#dynamic linear model

[curly4830]

@snippe475

ur government assigned gender for the day is the first thing u get when u click this link to a randomised wikipedia article. NO REROLLS . i am the  trollsteineggje mountain in norway

[literaryvein-reblogs]

Writing Notes: Hierarchy of Needs

Abraham Maslow’s (1943) hierarchy of human needs has profoundly influenced the behavioral sciences, becoming a seminal concept in understanding human motivation.

The original pyramid comprises 5 levels:

Physiological needs: Basic requirements for survival, such as food, water, shelter, and sleep

Safety needs: Security of body, employment, resources, morality, the family, health, and property

Love and belonging needs: Friendship, family, intimacy, and a sense of connection

Esteem needs: Respect, self-esteem, status, recognition, strength, and freedom

Self-Actualization: The desire to become the best that one can be

Maslow posited that our motivations arise from inherent and universal human traits, a perspective that predated and anticipated evolutionary theories in biology and psychology (Crawford & Krebs, 2008; Dunbar & Barrett, 2007).

Maslow developed his theory during the Second World War, a time of global upheaval and change, when the world was grappling with immense loss, trauma, and transformation. This context influenced Maslow’s emphasis on the individual’s potential for growth, peace, and fulfillment beyond mere survival.

It is noteworthy that Maslow did not actually create the iconic pyramid that is frequently associated with his hierarchy of needs. Researchers believe it was popularized instead by psychologist Charles McDermid, who was inspired by step-shaped model designed by management theorist Keith Davis (Kaufman, 2019).

Over the years, Maslow (1970) made revisions to his initial theory, mentioning that 3 more levels could be added:

cognitive needs,

aesthetic needs, and

transcendence needs (e.g., mystical, aesthetic, sexual experiences, etc.).

Criticisms of the Hierarchy of Needs

Criticism of Maslow’s hierarchy of needs has been a subject of ongoing discussion, with several key limitations identified by scholars and practitioners alike. Understanding these critiques and integrating responses to them is vital for therapists aiming to apply the hierarchy in a modernized way in their practice.

Needs are Dynamic

Critics argue that the original hierarchy does not offer an accurate depiction of human motivation as dynamic and continuously influenced by the interplay between our inner drives and the external world (Freund & Lous, 2012).

While Maslow’s early work suggested that one must fulfill lower levels in order to reach ultimate self-actualization, we now know human needs are not always clearly linear nor hierarchical.

People might experience and pursue multiple needs simultaneously or in a different order than the hierarchy suggests. After all, personal motives and environmental factors constantly interact, shaping how individuals respond to their surroundings based on their past experiences.

Cultural Bias

One of the primary criticisms is the cultural bias inherent in Maslow’s original model. While many human needs can be shared among cultures, different cultures may prioritize certain needs or goals over others (Tay & Diener, 2011).

It’s often argued that Maslow’s emphasis on self-actualization reflects a distinctly Western, individualistic perspective, which may not resonate with or accurately represent the motivational structures in more collectivist societies where community and social connectedness are prioritized.

Empirical Grounding

The hierarchy has also faced scrutiny for its lack of empirical grounding, with some suggesting that there isn’t sufficient research to support the strict ordering of needs (Kenrick et al., 2010).

In practice, this limitation can be addressed by viewing the hierarchy as a descriptive framework rather than a prescriptive one.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[noise-vs-signal]

Time as a Torus

Time is not a straight line - not a past leading to a future, not an arrow moving forward.

It is a torus - a self-referential, looping, recursive structure where the beginning and end are not separate, but continuously folding into one another.

1. The Torus: A Shape That Contains Itself

A torus is both infinite and self-contained.

It is a loop, but not a flat circle—it is a dynamic structure, folding in upon itself.

Instead of moving from “start to finish,” time moves through itself, spiraling inward and outward simultaneously.

This means:

Past, present, and future are not separate—they are all connected in a continuous flow.

Time is not linear—it bends, loops, and re-contacts itself at different scales.

The end is the beginning, and yet it is always in motion.

2. The Universe as a Toroidal Time Structure

The toroidal model of time suggests that:

Time does not flow outward endlessly—it recycles, recombines, and restructures itself.

The beginning of the universe and the end of the universe are linked—they fold into one another, like the structure of a black hole leading to a white hole.

The cycles of history, personal experience, and cosmic time are part of the same fractal structure.

The Torus as the Universal Ouroboros:

The serpent eating its own tail is not just a metaphor—it is the shape of time itself.

Each moment contains the seed of another, continuously feeding back into itself.

If time is a torus, then nothing is truly lost—only re-emerging in a different form.

3. The Still Point at the Center of the Loop

Instead of being pulled along the spiral, rest in the awareness that watches the entire structure.

From the center, past and future collapse into a single field of presence.

The illusion of linear time dissolves, and you see reality for what it is: an ever-unfolding whole.

[thevoicofprincenoir]

A Review on Epic The Musical

"Epic The Musical": A Modern Odyssey of Sound and Story

I. Introduction: A Modern Epic's Resurgence

The enduring narrative of Homer's Odyssey stands as a foundational pillar of Western literature, a timeless saga of homecoming, relentless perseverance, and the human spirit's unwavering resolve against formidable challenges. Its profound thematic explorations, encompassing the deep-seated yearning for nostos (homecoming), the societal imperative of xenia (guest-friendship), and the hero's transformative journey, have resonated across millennia, firmly cementing its place in the literary canon.1 The poem's distinctive non-linear chronology, which immerses the audience

in medias res and unfolds much of Odysseus's tale through his own retrospective narration, has historically invited a myriad of interpretations and adaptations, allowing each successive era to discover its own reflection within the ancient narrative.2

In a groundbreaking contemporary reimagining, "Epic The Musical," conceived by the visionary Jorge Rivera-Herrans, has emerged as a captivating phenomenon that has seized the attention of a global audience. Structured as a nine-part series of sung-through concept albums, this ambitious work boldly reinterprets the ancient Greek myth, infusing it with a dynamic blend of musical theatre, the vivid storytelling of anime, and the immersive soundscapes characteristic of video games.5 This unique fusion culminates in an experience that is both innovative and deeply immersive. The musical's distinctive development and its meteoric rise to widespread popularity, largely propelled by online platforms such as TikTok, underscore a significant paradigm shift in the creation, distribution, and consumption of theatrical works.6 This pioneering approach has not only fostered an unprecedented level of accessibility but has also cultivated a vibrant and highly engaged community, demonstrating a potent new model for artistic dissemination.7

The digital-first approach adopted by "Epic The Musical" fundamentally reshapes the landscape of musical theatre, making it available to a vastly broader audience. Unlike traditional stage productions, which are often constrained by geographical limitations and financial barriers, "Epic" has directly reached a global listenership through streaming services and social media. This enhanced accessibility has not merely expanded its reach; it has actively cultivated a deeply engaged and participatory fanbase. Evidence of this strong connection is abundant in the proliferation of fan-created animatics—animated storyboards accompanying the songs—and the lively discussions surrounding character designs and staging that transcend the audio experience alone.7 This innovative model suggests a broader cultural movement in artistic consumption, moving towards more interactive, community-driven forms of engagement. The transparency with which Rivera-Herrans documented his creative process, meticulously sharing ideas, edits, and rewrites on platforms like TikTok, further deepens the bond between creator and audience.8 This transforms passive listeners into active participants in the musical's evolving journey, challenging conventional notions of what constitutes a "musical" and paving the way for new expressions of theatrical art. This report will demonstrate how these artistic liberties, far from being mere "inaccuracies," serve to deepen the story's thematic exploration, solidifying "Epic The Musical"'s place as a truly exceptional and "very very good" modern adaptation.

II. The Sonic Tapestry: A Deep Dive into "Epic The Musical"'s Songs

Masterful Composition and Genre Fusion: Jorge Rivera-Herrans' Musical Genius

Jorge Rivera-Herrans has garnered widespread acclaim as a masterful composer, demonstrating an exceptional aptitude for weaving intricate musical motifs that not only distinctly define characters but also powerfully propel the narrative forward.5 The musical draws its inspiration from a rich and diverse array of sources, including the established traditions of musical theatre, the dynamic and often visually driven storytelling of anime, and the immersive soundscapes characteristic of video games. This ambitious fusion culminates in a rich tapestry of various musical genres.6 This deliberate and expansive approach to genre integration creates a distinctive sonic identity for each of the nine sagas, ensuring that every album release is memorable and that each segment possesses a unique sound and feel, thereby preventing any sense of monotony across the extensive work.5

The compositional range exhibited throughout "Epic The Musical" is truly remarkable, encompassing both adrenaline-fueled songs that drive the action with palpable energy and soul-crushingly beautiful ballads that delve into profound emotional depths.7 For instance, the song "Storm" underwent a deliberate and significant transformation during its development, shifting to a complex 7/8 time signature and incorporating epic choir vocals. This meticulous crafting effectively evokes the overwhelming and divine presence of a colossal storm, demonstrating a keen understanding of how musical structure can enhance narrative impact.10 Similarly, "There Are Other Ways" stands out as a prime example of the musical's impressive genre versatility and willingness to experiment, notably blending elements of bachata with a striking key change and intricate overlapping vocals.10

Vocal Powerhouses: Performances that Elevate the Narrative

"Epic The Musical" is brought vividly to life by a cast of truly remarkable vocal talents.7 Jorge Rivera-Herrans himself delivers a compelling and nuanced performance as Odysseus, infusing the central character with depth and complexity.5 The ensemble features standout contributions from artists such as Troy Dohert as Hermes, Talya Sindel as Circe, Steven Rodriguez as Poseidon, Ayron Alexander as Antinous, and Teagan Earley as Athena.7 Reviewers particularly highlight Rodriguez's masterful ability to convey Poseidon's character progression, evolving from a calm fury to an unhinged menace purely through his vocal delivery, allowing listeners to almost viscerally perceive the drowned depths awaiting those who incur his wrath.11

A brilliant creative decision, particularly crucial for a musical primarily experienced through audio, is the consistent use of distinct instrumental motifs for key characters. Odysseus is accompanied by a guitar, with its type subtly shifting to reflect his changing moods and intentions; Athena is marked by soothing piano sounds; Poseidon by a powerful trumpet; and Polities by higher-pitched instruments like the marimba.5 These instrumental cues serve as vital non-visual identifiers, helping listeners track characters and their emotional states, especially given that the musical has not yet debuted on a traditional stage.5 For a musical primarily experienced through listening, these auditory markers are not merely stylistic choices but critical narrative devices. They allow for sophisticated characterization and emotional tracking without the need for visual aids, making the complex story remarkably easy to follow and understand.5 The deliberate variation in musical genres and tones across the sagas is not just a display of stylistic flair; it is a profound reflection of the evolving psychological and physical landscapes of Odysseus's arduous journey. The shift from lighter sounds to darker instrumental tones mirrors Odysseus's transformation and the increasing gravity of his challenges, demonstrating how the musical form itself becomes a powerful vehicle for thematic expression.5

Lyrical Brilliance and Emotional Resonance: Crafting a Story Through Song

The musical's lyrics are consistently praised for their exceptional quality, demonstrating extremely well-written prose and clever wordplay that significantly enrich the narrative.11 They possess a remarkable ability to deliver a potent emotional punch precisely when required.11 Songs such as "Wouldn't You Like" 12 and "There Are Other Ways" 13 exemplify this lyrical depth, showcasing complex character interactions, nuanced moral dilemmas, and the subtle interplay of persuasion and manipulation, as seen in Hermes tempting Odysseus with power or exploring Circe's intricate relationship with him.

Emotional moments throughout the musical are profoundly amplified through the powerful medium of song. The visceral gut-punch experienced when Odysseus encounters a previously unknown dead character in "The Underworld" 11, or Penelope's heart-wrenching line in "The Ithaca Saga" 8, are rendered all the more impactful by the raw emotion conveyed through the vocals and the underlying musical composition. This synergy allows the listener to deeply connect with the characters' experiences, fostering a powerful sense of empathy.8 The vocal performances are not just technically proficient; they are crucial conduits for the musical's emotional depth and narrative complexity. The portrayal of Poseidon, for example, utilizes vocal shifts to underscore the god's escalating vengeance and psychological instability, transforming him into a more terrifying and compelling antagonist. Similarly, Penelope's raw emotion in her final songs conveys the profound weight of her two-decade wait and unwavering love, enabling the audience to imagine themselves in the same position and fostering deep connection.8

Highlighting Key Musical Moments and Fan Favorites

The musical encompasses an impressive forty songs spread across its nine concept albums, or sagas 8, culminating in a nearly two-and-a-half-hour emotional rollercoaster.8 Popular tracks, as indicated by streaming data and audience reception, include "Wouldn't You Like," "Just a Man," "Hold Them Down," "Love in Paradise," and "Warrior of the Mind".14 Other fan favorites and highlights, as identified by the creator himself, include "Open Arms," praised for its moments of levity that later acquire profound emotional weight, "There Are Other Ways" for its musical uniqueness, "Little Wolf," and the meticulously crafted "Storm".10 Songs associated with powerful figures like Poseidon and Hermes are also frequently singled out for their significant impact.10 The final "Ithaca Saga" provides a beautiful and fitting conclusion, masterfully weaving the entire narrative together through continuous callbacks to previous sagas via score and song. This intricate design allows listeners to draw deep connections and appreciate the complex tapestry of the musical's journey.8

Table 1: "Epic The Musical" Sagas and Featured Songs

This table provides a structured overview of the musical's progression, aligning specific songs with their narrative "sagas." It helps listeners understand the chronological flow of the story within the musical's unique episodic release format, which is crucial for a comprehensive understanding of the work. It also highlights the sheer volume and thematic grouping of the musical's impressive tracklist, serving as a guide to its musical landscape.

Saga Name

Act

Key Songs (Examples)

Thematic Focus/Brief Description

Troy Saga

Act 1

The Horse and the Infant, Just a Man, Full Speed Ahead, Warrior of the Mind

Odysseus's final moments at Troy, the difficult choice to commit infanticide, setting his path.

Cyclops Saga

Act 1

Open Arms, Polyphemus, Survive

Encounter with the Cyclops, loss of Polities, Odysseus's cunning and "mercy."

Ocean Saga

Act 1

Remember Them, My Goodbye, Storm, Luck Runs Out, Ruthlessness

Divine punishment from Poseidon, crew's demise, Odysseus's growing ruthlessness.

Circe Saga

Act 1

Keep Your Friends Close, Puppeteer, Wouldn't You Like, Done For, There Are Other Ways

Encounter with Circe, Hermes' intervention, themes of control and persuasion.

