#cylindrical cones

[mpm-perkasa]

Rubber Fender tipe Cell di Jakarta Termurah - Karet Fender tipe Cell bisa Include Dengan Frontal Frame Fender

Rubber Fender tipe Cell di Jakarta Termurah - Karet Fender tipe Cell bisa Include Dengan Frontal Frame Fender

[zaczenemiji]

Can you do a spiderwomen x kenji sato. Maybe she was sent to retrieve emi and then got caught by kenji, and she was put into a jail like thing. So now she's just stuck there. She starts flirting with him. If yk what i mean 😏👉🏿👈🏿🎀💓🌸

Have an ice cream cone. 🍦

Thanks ♡♡♡♡

Kaiju Heist

Kenji Sato x Spiderwoman!Reader

Word Count: 1,066

Genre/Warnings: Anti-hero, Flirting, Imprisonment, Morally Grey/Ambiguous Reader

Author’s Note: This one was a bit challenging, I hope it’s to your liking. Thank you for the ice cream, I offer you this fic.

MASTERLIST

Your plan was simple: sneak in, grab the baby kaiju, and get out. But things rarely went according to plan.

Let’s begin where it all started—that damn spider.

Long story short, your parents were scientists doing experiments on radioactive spiders. You help in their lab and one day, an earthquake enormous kaiju shook the city, causing a containment breach. The next thing you know, a particularly aggressive spider bit your hand.

Of course, you gained extraordinary abilities. Others would’ve loved this and used them for good—be like Ultraman or whatever. But to you, it’s more like a curse. Seriously, you didn’t ask for this so ain’t no way were you going to become a selfless heroine.

So you did nothing with your abilities; you didn’t hone it whatsoever. You looked at it as if it’s just another arm that grew out of your body. Like grabbing a bag of chips from across the room, you’d shoot spider webs out to get it without standing.

Despite living your life as privately as you could, somehow, the Kaiju Defense Force was still able to find you. So here you are now, in their headquarters.

You stood there, arms crossed. “I’ve told you before, Dr. Onda,” you said. “I’m not looking to be a hero. I just want to be left alone.”

Dr. Onda, chief officer of the KDF, and old acquaintance of your parents, leaned forward. “I know. But this isn’t about heroism,” he replied. “This is a highly sensitive mission and you’re the only one who can pull it off.”

"And why should I care?" you replied coolly. "What's in it for me?"

"Payment, of course. A substantial one. Enough to ensure you can continue living the peaceful life you desire without any further interference from us,” Dr. Onda answered.

“And more importantly, it's a one-time deal. Complete this mission, and you'll never hear from the KDF again."

Your face expressed a guarded neutrality but inside, you found it so tempting—the promise of financial security and freedom from future obligations.

“What’s the job?” you asked, narrowing your eyes.

Dr. Onda tapped a few keys on his desk console, and a holographic image of a baby kaiju appeared, rotating slowly.

“It’s an entity of importance for the goals of KDF to be fulfilled,” he said. “Recently, it fell into the hands of Kenji Sato. We need you to retrieve it and bring it back to us.”

You studied the hologram, noting the details. "And how exactly am I supposed to move a 20-foot-tall kaiju baby without causing a scene?"

Dr. Onda leaned back, a small smile playing on his lips. "We have a special containment unit designed specifically for it. It's portable and can be deployed with your help. Your task is to get close enough to activate it and secure the kaiju.”

"And the payment?" you pressed.

Dr. Onda named a figure that made your eyes widen slightly. It was more than enough to ensure your financial independence for years to come.

"Alright," you said finally. "I'll do it. But remember, this is a one-time deal. After this, I want nothing more to do with the KDF."

Dr. Onda smiled, “You have my word."

You turned to leave but paused at the door, and glanced back. "I hope you're right about this, Dr. Onda,” you said. “Because if this goes sideways, I won't be the one paying the price."

Going back to the present—here you are, in Kenji Sato’s basement, trapped in a cylindrical glass containment unit, similar to the one the baby kaiju you were supposed to retrieve was held in.

A floating spherical robot circled around you. “We knew they would send someone,” it said in a mechanically feminine voice.

Suddenly, it projected a red light over your body, scanning you. “But I didn’t expect a spider-woman.”

You pressed your hands against the glass, testing its strength. "Nice trap," you said. “But it's going to take more than that to keep me here."

“I wouldn’t be so sure about that,” a voice came out of nowhere. Turning around, you see THE Kenji Sato with an eyebrow raised and his gaze locked with yours.

The biggest mystery that bothered you upon accepting this mission was how the hell did this famous baseball star had a giant baby in his basement.

You leaned back, crossing your arms over your chest. "So, what's the plan, Kenji? Keep me here forever?” you asked. “Or do you have something else in mind?"

Kenji smirked. "Depends. Why are you here?"

"Why do you think?" you replied, your tone flirtatious. "I was sent to retrieve that kaiju baby. But now, it seems I've found something else worth my attention."

Kenji's eyes narrowed slightly, "And what might that be?"

You gave him a slow, knowing smile. "You, of course,” you answered. “You're much more interesting than a simple retrieval mission."

Kenji chuckled, though he tried to hide it. "Flirting isn't going to get you out of there."

"Maybe not," you conceded, stepping closer to the glass, "But it does make this whole situation a lot more entertaining, don't you think?"

Kenji took a step closer, his eyes studying you. "You're not what I expected."

You tilted your head, your smile widening. "Good. I'd hate to be predictable."

There was a moment of silence as the two of you sized each other up. Finally, Kenji spoke. "You know, if you weren't here to take Emi, we might have been able to get along."

