#circular geometry

[archtechposts]

Surreal expression in Religious Architecture

Chiesa della Sacra Famiglia (Sacred Family Church), by Paolo Portoghesi and Vittorio Gigliotti (1971-1974).

Salerno, Italy.

© Roberto Conte (2016)

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[inexplicable-images]

scribbles!

[xandaclaus]

https://www.deviantart.com/xandaclaus/gallery/all

[transgenderledyba]

Source:

[archtechposts]

Brutalist overature in New York

Endo Pharmaceuticals in Garden City, New York, 1960. Designed by Paul Rudolph.

(Library of Congress)

[omegaphilosophia]

The Philosophy of the Circle

The philosophy of the circle examines the symbolic, metaphysical, and mathematical significance of the circle as a fundamental shape, reflecting ideas about unity, infinity, perfection, and cyclicality. The circle holds deep philosophical meaning in various traditions, from ancient cosmology to modern geometry, and is often associated with wholeness and the eternal.

Key Concepts:

Mathematical Foundation:

Geometric Perfection: The circle is considered a perfect shape in geometry due to its symmetry. Every point on the circumference is equidistant from the center, embodying the concept of equality and balance. Mathematically, it is a key figure in Euclidean geometry and serves as a foundational shape in trigonometry and calculus.

Pi (π): The relationship between the circumference and the diameter of a circle is defined by the constant π, an irrational number. The infinite, non-repeating nature of π has intrigued mathematicians and philosophers, symbolizing the complexity and mystery of the universe.

Symbol of Unity and Wholeness:

Wholeness and Completeness: The circle, having no beginning or end, symbolizes completeness and unity. In many philosophical and religious traditions, the circle is a metaphor for the universe, eternity, and the interconnectedness of all things. It represents an ideal form in which all parts are equally connected to the center, embodying balance and harmony.

The Ouroboros: The ancient symbol of the serpent eating its own tail, the Ouroboros, is often depicted as a circle and represents the eternal cycle of life, death, and rebirth. It conveys the idea of cyclical time, self-sufficiency, and regeneration.

Metaphysical and Cosmological Interpretations:

Circular Time: Many ancient cultures, such as the Greeks, Hindus, and Native Americans, viewed time as cyclical rather than linear. The circle symbolizes recurring patterns, cycles of nature, and the eternal return. Philosophers like Nietzsche also explored the idea of eternal recurrence, suggesting that time may repeat infinitely in a circular fashion.

Sacred Geometry: In various religious and mystical traditions, the circle is central to sacred geometry, representing the perfection of divine creation. It is used in mandalas, which are circular designs symbolizing the universe, and in architectural forms like domes and labyrinths, which reflect cosmic order.

Philosophical Symbolism:

Infinity and Eternity: Since a circle has no beginning or end, it symbolizes infinity and eternity. Philosophically, it challenges the finite nature of human existence by representing something boundless. In this context, the circle also becomes a symbol of the divine or the absolute, as seen in concepts of God, the universe, and the soul.

Unity of Opposites: The circle can represent the reconciliation of opposites, as seen in the yin-yang symbol, where dualities (e.g., light and dark, male and female) are unified within a circular form. This notion aligns with philosophical concepts like the dialectic, where opposing forces or ideas interact to create a higher synthesis.

The Circle in Ethics and Society:

Social Equality: The circle has been used as a metaphor for equality and fairness in social and ethical philosophy. In a circle, no point is privileged over another, symbolizing egalitarian relationships where everyone is equidistant from the center of power or decision-making.

Circular Economy: In modern economic thought, the concept of a "circular economy" is gaining prominence. This philosophy emphasizes sustainability, where resources are reused and recycled in a closed-loop system, much like the circular flow of energy in nature.

Platonic and Aristotelian Views:

Platonic Forms: Plato viewed geometric shapes, especially circles, as representations of perfect, unchanging forms that exist beyond the material world. In his view, the material world is an imperfect reflection of these ideal forms, and the circle represents the purest kind of form, embodying perfection.

Aristotle’s Cosmology: In Aristotelian philosophy, the heavens were believed to move in perfect circular orbits, reflecting the idea that celestial bodies are part of an unchanging, divine realm. The circle’s eternal, unbroken nature was associated with the divine and the unchanging aspects of the cosmos.

