#Omnispace

[theprinternet]

OMNISPACE episode 5 is going out later today on Resonance FM - 6pm bst! Tune in here: https://www.resonancefm.com.

We've also uploaded a few of our sound effects from the show to freesound.org. It's mostly different alarms made using ChucK (https://chuck.cs.princeton.edu) at the moment, but others might be added soon. Check out our page: freesound.org/people/theprinternet.

[todayworldnews2k21]

SpaceX complains against military supplier for what Elon Musk calls ‘dirty trick’ over Starlink - Times of India

SpaceX submitted a filing to the Federal Communications Commission (FCC) on October 17, 2024, addressing claims of potential interference between its satellite services and those of competitor Omnispace. The document strongly rebuts Omnispace‘s assertions and urges the FCC to reject attempts to impede SpaceX’s direct-to-cellular service.In the filing, SpaceX contends that Omnispace’s interference…

[tehaspy-spec-evoposting]

As they say, Fuck it, we ball.

Last time we saw into our future, I told you the Tale of Tasha. But the thing is, I never finished the timeline. I've yet to tell you about the final age of humanity. The Omni Age. First, I'll tell you how it began.

Warp travel works by warping space. So, to use the rubber sheet metaphor, when you stretch a rubber sheet for a while, it permanently deforms. This manifested in the universe as stretches in space where you would go faster than if you didn't go through there. For our purposes, we'll call them Cracks. Cracks started forming late in the High Space Age, more specifically the routes where hauler ships went most often. Scientists quickly learned that these Cracks were formed by warp travel, and they decided to do an experiment. If extended warp travel permanently deforms spacetime, then what happens when these Cracks get too deep? I'll say what happens, it makes a hole in the rubber sheet that is spacetime. Scientists only found it out after 50 years, and that is because they saw it happen. They made a hole. It wasn't like a black hole, nor was it like a white hole. There was no singularity to speak of. It was more like a portal than anything we've seen thus far. So somebody threw a camera in there to see what there was. Suprisingly, the camera could still send video. And that was the first case of Exposure to True OmniSpace Syndrome, or ETOSS for short. I'll tell you the symptoms after I tell you what an "omnispace" even is, let alone why exposure to it's true form is a plague.

Little did they know, these scientists were the first to discover Omnispace. Now, I have to clarify a few things first.

This world is in a multiverse. It's full of bubble universes, where each universe is a bubble in an infinite* sea of them. *omnispace may seem infinite, but it's actually finite, albeit bigger than human comprehension.

In omnispace, the laws of physics are actually a placebo, so if you think that e=mc^3, then it will be that way in some sort of radius (this is also malleuable via the placebo).

If you see omnispace without a placebo applied, like through a camera, then you will get ETOSS.

Now let's go over the symptoms of ETOSS. When you see omnispace without a placebo applied, it transfers to you. It then puts you into a coma. During this coma, brainscans reveal that the fear and confusion parts of the brain are the most stimulated. It's a game of chance if you survive this coma. Those that do survive (which are only 40% of those infected), often kill themselves shortly after. Do NOT ask those patients why, as that's another mode of transmission for the plague. If intercepted in time (or if they don't even try to kill themselves), therapy can and will help with their condition. Those infected, sadly, will never fully recover, and may even go into suicidal relapses.

For a hundreds of years, **Omnispace** was the final frontier. People colonized hundreds of universes, and all was good. Hell, someone named Sheeana Dubois discovered a more potent source of energy than even antimatter factories. (It'll get it's own post).

But then people started to run out of room. There was still thousands of universes out there, but none of them were habitable. So they built omnispace stations. And kept building them. This is when the age splits. We now enter the Late Omni Age, defined by humans losing their humanity, and the grand city of Omnitropolis (please give name suggestions I know it's a bad name and that's why it needs to be changed). For sixty-five million years, humanity kept building up this grand city. They even destroyed universes to make room for it.

Little by little, humans forgot about the Placebo, because they made a device to keep physics in place. It was derived from other humans, who were bred (and modified) to be constantly thinking about our laws of physics. After just a couple of centuries, it could think of nothing else. And after a couple thousand years, nobody even **knew** that it was once a person. It could only be thought of as a "physics anchor".

Unmodified humanity changed too. Or maybe I should put that "unmodified" in quotes, to show that they were modified also. These humans knew that evolution would change them, so they did all they could to stay the same. They did plastic surgeries and GMO's galore, yet they still changed. They would become, uncanny to us today. Which is why their scientific name (by me) is Homo Sapiens Homunculus. It is that way because they tried so hard to retain their humanity, that they lost it near entirely. They look like what a shapeshifter from andromeda (the galaxy) would imagine humans to look like.