"Oh, I think we still can," you said, your voice low and seductive. "Besides, I never said I was strictly here for Emi."

Kenji looked at you, his expression softening just a fraction. "And what if I let you out?"

You pressed yourself against the glass, your eyes locked on his. "Then maybe, just maybe, we can help each other."

Kenji pondered this for a moment before shaking his head. "Nice try,” he said. “But I need to know more about you before I make that decision."

"Fair enough," you replied, leaning back once more. "But remember, Kenji, sometimes the spider catches more than just her prey."

Kenji turned away, a small smile playing on his lips. "We'll see about that."

You didn’t wanna include this in your escape plan because things rarely went according to plan. But in your mind, you noted: flirt, make him fall for you, and escape.

Taglist is open! Comment if u wanna be tagged on future Kenji oneshots

@moonlight-starlight-lady01 @eternallyvenus @puppyminnnie @wattpadsuckssohard @sakura-onesan

[sarojatexcone]

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There are several factors to take into account when choosing a paper tube and paper tubes exporter. You must make sure that your tube and core partner can fulfill all of your standards because they will vary depending on the industry you're in and your particular needs. Additionally, there are several criteria that you should always uphold.

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[alllgator-blood]

I have ten billion WIP sketches I need to finish, but for some reason I stayed up from 9 PM to 4 AM conceptualizing, making patterns, sewing, painting and applying makeup on this stupid fucking felt squid......the detailing needs to be cleaned up cause there's only one coat of paint so far, but he's pretty much done

my neighbors probably think I'm insane because I was running around the yard clenching this toy kallamar in a death grip and flying him around like an airplane/putting him in the barbecue/poking him with a stick. I want to tie him to a string and recreate the opening of napoleon dynamite >:) ALSO I MADE HIM SMOKE OUT OF A STUPID CRYSTAL PIPE BUT PLEASE DON'T ACTUALLY USE THOSE, THEY ARE SUPER TOXIC LMAO MINE IS FOR DECORATION

I don't have any process pics because I had tunnel vision autism style and forgot the rest of the universe existed while I was working on him. BUT if you're curious I'll ramble below the cut

Okay I am not a seamstress by any means. I've sewn my entire life but very, very infrequently. I've done plushies, clothes, cosplays, fursuits, accessories, etc. but I only do one like once a year, so while I planned to make all 5 bishops, I'm not really sure I'll get them all done. The material cost was like 20 bucks tops so I'm not too upset if I don't finish them. I AT LEAST WANT TO GET SHAMURA OR HEKET DONE.

here is the concept sketch ft. heket's toes and shamura's fingers. I decided to do his pre-schism version so I could fit him with jewelry! I did him first because like I said I sew infrequently and don't know wtf I'm doing, everyone else seemed a lot more complicated.

So I basically just traced this drawing on a printer paper-sized canvas in SAI, and guesstimated how everything would look in a 3D space. His head is four pieces, one triangle identical to the one in the picture, two wide triangles that are sewn together in the back, and a circle for his chin. You can't really see it in any of the pics but he's literally like a black cylindrical stick with little tentacles sewn on where his mantle connects to his cloak. The leg tentacles are one piece of felt that look like tassels, where they're connected by a rectangle but branch off into individual pieces. He can't stand up very well, so his cape keeps him up (that's gonna be an issue for every other bishop too except heket cause she's gonna be ROUND). Mostly everything like the crown, cloak, head, etc. are cones so I just had to make a lot of wide triangles.

For the details, I just used acrylic paint that was watered down so he's not especially crunchy, and for the blush tone I used a makeup palette my mom bought me 10 years ago in hopes I'd get in touch with my "feminine side", but I grew up into a nonbinary butch lesbian so OOPS. Kallamar looks better with makeup than me anyway. I'm kinda sad I couldn't get his freckles as lopsided as I draw them but it probably looks better in plush form to have them even anyway....

I could just post the pattern so I don't have to explain this but 1. I am mentally ill about the thought of my kallamar being in someone else's house and 2. the original pattern had to be tweaked while I was working on him so the final pattern straight up doesn't exist, I winged it the whole time

OH and the jewelry is just scrap pieces I had laying around, I might repaint it all to be gold instead of silver + bronze. I used 20g aluminum wire for his armlet thing, jumper rings for his earrings + ring (+ a diamond dot from my mom's kits for the gem) and chain for the bracelet. I made him an amulet as well but it felt like overkill so I took it off. I'm probably gonna make him a plague doctor mask and medicine bag sometime because I think about nurse kallamar more than I probably should :') I've already sewn one as a prop for a toy raven before so it shouldn't be too hard

[drnikolatesla]

The Evolution of the Tesla Coil

Nikola Tesla invented the Tesla coil as part of his exploration into lighting, wireless power transmission, and radiofrequency experiments. He developed the coil to produce high-voltage, low current, high-frequency electricity. The Tesla coil consists of primary and secondary coils that are inductively coupled, and the circuit is designed to resonate at a specific frequency. This resonance enhances the efficiency of energy transfer between the coils, enabling the generation of high-voltage, high-frequency alternating current.

His first Tesla coil was a bipolar coil created around 1891, and was demonstrated before scientific institutes from 1891-1893. His patents reveal that they were essentially intended for light production using both high frequency and high voltage at the same time. He also mentions in his patents how he discovered that a single wire could be used to light a light bulb. Generally, light bulbs require two wires to operate – one for the positive (live or hot) and one for the negative (neutral). He also discarded wires completely lighting bulbs wirelessly. Tesla improved upon the bipolar coil over many years using them for gas engine ignition, wireless, ozone production, and to create undamped waves.

