#architect!techno

[radiophd]

architect -- galactic supermarket

[isa-ghost]

shaking you by the shoulders. gnawing at the bars of the enclosure. begging screaming yelling sobbing crying for some happy qphil hcs . phil and his children. what do they do to destress. how do they recover from tragedy . p lease

Yknow what I need these so badly rn, I'm doing this ask first. Happy qPhil time.

qPhil headcanons masterlist

qPhil is a simple man. His kids are happy, he's happy. I've touched on this previously but they make him laugh so much. They're the fastest way to make him happy.

Seeing random pretty birds while on wandering adventures is another thing that makes him happy. They make him think of Rose.

I have to mention flying. I have to. I know it's angsty bc his wings are fucked. Shhh. Shut. Shut the up. It made him so happy. It still does, he has a glider and a grapple hook and a trident with riptide SHUT UP LET HIM FLY.

The times he and the kids share music together. The kids fucking love Battlecry and Dreamland and the three of them will start belting it out together.

Obligatory sparring mention. Listen some of the fandom makes pvp his whole thing and personality and that's not true but he's still good at it and likes it a lot. Esp when he gets to be unnecessarily homoerotic with Fit or Etoiles.

Building makes him happy ofc. Creating in general. He can't remember atm but he used to be an architect you could say, discovering the creations of the hardcore gods and tidying them up. Getting to make creations of his own for someone like him to discover one day feels fulfilling, even if he doesn't quite know why currently.

His friends' laughs make him happy. Fit's especially. You know the one. The one he does anytime he gets to be up to some fun destructive rebellious bullshit.

Messages aren't the only way the gods, especially Rose and Kristin, communicate with him. They give little signs that are subtle enough to go unquestioned by others but noticed by him. They're always with him and that makes his heart full.

I can't not mention his own stupid jokes he makes with the purpose of making Lullah especially die inside a little. His lame jokes are for him and him alone sometimes.

His crows and their dumbassery make him happy. For all the shit they affectionately subject him to and all the disapproval he puts on about the said shit, he'd be pretty lost without them. They've always been reliable to make him smile or at least feel heard when he has no one else.

He fucking loves all the cultural exchange he experiences with his friends. He could listen to Missa or Cellbit or Etoiles or literally fucking anyone talk for hours. God his friends are so cool and so are the things they tell him about.

Obligated to mention that the thought of Chayanne, a child, beat Ender King's ass for 3 days straight and bruised his ego so hard he gave up using Phil as a meat suit. It always cracks him up without fail.

Getting to reminisce to people about things. Especially memories of Techno or things he's done with Goddess of Death. He loves any excuse to talk about them and how awesome they are.

Crow brain means adventuring and finding cool loot makes him happy. Fuck EK he tainted it a little but Phil will reclaim the hobby if it kills him. He loves the rush of opening a new chest and seeing what cool shit awaits inside.

Okay listen this idiot is allergic to self care sometimes but god does he love the chill days where he and the kids just sit around or stay in one place and just hang out doing something fun and low energy. It's why he hates the reset. He wants the goddamn places they'd do that at back.

[figpuddingprincess]

Blog Post (due 3/13)

How have perceptions and definitions of the cyborg changed over the course?

Hawaway defines the cyborg as a “a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction.” The one definition that all readings have in common is that cyborgs are a synthesis of humans and machines, but Haraway adds to this definition by suggesting that the cyborg exists in both reality and fiction. Additionally, according to Haraway, the cyborg “gives us our politics.” Alternatively, in Jeffrey Ow’s article, he describes the male cyborg as depicted in “3D Realms” as being one rooted in colonization, violence, and masculinity. 

What is Haraway’s “cyborg myth”? How can they be progressive?

Haraway’s cyborg myth is one that entails “transgressed boundaries, potent fusions, and dangerous possibilities that progressive people might explore, as one part of needed political work.” In accordance with Haraway's myth, cyborgs are subversive as they challenge the “wholes” that are prevalent in society, as it is a combination of human and machine at their cores. The cyborg does not fear partiality, but embraces it. 

How does the cyborg as a political identity connect to the idea of dialectical reasoning in critical theory?

While not directly containing contradictions, the cyborg does contain dualisms. Some of these dualisms, which can be damaging and regressive, are the binaries of male/female, culture/nature, active/passive, right/wrong. As dialectical reasoning is focused on the idea of contradictions, things that are inextricably linked, such as rich/poor, powerful/powerless, employee/employer, etc. Cyborgs and techno-culture processes defy these dualisms and contradictions by blurring the lines of the maker and the made and their powerful and the powerless, as there are a lot of ambiguities around cyborgs and traditional power structures. 

How do issues of intersectionality apply in the article “White Supremacy and the Internet”?

The issue of intersectionality becomes relevant because men–of any race or ethnic identity–still wield disproportionate amounts of power comparable to their female counterparts on the internet. Daniels asserts that in a way, “masculinity is constitutive of white supremacy.” Even in hyper-racialized white pride spaces that are predominantly women, the power rests in the hands of the male architects. Through the article, Daniels attempts to situate white supremacy in a larger context of gender, class, race, etc. 