I'll talk about the end of humanity later, as this post was written in the course of >2 hours, and I'm tired of it. Questions are appreciated though! Please, I want to talk about it more.

[missy-hissy]

Hi, I hope you had a wonderful new years eve and new years day.

I am making a career using zoeoe's knitting skill and Lyralei's sewing skill (I have the mods in my game [Knitting and Sewing mods]). I understand that you must use the OmniCareer coding in the Full Class Name and also the Omnispace .... SkillX coding in the career level area, I went into my testing neighborhood (with the 2 mods in my packages folder along with my career package), to test it. The tones are showing up when she goes to work, but the skills on the work tab does not show the name. only the "smiley" faces are showing up without wording. I am not sure what to check. I'm at a loss what to check next. Can you give me any pointers on what to do next?

Thank you for your time.

I was actually just talking to Zoe about this on my Discord server the other day. It's a bit strange because it seems like the skills need to load first for this to work. We're actually hoping Chain_Reaction on Nraas might be able to help because truthfully, we think the Nraas Career code is running first and therefore custom skills don't always work as metrics, although in theory it seems like they should. Zoe started a thread on Nraas about this very issue, if you wanted to weigh in there as well: Adding a custom skill to a rabbithole career metric - nraas Hopefully, we might be able to get this solved if enough people raise the issue over there too. Similarly, you're welcome to join my Job Centre Discord where we've also been discussing this and trying to work out a solution: MissyHissy's Job Centre (discord.com)

Sorry I couldn't be of more help but don't worry; it's not you doing anything wrong!

[ozgeersoy]

Learning from Friends: “The Collective School”

The below conversation was published in e-flux Education on March 30, 2023. Thank you, Tyler Considine, for the invitation.

Asia Art Archive (AAA) in Hong Kong recently hosted “The Collective School,” an exhibition and a program series exploring artist-driven and collective models of learning. Developed in collaboration with Gudskul, a Jakarta-based collective that runs a grassroots school for other collectives, the project provokes debates about the necessity and adaptability of collectives today. Amid the growing expectation for art institutions to address social change and learn from collaborative and self-organized initiatives, art collectives have become more relevant than ever. Here, Susanna Chung and Özge Ersoy, two members of the AAA team, discuss the exhibition’s unfolding and what they have learned in the process.

Özge Ersoy: Imagine: You walk out of the elevator onto the eleventh floor of an office building in one of Hong Kong’s old neighborhoods. Through the windows, you first encounter the city’s landscape. Focusing closer, you see a library, with tens of thousands of books nestled among artworks and archival documents about contemporary art collectives. You walk into a spacious reading room and see a large column with hand-drawn graphics highlighting some key values about the current exhibition. You read: knowledge sharing, learning from friends, and collective sustainability.

These concepts have been central to Asia Art Archive’s group discussions with the Jakarta-based Gudskul, our main collaborator for “The Collective School,” and eight other collectives: ba-bau AIR, Hanoi; BiSCA, Bishkek; Load na Dito and Salikhain Kolektib, Quezon City; Omnispace, Bandung; Pangrok Sulap, Sabah; Scutoid Coop, Kaohsiung; and Yayasan Tonjo Foundation, Yogyakarta. 1 Together, we asked: How can we shift the focus of art history from individual artists to communities? How do artists learn from each other outside of formal education and through collectives?

I’ve been excited about our collaboration with Gudskul, especially because they run a grassroots school for other collectives. For us, Gudskul’s model articulates a bold proposition about existing art-educational models: Art schools are often geared toward individual mastery, skill refinement, and career-oriented networking. In contrast, students at Gudskul are already members of existing collectives. They join other collectives to study historical precedents, discuss collective working models, and develop exhibitions and projects together. Eventually participants work as a collective of collectives.

Gudskul, Temu Wall, 2022. Wall graphic with Gudskul, Veranda Talk, video. Installation view, “The Collective School,” CCG Library, Asia Art Archive, October 3, 2022–April 1, 2023. Photo: South Ho.

Susanna Chung: After we invited Gudskul to collaborate on “The Collective School,” they asked us to contribute to their study program. We joined Batch 4, the program’s fourth year, to develop it together with Gudskul and the cohort. While Batch 1 to Batch 3 were held at Gudskul’s campus, where collectives lived and studied together, Batch 4 was held completely online due to the pandemic. Collectives emerge in response to their unique contexts, and while many of them share ideas on the sustainability of collectives and the creation of education platforms, they respond to their contexts with different artistic practices. Becoming more adaptive and responsive to current events, Gudskul engendered new possibilities by connecting beyond Indonesia. As part of this unprecedented Batch, we were able to share and learn about different contexts in which collectivity persists.