In 1893, Tesla developed the bifilar spiral coil, which is a type of coil wound with two parallel wires, known as bifilar winding. The wires are wound side by side in a spiral pattern, maintaining close proximity throughout the coil. It was built in an attempt to avoid the employment of condensers, which are expensive and difficult to maintain. The coils themselves were meant to accomplish the same ultimate object as the condensers.

In 1894, Tesla evolved his coil into a conical coil. A conical coil refers to a coil or winding in the shape of a cone. These coils were sometimes employed in his wireless power transmission experiments and other electrical investigations. The shape of the coil can influence its inductance, capacitance, and resonance properties, impacting its performance in different applications. This coil allowed Tesla to reach tensions of 1 million volts.

In 1897, Tesla developed the flat spiral coil, similar to his bifilar coil. This type of coil forms a flat, spiral pattern. The specific shape and dimensions of the coil can influence its inductance and other electrical properties. The main reason Tesla started using flat spiral coils was because they were relatively safe, since the highest potential terminal is at the center, and also because they better suppressed the sparks, which were essentially losses in the circuit, allowing him to achieve higher voltages:

Another version of his coils was his Helical coil. A helical coil is a coil wound in the shape of a helix or spiral. The helical coil configuration is characterized by the wires being wound around a cylindrical form in a continuous spiral pattern. Tesla utilized helical coils throughout the late 1890s and in his Colorado Springs Experiments. The coils were used in his wireless transmission experiments, and he employed helical resonators to investigate the behavior of electromagnetic waves. The helical shape offers specific electrical properties and can influence the resonance and performance of the coil in certain applications.

Finally, the Tesla coil would eventually evolve into his Magnifying Transmitter. Tesla designed it as part of his wireless power transmission experiments. The magnifying transmitter was intended to efficiently transmit electrical energy over long distances without the need for wires. The system involved a large coil, often called the magnifying transmitter coil, which could produce high-frequency, high-voltage electrical currents. Tesla believed that this technology could revolutionize global communication and provide a means for delivering electrical power wirelessly by using the earth itself as a conductor.

The magnifying transmitter would become his Wardenclyffe Tower. Unfortunately, Tesla ended up lacking the investments and funds to finish his work in its entirety. Some say he failed because his idea didn’t work, but that’s not true at all because his Colorado experiments proved that they did. In his head, the transmission of energy was a matter of engineering. If he had a machine that could send energy 20 miles, then he could build a machine that could send energy a thousand miles. As long as he understands the motive power, he could build a machine that will do all that he requires of it. He simply underestimated the cost of his system. His failures to finish his work would leave him with the public persona as being the mad scientist who had unrealistic ideas for the future.

Ultimately, Tesla would not realize his dream of providing humankind with cheap, unlimited energy in his lifetime; however, his legacy forever lives on through the incredibly impactful experiments, and the evolution of the Tesla Coil.

“Technical invention is akin to architecture and the experts must in time come to the same conclusions I have reached long ago. Sooner or later my power system will have to be adopted in its entirety and so far as I am concerned it is as good as done. If I were ever assailed by doubt of ultimate success I would dismiss it by remembering the words of that great philosopher, Lord Kelvin, who after witnessing some of my experiments said to me with tears in his eyes: ‘I am sure you will do it.’”--Nikola Tesla

[sirfrogsworth]

@vanriblogs asked for some product photography advice and it is easier to make a post rather than trying to fit everything into a reply.

Plus this might be of interest to other folks as well.

This is an example of her products.

I like your product photos a lot. Making a compelling photo of something semi two-dimensional is difficult. Adding interest with a neat background goes a long way and you do a great job of not making it too distracting.

Another approach... since you can't make your products more three dimensional, you might consider placing them on objects that are more three-dimensional.

It sounds to me like your biggest issue is mitigating unwanted reflections. Which is actually like 90% of the problem solving involved with high level product photography.

The easiest technique is to go outside on an overcast day. The world would be your light source and the only reflections would be of your camera which you have to deal with no matter what. But this kind of lighting is a little boring and weather is not very reliable.

Glossy items create what are called "image-forming reflections" on their surface. That means a picture of your light source covers your product. So what you have to do is make the light source attractive rather than the product. And typically that is done with gradient lighting.

And the way you create these gradients is by projecting a ball of light onto diffusion material. (Though for tall cylindrical objects like bottles, you would project a vertical strip of light.)

The light slowly fades away through the diffusion material which causes gradients like in this photo of my $8 gas station Aviator knockoffs...

The lenses reflect a distorted view of my light source.

Softboxes use a homogenous diffusion approach. Every inch of the surface area outputs the same intensity of light. But this kind of diffusion you are intentionally creating a hotspot that graduates away.

The industry standard gradient diffusion material is Lee 216 or Savage Translum. It's a bit pricey but a roll lasts forever. The Savage is a little thicker and more heavy duty. The Lee doesn't hold up as well but is easier to craft into different modifiers or you can hang either brand off a light stand with a boom arm. Karl demonstrates using diffusion material for gradients in this video.

If you can't afford the expensive stuff right now, you can double up tracing paper and get a similar effect.

All that said, I actually think there is another light modifier that would be perfectly suited for your particular products. And I know I look like a huge Karl Taylor fanboy (because I am) but he really is the only one doing high quality education about this stuff and he is one of the world's top product photographers.

So you might try... the Karl Taylor Light Cone!

I know that looks like a late night informercial product for photographers, but it really does work as advertised.