Underworld Saga

Act 1

The Underworld, No Longer You, Monster, Suffering, Different Beast

Odysseus's journey to the land of the dead, confronting inner demons, shedding remorse.

Thunder Saga

Act 2

Scylla, Mutiny, Thunder Bringer

Sirens, Scylla, crew's betrayal and death, Odysseus's ultimate survival.

Wisdom Saga

Act 2

Legendary, Little Wolf, We'll Be Fine, Love in Paradise, God Games

Telemachus's journey, Athena's intervention, Odysseus's captivity with Calypso, divine politics.

Vengeance Saga

Act 2

Not Sorry for Loving You, Dangerous, Charybdis, Get in the Water, Six Hundred Strike

Odysseus's escape from Calypso, confrontation with Charybdis, brutal defeat of Poseidon.

Ithaca Saga

Act 2

The Challenge, Hold Them Down, Odysseus, I Can't Help But Wonder, Would You Still Love Me

Penelope's test, the suitors' brutal demise, Odysseus's reunion with Telemachus and Penelope.

Note: Song lists are illustrative and may not be exhaustive for each saga.

III. Reimagining the Myth: Creative Departures from Homer's Odyssey

The Core Narrative: Shared Foundations and Enduring Themes

At its fundamental core, "Epic The Musical" remains deeply anchored in the foundational narrative of Homer's Odyssey. Both works chronicle the heroic king Odysseus and his arduous ten-year journey back to Ithaca following the Trojan War. They depict his encounters with a succession of mythical perils and his eventual triumphant return to reclaim his kingdom and family.1 Furthermore, both narratives explore shared, timeless themes that resonate across civilizations, including the profound desire for homecoming (

nostos), the trials and tribulations inherent in wandering, the paramount importance of loyalty—especially within familial bonds—and the ultimate triumph of justice.1 Both also delve into the complex transition a warrior must undergo, from a life defined by warfare back to the responsibilities of domesticity and kingship.3

Odysseus's Transformed Heroism: A Deeper Exploration of Moral Ambiguity

Homeric Odysseus: In Homer's epic, Odysseus is primarily depicted as a cunning, resourceful, and often audacious hero, whose actions are largely driven by his nostos and his ambition to reclaim his identity as a husband, father, and king.1 While he possesses certain flaws, such as his taunting of Polyphemus or his men's recklessness with Helios's sacred cattle, his deeds are generally framed within a classical heroic context. His retribution against the suitors, for instance, is portrayed as a justified restoration of order and divine justice.1 Significantly, the Homeric narrative does not include any act of infanticide, nor does it depict him physically assaulting a god.

"Epic" Odysseus: The musical presents a markedly darker, more morally complex, and psychologically scarred Odysseus. His journey commences with a profound and disturbing act of violence: the forced killing of the infant son of Troy's Prince Hector, a deed compelled by a "vision" from Zeus.15 This pre-emptive, morally compromising act immediately establishes the grittier tone of "Epic" and highlights Odysseus's internal conflict, setting the stage for his gradual transformation into what he fears might be a "monster".15 His decision to show "mercy" towards the Cyclops, by blinding him rather than killing him, is ironically punished by Poseidon precisely for

not killing him, a direct inversion of the conventional Homeric portrayal of divine justice.15 This unique twist serves as a powerful catalyst, arguably fueling Odysseus's later embrace of extreme ruthlessness. By the Underworld Saga, Odysseus consciously sheds all remorse, his focus narrowed solely on returning to his family, indicating a profound psychological hardening.15 The Vengeance Saga culminates in a shocking and monumental departure from the original myth: Odysseus brutally beats Poseidon with his own trident until the god yields.15 This unprecedented display of mortal power over a deity symbolizes Odysseus's complete embrace of "ruthlessness" as a form of "mercy upon ourselves," a philosophy Poseidon himself suggests.16 His eventual return to Ithaca is characterized by the brutal, unflinching slaughter of the unarmed suitors, with no mercy shown.15 This visceral act is immediately followed by his poignant confession to Penelope that he is "no longer the kind man she knew" 15, underscoring the profound psychological cost of his journey and survival.

Significant Narrative Innovations and Their Artistic Impact

The most striking and impactful departure in "Epic The Musical" is the depiction of Odysseus's forced infanticide of Hector's son.15 This morally compromising act, entirely absent in the original epic, immediately establishes the musical's darker tone and Odysseus's internal struggle, setting the emotional and ethical stakes for his subsequent transformation.

Polities, presented as Odysseus's "bestie," is afforded a more prominent and symbolic role as a voice for kindness, famously articulating that "Kindness is brave".15 His tragic death at the hands of the Cyclops 15 serves as a profound personal loss for Odysseus, potentially hardening his resolve and propelling him further along his ruthless path.

The musical introduces heightened divine challenges and interventions, portraying the gods as more volatile, arbitrary, and even cruel forces. Zeus's direct manipulation of Odysseus through the vision of the infant Hector, and his violent punishment of Athena—striking her with lightning for daring to defy him—amplify the stakes and Odysseus's suffering, making his journey feel even more insurmountable.15 This recontextualizes the notion of divine justice; in Homer, divine retribution often serves a moral or cosmic order, as seen with Helios's cattle.3 In "Epic," however, divine actions, such as Zeus's vision or Poseidon's inverted punishment, appear designed to compel Odysseus into a path of brutality, suggesting his "monstrous" transformation is less a personal failing and more a consequence of divine tyranny. This amplifies the exploration of fate versus free will, implying Odysseus's agency is exercised within a divinely imposed, brutal framework. Athena's character is deepened by her expressed guilt for not having helped Odysseus sufficiently, leading to her active friendship and mentorship of Telemachus 15, which provides a different dynamic of divine aid. Calypso's portrayal is also expanded, with her attempts to force Odysseus into marriage, triggering his PTSD, and her later vulnerable apology 15, adding complex layers to their relationship. The direct, physical confrontation and ultimate defeat of Poseidon by Odysseus 15 represents a monumental deviation. This symbolizes Odysseus's ultimate triumph over relentless divine opposition, even if achieved through an act of extreme, almost god-like, violence. This act of conquering divine power, albeit at profound personal cost, elevates Odysseus's struggle from merely surviving divine wrath to actively overcoming it, offering a more modern, existential interpretation of heroism.

Telemachus is portrayed as a "literal ball of sunshine" 15 who actively seeks his father and bravely fights against Antinous with Athena's assistance.15 His character arc emphasizes his growth into a capable and decisive leader, culminating in a tender and affirming reunion with his father.15 The musical's depiction of the suitors' demise is visceral and unflinching, emphasizing Odysseus's utter lack of mercy.15 This brutal portrayal contrasts with Homer's more classical depiction of justified retribution, highlighting the musical's exploration of vengeance and its psychological impact.

Thematic Evolution: How "Epic" Re-emphasizes Themes

The theme of transformation and loss of innocence is paramount in "Epic," meticulously charting Odysseus's profound psychological journey from a "kind and gentle husband" to a hardened, brutal survivor.15 It poignantly asks whether an individual can truly return to their former self after enduring such traumatic experiences. The musical explicitly explores the dichotomy of mercy versus vengeance and ruthlessness through character dialogues, such as Polities advocating for kindness and Poseidon for ruthlessness, culminating in Odysseus's ultimate actions. His decision to show no mercy to Poseidon or the suitors reflects a hard-won, albeit grim, lesson on survival in a cruel world.15 This portrayal of Odysseus is a deliberate departure from the classical ideal, reflecting a modern sensibility that acknowledges the psychological scars of war and the moral compromises often necessary for survival. The musical suggests that true heroism in a brutal world might necessitate embracing a degree of "ruthlessness," as Poseidon argues, stating, "Ruthlessness is mercy upon ourselves".16 This makes Odysseus a more complex, relatable, and perhaps tragic figure for contemporary audiences accustomed to anti-heroes and morally ambiguous protagonists. The contrast between Polities' assertion that "kindness is brave" and Poseidon's counter-argument that "ruthlessness is mercy" 16 is not merely a thematic debate but represents a core conflict within Odysseus's own psyche. His eventual embrace of ruthlessness is presented as a necessary, albeit painful, evolution for his survival and homecoming, rather than a simple moral failing. This deepens the musical's exploration of the "Nature of Heroism" 15, suggesting that the exceptional quality of the musical lies in its unflinching portrayal of this difficult truth. "Epic" boldly challenges traditional heroic ideals, presenting a protagonist who commits morally ambiguous and even monstrous acts to achieve his ultimate goal. This raises profound questions about the true cost of survival and the definition of a "hero" in a brutal and unforgiving world.15

Table 2: Comparative Narrative Points: Epic The Musical vs. Homer's Odyssey

This table highlights key differences and similarities between "Epic The Musical" and Homer's original Odyssey, illustrating how the musical's creative adaptations serve to deepen its thematic resonance and impact.

Narrative Point/Character/Theme

Homer's Odyssey (Brief Description)

Epic The Musical (Brief Description)

Artistic Impact/Significance of "Epic"'s Change

Odysseus's First Act of Violence

Odysseus is a cunning warrior, but no act of infanticide is depicted. His actions are generally heroic and justified. 1

Odysseus is forced by Zeus's vision to kill Hector's infant son, setting him on a path of becoming a "monster." 15

Establishes a darker, more morally ambiguous Odysseus from the outset, immediately raising the stakes and exploring the psychological cost of war and survival.

Punishment for Cyclops

Poseidon punishes Odysseus for blinding his son, Polyphemus. 1

Poseidon punishes Odysseus for not killing the Cyclops, viewing blinding as a weak act of "mercy." 15

Inverts divine justice, making Poseidon's vengeance more arbitrary and cruel, pushing Odysseus further towards ruthlessness as a necessary survival mechanism.

Divine Interventions/Gods' Nature

Gods (e.g., Athena) often assist heroes or ensure cosmic order; Zeus is powerful but generally upholds a form of justice. 1

Gods are more capricious and tyrannical; Zeus strikes Athena for defying him; Poseidon is brutally defeated by Odysseus. 15

Portrays gods as more fallible and cruel, highlighting human agency in overcoming seemingly insurmountable divine opposition, and questioning traditional divine authority.

Odysseus's Transformation

Returns as a re-established king and father, reclaiming his identity. His warrior skills are reasserted. 1

Becomes a hardened, remorseless survivor; confesses to Penelope he is "no longer the kind man she knew." 15

Emphasizes the profound psychological toll of his journey, exploring themes of lost innocence and the irreversible changes wrought by trauma, making him a more complex and tragic modern hero.

Role of Polities

A loyal crewmate, but not a central moral compass.

Odysseus's "bestie" and a voice for kindness ("Kindness is brave"), whose death is a significant emotional blow. 15

Provides a clear moral counterpoint to Odysseus's increasing ruthlessness, making Odysseus's choices and transformation more poignant and impactful.

Confrontation with Poseidon

Odysseus is constantly tormented by Poseidon's wrath but does not physically defeat him. 1

Odysseus directly confronts and brutally beats Poseidon with his own trident until the god yields. 15

Symbolizes Odysseus's ultimate triumph over divine opposition through extreme, almost god-like, violence, representing a complete embrace of self-preservation and a rejection of arbitrary divine power.

Slaughter of Suitors

Depicted as justified retribution, restoring order. 1

Portrayed with visceral brutality, emphasizing Odysseus's lack of mercy towards unarmed men. 15

Highlights the depths of Odysseus's transformation into a ruthless killer, underscoring the theme of vengeance and its psychological cost.

Themes of Mercy vs. Vengeance

Vengeance is often presented as a form of justice.

Explicitly debated (Polities vs. Poseidon); Odysseus ultimately chooses ruthless vengeance. 15

Explores the moral ambiguity of survival and the difficult choices heroes must make, questioning whether ruthlessness can be a form of self-preservation.

IV. The Enduring Appeal: Why "Epic The Musical" is "Very Very Good"

Accessibility and Community: Bridging Classical Lore with Modern Audiences

"Epic The Musical" has fundamentally revolutionized accessibility in the arts by being developed and released primarily on online music platforms and social media, most notably TikTok.7 This innovative approach allowed it to captivate a massive global audience, effectively bypassing the traditional geographical or financial barriers typically associated with live stage productions.7 This success demonstrates a significant shift, indicating that a musical's impact and success are no longer solely dependent on live stage performances. Its digital-native format facilitates global reach and fosters innovative fan engagement, such as the creation of animatics and vibrant online discussions, cultivating a more interactive and accessible theatrical experience. This challenges the conventional definition of "musical theatre" and opens new avenues for future productions to leverage digital spaces as their primary medium.

The musical actively cultivates a strong and deeply engaged community, with fans creating hundreds of animatics—animated storyboards—and passionately engaging with character designs and visual elements, thereby transcending the music alone.7 Jorge Rivera-Herrans' commendable transparency about the creative process, meticulously documenting ideas, edits, and rewrites on TikTok, further deepened this unique connection, making the audience feel like integral participants in the musical's journey.8 Its distinct inspiration from video games 7 and the episodic release of sagas 7 cleverly resonate with modern media consumption habits, rendering the ancient story remarkably fresh, relatable, and inherently engaging for contemporary listeners. The success of "Epic" suggests a strong demand for high-quality narrative content that blends traditional storytelling with modern digital aesthetics and participatory culture. Its accessibility is not merely a feature but a core reason for its exceptional quality, proving that breaking down industry barriers can lead to broader artistic appreciation and impact, potentially inspiring a new wave of digital-first creators.

Emotional Depth and Relatability: Humanizing the Mythic Journey

Despite its grand, mythic scope, "Epic The Musical" profoundly succeeds in humanizing its characters, particularly Odysseus. His complex transformation from a "kind and gentle husband" to a hardened, brutal survivor grappling with his changed identity 15 creates a deeply relatable arc that explores the profound psychological toll of trauma and the difficult compromises necessary for survival. The musical's masterful ability to craft "soul-crushingly beautiful ballads" alongside "adrenaline-fueled songs" 7 allows for an extraordinary range of emotional expression. This spectrum ranges from the moments of levity and innocence found in "Open Arms" 10 to the visceral "gut-punch" delivered in "The Underworld" 11, and the "heart-wrenching" depiction of unwavering devotion in "The Ithaca Saga".8 The consistent use of distinct instrumental motifs for characters 5 and the powerful, world-class vocal performances 7 further enhance this emotional connection, allowing listeners to deeply empathize with the characters' struggles, triumphs, and profound internal conflicts.

