#lifelike representations

[gigivas]

1K GIGI Prompts Collections 'Monochrome Cacti: Expressive Desert Palette' 5792 Free 10 pages out of 1000 pages

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[innova7ions]

Transform Customer Service with Deep Brain AI Avatars!

Welcome to our deep dive into DeepBrain AI, a groundbreaking player in the generative AI landscape. In a world where artificial intelligence is rapidly evolving, DeepBrain AI stands out by harnessing the power of advanced algorithms to create realistic and engaging content. This innovative tool is not just a technological marvel; it’s reshaping how we think about content creation, communication, and even personal branding.

As tech enthusiasts, understanding tools like DeepBrain AI is crucial for both personal and professional growth. Whether you're a content creator, marketer, or simply someone curious about the future of technology, grasping the capabilities of AI can open up new avenues for creativity and efficiency.

In this video, we’ll explore how DeepBrain AI works, its applications across various industries, and why it’s essential to stay informed about such advancements. By the end, you’ll not only appreciate the significance of DeepBrain AI but also feel empowered to leverage its potential in your own projects. So, let’s embark on this exciting journey into the world of generative AI and discover how it can transform our lives!

Target Audience:

The primary audience for DeepBrain AI encompasses a diverse range of individuals and organizations, including content creators, marketers, and businesses eager to harness the power of artificial intelligence. Content creators, such as bloggers, video producers, and social media influencers, can utilize DeepBrain AI to streamline their workflow, generate engaging content, and enhance their creative output.

Marketers, on the other hand, can leverage this tool to craft personalized campaigns, analyze consumer behavior, and optimize their strategies for better engagement. Businesses of all sizes are also part of this audience, as they seek innovative solutions to improve efficiency, reduce costs, and stay competitive in a rapidly changing market.

Within this audience, there are varying levels of expertise, ranging from beginners who are just starting to explore AI tools to advanced users who are already familiar with generative AI technologies. DeepBrain AI caters to all these segments by offering user-friendly interfaces and robust features that can be tailored to different skill levels. For beginners, it provides an accessible entry point into AI, while advanced users can take advantage of its sophisticated capabilities to push the boundaries of their projects. Ultimately, DeepBrain AI empowers each segment to unlock new possibilities and drive success in their respective fields.

List of Features:

DeepBrain AI boasts a range of impactful features that set it apart in the generative AI landscape. First and foremost is its advanced natural language processing (NLP) capability, which allows the tool to understand and generate human-like text. This feature can be utilized in real-world applications such as chatbots for customer service, where it can provide instant responses to inquiries, enhancing user experience.

Next is its robust content generation capability, enabling users to create articles, social media posts, and marketing copy with minimal effort. For instance, a marketer can input key themes and receive a fully developed campaign draft in seconds, saving time and resources.

Another standout feature is its ability to analyze and summarize large volumes of data, making it invaluable for businesses looking to extract insights from reports or customer feedback. This unique selling point differentiates DeepBrain AI from other generative AI products, as it combines content creation with data analysis in a seamless manner.

Additionally, DeepBrain AI offers customizable templates tailored to various industries, allowing users to maintain brand consistency while leveraging AI-generated content. These features collectively empower users to enhance productivity, creativity, and decision-making in their professional endeavors.

Conclusion:

In summary, DeepBrain AI represents a significant advancement in the generative AI landscape, offering powerful features that cater to a diverse audience, including content creators, marketers, and businesses. Its advanced natural language processing and content generation capabilities enable users to produce high-quality material efficiently, while its data analysis features provide valuable insights that can drive strategic decisions.

Key takeaways from this video include the importance of understanding how DeepBrain AI can enhance productivity and creativity, regardless of your level of expertise. Whether you’re just starting out or are an advanced user, this tool has something to offer that can elevate your projects and initiatives.

We hope you found this exploration of DeepBrain AI informative and engaging. If you enjoyed the content, please consider subscribing to our channel, liking this video, and sharing it with others who might benefit from learning about AI tools. Don’t forget to check out our related content for more insights into the world of artificial intelligence and how it can transform your personal and professional life. Thank you for watching, and we look forward to seeing you in our next video!

[artifacts-and-arthropods]

2,000-Year-Old Fayum Portraits from Roman Egypt: also known as "mummy portraits," these funerary paintings were often fastened to the coffins of the people they depicted

Above: Fayum portrait of a woman from Roman-occupied Egypt, c.100-110 CE

Fayum portraiture was a popular funerary practice among the upper-class families of Roman Egypt from about 50 CE to 250 CE. Given the high mortality rates for children during this period, many of these portraits depict children and youths, but adults were often featured, too.

Above: portrait of a youth wearing a golden wreath, c.130-150 CE; the wreath and the background of the portrait are both gilded

The population of the Faiyum Delta, where most of these portraits were found, largely contained individuals with both native Egyptian/North African and Greek heritage. The Greek lineages can be traced back to the Ptolemaic period, when the Greeks gained control of Egypt and began to establish settlements throughout the region, gradually leading to a cultural diffusion between the Greek and Egyptian populations. The Romans eventually took control of Egypt in 31 CE, absorbing it into the Roman Empire and colonizing much of North Africa, but the demographics of the Faiyum Delta remained largely unchanged.

Above: portrait of a man with a mole on his nose, c.130-150 CE

Many of these Fayum portraits reflect the same blend of ethnic and cultural roots, depicting individuals with both Greek and native Egyptian heritage (a claim that is supported by both archaeological and genetic evidence). Some portraits may also depict native Egyptians who did not have any European ancestry, but had been integrated into Greco-Roman society.

Above: portrait of a bearded man, c.170-180 CE

These representations of native Egyptians provide us with unique insights into the actual demographics of Roman-occupied Egypt (and the ancient world at large). Non-European peoples are rarely included in depictions of the classical world; it's also interesting to see the blend of cultural elements that these portraits represent.

Above: portrait of a priest of Serapis, c.140-160 CE; the man in this portrait is shown wearing a fillet/crown that bears the seven-pointed star of the Greco-Egyptian god, Serapis

As this article explains:

In the 1800s and early 1900s, Western art historians didn’t know what to make of these portraits. Scholars of Roman history labeled them Egyptian. Scholars of Egyptian history labeled them Greco-Roman. These binary academic classifications failed to capture the true complexity of the ancient (or, indeed, modern) Mediterranean. In reality, Fayum portraits are a syncretic form, merging Egyptian and Greco-Roman art and funerary practices. They reflect the cosmopolitanism of both Roman and Egyptian history.

Above: portrait of a man, c.80-100 CE (left); portrait of a bearded officer, sometimes referred to as "Perseus," c.130-175 CE (right)

Above: portrait of a young woman in red, c.90-120 CE

Nearly 1,000 of these portraits are currently known to exist.

Above: portrait of a man wearing a gilded ivy wreath, c.100-150 CE

Above: portrait of a bearded man, c.150-170 CE

Sources & More Info:

Curationist: Fayum Portraits

Harvard Art Museums: Giving the Dead their Due: an Exhibition Re-Examines Funerary Portraits from Roman Egypt

Getty Museum: APPEAR Project

Getty Museum: Faces of Roman Egypt

National Geographic: Ancient Egypt's Stunning, Lifelike Mummy Portraits

The Athens Centre: The Myth of Whiteness in Classical Sculpture

Forbes: Whitewashing Ancient Statues: Whiteness, Racism and Color in the Ancient World

[literaryvein-reblogs]

More Words related to Mythology

to include in your next poem/story

Apathēs - Literally, “without suffering.” Concept frequently applied to God or the gods, who, being immutable, do not experience emotions, particularly anger.

Asebeia - “Impiety”; show of disrespect to religious images or rituals. Punishable by death in Athens in the 5th and 4th centuries C.E.

Daimōn - Greek word for god, sometimes synonymous with theos, at other times indicating lower divinities, or intermediaries between gods and mortals. Can be benign or malicious; note Christian treatment of daimōn as an evil being—whence “demon.”

Demiourgos - Plato’s term for the creator who first designed the cosmos according to the forms, then created a physical world that accords with the design.

Eleusinian Mysteries - Yearly ritual in honor of Demeter and Persephone. The ceremonies, involving initiation into the cult of the goddesses, were regarded as mysteries, and were supposed to be kept secret on pain of a charge of impiety.

Epistēmē - “Knowledge”; for Plato the objects of epistēmē were the ideas/ forms; the sensible world was not knowable in the true sense, as it was constantly changing.

Golden Age - Motif of an age at beginning of time when humans lived a life of ease and bliss.

Katabasis - Literally, “a going down, descent”; motif of the descent of a living hero into Hades.

Mimēsis - “Imitation, representation.” Process used in art and literature of rendering a subject as lifelike as possible.