It is a great way to get rid of all unwanted reflections with the small exception of your camera lens which can usually be removed easily in Photoshop. The idea of the light cone is it completely surrounds your products with gradient light sources

It comes in three sizes. Big, medium, and smartphone. I think you can use the medium with your camera and the size of your products.

If you can't afford it right now, you can construct it out of tracing paper or similar diffusion material, but I'm not sure if that would be hard to get standing upright. Though you can actually turn the cone sideways too. You just have to get creative and problem solve with the space and equipment you have available. As long as you understand the principles the rest is just trial and error.

Depending on the object, you may need up to 3 lamps to get a good result but I think you can get by with two for now. It is very important they are all identical and have the exact same bulb. You will get more control if you can find lights that project a smaller ball of light onto the diffuser. That way you can back them off to make the ball of light bigger or move them closer to make it smaller.

Karl has a series of tutorials on the V-Flat World website.

Karl also has an entire education platform and you could subscribe to for a month and cancel when you have learned what you need to know. I have learned more from Karl than just about any other photographer so I can vouch for the quality of the info there.

His YouTube page has a few shorter and less in-depth product photography videos that you might find helpful as well.

Just so I don't sound like a Karl Taylor marketing robot, I also really like Martin Botvidsson. He isn't as good of a teacher, but if you are good at learning by watching others do the thing, you can absorb some good stuff from him. He also works in a much smaller space which might be useful to observe.

And Workphlo has some tutorials as well along with some surfaces you may find useful.

Now, the one thing that is important to keep in mind...

These folks all have the fanciest cameras and the fanciest lights and one of the biggest complaints they get is, "I don't have expensive gear, how am I supposed to get good photos?"

And then they constantly have to explain the principles of lighting never change and you can get good results with desk lamps and a smartphone.

Here is a video from Karl proving this point while doing a wine bottle shoot with desk lamps.

Don't fall into the fancy gear trap. You can work with what you have. It just takes a little patience and a lot of trial and error.

I took this stapler photo with a smartphone and two $40 video lights.

And these bottles too...

It was the knowledge in my brain that got these results. Fancy gear can make it much easier and it is more necessary as you get into more complicated setups, but that is something you grow into over time.

In any case, I wish you luck.

Feel free to ask questions if you run into a speed bump along the learning curve.

[laricnoli]

Currently trying to design an actual blueprint of the Aurora and like. Like my girl is round. Circular, cylindrical. She's also not a big ship as established by canon and personal headcannon. (there is a non-zero chance I accidentally made her slightly too small for my liking but I'm in too deep to fix that)

Mechs fiction what do you mean corridors. What corridors, in what world is there room for long winding corridors and all the rooms in a small cone shaped ship. And like I can't even move past this and leave it a WIP because all my other mechs drawing ideas need the Aurora blueprints for consistency. I cry so much dude.

I've spent way to much creative energy on this.

[aqueousablution]

(March 2023) morXa sorXa armorXa

Note: this post originally was only b&w sketches; I'm using the colored version of the first image here because I figure I might as well post it now.

Original post body under the cut:

These are still WIPs and I want to further refine the vambrace buster concept before I get to coloring any of this, but I'm getting antsy sitting on all this unshared progress I've made with sorXa's armor design, so fuck it, I'm posting what I have so far!! I've more or less said "fuck it" and started leaning into the Χ/χ motif à la X (particularly his X8 design), though the besagew is actually also meant to evoke a clover, partly because sorXa's name is pronounced like the Irish way of saying "Sorcha" (which would make it a shamrock), but also largely because I'm nothing if not a huge MMZ dweeb and I love the lyrical version of MMZ2's credits theme from RTRZ: Idea, which is called... Clover. (the original song is Awakening Will, for reference, which itself is a reprise of the hypest intro stage theme I've ever fucking heard, Departure, which plays during what's also probably the most badass opening to a game I've ever seen. Zero 2 isn't my favorite in the series, but that intro goes so fucking hard!!... I think I got a bit off-topic here, haha)

Transcripts under the cut, since even if I'm not done yet I figure I might as well help people make out what I wrote if I'm posting these as WIPs:

Page 1 (sorXa armor concepts):

gold rivets? (pointing to the forehead plate of her helm, accompanied by a sketch showing the positioning of the three rivets)

speakers (pointing to the circles on her facemask)

Megamix-style arms (next to her big bulky round forearm armor; this idea is altered in the third image to be more like Mega Man Volnutt from the Legends series)

Page 2 (sorXa armor concepts):

mask can detach if lip-reading is needed for clearer communication (near her detached mask, which is connected to her helm by a tether on each side)

❌ no (next to a besagew shaped like a Phillips-head screw)

sapphic! (next to a besagew with indents shaped like the violet used in some versions of the Sapphic pride flag)

Clover + "Χ" (next to a variant of the previous besagew with only 4 indents; an arrow points from the Sapphic violet besagew to the clover besagew)

historical! (next to a besagew with a shallow cone in the center of a bowl-like rim)

gold or red ring? (pointing to a variant of the above besagew with a lighter-colored ring around the central cone)

maybe only 1? → R or L? (above a small mockup of sorXa's torso with only one besagew; "L" is circled, which is reflected by the first page's design of her armor)

Page 3 (sorXa armor concepts (buster cannon)):

vents on top | slides up & out (pointing to a raised part of her vambrace, which is now more cylindrical than the previous images)

thruster (pointing at jetpack-like structures on the back of her cuirass; note that these will be revised in a future drawing, probably)

(duplicated at the back of her calf, which also has a visible jet of sorts)

[various color ideas for her boots] (the poleyns will probably be gold with red "fan plates"/hinges, which will be replicated on her ankle adornments as well; the calves themselves are black (of course), and the notes show her boots as having white outsoles and red soles, though I think I might reverse that in practice)

4 holes (pointing to the beveled edge of her vambrace hear the wrist, accompanied by a simple drawing showing roughly the positioning of those holes, which are in an X-formation)

Model A + Bridget (pointing at the bumpy protrusions on the outsoles of her boots, which are meant to evoke the boots of Model A from Mega Man ZX Advent and the shoes of Bridget's Guilty Gear Strive Design)

[rbrooksdesign]

Greetings!