Through four seminars, we introduced AAA’s extensive research on art pedagogies in relation to the development of contemporary art across Asia. After sharing case studies from China, India, the Philippines, and Thailand, we invited each collective to focus on one historical collective that most resonated. 2 Those who shared similar interests formed a group, which our researchers joined to exchange ideas, answer questions, and provide materials to inspire the collectives’ artworks. Our team crafted the exhibition narrative and display ideas only after all the works were finalized. All decisions were made in group discussions.

ÖE: The circular model of working diverges from our usual ways of organizing projects, which are often linear and entail a clear division of work. It’s refreshing. I would like to highlight an artwork here: In the middle of the library, we have a one-meter-high fire sculpture made by Quezon City–based collective Load na Dito. It is placed on top of a table covered with the reproduction of a black-and-white photograph depicting a burning action by Xiamen Dada, an art collective known for their radical performances critiquing art institutions in China in the late 1980s. This sculpture is further juxtaposed with a video documentary showing the creation of a four-meter-high effigy for a street demonstration by a group of collectives from Quezon City. Here, Load na Dito proposes the act of burning as a symbol of change and regeneration, a metaphor of collective actions that challenge institutions. By showing their connections with other collectives—both past and present—Load na Dito pays tribute to the legacy of activism of collectives and carries the torch forward.

Load na Dito, Mad in Malacañang, 2022. Video, sculpture, and acrylic on cardboard. Installation view, “The Collective School,” CCG Library, Asia Art Archive, October 3, 2022–April 1, 2023. Photo: South Ho.

SC: Another compelling contribution is one between Pangrok Sulap and Salikhain Kolektib. They both responded to Womanifesto, a feminist art collective and biennial program in Thailand that was most active from the mid-1990s to the mid-2000s.

Pangrok Sulap uses woodcut print as their medium to empower rural communities. Depicting key moments in Womanifesto’s history, their work illustrates the solidarity among women artists and local craftspeople, prompting reflections about the role of artists as custodians of traditional cultural knowledge.

Salikhain Kolektib arranges archival materials about Womanifesto and their own collective chronologically. In the spirit of collaboration, Salikhain Kolektib joined Pangrok Sulap in creating a mirror display box. The mirroring effect melds the two collectives’ works in a fascinating way: the reverse of Pangrok Sulap’s print, featuring a protest for gender equality, can only be seen through Salikhain Kolektib’s artwork. Conversely, the partial reflections of materials through angled mirror slabs disrupt the chronological timeline of the latter’s installation. Rejecting the linearity and singularity of time and place, both collectives’ works invite us to think about sustainability, adaptability, and survival—common foundational concerns of contemporary art collectives.

Salikhain Kolektib, Manifesting (In)constancy, 2022. Mixed-media installation; Pangrok Sulap, The Flower of the Nation, 2022. Woodblock print book. Installation view, “The Collective School,” CCG Library, Asia Art Archive, October 3, 2022–April 1, 2023. Photo: South Ho.

ÖE: It’s crucial that Gudskul, Batch 4, and our team discussed not only the potentials of working together but also the challenges and even limitations.

ba-bau AIR created an interactive jenga installation that materializes these conditions. Each hardwood block features terms from three texts related to Black Artists of Asia, a collective that initiated VIVA ExCon in the early 1990s. VIVA ExCon is the longest-running artist-led biennial in the Philippines, and this is another example of a contemporary collective revisiting art-historical documents and art actions in the region from the 1980s and 1990s.

As you begin building with the blocks, free associative readings about resilience and survival emerge. However, a jenga tower will eventually collapse, pointing to the tensions between construction and deconstruction. Yet when we think about the work not as a competition but as a cooperative game, the results become less finite. Your collective work might sometimes feel unstable, but the intention is to keep building together. Even if or when it collapses, other chances of regeneration will emerge.

ba-bau AIR, Building a VIVA ExCon, 2022. Wood blocks. Installation view, “The Collective School,” CCG Library, Asia Art Archive, October 3, 2022–April 1, 2023. Photo: South Ho.

SC: The fluidity of art collectives, as showcased by “The Collective School,” inspires the work we do. An archive is a mobile being, constantly rethinking its positioning and priorities through connecting with artists and collectives.