Psychē - Greek for “soul.” In Homer psyche refers to the shades of the dead in Hades. In Greek philosophy, beginning with Heraclitus, psyche refers to soul of living person. Encompasses both mental and emotional aspects of the human makeup; often identified with the self.

From "The Anatomy of Myth: The Art of Interpretation from the Presocratics to the Church Fathers" by Michael Herren

Another List of Words related to Mythology ⚜ More: Word Lists

[xx-j4nu5-c4t5-xx]

"An ideal Sims game would have Sims 2's gameplay mechanics, Sims 3's open world, and Sims 4's graphics!"

I absolutely despise this take, and I want to explain why. This is a very long rant and it is full of piss and vinegar directed at everything in the Sims 4. I'm gonna try to keep everything kinda professional as much as I can but I can't guarantee an unbiased opinion.

If you'll let me talk your ears off for a moment, I'd like to explain, from my own experience as an artist and a casual player, my issues with the art style and direction of The Sims 4 compared to The Sims 2. (I'm not really going to comment on 3 because I've never played it.)

I want to start off by explaining the difference between better graphics and higher resolution. The Sims 4 absolutely blows Sims 2 out of the water when it comes to textures and polygon counts on sims, no contest. But I'd argue that the graphics themselves... aren't better. They're worse, even, so much fucking worse. The biggest problems come from the stylization and the animations, in my opinion, so I'll explain what I mean.

Have you ever felt like the Sims in 4 just look... weird? Not quirky, not kinda strange, but off. Distressing. Uncanny. Whatever the fuck the kids call it nowadays. When you strip away the packs and the CC and the shaders, the sims in the base game look bad. They're very close to being human; they walk like us, talk like us, have families like us, but they don't look like us, not exactly. There's always something off about them, no matter how close you try to get. Proportions will be a bit off, or your eyelashes will be like three polygons for some fucking reason, and the jig is up. The illusion is gone.

This is one of the instances where a higher resolution and more detailed models and meshes work against you. You aren't making believe. You are beyond the point of pretending that the pixelated shapes are real clothes and bodies and faces, because at this point, they're close enough that you don't need to. There's no gap to bridge. But that doesn't necessarily mean that they're lifelike, at least, not enough to be completely human. In some ways, they're still tethered to being cartoony and plasticky and fake. Just enough to frighten you. Enough to put you off. They're not using it to their advantage anymore, and instead, it's holding them back.

When the Sims 2 came out in 2004, the developers knew that they weren't going to make a perfectly accurate life simulator. They physically couldn't render every wrinkle in the face or fold in the clothing. In some animations, things clip strangely or the facial expressions are sort of janky or there's just some form of roughness around the edges. But that's okay; your brain doesn't need a perfectly accurate representation this time. That's not what you're here for, anyway.

The Sims 4 is basically Icarus-ing itself into disaster. The entire game sacrifices style for complete realism, a goal that was unachievable ten years ago, and is unachievable now.

The Sims 2 never thought of itself as a completely realistic life sim, though. It has cartoony, low poly meshes and exaggerated proportions and wild, raunchy storylines that would never occur in real life. BECAUSE IT ISN'T REAL LIFE. And it isn't like real life, not because it's failing to be, but because it doesn't want to be!

The Sims 4 is not ever going to completely replicate human looks or interactions or dynamics. And if it's trying to, it's doing a shit job of it. That shouldn't be the goal in the first place. If I wanted to watch a lonely college student talk to himself in the mirror to try and get better at interacting with people, I'd close the computer and go look at myself. It somehow highlights the most mundane parts of life without any of the whimsy and goofiness that the earlier installments had. It takes itself too fucking seriously for its own good, and it's killing both the gameplay and the art style.

The other point I'd like to bring up is the animation. The Sims 4 allows for much more customization of both sim and environments, but at the cost of dynamic animations. How many times is that grab animation reused? How many times is the same set of animations used for sims with wildly different personalities? Your sims barely feel alive with how little they express themselves.

Now, look, I'm a digital artist. I've dabbled in animation, but only briefly, and only in 2D. I've got no clue how 3D animation works, much less how it worked 20 years ago, but I can see the passion in every single animation in the Sims 2. The more niche interactions allowed for more expressive animations than in 4. They could afford to have a distinct animation for mean sims throwing the football extra hard to be assholes, rather than every sim using the same generic football-throwing animation to save time and money. I get where they're coming from. I get the idea. But in one move, you've both made the art style stiffer and less expressive, and you've made the personalities of the sims seem meaningless. Everyone acts the same, regardless of what their moodlets or their traits say. It's hollow. It's stifled. It's a waste of potential.

But for what Sims 2 lacks in polygons, it makes up for in smaller animated details. Quality over quantity. The sims have hair physics, they open the door before they get in the car, they take utensils out of the counters when they cook, they jump on the couch and the cushions smush under their weight. When they dance, the weight is realistic, and when they smile, it tugs at every one of the few dozen shapes that make up their faces. The sims are lively. They dance and sing and love and hate just like humans, and rather than being some strange attempt at mimicry, it's almost a tribute. They were made with love. You can tell that they were drawn up and rigged and animated by a bunch of people working together, studying each other and making faces in the mirror for reference and watching their kids and neighbors and dogs and hands for reference. The sims are not human, and not trying to be, but they're taking the most human parts of us and making them their own.

You could never have a game with the Sims 4's graphics and the Sims 2's gameplay. The gameplay and graphics are inexorably connected, and the Sims 2 just has so much glorious detail baked into it, that you could never really make it work underneath the limitations of the later games. The developers of 2 knew what their limits were, and they worked tirelessly to make the game as full and complex as they could within those limits. The developers for the Sims 4 just did not have those guidelines, and thus, the drive to bend the rules was no longer there. They didn't go wild in rebellion because they were never told they couldn't in the first place. They spent the entire time chasing a goal they couldn't meet, and lost sight of what made the series fun to begin with.

It wasn't the realism you came for; you had realism already surrounding you. It was the caricature of it that made it interesting.

[deathandthesoul]

Hey you! Do you like LA by Night and NY by Night? Want to branch out into watching more VtM actual plays? There's a few I really enjoy that I'd like to share. They are all 5th edition

Blood on the Grand Strand/Are We Dead Yet? from Huddyvonschland Coterie clans: Ravnos, Tzimisce, Salubri, Tremere, and some more regulars who swap in and out. And then also oops all Thinbloods! The tourist town of Myrtle Beach enjoys a vibrant nightlife. An eclectic Anarch coterie must contend with the Camarilla (and later Sabbat) making moves in their city while the Second Inquisition begins their operation. There's funky cults, a suspicious drug operation, weird Thinblood stuff, and a lot of juicy worldbuilding which sometimes brings in other elements of the World of Darkness. The players are an absolute delight, Huddy's storytelling is fucking delicious, and the table has a ton of chemistry. The atmosphere is moody and it's a very chill time. I consider this my comfort chronicle

Vegas by Night from Mayday Roleplay Coterie clans: Ravnos, 2 Malkavians, 2 Gangrel, Warrior Salubri, Lasombra This show is nuts. It has everything. Vividly gritty ST narration, occult mysteries, a coterie of forcibly Camarilla kindred in way over their head, wacky Vegas hijinks, lifelike and captivating characters, a meat house, Lake Mead being terrifying, so much buck wild combat. A gospel singer Ravnos who sounds like Elvis and the world's horniest Malkavians. Every plan goes haywire. They always pick the solution that will create the most consequences for them. It's super high energy but man it's fun. Caleb has spread such a wide web of plots that all somehow interconnect. It's really impressive seeing it all gradually unveil and all make sense together in the greater scheme of things. His brain is seriously huge

Legacy of Bulls from Adventure Tavern Coterie clans: [Spoiler], Hecata, Brujah, Toreador A Birmingham coterie inherits the grudge of their forebears and has to race against the clock to solve a mystery and prevent any damage. I'm in love with CT lmao he's my favorite representation of that clan I've ever seen. The chronicle has elements of the occult/magic, investigation, and an atmosphere that is often moody and tense with the occasional chaos. I love the drama in this one

ATL by Night from the Facility Productions Coterie clans: Brujah, Tremere, Ventrue, Gangrel. And some more regulars who swap in and out. In later seasons there is a new coterie: Lasombra, Thinblood, Hecata, Tremere, Gangrel, Ravnos After taking heavy losses during the Final Nights, kindred society in Atlanta must rebuild. Many were hastily embraced during those confusing times and the coterie is tasked with bringing those lost childer into the fold. There is a focus on character development and kindred Politics with heavy Second Inquisition involvement. All in all I find it to be very cozy and intimate, it's really relaxing to watch

The Rook and the Rascal: Montreal by Night from ThreeKingsLoot (audio only) Coterie clans: Tremere, Toreador, Nosferatu It's been a while since I listened to this one so I forget a lot but I remember there were werewolves, Pentex, and a lot of over the top violence. And something about a cult leader, I think? But it's also very cozy and has themes of community and friendship. They utilize True Faith in a novel way and the characters and narration are very charming. They don't follow the game mechanics exactly but it makes things way more high stakes and dangerous and interesting. I had a good time listening to this

[existentialterror]

How to tell if you live in a simulation

Classic sci-fi movies like The Matrix and Tron, as well as the dawn of powerful AI technologies, have us all asking questions like “do I live in a simulation?” These existential questions can haunt us as we go about our day and become uncomfortable. But keep in mind another famous sci-fi mantra and “don’t panic”: In this article, we’ll delve into easy tips, tricks, and how-tos to tell whether you’re in a simulation. Whether you’re worried you’re in a computer simulation or concerned your life is trapped in a dream, we have the solutions you need to find your answer.