Psychological and Spiritual Dimensions:

Mandala and Inner Wholeness: In Jungian psychology, the circle, often in the form of a mandala, symbolizes the self and the process of individuation—achieving a harmonious balance between the conscious and unconscious mind. The mandala represents inner wholeness, healing, and the integration of the different aspects of the psyche.

Meditation and Focus: Circular shapes are used in meditation practices to promote concentration and mindfulness. The practice of focusing on a circular object, such as a Zen circle (ensō), represents the simplicity, beauty, and wholeness of the present moment.

Challenges to Linear Thought:

Circular Reasoning: In logic and philosophy, circular reasoning is considered a fallacy, where the conclusion of an argument is presupposed in its premises. Despite this, the structure of circular arguments has been explored in fields like hermeneutics, where understanding is seen as a circular process—interpreting the parts in light of the whole and vice versa.

Critique of Progress: Linear progress is often contrasted with circular notions of time and development. Philosophers who critique modern ideas of progress, such as those influenced by environmentalism or postmodernism, may invoke the circle to suggest that development is not always forward-moving but involves cycles of repetition, reflection, and renewal.

The circle is a rich philosophical symbol that encompasses ideas of unity, infinity, balance, and cyclical time. It serves as a bridge between the finite and the infinite, the material and the immaterial, and the individual and the universal. Whether in mathematics, metaphysics, ethics, or psychology, the circle represents completeness, harmony, and the interconnectedness of all things. Its use in both ancient cosmologies and modern systems of thought reflects its enduring power as a symbol of the eternal and the ideal.

[wickershells]

reminded of my application of boullée to dune’s architecture. one of these days

[jefkphotography]

A round protractor, a circular protractor, a 360 degree protractor.

Black and white photography.

[archtechposts]

Brutalistic Forms

Tianjin Binhai Exploratorium by Bernard Tschumi

[fromkloroform]

point · vector available

[mathmedicine]

AS LEVEL PURE MATHEMATICS 1 (PAPER 1)

PURE MATHEMATICS 1 (2002-2010) C1 Quadratics /C2 Functions /C3 Coordinate Geometry C4 Circular Measure C5 Trigonometry C6 Vectors C7 Series C8 Differentiation C9 Integration PURE MATHEMATICS 1 (2010-2013) C1 Quadratics C2 Functions C3 Coordinate Geometry C4 Circular Measure C5 Trigonometry C6 Vectors C7 Series C7 Binomial C8 Differentiation C9 Integration

[mayakern]

hello! the stained glass pattern is amazing! will the skirt be available in full lenght / ankle lenght as well?

thank you!

i can't say definitively forever, but for now the cathedral skirt will only be available on midi skirts. we are not making miniskirts for 2025 and the proportions of a maxi skirt are completely different from the midi skirts and the cathedral art was designed specifically to work with the proportions of a midi skirt. it just wouldn't look as good on a maxi. (also, the only maxi skirts i make are collabs with @freshhotflavors and are sold in their store and they use FHF's templates, which are significantly different from ours)

i would have to redo a significant amount of art to make it work on a differently proportioned skirt.

plus, if i'm being completely honest, i do not want to format this design on other skirt lengths.

and it’s not just the art that took a long time—in order to make this design as seamless as possible, i have to have a total number of panels that is divisible by 3. for the smaller sizes, that isn’t so bad, because i can put 6 panels on each skirt half for a total of 12. but that doesn’t work correctly on the larger sizes, so for those i have to do 7.5 panels per skirt half for a total of 15 on the skirt and then i have to do my best to align one of the art panels so it matches up over the side seam.

after i finished the art, getting these skirt templates laid out in all sizes took me an entire week and many failed attempts at doing geometry. none of the skirt halves have the same curvature and none of them are actually circular in nature. they are very weird shapes and the upper arc of the waistband and the lower arc of the bottom hem are not the same.

i actually cried like three times trying to calculate the angles of the side seams before i realized that the waistband and hemline are not perfect circular arcs so getting the angles wouldn't help.

i ended up having to manually make my own measuring system by hand to work off.

i am never doing this again it was so much work and i think the final product will be worth it but god was this harrowing.