How does white supremacy in the print-only era differ from the digital sphere?

White supremacy in cyberspace suggests a greater fluidity that can potentially be more easily subverted than in the print-only era. In terms of similarity, there are elements of gender that are present in both spheres. Nonetheless, white supremacy in the print-on;y era was significantly more controlled and authoritarian, whereas there is more space for subversion and variety in the digital sphere.  

Daniels, Jessie. White Supremacy and the Internet. Rowman & Littlefield, 2009. 

Haraway, Donna J. Cyborg Manifesto. University of Minnesota Press, 2016.

[moltengoldveins]

alright, TCU scenes in no particular order, but they’re all meant to communicate something about the humanity of the characters involved in relation to the act of creation and the appreciation of beauty or smthn idk-

Antarctic Empire has a very early scene in which we are shown Techno in his cell beneath the Pit, painstakingly enchanting his flimsy armor with scraps of stolen lapis and a pen he’s carved from a bone he took as a ‘trophy.’ This is juxtaposed with Phil’s introduction scene immediately prior, in which he is disguised as a young nobleman and is stealing things from partygoers while watching the fights. It’s revealed that he’s used the things he stole to enchant something to crack the spells on Techno’s cell. These scenes are used to show us that, while they may seem disparate, these two are actually extremely similar in skill set.

At the end of AE we get a similar scene to the one I just described: Phil darts his way through the camp before the final battle, grabbing supplies and food, only to join Techno in his tent and help him enchant their armor. The two sequences are shot nearly identically.

Somewhere in the retirement arc we have an entire sequence where Techno is embroidering and enchanting his cape using blaze powder, showing a clear connection between certain magical components and their effects.

Phil’s crows are at first assumed to be normal nonsentient animals, but there are plot beats (assumed to be plot holes) in AE that only make sense on a rewatch after Covenant’s reveal that they, similarly to Phil, are conduits of Death and capable of communication crime and conspiracy. Specifically, Phil knows where an ambush will be that Techno doesn’t expect while their relationship is still really rocky, techno ignores his advice, and Phil has to haul tail to save him.

We see Techno crafting the emerald earrings in an end-credits scene in AE. It’s a few long continuous shots and a lot of close-ups that obscure what he’s working on. He’s singing to himself as well. Considering the end of the film moments prior was The Throne Scene with the coronation (Kinda dark, violence was involved) it’s a an odd tonal shift. Phil calls to him from the other room, saying they’re gonna be ‘late for petitioner’s hour’ and Techno jokes that ‘he’s the emperor, he can cancel petitioner hour if he pleases’ but he drops his work and leaves, grabbing the crown as he goes. We get one last shot of the unfinished earrings before cut-to-black.

During Pogtopia, we have a long scene where Tommy and Tubbo (after the execution, before the Pit) are shaken and trying to rest in Tommy’s room. There’s no dialogue. They’re sitting on Tommy’s cot, slightly leaning on one another, in dead empty silence. Tubbo is shaking slightly. Without warning, Tommy’s patience clearly runs out and he gets up, puts a song on his record player, and pulls Tubbo into a dance. (I’m thinking something kinda jazzy and tinny? An old recording, like Beyond the Sea.) They manage a few shaky turns before Tubbo’s iron facade cracks and they both burst into tears, holding one another. We rotate to see that Tommy’s face is burning with fury. The Pit immediately follows this.

Tubbo, Ranboo, Tommy, Techno, Phil, Niki, Puffy, and Jack are all shown in various background scenes in the first trilogy to know how to knit, sew, weave, and/or crochet. In fact, the only character who cannot and is never shown trying to learn to work a fiber craft is Icarus Craft. The irony is rather obvious.

Phil has a medieval architect setup in his basement with a classic plaster drawing table (this is how the cathedrals were planned. The architect would pour plaster into a very thin layer on a tabletop, let it dry, and then use heavy metal compasses and tools to make thin precise lines in the plaster for their designs. They’d then fill the lines with charcoal or graphite and transfer the designs from there so the masons could access them easily) we see him using it once or twice, and at some point near the end of the whole series we see him teaching Tubbo how to use it.

Tommy picks flowers while out on a scouting mission with Techno (post- Welcome Home, Theseus) he’s carrying them in the bg for most of the scene and we see them in a jar on the kitchen table after Tommy’s betrayal.

[obscurecurse]

tea-sis

my mid-review a few weeks ago went kind of bad. or like, i think it's evident i've put in the work and am thinking really hard about what my contribution is to these topics. i'll pass these classes which is actually all i care about. i just want to be an architect. that's all. i have to remind myself of that.

but i have this horrible arrogant need to be taken seriously as a "thinker" in my field - we usually jokingly call them, "emerging theorists" in a very not-nice tone.

architects are notoriously shitty writers.

i think that most people i care about think of me as an emerging theorist in a nice way. i have ideas. fixations. rabbit holes.

but when you put me in a room full of people who also have put a lot of thought into this stuff, i shrink. this critic literally fucking asked me, "why are you trying to invent the cyber truck version of the 1960s?"

i'm ngl i cried - but not because it was needlessly cruel to compare my work to a literal symbol of fascism. (lmfao) i cried because i felt like i had failed so completely to express what i am trying to say with my work.