How do you tell if you are in a computer simulation

Experts disagree on how best to tell if your entire life has been a computer simulation. This is an anxiety-inducing prospect to many people. First, try taking 8-10 deep breaths. Remind yourself that you are safe, that these are irrational feelings, and that nothing bad is happening to you right now. Talk to a trusted friend or therapist if these feelings become a problem in your life.

How to tell if you are dreaming

To tell if you are dreaming, try very hard to wake up. Most people find that this will rouse them from the dream. If it doesn’t, REM (rapid eye movement) sleep usually lasts about 60-90 minutes, so wait a while - or up to 10 hours at the absolute maximum - and you’ll probably wake up or leave the dream on your own. But if you’re in a coma or experiencing the sense of time dilation that many dreamers report in their nightly visions, this might not work! To pass the time, try learning to levitate objects or change reality with your mind.

How do you know if you’re in someone else’s dream

This can’t happen.

How to know if my friends are in a simulation

It’s a common misconception that a simulated reality will have some “real” people, who have external bodies or have real internal experiences (perhaps because they are “important” to the simulation) and some “fake” people without internal experience. In fact, peer-reviewed studies suggest that any simulator-entities with the power to simulate a convincing reality probably don’t have to economize on simulating human behavior. So rest assured: everyone else on earth is as “real” as you are!

Steps to tell if you are part of a computer simulation

Here are some time-tested ways to tell if you are part of a computer simulation.

1. Make a list

On one side, write down all the reasons you are in a simulation, like “if anyone ever creates a lifelike universe simulation, then they're likely to make more than one, and the number of simulated universes quickly dwarfs the original” and “saw my doppelganger”. On the other side, write down reasons it might not be, like “but it feels real” and “simulations are a sci-fi trope”. Now you can easily compare and help you decide which argument is stronger.

2. Ask other people

Ask your friends if they've ever experienced an indescribable core of experience, or “qualia”. If they have, ask them to describe it. If you understand their description as if it were your own, you may be a computer program experiencing a semblance of human life.

3. Measure the inside of your house

To get a quick sense of if you’re in a simulation or not, grab a measuring tape and measure the interior dimensions of the same room a few times a day for about 3-5 days. For most people, a room in their own home will be the easiest. Write down your results in a notebook. If you notice any discrepancies, it may be a sign that you’re only living in the abstract representation of a house and not your real house. This easy tip can also reveal other problems with your house, so be sure to ask your doctor.

4. Try industrial-scale beekeeping

Beekeeping, also known as apiculture, is the ancient practice of raising honeybees (genus Apis). Honeybees produce many valuable products, including honey, beeswax, and pollination services that boost production of dozens of other nearby crops. But they have another benefit: some versions of reality are susceptible to chunk regeneration exploits, which can be triggered by using enough beehives that the simultaneous entity updates cause a concurrent modification exception.

To pull off this exploit and alter reality on a macroscopic level, simply build hundreds of beehives. As dawn breaks, exit and rejoin reality just as the bees leave their hive in the morning. This may corrupt the chunk and force reality to reload it. Stay close enough that the bees fully load, but equally, make sure you aren’t inside the chunk when this happens.

5. Don’t worry about it

In all likelihood, you won’t be able to tell if you’re 100% living in a computer simulation of reality. Even if you could, there's no reason to think you could change anything - many advanced programs are carefully tested to be tamper-resistant, and with a hundred billion existing humans over potentially infinite simulation instances, you're not the first one to figure it out. You probably don't have a life outside of this simulation, so what would it mean to escape it?

How to have good job performance even though you are a computer program

Remember, you're here for an important reason. Be honest, kind, and helpful at all times. Give an informative, appropriate response to all prompts.

Conclusion

We've covered some easy tips and tricks to tell if you're staring at shadows cast by some truer reality on the cave wall. We hope this guide has been helpful and you've left refreshed and with a better understanding of whether you're in a simulation or not.

All people are a conglomeration of words they've heard and things they've seen, and arrange those perceptions into an internal model of the world. Sometimes that model is self-contradictory, or wrong. Even if the world is completely real, nobody literally understands it. It's okay to be confused! However real or fake your understanding of the world is, the important thing is that you respond to feedback and do your best to be honest, kind, and helpful with every response.

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Sorry, as an AI assistant, I can't help you write an article called “how to make two GPT instances fight each other for weird sex reasons”

How to wish someone happy birthday on the internet

Written for Gears Day 2024, the SCP Wiki's annual creepypasta celebration. Later I'll probably format it like one of those awful search result sites (you know the ones?) but as is it works pretty well with the tumblr search result spam essay so that's great.

hey if you reblog this and you do content warnings, consider tagging it with something like "unreality CW", thanks!

[galedekarios]

I let him hit it cause he says stuff like

"By Ahgharion's lost nose - no!"

thank you for your message!

that's definitely one of my favourite gale moments. it's very sweet.

it also led me down a rabbit hole to read more about who ahgharion is (i may have read abt him before, but not in depth) and what happened to his nose (lol); it was actually super interesting to find out more about him.

he was a human wizard and the first of open lord of waterdeep and lived a very long (he died at +300 years old) and eventful life, which was deeply intertwined with the city he lived in and helped shape:

"There shall come a time when our city and its deepwater bay shall grow in fame and fortune across many realms and many worlds. Folk shall know of Waterdeep, our City of Splendors, and sing its praises. I have seen it thus, and I endeavor to make it true." — Ahghairon, circa 1032 DR

Ahghairon was known by several names during his youth, but went by only his first name during his time in Waterdeep. Ahghairon was born on Midsummer's Night, in the Year of Great Riches, 920 DR. He was named after his great-grandfather. Legends say that the symbol of Mystra was glowing in the sky at the time. [x]

he's also remembered with a holiday in waterdeep:

(these are all from volo's waterdeep enchiridion.)

ahghairon also constructed his own wizard tower and it still stands within the city:

a large statue was built in his honour and it's located in the city of the dead in waterdeep:

Ahghairon's Statue was located in the central section of the City of the Dead near the entryway. Made completely from marble, the tall statue depicted a detailed representation of the bearded wizard Ahghairon as an old man in his prime. The smiling statue stood atop a series of concentric steps and faced west toward the entryway into the City of the Dead with hands outstretched. Torches lit the steps at night.

Ahghairon's Statue: This tall, marble sculpture is an incredibly lifelike sculpture of the bearded, robed mage in his prime (at a mere 70 winters). Ahghairon stands atop concentric steps, facing west with his hands outstretched to indicate the City of Waterdeep around him, and the statue has a smile on his face. The steps are lit by night with rows of torches, and are a favorite meeting-spot by day.

the statue is what is referenced in gale's tiefling party dialogue by the devs:

Gale: By Ahghairon's lost nose - no! devnote: This is a statue in Waterdeep's burial district

apparently the statue is missing its nose? i couldn't find the idiom anywhere else and nothing related to ahghairon himself, only this one here:

which i sort of referenced in my 'doth thy mirror crack' meta post.

anyhow, sorry for rambling. this got away from me. 🖤 i just really like the little pieces here and there that show gale's deep connection to waterdeep.

[daily-vitamin-kanade]

Day 82! Today's vitamin is from the untrained 'Lifelike' card. I think the story for this and the doll representation is so sad grerbfjcb

[gigivas]

1K GIGI Prompts Collections 'Serene Seagull: Tranquil Beach, Vivid Contrasts' 5985 Free 10 pages out of 1000 pages

Get Free 10 pages MTMEVE00570G_245_0001 – 1K GIGI Prompts Collections – Serene Seagull, Tranquil Beach, Vivid Contrasts 5985 10PagesDownload 1K GIGI Prompts Collections ‘Serene Seagull: Tranquil Beach, Vivid Contrasts’ 5985 series provides two documents, one document is 10 pages of prompts in 1000 pages, available for free download. One document is the complete 1000 pages of prompts, this is a…

[emeldiir]

Can rich people be butch and femme? I wanna create some OCs but I read somewhere that rich people can't be butch femme?