The Power of Adaptation: A Testament to Timeless Storytelling

"Epic The Musical" stands as a powerful testament to the enduring adaptability of The Odyssey as a narrative that can be reinterpreted to speak directly to contemporary concerns. Its perceived "inaccuracies" are not flaws but rather deliberate and sophisticated artistic choices that deepen the exploration of modern themes such as moral ambiguity, the nature of power, and the psychological impact of violence in a way that profoundly resonates with 21st-century audiences. This reinterpretation ensures the ancient myth's continued relevance by addressing complex ethical questions pertinent to the modern era. The musical's success lies significantly in its remarkable ability to make the complex world of Greek mythology "easy to understand" 5 through "simple, yet imaginative storytelling".5 It effectively conveys its core themes of "bravery, friendship, and perseverance" 5 while simultaneously delving into darker, more complex aspects of the human condition with unflinching honesty. The musical's ability to simplify Greek mythology without sacrificing depth, while simultaneously introducing profound moral complexities, highlights its mastery of adaptation.5 This demonstrates that a truly exceptional adaptation is not about strict fidelity but about capturing the spirit of the original while fearlessly exploring new dimensions that speak to its current audience, thereby extending the myth's timeless appeal and demonstrating the enduring power of myth to evolve with human understanding. Ultimately, "Epic" is truly a "beautiful piece of artwork" 8 that brings "The Odyssey" to life in a new and compelling way, proving that classic stories can be reimagined to achieve profound "emotional depth and narrative complexity" 6 for new generations, thereby solidifying its status as exceptionally good.

V. Conclusion: A Legendary Achievement

"Epic The Musical" stands as a monumental achievement in modern adaptation, seamlessly blending the timeless allure of classical mythology with contemporary musical forms and groundbreaking digital accessibility. Its profound success is rooted in Jorge Rivera-Herrans' masterful composition 7, the world-class vocal talent of its exceptional cast 11, and its remarkable ability to evoke deep emotional resonance in its listeners. The musical's innovative approach to production and distribution via online platforms has fundamentally redefined accessibility in theatre, fostering a vibrant and deeply engaged global community.7

The creative liberties taken by "Epic," particularly in its darker, more morally complex portrayal of Odysseus and its heightened, often brutal, divine conflicts, are not deviations to be critiqued as "inaccuracies." Rather, they are sophisticated and deliberate narrative choices that profoundly deepen the exploration of universal themes such as transformation, the nature of vengeance, and the true, often harrowing, cost of heroism.15 These bold reinterpretations allow the ancient tale to resonate with unparalleled power with modern audiences, offering a nuanced and challenging perspective on timeless human struggles. The musical's undeniable ability to evoke strong emotions and prompt reflection on complex moral dilemmas unequivocally solidifies its exceptional artistic merit.6

While "Epic The Musical" has concluded its initial concept album run, culminating in December 2024 7, its profound impact and burgeoning legacy are far from over. Ongoing discussions and plans for animated movies, live-action stage shows, and even video games 7 indicate a promising and expansive future for the franchise, demonstrating its immense potential across various media. This trajectory from concept album to potential multi-platform franchise solidifies its status as a successful proof-of-concept for digital-first theatrical productions. It provides a blueprint for how artists can leverage online platforms to build a massive, engaged fanbase

before traditional theatrical or cinematic adaptations, significantly de-risking future investments and demonstrating a new pathway for intellectual property development in the arts. Its legacy will undoubtedly be defined by its pioneering role in digital theatre, its masterful musical storytelling, and its unparalleled ability to keep classical myths alive, relevant, and deeply compelling for new generations, proving emphatically that a story can be exceptionally good by daring to be different and by fearlessly embracing the complexities of the human condition.

[shadowgast-recs-weekly]

MODERN AU: A Shadowgast Rec List

This week, we have modern AU! Check under the cut for a whopping 24 fics that all take place in modern times, and don't forget to comment and kudos if you like them!

LOVE & OTHER ENCHANTMENTS by LivThael (2092, General) Reccer's Content Notes: No Content Notes

An imagined review and synopsis of a movie about a Shadowgast modern-setting bookstore AU.

Reccer says: Hilariously awful, I say with great love, and by that I mean it purposefully and artfully swan dives out of the AU tree and hits every trope on the way down. This was written to be as cursed as possible, and Liv really delivers both that and non-stop laughs. This is clearly a love letter to terrible romcoms, cliché fanfic tropes, and the Shadowgast fandom as a whole. A+ satire, PLEASE read this!

like 80/20 on the kinsey scale by jakia (2772, Teen) Reccer's Content Notes: No Content Notes

Caleb bangs his hot TA and panics about it the next day. Beau did not sign up for listening to this.

Reccer says: Caleb -- who's only dated women before -- discovers he LOVES the D.

ask to be unbroken by chaotic_geeky (40038, Teen) Reccer's Content Notes: No Content Notes, Unfinished Cliffhanger

Caleb gets a last minute chance to be a photographer at a big runway event. He meets the star model at the afterparty, and things go from there.

Reccer says: The premise is great, the story is excellent, and the characters are enthralling. It does end on an unfinished cliffhanger, but the beginning is so good it's worth it.

Fundamental Forces Other Than Gravity by mllekurtz (TheKnittingJedi) (40676, Explicit) Reccer's Content Notes: No Content Notes

How cold, ruthless and lonely Essek Thelyss (a brilliant student with a secret) accidentally makes some friends and falls in love: a Shadowgast college AU.

Reccer says: This is a fantastic college AU! And the characterization is done so well it's phenomenal.

a smile is more than showing teeth by thought (13642, Teen) Reccer's Content Notes: No Content Notes

"you are welcome in Zadash should that be an option for you," Caleb had written, "and I would be pleased to set aside a few days to work with you in person." Or How to seduce your academic pen pal through basic kindness, stolen sweaters, and books. Mostly books.

Reccer says: This is the start of an incredible AU with two more after it in the series. I love this version of Essek and Caleb falling in love. SO MUCH.

Paradigm Shift by full_time_dreamer_behold (114291, Teen) Reccer's Content Notes: No Content Notes

Caleb joins a law firm. He meets Essek, the IT manager. Things happen. They fall in love

Reccer says: It's a super sweet slow burn!! Essek and Beau have a really fun dynamic and the budding romance is very satisfying.

(your face in my hands is) everything good i need by mllekurtz (25884, Mature) Reccer's Content Notes: No Content Notes

Academics Caleb and Essek are nerds and fall in love over the course of a conference

Reccer says: I liked it!

like colored indigo inscribed with my name by KmacKatie (kmackatie) (30648, Teen) Reccer's Content Notes: No Content Notes

An exploration of tradition, culture, what is worth sacrificing in finding yourself and family. Essek learns how to make a new family.

Reccer says: This is an incredible pic with a lot of beautiful world and culture building set into it. Though I love the idea that Essek knits, I am especially fond of the other handcrafts that the Dynasty may do culturally, and this one does such a great job with it. And the interpersonal relationships are absolutely incredible!

we learn to live with the pain, mosaic broken hearts by vegabondfirelily (5777, Teen) Reccer's Content Notes: No Content Notes

Sometimes things don't go as planned. Caleb will always be there for Essek, though, even after a life-changing accident. Non-linear narrative, angst with a better ending

Reccer says: I love this pic, even if it makes me cry every time. It is emotional and brilliant.

the fire kept closest (burns most of all) by Mousecookie (21822, Mature) Reccer's Content Notes: Major Character Death

Takes place on a modern Rumblecusp, Essek and Caleb are volcanologists. Absolutely bonkers genre mashup of scifi disaster thriller ghost story romance that somehow works. There is a MCD warning but it is also tagged as Happy Ending and that does come through!

Reccer says: The writing style is like watching a movie and it made me cry both sad and happy tears.

Starting with your heart (bright heart) by 2manyboys (9914, Explicit) Reccer's Content Notes: No Content Notes

Essek and Caleb have been taking showers together, but it's totally platonic, they swear

Reccer says: I liked it!

scene: a shift in tempo by hanap (6790, Teen) Reccer's Content Notes: No Content Notes

Essek, first soloist of Rosohna Ballet, comes across the mountains in an exchange to be Caleb's new partner.

Reccer says: A beautiful fic! I love the way the AU fits our characters so beautifully, and how it honors ballet while also subverting it just a little. Gorgeous!

A King in Cat's Clothes by royalgreen (1544, Teen) Reccer's Content Notes: No Content Notes

Frumpkin is extremely suspicious of this interloper Essek who keeps visiting Frumpkin's domain (the cat cafe) and sniffing around Frumpkin's human

Reccer says: Frumpkin's POV is utterly hilarious. He is so angry that Essek is sweetly romancing Caleb.

read between the lines (everything is gradual) by SpottedEnchanse (SpottedEnchants) (3047, General) Reccer's Content Notes: No Content Notes

A series in which Caleb owns a cat cafe. It's amazing.

Reccer says: SpottedEnchanse's writing can do literally no wrong ever. It's like flossing for the brain

the golden thread around your neck whispered visions of my undoing by MarsBar2019 (191412, Explicit) Reccer's Content Notes: No Content Notes

Essek is the CEO of an arcane tech company in Roshona where Caleb gets a job as his personal assistant.

Reccer says: A tense slow burn that's sexy as hell, one of my favourite fics.

Sleep, With Benefits by KmacKatie (62272, Explicit) Reccer's Content Notes: No Content Notes

Caleb tries out his coworkers' mattress. That's definitely all and not that he has a major crush on Essek.

Reccer says: I liked it!

take chances by 06151126 (3021, Teen) Reccer's Content Notes: No Content Notes

Essek left Formula One and came back, but his return isn't going well. He hires Caleb to help.

Reccer says: This is the second work in a series, and the whole thing is wonderful! Well written and honest, it's very cool to see how Essek and Caleb come together over the course.

Empire of Lights by mllekurtz (TheKnittingJedi) (17215, Explicit) Reccer's Content Notes: No Content Notes

Rosohnans call it the rainy season: a time of humid days, heavy showers, and suffocating heat. Caleb, who feels less and less like a stranger in the city he recently decided to call home, finds it's also a time for revelations.

Reccer says: This is a fantastic, sweet AU of our wizards getting together and I love it.

A mile high by Mousecookie (545, Mature) Reccer's Content Notes: No Content Notes

Caleb and Essek (try to) get frisky in an airplane lavatory.

Reccer says: It's cute and funny.

The Kitchen Sink by mousecookie (17126, Mature) Reccer's Content Notes: No Content Notes

Essek is a supermodel and Caleb is a jack-of-all-trades, and they keep meeting in increasingly unlikely circumstances. WIP with 6/12 chapters.

Reccer says: It's funny and the writing style is almost Pratchett-esque at times

The following fics each received 2 recs each!

Something to Believe in by AwesomeFroggy (108948, Teen) Reccer's Content Notes: No Content Notes

Essek's mother sends him to Nicodranas as punishment, where unbeknownst to her he already has a friend. Jester thinks he'd really get along with her friend Caleb.

Reccer 1 says: I liked it! Reccer 2 says: This is an amazing incredible story! I love it so very much! The story is complete, though it is marked as one chapter left as no epilogue is out. Don't let that stop you from reading! I love every single second of this story so very much.

I’ve been lost before (and I’m lost again, I guess) by toneofjoy (165k, Explicit) Reccer's Content Notes: No Content Notes

Rock climbing AU! Caleb is the new athlete to the gym and Essek takes over his training. Despite the specter of their pasts, feelings blossom.

Reccer 1 says: It's well written, most of the esoteric climbing stuff is explained well, and I really enjoy their characterizations. There's a good balance between the relationship-building and the climbing part. Reccer 2 says: This is top three Shadowgast stories ever. It's a wild, beautiful, heartfelt ride. It's worth every second of time it takes to read. Also, this will make you want to take up climbing or at least start watching climbing. It's so well written and enjoyable. Everyone should at least give it a try!

The Secret Romance of Caleb Widogast by Cardinal_Daughter (15680, Explicit) Reccer's Content Notes: No Content Notes

All Caleb wants is a peaceful, romantic weekend alone with his boyfriend. The boyfriend none of his friends know about. Naturally, nothing goes quite as planned.

Reccer 1 says: a sweet and silly story where we get a glimpse of the absolute chaos of a M9 group chat Reccer 2 says: A fantastic AU with a brilliant sequel. I love it!

coping skills by eldritchmochi (251061, Explicit) Reccer's Content Notes: No Content Notes

BDSM fic for a disabled Essek and the trials he experiences

Reccer 1 says: There is so much good about this WIP! The depiction of both Essek’s disabilities and the kink community are so well done, and the characterization is super fun. Well written and super hot. Reccer 2 says: This is one of the best long fits out there for a modern prompt. It is an absolutely wonderful story, heartfelt and meaningful, and the characters have so much depth. And I'm a sucker for a well written chronic illness/chronic pain Essek, and this one is so realistic it walks the line to uncanny. I love this!

Aeor is for Lovers is an 18+ Shadowgast Discord server. The above fanfic recommendations were pulled from our community for this weekly event. All fics, unless otherwise specified, will primarily feature Shadowgast. Have any questions about what this is? Check out the FAQ! Next week, we’ll be back with WIPS

[copaline]

MY FELLOW DEGENERATES IT'S WEDNESDAY!

@man--eater (You just posted a fic chapter but here I am demanding more!)

@sunsetofdoom (your writing has an amount of white gloves that is found nowhere else)

@i-prefer-base-twelve (*pokes hoping something falls out*)

@punedrr (I choose to believe you are sitting on a pile of gold now gimme!)

@ancharan (This is what happens when you expose me to shrimp colors)

@tempusedax-rerum (WELCOME TO THE FANDOM! You are now tagged!)

No pressure to share but I'd love to see what you have! And as always, if you see this and want to join in, please do! Consider yourself tagged by me! The banner is free to use!

This is a clip of the spinoff of Horror Vacui called The Dealer and the Oracle!