Today, Plexus Projects has its online and in-gallery opening of a special exhibition -- “GUI/GOOEY” — this evening. Curated by founder Laura Splan, I am very excited to have been selected to exhibit in this group exhibition exploring my favorite subject: the interface of Art & Science! My work is under the “GUSH” subcategory. I am honored to be among those selected to have a gallery showing as well! The press release is in the LINK ABOVE. I would highly recommend that you follow up on some of the links to Laura’s own work, including her current show at the UC Irvine — it looks amazing!

My earlier solo Vitrine Exhibition “Oceans of Numbers” is still up for viewing.

~~~

Speaking of “Oceans of Numbers:”

Oceans of Numbers, Part 3

Our favorite barkeep's ^ dream went something like this:

Before the spiraling double-helical structure of the DNA molecule came to being -- you know, two sugar-phosphate strands wrapping around each other in a cylindrical form that are connected by the complementary pairing of their inner amino acid bases -- there most likely had to have been some form of pre-cursor shape and attractor in play.

Well, let's skip all the intermediary forms and go way back to the number forms, keeping in mind that they are just symbols for the real conceptual form -- quantity. Quantity of space and quantity of time. Distance traveled over ticks of the clock. Quantity of SpaceTime (ST). Yes, when you go from quantity 1 to quantity 2 you have motion: ST begins. And yes, all manifestations of energy and fields are simply expressions of synchronous, re-iterative, fractal-based pulse-propagations of individual, granular, quantum ST units. We see, become aware, develop consciousness as sentient beings at the peaks and sleep in the valleys.

Drawing on our previous "Oceans of Numbers," where certain ST quantities derived from the Exponential Power of 2 -- a.k.a. the Butterfly Fractal 1 -- gives us the simplest expression of doubling quantity 1 -->2, 2-->4, 4-->8,... we have now found that the numbers generated fall into two nearly-identical SETS or STRANS that appear to spiral around each other -- connected by a specific number -- one that is simply double its predecessor, albeit its role upon connecting to the other strand is different -- in a form that initially resembled that of the DNA double-helix. We refer to the individual group of defining parameters for any and all doublings as "containers" -- as they both express the BF1 and are candidates for being TRUE Mersenne Prime-Perfect Number pairings. The overlapping similarities have shown that any pattern of the Mp-PN pairings is only apparent within the context of considering ALL the "containers" expressions.

The initial DNA-like diagrammatic of the two STRANDS (Sets) show the PN "container" candidates connected by the doubling of the smaller PN of one to the CR (Complement Rectangle=xy) of the other larger, e.i. 28 x 2 = 56 and 56 is the CR of 120.

(see top 3 images: 1st is cylindrical double-helix: 2nd is split cone version diagrammatic; 3rd is overhead flattened cone diagrammatic)

.However, a crucial difference is apparent from the start. As one progresses along, all the numbers are expanding! We don't have a double-stranded cylindrical form -- no, we have a double-stranded conical form -- a cone! And a cone implies a small -- usually singular -- starting point that expands outward. Sound familiar? Yes, it is the shape of a quantum, granular number-fractal -- BF1 -- starting from quantity 1 and doubling itself as it pulse-propagates outward, before collapsing and repeating.

The STRAND 1 and 2 -- shown pulled apart -- coil together around each other, centered on their origin, quantity 1.

So what does this have to do with your Bank Account? Not much, but this analogy might help.

At your bank, you might have two accounts -- 1 & 2 -- that are nearly, but not exactly, identical. Of course each one has its own running balance, and at least at this bank, you can get a TOTAL running balance of all your assets at any time.

Differences between Account 1 & 2:

Account 1: the balance is NEVER evenly divisible by 24 after deposit, but the balance from one deposit to another is ÷24.

Account 2: the balance is ALWAYS evenly divisible by 24, and, the balance from one deposit to another is also ÷24.

Caveat: The running balance after deposit across individual Accounts 1 & 2 is NEVER evenly divisible by 24!

The BF1 STRANDS 1 & 2 are just like that! And, well, yes -- there are a few other differences:

STRAND 1: -- and ONLY STRAND 1 -- holds the TRUE and extremely rare Mersenne Prime-Perfect Number pairings.

STRAND 2: -- while appearing similar to 1 -- never holds ANY of the rare Mersenne Prime-Perfect Number pairings.

It should be pointed out that STRAND 1 also holds other "containers" that are NOT TRUE Mp-PN pairings.

So what does this have to do with the rest of "Oceans of Numbers?"

The 51 known Mp-PN pairings found exclusively in STRAND 1 are not only nearly identical to all the other "containers" -- and as such are stealthily hidden amongst an infinity of look a-likes -- but reveal themselves in only their purest, most minimalist manner: they have the least, minimalist number of divisors within ALL the "containers!" They are pure gemstones! Their resonance is pure!

The discovery of the Divisor Matrix Table (DMT) has put the entire "Oceans of Numbers" into context. The DMT holds ALL the natural whole numbers, and, all of their divisors. It is built from the natural doubling of quantity 1 in the form of the BF1. Yes, simple re-iterations of the fractal BF1 generates the entire, all-encompassing table of numbers and their divisors -- including the rare Mp-PN pairings. The implications for entanglement -- quantum entanglement -- entropy, order, and the passage of time are real. The only disorder one sees is that that is not yet resolved.

Is that the damn alarm clock? Whose counting anyway!