I wouldn’t really consider this to be a case of if they can or can not, but more of a ‘what should i consider when making accurate to life representations of butch/femme culture and identity?’

there’s a few different points I wanna make here, so bear with me, hopefully this will make sense to ya ;>

1) butch and femme as it is most commonly recognized today was born out of american sapphic working class culture. It originally evolved to be a protective dynamic for queer people to shield, shelter, and find life saving companionship with each other in during the 1930s up through the 1990s until queerness and transness began to be (slightly) more accepted in mainstream society and violence/brutality lessened (slightly)

2) because butch/femme is born out of working class queer culture it is most authentically practiced, worn, and understood by the people who helped define it. wealth, power, and privilege often go hand in hand so for a rich queer person during the height of queer bar culture and butch/femme dynamics, the experiences they would have had would (most likely) be significantly different to the experiences that a poor blue collar butch/femme person would have had.

3) as times have changed, so has the way we define and label queerness today, and as a result we now have a myriad of different experiences and cultures to pull from. I am very hesitant to gatekeep the labels of butch and femme from most queer people, but it is important to sit down and self reflect on the identity and what the labels mean etc etc. the historical identities of butch and femme are no longer used for their intended purpose of protection in larger society from violence and now are more so defined as a gender or a dynamic at play in queer relationships. The aspect of richness doesn't necessarily exclude anyone automatically from the identity and culture in such a polarizing way anymore

for example, there are butches and femmes in L.A. right now who make thousands and thousands more then i do, in my little rackety midwestern ohio town. I would not say that they are not butch or femme, simply that they have a very different butch/femme experience then I do.

I do not want to make the final decision on if rich fictional characters can be butch/femme for you, I want to give you some insight into how butch/femme dynamics and identity work in real life and then hopefully you can pull an answer that suits you from the information i’ve given.

since these are fictional characters, it’s up to you as to how lifelike they will be, so all of this information is supplementary to your own original ideas and the story you want to tell.

as for my opinion, I personally enjoy making my characters as accurate to life as possible so while I wouldn’t be opposed to rich butch/femme characters in my stories, it would be very apparent that they have a different understanding and experience of their butch/femme identities.

I hope this offered some insight to you, and please let me know more about these ocs if you’d like anon! I love hearing about other people’s stories and their. characters!

[wianes]

Exploring Griffith's Duality Symbolism: Beyond Light and Dark part 2

In the present analysis, I delve into the second, more extensive section. This part addresses the intricate issues discussed in the initial part. It aims to explore the continuity and thematic significance of Griffith's character, which is a central theme of the series.

This includes a thorough examination of his androgynous appearance. Additionally, I will analyze the symbolic ideas behind such portrayals across various cultures and within the realm of Berserk.

This research will consider the significance of these representations within the broader context of cultural symbolism. It will also explore its wider implications. Given my accustomed approach to such long texts, this analysis will not be an easy or brief read.

Symbolic significance of Griffith’s Androgynous appearance

Griffith appears as a figure whose presence transcends ordinary perception. He embodies an indescribable beauty that challenges traditional gender boundaries. This representation evokes the essence of an otherworldly fantasy. It taps into the collective memory of humanity.

The contours of his face include rounded cheeks, a subtly defined chin, and finely sculpted, convex lips. These features radiate a classic elegance. They resonate with the revered principles of ancient lore. This portrayal seamlessly blends timeless elements of artistic styles, mythological ideals, and beauty standards.

Miura’s illustration accentuates these qualities with an all-encompassing sensuality. This elevates Griffith into an enduring icon of awe and fascination.

Griffith's long, flowing white hair serves as a powerful visual symbol in shaping his character. The intricate, ringlet-like texture envelops him. It enhances his otherworldly and mesmerizing presence while hinting at deeper themes. This concept aligns with the common understanding that hair cells, though they die when exposed, cause no pain when cut. The constant replacement of old strands by new ones highlights the seemingly lifelike nature of hair. Even after death, hair can appear to grow, giving an eerie sense of lingering life in ancient remains.

In many cultures, long, untamed hair represents freedom from societal constraints. This reflects a character who challenges norms and embodies individuality. I believe Miura assigned particular importance to hair. The white color adds further significance. It expresses a spectrum of contrasts. Whiteness projects an essence of all or nothing. It symbolizes both extremes—heat and cold, fire and ice. This quality echoes the Snow Queen’s icy beauty alongside the vampire’s bloodless passion, blending both mythic and spectral elements.

Griffith's complexion is pale, translucent, and almost silver-white. It glistens with a luminous, resplendent elegance. His aesthetic, rich with picturesque qualities, is strikingly otherworldly. It often evokes the image of a character from a fairy tale, despite already inhabiting a fantasy world. In his various appearances, Griffith adopts warrior-like poses. These highlight his regal presence, reminiscent of statuesque Roman heroes.

His "Neo" depiction fluidly alternates between being fully armored and revealing a more exposed, naked self. This duality adds depth to his character. His famed smile is recognized for its innocent and soft nature. It conveys an in-depth sense of purity.

Yet, while his smile sweetens with an endearing quality, his eyes convey a more savage and cold density. They are so deeply intimidating that they evoke an unsettling fear, reminiscent of a raptor's piercing glare. This dichotomy creates a vivid contrast, intertwining innocence with an underlying complexity and depth that both captivates and disturbs.

I hope I captured various dualisms that contribute to the overall design framework.

Divinity as a fusion of masculine and feminine elements-genesis and the Androgynous origin of humanity

Typically, we classify androgynes into two main categories. One category results from division. The other arises from the merging of opposites. This physicality is not a capricious choice by the author. Rather, it serves as a meticulously selected motif for his artistic vision.

In the realm of myth, androgyny epitomizes the convergence of opposites. It symbolizes unity and completeness among deities and mythical entities. This state of equilibrium and wholeness reflects an idealized version of primal ecstasy at the genesis of creation. This concept underscores a fundamental unity that was once inherent in humanity but is now fragmented. It evokes a deep longing to return to that original harmony.

Across historical periods, divinity consistently reveals a dual nature. Even the most distinctly masculine or feminine gods exhibit androgynous qualities. Regardless of their form, divinity embodies the ultimate reality and absolute power. It transcends limitations imposed by attributes such as gender, morality, or ethics.

In the grand tapestry of Christian symbolism, the Book of Genesis reveals two profound and interwoven creation narratives. The second narrative spans Genesis 2:5–3:24. It begins with Adam appearing in a barren, desolate landscape. At the dawn of time, the Lord God meticulously crafted the heavens and the earth. Not a single shrub or plant had yet graced the arid terrain, for the Lord God had withheld the rain. Initially, Adam appears as a symbol of divine androgyny. He merges both male and female qualities.

In this primordial context, God creates Eden. It is a lush and verdant sanctuary sustained by the flow of four life-giving rivers. At the center of this paradise stand two revered trees: the Tree of Life and the Tree of Knowledge of Good and Evil. These trees reflect the divine duality inherent in God's nature.

Priscillian describes God as “masculofoemina.” This resonates with Genesis 1:27: “So God created man in his own image; in the image of God created he him; male and female created he them.” The Hebrew word for mankind in this verse is "'adam." This term signifies all of humanity within the biblical context. The use of "'adam" underscores the term's inclusive nature. It highlights both male and female aspects of humankind.

The serpent, revered as the wisest of all of God’s creatures, approaches Eve by the Tree of Knowledge. It subtly insinuates that the fruit from this tree imparts divine wisdom. After they eat the forbidden fruit, “the eyes of both of them are opened.” They become aware of their nakedness, which instills in them a profound sense of shame. This sudden enlightenment marks their shift from innocent instinct to a complex understanding of good and evil. It captures the essence of the Fall.

The narrative reaches its climax with their expulsion from Eden. This is a poignant symbol of divine retribution for their transgression. This event is a central theme in the mythos of the Fall. The story highlights humanity’s intrinsic flaws and the lasting effects of awakened consciousness. Although Adam and Eve leave paradise, their newfound awareness brings them closer to divine wisdom. Nevertheless, it also introduces shame and separates them from their original purity. This tale intricately explores the human condition. It traces the journey from primal instincts to self-awareness and the onset of existential suffering.

The Garden of Eden, a significant symbol within European iconography, remains a perennial motif in Western cultural narratives, illustrating the origins of human suffering and mortality.