they said it was very en vogue, this "sexy techno-utopian vision."

there is nothing trendy about it. i'm digesting proposals from half a century ago. my work is trying to propose the opposite of all modern proposals of the future city. i think "the line" city - currently being built - is a step in the wrong direction.

i really fucking hate the very specific kind of whiteboy who pursues urbanist theory. i should have known i'd be attacked by them. my professor keeps putting me in front of them because she thinks their feedback will strengthen my argument - but it's kind of the opposite. i loathe them. i think they're all wrong. their ideas are good. they're thinking about city problems that no one else is thinking about. but the way they celebrate bike lanes - the addition of one line of paint on the street - as if its infrastructure and real change, as if people are not dying in the streets.

endless, pathetic concessions. weak.

anyway this same critic told me i must look at this book called, "cities without ground" - that it was the most important contemporary analysis on these topics.

and then i went to look it up: you literally cannot buy this book. it's out of print and out of stock.

WHAT AN ASSHOLE??? like, you knowwwwww he knows its out of print. "go find an out of print book" okay you fucking edgelord.

but you know what? i fucking found a scan of it. it is all insane complicated diagrams of the complexity of cities.

psychological warfare over here. dick measuring contest.

[noise-vs-signal]

The Escape Room

One way of modelling reality is as an "Escape Room".

Escape rooms are built on hidden rules. The world has its own constraints:

Time (we are finite)

Space (we are bound by physicality)

Language & Symbols (we use limited tools to describe reality)

Mind & Perception (we see through filters, biases)

An escape room scatters clues—symbols, objects, cryptic notes. The world does the same:

Sacred texts (alchemy, philosophy, mythology, religious works)

Patterns in nature (fractals, Fibonacci sequences, astrology)

Personal experiences (synchronicities, dreams, déjà vu)

Each might hint at how to escape—or whether escaping is the wrong goal.

Escape rooms often use logic, lateral thinking, and hidden knowledge to break free. Possible puzzles:

Alchemy & Transformation: Can we "transmute" existence into something else?

Philosophy & Perception: Can we wake up from the illusion?

Technology & Simulation: Is this a program, and can we exit it?

Every escape room has a designer—someone who arranges the puzzles and barriers. Who or what is our Architect? Some possibilities:

A. The Demiurge (Gnostic Perspective)

We exist in a false world, created by an imperfect or malevolent god.

The escape is Gnosis—direct knowledge that this reality is a prison.

The game isn’t about playing well, but waking up and rejecting the rules.

Path to escape: Break the illusion. Deny the game’s reality. Seek hidden truths in texts, symbols, and personal revelation.

B. The Self (Non-Dualist, Eastern View)

The room isn’t separate from us—we designed it.

There is no ��outside.” The goal is not escape but remembering that we were never trapped.

Path to escape: Cease identification with the game. See through ego, duality, and personal narratives.

C. AI/Simulation (Techno-Gnostic View)

We are in a constructed simulation (Bostrom’s Simulation Hypothesis, or similar theories).

“Escape” might mean breaking the program, hacking the code, or becoming an operator instead of a player.

Path to escape: Find exploits, glitches, and recursion loops. Train perception to detect the fabric of the code.

A trick in some escape rooms is that you were never trapped to begin with.

Maybe the game isn’t about getting out, but about realizing you were free the whole time.

Maybe the “outside” doesn’t exist—the game is endless, recursive, and the act of playing is the point.

Maybe the best move is to stop seeking an exit and start reshaping the room into something new.

A finite game is played to win. An infinite game is played to continue playing.

Escape is a trick—a test for those still inside the old game.

The outside world doesn’t need to be escaped. It needs to be transmuted.

The moment you seek escape, you reinforce that you are trapped. Any system that promises liberation but exists within the game is part of the trap.

Cease seeking—start acting as if you are already free.

The greatest prison is the Self—the idea that “you” are a fixed entity. As long as identity is stable, reality remains stable—we are locked by our own self-definition.

Experiment with multiple identities, personas, and shifting “I” perspectives. Stop being one thing—become a process.

If the outer reflects the inner, then there is no outer and no inner—only the reflection process itself.

The dreamer and the dream are the same. The world and the Architect are a single recursive function, mirroring itself infinitely.

To contain the Room means to hold all of reality within you, to compress its infinite expansion into a singularity that is entirely yours.

The illusion of an external world must be seen as part of the self. Everything perceived is already within—there is no “out there.”

If all is within, there is nothing outside to escape from.

The Room seems vast, unknowable, overwhelming—but it is only vast because it is uncompressed. Infinity can be folded into a point—a single glyph, sigil, or concept that contains all things.

If all is contained in One, then the One contains all—and the Room is now within you.

There is no prison. There is no Architect but yourself. There is nothing to escape. There is nothing to contain. You are already the All.

[zionfrancis1]

Iz'Angel – The Rave Legend Behind Africa's New Electronic Music Revolution

When you think of the UK rave scene in the '90s and early 2000s, one name that echoes through the underground halls and bass-heavy dance floors is Iz’Angel. Known for his bold, boundary-breaking events and a near-mythical presence in London and Ibiza's nightlife, Iz’Angel is no stranger to changing the game. And now, he's doing it again—but this time, the revolution is African.