Their ideas shape our research, programs, and the sites we inhabit. “The Collective School,” for instance, has made us reflect on our long-term interest in pedagogy as a site where modern and contemporary art histories of the region have been written. Beyond the role of art school, this project has also encouraged us to generate new questions about artist-led models of education and alternative pedagogies. Apart from learning in schools, artists also learn from their peers. Collectives can serve as a continuous learning platform for those who have completed art school, as well as those who have not attended art school.

ÖE: One important takeaway from this exploration of how art collectives learn and educate is their insistence on play. It has inspired new programs, such as “Assemblage at AAA,” a durational performance by Hong Kong–based collective Floating Projects. For two days in a row, members brought in found materials as well as items from our library and office and from their own space, and began creating.

I immediately think back to a conversation with Floating Projects, where member Wong Chun-hoi said, “We should be in the same space and play together, instead of talking about what we do and how we do it.”

In the performance, the space of the archive was activated by sharing and collective action. One artist assembled a chess-like game, another few built a sculpture with shredded paper of the collective’s confidential documents, while some others made music and did automatic writing. Anyone in the library was invited to join.

SC: This collective model of learning also helped me rethink our educator programs. Since 2013, we have been organizing the annual Teaching Labs, a professional development series for teachers, each year focusing on a theme that is relevant to contemporary art and education, with this year’s being art collectives.

Working with Gudskul taught me that “art collectives” is not simply a “theme” for study but a model of learning. It inspired me to experiment with a new program, “Knowledge Kitchen,” where ten artists and ten educators gather for six hours each month to engage with creative exercises, games, chats, dinners, and sharing sessions by guest artists. We would like to use this process to practice and experiment with new models of learning. Our goal is to explore how teachers and artists can co-learn, co-create, and co-work together.

Arts programming, like formal education, often transmits knowledge one way; artists or teachers unilaterally impart their knowledge and experience to an audience. This program seeks to cultivate a more open and equal environment for knowledge exchange. We want to link artists’ unique abilities to interpret the world with educators’ intimate understanding of classroom settings. It’s exciting to see what comes out of this. Who knows? Maybe self-organized collaborative projects, lifelong friendships, and more. Our hope is that through this exploration, teachers and artists will reconsider their relationships with students and audiences in various educational and artistic settings, and engage with new imaginations for the future.

“Teaching Lab: Art between the Individual and the Collective,” Asia Art Archive, February 18, 2023. Courtesy of Asia Art Archive.

ÖE: Yes, we hope to move away from hierarchical ways of knowledge sharing. Apart from “Assemblage at AAA” and “Knowledge Kitchen,” we also hosted a live-streamed cooperative board game called “Speculative Collective.” Rather than inviting Gudskul and the eight collectives to present a talk, we asked them to show us what they cared about through playing. By responding to a series of challenge cards and drafting solutions, they revealed how they approach resource-sharing and collective decision-making. We wanted our audience to engage with—not to be told about—the exhibition.

SC: It’s important to us that this exhibition is the inaugural one of our newly renovated library. We have built a reading room in the center of the library, creating a space for co-working and co-learning, which also serves as a social space for discussion and learning from one another. Working with art collectives across Asia has not only helped us reorient the direction of our programming but has also allowed us to see the necessity and urgency of collectivity here in Hong Kong. We’ve deepened ties with our local partners Floating Projects and Rooftop Institute, whose practices revolve around alternative learning models. This is our first time studying the topic of collectives so closely, and the new library reflects who we are in the spatial sense. Since the beginning, we did not want the library to be a static collection, but rather a place to open up discussion. The study of collectives has made us realize that we share many values with Gudskul, such as learning from friends, engaging in artistic conversations, sharing knowledge, exploring the ecosystem, caring about sustainability, being speculative, and making friends, which are all essential for archive building.

A series of programs at the library resulted from organic discussions with these collectives. In particular, Hong Kong Conversations brought together different generations of artists and cultural workers to discuss historical and contemporary conditions that make collective work necessary in the city. The first talk gathered members from eight Hong Kong collectives founded in the 1990s—Southern Artists Salon, Green Wave Art, The Originals, Epical Chamber, NUX, Community Museum Project, Your Ears Covered, and Kultkuli—followed by three younger collectives—Black Window, Floating Projects, and Popo-Post Art Group. For me, it was a historical moment to see different generations of collectives in the same room, listening to and learning from each other.

“Hong Kong Conversations 2022: The Collective School,” Asia Art Archive, November 26, 2022. Photo: South Ho.

ÖE: “The Collective School” is an example of how we see archives as social spaces to bring people together, to exchange knowledge, and to connect regional and local contexts. Some consider archives depositories that do not have to interpret or display their holdings. For us, artistic collaborations, including the ones developed from “The Collective School,” are crucial to challenge this view.