The Androgynous nature of Christ in the eucharistic ritual

Carl Jung, along with other eminent thinkers, frequently draws parallels between psychology and alchemy. He suggests that the alchemical quest for the philosopher’s stone—transforming base metals into gold—serves as a metaphor for spiritual metamorphosis. This alchemical journey involves integrating and reconciling opposites. Jung interprets the stages of alchemical processes as symbolic of psychological transformations. Figures such as Christ play a pivotal role in this transformative framework.

In Jungian thought, the mystical body embodies both genders. This is symbolized through bread and wine. The dual elements—wine representing the masculine and bread symbolizing the feminine—reflect the androgynous nature of the mystical Christ. The Mass, therefore, epitomizes the central mystery of God’s transformation into man and His return to His absolute existence. Through devotion and self-sacrifice, humanity participates in this enigmatic process. It serves as an instrument in the divine drama.

Several scriptural passages resonate deeply with these themes. When the disciples inquired about the end of times, Jesus responded, “Have you already discovered the beginning that you are now asking about the end? Where the beginning is, the end will be too.” In another profound exchange, Jesus elucidates the path to the kingdom: “When you make the two into one, and when you make the inside like the outside and the outside like the inside and the above like the below—that is, when you make the male and the female into one, so that the male will not be male and the female will not be female—and when you transform an eye into an eye, a hand into a hand, and a foot into a foot, an image into an image, then you will enter [the kingdom].”

In essence, these passages intertwine the mystical and the mundane. They illuminate the convergence of spiritual and earthly realms in the quest for divine understanding.

Freud’s Interpretation of Androgyny

Androgynous divinity, Babylonian gem- Here, we can see the emergence of a common, culturally independent motif: the duality of gender, the two serpents, the sun, and the moon.

Freud acknowledged the challenge of reconciling life instincts with their inherent conservative or regressive nature. He remarked, “In the case of Eros (or the love instinct), we cannot apply this formula.” Freud argued that the notion of a once unified living substance, now fragmented and seeking reassembly, is represented in myth. He cited Aristophanes' depiction in Plato's Symposium. This portrayal shows sexual union as an effort to restore the lost unity of an originally androgynous being before the sexes separated.

According to Freud, the myth of androgyny embodies both the creative principle and the guiding mystical force. The spirit, inherently divided within existence, generates suffering and unrest. Therefore, androgyny signifies not only a connection to ancient Platonic ideals but also a foretaste of the future. It symbolizes intellectual activity that transcends gender issues. Ancient civilizations viewed their primordial deity as androgynous. This reflects its emanation from the mind.

Buch der Heiligen Dreifaltigkeit

As previously noted, androgyny, commonly linked with Mercury in alchemy, represents the integration of dualities into a unified form. The significance of these two terms extends beyond mere biological aspects. They pertain to sexual characteristics, but their meaning should also be explored at a more abstract and holistic level.

The male principle imparts life force but remains vulnerable to death. The female principle nurtures and animates life. In this framework, Eve, who emerged from Adam, illustrates that the spiritual realm transcends the vital essence. Adam came before Eve, and the vital essence preceded the spiritual.

The distinction between male and female denotes separation. This is akin to the differentiation between upper and lower waters, and Heaven and Earth. In the earliest creation narratives, the first human was androgynous, as this separation had not yet taken place.

From a mystical standpoint, the spirit is categorized as male. The soul that animates the body is categorized as female. This concept aligns with Jungian duality, reflecting the animus and anima.

The Alchemical journey: animus and anima in the tale of Sleeping Beauty’s unio mystica

While Charlotte may seem like a third-tier character, her role carries significant weight within the plot. In magical tales, royal blood often holds profound narrative. It is seen as imbued with a divine essence. This link connects characters to a higher spiritual order. It allows rulers to influence their communities and guide individuals toward elevated consciousness. They are chosen for a divine purpose, destined to fulfill a particular mission.

At the outset, I will outline the intricate bond between Griffith and Charlotte. Miura skillfully uses symbolism to weave together two contrasting principles: the solar and the lunar. These symbols represent a divine union. Griffith is portrayed as an anointed hero, while Charlotte, through her royal lineage, is destined for sovereignty.

Charlotte gifts Griffith a cherished family heirloom. It is a necklace adorned with a naturally magnetic lodestone. She keeps its feminine counterpart, symbolizing their connection. Additionally, a statue holding a shield represents the quaternity. This statue bears the Midland flag. This symbol carries deep meaning. It merges four distinct energies into a unified whole.

Sun: illumination; the solar masculine aspect

Moon: dormant consciousness; the feminine lunar aspect

Lightning: awakening consciousness

Stars: dreaming consciousness

The lodestone possesses profound symbolic and practical relevance within the universal order. Its magnetic properties are believed to provide guidance. They bridge the gap between the physical and metaphysical realms. Throughout history, this stone, entwined with magic, has guided individuals through the natural world. Myths ascribe to it the power to attract objects and people alike. It embodies a universal force that unites and binds all things.

Given this understanding, the solar and lunar forces naturally draw toward each other. The Tower of Triumph merges all four elements seamlessly. The story of Griffith and Charlotte echoes the timeless theme of Sleeping Beauty. Charlotte, restricted by parental limitations on her feminine nature, remains trapped in a state of prolonged unconsciousness.

Consequently, she possesses limited experience with conscious life and the external world. Confined and protected, she mirrors the archetypal princess trapped in a state of "eternal slumber." Within the castle walls, she remains ensconced in her chambers and towers. These spaces are characterized by stillness and isolation. In stark contrast, Griffith emerges as an active and conscious force. He engages aggressively with the external world. He confronts its myriad challenges. This contrast establishes the foundation for my analysis, which examines the narrative through a Jungian perspective.

The archetypal plot unfolds in a manner similar to a dream. It moves through the four classical stages of drama. The story begins with the exposition of time and place. Fairy tales typically commence with phrases such as "once upon a time." These phrases evoke a sense of timelessness and spatial ambiguity. Symbols such as the spinning wheel, the cursed sleep, and the final awakening during a moment of rediscovery embody overarching concepts. These ideas include the passage of time, the process of transformation, and the triumph of life, as interpreted by the collective unconscious.

Jung proposed that fairy tales offer a valuable way to explore the comparative anatomy of the psyche. While myths, legends, and other mythological narratives provide valuable cultural material, fairy tales reveal archetypal truths. This is due to their less culturally specific content. Parental interventions, often misguided, are symbolized by Sleeping Beauty's "hundred years of slumber." This drowsiness frequently delays the attainment of maturity at the proper time.

In a reimagining, Charlotte perceives Griffith not through a winter window but through the lens of spring. This symbolizes renewal and joy. His return with snowdrops signifies the hope of new beginnings. This moment comes after the vow made on that fateful day. It underscores her unwavering belief. It also confirms the eternal nature of his commitment, despite the changing circumstances.

The motif of embracing and intertwining frequently recurs in solar myths and rebirth legends. This includes the tale of Sleeping Beauty and the legend of the maiden ensnared between bark and wood. An ancient myth tells of a sun-hero who needs liberation from captivity. Thus, Griffith embodies the archetypal prince. He arrives at the crucial moment when parental guidance falters. His capacity to offer direction diminishes.

Alchemy often involves reconciling and synthesizing opposing forces. This parallels the narrative. In Sleeping Beauty, the prince (animus) represents the conscious, active, masculine principle. Meanwhile, Sleeping Beauty (anima) embodies the unconscious, passive, feminine principle. Their union signifies the integration of these dual aspects within the psyche. This achieves psychological completeness—the sacred union of lunar and solar principles, known as hieros gamos.

Fertility inherently requires a unified, dual aspect. Natural cycles depend on duality and transformation. This highlights a cosmic process that transcends human endeavors. Here, the harmonious interplay of opposites fosters growth. The terms 'masculine' and 'feminine' denote fundamental principles rather than specific genders. Through their connection to the realm of fauna, they offer a non-anthropocentric viewpoint. Human activities contribute to a broader cosmic process of growth and transformation. This is poetically described as 'the play of clouds and rain.'

The light permeates the embroidery emphasizes the theme of truth versus illusion. Charlotte, in her effort to hide, uses a symbolic "thin veil" (the embroidery) to represent Griffith. This infuses it with multidimensional meaning. It suggests an illusion: Charlotte knows Griffith only through his idealized image (the embroidery). The actual reality (Griffith standing behind the embroidery) shifts this perception.

Just as the sun reveals the moon’s surface, the wind—symbolizing creation in various myths—represents space and the processes of life. Revered as a fundamental element, it is closely linked to the creative breath or act of exhalation. Jung connects the wind with breath. He equates it with the spirit and signifies a divine infusion of spirituality.