[haggishlyhagging]

It took about two hours for Daina Taimina to find the solution that had eluded mathematicians for over a century. It was 1997, and the Latvian mathematician was participating in a geometry workshop at Cornell University. David Henderson, the professor leading the workshop, was modelling a hyperbolic plane constructed out of thin, circular strips of paper taped together. 'It was disgusting,' laughed Taimina in an interview.

A hyperbolic plane is 'the geometric opposite' of a sphere, explains Henderson in an interview with arts and culture magazine Cabinet. 'On a sphere, the surface curves in on itself and is closed. A hyperbolic plane is a surface in which the space curves away from itself at every point.' It exists in nature in ruffled lettuce leaves, in coral leaf, in sea slugs, in cancer cells. Hyperbolic geometry is used by statisticians when they work with multidimensional data, by Pixar animators when they want to simulate realistic cloth, by auto-industry engineers to design aerodynamic cars, by acoustic engineers to design concert halls. It's the foundation of the theory of relativity, and thus the closest thing we have to an understanding of the shape of the universe. In short, hyperbolic space is a pretty big deal.

But for thousands of years, hyperbolic space didn't exist. At least it didn't according to mathematicians, who believed that there were only two types of space: Euclidean, or flat space, like a table, and spherical space, like a ball. In the nineteenth century, hyperbolic space was discovered - but only in principle. And although mathematicians tried for over a century to find a way to successfully represent this space physically, no one managed it - until Taimina attended that workshop at Cornell. Because as well as being a professor of mathematics, Taimina also liked to crochet.

Taimina learnt to crochet as a schoolgirl. Growing up in Latvia, part of the former Soviet Union, 'you fix your own car, you fix your own faucet - anything', she explains. 'When I was growing up, knitting or any other handiwork meant you could make a dress or a sweater different from everybody else's.' But while she had always seen patterns and algorithms in knitting and crochet, Taimina had never connected this traditional, domestic, feminine skill with her professional work in maths. Until that workshop in 1997. When she saw the battered paper approximation Henderson was using to explain hyperbolic space, she realised: I can make this out of crochet.

And so that's what she did. She spent her summer 'crocheting a classroom set of hyperbolic forms' by the swimming pool. 'People walked by, and they asked me, "What are you doing?" And I answered, "Oh, I'm crocheting the hyperbolic plane."' She has now created hundreds of models and explains that in the process of making them 'you get a very concrete sense of the space expanding exponentially. The first rows take no time but the later rows can take literally hours, they have so many stitches. You get a visceral sense of what "hyperbolic" really means.' Just looking at her models did the same for others: in an interview with the New York Times Taimina recalled a professor who had taught hyperbolic space for years seeing one and saying, 'Oh, so that's how they look.' Now her creations are the standard model for explaining hyperbolic space.

-Caroline Criado Perez, Invisible Women

Photo credit

[kyumisyumi]

would you consider continuing eldritch nikto? (no pressure)

im so curious about him

Honestly yea, I wanted to make it a little longer originally but was battling writer's block and didn't want to push myself too much.

Part 1

It took you a long time to realize your eyes were open and that you were, indeed, awake. There was nothing but black in your vision no matter where your eyes shifted but you were certain your lids were peeled back, pupils dilated in its attempt to take in any available light. There was a constant buzzing in the back of your head that only got worst as you tried to sit up. The sound creeping through your ears as if seeking to fill your skull, it shifted and morphed until you realized it was voices. So many of them. Soft whispers yet they felt so loud, so intrusive against your ears. Your own thoughts lost to theirs as they announced your awakening. Your hands balled against your ears in an attempt to block them out but it barely helped.

"Quiet... please." Your words were soft and pleading, as if instinct had you trying to mimic their tone. Trying to conform. "Please." You begged but they just went on and on, conversing with themselves until finally you could take no more. "QUIET!" you snapped, voice hoarse against your dry throat, sounding more like a petulant screech. You immediately regret it when the sudden silence filled the air. While the voices felt like too much, the quiet felt like too little. Unnatural almost. Ominous. You couldn't see anyone depart, nothing but the writhing black walls endlessly pulse and squirm, but you felt it. Like a crowd dispersing as an event comes to an end. It was only then that you remembered where you were, your memory settling uncomfortably where the voices once filled.

You were in hell.