~~~

If you go to the bottom of this page on my website, you will find more context. You will also find the four-part video series — “Numbers: Doubling Fractals Fill the Voids” that is included in the GUI/GOOEY exhibition. TIP: on Vimeo, you can change the playback speed by selecting the “gear” icon. TIP: don't miss the Part 4 video, it's the one featured in the gallery showing.

Here is the link for TES (Teachers, educators and students)

~~~

[walpu]

It all happened so suddenly.

Tremors were common on Primis, thanks to the degrading erosion of the planet, crevices and crevices that extended kilometers beyond what the eye could see were increasingly found on the surface.

Jumoki could feel each of the seismic shocks, regardless of the distance they occurred from them, which helped the Mortuas know where and when to move. But it's always been difficult to spot them in the sand, it's confusing, even more so with the giants Metal Worms that crawled under the ground.

A loud tremor was heard by all the Mortua during one of their many explorations.

"Seismic shock northwest of the Hills of Desperate Echoes" Jumoki reported.

The tremor was heard again, but it seemed closer this time.

"Are you sure, Jumoki?"

They stopped their way amidist desert, away from their friends who were hesitant to step onto the sand. They smiled.

Their smile was sweet, sometimes the Mortuas found themselves going up to them just for them to smile, it was instant dopania for them.

"Yes I have!"

Like an period placed abruptdly at the end of their sentence, a huge crater opened in the ground beneath the youngest Mortuas feet. Before their bodies could fall below, the adult cylindrical body of a Metal Worm emerged from the fissure.

It all happened so fast.

The others watched in horror as the creature snatched their body in one fell swoop, as if it were nothing more than a snack.

To them, time seemed to have slowed down. It was too quick for them to cry, but when they turned their face one last time to the side, Jumoki saw Adesina and Bunmi being held by the others, in an attempt to avoid the two members to jump towards the creature.

In the numbness of the moment, they were only able to discern the cries of despair of their parents who were drowning in their own tears.

And then they didn't feel anything anymore.

(5* Light Cone: "No Longer Pure")

🌺 anon

What if I never smile again after this huh

[fetznerdeathrecords]

Witchlike Star Cones - Candles on Black for a Thousand Young

Raw Black Metal from Israel

hysteria, drowned in the boundless caves of the Ghouls, spreads with a dead echo in the vile cylindrical wells and drowns without leaving a splash... under the squat church

1. Castles Clinging to Fallen Mountains (Intro) 01:05 2. Ghoul Blesses 04:26 3. Unfinished Form 04:57 4. Smile Broadly for Gug 04:33 5. Vile Funeral 05:47 6. Candles on Black for a Thousand Young 02:14 7. Castles Fading on Fallen Mountains (Outro) 01:38

Release date: October 21st, 2024

Cassettes by @rat_cov_2 in November!

@witchlikestarcones

[enetarch-quantum-physics]

Topics to study for Quantum Physics

Calculus

Taylor Series

Sequences of Functions

Transcendental Equations

Differential Equations

Linear Algebra

Separation of Variables

Scalars

Vectors

Matrixes

Operators

Basis

Vector Operators

Inner Products

Identity Matrix

Unitary Matrix

Unitary Operators

Evolution Operator

Transformation

Rotational Matrix

Eigen Values

Coefficients

Linear Combinations

Matrix Elements

Delta Sequences

Vectors

Basics

Derivatives

Cartesian

Polar Coordinates

Cylindrical

Spherical

LaPlacian

Generalized Coordinate Systems

Waves

Components of Equations

Versions of the equation

Amplitudes

Time Dependent

Time Independent

Position Dependent

Complex Waves

Standing Waves

Nodes

AntiNodes

Traveling Waves

Plane Waves

Incident

Transmission

Reflection

Boundary Conditions

Probability

Probability

Probability Densities

Statistical Interpretation

Discrete Variables

Continuous Variables

Normalization

Probability Distribution

Conservation of Probability

Continuum Limit

Classical Mechanics

Position

Momentum

Center of Mass

Reduce Mass

Action Principle

Elastic and Inelastic Collisions

Physical State

Waves vs Particles

Probability Waves

Quantum Physics

Schroedinger Equation

Uncertainty Principle

Complex Conjugates

Continuity Equation

Quantization Rules

Heisenburg's Uncertianty Principle

Schroedinger Equation

TISE

Seperation from Time

Stationary States

Infinite Square Well

Harmonic Oscillator

Free Particle

Kronecker Delta Functions

Delta Function Potentials

Bound States

Finite Square Well

Scattering States

Incident Particles

Reflected Particles

Transmitted Particles

Motion

Quantum States

Group Velocity

Phase Velocity

Probabilities from Inner Products

Born Interpretation

Hilbert Space

Observables

Operators

Hermitian Operators

Determinate States

Degenerate States

Non-Degenerate States

n-Fold Degenerate States

Symetric States

State Function

State of the System

Eigen States

Eigen States of Position

Eigen States of Momentum

Eigen States of Zero Uncertainty

Eigen Energies

Eigen Energy Values

Eigen Energy States

Eigen Functions

Required properties

Eigen Energy States

Quantification

Negative Energy