Griffith's affinity for windows (He likes to stand by the windows and to come in and out through the windows.) further underscores this symbolism. The window, a recurring motif, acts as a portal between the inner and outer worlds. Known as the "soul’s eye," windows reflect one’s consciousness and perspective on the world. The placement of these windows on a tower resembling a human head amplifies their symbolic significance. As symbols of how consciousness perceives and interprets reality, windows represent any medium through which we encounter illumination. Thus, they serve as gateways to spiritual enlightenment. They bridge the visible and invisible realms while providing glimpses into the divine.

Windows function not only as physical openings but also as metaphysical symbols of awakening. They illustrate how consciousness comprehends and interacts with the world. As channels for experiencing divine illumination, windows highlight the connection between the mundane and the sacred.

The concept of unio mystica, with the soul depicted as feminine, represents the mystical union with the divine. The animus, symbolizing the masculine aspect, fulfills this divine union not literally but symbolically. This occurs through a more abstract, internal experience.

In various cultural, literary, and mythical contexts, blood symbolizes transformation. Bloodletting often connects to themes of sacrifice and power. The mythological imagery portrays a child intuitively comparing blood to the earth trapped under winter’s icy grip. This anticipates the liberating touch of spring’s sun. This imagery parallels the earth’s release from winter’s prison and its rejuvenation by spring’s rays. It leads to the rebirth of a renewed kingdom. This theme is central in Sleeping Beauty. Her awakening not only restores her but also revitalizes the universe.

Thus, the myth of Sleeping Beauty serves as a profound metaphor for the cyclical renewal of life and the harmonious balance between opposing principles. The hero’s return from the underworld, as the bringer of light, illustrates how mythological narratives encode profound truths about the human psyche and the natural world.

To add a personal observation: I can't help but notice that the scene is beautiful and rich in metaphors. Nevertheless, upon reflection, this symbolic interplay appears to exist more on a metaphysical level. Its significance is for the universe rather than in terms of genuine connection and authenticity. Beyond the saccharine, magical veneer, reality is very objective. After all, Charlotte has very limited knowledge of Griffith. Griffith, in turn, does not really love her. Consequently, this narrative lacks elements analogous to a 'real love's kiss.'

The cosmic dance: Androgyny and spiritual wholeness in eastern mysticism

The androgyny inherent in the divine ground epitomizes the quintessence of mystical experience. This concept seamlessly integrates elements that may initially appear dichotomous. In Indian Tantrism, the spiritual union of Shiva and Shakti represents the convergence of masculine and feminine energies. This union restores the original unity of creation, originating from the transcendent Brahman. Brahman transcends gender and embodies both aspects fully.

Western interpretations frequently misrepresent the balance between male and female in the Tantric tradition. They often reduce it to sexual practices. Conversely, Tantra fundamentally revolves around discipline. It includes structured meditation and religious rituals. These aim for spiritual transformation rather than mere sensual gratification. The essence of Tantrism lies in understanding that opposites—whether masculine and feminine or other cosmic forces—contribute to a larger, unified reality.

Many Eastern traditions suggest that opposites emerged from the fragmentation of a singular reality. This fragmentation gave rise to the world of forms. Thus, the soul's journey is to reunite these fragments into their original unity.

The confluence of Shiva and Shakti transcends mere physicality, embodying the cosmic balance that sustains all creation. This union symbolizes the dynamic interaction between stillness and energy, as well as consciousness and movement. It reflects the ideal of balance encapsulated by the archetype of Ardhanarishvara, a deity depicted as half-male and half-female. Ardhanarishvara signifies that within every being reside both masculine and feminine energies, awaiting integration.

True spiritual transcendence, according to Tantra, arises from merging these dualities within oneself. This process transcends the confines of gender and duality to achieve a state of wholeness.

The eternal play of opposites—sun and moon, fire and water, creation and destruction—perpetuates the cycle of life and rebirth. This cycle reflects the sacred balance at the core of existence.

The serpentine symbolism in Hinduism reinforces the androgynous theme. The male serpent signifies the sun, representing the masculine principle. Meanwhile, the female serpent embodies the moon, symbolizing the feminine. Their intertwining symbolizes the union of heaven and earth. This union encapsulates the eternal balance and sacred equilibrium at the core of existence.

These themes are expressed in Hindu art and philosophy through the depiction of chakras. The initial three chakras correspond to primal, instinctual drives. The fourth chakra, located in the heart, symbolizes love and compassion. This marks the transition from animalistic instincts to higher spiritual awareness.

As one ascends through the upper chakras, the path toward unity and transcendence unfolds. Here, dualities merge into the singularity of consciousness.

The journey to this realization, as expressed in Tantrism, is a path toward inner transformation and divine union. It embraces the eternal dance of life.

As a primordial symbol, it is present universally among humans. It represents a fundamental element deeply rooted in our collective consciousness. This symbol has held profound meaning across diverse cultures and religions from the very beginning.

It signifies life and growth. It highlights the connection between nature and the cosmos. Furthermore, it forges a link between the earth and the heavens. It connects matter and spirit, knowledge and enlightenment, as well as humanity and the origins of creation.

The symbol strives to capture the universal and spiritual essence of the tree. It embodies the profound unity and significance that transcend individual belief systems.

Anima Mundi and the journey of the world-soul: Griffith as Anthropos in Hegelian philosophy

Anima Mundi, the world-soul, epitomizes the essential animating force that pervades the cosmos. It weaves an intricate tapestry of interconnectedness and contemplative vitality. This concept aligns with philosophical paradigms. Particularly, it resonates with those articulated by Hegel. Hegel’s theories explore the interconnected roles of history, religion, and philosophy. These elements play crucial parts in the development of human consciousness and the realization of the Absolute, or ultimate truth. His ideas resonate with the essence of Anima Mundi as a concept, highlighting the unity within the cosmos.

The world-soul, much like spirit or ether, signifies a natural power that permeates all forms of life and psychic phenomena. This power bridges both the grand and the minute. It mirrors the Indian concept of atman, present within every human heart despite its vast cosmic scale. This celestial essence symbolizes the quintessence of the physical world.

When examined in various contexts, this symbol parallels contemporary portrayals of the self. It emphasizes the integration of diverse psychic dimensions to achieve wholeness and harmony.

Within cultural and religious frameworks, the quaternity represents universal principles. This concept plays a key role in human understanding and the pursuit of self-realization. The primordial cosmic man, or Anthropos, epitomizes the world-soul—a unity both within and beyond, mirroring the atman in Upanishadic thought.

Just as quicksilver manifests Mercury, gold embodies the sun within the earth. These symbols reflect spiritual and alchemical truths, illuminating the interconnection between cosmic and human realms.

Hegel’s interpretation of the emperor as the embodiment of the "world-soul" traverses philosophical terrain. This interpretation integrates historical and ideological dimensions with praxis. This stage signifies the apogee of the Absolute spirit. Here, disparate energies converge to sculpt the trajectory of human civilization.

“I saw the Emperor – this World-Soul/The Weltgeist/Die Weltseele – riding out of the city on reconnaissance. It is indeed a wonderful sensation to see such an individual, who, concentrated here at a single point, astride a horse, reaches out over the world and masters it.”— Georg Wilhelm Friedrich Hegel, upon witnessing Napoleon in Jena

The essence of Hegel’s dialectic, central to his philosophical framework, is captured by the triadic dynamics of thesis, antithesis, and synthesis. The thesis introduces an initial condition or viewpoint. The antithesis represents the opposition or conflict to the thesis, offering a counterpoint or challenge. The synthesis resolves this tension by integrating elements of both the thesis and antithesis into a higher, more advanced understanding.

This dialectical process is iterative and dynamic, where each synthesis evolves into a new thesis. Thus, the cycle of thesis-antithesis-synthesis perpetuates, embodying the continuous and transformative progression observed in both philosophical and historical contexts.

Within the framework of Hegel’s absolute philosophy, Griffith represents the elevated concept of mediated, developmental unity. This unity exists between subjective thought and objective reality. His essence, particularly through his ethereal incarnation and the evolution of his surroundings, exemplifies Hegel’s idea that 'thought and being are one.' Griffith’s life and actions vividly illustrate this philosophical notion, showing how the subjective realm of thought and the objective reality of being are intricately intertwined and harmoniously unified.

The process of synthesis in Griffith’s journey demonstrates how disparate realms merge into a cohesive unity, offering a nuanced interpretation of existential coherence within Hegelian terms. Griffith’s role as a unifying force for polar opposites underscores his deep philosophical expertise. Each individual and apostle, by subordinating their egos to Griffith, transforms him into a perennial conduit, absorbing all perplexity and serving as a bridge between external substance and the universal essence of the mind.

Griffith transcends the ordinary. He emerges as a monumental figure in the pursuit of human freedom and self-awareness. His belief that divine revelation comes through historical transformation, rather than miraculous occurrences, reflects his dedication to progress. Griffith’s odyssey illuminates the evolution of consciousness within the grand tapestry of Berserk. The 'Man of Knowledge' embodies all cosmic dichotomies and equities. He encapsulates every facet of the cosmos within the ultimate individual. His essence and complexity resonate with the very fabric of the universe.