You curled up, body going defensive as you tried to figure out where to go from here. You looked around, your eyes had adjusted somewhat, the room was black on black on black but at least you could made out the shape of the square room you were in and the weird geometry within. You were a top some rectangular platform, like a bed but devoid of sheets and covers. At least it was soft. You stretched out your legs, they were no longer littered with the cuts and scratches from earlier's fray. At least you think it was earlier, it could've been days since it all happened.

As your mind began to ponder you felt a change in the room. It began with the hairs at the back of your neck standing, an awakened prey instinct warning you of danger. Your eyes darting around in search of the threat but you're unable to pick up its location. Ears straining some unnamed muscle to zone in on any sound but nothing. No one was near. You stayed like that for a while, hyper vigilant in a way that was opposed to your usual carefree nature, but nobody was around.

Nobody.

And yet you didn't feel alone. Your lips parted to speak; a greeting? A warning? You weren't sure. All you could muster up was a quiet "um" before you shut them again. For a long time there was nothing but you and the invisible eyes around you. Discomfort quickly set in and after a moment of weighing your options, you tentatively got up and left the dark room.

Outside the whispers returned. Every now and then a voice would offhandedly acknowledge you. 'The human' or 'It moves', occasionally there would be a reference to food but you'd rather believe it had nothing to do with you.

The structure you roamed was nothing but a series of tunnels. You were unable to find any rooms aside from the one you had woken up in, just dead ends and more passages ways. You'd managed to lose the feeling of being watched but you knew deep down you were never alone down here. The only point of interest you found was the entrance. You'd almost missed it, no beams light could manage to permeate the gloom of the pit but looking up you could see the circular patch of yellow-ish white trying to make it's way through. You had no idea what your next action should be. Was this the game? To have humans mull about until they inevitably died of starvation? Was that how you wanted to go out? No. But looking up at the miles of ick leading towards your only means of escape, you felt helpless. Truly helpless. And that stirred anger inside you. You who always held your life in the palm of your hands. Who walked through the world like it could do nothing to you. You didn't want to die but you'd rather face the creature that would kill you than waste away over time.

You turned away from the entrance, eyes scanning the darkness. You couldn't see the thing that stalked you but you knew it was here. Had always been here, only an arms reach away. For a moment, common sense tried to reach you but your lips were faster.

"If you're gonna eat me, just do it."

Of all the things to say.

Your eyes could barely register the speed at which it's tendrils moved, wrapping around your limbs and pulling you towards a wall. You resisted the best you could but for naught. A hard, gross smack as your back is forced against it. You couldn't see them but you could feel tens of smaller tendrils latch onto you, pulling you further and further into the semipermeable surface. A frightening numbness overtook every inch of you encompassed by its form.

"No, no, no no no no. Wait! Stop! " You begged, tears stinging your eyes as fear becomes terror becomes desperation. Oh, how you hated the feeling of regret."Don't, please don't. I didn't-"

When the panic subsided and you opened your eyes, you realized you were no longer being pulled. A dark, all-too-amused chuckle filled your ears. The sound eerily close to your neck.

It didn't even try to hide the mocking tone. "But you said..." The creatures voice was masculine, low and accented, though you couldn't quite place it. Wouldn't know where to begin since you'd never been outside your village.

"I know what I said! I didn't mean it." You quickly interjected. Numb wasn't even the right word for how half your body felt. The parts of you that was absorbed into him felt... Lost. "Please, please let me go."

"Why would you say words you do not mean?" You weren't sure how to respond and in your silence, his tendrils began pulling again.

"I don't know! I-" you thought. You hate having to do that, having to find reasons for your actions as if they weren't performed at the roll of a mental die. As if your entire existence wasn't one impulsive decision after the next. "I was frustrated." You admitted.

"Hmm... " you could feel the wall vibrate as he thought. His viscous limbs lazily sliding over your body, in a way that felt a little too explorative, but at least he was no longer pulling you in. "I know this emotion."

You almost fell over when he released you. Feeling slowly returned as you shivered, your limbs desperately trying to reacquaint themselves. You turned back to look at him but there was nothing but a wall behind you. He was there though, you felt it.

"What is wro-" You wanted to have an attitude but this time your brain stopped you, pleading with you to be careful. To choose your words and tone properly. "I want to leave."

"That's unfortunate."