Eigen Value Equations

Energy Gaps

Band Gaps

Atomic Spectra

Discrete Spectra

Continuous Spectra

Generalized Statistical Interpretation

Atomic Energy States

Sommerfels Model

The correspondence Principle

Wave Packet

Minimum Uncertainty

Energy Time Uncertainty

Bases of Hilbert Space

Fermi Dirac Notation

Changing Bases

Coordinate Systems

Cartesian

Cylindrical

Spherical - radii, azmithal, angle

Angular Equation

Radial Equation

Hydrogen Atom

Radial Wave Equation

Spectrum of Hydrogen

Angular Momentum

Total Angular Momentum

Orbital Angular Momentum

Angular Momentum Cones

Spin

Spin 1/2

Spin Orbital Interaction Energy

Electron in a Magnetic Field

ElectroMagnetic Interactions

Minimal Coupling

Orbital magnetic dipole moments

Two particle systems

Bosons

Fermions

Exchange Forces

Symmetry

Atoms

Helium

Periodic Table

Solids

Free Electron Gas

Band Structure

Transformations

Transformation in Space

Translation Operator

Translational Symmetry

Conservation Laws

Conservation of Probability

Parity

Parity In 1D

Parity In 2D

Parity In 3D

Even Parity

Odd Parity

Parity selection rules

Rotational Symmetry

Rotations about the z-axis

Rotations in 3D

Degeneracy

Selection rules for Scalars

Translations in time

Time Dependent Equations

Time Translation Invariance

Reflection Symmetry

Periodicity

Stern Gerlach experiment

Dynamic Variables

Kets, Bras and Operators

Multiplication

Measurements

Simultaneous measurements

Compatible Observable

Incompatible Observable

Transformation Matrix

Unitary Equivalent Observable

Position and Momentum Measurements

Wave Functions in Position and Momentum Space

Position space wave functions

momentum operator in position basis

Momentum Space wave functions

Wave Packets

Localized Wave Packets

Gaussian Wave Packets

Motion of Wave Packets

Potentials

Zero Potential

Potential Wells

Potentials in 1D

Potentials in 2D

Potentials in 3D

Linear Potential

Rectangular Potentials

Step Potentials

Central Potential

Bound States

UnBound States

Scattering States

Tunneling

Double Well

Square Barrier

Infinite Square Well Potential

Simple Harmonic Oscillator Potential

Binding Potentials

Non Binding Potentials

Forbidden domains

Forbidden regions

Quantum corral

Classically Allowed Regions

Classically Forbidden Regions

Regions

Landau Levels

Quantum Hall Effect

Molecular Binding

Quantum Numbers

Magnetic

Withal

Principle

Transformations

Gauge Transformations

Commutators

Commuting Operators

Non-Commuting Operators

Commutator Relations of Angular Momentum

Pauli Exclusion Principle

Orbitals

Multiplets

Excited States

Ground State

Spherical Bessel equations

Spherical Bessel Functions

Orthonormal

Orthogonal

Orthogonality

Polarized and UnPolarized Beams

Ladder Operators

Raising and Lowering Operators

Spherical harmonics

Isotropic Harmonic Oscillator

Coulomb Potential

Identical particles

Distinguishable particles

Expectation Values

Ehrenfests Theorem

Simple Harmonic Oscillator

Euler Lagrange Equations

Principle of Least Time

Principle of Least Action

Hamilton's Equation

Hamiltonian Equation

Classical Mechanics

Transition States

Selection Rules

Coherent State

Hydrogen Atom

Electron orbital velocity

principal quantum number

Spectroscopic Notation

=====

Common Equations

Energy (E) .. KE + V

Kinetic Energy (KE) .. KE = 1/2 m v^2

Potential Energy (V)

Momentum (p) is mass times velocity

Force equals mass times acceleration (f = m a)

Newtons' Law of Motion

Wave Length (λ) .. λ = h / p

Wave number (k) ..

k = 2 PI / λ

= p / h-bar

Frequency (f) .. f = 1 / period

Period (T) .. T = 1 / frequency

Density (λ) .. mass / volume

Reduced Mass (m) .. m = (m1 m2) / (m1 + m2)

Angular momentum (L)

Waves (w) ..

w = A sin (kx - wt + o)

w = A exp (i (kx - wt) ) + B exp (-i (kx - wt) )

Angular Frequency (w) ..

w = 2 PI f

= E / h-bar

Schroedinger's Equation

-p^2 [d/dx]^2 w (x, t) + V (x) w (x, t) = i h-bar [d/dt] w(x, t)

-p^2 [d/dx]^2 w (x) T (t) + V (x) w (x) T (t) = i h-bar [d/dt] w(x) T (t)

Time Dependent Schroedinger Equation

[ -p^2 [d/dx]^2 w (x) + V (x) w (x) ] / w (x) = i h-bar [d/dt] T (t) / T (t)

E w (x) = -p^2 [d/dx]^2 w (x) + V (x) w (x)

E i h-bar T (t) = [d/dt] T (t)

TISE - Time Independent

H w = E w

H w = -p^2 [d/dx]^2 w (x) + V (x) w (x)

H = -p^2 [d/dx]^2 + V (x)

-p^2 [d/dx]^2 w (x) + V (x) w (x) = E w (x)

Conversions

Energy / wave length ..

E = h f

E [n] = n h f

= (h-bar k[n])^2 / 2m

= (h-bar n PI)^2 / 2m

= sqr (p^2 c^2 + m^2 c^4)

Kinetic Energy (KE)

KE = 1/2 m v^2

= p^2 / 2m

Momentum (p)

p = h / λ

= sqr (2 m K)

= E / c

= h f / c

Angular momentum ..

p = n h / r, n = [1 .. oo] integers

Wave Length ..

λ = h / p

= h r / n (h / 2 PI)

= 2 PI r / n

= h / sqr (2 m K)

Constants

Planks constant (h)

Rydberg's constant (R)

Avogadro's number (Na)

Planks reduced constant (h-bar) .. h-bar = h / 2 PI

Speed of light (c)

electron mass (me)

proton mass (mp)

Boltzmann's constant (K)

Coulomb's constant

Bohr radius

Electron Volts to Jules

Meter Scale

Gravitational Constant is 6.7e-11 m^3 / kg s^2

History of Experiments

Light

Interference

Diffraction

Diffraction Gratings

Black body radiation

Planks formula

Compton Effect

Photo Electric Effect

Heisenberg's Microscope