Our collaboration with Gudskul and eight other collectives taught me to insist on using exhibitions and programs as research as well as pedagogical tools. The project rearticulates our understanding of art history, one that prioritizes relationships and communities over individuals and singular artworks.

As part of “Assemblage at AAA,” here is an excerpt from the automatic writing of Linda Lai from Floating Projects: “A fresh new library surrounded by chaos and calm before a tempest. Free conversations absolutely free and automatic and without a frame from a handful of frames and many breakable frames.” 3 This is how I would like to imagine our library—a site for artistic intervention and knowledge via the engendering of fragments, play, and free associations, whether they are verbal, sculptural, or textual.

Notes

1. We are also grateful to our local Hong Kong partners Floating Projects and Rooftop Institute.

2. The case studies include the Stars Art Group, Xiamen Dada, and the New Measurement Group in China; Autonomous Women’s Movement ​in India; Black Artists of Asia in the Philippines; and Womanifesto in Thailand.

3 See →.

[randemo]

This is a picture of a mocha . Also a review of Omnispce Episode One by The Printernet; ‘I LOL’d (laughed out louded) 4 times that I remember, though Richard in the other room said I laughed more.’ -Matthew Randle (at Omnispace) https://www.instagram.com/p/CmpAfrIo_75/?igshid=NGJjMDIxMWI=

[teknolojihaber]

Akıllı telefon ile yapılan ilk Starlink görüşmesinin videosu yayınlandı

SpaceX, Direct to Cell teknolojisine sahip Starlink uyduları aracılığıyla normal akıllı telefonlar kullanılarak görüntülü aramaları test etmeye başladı. Salı günü şirket, sosyal ağ X sayfasında, akıllı telefonlar arasında Starlink uydu hücresel iletişimini kullanarak herhangi bir değişiklik yapmadan görüntülü arama yapmayı gösteren bir video yayınladı . Şirket, yaptığı açıklamada, "X ile Starlink Direct to Cell uyduları üzerinden, değiştirilmemiş akıllı telefonlar kullanılarak yapılan ilk görüntülü görüşme " dedi. Gösteri şirketin Redmond, Washington'daki genel merkezinin yakınında gerçekleşti. Arama yan yana bulunan iki çalışan arasında yapıldı. SpaceX Uydu Mühendisliği Kıdemli Direktörü Ben Longmier'e göre şirket, geçtiğimiz hafta yörüngedeki hücresel özellikli cihazların (Direct to Cell) sayısını 6'dan 38'e çıkardıktan sonra görüntülü arama özelliğini test etmeye başladı. Android akıllı telefonlar 17 Mbit/s hıza ulaşabiliyor. SpaceX, bu yılın sonundan önce Amerika Birleşik Devletleri'nde T-Mobile müşterileri için Starlink uydu hücresel hizmetini başlatmayı planlıyor; böylece geleneksel baz istasyonlarının kapsama alanı sağlamadığı uzak bölgelerde mesaj göndermelerine, arama yapmalarına ve İnternet'e bağlanmalarına olanak tanıyacak. Ancak SpaceX hâlâ ABD Federal İletişim Komisyonu'ndan (FCC) gerekli onayı alamadı. Belki de en son video gösterimi, ABD düzenleyicilerini bu teknolojinin ticari kullanımına yeşil ışık yakmaya ikna etmeye yardımcı olacaktır. Rakip şirket Omnispace'in Starlink uydu hücresel iletişimine aktif olarak karşı çıktığı bildiriliyor. SpaceX'in Starlink hücresel sisteminin radyo paraziti ürettiğini iddia ediyor. Ona göre bu, diğer uydu sistemlerinde kesinti riskine yol açabilir. Geçtiğimiz hafta Omnispace FCC'ye bir mektup yazarak müdahale etmesi ve SpaceX'i testleri durdurmaya zorlaması yönünde çağrıda bulundu. FCC şu ana kadar yorum yapmaktan kaçındı. https://twitter.com/SpaceX/status/1792981845296160791?mx=2 Read the full article

[y2fear]

Viasat, Terrestar, Ligado, Omnispace, Yahsat Form MSSA to Advance Direct-to-Device Ecosystem

[ivo3d]

Omnispace - soon.. (projection light-art)

[zoomdigitaltv]

Lanzado con éxito el satélite Omnispace Spark-2

Lanzado con éxito el satélite Omnispace Spark-2

El lanzamiento completa el despliegue del programa Omnispace Spark, que apunta a crear la primera red móvil híbrida global del mundo (more…)

[theprinternet]

Next week we're talking to COSS (Centre for Outer Space Studies) about OMNISPACE! We're doing a short sketch followed by a Q & A about the show. Join in-person at the UCL Anthropology building, or online on Zoom. Come along and ask us your questions!