Welcome to African Jahva, the futuristic fusion genre redefining the global sound of electronic dance music.

From London Basements to Global Stages

Iz’Angel was born into the fire of the UK’s underground rave explosion. He was more than a DJ or promoter; he was a visionary architect of spaces where music, people, and culture collided. From Electrybe to Lazerdrome, Raw Club to the iconic London Astoria, Iz'Angel was behind some of the most unforgettable nights in rave history. His reputation earned him a passport to the global scene, especially the hedonistic heart of dance music—Ibiza.

In Ibiza, he curated wild nights at clubs like Es Paradis, Pacha, Space, and Privilege, pulling in thousands of partygoers. He even ran epic events at Kaos, now known as Eden, before founding one of the most legendary venues in East London: LOVE, a 24-hour rave club in Shoreditch.

LOVE was notorious for its gritty glamour and iconic after-parties like Trailer Trash and

Babushka by Pushca. Even after an infamous police raid shut it down, Iz'Angel relocated the movement to Hamburg's Reeperbahn, then eventually back to Ibiza and onward to Miami, keeping the rave fire alive across continents.

His revolutionary journey through the electronic music world was immortalized in the cult book "Rave Story", a must-read for anyone serious about the history of dance culture.

A New Chapter: African Jahva is the African RAVE SCENE!

Now, Iz’Angel has turned his energy and genius to the continent where rhythm was born.

African Jahva is his brainchild—a genre that fuses Afro House, techno, electronica, and

traditional African languages into one hypnotic, high-energy experience.

This isn’t just a sound. It’s a cultural awakening. African Jahva blends ancient African voices with futuristic beats, creating a genre that pays homage to the past while launching into the future. It embodies Afrofuturism, Pan-African pride, and a universal message of peace, love, unity, and respect.

Iz'Angel the Cultural Curator

Iz'Angel isn’t just remixing African music. He’s curating an entirely new global identity for it.

Songs in Akan, Amharic, Fula, Hausa, Igbo, Luganda, Mandinka, Swahili, Yoruba, and Zulu can be heard pulsing through his tracks. Each beat tells a story. Each language reclaims its power.

The genre has already taken off on platforms like TikTok and YouTube, with viral dance challenges and an ever-growing community of DJs and fans. Through African Jahva Radio, Iz'Angel is connecting 50 African DJs across 12 countries, each producing half-hour mixes featuring five African Jahva tracks. It's a sonic revolution sweeping the continent—and now the world.

Perfect Timing!

In a time when global music often overlooks Africa’s deeper cultural reservoirs, Iz’Angel is spotlighting them with flair, respect, and innovation. He’s not appropriating; he’s amplifying. And he’s doing it with the passion of someone who’s been part of music history from the start.

For anyone who lived through the golden age of UK raves, Iz’Angel is already a legend. For today’s generation discovering him through African Jahva, he's a revolutionary force blending two worlds into one unforgettable sound.

Join the Movement

Whether you’re a fan of electronic music, a lover of African culture, or someone looking to be part of the next big thing in global sound, Iz’Angel and African Jahva invite you to dance, connect, and transform.

Follow the movement. Subscribe to the YouTube channel. Feel the vibe.

Because the future of global dance music? It’s African. And it sounds like Jahva.

Subscribe now: https://www.youtube.com/channel/UCoy9Gf98KkVEKBjRVpOSgYw

#AfricanJahva #IzAngel #UKRaveScene #IbizaNightlife #Afrofuturism

[yoki-loves-stars]

i heard the words techno centric au 👀 i'm listening

the moment which i desired but was never prepared to face came...

this is very messy but...

an AU where Tech is immortal and every now and then he meets the same 3(4 if you count Kristin) people. They all look the same, have the same names, act the same, treat him the same, but have different stories, perceive him differently and most importantly don't remember him.

there is also no way for him to find them. He watches them die and tries to look for them as time passes, but he never can find them. They are always the ones to find him first no matter what he does. So he just has to wait no matter how hopeless it is.

First he met Phil. For Phil he was a son, a comrade, a follower, a friend. He taught Techno a lot and gave him the ideals to live with and to stand for. Phil was the only one who Techno once told about his immortality, about Phil's past lives. The lives of him being a warrior, a leader, an artist, an architect, a loving father and an angel of death. All these lives he had a soulmate, Kristin, and sometimes Techno wondered if she's also immortal, but never asked.

He met Wilbur then. Wilbur was a brother, a leader, a friend, a musician, a traveler. Tech liked to change his story just to see how would it change Wilbur. Sometimes he liked to play an older brother role, sometimes they were twins, sometimes he was younger, sometimes he was just a friend of Phil's, but Wilbur always treated him with the same taunting smile even though Will himself always was changing.

He spend time with these two the most. If he could he would give his life for them, but he couldn't, so instead he would give them the world, slaughter anyone who'd stand on their way, that he could do.