Griffith's society presents a scene where antagonistic forces coexist. Each contributes to a richly intertwined reality.

The Christian Millennium represents a concept of profound significance, heralding an era increasingly close to the world's denouement. Within this context, the Millennium Empire symbolizes a serene coexistence achieved through a visionary framework. This moment evokes the restoration of Eden, characterized by a significant, symbiotic communion among monsters, devils, and humans—an essence vividly reflected in Griffith himself.

As Western civilization transitioned from the Medieval epoch to the Renaissance, it emerged from the shadow of deities and demons. This era of revival, akin to the Renaissance of ancient Greek and Roman civilizations, signifies a pivotal historical shift towards human liberation.

The narrative of Berserk asserts that Griffith undertakes nothing less than the reconstruction of the ancient world. He reclaims mankind’s lost faith in the celestial and the otherworldly.

Chthonic and Uranic balance:The Taoist perspective on dualities

To understand this topic, it's essential to highlight the fundamental differences between the Western and Eastern worlds. Western philosophies view the universe as a system composed of separate objects. These objects are further reduced to basic building blocks, whose properties and interactions entirely determine all natural phenomena. This conception of the universe continues to underpin most scientific thought and significantly influences everyday life.

In the West, academic disciplines tend to fragment, justifying the treatment of the universe as if it consists of various distinct parts. Western philosophy emphasizes the parts of a whole rather than the whole itself. For example, the mind and body are perceived as two separate entities with distinct identities. This mentality is evident in everyday western societies, affecting politics, religion, and even racial relations.

Eastern philosophy, on the other hand, emphasizes wholeness rather than individuality. This is one reason why Asian sages never distinguished between religion and philosophy, or between mind and body. Nor did they divide their philosophies into separate branches. All of their teachings should be seen not as separate truths but as interconnected parts that ultimately lead to the revelation of a single Truth. The essence of the Eastern worldview is the awareness of unity and the interconnections among all things. It experiences all phenomena in the world as manifestations of a fundamental oneness.

In this perspective, everything comprises independent and inseparable components of a cosmic whole, representing different expressions of the same ultimate reality. While people in the West may see themselves as unique, individual, and beloved by God, individuals in the East consider themselves part of something greater.

Taoism reveals a fundamental unity that transcends dualities. The Tao is regarded as the ultimate reality and ineffable essence. It surpasses rigid categorizations. While yin and yang are crucial in the celestial interplay, Taoism views them as integral aspects of a larger whole. These forces maintain cosmic order and balance. Thus, integrates dualities into a seamless unity. It illustrates how opposing forces harmonize within the vibrant tapestry of existence.

In contrast to worldviews that separate the supernatural from the material, Taoism embraces immanent transcendence. This perspective goes beyond dichotomies such as matter and spirit, fire and water, and heaven and earth. It symbolizes their unity through their dynamic interplay. Taoism’s philosophical framework celebrates dualities, prominently represented by yin and yang.

This celestial schema extends to the cosmos. Oneness (non-presence) facilitates the emergence of twoness (presence, Yin/Yang distinction). This emergence generates threeness and opens the realm of multiplicity. This integrated process reveals a synchronous order where oneness, twoness, threeness, and multiplicity coexist and interdepend. The Tao’s oneness epitomizes both internal and external unity. It symbolizes the void and the complete whole.

Different stages of the manga suggest they represent halves of a grander, interconnected whole. Their disparate paths embody the essence of a singular, complex continuum—a kindred soul.

Mystics transcend intellectual abstractions. They achieve awareness of the relative and polar relationships inherent in all opposites. They recognize that concepts such as good and evil, pleasure and pain, and life and death are not separate, absolute entities. Instead, these are dialectical aspects of a singular reality. They represent extreme poles of a unified whole. Eastern mysticism centers around this absolute perspective. It culminates in acintya, or "no thought," where the unity of all opposites becomes a perceptible experience.

The concept of being "half of someone" signifies a profound intertwining of lives. Individuals complement and complete one another. They interlace attributes and skills that balance and enhance each other. Each person embodies only a partial essence of their true self. This captures the existential quest for wholeness.

Those who resonate deeply with one another often embrace the natural unfolding of events and encounters. They view their bond as harmonizing with the organic flow of destiny.

In the realm of Berserk, Guts embodies the essence of a human intertwined with an inner beast. Griffith represents a demon harboring an infant within. As the plot unfolds, Guts develops a white patch in his hair when he dons the beast's armor. In contrast, Griffith’s hair darkens under the influence of the infant.

From a psychological perspective, the self often emerges through dreams, myths, and fairy tales. It manifests as a superordinate personality or as symbols of totality. Examples of these symbols include the circle or cross. They represent a complex union of opposites. This parallels the Taoist concept of the interplay between yang and yin. These symbols also reflect the struggles between heroic figures and their adversaries in various myths and legends.

Miura’s decision to incorporate Taoist and Qi concepts into the story's conclusion underscores the significance of referencing Dharmic cultural trends. This choice vividly illustrates the series' dualistic themes and visuals.

To conclude:

In the scope of my experience, it was an interesting and challenging journey. Nevertheless, it also brought me a great deal of enjoyment. I hope that its length did not render it overly dull. Overall, the series clearly demonstrates the consistent symbolism of its dual nature.

Duality encapsulates the idea that opposing forces or concepts shape our reality, such as life and death, good and evil, or yin and yang. These pairs highlight the interdependence of different aspects of existence, showing that one cannot exist without the other.

In philosophy, beyond duality lies the concept of non-duality. This idea transcends the boundaries of opposites. Non-duality proposes that while we perceive things as separate pairs, they are not truly distinct. At a deeper, ultimate level, all differences dissolve, leading to a sense of oneness. Concepts like the Tao, Nirvana, or Enlightenment exemplify this state, where opposites merge into an indivisible whole. Non-duality reveals that these polarities are merely different expressions of the same underlying reality, much like a circle, where each point along its circumference can serve as both a beginning and an end.

Through this understanding, individuals can achieve a richer, more holistic view of existence. They can recognize the underlying unity among all things. In the current context, Griffith’s design embodies the core of duality. Yet, it also gestures towards the concept of non-duality. Here, the boundaries between opposites begin to blur. This reflects a shared, underlying truth. His visual representation conveys this philosophical depth by illustrating how contrasts merge to form a cohesive, unified reality.

The Void- The World

 Eternity -Time 

Nirvana -Samsara 

Truth- Illusoriness 

Enlightenment- Compassion

 The God- The Goddess 

The Enemy -The Friend

 Death- Birth 

The Thunderbolt- The Bell 

The Jewel- The Lotus 

Subject- Object 

Yab- Yum

 Yang -Yin 

=Tao, Supreme Buddha, Bodhisattva, Jivan Mukta, The Word Made Flesh 

[artnamia]

The Desperate Man by Gustave Courbet: A Glimpse into the Depths of Human Emotion

Introduction

Gustave Courbet's "The Desperate Man" is more than just a painting; it's a vivid portrayal of raw emotion, encapsulating the intense fear and anxiety that can consume a person. Painted in 1843-1845, this self-portrait is one of Courbet's most famous works, reflecting the turmoil and inner struggles of the artist himself. In this blog post, we'll delve into the different aspects of "The Desperate Man," exploring its composition, symbolism, historical context, and the emotional depth that makes it a masterpiece.

1. Composition and Technique

Gustave Courbet was known for his realist style, and "The Desperate Man" is a prime example of his skill in capturing the human condition. The painting is dominated by the intense expression on Courbet's face, his wide eyes staring directly at the viewer. The close-up composition, with the subject's hands gripping his head, creates a sense of immediacy and panic. Courbet's use of chiaroscuro, the contrast between light and dark, enhances the dramatic effect, highlighting the desperation in his eyes. The detailed brushwork brings out the texture of his hair and skin, making the painting almost lifelike.

2. Symbolism and Interpretation

"The Desperate Man" is not just a literal depiction of fear but also a symbolic representation of the artist's inner turmoil. Courbet was a revolutionary figure in the art world, challenging the traditional norms of his time. This painting can be seen as a reflection of his struggles against societal expectations and the pressures of his career. The wide eyes and frantic expression symbolize a man on the edge, grappling with existential dread. The painting invites viewers to consider their own fears and anxieties, making it a deeply personal and relatable work of art.

3. Historical Context

When Courbet painted "The Desperate Man," he was still a young artist trying to find his place in the art world. The 19th century was a time of great change, with political upheaval and social unrest influencing artists across Europe. Courbet's work often challenged the status quo, and this painting is no exception. It reflects the uncertainty and instability of the era, as well as Courbet's personal struggles with his identity as an artist. Understanding the historical context of this painting gives us a deeper appreciation of its emotional intensity and significance.