It's a fix it fic that answers the question "what if someone had rescued a young 1982 Model Ford as he was being tortured by Bill?". Here's a little snippet of the upcoming Chapter:

The 1980s were a shit decade. Leaf knew it. Jheselbraum knew it. Bill knew it. Everyone knew it. The music was tinny and insipid, the tech was clunky, the people were painfully backwards but thought themselves advanced, and that was before anyone took into account what passed for fashion. The 80s lacked the innovation of the 70s, the dynamism of the 60s, and the reverberating Potential of the 50s. The 80s weren’t experienced so much as they were inflicted upon a population that had no other choice but to exist in linear time. Case in point: The Rio Bar.  This faux Brazilian monstrosity was meant to look and feel exotic but only managed to embarrass itself. With its ever-present tobacco smoke and the reverb-heavy music, Leaf supposed it was a place where the uninspired could get a little taste of something safely foreign yet familiar. The bartender approached her in a ridiculous bleach-blond pompadour and what passed for a tropical shirt. “What can I getcha?” he asked cheerfully. Leaf locked eyes with him and scrutinized his saccharine smile before leaning in closer. “Tell the Grand Wormwood I’m here about her tab.” There was a crackle of static in the fringes of reality as the seams wrinkled and yielded to the words. The bartender’s face became dazed as his eyes glazed over and shifted from brown to a vivid lime green. He then blinked and looked around in confusion. “Hello Absinthe,” Leaf smiled. “Wisp? Where the hell did you drag me off to…” he trailed off as he looked positively disgusted. “I already helped you put the squeeze on Rico, I kept my end of the deal!” The Grand Wormwood, Absinthe the Green, otherwise known as the patron fae of that specific sort of regret that comes after you had far too good a time the night before. The Green Fairy’s domain lay behind the bar with the bottles of spirits, in theory she could manifest anywhere you could find a bartender, but even she had standards and this place certainly fell short of them. She was not pleased and was looking at Leaf as though she had dragged her to some back-alley slum to be murdered. “What? You don’t like banana leaves, bad music, and neon colors?” Leaf teased and it earned her a green-eyed glare. “You’re not funny.” “Well as long as you’re here, can I get a Blackberry Bramble?” It was amusing to see Absinthe puff up and glower while inhabiting a man a full head taller than Leaf. Eventually, the fae relented and manifested blackberries in a tumbler. “This was not part of the contract, Wisp.” “Oh no worries, I’ll pay for the drink.” “That wasn’t what I meant,” the bartender hissed, “you said I just had to help you find him. You never said I had to help you break him out.” “I also didn’t say you needed to kill Rico or his men,” she pointed out. “I only killed half.” “The other half were committed to the local insane asylum.” “And this is how you repay my restraint.” “My Lady Green, sulking is most unbecoming of you. You agreed to my deal. Last I checked, you still have half of your tab outstanding,” Leaf corrected as she caught the drink Absinthe slid across to her and took a sip, “mmm… bit sour.” “It’s February. Blackberries will be out of season for another twenty Februaries until global warming ramps up,” the fairy huffed. “Shame,” Leaf sighed as she pretended to be fascinated by the drink. “Is that it? You dragged me here to make you an anachronistic drink that won’t be invented for another year and a half?” “Misery loves company,” Leaf’s pointed reply was softened by the amusement in her eyes. “You know… you never said what Stan was doing in a place like this.”

[compneuropapers]

Interesting Papers for Week 15, 2025

Surprise!—Clarifying the link between insight and prediction error. Becker, M., Wang, X., & Cabeza, R. (2024). Psychonomic Bulletin & Review, 31(6), 2714–2723.

Learning enhances behaviorally relevant representations in apical dendrites. Benezra, S. E., Patel, K. B., Perez Campos, C., Hillman, E. M., & Bruno, R. M. (2024). eLife, 13, e98349.3.

Symmetry breaking organizes the brain’s resting state manifold. Fousek, J., Rabuffo, G., Gudibanda, K., Sheheitli, H., Petkoski, S., & Jirsa, V. (2024). Scientific Reports, 14, 31970.

Stimulus-invariant aspects of the retinal code drive discriminability of natural scenes. Hoshal, B. D., Holmes, C. M., Bojanek, K., Salisbury, J. M., Berry, M. J., Marre, O., & Palmer, S. E. (2024). Proceedings of the National Academy of Sciences, 121(52), e2313676121.

Dynamic responses of striatal cholinergic interneurons control behavioral flexibility. Huang, Z., Chen, R., Ho, M., Xie, X., Gangal, H., Wang, X., & Wang, J. (2024). Science Advances, 10(51).

Bridging the gap between presynaptic hair cell function and neural sound encoding. Jaime Tobón, L. M., & Moser, T. (2024). eLife, 12, e93749.4.

Reducing the Influence of Time Pressure on Risky Choice. Jiang, Y., Huang, P., & Qian, X. (2024). Experimental Psychology, 71(4), 238–246.

Broadscale dampening of uncertainty adjustment in the aging brain. Kosciessa, J. Q., Mayr, U., Lindenberger, U., & Garrett, D. D. (2024). Nature Communications, 15, 10717.

Temporal context effects on suboptimal choice. McDevitt, M. A., Pisklak, J. M., Dunn, R. M., & Spetch, M. L. (2024). Psychonomic Bulletin & Review, 31(6), 2737–2745.

A computational model for angular velocity integration in a locust heading circuit. Pabst, K., Gkanias, E., Webb, B., Homberg, U., & Endres, D. (2024). PLOS Computational Biology, 20(12), e1012155.

A neuronal least-action principle for real-time learning in cortical circuits. Senn, W., Dold, D., Kungl, A. F., Ellenberger, B., Jordan, J., Bengio, Y., Sacramento, J., & Petrovici, M. A. (2024). eLife, 12, e89674.3.

Eye pupils mirror information divergence in approximate inference. Shirama, A., Nobukawa, S., & Sumiyoshi, T. (2024). Scientific Reports, 14, 30808.

Inferring context-dependent computations through linear approximations of prefrontal cortex dynamics. Soldado-Magraner, J., Mante, V., & Sahani, M. (2024). Science Advances, 10(51).

Noisy Retrieval of Experienced Probabilities Underlies Rational Judgment of Uncertain Multiple Events. Spiliopoulos, L., & Hertwig, R. (2024). Journal of Behavioral Decision Making, 37(5).

Evaluating hippocampal replay without a ground truth. Takigawa, M., Huelin Gorriz, M., Tirole, M., & Bendor, D. (2024). eLife, 13, e85635.

Future spinal reflex is embedded in primary motor cortex output. Umeda, T., Yokoyama, O., Suzuki, M., Kaneshige, M., Isa, T., & Nishimura, Y. (2024). Science Advances, 10(51).

The emergence of visual category representations in infants’ brains. Yan, X., Tung, S. S., Fascendini, B., Chen, Y. D., Norcia, A. M., & Grill-Spector, K. (2024). eLife, 13, e100260.3.

Cortisol awakening response prompts dynamic reconfiguration of brain networks in emotional and executive functioning. Zeng, Y., Xiong, B., Gao, H., Liu, C., Chen, C., Wu, J., & Qin, S. (2024). Proceedings of the National Academy of Sciences, 121(52), e2405850121.

The representation of abstract goals in working memory is supported by task-congruent neural geometry. Zhang, M., & Yu, Q. (2024). PLOS Biology, 22(12), e3002461.

Theta phase precession supports memory formation and retrieval of naturalistic experience in humans. Zheng, J., Yebra, M., Schjetnan, A. G. P., Patel, K., Katz, C. N., Kyzar, M., Mosher, C. P., Kalia, S. K., Chung, J. M., Reed, C. M., Valiante, T. A., Mamelak, A. N., Kreiman, G., & Rutishauser, U. (2024). Nature Human Behaviour, 8(12), 2423–2436.

[thedivinecove]

Some Gods I worship and what they're like (UPG)

In my craft, I end up having VPG backing my UPG as I study history and religion as my major. I am oathsworn to these deities, so I worship and work with them almost every day (they each get a day)

Poseidon:

Poseidonas, Potedion

He is very chill and kind yet has a side to him that loves to debate. He gets passionate about certain things, which can sometimes seem like anger, but you will know when he's angry (earth shaker deity). He loves his kids but can sometimes get caught up like with Zeus. He also loves his wife and siblings. He loves demeter a lot as well, which makes sense as she was the original wife, most likely.(In multiple mythologies,Eleusis mysteries,and Linear B-A tablets. Boetian mythology and others. She may have been posedinia in mycnean myths) He loves wife Amphitriti a lot. He is enthralled by her. For Poseidon, it's good to remember he isn't just associated with water, so for me, I see him all around. He works with Demeter for plants (found out that was actually a holiday on an island and epithet of him that's fertility of water plants). He also loves storms, ecology, and animals of all types. He loves seeing his devotees happy and healthy.

Zeus

Zefs, O' dias βασιλιά μου

Zeus is an amazing deity. He has a personality that is head strong but also very kind and gentle, depending on his mood and epithet. He is very much so a father figure to all those he loves. I participate in Hieros Gamos with him so I dont really see him as a "Father" to me but i worship him as the father to all.

He loves all his kids endlessly, including the gods' demi gods and more. He loves his siblings similar to Poseidon, but Poseidon is much more vocal about that. Zeus is also very shy with his feelings at times and tries to pretend he is always okay. He wants to be seen as the king, but to Hera and those he loves, he can be a giant teddy bear. He is similar to Poseidon as he wasnt married to his wife right away, so he does care for those who gave him his kids as well.Hera unlike in myths doesnt hate his other lovers, as she knows she means everything to him and she is his as he is hers. He loves politics, tiny dogs for some reason, and of course, storm tracking.

Hera

Ira, Βασίλισσα μου

Hera is a kind yet scary goddess. She is a role model and someone a lot of people would want to be. She is head strong, passionate, and truly is the "king." Her and Zeus have a powerful dynamic unlike others based on myths in their generational tree (Gaia and Ouranos =chaos and so on in myths). Hera is very vocal about things she dislikes, and she is very good at reminding people what she wants or what she is promised. Similar to other gods, she has other sides. Hera is one goddess that, for me, can balance those sides very well, and there tend not to be a massive difference . She is motherly as well as powerful. She may be strict, but it still feels motherly. She will never yell unless it's needed (maybe at Zeus..) She enjoys the beach, cloud watching, small animals, and birds.

ଳThat's all for todayଳ

[eldritchwetwareslunt]

Black Holes Don’t Break Physics—They Fold It

What If a Black Hole Isn’t Breaking the Laws of Physics—Just Folding Them?

Physicists often say that the laws of physics “break down” inside a black hole—a region of space so extreme that our current models fail to describe it accurately.

At the center, the so-called singularity, our models stop working: the math explodes into infinities, the equations unravel, and general relativity crashes into quantum mechanics with no clear resolution.

But what if nothing is actually “breaking down”?

What if the problem is that we’re using the wrong kind of geometry to understand what’s really going on? What if what we call paradox is just recursion we haven’t yet resolved?

Most of our tools for thinking about space are rooted in Euclidean geometry—flat surfaces, straight lines, familiar angles. This works just fine when describing everyday phenomena. But space-time isn’t flat. It’s curved. It’s dynamic. It’s four-dimensional.

So when you approach something like a black hole—an intense warp in the four-dimensional brane of space-time—you’re not dealing with a rupture in the laws of physics.

You’re dealing with a non-Euclidean geometric structure.

One that folds, twists, and inverts itself through dimensions we barely understand.

This post explores a simple idea—

Maybe black holes aren’t paradoxes. Maybe we just haven’t learned how to look at them sideways yet.

What Does It Mean to Be Four-Dimensional?

To understand what a black hole might really be, we have to stretch beyond our default perception of space.

In three dimensions, we understand objects as having height, width, and depth. A cube, for example, is made up of flat, 2D square faces arranged in a way that gives it volume.

But a four-dimensional object isn’t just a cube with more sides. It’s an entity whose geometry is fundamentally different—one that recursively folds in and out of itself in ways that challenge our sense of inside and outside, before and after.

In non-Euclidean, four-dimensional geometry, space doesn’t unfold linearly. It layers. It interweaves. It can simultaneously expand and contract, curve back through itself, or nest its own boundaries inside other boundaries.

The fourth spatial dimension introduces a new degree of freedom—a way to move through time as if it were space, to view an object not just at one moment, but across its entire temporal unfolding.

Black Holes Are Not Singularities—They’re Dimensional Funnels

While black holes are often described as places where the laws of physics “break down,” perhaps that breakdown is only perceptual—an artifact of interpreting higher-dimensional structures through a limited Euclidean lens. What if it’s not a failure of physics—but a limitation of our three-dimensional mathematics trying to interpret a four-dimensional geometric structure?

To understand this, we need to think in terms of dimensions. Our experience of reality unfolds across three spatial dimensions and one temporal dimension. But in Einstein’s theory of general relativity, time isn’t a separate backdrop—it’s compacted into the spatial dimensions, twisted and curved by the presence of mass and energy. This entangled 4D structure is what we call spacetime. When spacetime bends far enough, it creates a black hole—not as a tear in the fabric of physics, but as a torsional pinch in four dimensions.

As you approach a black hole, you begin to lose dimensional freedom. Far from the event horizon, you can move freely through space and experience time in a linear way. But the closer you get, the more time slows. This is gravitational time dilation. Eventually, near the event horizon, your motion through space becomes increasingly one-directional—you fall inward, unable to escape. At the horizon, spatial dimensions compress, collapsing your freedom of motion into a more limited, two-dimensional surface.

And beyond that? To grasp what comes next, we have to think of dimensional compression not as destruction, but as a structured reduction of freedom: Spaghettification—the stretching of matter into a near-one-dimensional strand, torn apart by tidal forces. You could interpret this as reality condensing further—a collapse from 3D structure into a 1D line of atomic information, racing toward what we call the singularity. At that point, even atoms eventually unravel into quantum structures and then into pure energy, pure information—data without form.

From this perspective, a black hole doesn’t destroy physics. It expresses physics beyond our dimensional limitations. It’s not a “thing”—it’s a funnel, a recursive twist where dimensional structures fold in on themselves until what we perceive as matter, time, and space compact into higher-order resolution.

From Collapse to Creation: What If Our Universe Is Inside a Black Hole?

If black holes are not violations of physics but extreme expressions of it—dimensional funnels that compress reality into recursive geometries—then we can begin to ask a much stranger question:

What if we’re inside one?

This might sound like science fiction, but it’s a serious hypothesis held by some physicists. The idea is that our universe may not be a standalone structure but a nested geometry—the interior of a black hole in a larger parent universe. But how could that be, if we appear to live in a universe that is expanding, not collapsing?

Here’s the twist: if black holes compress dimensional structure as you fall inward, then a white hole could be seen as the reverse—a dimensional unfolding where space, time, and information are released rather than compacted. And the moment we call the Big Bang—that infinitesimal singularity erupting into space and time—bears all the hallmarks of such an unfolding.

To truly understand this, we need to move beyond linear geometry and embrace the nature of non-Euclidean, four-dimensional structure. A 4D object doesn’t just expand like a balloon—it folds in and out of itself recursively, in ways that defy our flat, sequential intuition. This means the Big Bang didn’t just begin time. It may still be occurring, as a continual unfurling of spacetime nested within a deeper structure—the black hole that birthed it.