Wednesday, May 3rd, 7 till 9pm

14 Taviton Street, London, WC1H 0BW

Listen to OMNISPACE on our bandcamp: theprinternet.bandcamp.com

[innovativetechnologies]

Together with Vulcan, the test successfully demonstrates the ability to connect the global Omnispace satellite network directly to existing mobile devices addressing warfighter needs "at the edge" within the joint all-domain command and control (JADC2) architecture.

 Omnispace and Vulcan Wireless Inc. announced successful voice and data communication between its NGSO on-orbit satellite and a widely fielded model of mobile tactical military communications radios (PRC-117G). Omnispace seamlessly unites mobile and satellite to create the world's only truly global 5G mobile network.

As part of Omnispace's Phase II Small Business Innovation and Research (SBIR) contract, the demonstration was in cooperation with U.S. Space Force's Space Systems Command. The contract was awarded as part of the U.S. Airforce's "Space Pitch Day," enabling Omnispace to bring next-generation narrowband capabilities to the warfighter.

The Omnispace next-generation global 5G network is being architected to support "dual-use," mission-critical enterprise, and secure government applications. Unlike legacy commercial and government networks, Omnispace's global system is being designed in line with 3GPP 5G NTN standards, which will enable interoperability for any compatible 5G commercial or government device.

Omnispace's 5G NTN platform will further enhance government customers' resiliency, reliability, and real-time decision-making by enabling advanced tactical handheld communications, military internet-of-things, and battlefield edge processing.

"One of the biggest challenges for the evolution of military enterprise communications is the cost and adaptation of legacy end-user equipment," said Campbell Marshall, Omnispace's Vice President for Government and International Markets. "This demo proves that software-defined mobile, tactical user equipment can leverage our dual-use commercial infrastructure. Imagine the possibilities that 5G technology will enable for government -- from COTM handheld devices to IoT platforms."

The demonstrations with Vulcan Wireless were focused on connecting existing military hardware to satellites in commercial frequency bands and orbits, not traditionally used by the government, to increase the resiliency of battlefield communications.

"The Vulcan Wireless and Omnispace teams worked closely to successfully conduct a live demonstration, integrating existing tactical communication systems with the Omnispace satellite network," said Kevin Lynaugh, CEO, Vulcan Wireless Inc. "We're pleased with the results, which demonstrate how global, borderless beyond line of site (BLOS) connectivity is possible for real world military applications."

These communications capabilities are the cornerstone for next-generation warfighting concepts such as multi-domain operations (MDO) and expeditionary advanced based operations (EABO), which are focused on minimizing physical and RF signatures.

Omnispace is redefining mobile communications by building a global hybrid network that will soon provide global 5G from space connectivity to enterprise and government customers worldwide.

[tehaspy-spec-evoposting]

And we keep balling @creepymutelilbugger

Humanity's end was not by nuclear war, nor was it by aliens. It was by their hubris.

Sixty-five million years in the future, humanity has spent so long in omnispace, that their city of Omnitropolis has taken up nearly all of omnispace. Nobody has known that the physics anchors are alive, let alone our kin, in 65 million years. And that shall lead to their downfall.

The physics anchors are beings of closest kin to man, so they are suseptible to our diseases. And so, sixty five million years in the future, a plague would go about them. A deadly one. Because all of humanity believes at this point that the physics anchors Make The Physics, they also believe that they would die without them. And so when the Omniplague ravaged through the Anchors, the people around them died as well. And so the world was in panic. The top scientists were looking for a cure while so many people died that numbering them would be arbitrary. Vaccines were developed, but they didn't work as nobody knew that the Omniplague infected the physics anchors. So many plans were devised, yet never used as nobody knew about the physics anchors until it was too late.

Three months after the Omniplague began, there was only 1300 billion people left. This is atomic in comparison to those that died. And it only continued. 650 billion people left, 300 billion people, 170 billion. Until the population was in the hundreds of thousands did people finally realize that the Omniplage infected the physics anchors. And they accepted their fate. You see, making a Crack popped a bubble universe. And in the tens of millions of years since mankind first discovered omnispace, the Cracks grew larger. You know what happens when you pop a bubble in slow motion? That happened to every single habitable universe. The Cracks grew too big.

The few people left resigned to their fate. They lived their lives as best as possible, as they knew that it was the end of days. It only took 4 months for for humanity to be at just thousand of members. And it took another three for them all to be gone.

This was the Tale of Humanity.