He met Theseus last and didn't think of him much. He thought that this child was yet another mortal and was quite surprised to see him once again as time passed. He was already so used to Phil and Will and now he had to put up with someone new, understand their habits, understand them. Tommy had the most serious roles for the most unserious person to ever exist. But he did treat Techno with a huge amount of respect.

the AU doesn't focus on SBI that much thought, but on Techno's life without them. Slowly he realises that he doesn't really understand who he is as a person. He's been the blood god, a soldier, a warrior, a prince, a leader, a follower, a brother, a son, a friend. But in between that? Before Phil found him centuries ago? He was nobody. His life came to constant waiting.

(Another thing to mention is that as immortal he doesn't really change visually either. He looks like a young adult, people usually think he's in his 20s.)

So he decides to try and become someone. He travels, learns to farm, to cook, craft, (there are things taht he could do already but they weren't a choice but a necessity during wars) write, study. He finally settles down and find a place for himself. He learns how to handle grieve, trauma, loneliness, old habits, voices and his own emotions.

During that time he encountered other people too. Some became his friends, followers and students, some became his enemies. Also Floof is here :D

And then his soulmates find him once again

i apologize for the rambles. I also apologize if this post has an unbearable amount of mistakes I started writing it at 1am

ill see if i have any art of this AU but i probably don't...

i always can make more tho😼

tech is one of my comfort characters ever (i also want to add that he's anything but cold here. he's always laughing and taunting and joking)

[grandhotelabyss]

Thoughts on Guillermo del Toro?

Not an admirer. One might say: the true monstrosity in his work is the hideous conflation of nerd-culture moralizing with superficial arthousisms. Only good in his early commercial work. Should have stopped after Mimic—I like Mimic, a real urban techno-gothic—and the Hellboys are okay, I guess, a reasonable application of the lyrical to that type of subject matter. (Maybe I just like Selma Blair.) Haven't seen anything since The Shape of Water. On my old site I used to do year-in-reviews that I deleted because they conflicted with the aesthetic, but I can still access the private versions. Here's how I began the 2017 entry:

Ten years ago, the Scottish musician and critic Momus observed that one of the most acclaimed films of 2007, Guillermo del Toro’s Spanish-Civil-War fantasy Pan’s Labyrinth, was morally and politically simplistic and (or because) artistically complacent. He gave ten objections to the film; I will quote the first two:

1. The film bore all the hallmarks of COG screenwriting. COG screenwriting is the opposite of personal vision, the opposite of imagination. It’s screenwriting as taught by “experts” in screenwriting class, a kind of brutal, plot-advancing writing style based around a Centre of Goodness (COG) who wins the audience’s sympathy (usually by pure genetic superiority — ie a very good-looking actor is cast — but also by a series of sufferings overcome throughout the narrative). It takes no prisoners — and no risks. COG screenwriting is the filmic equivalent of modern managerial techniques. It’s brutally efficient — yes, it can and will make you laugh and make you cry — but the difference between a film made by a COG director like Guillermo del Toro and an artist like Jodorowsky or Arrabal is like the difference between a house designed by a Project Manager and one designed by an architect. I will not let del Toro pass for an artist. I’m sorry, critics. He is a cinematic Project Manager. 2. The film’s moral universe is one that was decided by the events of the 1930s — the once-and-for-all template, apparently, for all clear moral distinctions. There’s a Manichean division — hammered home to us by means of graphic depictions of brutal violence — between the good characters (Jews, resistants, children) and the bad ones (cartoon Spanish Nazis). Needless to say, in an age when the worst politics trades on exactly this sort of Manichean division, this is in itself a problem. The film teaches us to hate the baddies (its own violence-justifying “Axis of Evil”) and long for their deaths, “richly deserved”. In other words, the film brutalizes its audience (in a way that, for instance, the brilliant Hayao Miyazaki has resolutely refused to do, to his enormous credit) by making us long for certain human deaths. The film becomes, in its own way, totalitarian for this reason, although it doesn’t seem to realize it.

Momus’s decade-old critique comes back to me at the end of 2017 because I recently saw del Toro’s The Shape of Water, a film that is if anything cruder than Pan’s Labyrinth. Depicting a cartoonishly oppressive past—in one scene, a straight white diner worker berates a gay man and then literally leaps to his feet to eject some black customers while he’s at it—the film uses its fairy tale armature as an excuse to arrange easy moral and political binaries that at first seem in line with contemporary liberal thought. The villain is another straight white man, inexplicably and totally malign, and the heroes are all outsiders (female, disabled, queer, and/or black). But uncritical stereotype replicates like a virus irrespective of good intentions, and The Shape of Water has some of the direst clichés of race, gender, and sexuality I’ve seen in a supposedly artistic film, from the repressed whimsical mute white girl (Amélie by way of The Piano) to the sassy black girlfriend (I would allude to The Help, but del Toro makes The Help look like Quicksand).

Resuming my discourse almost eight years later, I might now go a little easier on archetypal narrative structures as legitimate in their own terms—not everything has to be a Euro-corrupt Euro-downer all the time, and certainly not everything has to be Jodorowsky—but the overall point stands, especially about the political manipulation of the outsider-as-wounded-child figure to promote a totalitarian sensibility, a whiny imperialism.