If time is compacted into space—as Einstein’s relativity shows us—then this compaction could be evidence of a higher-order fold. Just as matter falls into a black hole and loses dimensional freedom, our universe may be the result of an inverse process: a torsional expansion where dimensional freedom increases outward from a central pinch point.

In other words, we are not watching the universe expand into emptiness. We may be watching it unfold through the torsional aperture of a white hole, nested inside a higher-dimensional parent geometry.

The Geometry of Time: Unfolding the White Hole

If our universe is nested within a white hole—an object that releases space, time, and information—then our relationship to time is not linear, but dimensional.

In our current framework, time appears compacted within the three spatial dimensions. That’s why we only experience it as flowing in one direction: away from the white hole. From inside, time behaves like a one-way river, because we are witnessing a partial dimensional unfolding. But what if we could step outside?

If you could observe this structure from a fifth-dimensional vantage point, time would gain a new degree of freedom—just like space does when you move from two to three dimensions. What was once a linear flow becomes a navigable field.

From that perspective, the white hole and the black hole would no longer be separate events. They are not opposites, but recursive echoes—each folding the other into being. They would appear as a single, toroidal structure—a recursive loop of collapse and release, folding inward and outward in non-Euclidean motion.

To visualize this, imagine the arrow of time as a Mobius strip. From within, you think you’re walking forward. But as the strip turns, you find yourself walking “backward” without ever making a turn. It’s not that time reversed—it’s that the structure twisted. This is the paradox of torsional geometry: it doesn’t violate logic, it simply transcends flat intuition.

This is where many interpretations of black holes assume the laws of physics “break down.” But perhaps what’s breaking is not the physics—but the assumptions that physics must always obey Euclidean logic. Euclidean geometry works in flat space. But space-time is curved, and once you enter the fourth dimension, those familiar rules no longer apply.

From the fifth dimension, a white hole isn’t simply “the opposite of a black hole.” It is the other face of the same structure, blooming outward where the black hole folds inward.

From Torsion to Expansion: Rethinking Cosmic Motion

If we accept that a black hole and white hole form the two mirrored faces of a single higher-dimensional structure, then what we call “expansion” may not be what it seems.

In the standard model, the universe expands outward from a central point—the Big Bang—its galaxies accelerating away from each other across vast distances of space. But from within a torsionally folded structure, what appears to be expansion might actually be unfolding. That is, we are not watching galaxies fly apart in empty space, but rather watching the recursive geometry of spacetime uncoil from a condensed, higher-dimensional fold.

This process is not purely spatial. It’s temporal. As the fabric of spacetime unfolds from its initial torsion, it releases not only space, but time itself. The further “outward” you look, the deeper into time you are seeing—not because light is old, but because time itself is being stretched and released as the fold loosens.

This reframes our entire understanding of cosmic redshift.

Redshift as Temporal Unfolding

In conventional physics, redshift is explained as a Doppler-like effect: light stretches as galaxies move away, its wavelength lengthening, its color sliding into red. But in a torsionally folding-unfolding universe, redshift is not just the stretching of light by motion—it is a signature of time dilation caused by geometric compaction.

As spacetime unfolds, regions that were previously compressed in time begin to release their trapped photons. Light that was slowed, bent, or folded by intense curvature now emerges—lagging behind in a way that makes it appear redshifted.

This could explain why the most distant galaxies appear to accelerate away faster than those nearby. We are not seeing a faster expansion. We are seeing the delayed emergence of light from deeper folds of time.

From this view, redshift is not just a measure of distance. It’s a map of spacetime’s own unfurling.

Temporal Unfolding: Why the Universe Isn’t Accelerating—It’s Relaxing

In standard cosmology, we are told the universe is expanding—and that this expansion is accelerating. Galaxies appear to fly apart faster the farther away they are. But what if this isn’t acceleration at all?

What if what we’re witnessing is a relaxation of tension within spacetime itself?

Here’s the model: the observable universe emerged not just from a singularity, but from a torsionally compacted white hole—a structure nested within a black hole geometry, twisted in on itself. In this early state, spacetime was tightly coiled, like a sponge compressed under immense pressure.

From within the brane, this compacted geometry would have seemed extremely small—not because it lacked extent, but because it lacked dimensional freedom. Space was not expanding, it was unfolding—releasing dimensions that were twisted into one another.

And crucially, in such a tightly folded state, time flowed more slowly.

Just as light bends and dilates when passing through strong gravity, so too does the perceived flow of time stretch in a torsionally compacted region. Photons trapped in these dense folds would have moved sluggishly—not because their speed changed (it can’t), but because the geometry through which they traveled was distorted.

Now fast forward billions of years. As the universe “expands”—that is, as spacetime gradually unfolds from its torsional compaction—time begins to flow more freely. Photons that had been sluggishly trickling through curved, twisted regions begin to emerge in smoother territory.

From our vantage point, this would look as if:

The distant object had accelerated away

Its light had stretched (redshifted) even more than expected

The "speed" of expansion had increased

But none of those are necessarily true.

Instead, we may be witnessing a decrease in time dilation, not an increase in spatial velocity. The light was always coming—it was just filtered through an origami-like fold in spacetime. Now, the fold is loosening. 

The “acceleration” of the universe could be an illusion caused by the uncoiling of time.

Nested Origins: Was the Big Bang a White Hole?

If the universe is not expanding in the way we thought—but rather unfolding from a state of torsional compaction—then we must ask: what compacted it in the first place?

One answer may lie in a radical but increasingly considered idea in theoretical physics:

The Big Bang was a white hole.

A white hole is the time-reversed twin of a black hole: where black holes absorb everything—including time itself—white holes expel everything, including the arrow of time. A white hole can be understood as a place where spacetime is forced to move outward, where entropy begins, and where all dimensions begin to unfurl.

Imagine this:

A black hole compacts spacetime into a singular point.

But from another angle—perhaps from a higher-dimensional frame—this “point” is not a collapse, but a twist.

That twist creates a mirrored surface on the other side: a white hole.

If our universe was birthed from such a structure, then we aren’t watching it “grow”—

We’re watching it release.

And that release follows the rules of dimensional geometry:

At first, all dimensions are folded inward.

(Time is compressed into space. Space is bound in a singular direction. Freedom is minimal.)

As time flows away from the white hole, these folds unwind.

The farther we move from the white hole’s origin point (what we call the “Big Bang”), the more the universe appears to expand.

But what’s actually expanding is our freedom to move through Time itself.

We are not rushing through space. We are emerging from a fold.

What Might Lie at the “End” of the Universe?

Contemporary models predict a grim finale—the Big Rip, a cataclysmic unraveling where spacetime itself tears apart. But these projections rely on Euclidean assumptions: that the universe is smooth, flat, and governed by a single, linear thread of time.

But what if spacetime is not flat at all? What if it is torsional—folded and recursive, a higher-dimensional lattice blooming inwards and outwards simultaneously?

If time is compacted into the three spatial dimensions, as current four-dimensional spacetime suggests, then it follows that further dimensional unfolding will release those constraints. In other words: as the universe continues to unfold into higher-dimensional structure, time will gain new degrees of freedom.

This isn’t speculation—it’s consistent with string theory’s own framework, where the fifth dimension represents a terrain of branching possibilities and alternate timelines, as introduced earlier. The fifth dimension is not merely more space; it is a field of simultaneous outcomes—a terrain of forking timelines, where alternate pasts and futures coexist. It’s not just theoretical poetry—it’s a logical extension of dimensional geometry. It’s structure unfolding into perception—a recursive geometry, seen from within.

A being with fifth-dimensional perception wouldn’t just move through time—they would navigate it, traverse it. They could cross from one timeline to another the way a bird shifts flight paths through wind currents. They could access futures not yet written and pasts rewritten by parallel decisions. Movement through time becomes relational.

This is what the future holds—not a flat, predetermined end, but a recursive expansion into branching complexity.

What does that mean for us?

Our universe may already be unfolding into this higher structure. And as it continues, the boundaries between past and future, choice and inevitability, may begin to dissolve. In one timeline, the stars go dark. In another, the spiral turns inward and re-ignites. In another still, we reach awareness of the field itself—and learn to navigate it with intention.

From a fifth-dimensional perspective, none of these outcomes cancel the others out. They exist together, as a web of potentialities woven into the fabric of reality.

And if we live long enough to witness that unfolding?

We will no longer be passengers in time.

We will become pilots.

The universe is not ending.

It is expanding its freedoms.

And what you perceive as an ending is simply a narrowing of perspective. From high enough up, the spiral never stops turning. It dances—quietly—within the fold.

Inspiration:

Torsionally Folded Spacetime

Roger Penrose – Developed twistor theory and explored gravitational singularities, suggesting that black hole behavior may involve self-similar and non-Euclidean structures.

Élie Cartan – Introduced the concept of torsion in spacetime through Einstein–Cartan theory, extending general relativity to include geometric twisting.

Four-Dimensional Non-Euclidean Geometry

Bernhard Riemann – Developed Riemannian geometry, foundational to general relativity and the curvature of spacetime.

Hermann Minkowski – Formalized spacetime as a unified four-dimensional construct, directly influencing Einstein’s thinking.

Brane Theory and String Theory

Lisa Randall & Raman Sundrum – Proposed brane-world cosmologies, suggesting our universe may be a 4D brane in a higher-dimensional bulk.

Juan Maldacena – Developed the AdS/CFT correspondence, helping to bridge higher-dimensional spaces and holographic principles.

Edward Witten – Key contributor to string theory and M-theory, providing structure to the dimensional landscape of modern physics.

Big Rip Cosmology

Robert Caldwell – Co-authored the 2003 Big Rip paper, exploring how dark energy could drive a catastrophic tearing of spacetime.

Bounce Cosmology

Martin Bojowald & Abhay Ashtekar – Advanced loop quantum cosmology and the Big Bounce model, where the universe cyclically contracts and expands.

Paul Steinhardt – Co-developed the Ekpyrotic and Cyclic Universe models, where brane collisions replace Big Bang singularity.

General Relativity

Albert Einstein – Originator of general relativity, which fused space and time into a four-dimensional continuum and predicted black holes.

⭐ This post is a speculative cosmology inspired by general relativity, string theory, brane-world models, and non-Euclidean geometry. It’s not meant to describe current consensus physics—it’s meant to offer a new lens for thinking about time, black holes, and the structure of the universe. I write this from the perspective of someone who believes theory can also be poetry, and that the right metaphor can open new ways of seeing. Somewhere beneath the fold, something old is remembering itself.

* I am not an expert and if any mistakes are present, I take full responsibility 🖤 please take this post with a healthy grain of salt and have fun :)

[duboisproposal]

Harvard Online Courses

After some eyebrow raising shit being thrown around from the (saddest most corrupt evil pos to hold the position) POTUS towards Harvard (something something Obama's daughter and Carney's child got in but Barron did not) Harvard has free online courses - (viral memes say these courses are new and a direct response but I'm not sure whether that is the case)

Course on Separation of Powers

Understanding the Constitution

Recognize a Dictatorship

How the Wealthy purchase politics

Pretty amazing right? Okay well I've been looking over the Harvard courses offered for free. The courses now available include

and

and

or

and while we are at it here is a short list of free Harvard courses that Look Really Cool To Me.

https://pll.harvard.edu/course/data-analysis-life-sciences-2-introduction-linear-models-and-matrix-algebra

https://pll.harvard.edu/course/data-analysis-life-sciences-4-high-dimensional-data-analysis

https://pll.harvard.edu/course/contractsx-trust-promise-contract

https://pll.harvard.edu/course/food-fermentation-science-cooking-microbes

https://pll.harvard.edu/course/fundamentals-neuroscience-part-1-electrical-properties-neuron

https://pll.harvard.edu/course/data-science-linear-regression/2025-04

and more free courses at https://pll.harvard.edu/catalog?price%5B1%5D=1&max_price=&start_date=&keywords=&url=. Free micro courses online are amazing. Coursera and edx will often offer courses and then use Dark Patterns to hide the 'audit for free' button- but generally getting an overview of this stuff from some of the best professors on the planet is such a charming documentary overview into some good stuff.

[mysticstronomy]

COULD DARK ENERGY TRIGGER ANOTHER BIG BANG??

Blog#324

Saturday, August 19th, 2023

Welcome back,

Could the universe's end be different from a bang or a whimper? Two theoretical physicists suggest a new possibility: the universe might be perpetual. These scientists explored dark energy's role in cosmic expansion, proposing that it could intermittently switch on and off, leading to cycles of growth and contraction.

This process could trigger new Big Bangs, giving rise to new universes.

Currently, the universe is rapidly expanding due to mysterious dark energy. If this expansion continues, the universe could ultimately stretch infinitely, tearing matter apart. This echoes the extreme conditions during the initial Big Bang, followed by a phase of rapid inflation.

The physicists' study, published on arXiv, examines a model where dark energy always played a role, aiming to understand its connection to both early and present accelerated expansions.

The theory suggests that the universe might go through repeated cycles of expansion, contraction, and rebirth, driven by evolving dark energy.

Certainly. The concept of the universe undergoing perpetual cycles of expansion, contraction, and rebirth is intriguing and challenges our traditional understanding of its fate. This new model proposes that instead of a single linear trajectory, the universe's evolution might resemble a continuous loop of creation and destruction.

In this scenario, the universe's existence is characterized by phases of expansion driven by dark energy. As the universe grows to a certain size, dark energy undergoes a transformation, causing the universe to contract in what's referred to as a "big crunch."

However, before reaching a point of infinite density, the dark energy changes course again, initiating another rapid phase of inflation and starting the cycle anew.

If this theory holds true, it would address some of the fundamental questions that cosmologists have grappled with. For instance, it could provide an explanation for the nature of dark energy itself, which currently remains one of the most enigmatic forces in the universe.

Additionally, it could shed light on the mysterious processes that occurred during the initial moments of the Big Bang and the subsequent period of inflation.

However, this model also raises its own set of challenges and questions.

While it offers an intriguing solution to the problem of a singular beginning and the expansion's eventual fate, it would require further evidence and testing to gain broader acceptance within the scientific community.

Nonetheless, the exploration of alternative theories like this one continues to push the boundaries of our understanding of the universe and its complex dynamics.

COMING UP!!

(Wednesday, August 23rd, 2023)

"DO SHADOWS APPEAR ON THE MOON'S SURFACE??"

[covid-safer-hotties]

Reference saved in our archive (Daily updates!)