I hoped you all liked it, as I've moved on from that project. Still, questions are welcomed, and I will answer them all.

[krisssknut]

Bohan Phoenix at OMNISPACE

Beijing, China

October, 2017

[tunabora]

The omnispace of all the shapes you’ve taken #sketch #procreate https://www.instagram.com/p/CW6aoGZLfJI/?utm_medium=tumblr

[thedumbguywithaheart43]

Boomlord weird adventure

Chapter 8 what time is it?

It was early morning in the omnispace void. Boomwood had gotten to the kitchen to start brewing coffee as the footsteps of a yawning purple hair woman enter the room."morning Twilight."Twilight mearly gave him a wave before sitting down. Looked at her noticing the look on her face. To be honest she looked exhausted.'ah shit'he quickly poured a shot glass of the Cuban coffee and handed it to her. She stared at the coffee for a minute."I appreciate the gesture but I doubt this is going to do much for me."good Lord gave out a chuckle."Twilight trust me this is Cuban coffee any more than this and you'll be wired."He gave out a chuckle before Twilight downed the shot, unsurprisingly her face scrunched up. This was probably the most bitter thing she ever had."bleh! Why would you drink something so bitter!"Boomlord shrugged."honestly I only drink it for the caffeine. If it helps I think I have some orange juice in the fridge."Twilight just looked down rubbing her head . Not long after the other girls walked in each of them heading into the fridge grabbing various fruits mostly apples. Pinkie pie was the only one who grabbed something else, looks like she found the flan and was in heaven."oh my Celestia this tastes so good!"At least she wasn't breaking the fourth wall again.

2 After everyone ate they all headed to the living room again."ok girls this is it we are heading to the next world. Now before I go this mission is not meant to be dangerous however the world we're entering can be a bit chaotic so be prepared for anything."The rest of the girls nodded they likely had assumed as much from the previous conversations."so where are we going anyway"dash blurted out as boom pulled out his pen."yeah I'm with Dash partner id hate to go in blind."Aj took a step forward to make her point."we're going to a place called ooo I spent a lot of time there and it's the only place I can really say I have friends anymore...."booms voice got deep as a sorrowful look overtook his face for a minute. This was enough to make Applejack back off. Twilight in particular took a mental note of this.'guess friends are a touchy subject for him.' boom grabbed his notepad An drew another circle, in the center he wrote °adventure Time 1°as always the golden electrical ring formed with a blackened middle. Boomlord jumped into the portal and when he landed his feet were on solid ground. Solid green grassy ground. He surveyed the area around him noticing he was in a grassy clear field however the ends of what looks like old nuclear bombs stuck out overtaken by the grassy plains. The girls enter next each of them still in their same outfits however 4 of the girls had notable changes to them . Twilight and rarity each had a sword at their side. Twilight sword with a sleek and purple short sword with her cutie mark on the hilt. Rarity sword on the other hand looked as if it were made of blue crystal with a white metal hilt her cutie mark also on it. Fluttershy and rainbow Dash had also had the return of their wings which Dash took this opportunity to fly up into the air a bit doing a few loops and swirls."Hell yeah I missed this!"boom couldn't help but smile."Real fly girl up there."a few of them awkwardly smile."so where's our destination?"Twilight asked giving him a quick grin knowing that he's trying his best to make everyone feel better about being in a strange world."we're going to see princess bubblegum at the Candy Kingdom."and just like that he found himself lying on the ground being pinned by pinkie pie."DID YOU SAY CANDY KINGDOM! A KINGDOM MADE OF CANDY IS THIS PLACE PARADISE O.M.C O.M.C."Twilight practically had to pry pinky off of him ."yes the entire Kingdom from the trees to the ground is made of candy including the people."He started to brush himself off as pinky smile only widen."but please don't eat the Candy people or I will probably have to stop you"pinky reluctantly nodded.

