 12th house a bit better, Mars can really struggle here as they try to assert themselves. The couple may have a tendency to push issues under the rug, dabble in secrets, and fear the unknown. Mars will actively engage the parts of the 12th house person they prefer to hide. The only saving grace for this is if the 12th house sign is also the rising sign as the individual will be more comfortable with the 12th house being lit up.

Disclaimer: A lot of aspects or positions can cause inner discontent or happiness with another individual, please look into the natal chart of both individuals. These may resonate with your situation, but they may not. You may be in a relationship with a lot of the "negative" aspects and it is going great and is not on and off, as always these aspects are neither the nail in the coffin nor the holy grail.

*Uranus transits can also cause instability, so check where Uranus is transiting in the natal*

[the-hydroxian-artblog]

Is Beth just always active and like projected or can she turn off the projector and just be a voice inside Kaita's head? Could she go a step further and just not even exist in the physical world and be gooberin around in Kaita's OS or something? Could she villain arc and just possess her?

I have a problem btw

unfortunately you asked a simple question so now you get the needlessly complicated answer

Kaita's artificial brain is designed in such a fashion that'd be hard for Beth to just hack like a normal computer. Her frontal lobe works on artificial neurons that create thoughts, behaviors, and impulses that are then regulated by another component that works like the brain stem and cerebellum. Effectively, every part of her could technically work as a prosthetic version of its organic counterpart, including the brain, so you'd need to know how to "hack" human impulses in order to even begin to say, overwrite who she is.

However, the wolf also has a more mundane smartphone chip installed on her that her brain can directly use at the speed of thought that allows her to interface with other devices, and is easy to replace or upgrade without messing with the brain itself. Think like a simple computer with linux or a stripped down Android OS that your brain is hooked up to that it can mess with in any way it wants, to make calls or save memes or something, while the phone can't do anything to the brain besides sending signals to the optic and audio feeds.

Beth likewise is an AI designed to only exist physically as a chip on her own phone. This phone is installed on Kaita in a similar fashion to the wolf's own on-board smartphone, through which Kaita can talk privately to Beth and see the AI do stupid shit on her HUD. Like, a more bitchy Cortana. Beth doesn't like wasting power or always being seen, so she usually only peeks out when she feels like it in the first place. She very often is just a voice or, if she's feeling nonverbal, a series of dialogue boxes Kaita sees as notifications from her phone's OS.

In terms of possession, there's technically a workaround; her hardlight body can produce electrical signals, and if she was really desperate and persistent could sort of jam her projected form onto Kaita's brain stem that way, but it'd be very very taxing to pull off unless Kaita for some reason allows Beth to do it, usually only as an agreed upon emergency measure if the wolf is incapacitated/deeply unconscious.

The picture above basically only happens because Kaita trusts Beth not to do something stupid. She's probably a bit mentally tired from something, and is letting Beth take control so she can "rest" a little. It only takes a little bit of mental effort on Kaita's part to eject Beth, but Beth lacks a physical body and sometimes Kaita feels a bit bad for the AI, so she lets her have some fun if it also means getting someone else to do a few menial tasks for her for once.

EDIT: forgot to mention; had koboldfactory's drawing of Beth in mind for drawing this one. Beth's design can often be asymmetrical and experimental but I really liked the mix of the sleeved and sleeveless look she came up with

[she-is-ovarit]

Women's rights/feminism isn't meant to be a catch-all for other human rights movements as many women have pointed out.

I think there's one exception to this.

I genuinely think that children's rights and protections are and should be folded into women's rights. They're a vulnerable population due to their neurological development. And I think due to the connection of youth to women and women's rights (such as issues of pregnancy, childbirth, etc.), it makes sense for children's rights and protections to be spearheaded by women. I am coming from this perspective as a childfree, homosexual woman.

There are some instances in which it's appropriate to incorporate the thoughts and experiences of particularly older youth, but the children's rights/the youth movement overwhelmingly isn't able to lead itself, nor do I think children/youth should carry the burden of ensuring their own rights and protections. They aren't adults. We shouldn't expect them to be adults. It's a unique component to youth as a vulnerable and heavily abused population. Youth inherently biologically lack executive functioning (planning, impulse control, rational thinking, etc.) - even only half of this development occurs by age 18.

I think children's rights and protections should be under the wing of women's rights, and the wellbeing of children and youth should be also centered and considered when considering issues pertaining to the adoption and foster care system, surrogacy, and sperm donation. How are these systems affecting women, and also, how are they going to impact the child and their wellbeing?

And, since this is Tumblr, I think this needs to come from a pro-choice perspective. There's a biological difference between an infant or child that's already born versus a developing embryo or fetus that shouldn't be prioritized over the rights and wellbeing of women, or used as point of government and male control over women.

Currently there are so many political groups that want access to children and teenagers, and even young adults. They're so able to be groomed, and grooming someone young can mean influencing future culture and creating a form of exploitation that's difficult to free themselves from due to grooming and political influences being so embedded by a young age, into the psychology of a person's core experiences.