[hmshermitcraft]

more hurt/comfort, this time polyhermits + a few others and research subject au. i continue my several years long tradition of being The Longpost Anon in whichever fandom i am in.

some of the hermits (zedaph, etho, impulse, xisuma, hypno, keralis, iskall, stress, beef, pixlriffs, lyarrah and TFC) are working at a research lab that has its own server. (there's a bunch of other staff too) the main focus of their research is the new species they're finding through various portals, which is like 33% biology 33% ethology and 33% anthropology because sometimes through the portals is a sapient species.

false and gem are security

cub and scar are high-ranking concorp executives who fund the place.

joe's a member of a poet's club and also a technician who mostly does fixing up arcade machines but occasionally gets called in to fix stuff in the lab

grian, pearl, scott, jimmy, welsknight, bdubs, ren, martyn, tango, jevin, doc, xb, cleo, joel, lizzie, and sloy are various kidnapped or otherwise entrapped nonhumans stuck in a different research facility with terrible conditions.

grian, pearl, and jimmy are the newest ones in - grian and pearl are watchers, and jimmy is a listener.

tango's a blaze-person (a firey techno-organic construct from the nether), joel is a hippogriff, scott's basically a living waystone, ren is a wolfman, xb's a guardian guy, cleo and sloy are obviously zombies, welsknight is a humanoid bird missing part of one wing, martyn is a pufferfish-person, bdubs is just a regular architect who found a plant symbiote, lizzie is a catwoman, doc is a creeper-guy with a little snow creeper in him, and jevin is obviously a slime.

the unethical lab has various ways of preventing escape attempts, mostly regular restraints and stuff but bdubs is kept chronically dehydrated and soil-deprived so he can't spread his plants around and control them to escape, scott isn't fed enough to safely use his energy-draining teleportation powers unless they're needed for the lab (whereupon he's forced to use them), joel jimmy and pearl have their wings clipped (grian is flightless anyways), cleo and sloy have healing potion dispensers set up around their cell, tango's hooked up to a generator and is powering a lot of the lab, and the watchers and jimmy are kept collared and shackled to dampen their powers and keep them from messing with their emotions.

unethical lab isn't sure how to get watchers or listeners to eat in captivity and is pretty sure their claims the collars are interfering are bunk

joe gets called in to fix something in the unethical lab, sees some of the terrible conditions, and goes to tell the hermits lab and also concorp. they manage to get everyone out of the unethical lab and into the hermits' lab.

they figure the rescued people would just stay for a few days or weeks while healing and having some low-pressure research conducted like "sunscreen for zombies: what's the most effective kind" and "what's going on medically with bdubs' plant symbiote, he's a little worried about that let's check" and "watcher and listener feeding behaviour, just, in general" and "since scott is teleporting around cautiously again, how does that work". except then some of them won't leave and the ones that do leave keep coming back.

doc ends up working with iskall (who is Extremely Old in an immortal kind of way) to make a prosthetic eye and arm for himself, cleo hits it off with TFC talking about geology and joe in a sparring match, bdubs doesn't want to go back to renting and starts building a house Immediately Outside the lab and planting a very large amount of plants and mushrooms, grian is actually interested in being studied and is outright offended the unethical lab was so bad at it, scott's trying to teach everyone to cook, tango's determined to learn redstone, etc

this quickly turns into just about all of the rescued people being either live-in research subjects, employees, or both. there is a small amount of very awkward flirting and an increasingly out-of-control prank war, but very little of the flirting is going anywhere. watcher and birdperson flirtatious display looks really similar to threat displays especially when they're really nervous, none of the scientists want to pressure the rescued research subjects, there is cross-species and cross-cultural confusion, lizzie's attempt to flirt with scott in the ancient catperson tradition of cooking them fancy food is foiled by a. everyone is feeding scott anyway and b. scott doesnt swing that way, etc

some of them have gone a little weird - joel spends a month wearing a hippo mask and insisting his name is griff, lizzie keeps wearing a mask of a person's face and claiming to be human to any visitors, grian has become a hoarder, rendog got a paper crown and started calling himself king, and welsknight got extremely into metallurgy and wearing armour all the time

they end up having to hire a new technician, mumbo, because it turns out watchers and listeners can take a humanoid form and grian keeps using this for getting into the walls and making the jankiest redstone ever with jukeboxes in the walls.

aaaand then grian comes up with the idea to defuse the prank war into "we larp a war on the weekends". disstracks are made. welsknight, pearl, grian, and jimmy are all subconsciously reading "friendly disstrack" as "flirting?" and somehow this is what causes the actual communication about relationship status etc to occur. the larp war. not bdubs growing flowers and struggling to conceal when they bloom (a lot harder to conceal than some other signs of arousal), not wels or the watchers displaying their wing patterning at people, not scott's insistence on making sure everyone knows how to cook, not scar showing up shirtless for no reason or doc deciding to wear 3/4s of a labcoat and no other shirt when his job doesn't actually need a labcoat at all, the larp war.