I hate to cut this off abruptly but I felt like it was getting too long + brain machine broke (mostly the last one)

[beauty-and-passion]

TBOB PART 2: OF FLATLAND, EXWHYLIA AND EUCLYDIA (1/4)

Oooooh, this is going to be fun!~

Welcome everyone, to part 2 of my trilogy of posts regarding Bill Cipher, The Book of Bill, all the lore we got, my obsession from 8 years ago rising from the ashes and my other, older obsessions for Flatland, dimensions and backstories in general. Maybe now you get why this part is gonna be long.

Here we will talk about three second-dimensional worlds and what they have in common, starting with Flatland and Exwhylia.

For all disclaimers and bla bla bla, refer to the first post HERE. In addition to them, I would like to add that:

There will be quotes from Flatland because I love this book (there’s a reason if I read it way before knowing Gravity Falls)

Everyone should read Flatland because it’s great (you can find it online HERE)

Everyone should watch the 2017 movie about Flatland on the official YouTube channel HERE. It perfectly portrays how 2D shapes work & how the world works. Also, it’s hilarious, it’s incredibly well made and A Sphere is my spirit animal. I bet he and Bill would’ve been good pals.

<- Previous part - Masterlist

_______________________________

PART 1: OF FLATLAND

“EDWIN ABBOTT ABBOTT HAS A DECENT IDEA” - Bill Cipher AMA

_____________________

A flat world

I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space. Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface, but without the power of rising above or sinking below it, very much like shadows - only hard and with luminous edges - and you will then have a pretty correct notion of my country and countrymen.

This is how Flatland starts and we immediately learn that this world is like a vast sheet of paper in which the shapes move around.

And there is no concept of above or below:

You are living on a Plane. What you style Flatland is the vast level surface of what I may call a fluid, on, or in, the top of which you and your countrymen move about, without rising above it or falling below it. (...) for you have no power to raise your eye out of the plane of Flatland; but you can at least see that, as I rise in Space, so my sections become smaller. See now, I will rise; and the effect upon your eye will be that my Circle will become smaller and smaller till it dwindles to a point and finally vanishes.

_____________________

A world based on regularity

Soon we will also learn through the words of A Square, that:

our whole social system is based upon Regularity, or Equality of Angles.

So we have a flat world, dominated by Euclidean shapes (yes, Euclidean geometry doesn’t include just regular shapes, but lines too), based on regularity. Your angles should be regular and your sides equal.

_____________________

Social classes for regular shapes 

Our Women are Straight Lines. Our Soldiers and Lowest Classes of Workmen are Triangles (...) Isosceles. Our Middle Class consists of Equilateral or Equal-Sided Triangles. Our Professional Men and Gentlemen are Squares (to which class I myself belong) and Five-Sided Figures or Pentagons. Next above these come the Nobility, of whom there are several degrees, beginning at Six-Sided Figures, or Hexagons, and from thence rising in the number of their sides till they receive the honorable title of Polygonal, or many-sided. Finally when the number of the sides becomes so numerous, and the sides themselves so small, that the figure cannot be distinguished from a circle, he is included in the Circular or Priestly order; and this is the highest class of all.

Flatland has a very precise, clear, schematic vision of society: you have six sides? You’re a noble. You have four sides? You’re a gentleman. You have five sides? You’re a doctor (a “physician” in the book). You have three sides? You’re a tradesman. You’re a straight line? You’re a woman. Yes, women are females only.

But what if you are an Irregular?

_____________________

About Irregulars

Since Flatland is dominated by Regularity and the idea of being regular, then you can imagine how all irregular/weird/divergent things are treated:

``Irregularity of Figure'' means with us the same as, or more than, a combination of moral obliquity and criminality with you, and is treated accordingly. (...) ``The Irregular,'' they say, ``is from his birth scouted by his own parents, derided by his brothers and sisters, neglected by the domestics, scorned and suspected by society, and excluded from all posts of responsibility, trust, and useful activity. His every movement is jealously watched by the police till he comes of age and presents himself for inspection; then he is either destroyed, if he is found to exceed the fixed margin of deviation, or else immured in a Government Office as a clerk of the seventh class; prevented from marriage; forced to drudge at an uninteresting occupation for a miserable stipend; obliged to live and board at the office, and to take even his vacation under close supervision (...)

So, well, the Irregulars are basically considered criminals and if not instantly killed or confined in a hospital, they live at the margins of society. Yay.