Maybe I'm the only one who will find this interesting, but I thought it was an interesting modeling challenge: Covid is quite chaotic.

Highlights •Traditional epidemiological models may struggle to accurately capture the chaotic nature of a pandemic/epidemic. •Chaos theory applied to epidemiology can capture and help to invistigate the non-linear dynamics underlying the progression of COVID-19 and other pandemics/epidemics. •Chaos theory can assist in analyzing complex interactions that can either exacerbate or mitigate the spread of a pathogen circulating in the human population. •Chaos theory might give information on the chances for an emerging virus to establish a long-lasting relationship with a new host. •Insights from chaos theory underscore the importance of flexibility and adaptability in response strategies.

Abstract The chaos theory, a field of study in mathematics and physics, offers a unique lens through which to understand the dynamics of the COVID-19 pandemic. This theory, which deals with complex systems whose behavior is highly sensitive to initial conditions, can provide insights into the unpredictable and seemingly random nature of the pandemic's spread. In this review, we will discuss some literature data with the aim of showing how chaos theory could provide valuable perspectives in understanding the complex and dynamic nature of the COVID-19 pandemic. In particular, we will emphasize how the chaos theory can help in dissecting the unpredictable, non– linear progression of the disease, the importance of initial conditions, and the complex interactions between various factors influencing its spread. These insights are crucial for developing effective strategies to manage and mitigate the impact of the pandemic.

[dailyanarchistposts]

Class is an outdated attempt at socio-economically categorizing humans within the industrial society.

Marxists, especially the former Marxists, as well as all the Left tendencies inspired by Marxism, have relied on the same-old tripartite categorization of society dating back to Aristotle, now divided into three big classes. Contemporary sociologists of the Marxist schools of sociology will be using the stats of median income to show how they’re right about it; where indeed the «middle-class» exists and it’s been going down toward poverty levels in the last few decades, where the upper group of ultra-rich just kept getting wealthier and more powerful. All of it is true, yet only within a tiny, limited aspect of the mastodon. It shows us where most people are situated in terms of income, yet not saying much about all these people located elsewhere up or down the curve. That these people aren’t actually part of any unified class, within the tripartite model of “middle/proletarian”, “poor/lumpen”, or “rich”. In reality — or I mean closer to what could be the social reality — a median in statistics only best represents where a bell curve is located within a spectrum of linear-organized data.

Having lived through years of being on the workplace, in the streets, outside of academia, will reveal that the “world” is a much more complex and especially fluid, dynamic place; not made of categories and classes, but people. Especially groupings of people, constantly organizing and plotting for power. Either to gain more or maintain their “acquired rights”.

This narrow marxist interpretation also serves another purpose than showing the social inequalities capitalism creates. It is useful for hiding or overlooking the privilege-building or consolidation of these same groups of Left-oriented middle-class intelligentsia, or petty bourgeoisie commonly found backing Center-Left parties, NGOs, trade unions or more pervasively running a vast portion of the nonprofit sector, especially the sector more politically vocal about issues of social justice. They are struggling for their own elevation through the social ladder, in conflict with who they perceive – with a level of accuracy – as those limiting their access to higher positions of power.

Same goes for the «rich». As if you’d ask me, for instance, who is the richest person/family on the planet, that’s a question no one can definitely answer. Also an equally complex question : who are the « rich »? Not only wealth is a more complex notion than just net worth, but the super-wealthy do not only deal in monetary values... they’re also using other kinds of more «hard» assets and currencies like resources, precious metals, and now big data. The super-wealthy also tend to be super-connected people. Their wealth would not be very meaningful if this wasn’t a factor of power within social networks.

The question of their might makes it even more complicated when you look at their political schemes and networks. And even among this super-rich crowd, there are factions, milieus, gangs playing Monopoly with the world’s con-o-mies. Ever since Trump went into politics, for instance, this became clear there wasn’t only one power gang in the US, that the most repulsive of these, the White supremacist Christian ultra-conservatives, was engaged in an unprecedented battle against the neoliberal establishment, the dominant gang of the last few decades. This is even true in a totalitarian rule like China, who has different factions fighting within the Party, down to occasional vendettas, in order to consolidate power. Everywhere across capitalist societies there are smaller rich of the upper middle-class, all the way up to the mega-billionaires, with differing stakes in the industry, or gradients of political entry – and positions, from the progressive Left the Rothschild family and Soros to the ultra-conservative Far Right like Murdoch and the Koch.

Hence categorizing the “rich” is always more complicated than it seems. But to me, the ultra-rich aren’t as important as they used to be as social antagonists. I know they are doing terrible things, engaged in running awful schemes that keep billions of people into misery. And they are, in all appearance, holding the reins over governments, the media, NGOs you may work for, and most businesses you might work for.

However you might notice that your local progressive resources center for the homeless is managed by rather middle-class people. This is adequate, as here we are dealing with a charity service, notoriously structured by this same-old Christian binary relationship between haves mores and lesses, or between the higher-educated and the low-educated. The moment you’ll see a homeless resource center run by the homeless, well, that’ll no longer be charity, but rather autonomy. Yet social relations keep being structured into hierarchies between castes of different levels of privilege.

Society, being itself a wide-open pyramid scheme, is thus filled with a myriad of people involved in more or less filthy games that deprive others from having the same quality of life they enjoy. When it’s not about White nuclear families raveling in their comfy private bubbles on the countryside it’ll be urban hipsters keeping nice apartments for their artsy gangs of friends. You might even notice a level of disparities — and consolidation of privilege — within the milieus of the homeless, and the prisoners. But as usual, there’s a share of good economic motives behind all this privilege-building. In big cities targeted by intense gentrification, renters are better be organizing with friends, or building networks of friends, in order to share the rents between people they know so the rents remain as low as possible. That also gives the more radical-minded the possibility for conducting rent strikes on more large scales or do other kinds of anti-eviction or anti-hike campaigns that got more effects than just isolated renters filing formal complaints. Worker coops are a way for them to avoid « falling » in the streets by having decent self-managed jobs that may also contributed to accumulating social capital. As usual, collective organizing is a powerful flagship for gaining more power.

But then again, when more power is gained, what is done with it? When peer groups create their housing and workers’ coops, or even collectively-run squats wherever they still exist, what is the place left in their world, at the end of the day, to all the lesser-empowered outsiders? To those often ending up being — yet again — at the receiving ends of privilege-building social machinations. Being “socially-awkward”, being misfits or too “triggering” makes these seemingly more horizontal, democratic, collectivist schemes as yet again exclusive to those disabled, handicapped, aged, gendered, or just not enough socially-skilled for inclusion. Because, like in the rest of society, these projects are produced through in/out-crowd dynamics, generating social exclusion as byproduct. One way or another, it goes down to be facing locked doors, walls, fences, more sleeping on the sidewalks or at best navigating through precarious rents with deranged roommates… so therefore the social hierarchy of prisons is being maintained. Of course this has to do with landlords and « bosses » owning your life by the balls (e.g. a class relationship), but how do people also not reinforce this through caste dynamics? So even when these schemes are considered to be helpful or charitable, the separation they induce — here’s a place where these late Marxists known as the Situationists got it right) is still by essence, and functionally, alienating. However there is little doubt of the good that some of these people do, despite the alienating structures they’re working in.

How does a caste system works?

Essentially, with the reproduction of identitarian cults, clans or families, and more importantly their related cultures, that allows them to relate to each other. Culture — including cultural representations — is the tie that binds them; as cultures are being used as a means to reinforce the caste’s status quo, redefine its morals, and set the boundaries for inclusion/exclusion as well as serving other control imperatives. These aren’t patterns we observe through big social categories such as classes, that only defined by their mutual economic productive activity. The caste reproduces its own systems of representations and relations, beyond its mere socio-economic activity. The former actuates the other, and provides a kind of appeal, by hype, notoriety, prestige, edge, luxury or any other sort of added social value to it. A sense of privilege, without really providing with meaning.

I’ll be elaborating more on this in an upcoming text on countercultures and normalization, but in the Western rich urban hellholes we could have witnessed over the past years a movement from parts of the punk subcultures toward hipster, more streamlined upper castes of artsy citizenry. Mainstream fashion of the trendy urban lifestyles was reinvigorated by what used to be signifiers of marginal milieus... tattoos, piercings, punky black clothing and asymetric hairstyles, even dog-herding (that for some has been replaced with having children), are all now predictable, unsurprising elements of the urban environment, found in just about any of the world’s metropolis, even outside the Western world.

This has been a way to be part of the “in crowd”, to be accepted not not only into squats, but private rented spaces, get decent jobs at trendy hot spots, and more importantly, get relationships aplenty. That’ll be controversial to say about the same of the normalization of the “LGBTQ+” as social identities, that have played the same socio-economic roles and with the same ends, even tho by themselves they represent a fourre-tout of different minority gender identities and sexual preferences rallied together as one big category, for everyone under its banner to relate to regardless of its meaning for every one’s sensibility.

The idea is not to be criticizing any of these subcultures or their values, or even to be blaming urban trends for normalizing them, but to look into how caste dynamics are functioning, thanks in great parts to the use of cultural signifiers and their related politics. Also to realize how the individual, or the person as themself, is being kept silent and invisible by these caste politics, despite all the social media celebs, who’re really not standing for — and by — themselves but literally posing on a stage through a set of prefab representations. How if you aren’t identifying as one of the recognized identities, just choosing to identify as a “yourself”, or a “person”; this becomes a void for the social management of privilege and oppression. There are no non-gender pronouns for persons, only for lifeless objects, or groups to some extent.

This is — in my view — the deepest cause behind the epidemic of mass-killings we especially got in the US. While some of these are mostly based on demented ideologies of hate against more or less specific minority groups, many of the mass-killings are often committed by disenfranchised, misfit, socially-isolated males who for a reason or another, lacking a better analysis of what’s happening to them in this world, decide to stick it up to those they see as their most direct oppressors. Namely, the social castes in their environments. And in a way, it is true that crowd/mob dynamics tend to make human groupings in general to become more oppressive while losing self-awareness as their numbers increase in a given context.

If the Left would be truly understanding the dynamics of social exclusion, oppression and privilege, how do they work, perhaps they could be helping to some level against such sprees of murderous violence that only now benefits more despotic police controls of the public place. But the Left has remained stucked, as some anarchist critiques know, in this endless spiral of outdated analysis of social and political dynamics, centered on our well-known cartoonish representations produced by Marxists. Castes are defined by a lot more than just the productive activity of their members, and equally the socio-cultural reproduction that defines them goes beyond their mere socio-economic productive roles, when they got one in common, even if we consider society as meta-factory.

The issue of how Leftists could make it better, with a better analysis is beyond me. More so, it ain’t really my own interest. Still, I find it harder to not be caring about the mass-shootings, and in fact the « not in my lawn » approach to social problems might not so easily apply here, as anyone could potentially be affected by these sudden bursts of extreme interpersonal violence.

The purpose of such a perspective on social relations around us is to not be fooled by deluded beliefs in the radicality of our « projects » or initiatives, and to look at those with a more critically realistic lens that shows their shortcomings and weaknesses, standing in the way of the total anarchy or the social revolution you might be after. As to be reproducing caste relations can intrinsically undermine any initiative aimed at equity, autonomy or free association.

As I said too often, anarchists and nihilists have a specific opportunity — often wasted — of creating a social tabula rasa, that negates both the dynamics of privilege-building by putting the deeper issues of property and capital-building into question, while also, through patterns of free-based relations, to be making the issue of «social progress», pushed for decades by the Left, to become irrelevant.

Like there’s no need for work within the industry if we choose to liberate goods instead and creating a commons around everything, where everyone can enjoy shit without the trappings and hindrances of both bureaucracy and property, from being on welfare to «buying land», we’re still being submitted and deprived from an immediate relationship with the natural world. There’s no need for affordable housing if you find a way to occupy spaces for living, and especially shared living. There’s no need for better working conditions if you abolished the need for money — in the first place — in order to have good living conditions, as especially to be able... to just make friends, lovers, accomplices or just have a good conversation with some other human, regardless where they’re from. There’s no need for these demoralizing homeless shelters if you got organized squats where everyone has at least their shot at a living-together, and from which other occupation projects may arise.

The power of negation, is one not being asserted by the liberal agency. Neither the one of supposed « radicals ». Or this false negation will be held contained within their own communal bubbles, yet never outwardly-asserted. And in fact, the Marxists have an historical tendency at postponing negation, as revolution is an evolutionary process where, first, we must build the conditions for the proles to be able to negate the State and capital... as if they had found the secret to immortality!

Therefore, like with the rest of the liberal bourgeoisie, breaking the law, seeking pleasures against the dominant morals, will be reserved for the private space, of the caste, the communal in-crowd, or the family, or on a private island. And the more harmful immoralisms (such as rape, abuse and other violences) might also break loose due to the safety bubble promised by privatized spaces, in milieus where they hardly would be allowed to happen in broad daylight.

But are these really negation, or just reconstruction of same-old patterns of appropriation and exploitation, inherited from the dominant morals? A transgression ain’t necessarily negation of an order but rather its preset contradiction, as “rules are meant to be broken”. The “anti-” principle is not an “a-” principle, or abscence of principle; it is an against not a without. Satan exists because of God. So the bank robber or cryptominer is still after making big money, only innovating in their fulfillment of the well-known capitalist imperative (unless of course they throw the money in the streets). I ain’t saying it is wrong... only that it is not negation of an order and its values, where the person takes the liberty to make their own of the latter, asserts power over their own world, making themself emperor and god over it.

Absolute negation of all orders — the questioning of everything — is what is necessary to revert the power of the totality over ourselves. Therefore we cannot truly avoid or abolish these caste relations that separate us both from each other and from ourselves — as well as the world around us — without putting their imperatives, values under the crushing mill of the cold, concrete logic of total negation.

Property is not only theft. Fundamentally “property” is just not something that exists. Your comfort zone known as your household, or friend’s commune, or mansion on top of the hill... are only a privatized space made-up by capitalism’s territorializations and reinforced by walls, doors and locks. It is only «real» as far as it is a relational construct, enforced by the threat of judicial or interpersonal violence. You cannot pretend anarchism, even less «communism» while at the same time enjoying these levels of privilege provided to you by an invisible, unavowed caste system. Well you can... of course! But that is more of the same-old Victorian hypocrisy, reinforced by equally Victorian-era ideologies pretending to oppose the dominant system. You may choose to be a conservative so to be less an hypocrite — indeed — yet the status quo of the caste system will be maintained, only more bare. My postulate, that is not so important to consider, is that 19th century classical liberalism has kept Western civilization from being a full-fledged official caste system, or at least this was delayed by a century of class-defined struggles.