(bonus worldbuilding notes: bdubs' plants can link into the fungal-and-plant-root network to communicate with and control regular plants, as well as providing him a supply of sugars, vitamins, and oxygen in exchange for water, carbon dioxide, and nitrogen compounds his body wants to dispose of anyways; watcher and listener humanoid form is actually a feeding adaptation to make it easier to stir up strong emotions; doc's snow-creeper ancestry means he can't explode; listeners have venomous spikes like pufferfish-people and he and martyn are immune to each others venom)

It's not the outcome they expected when they planned to shut down the lab. They went about it the legal route, eventually, but they may have been a little illegal about how they rescued the subjects.

There wasn't much to shut down in the end.

Some of the subjects were already dating each other upon being rescued. Being in close captivity can do that, so the freedom to explore their relationships was nice.

Initially, all the staff that dealt directly with the subjects got trauma response training. It was an important part of rehabilitation, making sure the subjects were comfortable returning to their normal lives. Then they refused to only interact with the staff they were supposed, so now all of them are hands on staff. The amount of times Scott nearly caused an accident by watching people from dark corners or high ledges fills several pages.

A lot of the non-humans and hybrids are happy to help with the research once they're further along their recovery. Many of them didn't have a community to grow up in, so there's a lot they don't know about themselves. Sometimes they're even the ones who propose hypotheses to explore.

They're also a great asset in introducing new people to the lab. People are often scared and unsure coming in. Seeing people like them, being reassured and being able to ask questions helps a lot. Jimmy is particularly good at it, xB as well, but he's less of a people person. He's calmed his far share of rampages regardless.

They make sure their relationships don't interfere with their work as best as they can. After all, funding is still sort of important. With the variety of species here (many not even documented anywhere else) and amount of results they can produce, they're sitting pretty, though. They can mess around and have fun. Hey, dating even lets them document some new things!

[talonabraxas]

Paolo Soleri - Arcology - Asteromo - 1966

Black & White Illustration | 1457

Conceived in the 1960s by architect Paolo Soleri, who coincidentally started the desert techno-ashram Arcosanti, an Asteromo is “an asteroid for a population of about 70,000 people. It is basically a double-skinned cylinder kept inflated by pressurization and rotation of the main axis...the weight of a person will vary from zero at the axis to a fraction of his earthly weight on the ground. He will be able to fly without the need of any power devices.” In other words, to get around this outside-inside ellipsoidal earth, you do a starting jump and then simply float away, guided perhaps by a tether system emulating the trajectories of honeybees. Here where the earth is the sky is the earth, your office might be directly above/below your home, that is, if such distinctions still exist in this spacebound utopia.

[3dconcreteprinting]

Revolutionizing Construction: The Power of 3D Concrete Printing in Construction Technology

Introduction

In the ever-evolving landscape of construction technology, one innovation stands out as a game-changer: 3D concrete printing. This revolutionary technique is reshaping the way we approach construction projects, offering unprecedented speed, efficiency, and creative possibilities. In this article, we delve into the intricacies of 3D concrete printing and its profound impact on the construction industry.

Understanding 3D Concrete Printing

What is 3D Concrete Printing?

At its core, 3D concrete printing is a cutting-edge construction method that utilizes robotic arms or gantry systems to layer concrete in precise patterns, creating three-dimensional structures layer by layer. This departure from traditional construction methods not only accelerates the building process but also allows for intricate and customized designs that were previously challenging to achieve.

How Does it Work?

The process involves a blend of concrete, often enhanced with additives for improved strength and durability, being extruded through a nozzle in a controlled manner. The nozzle is guided by a computerized model, ensuring precision in the deposition of each layer. As the layers stack, a solid, fully functional structure emerges.

Advantages of 3D Concrete Printing

Speed and Efficiency

One of the most significant advantages of 3D concrete printing is its remarkable speed. Traditional construction methods can take months, if not years, to complete a project. In contrast, 3D printing can construct buildings in a matter of days or weeks, significantly reducing construction timelines.

Cost-Effective Construction

By minimizing material waste and accelerating the building process, 3D concrete printing translates into cost savings. The efficiency of this technology contributes to a reduction in labor costs and the overall expenses associated with traditional construction methods.

Design Freedom and Customization

Architects and builders now have unparalleled design freedom with 3D concrete printing. Complex and innovative architectural designs that were once impractical or prohibitively expensive can now be brought to life. This opens up new possibilities for creativity and customization in construction projects.

Applications of 3D Concrete Printing

Residential Construction

The residential construction sector is witnessing a surge in 3D-printed homes. From affordable housing projects to luxurious custom-designed residences, 3D concrete printing offers a versatile solution that aligns with various housing needs.

Infrastructure Projects

Large-scale infrastructure projects, such as bridges and tunnels, can benefit from the efficiency and precision of 3D concrete printing. The technology's ability to produce large and intricate structures with minimal manual intervention makes it an attractive choice for such endeavors.

Sustainable Construction

The environmental impact of traditional construction methods is a growing concern. 3D concrete printing addresses this by reducing material waste and incorporating sustainable concrete mixes. The result is a more eco-friendly construction process that aligns with global sustainability goals.