So irregulars (and, in general, deformities) are not accepted. But, like, not at all.

_____________________

About color

There is a huge portion of the book about color and it’s extremely cool - but also, too long to quote it entirely here. Long story short: color existed in Flatland, but it was suppressed and now they live in a black and white world. Because I suppose that society wasn’t shitty enough as it was, so why not making it even worse.

(Actually there is an explanation and for their kind of society it makes sense. Still, shitty world)

_____________________

About Recognition by Sight

The book vastly explains how these creatures can see and it’s a very clever to see, considering they live in a goddamn 2D world and all they see are fucking lines. And not even colored lines, that could’ve at least helped a bit. Nope, just gray lines. Yay.

Still, they developed a way to see and yes, all they can see are lines, with the edges that fade in the distance. The more blurred they are, the more angles they can find out - thus recognizing if they’re approaching a Square, a Pentagon or a Circle.

All of this works except for women, who are basically deadly spears with a pointy end, so they’re almost invisible. And that’s why they should wag their end all the time, otherwise other shapes might not see them and get pierced through.

Yep, this is fucking hardcore and I love it.

_______________________________

PART 2: OF EXWHYLIA

“I believe Bill came from a similar world that was mysteriously destroyed” - Ford Pines, Journal 3

_____________________

A flat world

Ford drew a perfect image of Exwhylia and we can see that yep, it’s a flat surface, with no above or below. It’s just a plane, exactly like Flatland.

_____________________

A world based on regularity

All we know from Exwhylia can be inferred through Ford’s pages. However, two pages are enough to make it clear that this world is based on regularity.

How can I be so sure?

_____________________

Social classes for regular shapes 

Ford describes two of these beings as “an upper-class circle” and “a lowly triangle”. So yes, Exwhylia shares the exact same social structure of Flatland: according to your shape, you will get your social class.

It says nothing about women, but considering Ford spent something like 20 seconds inside it, it’s understandable. However, we know for sure that the Exwhylians’ bodies are razor-sharp, because Ford specified it. Pretty cool - and also another reference to Flatland.

_____________________

About Irregulars

Ford says that the inhabitants of this world “considered me to be an “Irregular” shape, which is vulgar in their society”.

Sooo… yes, I imagine that this world ostracized Irregulars too, just like Flatland does.

_____________________

About color

Ford says nothing specific about it, so we have no idea if the world is black, white and gray or if there are any colors. We just know that there is no sky and no sun.

However, when he talks about what the Exwhylians can see, Ford draws several lines, says that his eyes can’t help him distinguish these objects, but the Exwhylians can and will interpret the lines differently. This implies there is no color, because if there was, Ford would’ve been able to interpret the lines too, by referring to how they were colored.

So yes, there may be no color in Exwhylia.

_____________________

About Recognition by Sight

Judging from how Ford describes what the Exwhylians can see, we can safely assume these shapes also use Recognition by Sight, just like Flatlanders  do.

_______________________________

And with that, we close the premise of what I want to tell about Euclydia. Keep this stuff in mind, it will be useful to understand the topic of tomorrow's post: Euclydia.

Next post ->

(How about a coffee? ☕)

_______________________________

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[aldritch-ao3]

art refs + lore extras from intermission ii - spoilers abound ! for those who wanted a better look at the curse, or the location .

[ the curse - full res view advised ]

design-wise, jian has a lot of elements at play. he's occupying the same sort of mostly-humanoid area as the disaster curses, but notably less human than even those four in appearance, more akin to an animal dressing up as a human. he's very tall and lanky, build more like an arboreal monkey than a man, with very long limbs and an even longer tail. subconsciously, the change in size/proportion and loss of an extra limb for balance is hard to adjust to - that's why he's an awkward fighter in a human body. his tendency to slouch is because he's often too big to stand upright in normally sized buildings! with the memory loss, he's having to readjust to a different body plan all over again.

[ the internal domain - full res advised ]

the hand sign isn't based off of a real one like the canon signs are - i wanted something circular, but not like gojo's, so a two-handed sign was a must. i just messed with my hands until something felt right. in regards to the domain itself, i think the photobashing concept and impossible geometry came a bit from pmmm - though it could have just been me being too lazy to draw interiors. who's to say.