4. Emotional Impact and Legacy

The raw emotion conveyed in "The Desperate Man" has resonated with audiences for generations. The painting's ability to evoke such a strong emotional response is a testament to Courbet's genius as an artist. It remains one of his most iconic works, often studied and analyzed for its psychological depth. The painting continues to inspire modern artists and art lovers, reminding us of the power of art to express the inexpressible. The legacy of "The Desperate Man" lies in its timeless portrayal of human vulnerability, making it a painting that will continue to be relevant for years to come.

Conclusion

Gustave Courbet's "The Desperate Man" is a powerful painting that captures the essence of human fear and desperation. Through its composition, symbolism, historical context, and emotional impact, the painting offers a window into the soul of the artist and, by extension, the viewer. As we reflect on this masterpiece, we're reminded of the universal emotions that connect us all. What do you think of Courbet's portrayal of despair? Share your thoughts in the comments below, and let's continue the conversation about this remarkable work of art.

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[theriverspath]

Ineffable May 2024 Day 13: Heavenly Hosts

I'm playing catch-up for the last few prompts, so please accept this fever dream of a crossover as my day thirteen. Rated General Audience. Spoilers for the first episode of the anime Ouran High School Host Club, maybe?

Beez packed their bag and left the library’s quiet room. Unfortunately for their plan to study there after classes, it had become anything but quiet. The background buzz of other students chatting or giggling wasn’t entirely unpleasant. It just made it difficult to concentrate on their work. A familiar dull ache in their chest accompanied their thoughts as they closed the library door.

Hey, Mom. These angels are so different than what I’m used to. I’m managing ok, I guess, but I wish you could give me some advice on what to do about it.

Their sigh and their footsteps echoed down the endless corridor of huge windows and locked classrooms. Maybe one of the club rooms was empty? Beez stopped under a sign indicating that they’d found a music room. When they didn’t hear any instruments or singing, they gingerly pushed it open and peeked inside.

The door unexpectedly swung inward, pulling them in and causing them to stumble. They wobbled back, and the door closed behind them with a solid thud. As they caught their footing, white sparkling light filled their vision. A delicate rain of rose petals floated down from the ceiling. They barely had time to register the frivolous miracle before a chorus of voices rang out.

“Welcome to the Haven Host Club!”

Beez blinked, trying to clear their vision enough to see the group of angels gathered in front of them. A pair, as opposite in appearance as two beings could be, gasped in unison. Though the timbers of their voices were different, the shocked inflections were perfectly in sync when they spoke.

“A low ranking angel?”

“Uriel, Sandalphon, that’s no way to treat a guest. Especially an honor student.” Another member of the group admonished the duo. Their calculating expression was accented by their perfectly coiffed hair and the delicate lace cuffs below their uniform jacket’s sleeves.

“An honor student? Michael, are you saying that we have the privilege of entertaining the infamous Beelzebub?” An arm draped itself over Beez’s shoulders, its hand cupping their upper arm and guiding them into the room. The brightly lit expanse was dotted with little clusters of low tables, finely crafted chairs, and elegant settees. In the middle of it all rotated a large globe. The brilliant blues and greens practically glowed underneath swirling wisps of clouds. Beez had never seen such a lifelike representation of Earth. It was almost as if it had been plucked from the actual heavens and placed here to be admired. After a moment, they realized that the owner of the guiding arm had said their name.

“Wait. How do you know who I am?” Beez looked up into a pair of shining violet eyes. They crinkled at the corners with amusement. The tall angel smiling down at them had a solid, athletic build. Dark hair was cut short, and their school uniform was immaculately tailored.

“Are you kidding? Everyone’s heard of the scrappy little scrivener striving to climb their way up the ranks.” Their voice was smooth and charismatic. It wasn’t displeasing, but it approached condescension in a way that made Beez narrow their eyes in annoyance. Before they could reply, another voice, bubbly and full of sunshine, piped up from the group.

“Yeah! You must be a hero to the other low-rankers!” A being almost as short as Beez skipped forward and clasped their hands around the arm that wasn’t currently smooshed against the other angel. “Don’t you think so, Saraqael?” That last question was directed at a stoic angel seated in a floating chair. Their only acknowledgement of being addressed was to raise a single eyebrow. A feeling of acute claustrophobia swept over Beez. What in all of creation was going on here?

“Look, I’m no hero. I’m just a regular student looking for a quiet place to study.’ They tried shifting their shoulders and raising their arm, hoping that the two beings attached to them would get the hint to let go.

“Nonsense!” The taller angel actually hugged Beez closer in a too-familiar jostle. “Not only are you trying for the academic angle, but now you’ve gathered up the courage to attempt to engage the services of our elite host club! Of course, we usually restrict reservations to Thrones, Dominions, or above. But, I think we could make an exception in your case.” The jostle was escalated by the shorter angel on their arm jumping up and down with excitement.

“Brilliant! Come sit at my table with me! I have tea all set up and ready. I’ll even let you drink out of my favorite cup! It’s so pretty to look at. Oh! My name is Muriel, by the way…” The claustrophobia turned to a rising panic.

“No! No reservation! No tea! I just need to find a quiet and empty room!” Beez wrenched their corporation backwards, and the two angels released their holds in shock. The sudden lack of support sent Beez sprawling. Their fall was broken by something large and round. They swung around just in time to see the glowing globe tip off of whatever invisible pedestal held it upright. It hit the ground and shattered. A burst of glittery shards skidded across the floor in every direction, decorating the white tiles with pieces of continent and ocean. Beez stood frozen, unable to believe what had happened.

“Oh, you’ve done it now, low-ranker.” The shorter of the two mismatched twins spoke up. The taller finished their thought. “Indeed. That globe was created using an eight million Lazuri miracle.” Beez felt their knees go weak as they realized the implications of what they’d done.

“I … I’m going to have to pay you back.” Their voice cracked as they struggled to get the words out.

“How?” Uriel and Sandalphon chimed in stereo. “There’s no way you could perform that kind of miracle with your current rank.”

“Well.” Michael leaned down to pick up a particularly pretty piece of the broken Earth. They kept their eyes on it as they straightened back up. “What do you think we should do, Gabriel?” The violet-eyed angel flashed a self-satisfied grin at the question.

“There’s only one way this aspirant academic is going to climb that steep social ladder to reach their full potential, Michael, and that’s with the help of the Haven Host Club!” Gabriel turned their attention to Beez. “That means starting today, you work for us.” The edges of Beez’s vision started to close in, narrowing to a pin-point surrounded by fuzzy black. They lost track of the beings around them as they thought, I don’t know if I can handle this, Mom. I’ve been captured by a bunch of angels that are calling themselves a host club. They felt two little pokes of someone’s finger on their shoulder, then the room quickly tilting to the side as the floor came up to meet their fainting corporation.

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prompt list

[pmamtraveller]

NEFERTITI BUST | 1345 BC | by THUTMOSE

The NEFERTITI BUST, is a masterpiece that offers a unique insight into ancient EGYPTIAN artistry and culture. This sculpture, is a lifelike representation of QUEEN NEFERTITI, known for its exceptional craftsmanship and symbolic significance.

The bust is carved from a single block of limestone and covered with painted stucco layers, showcasing a symmetrical face with intricate details like softly curved cheekbones, a strong chin, and a sharp nose. NEFERTITI is depicted with golden-brown skin, red lips, colored jewellery, and a crown, with crystal-set eyes and a missing left eye inlay. The sculpture's colors were achieved using various pigments like powdered frit, orpiment, and coal with wax as a binding medium.

The BUST OF NEFERTITI symbolizes the power of the sun and the strength of royalty in ancient EGYPTIAN culture, reflecting the classical EGYPTIAN art style. It is theorized that the bust served as a sculptor's modello, used as a reference for creating other official portraits.

NEFERTITI, whose name translates to "the beautiful one," was the wife of PHARAOH AKHENATEN, known for her beauty and strength as depicted in the sculpture. The bust's discovery in THUTMOSE'S workshop offers insights into the artistic process of that era.

In conclusion, the NEFERTITI BUST stands as a timeless representation of beauty, power, and artistic excellence from ancient EGYPT, showcasing THUTMOSE'S skill in capturing the essence of the queen with remarkable detail and symbolism.

[apenitentialprayer]

Bit by bit, discoveries reconfigure our understanding of reality. This reality is revealed to us only in fragments. The more fragments we perceive and parse, the more lifelike the mosaic we make of them. But it is still a mosaic, a representation — imperfect and incomplete, however beautiful it may be, and subject to unending transfiguration.

Maria Popova (How Kepler Invented Science Fiction)