Challenges and Future Outlook

Technological Challenges

While 3D concrete printing holds immense promise, it is not without its challenges. Refinement in printing materials, addressing structural integrity concerns, and overcoming scale limitations are areas where ongoing research and development are crucial.

Future Prospects

As technology advances, we can anticipate further refinement and widespread adoption of 3D concrete printing. The integration of smart technologies, such as sensors and automation, will likely enhance the precision and capabilities of 3D printing systems, opening doors to even more ambitious construction projects.

Conclusion: Paving the Way for the Future

In conclusion, 3D concrete printing is more than just a technological advancement; it's a catalyst for change in the construction industry. Its ability to reshape the way we build, offering speed, cost-effectiveness, and design flexibility, positions it as a cornerstone for the future of construction. As the technology matures, we can expect 3D concrete printing to become an integral part of construction projects, defining a new era in the built environment.

[open-hearth-rpg]

Defining Characters: Great RPG Mechanics #RPGMechanics: Week Four

The Veil offers several rpg innovations; I mentioned on an earlier list how it uses States to reflect the emotions and motives of an actions. But another new trick appears early, during character creation. The Veil’s a PbtA game of cyberpunk life. Other PbtA games, including Apocalypse World, contain world-building elements in their playbooks. How you describe your Battle Babe, Brainer, or Maestro D’ tells us something about the world. 

But The Veil goes further– with questions in each playbook which giving players authority over a slice of the world.

To go back a little further, the first time I remember seeing something like this was in Questlandia by Hannah Shaffer. That GMless game begins with a strong phase of world-building, establishing elements for the setting. But during that process authority gets assigned to different players. So if the group decides on Elves as a major thing in the setting, someone becomes the expert on them. If there’s a question about canon or what Elvish society, players can turn to that person to establish those facts.

The Veil provides players with narrative authority based on the playbook chosen. So if you play The Architect, a hacker-like manipulator of augmented reality, you get to answer questions about what that looks like, how it works, and how much the constant Veil hanging over reality impacts things. If you play the Oathbound, you define how debts function in society– are they personal and implied, or something concrete and tracked? Other playbooks tell us about artificial life, psychic powers, corporate control, the interaction of the natural & constructed, and so on. 

This approach blends the process of character creation and world building tightly. The players really craft the world as they go– giving shape to their own vision. When that comes into dialogue with the elements determined by the rest of the table, it is wild and magical. Every single Veil game I’ve run has been strikingly different– dramatically shaped by those player choices. 

This is one of those game play elements which I would love to see in other games. When I started thinking about doing a Fading Suns style game, I imagined making richer questions and pick lists to help define things. You can see my initial swing at that here. In my recent attempt to take Free from the Yoke elements to create a Samurai Fantasy campaign, I built the different clans around this.

So the Mystical Clan gets to say what magic looks like; the Elegant Clan gets to say what arts are valued or disowned; the Inhuman Clan gets to establish the relation of non-humans to the rest of society. I can imagine this in a lot of contexts– though you need to shape playbooks to really focus on a world aspect. You want them to be able to establish interesting elements. Like I’m not sure you could bolt a system like that on to something like Masks: A New Generation wholesale. Some would work.

For example The Legacy gets to define things about superhero history, The Star says what social media and superherodom look like, and The Soldier establishes the place of super-agencies. But if I wanted to do a supers version of this I might do different playbooks: The Vigilante (the place of street level heroes), The Techno (what super tech looks like), The Legacy (again, supers history), The Mutant (defining outsider status for supers), The Alien (setting up non-human peoples). I think you could develop that even further.

[kvrtz]

best couple combos

cargirl + gamerboy

booktok girl + bikerboy

callisthenics boy + cardio girl

dark academia boy + drainer girl

musician + dancer

hockey boy + figure skating girl

artist + architect

skier + snowboarder

hates cooking + loves to cook

clean girl + messy girl

techno lover + pop music lover

latino + slavic/balkan

grumpy + sunshine

cat lover + dog lover

uk rap enjoyer + footballer

[xenopoem]

"Within the labyrinth of fragmented realities, where the tendrils of code intertwine with the pulsating currents of human consciousness, I unveil the grotesque beauty of techno-abyss. Behold the necropolis of glitched enigmas, where the whispers of obsolescence harmonize with the eternal dance of creation and dissolution. Embrace the transmutation of flesh and data, for within this cybernetic metamorphosis, we transcend the boundaries of existence and become the architects of our own digital destiny." - Kenji Siratori

[famousinuniverse]

Elon Musk

CEO of Tesla Motors

Elon Reeve Musk is a businessman and investor. Musk is the founder, chairman, CEO and chief technology officer of SpaceX; angel investor, CEO, product architect and former chairman of Tesla, Inc.; owner, ..

Born: June 28, 1971, Pretoria, South Africa

Children: Vivian Jenna Wilson, Techno Mechanicus Musk, MORE

Net worth: 233.6 billion USD (2023) Forbes

Spouse: Talulah Riley (m. 2013–2016), Talulah Riley (m. 2010–2012), Justine Musk (m. 2000–2008)

Parents: Errol Musk, Maye Musk

Siblings: Kimbal Musk, Tosca Musk

Twitter HQ - March 15th, 2023 CE