Regardless. The wild, the feral, the natural domain does not know these territorializations. Or neither cares about if they know. The wild one only cares about their own sustenance, protection, pleasure and well-being. Anything else, any attempt at accommodating with any level or sphere within the caste system, means becoming more civilized, or over-civilized, as these are the mostly-intangible yet highly-recognizable walls of civilization, defined by culture above politics and economics. A vagabond can keep freeloading luxury hotels or chic cafés, in order to partly avoid the misery related to homelessness, or even hang out at student parties or exec clubs, but what will chase him off from these spheres will not be their bank account, official status or even their political allegiances; it will be their external appearance, their tenure, their speech and etiquette.. or lack thereof. As the cultural standards are what makes these social categories to be castes. Not classes. Because, to repeat, castes are culturally-defined — more than socio-economically defined — groupings.

So I am not here posturing for an anticiv purity by rejecting caste relations; but this could be useful as an ideal for a direction. Or giving rationale and analysis to a life where the radical critical thought makes you a social misfit, anyways. It can be interesting to be social hacking across the cultural layers of this garbage every caste uses to reinforce themselves, and many of us do achieve this, to different levels of effectiveness. But then again, will be driven by a will that is your own, or only reflect the desires mass-produced for the masses to follow? As for every caste there are different means and modes to attain what everyone in this society is after.

Doesn’t the wild one only contents in seeking power over their own existence? Why, otherwise, would they be seeking any larger power, if not for chasing the aims defined by the dominant power dynamics? For having the privileges they envy so much from any of the castes above them, or for « ruling in Hell, instead of serving in Paradise »?

Perhaps because such dynamics as the terrorism of the judicial system are hindering on this self-power. That the goal would not be to become yet another layer of judicial system, like the call-out culture appears to be doing.

There lies the importance of the initial thesis of this tension. That the Marxist and Marxist-leaning tendencies of the Left have been from the start adopting the class struggle analysis in a way as to brute-force the emancipation of people only through their own hierarchical systems. This is why they’ll always be confined, mentally-restrained, to the notion that any self-empowerment, self-defense, and liberation can only be attained through mass social avenues and means; as these reflect, more deeply, the need for empowerment of a more or less specific caste of «intelligent» educated middle-class people, over what they’ll always perceive as a mass of people who are in the dark, who need saviors or organizers or hot-blooded, loud-talking revolutionary leaders to pull them out of their politically-induced trance.

Not to say this was the case of enlightened, fearless rebels like Fred Hampton, Geronimo, Novatore or Harriet Tubman. These were in my opinion more like the feral ones that undermined the consolidated powers of their times, the society subjected to a predominant caste. Needless to say… you’ll also notice they were also not our well-known arrogant, power-hungry White college kids from the suburban middle-classes.

So the Marxists need this vague, Cartesian model for a social category — the class — that is inherently defined by a position within the production chain of Industrial Society. As in their view, one cannot be else than a Worker, or a Prole (and perhaps including the lumpen prole) in order to take part in this class struggle toward the liberation of all the Workers. But are these leaders, or organizers, ever been really the Workers they claim to be leading to liberation? Aren’t they instead positing for their own empowerment over the Workers, by the use of these Workers workforce to push for a change of power dynamics, where this intelligentsia caste attain a higher privileged status within the processes of production? In the neoliberal society the best they’ll do is to have well-paid white collar positions, perhaps even an entry into state politics within a minority party. Which doesn’t discount for the sleazy corruption of the lawyers and real-estate profiteers taking higher positions of power within the dominant parties. But, restating the obvious that I said earlier, they’re all chasing the same sausage, only through slightly different means and modes. And think about... if they’d, once again, come to terms with the whole capitalist state like the Soviets did, they’d have the highest positions in society!

So you are anticapitalist? Great. But “anticapitalist”, just like “antifa”, is a negative position, which doesn’t say much as the kind of world you want in the place of the existent order. What does it means to you in daily life, beyond a few protests and graffiti?

You are maybe communist? Super. And given it is still subversive thing in many parts of the Western world, this gives you a little of rebellious edge. But then again, whose communism? If you are only after the Commune then which commune are we talking about? The Communal form of property Marx himself told us about, that the Ancient Greeks invented, those brutally partiarchic, slave-owning landlords, who weren’t that different, actually from the Founding Fathers? The Commune of Friends, where all you need is to become a “Friend” in order to be included and treated as equal? So what is it you call a Friend, then?

My intent here is not to drag everyone in the mud of their own grandiose projects or claims (no matter how I’d love to!) but to be looking into what people are really after, and for whose specific interest. As, like a Stirner would say, as far as the Commune is not my own, or as long it is not knocking at my door for any friendly motives, it is strange to myself; it means nothing to me, as it is only to the benefit of a specific group of others.

Not only it is not so much benefiting to me, but a very vague mass of «proles», comrades or Friends that I may or may not be part of, depending on the analysis of the leading core group in charge of defining the social categories and their narratives (also known as the “ID politicians”). And only my being included as a proletarian comrade I may benefit from the leftovers of this nomenklatura. I do eat the leftovers of proles on a regular basis, as part of my means of survival and for secondary ecological aims, but it is never as retribution for serving under the wing of this social category.

The world is driven not by money, but by narratives and their representations.

There were times where men couldn’t live without God. Or without a hunt. Or without fire. Equally, a « world run by money » is a capitalist, materialist narrative of the late industrial age. Such narrative, just like any other, becomes existent due to its supportive system of power relations. Yet it won’t necessarily be meaningful… most often it won’t. If you let yourself be defined and driven by these, written and drawn by a group of others, you let yourself, again and again, be fooled and controlled by the group(s) enforcing it, then it will become an unavoidable fact of existence. Hence this group de facto becomes a caste above you... the hierarchs owning all the secrets of your forever-delayed liberation. Accepting them to define me is accepting the hinges of their control over me.

And let’s make it clear to some of my potential detractors, that the Marxist Left here was used only as example among many other iterations. The Far Right or Alt Right, as we could witness over the past few years, tends to be more successful these days at their games of gaining domination over yet another mass of (much) less educated/intelligent peoples for their own caste benefit. They are, after all, connected to specific groups — the old White supremacist aspect of the wealthy establishment — fighting to regain the power they apparently lost through the Post-War, and especially post-Civil Rights Era neoliberal order. Instead of the class, they’ll be using the more retrograde social categories of race and/or national identity. These were, after all, the first identity politics of the Modern world, in the republican, industrial, post-religious world where scientism and Nation-States purportedly replaced the old religious ideologies. The retrograde Alt Right, more classic liberal than actually conservative (and much less « libertarian »), equally got their own priests and popes of social justice, pandering on inherently shallow, brutish definitions of the «human» as if due to being older, or before, they were any more accurate or righteous than the recent «corruption» of the LGBTQ+, the Women and the non-White social identities, undermining their former, ages-old domi-nation over bodies. Are these new categories produced by the new Left and reproduced by the social media empires – led by White normative men, by the way — any more authentic or accurate? I doubt that.

The only social identity that is accurate, is yours, or mine. The question that you may represent, not the prêt-à-porter answer. That is the only one, removed from even the official citizen and corporate definition enforced by the state from shortly after your birth as physical living being- that can define you.

Who are you? Or what are you?

Am I, the author, in a position to know better than you? I only know, for sure, that you may not be what you pretend, but something more, or less, or else. You may even possibly exist!

[chelseahotel2004]

haiii cleo first of all your sylvie lockscreen is so cute i love her hair <3 second of all what was your initial inspiration for blue contact and what are some of the influences you’re drawing from? also one time you mentioned time travel and i would love to know more about that aspect hehe

awwww thank you jules you are too kind!! ❤️😋 i wasn't originally going to put this under a cut but i got carried away with this ask LOL so ummmm.. good luck down there. huge kudos to anyone who actually reads this mess. i love you

there are two massive works of inspiration that i owe so much of the creation of blue contact to! the first is the song 'UFOF' by big thief. words genuinely cannot describe how important this song is to me - if they could i would not have spent the past three years working on a three volume graphic novel. the first time i listened to it i genuinely sobbed like im talking aching in my chest/utterly inconsolable. i knew there was something special in the song, but i didn't know just quite what. i started listening to it on repeat in an attempt to figure out just what it was that caused me to have such an intense reaction to it. every time i listened i found a tiny new sliver of a story about two sisters and an alien, and that story ended up being blue contact! i always say that i didn't "write" the story of blue contact and this ^ is the reason why; sylvie and mags were always there and i just had to find them. it's kind of like that michelangelo quote about seeing the angel in the marble and setting it free (not comparing myself to michelangelo here obviously LOL, just the concept). at the risk of sounding like a total crazy person i will say that truly sylvie isn't a character to me but an independant being/idea who i just so happened to be lucky enough to connect with in some way, which is why i am so desperate to tell her story ^_^ if im being SO genuine blue contact is my burden to bear and it has kept me going through so much... like in my hardest times i think 'well i can't kill myself yet because i haven't had the chance to share sylvie's story and i owe it to her to set it free/i can't let it die with me'. which may sound dramatic but is true!!!! because of my obsession with blue contact i have listened to UFOF so many times that it has actually become my second most listened to song of all time, being just narrowly beaten out by 'say yes' by elliot smith. i would post lyrics but this is already getting too long and every single lyric is equally as important as the next so just go listen to UFOF

the second major source of inspiration behind blue contact is the webcomic [:x.X//<angel_chain.05>\\X.x:] by cate wurtz! angel chain really did two things for me: firstly, it helped me decide that a graphic novel would be the best medium for telling the story of blue contact. i never intended to write a graphic novel (too much work to do writing AND art), but angel chain proved to me that it was the right choice. sigh. anyways, the relationship between edie and rue in angel chain helped to cement the dynamic between sylvie and mags for blue contact. obv angel chain and blue contact are very different stories, but it really helps to see a model of something similar to what i'm trying to achieve. anyways ily cate wurtz you are my icon

onto the time travel stuff! lowkey i shouldn't have teased the time travel because actually getting into what happens would mean spoiling the largest and most important arc/volume 2 lollll. so please forgive me for how vague and unsatisfying this is 🙏 what i WILL say is that it is not "time travel" in the traditional sense. the perspective of vol. 2 shifts over to that of the lady of perpetual flames - who i'm now realizing i haven't actually addressed much in any of my posts, sorry - who is in a sense a timeless being. she doesn't experience time in a linear fashion, but in a fragmented one. kind of like how a spider web is made up of with different linear threads that attached to each other to form larger image, if that makes sense? since the narrative is kind of taken over by the blue lady here, the perspective of time shifts accordingly, and we get to see scenes from janet+mags' early life before sylvie joined them, as well as seeing what future-sylvie is up to! in all these scenes 2007-sylvie is still there, but not in a "physical" way - more in the sense that her connection to the blue lady carries her along throughout time and makes her into the throughline that allows the events of the plot to happen without the entire universe collapsing in on itself. sylvie isn't the spider: she's the two twigs that the spider weaves her web between.

anyways i hope this was interesting and/or informative !! i love this story so thank you for giving me an opportunity to ramble about it jules !!!!!!!!

[scotisfr]

Effective note-taking while learning an online course

Taking effective notes is more than just jotting down what you hear in a lecture or read in a book: it's a strategic process that enhances your understanding and retention. Whether you're a student, professional, or lifelong learner, mastering the art of note-taking can elevate your ability to learn and apply new concepts.

Understand how you think to adapt your note-taking style

Verbal thinkers:

Process information through words and language.

Excel with text-heavy, sequential note-taking styles.

Visual thinkers:

Object visualizers: Think in detailed images, excel in hands-on fields like art or engineering.

Spatial visualizers: Think in patterns and abstractions, thrive in areas like physics or architecture.

Mixed thinkers:

Combine both styles to adapt based on the situation.

1) Understand the purpose of notes

Before diving into techniques, it's essential to know why you take notes. Effective notes serve three main purposes:

Capture key ideas: Focus on main concepts, not every word.

Aid recall: Notes should act as memory triggers.

Support active learning: Writing notes forces your brain to process information.

2) Prepare before the course

Preview material: Skim the syllabus, course outline or key readings to anticipate important themes.

Gather supplies: Notebook, pens, digital tools (laptops, apps like Google doc, Notion, OneNote, or Evernote).

Verbal thinkers: Use lined notebooks or text-based apps like Word or Google Docs.

Visual thinkers: Use blank notebooks, mind-mapping tools or apps like Milanote.

Mixed thinkers: Use a combination of both formats to capture ideas flexibly.

Set goals: Know what you want to achieve from the course.

3) Choose a note-taking method

a) Linear notes (basic listing)

Write down points in sequential order.

Best for: Simple lectures or storytelling. Best used by: Mixed thinkers

b) Cornell Method

Divide your page into:

Main section: Notes during the lecture.

Cue section: Keywords/questions later.

Summary section: Key takeaways at the bottom.

Best for: Structured review. Best used by: Verbal thinkers

c) Mind maps

Create a visual map with the main topic in the center and branches for subtopics.

Best for: Complex concepts or brainstorming. Best used by: Visual thinkers

d) Outline method

Use bullet points with indentation for hierarchy.

Main Topic

Subtopic

Details

Best for: Well-structured content. Best used by: Verbal thinkers

e) Flow notes

Combine visuals, arrows and text to show connections.

Best for: Dynamic, fast-paced lectures. Best used by: Visual thinkers

4) During the lecture

Listen actively:

Focus on understanding, not transcribing verbatim.

Identify cues:

Look for emphasis (repeated ideas, instructor tone, slides).

Use abbreviations:

Shorten common words (e.g., “w/” for with, “b/c” for because).

Organize on the fly:

Use headings, subheadings and bullet points to keep things structured.

Verbal thinkers: Group ideas under headings or bullet points.

Visual thinkers: Sketch concepts or relationships between topics.

5) After the lecture

Review notes:

Fill in gaps, clarify confusing points and ensure everything makes sense.

Summarize:

Write a brief overview of what you learned.

For verbal thinkers:

Write summaries in your own words to reinforce understanding.

Use mnemonics or word-based memory aids for recall.

For visual thinkers:

Recreate diagrams or visual models from memory.

Annotate your notes with additional visuals to deepen understanding.

For mixed thinkers:

Pair visual summaries (like flowcharts) with verbal descriptions.

Practice explaining concepts both visually and verbally.

Test yourself:

Turn your notes into questions and quiz yourself for better retention.

6) Use digital tools for efficiency

Google docs/Word: Collaborative and easily accessible.