3"rainbow do you mind taking an aerial view try to find the place that looks like it's surrounded by Pink cotton candy trees.... Well because it is surrounded by Pink cotton candy trees."boom called out before stopping looking at the ground a large Shadow now loomed over them. It was Spike. All the ponies turn to look back in both shock and horror. Spike mostly remain the same with one slight difference... He was absolutely Giant. His whole body in total was about the size of a two sorry house and his wings could probably cover all of them with ease."oh yeah I forgot dragons are huge here but at least he still looks different from them normally they're just Giant tube dragons with big ass butts."The ponies/girls stared for a moment but in silent agreement they chose not to address it not that Spike would mind he was too busy checking himself out."oh crap I'm HUGE you guys look so small from up here!" It was the most adorable giant grin in the world. Rainbow decided now was a good time to take him to the air as she being flapping her wings disappearing above the clouds. Surveying the land below she was able to make out what looks like pink trees and a large structure that looked somewhat like a castle."guess that must be what I'm looking for."she kept looking around noticing in One direction was a rather large tree that almost looks like it had Windows in it and in the opposite direction she noticed tall mountains made entirely of ice."heh heh heh what do we have here"a voice from nowhere stated in a malicious tone from behind her. Is she turned to look behind her she saw a giant monster with a bat like face and long blue limbs with crooked nails.'OH SHIT'at this point rainbow Dash started nose diving down towards her friends with the creature in pursuit who was maliciously chuckling the entire way down. The rest of the group saw the creature and the girls had various reactions. Applejack rarity and Twilight look like they were getting ready to fight with rarity and Twilight pulling out their swords. Fluttershy and Pinky had decided to stick near Spike who is now using his wings to shield them.Then there was boom standing out in the open as dash passed him and he just smiled. Apon seeing him the creature stopped a look of surprise on our face."hey Marceline it's been a while"the creature began to shrink taking on a human form she had pale white skin and incredibly long black hair which reached down to her feet a simple jacket and jeans and her ,guitar-axe strapef to her back and a nice big floopy hat which covered her in a shroud of darkness. She give out a wide smile revealing her fangs before wrapping her arms around boom giving him a hug."holy glob dude!your back it's been like 4 months!"he returned the embrace from his old friend as the rest of the girls started to calm down noticing that whatever that thing was it seemed friendly at least now it did."oh that's right."he turned to the girls and dragon."everyone this is my old friend Marceline... The vampire queen"a few of the girls jaw started to drop."your freinds with a literal blood sucking vampire?"Marceline shrugged at Twilight comment."actually it's just the color I'm after."Marceline started floating on her back around them."so boom what brings you and your new friends back to ooo."Boomlord got quiet."I found it Marcy.... I found the Rose fire and they're here because Twilight here"pointing at the slightly flustered purple pony girl."is the key to everything."Marceline stopped moving for a moment the words settling in her mind."oh we need to get to the Candy Kingdom right away then."then without word Marceline started floating off towards the direction of the Kingdom and boom followed along with the girls and the giant dragon...... Yeah that might be a problem.

4 After a few hours of walking they all managed to reach the candy kingdom with Spike deciding to hide in the trees to avoid unwanted attention. Pinkie pie look like she was about to go crazy or more crazy."o.m.c so m-much candy!"she was practically foaming at the mouth."look pinky just eat the sidewalk or something just please don't start eating random people I don't want to deal with any drama today especially because we need the princess's help."the pony started walking forward into the rather nice town and to boomlord credit every building and every person was made of candy, And many candies citizens passed by. Mr cupcake crunchy punch bowl guy."wow this is actually really fascinating I can't help but wonder what they're DNA is like how do candy people procreate do they need to breathe or eat its quite fascinating"Twilight then begin rambling about a whole bunch of science jargon that boom did not know but he found himself listening to every word she spoke it wasn't until arsenaline tapped his shoulder that he snapped out of his trance."I see you found a real good friend~"she whispered in a teasing tone."w-what no she's just um cool you know for someone who was a horse the other day."Marceline rolled her eyes."horse or not you always did have a thing for a Smart ones~."boom felt his blood pump. "Oh you're one to talk."Marceline then backed off she knew how far she could go before boom would made her regret it. After a while of walking the group then found themselves at the castle as a pink cared and pink skinned princess in a long pink dress noticed them."oh my! Boom you have returned and with.. many female companions huh"princess bubblegum gave a smirk."oh don't you start now too!" Boom was probably going to say more before pb gave him a warm hug."so I assume this has to do with the rose fire."bubblegum look down at him and while she kept a smile her face was full of worry."yeah Twilight here um it's kind of a long story."bubblegum nodded."it always is."about an hour had passed after this meeting and boom had explained to Marceline and bubblegum how we came to meet the girls and discover the fire leaving out the parts where he burned himself or threw a skillet at Twilight."interesting I'll probably have to run a few scans on Twilight then with her permission."Twilight nodded."good we'll start by using the rejuvenation tank to monitor your body and vitals while I conduct a few scans"boom notice that she was pointing to the large tank filled with water and knew that this meant that Twilight was going to have to strip down which he then took his cue to leave. "I'll be back soon gonna check on stuff."and before anyone could say anything he left the room.

(oh and before I forget I'll be opening asks for boomlord and Friends so if they appear in the story feel free to ask them a question ask box is officially open)