Rutherford Planetary Model

Bohr Atom

de Broglie Waves

Double slit experiment

Light

Electrons

Casmir Effect

Pair Production

Superposition

Schroedinger's Cat

EPR Paradox

Examples

Tossing a ball into the air

Stability of the Atom

2 Beads on a wire

Plane Pendulum

Wave Like Behavior of Electrons

Constrained movement between two concentric impermeable spheres

Rigid Rod

Rigid Rotator

Spring Oscillator

Balls rolling down Hill

Balls Tossed in Air

Multiple Pullys and Weights

Particle in a Box

Particle in a Circle

Experiments

Particle in a Tube

Particle in a 2D Box

Particle in a 3D Box

Simple Harmonic Oscillator

Scattering Experiments

Diffraction Experiments

Stern Gerlach Experiment

Rayleigh Scattering

Ramsauer Effect

Davisson–Germer experiment

Theorems

Cauchy Schwarz inequality

Fourier Transformation

Inverse Fourier Transformation

Integration by Parts

Terminology

Levi Civita symbol

Laplace Runge Lenz vector

[sarojatexcone]

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[aguineapigcouldntdothis]

Guinea pig fact of the day: Guinea pigs are dichromatic (2 color cones). Humans have 3 color cones, so piggies have color vision similar to ours. They also have 340° vision! However they have terrible depth perception which is why they rely on smell and sound a lot more than sight.

[ID: Bird's eye view image of a short haired black guinea pig with an orange face. She is standing on a blue tarp in front of a cylindrical bowl with a salad in it

end ID]

This is little bear! She was blind for at least the last couple years of her life but that didnt stop her from being an asshole. she was a wonderful piggie!

[sophiegoose]

Had a dream last night where I was working for a weird alternate universe version of The Magnus Institute, figured I'd share. Details under the cut:

(Note: if you're going to reply to this post I politely ask for no spoilers, I'm only part of the way through season 3 so far, thank 🙇)

-the entire Institute was inside in some very old 70s woodpanel lookin' offices in the basement of an office building. Everything was weirdly damp.

-didn't seem like the Institute was taking statements or anything, rather doing odd jobs that dealt with the supernatural. For example, one job I saw was Sasha helping to decorate a haunted conference center in such a way as to appease some very, VERY angry ghost children that lived there.

-something was wrong with Tim. Like, I couldn't tell you what, exactly, but something was definitely off. He kept smiling at inappropriate times and his body proportions were all off: super long spindly legs and a torso that looked weirdly cylindrical/pill-shaped. He moved really weird too, like a stick bug. No one else seemed to be bothered by it though, not even Tim himself, so whatevs.

-there was one wall in the place that had a weird black spot. It looked like it had once been a painting, but had been grown over with a weird, chalky black sludge. It seemed to change in shape and depth over the course of the dream, and every time it changed folks at the Institute seemed really worried about it.

-might've had to do something with Elias being really sick. He was constantly coughing, skulking around slowly, and seemed genuinely unwell, very snappy and agitated. Everyone was very worried about him and showed him simultaneous fear and concern, trying to help him when they could.

-on that note, it seems Johnathan and Elias are on good terms in this universe: Johnathan was constantly berating him for not taking better care of himself, and Elias kept assuring him he was fine, telling him to focus on the Institute's work, not him. Thought my radar was on the fritz with the vibes(tm) between them for a while, until later on in the dream I passed the two of them as they sat on a couch in the back of the office and saw them kiss. Welp.

Anyway, dream ended with me and a couple of my friends breaking into what I think(?) was an adjacent building, hard to tell. Anyway, we climbed up a makeshift ladder made of cabling and plastic construction barriers into a hole in the ceiling to have Spongebob-themed ice cream cones at a place that definitely was not licensed to operate as an eatery. Worth it.

[kariachi]

Okay, so according to F’lar dragons flame an area half their body length and 3-4 meters square in front of them. So, if we assume the average dragon is about 27 ft (since the smaller greens and blues outnumber everybody by so much) and an average of 3 meters square circumference, then if we’re talking a flame that quickly forms into more of a cylindrical shape then your average dragon can cover about 56 sqm of air per flame. If we’re talking more a cone than we’re talking an average of about 19 sqm. Assume a dragon can flame every 10 seconds (we have nothing to really base this off of but a lion seems capable of roaring in 4-5 second intervals so double that and call it good) with each flame lasting 2 seconds, so 12 seconds per flame overall. That would give us about 1800 potential flames per 6-hour Fall. Take out a sixth of that for refueling because that seems like an appropriate amount of time to spend on chewing and reprocessing ‘stone and we get 1512.

So, depending, our average dragon would be clearing anywhere from 28k sqm to 85k sqm of air per Fall.