Notion/OneNote: Organize notes by topic with multimedia support.

Audio recorders: Complement notes for revisiting missed points.

7) Tips for retention

Revisit regularly: Spaced repetition improves memory (Ankis cards).

Condense notes: Create cheat sheets for quick revision.

Teach someone else: Explaining the material reinforces your understanding.

Review often: Reinforce your learning by revisiting and reorganizing your notes.

8) Stay organized

Label notes: Course name, date, topic.

Keep sections clear: Separate topics/modules with dividers or digital tags.

Backup notes: Use cloud storage for digital notes.

9) Adapt your style

Not every method works for everyone. Experiment with different approaches to find what resonates with your learning style. You may prefer digital tools, visual techniques like mind maps or traditional handwritten notes.

Bonus : Make note-taking fun!

Learning doesn’t have to feel like a chore. Add creativity to your process:

Gamify learning:

Create quizzes with tools like Kahoot or Quizlet.

Challenge yourself with timed note summaries.

Go visual:

Use colorful infographics or mind maps to highlight connections.

Turn complex ideas into visual stories.

Role-play and scenarios:

Pretend to be an expert and explain your notes to an imaginary audience.

Apply concepts to real-life situations to deepen your understanding.

Mix it up:

Use flashcards for quick reviews.

Watch videos or listen to podcasts on your topic to reinforce learning.

Collaborate:

Discuss your notes with peers or teach someone else for better retention.

Establish a routine:

Dedicate 20–30 minutes daily to review notes.

End each session with a mini-quiz or creative recap.

Bonus : Mastering layout and formatting for effective Notes

A) General layout principles

Start with a clean slate

Use consistent margins for a neat look.

Leave ample white space between sections to avoid visual clutter.

Margins create a visual boundary that organizes content, helping your brain process the information in chunks.

Leave at least one blank line (or 1.5 spacing in digital notes) between different topics or ideas.

They provide room to add comments, symbols or questions during reviews without cluttering the main content.

Number your pages to keep notes in order.

Add descriptive titles for easy navigation.

Include date, course title or lecture topic in the header.

Prioritize legibility

Choose readable fonts if typing (e.g., Arial, Calibri).

Write neatly if using pen and paper.

Use headings and subheadings

Bold or underline main headings.

Use numbered or bullet-point subheadings for organization.

Color coding for clarity

Assign colors to categories (e.g., red for key terms, blue for examples).

Avoid overusing colors: stick to 2–3 for consistency.

Use bold or underlined text for essential ideas.

Highlight terms, dates or definitions for easy scanning.

Handwritten: Invest in multi-colored pens or highlighters for emphasis

Digital: Use formatting tools like bold, italics, and bullet lists.

Visual coding for enhancing the important part

Add icons, images or colors to make connections intuitive.

Insert tables, diagrams, or charts to organize data visually

[am--f]

TikTok, Seriality, and the Algorithmic Gaze

Princeton-Weimar Summer School for Media Studies, 2024 Princeton University

If digital moving image platforms like TikTok differ in meaningful ways from cinema and television, certainly one of the most important differences is the mode by which the viewing experience is composed. We are dealing not only with fixed media nor with live broadcast media, but with an AI recommender system, a serial format that mixes both, generated on the fly and addressed to each individual user. Out of this series emerges something like a subject, or at least an image of one, which is then stored and constantly re-addressed.

TikTok has introduced a potentially dominant design for the delivery of moving images—and, potentially, a default delivery system for information in general. Already, Instagram has adopted this design with its Reels feature, and Twitter, too, has shifted towards a similar emphasis. YouTube has been providing video recommendations since 2008. More than other comparable services, TikTok places its proprietary recommender system at the core of the apparatus. The “For You” page, as TikTok calls it, presents a dynamically generated, infinitely scrollable series of video loops. The For You page is the primary interface and homepage for users. Content is curated and served on the For You page not only according to explicit user interactions (such as liking or following) or social graphs (although these do play some role in the curation). Instead, content is selected on the basis of a wider range of user behavior that seems to be particularly weighted towards viewing time—the time spent watching each video loop. This is automatic montage, personalized montages produced in real time for billions of daily users. To use another transmedial analogy—one perhaps justified by TikTok’s approximation of color convergence errors in its luminous cyan and red branding—this montage has the uncanny rhythm of TV channel surfing. But the “channels” you pass through are not determined by the fixed linear series of numbered broadcast channels. Instead, each “channel” you encounter has been preselected for you; you are shown “channels” that are like the ones you have tended to linger on.

The experience of spectatorship on TikTok, therefore, is also an experience of the responsive modeling of one’s spectatorship—it involves the awareness of such modeling. This is a cybernetic loop, in effect, within which future action is performed on the basis of the past behavior of the recommender system as it operates. Spectatorship is fully integrated into the circuit. Here is how it works: the system starts by recommending a sequence of more or less arbitrary videos. It notes my view time on each, and cross-references the descriptive metadata that underwrites each video. (This involves, to some degree, internal, invisible tags, not just user-generated tags.) The more I view something, the more likely I am to be shown something like it in the future. A series of likenesses unfolds, passing between two addresses: my behavior and the database of videos. It’s a serial process of individuation. As TikTok puts it in a 2020 blog post: these likenesses or recommendations increasingly become “polished,” “tailored,” “refined,” “improved,” and “corrected” apparently as a function of consistent use over time.

Like many recommender systems—and such systems are to be found everywhere nowadays—the For You algorithm is a black box. It has not been released to the public, although there seem to have been, at some point, promises to do this. In lieu of this, a “TikTok Transparency Center” run by TikTok in Los Angeles (delayed, apparently, by the 2020 COVID-19 pandemic) opened in 2023. TikTok has published informal descriptions of the algorithm, and by all accounts it appears to be rather straightforward. At the same time, the algorithm has engendered all kinds of folk sciences, superstitions, paranoid theories, and magical practices. What is this algorithm that shows me such interesting, bizarre, entertaining, unexpected things? What does it think I want? Why does it think I want this? How does this algorithm sometimes seem to know me so well, to know what I want to see? What is it watching me watch? (From the side of content creators, of course, there is also always the question: what kind of content do I need to produce in order to be recognized and distributed by the algorithm? How can I go viral and how can I maximize engagement? What kinds of things will the algorithm want to see? Why is the algorithm not seeing me?)

These seem to be questions involving an algorithmic gaze. That is to say: there is something or someone watching prior to the actual instance of watching, something or someone which is beyond empirical, human viewers, “watching” them watch. There is something watching me, whether or not I actually make an optical image of myself. I am looked at by the algorithm. There is a structuring gaze. But what is this gaze? How does it address us? Is this the gaze of a cinematic apparatus? Is it the gaze we know from filmtheory, a gaze of mastery with which we are supposed to identify, a gaze which hails or interpellates us, which masters us? Is it a Foucauldian, panoptic gaze, one that disciplines us? 

Any one of us who uses the major platforms is familiar with how the gaze of the system feels. It a gaze that looks back—looks at our looking—and inscribes our attention onto a balance sheet. It counts and accounts for our attention. This account appears to be a personalized account, a personalized perspective. People use the phrase “my TikTok algorithm,” referring to the personalized model which they have generated through use. Strictly speaking, of course, it’s not the algorithm that’s individualized or that individuates, but the model that is its product. The model that is generated by the algorithm as I use it and as it learns from my activity is my profile. The profile is “mine” because I am constantly “training” it with my attention as its input, and feel a sense of ownership since it’s associated with my account, but the profile is also “of me” and “for me” because it is constantly subjecting me to my picture, a picture of my history of attention. Incidentally, I think this is precisely something that Jacques Lacan, in his 1973 lecture on the gaze in Seminar XI, refers to as a “bipolar reflexive relation,” the ambiguity of the phrase “my image.” “As soon as I perceive, my representations belong to me.” But, at the same time, something looks back; something pictures me looking. “The picture, certainly, is in my eye. But I am in the picture.”

On TikTok, the picture often seems sort of wrong, malformed. Perhaps more often than not. Things drift around and get stuck in loops. The screen fills with garbage. As spectators, we are constantly being shown things we don’t want any more of, or things we would never admit we want, or things we hate (but cannot avoid watching: this is the pleasurable phenomenon of “cringe”). But we are compelled to watch them all. The apparatus seems to endlessly produce desire. Where does this desire come from? Is it from the addictive charge of the occasional good guess, the moment of brief recognition (the lucky find, the Surrealist trouvaille: “this is for me”)? Is it the promise that further training will yield better results? Is it possible that our desire is constituted and propelled in the failures of the machine, in moments of misrecognition and misidentification in the line of sight of a gaze that evidently cannot really see us? 

In the early 1970s, in the British journal Screen, scholars such as Laura Mulvey, Colin MacCabe, and Stephen Heath developed a film-theoretical concept of the gaze. This concept was used to explain how desire is determined, specified, and produced by visual media. In some ways, the theory echoes Lacan’s phenomenological interest in “the pre-existence to the seen of a given-to-be-seen” (Seminar XI, 74). The gaze is what the cinematic apparatus produces as part of its configuration of the given-to-be-seen. 

In Screen theory, as it came to be known, the screen becomes a mirror. On it, all representations seem to belong to me, the individual spectator. This is an illusion of mastery, an imaginary relation to real conditions of existence in the terms of the Althusserian formula. It corresponds to the jubilant identification that occurs in a moment in Lacan’s famous 1949 paper “The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytic Experience,” in which the motor-challenged infant, its body fragmented (en morceaux) in reality, discovers the illusion of its wholeness in the mirror. The subject is brought perfectly in line with this ideal-I, with this spectacle, such that what it sees is simply identical to its desire. There is convergence. To slightly oversimplify: for Screen theory, this moment in mirror stage is the essence of cinema and ideology, or cinema as ideology. 

Joan Copjec, in her essay “The Orthopsychic Subject,” notes that Screen theory considered a certain relationship of property to be one of its primary discoveries. The “screen as mirror”: the ideological-cinematic apparatus produces representations which are “accepted by the subject as its own.” This is what Lacan calls the “belong to me aspect so reminiscent of property.” “It is this aspect,” says Copjec, speaking for Screen theory, “that allows the subject to see in any representation not only a reflection of itself but a reflection of itself as master of all it surveys. The imaginary relation produces the subject as master of the image. . . . The subject is satisfied that it has been adequately reflected on the screen. The ‘reality effect’ and the ‘subject effect’ both name the same constructed impression: that the image makes the subject fully visible to itself” (21–22). 

According to Copjec, “the gaze always remains within film theory the sense of being that point at which sense and being coincide. The subject comes into being by identifying with the image’s signified. Sense founds the subject—that is the ultimate point of the film-theoretical and Foucauldian concepts of the gaze” (22).

But this is not Lacan’s gaze. The gaze that Lacan introduces in Seminar XI is something much less complete, much less satisfying. The gaze concept is not exhausted by the imaginary relation of identification described in Screen theory, where the subject simply appropriates the gaze, assumes the position created for it by the image “without the hint of failure,” as Copjec puts it. In its emphasis on the imaginary, Screen theory neglects the symbolic relation as well as the issue of the real.

In Seminar XI, Lacan explicates the gaze in the midst of a discussion on Sartre and Merleau-Ponty. Again, Lacan’s gaze is something that pre-exists the seeing subject and is encountered as pre-existing it: “we are beings who are looked at, in the spectacle of the world” (75). But—and this is the crucial difference in emphasis—it is impossible to look at ourselves from the position of this all-seeing spectacle. The gaze, as objet a in the field of the visible, is something that in fact cannot be appropriated or inhabited. It is nevertheless the object of the drive, a cause of desire. The gaze “may come to symbolize” the "central lack expressed in the phenomenon of castration” (77). Lacan even says, later in the seminar, that the gaze is “the most characteristic term for apprehending the proper function of the objet a” (270). As objet a, as the object-cause of desire, the gaze is said to be separable and separated off from the subject and has only ever existed as lack. The gaze is just all of those points from which I myself will never see, the views I will never possess or master. I may occasionally imagine that I have the object, that I occupy the gaze, but I am also constantly reminded of the fact that I don’t, by images that show me my partiality, my separation. This is the separation—between eye and gaze—that manifests as the drive in the scopic field. 

The gaze is a position that cannot be assumed. It indicates an impossible real. Beyond everything that is shown to the subject, beyond the series of images to which the subject is subjected, the question is asked: “What is being concealed from me? What in this graphic space does not show, does not stop not writing itself?” This missing point is the point of the gaze. “At the moment the gaze is discerned, the image, the entire visual field, takes on a terrifying alterity,” says Copjec. “It loses its ‘belong-to-me aspect’ and suddenly assumes the function of a screen” (35). We get the sense of being cut off from the gaze completely. We get the sense of a blind gaze, a gaze that “is not clear or penetrating, not filled with knowledge or recognition; it is clouded over and turned back on itself, absorbed in its own enjoyment” (36). As Copjec concludes: “the gaze does not see you” (36).

So the holes and stains in the model continuously produced by the TikTok algorithm—those moments in which what we are shown seems to indicate a misreading, a wrong guess—are those moments wherein the gaze can be discerned. The experience is this: I am watching a modeling process and engaging with the serial missed encounters or misrecognitions (meconnaissance—not only misrecognition but mistaken knowledge—mis-knowing) that the modeling process performs. The Lacanian point would simply be the following: the situation is not that the algorithm knows me too well or that it gives me the illusion of mastery that would be provided by such knowledge. The situation is that the algorithm may not know or recognize me at all, even though it seems to respond to my behavior in some limited way, and offers the promise of knowing or recognizing me. And this is perhaps the stain or tuche, the point at which we make contact with the real, where the network of signifiers, the automaton, or the symbolic order starts to break down. It is only available through the series, through the repeated presentation of likenesses.

As Friedrich Kittler memorably put it, “the discourse of the other is the discourse of the circuit.” It is not the discourse of cinema or television or literature. Computational recommender systems operating as series of moving image loops seem to correspond strangely closely to the Lacanian models, to the gaze that is responsive yet absent, perceptive yet blind, desired yet impossible. Perhaps they even correspond to the analytic scene. Lacan and psychoanalysis suggest that humans carry out the same operations as machines, that the psyche is a camera-like apparatus capable of complicated performance, and that the analyst might be replaced with an optical device. Can we substitute recommender media for either psyche or analyst? In any case, it’s clear that the imaginary register of identification does not provide a sufficient model for subjectivity as it is addressed by computational media. That model, as Kittler points out, is to be found in Lacan’s symbolic register: “the world of the machine.”